VOLTA 18/19 PART TWO

VOLTA

Editor-In-Chief Kiara Botha Senior Creative Editor Adam Ibrahim Creative Director Elisa Gontier Shoot Manager Tarra Tresham

VOLTA 2018/19

CREATIVE + DESIGN Creative Advisors Adam Pisarek, Adam Ibrahim, Elisa Gontier, Eric Ghorbil, Kayleigh Gray, Kiara Botha, Karina Koren, Maya Chambers, Raya Kondori, Tian Tang

Layout Editors Elisa Gontier, Kiara Botha FASHION Head of Styling Maya Chambers, Puneet Shokar Stylists Adam Pisarek, Adam Ibrahim, Arlene Galton, Elisa Gontier, Erin Paschos, Karina Koren, Kayleigh Gray, Kiara Botha, Maya Casson, Natasha Karim, Tarra Tresham, Tian Tang, Yang Pan

PHOTOGRAPHY Head of Photography Saxon Lane Editorial Photographers Adam Ibrahim, Kiara Botha, Saxon Lane, Stefani Eleoff, Vicky Jiang Behind-the-Scenes Photographers Electra Hu, Hamsa Jay, Jesse Xu TEXT Editorial Director Brittany Chang-Kit Literary Editor Kharissa Edwards, Matthew Nadarajah, Roveena Chand Jassal, Winny Wang, Wu Xiao, Olivia Gigone, Zahra Fatina

Writers Jonathan Ng, Kristian Hockett, Sahil Asthana EDITORIAL Hair and Makeup Artists Annie Nguyen, Carla Maduta, Carter Rose, Cody Hodgson, Josette Joseph, Kayleigh Gray, Meghan Gray, Melissa Wong, Parmis Sodagar

Models Audrey Cofie, Ayham Yassein, Bernice Chan, Carmen Mallia, Caylen Walker, Chinua Ofulue, Courtney Hanna, Emily Chan, Glorija Spehar, Hannah Jones, Holly Clemas, James White, Janelle Allen, John Kim, Michelle Alarcon, Navnoor Mann, Peter Mosley, Sabrine Hunziker, Wiley DePaiva, ZoĂŤ Abernathy

A LETTER FROM THE EDITOR This year’s 2018/19 issue is an amalgamation of the raw talent here at Western. Each year, I am in awe at what students bring to the table and I hope that you are all proud of the work you have put together. From the light, playful, and fruity images brought to life by Kayleigh Gray, to the rock and roll inspired tones created by Maya Chambers, this year’s set of shoots is diverse, intriguing, and fun.

In this year’s issue, Kharissa Edwards explores the commercialization of activism through Dior, while Wu Xiao notes the dark implications of nurturing creativity at the expense of mental health. Winny Wang highlights the makeup industrys downfalls in terms of diversity, representation, and inclusion, while Matthew Nadarajah interviews Saeedah Haque, an incredible designer revolutionizing streetwear-style abayas. Zahra Fatina then explores the spectrum of female representation in the fashion industry and the social agendas driving these trends. Finally, Roveena Jassal tells a story of emotional expression through fashion, while Winny Wang reminds us of the implications of our purchasing habits and how we can develop sustainable practices that help communities thrive.

A special thanks to Elisa Gontier, who made this year so enjoyable through her support and dedication - I wouldn’t have been able to do this without you! As well, thank you to Brittany-Chang Kit for helping nurture such a large and incredible team of writers.

To Adam Ibrahim, Tarra Tresham, Maya Chambers and Puneet Shokar – your creative input and commitment this year throughout shows and shoots has been integral to the club’s vision. As well, to all our stylists, models, photographers, makeup artists and shoot contributors, both old and new, thank you.

We hope you enjoy this issue as much as the team enjoyed putting it together.

Kiara Botha

CONTENT 008.

EARTH 015.

DIOR: PUSHING FEMINISM FORWARD OR CO-OPTING A MOVEMENT?

by Kharissa Edwards 017.

SUN KISSED 020.

MR. LAGERFELD: REMEMBERING A FASHION ICON

by Olivia Gigone 024.

SLOW BURN

056.

SAEEDAH HAQUE: A NEW KIND OF STREETWEAR

by Matthew Nadarajah 060.

STILL HERE 063.

SCREAM FASHION

by Roveena Jassal 066.

GOODWILL: FOR OUR OWN GOOD

by Winny Wang 068.

LONELY HEARTS 078.

BLENDED

030.

PRESENT 036.

MCQUEEN: MENTAL HEALTH IN CREATIVE INDUSTRIES

by Wu Xiao 040.

JOLENE 046.

DIVERSITY AND THE MAKEUP INDUSTRY’S LAG

by Winny Wang 048.

FROOT 055.

GENDER HEGEMONY IN THE FASHION INDUSTRY

by Zahra Fatina

Image by Stefani Eleoff

DIVERSITY AND THE MAKEUP INDUSTRY’S LAG Diversity, representation, and inclusion are topics that have come to the forefront of the fashion industry. As minorities and people of colour have become voices of a movement for inclusion on the runway, in editorials, and in beauty ads, the gravity of the situation is finally being uncovered.

A Little Backstory

As a girl who grew up idolizing celebrities, I envied the flawless skin they all seemed to be blessed with. It became an unrealistic beauty standard that I beat myself down for not having. Then, I discovered miraculous inventions called foundation and concealer that promised to cover my every blemish. Needless to say, I was overjoyed the first time I applied foundation in eighth grade. I wondrously admired how smooth my skin looked in the mirror and in photos.

But there was one problem: I couldn’t (and still can’t!) find a shade that perfectly matches my skin tone. As a light-skinned girl, I was surprised by my inability to find a foundation shade despite all the light shades offered in stores. Some were too yellow, some were too pink, and others just didn’t look right.

And that’s where the issue lies. If lighter-skinned people cannot find adequate shade ranges despite the fact that most cosmetics companies cater more to them, how could others to find shades that matched them? As someone who couldn’t find her own shade, I empathize with those who have darker skin tones as I realize that it’s much more difficult for them to find a suitable foundation shade. Due to Eurocentric beauty standards, a vast majority of the foundation and concealer shades offered are light shades, with very few - if any - medium to dark shades, making it near impossible for people with darker skin to find something suitable. It’s a simple problem that appears to have a simple solution - just make more shades! The industry’s unwillingness to do just that hints at a much larger and distressing problem within societal beauty expectations.

Controversial to the Core

Considering that North America has a larger population of Europeans in comparison to other groups, it almost makes sense why cosmetic brands primarily cater to a lighter shade range. But if I think about it long enough, it doesn’t.

This isn’t to say that people of European descent don’t have trouble finding shades that suit them. In fact, lots of people are so fair that they can’t find suitable shades either, signalling that beauty companies have a narrow shade range for people of colour whilst simultaneously lacking options for those with extremely fair skin.

In particular, the lack of choices for people of colour marginalizes and excludes large demographics of people, which can lead to a series of problems such as lower self-esteem, feeling excluded, and subjecting oneself to unfair beauty standards. The use of one group of people as an objective lens through which to classify everyone is insulