VOLTA 2017/2018 ISSUE
Editor-in-Chief Creative Director CREATIVE + DESIGN Creative Advisors
Layout Editor Layout Assistants FASHION Head of Styling Stylists
PHOTOGRAPHY Head of Photography Editorial Photographers Behind-the-Scenes Photographers TEXT Editorial Director Literary Editors Writers EDITORIAL Hair & Makeup Artists Shoot Contributors Models
Savana Gray Kiara Botha
VOLTA 17/18
Adam Ibrahim, Adam Masri, Aliciya Jamal, Camila Marcus, Claire Henderson, Diyana Noory, Elisa Gontier, Jen Lee, Jenna Hebb, Kayleigh Gray, Kiara Botha, Krista Chyc, Laura Robinson, Maya Chambers, Sam Stones, Savana Gray, Savanna Lee, Tanya Sahni, Tarra Tresham, Thalia Desmond Savana Gray Arad Moghadasi, Kiara Botha, Tian Tang Adam Masri, Elisa Gontier Adam Ibrahim, Adam Masri, Aliciya Jamal, Anthony Vespa, Arad Moghadasi, Arlene Galton, Brittany Chang-Kit, Christianne Borbon, Claire Henderson, Diyana Noory, Elisa Gontier, Jen Lee, Jimena Jarillo, Jocelyn Togeretz, Krista Chyc, Laura Robinson, Maya Chambers, Nathan Olszewicki, Nico Lavender, Puneet Shokar, Riley McLaughlin, Sam Stones, Savana Gray, Savanna Lee, Tarra Tresham, Yang Pan Adam Ibrahim Adam Ibrahim, Claire Henderson, Diyana Noory, Jerry Gu, Kelly Huang, Kiara Botha, Saxon Lane, Stef Eleoff, Tanya Sahni, Tian Tang Adam Ibrahim, Adam Masri, Jack Godfrey, Jen Lee, Stef Eleoff, Suyoung Chun, Tian Tang Jenna Hebb Brittany Chang-Kit, Kimya Manouchehri, Mithila Somasundaram Brittany Chang-Kit, Kharissa Edwards, Jenna Hebb, Jen Lee, Jonathan Ng, Krithika Nathan, Nathan Olsewicki Diyana Noory, Jen Lee, Jenna Hebb, Kayleigh Gray, Krista Chyc, Marissa Martin, Meghan Gray, Melissa Wong, Nico Lavender Adam Ibrahim, Adam Masri, Chelsea Clifford, Claire Henderson, Dalla Zhao, Jane Rideout, Kiara Botha, Krista Chyc, Mark Stahl, Sam Stones, Savana Gray, Sydney Scott Adam Carere, Aidan Link, Alex Fregren, Aliciya Jamal, Andrew Kim, Anthony Vespa, Austin Haber, Ayham Yasein, Bright Osei, Brienna French, Camila Marcus, Camille Baycroft, Caylen Walker, Chelsea Clifford, Chelsi Germain, Chloe Jiayu Han, Dominique M. Bento, Genevieve Pelow, Glorija Spehar, Hugh McHenry, James Howard, Jaya Xavier, John Lee, Keamia Tajbakhsh, Krista Chyc, Laura Robinson, Lavan Narenthiran, Matthew Fregren, Michael Brain, Nico Lavender, Nimi Adeyemo, Onaope Egbedeyi-Emmanuel, Paul Okundaye, Peter Akioyamen, Quintin Lopes, Rebecca Mclaren, Rowan de Paiva, Sakariya Ahmed, Savanna Lee, Sean Lee, Spencer Yeung, Suyoung Chun, Suzie Blainey, Sydney Scott, Tala Al-Ramahi, Tomachi Onyewuchi, Vicky Qiao, Wiley de Paiva
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CONTENTS Editor’s Letter...words by Savana Gray
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Major Contributors...highly dedicated and talented team members
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Behind the Scenes...an exclusive look into VOLTA
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The Paradox of Self-Expression...words by Brittany Chang-Kit
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Alessandro Michele’s Eccentric Gucci Revolution...words by Kharissa Edwards
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Find Her in Fields of Lavender...Jenna Hebb interviews Nico Lavender
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Supremely Unfashionable...words by Nathan Olsewicki
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The Morality of the Jumpman...words by Jonathan Ng
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ELLIPSIS: Fashion & Lifestyle Society’s Spring Fashion Show...directed by Jen Lee
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The Fashion Industry Needs an Upgrade...words by Krithika Nathan
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LIVING IN COLOUR...feature editorial by Savana Gray and Kiara Botha
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EDITOR’S LETTER As the largest issue yet, VOLTA 2017/2018 finds harmony within a stylistic collision of silhouettes, genres, and trends. In our feature editorial, Living in Colour, we explore the diverse elements of representation, style, and culture and how they manifest on an individual level. This year’s issue shines light on critical curiosity and reflection, as we question everything while highlighting essential topics: all to do with fashion, style, and personal expression. First, we explore the ironic art of dressing in The Paradox of Self-Expression written by Brittany Chang-Kit and indulge in some judgement of fashion subcultures in Supremely Unfashionable, a critique made by Nathan Olsewicki. Since we’re fond of unpacking unrelenting obsessions in the fashion industry, we also analyze Gucci from top to bottom in Alessandro Michele’s Eccentric Gucci Revolution, a refreshingly honest review by Kharissa Edwards. We then dive deeper into the psychological aspects of shopping and study the rationalization of making a purchase in The Morality of the Jumpman; a story for every sneaker-lover told by Jonathan Ng. In our last article, Krithika Nathan calls out the increasingly hypocritical side of the industry while giving us insight into the life of those who are conditioned to conform to standards—ones that are both unattainable and unnecessary—in The Fashion Industry Needs an Upgrade. I would like to thank the entire VOLTA production team for making this immense issue come to life. It would not have been possible without your commitment, passion, and generous contribution. The artistry I have witnessed from each of you is striking and inspiring. Lastly, a special thank you to both Jen Lee and Kiara Botha for making the production of this issue a remarkable and invaluable experience. Your endless encouragement, support, and guidance is unmatched and allowed me to express myself in the most imaginative ways. I hope you enjoy the 17/18 issue as much as I have enjoyed curating it. Savana Gray
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MAJOR CONTRIBUTORS JENNA HEBB
Editorial Director/Makeup Artist/Creative Advisor ★ Fourth Year | Media, Information, and Technoculture Honours Specialization with a Minor in Women’s Studies ★ I love being a part of VOLTA because there’s a place for everyone. No matter your skill set or academic background, anyone can find a place to let their passions grow. I loved that I was able to mix my love for writing with my love for make up and fashion with the various roles I took on and projects I was a part of.
SAXON LANE Photographer
★ Third Year | Media, Information, and Technoculture / Film ★ I love VOLTA because it has given me the opportunity to work with new people and experience new things at every shoot. During the shoots, I constantly learn more about photography and I get to really enjoy myself at the same time.
TANYA SAHNI
Photographer/Creative Advisor ★ Fourth Year | Honors Media and The Public Interest with a Minor in Film Studies ★ I love VOLTA and F&LS because it provides you with a network of people who want to help you actualize your creative dreams. You get to try out different things and learn new tricks. It also helps that everyone is incredibly talented in what they do!
MAYA CHAMBERS
Stylist/Creative Advisor ★ First Year | Visual Arts ★ VOLTA magazine is such a strong community of young artists. I’m so excited about all the people who contributed to this issue and the amazing work they produced!
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BEHIND THE SCENES
BTS Photographers: Savana Gray, Kiara Botha, Jen Lee
COVER Photographer: Stef Eleoff Model: Ayham Yasein
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Next Generation
Creative Advisor: Claire Henderson Photographer: Claire Henderson BTS Photographer: Tian Tang Models: Wiley de Paiva, Rowan de Paiva, Keamia Tajbakhsh, Aidan Link Stylists: Maya Chambers, Krista Chyc, Arad Moghadasi Hair/Makeup Artist: Diyana Noory
GIRL
Creative Advisor: Claire Henderson Photographer: Claire Henderson Models: Chelsea Clifford, Suzie Blainey Stylists: Claire Henderson, Laura Robinson Shoot Contributor: Savana Gray
Creative Advisor: Diyana Noory Photographer: Diyana Noory BTS Photographer: Adam Ibrahim Models: Tala Al-Ramahi, Michael Brain Stylists: Diyana Noory, Maya Chambers Hair/Makeup Artist: Melissa Wong Shoot Contributors: Adam Masri, Adam Ibrahim, Dalla Zhao
Orpheus & Eurydice
The Paradox of Self-Expression The prominence of fashion in society is rarely disputed. The impact is unmistakeable—la mode leaves a historical, spatial and cultural legacy in its wake. Ask anyone about fashion’s function, and the most common answer would present it as an exotic opportunity for self-expression. But what if fashion wasn’t about personal style? It seems almost wrong to say that fashion is more about a societal narrative rather than a person’s “OOTD” (outfit of the day). However, fashion is actually demonstrated through the collective society rather than the individual. A parallel can be drawn between a faux fur shawl and a canvas of postmodern art. While the basic concepts of color, form and subject are present, the underlying interpretation is lost from the audience. It is virtually impossible to pinpoint the exact emotions and intentions of the artist— the wearer. Nonetheless, an impact is still being made within the community of artists that gather to discuss, analyze and judge the art. In doing so, they proliferate the art and its associated industry. Likewise, a faux fur shawl may spark discussion, whether on design, animal rights or comfort. Because the individual’s intent of style never perfectly equates to the perception of others, fashion is intrinsically communal. Thus we arrive at a paradox: The industry that was initially meant to fuel personal ideology has now transcended to a language that is dependent on the very structure of society itself. Fashion relies on its community rather than the motives of an individual.
of stylistic consequence. Even if a person could remain absolutely neutral of their aesthetic choices, it would not matter to the fashion community. Any garment (or even no garment, for that matter) will trigger a chain reaction of observation and assessment in the public eye. Within the collective mindset of fashion, a series of narratives which reflect the current cultural norms are exposed. For instance, luxury logo fashion may exude a sense “excellent style” to an observer when in fact this is a narrative constructed by the “more expensive, the better” mindset. The dominance of societal structure in fashion is also demonstrated by the notion of uniform. A uniform is meant to present the ideology of the host group, which ultimately extends to its constituent group members. Although uniform could belong to an external source like as a cultural norm, it can also belong to the individual themselves as a personal standard of style. The world of fashion extends beyond the individual; it is a cultural and thematic expression that is supported by a collective effort. This support is provided by every individual, regardless of whether they are aware or not of their integral role in maintaining fashion trends and discussion. The idea that the impact of an outfit can be limited to a single person’s aesthetic is paradoxical at most—it is a force to be reckoned with. ★
Undoubtedly, there will always be a population of self-proclaimed “rebels” who pride themselves on being outside the influence of fashion. They claim to be ignorant of trends and their wardrobe void
words by BRITTANY CHANG-KIT
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words by KHARISSA EDWARDS
GUCCI Revolution Alessandro Michele’s Eccentric
Gone are the days of Frida Giannini’s glamorous yet wearable approach to Gucci, where pieces translated effortlessly both on and off the runway. Today’s Gucci is a garish collage of maximalism at its maximum. Behind the House’s extensive revolution is Italian designer Alessandro Michele, who was hired by the legendary Tom Ford in 2002 and continued to work for the House under Giannini. Described by Vogue as “daring and curiously compelling with a streak of eccentricity”, the designer has single-handedly shifted the paradigm not only of the House but the fashion industry. In the 1990’s, Gucci became sensual; today it is becoming street. In an interview with AnOther magazine, Alessandro Michele claimed, “When Gucci started, it was another age. If you bought a Gucci bag, you belonged to the jet set. The jet set doesn’t exist anymore. I’m trying to speak to the world, to everyone”. Michele aims to make the House more inclusive socially and culturally thus he designs eccentric collections that compile every possible element of design. He draws inspiration from an assortment of cultures and time periods in a way that appears somewhat cartoonish. His runways showcase jarring patterns, animal motifs, sequins, embellishments, ruffles, and every colour imaginable-often in a single look. Many outfits are a puzzling collage of flamboyant pieces that look as though they were haphazardly thrown together. The Gucci Fall 2018 Ready-to-Wear presentation was no exception. In addition to an array of mismatched outfits, models marched down the runway carrying a variety of questionable inanimate objects in their arms such as a baby dragon, snakes and iguanas. Disturbingly enough, several models cradled replicas of their own heads, as though they had been glamorously decapitated. If the peculiar props weren’t enough, several Caucasian models were accessorized with turbans, hijab-like wraps, and a Pagoda-shaped headpiece. Unsurprisingly, Michele received a considerable amount of backlash for appropriating South Asian cultures. As I read the outcries on social media, I wondered what had happened to brand I once adored. Fashion is supposed to push boundaries but I feel that Michele repeatedly misses the mark. His bizarre artistic direction and more-is-more aesthetic doesn’t translate. With that said, I admit that I appreciate his willingness to represent the cultural impacts of a multitude of nations in his work. It is undeniable that he has good intentions, as is evident in his efforts to make fashion ambiguously genderless. However, Michele’s incohesive mix-and-match approach is a careless representation of revered cultural garments. His eccentric style has been accused of merely serving as “Instagrammable click bait”, which I can’t help but agree with. Despite my qualms, Gucci has been doing phenomenally well financially thanks to millennial customers. According to Gucci’s President and CEO, Marco Bizzari, “Millennials tend to have an appetite for new things and they are driven by content, emotions and personal connections”. Kering’s financial statements indicate that consumers 35 years and younger now account for 50% of the House’s sales. This isn’t surprising as Michele continues make the House more contemporary. Today’s Gucci appeals to a generation that relates more to street style than haute couture. Telltale Gucci signatures such as the ruby Kingsnake and the athletic stripe are ubiquitous on Instagram. The double-G logo and its corresponding monogram have been worn by a plethora of celebrities. While I find Michele’s Gucci to be unkempt and chaotic, I can’t deny his marketing prowess. Whether it be through non-binary models or costume-like clothing, this era of Gucci emulates the millennial ideals of nonconformity and uniqueness. As much as I dislike how far Alessandro Michele goes to shun conventional elegance, experimental fashion is now being embraced more and more by my generation. It’s safe to say that Gucci’s ostentatious aesthetic is a vivid representation of the millennial pursuit of life without constraints. ★
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Creative Advisor: Elisa Gontier Photographer: Kiara Botha Model: Glorija Spehar Stylists: Elisa Gontier, Tarra Tresham Makeup Artist: Jenna Hebb Shoot Contributor: Savana Gray
BLOOM
Lovesick
Creative Advisor: Kayleigh Gray Photographer: Kiara Botha Models: Nimi Adeyemo, Dominique M. Bento Hair/Makeup Artist: Meghan Gray, Jenna Hebb
Find Her in Fields of Lavender words by JENNA HEBB
Meet local London drag queen, Nico Lavender. Nico is celebrated as one of the city’s most creative and experimental performers. Her looks vary from campy to androgynous to glamorous—always with a touch of the theatrical. A beloved entertainer, Nico was named this year’s Pride ambassador and features regularly at Lavish Nightclub’s drag nights. Jenna: When, how and where did you start drag? Nico: This summer it will be three years, and it was for the London Fringe Festival. I got involved in this play called “The Library.” It was like a “romp” through queer history and it was non-gendered casting. So, whatever gender played whatever character and a lot of the characters changed throughout. From one scene, I would be playing Oscar Wilde to the next I was playing a Spanish bride. I’ve always been interested in theatre and drag-related stuff and that just gave me a venue to start actually doing it. J: Tell me a bit more about your influences. N: I studied photography and graphic design, so I’ve always been really into visual design like putting together colour palettes. I really like bringing the elements of design that I learned into drag because it’s very that. It’s all design. Growing up, some of my biggest influences were definitely David Bowie, Marilyn Manson, and specifically for drag I loved Kids in the Hall and Monty Python. That’s where I saw, for the first time, a lot of the really ridiculous sketch comedy where they would dress in drag. J: In drag, there are different “camps.” For example, comedy queens or pageant queens…How would you categorize yourself? N: Yeah, I kind of like to dabble in this and that. I think if I had to put myself in any kind of category it would be the ‘alternative drag’ category, which is weird as a category itself because it’s just anything that doesn’t really fit into the other categories…I do a lot of bald
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looks and androgyny but I also like to do a lot of comedy and theatre. So, I think I’m kind of a campy queen as well. J: Do you find that that’s becoming more of a mainstream way to do drag? Have you faced any kind of adversity in the choice to be an ‘alternative’ queen? N: Well, no, and I think that it’s crazy, with how popular drag is now, a lot of people’s understanding of it has expanded so much. If anything, I’ve faced a lot of people telling me what I’m doing is cool because it’s different. So, I guess I’m lucky in that. I think that if I came around twenty years ago I probably wouldn’t even do drag in the first place because I wouldn’t have felt like I really fit in with it. J: Do you feel like RuPaul’s Drag Race and social media have opened the door for different kinds of drag? N: It definitely has. It’s made it a lot more popular and it’s allowed people to realize that it’s an art form. I think it’s really helped open things up. J: Is the fact that drag is becoming more mainstream something that you celebrate, or do you think that it, in a way, takes away from the culture at all? N: I think it’s a double-edged sword. In a way, it’s great, because it means more opportunities to perform and opportunities to do the art that I love and more people that understand it. But, at the same time, it does run the risk of becoming watered down. But I feel like drag itself is such a counter-culture thing to begin with that I’m not sure it, in its true form, could ever really be mainstream. There’s always kind of a subversive thing to it. Even the mainstream elements of it, I feel like they’re kind of—even as it’s a part of the mainstream— making fun of it still. I think that Drag Race does that a lot and even with RuPaul’s involvement in popular media like the Emmy’s. There’s always a wink, wink, nudge, nudge, “this is all a joke” kind of thing.
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J: What does life look for you out of drag? How does Nico influence you as a person? N: I guess I’m just an artist… I do a lot of freelance web design and photography. I have a lot of social anxiety and I can be shy about certain things. Nico has been really instrumental in my life—in allowing me to open up to people, and forcing me to make contact with different people, and to just go out. I never was nearly as connected to the gay community or culture before I started doing drag and that just kind of really sucked me into it. That’s something that, I find, has been really influential for my “regular” life too. J: So, do you feel a separation from your drag persona or do you still feel like ‘you’ while you’re in drag? N: I definitely feel like myself when I’m in drag. When I first started doing it there was way more of this idea of drag being a separate character—something that I’m putting on that’s completely not me. But I feel like the more time that I spent doing drag, the more I realized that that other character was just an extension of myself. It’s all really me, it’s just something that I wouldn’t have expressed in my regular life. J: What’s next for you? Are you trying to expand your drag or is this just something that you’re doing as an artistic outlet? N: First and foremost, it’s an artistic outlet. I also play music and I paint. It’s just like any of those other things for me. But, at the same time, I do really want to push myself. I’m writing a play right now—a one woman show. So, I want to get more into theatrical spaces. I also did Nuit Blanche in London this year and I want to do more performing arts and public arts. I definitely want to expand it in all different directions. The opportunities for drag are endless, you can just put it into any other artistic thing you’re doing. ★
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Creative Advisor: Jenna Hebb Photographer: Tanya Sahni Model: Nico Lavender Stylist: Nico Lavender Hair/Makeup Artist: Nico Lavender Shoot Contributor: Kiara Botha
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Creative Advisor: Maya Chambers Photographer: Adam Ibrahim BTS Photographer: Tian Tang Models: Brienna French, Jaya Xavier, Suyoung Chun Stylist: Sam Stones Layout Assistant: Arad Moghadasi
Tarot Cards
If a Hype Beast scuffs their shoe in a forest, is it fashionable? Red and white, Louis V, Supreme—one of the most coveted collaborations to a hype beast. Shirts that say “OFF,” shoes with three stripes, shoes with three soles, camo surgical masks—all can be yours for the low, low price of hundreds of dollars. These articles of clothing may be cool but being a hype beast does not make you very stylish, original, or even superior. What is a hype beast? If you have ever gone to a store like Essentials in Toronto, you will see: beanies for 200 dollars because a little tag says the word Supreme and people wearing brands such as Jordan, Yeezy, “Off White”, Palace, Gucci, and anything related to the stereotypical “too cool for school” attitude.
fashionable because of the brand. In reality that tacky bag looks like trash, ones found at Aldo or even the fanny pack in your parents closet look better. Going beyond purchasing expensive clothing—and not wearing what everyone else wears—is to truly have style. Style is an artistic expression, and it is degraded when someone wears exclusively hype beast clothing, or only considers hype beast clothing as something stylish. Style is an expression of individuality and hype beasts make it seem that having style, involves conforming to expensive standards. In fashion, norms are meant to be broken. By wearing brands that have become the norm, you lose authenticity.
SUPREMELY UNFASHIONABLE
Why has hype beast clothing flooded Instagram feeds, blogs, and fashion as a whole? Perhaps the cost of these items is the reason why; for example, a simple Supreme box logo can go for no less than $600 on the resale site, Grailed. Such a garment of clothing is loaded with perceptions of status, richness, style, and most of all an aura of “coolness”. The more celebrities wear certain brands, the more popular and coveted they become. Even if something looks absolutely horrendous, say for example a horribly tacky Gucci side bag, people will think it’s
My favorite pieces of clothing aren’t my hype clothes, but the ones that I find unique. Stores like the Black Market in Toronto, Filthy Rebena in London, or any thrift store, are filled with gems—at low prices, too. Even making your own modifications to regular clothes can make all the difference; a plain black hoodie with a little splatter of bleach is almost impossible to replicate. Throw some paint on a white crew neck, heat it up, wash it off, and you have a colourful sweater that no one else has. Individuality and uniqueness are stylish, hype clothing is not necessarily unique or stylish, but it most certainly is expensive. ★
words by NATHAN OLSEWICKI
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FABRIC WASTE LAND
Creative Advisors: Adam Masri, Adam Ibrahim, Savana Gray Photographers: Jerry Gu, Adam Ibrahim Models: Adam Carere, John Lee Stylists: Adam Ibrahim, Adam Masri, Savana Gray
“WOMAN IN SPORTSWEAR”
Creative Advisors: Savanna Lee, Savana Gray Photographer: Kiara Botha Model: Savanna Lee BTS Photographers: Adam Masri, Jen Lee Stylist: Adam Masri Hair/Makeup Artist: Jen Lee
On December 23rd, 2011, the Air Jordan XI “Concord” re-released, making news headlines. Why? Perhaps because would-be purchasers left toddlers in locked cars, countless fights occurred outside sneaker stores, and Nike’s website even crashed due to an incredible amount of internet traffic that one pair of shoes caused. This sneaker induced insanity isn’t an isolated instance either. Kanye West’s collaborations with Nike and Adidas regularly resell at more than a 500% markup, shoe stores hold raffles for the opportunity to purchase the newest release, and GQ magazine published a video stating that 1,200 people die for sneakers every year. I remember exactly what got me into the sneaker game. In grade 8, I was in love with basketball. Every day at school, wearing my orange Adidas sports goggles, I’d play pickup on the concrete during lunch break and would grace the hardcourt with my house league on Saturdays. In elementary school, no one cared about what you wore. But in middle school, people suddenly developed a fashion sense. My black and white Reeboks were the butt of many jokes. When I would take the court, people would ask, “Jon, do you still have those Reeboks?” and smirk before I could answer. I knew that I had to step up my game up to look fly on the court. So, I purchased my first ‘popular’ shoe, the Nike Hyperdunk 2012… on discount at a Nike outlet, of course. A year later, I upgraded to the 2013 model. Then, I fell in love with my first pair of Jordans. I remember standing in Footlocker with the shoe in my hand. The white leather; the speckled, bronze midsole; the highcut silhouette: I had to have the shoe. They were the Air Jordan “Statue” 9s and to me, they were art. However, as I planned to purchase them, my parents vetoed this endeavour. I had enough money saved up, but in their eyes, spending such a sum on a pair of basketball sneakers was outrageous. How could I justify spending so much on an inessential luxury when there are children that still go barefoot? You can probably imagine the reaction of a teenage boy: I was furious. However, deep down, I knew that my parents
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MORALITY OF
had a point. I knew that there was an element of foolishness in paying hundreds of dollars for retro basketball shoes. No one needs $300 shoes. Hyped sneakers often have outdated athletic technology and unremarkable manufacturing techniques. One can justify a high-end car, suit, or bike as such items are functional and expensive to make. The same cannot be said for these basketball sneakers.
THE
A year later, my mother and I had another argument about another pair of sneakers. She tried to convince me because of my faith that, as a Christian, owning such opulent shoes was immoral. Her lecture felt like a personal attack. I took her advice to heart and chose not to buy those shoes. For a time, I felt guilty of idolizing materialistic possessions. However, as I reflected and dug deeper, I realized that this time, I might have a leg to stand on. Inherently, there is nothing wrong about spending money on yourself. Many people spend their earnings on fine wine, ornate jewelry, or a fast car. Spending such money only becomes a problem if it affects your capacity to give. When I consider some of the most respected people— words by politicians, religious figures, and philanthropists—they JONATHAN NG do not all live purely selfless lifestyles. They have the capacity to give generously, and they do, but from time to time, they spend on themselves. Is it wrong then, for a man with lesser respect and lesser wealth to splurge? If I can tithe, donate to charitable causes, and live generously, are my occasional luxurious purchases still immoral?
JUMPMAN
The sneaker game is passion of mine and, contrary to my mother’s warning, I don’t think the hobby is wrong. Collecting shoes brings me joy, but it isn’t the center of my life. So, as my father enjoys fine wine, and my mother likes her handbags, I think that I am entitled to my sneakers, so long as I remember who I am, and that, at the end of the day, I’m only wearing another pair of shoes. ★
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kinu kami
Creative Advisor: Savana Gray Photographer: Kiara Botha Stylist: Jen Lee
ELLIPSIS Fashion & Lifestyle Society’s 2018 Spring Fashion Show
An ellipsis is a series of dots that indicate the intended omission of words or phrases, which leave readers to interpret meanings through the given context. ELLIPSIS deconstructs the side effects of digital curation and suggest the possibilities of disconnection that surface from the act of connection. The direction of the show is one that produces an awakening of the fragmented narratives that are digested through screens. words by JEN LEE
Show Director: Jen Lee Assistant Directors: Krista Chyc, Thalia Desmond Artistic Advisor: Savana Gray Photographer: Saxon Lane BTS Photographer: Suyoung Chun Models: Chloe Jiayu Han, Hugh McHenry, John Lee, Lavan Narenthiran, Sean Lee, Tomachi Onyewuchi Stylists: Anthony Vespa, Arad Moghadasi, Diyana Noory, Maya Chambers, Puneet Shokar, Sean Lee Hair/Makeup Artists: Jessica Thomas, Kayleigh Gray, Krista Chyc, Meghan Gray
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words by KRITHIKA NATHAN
The Fashion Industry Needs an Upgrade She is an immigrant child who moves to Canada, fleeing prosecution from a civil war. She finds herself continuously trying to fit into this Western world in any way possible because she is no longer welcome in her homeland. She no longer wears the bhindi because it appears too foreign. She tries to eat less curry as she feels it may call for stereotypes. She no longer applies turmeric since such a skin care routine is too strange. She is constantly looking to change her clothes, her shoes, her complexion, her body shape, her hair texture, her ethnicity and herself. She wants to conform. Just like many of her peers, she has learned to interact with the external world and has grasped the westernized “standard” of beauty, which has been plastered around her—from clothes on mannequins to magazine covers on a newsstand. Only when she enters a new chapter of her life in university does she realize that society’s normalized standards of beauty and fashion are nothing but a hoax, and that the fashion industry is problematic in a multitude of ways, constantly perpetuating these unrealistic and harmful ideals. The fashion industry is nothing but a blend of hypocrisy, with a tint or two of cultural appropriation, exploitation, racism, sexism, elitism, ableism and nepotism. Fashion is thought to be a canvas for the creative, innovative and expressive ideas from diverse backgrounds and for diverse people. But where is the diversity? According to TheFashionSpot, more women of colour walked during the Fall 2017 fashion season than ever before, still, 70% of the models were white. Diversity matters because representation provides relatedness, a sense of belonging and aims for the inclusivity of people. Diversity brings striking runway themes, clothes and complexions to the pool. Yet, instead of incorporating new ideas by including people from different backgrounds, designers exploit and appropriate other cultures to make a few heads turn and to convey so-called “creativity.” It is not creativity when white Marc Jacob’s models are celebrated for walking the runway with dreadlocks while black people are being fined in Tennessee for doing the exact same thing. Dreadlocks have a deep history—a discriminative and painful one, to say the least. A few years ago, Karlie Kloss wore a Native American headdress on the Victoria’s Secret Fashion Show runway, sexualizing Native American women and disrespecting Indigenous culture. These headdresses are traditionally worn by a respected elder or others who have earned the right to wear them. Recently, Gucci showcased most of their male models wearing the sacred Sikh turban as a mere fashion statement on the runway, ignoring the profound religious significance it has to the Sikh community. What made this even more troubling is that not even a single brown model was seen walking the show. Fashion designers often exploit sacred aspects of minority cultures to stay unique, simultaneously neglecting to incorporate actual people from those cultures into their exclusive fashion world. Many continuously refuse to take a stand for issues that people of colour are facing, such as Black Lives Matter and/or Native American land claims, while they are eager to have a runway with white models wearing cornrows. I, the immigrant child from the intro, am appalled by the current climate in the fashion industry. My unrelenting need to look a certain way for much of my teenage years was enforced by the fashion industry in many ways. I now realize that the industry is in shambles in more ways than not. I realized that fashion is more than just a pair of Chanel boots, but rather what is comfortable and unique to one’s identity. An eight hundred-dollar Gucci belt will have the same effect as a thrifted blazer from a local vintage store, if well put-together. My culture is not something I need to throw away and reject, but a pair of jhumikis are something I need to incorporate into my outfit. I was taught to find my culture aversive as it does not conform to whiteness, yet I now see part of it being stolen for capitalistic fashion every damn day. Ah… the irony. Change needs come in the fashion world and much of it begins with individuals who choose to ignore pre-existing fashion norms and start forging their own structure that is diverse, respectful, and above all, inclusive. ★
72
VOLTA MAGAZINE
FLEUR DU JOUR
Creative Advisor: Adam Ibrahim Photographer: Saxon Lane, Adam Ibrahim BTS Photographer: Stef Eleoff, Jake Godfrey Models: Rebecca Mclaren, James Howard, Alex Fregren, Spencer Yeung Stylists: Adam Masri, Laura Robinson, Elisa Gontier, Jimena Jarillo, Aliciya Jamal Hair/Makeup Artists: Jenna Hebb, Marissa Martin Shoot Contributor: Chelsea Clifford, Mark Stahl
D E L TICK PINK
Creative Advisor: Tarra Tresham Photographer: Saxon Lane Models: Aliciya Jamal, Austin Haber, Bright Osei, Laura Robinson BTS Photographers: Adam Ibrahim, Tian Tang Stylists: Sam Stones, Jocelyn Togeretz, Elisa Gontier Hair/Makeup Artist: Jenna Hebb Shoot Contributors: Savana Gray, Claire Henderson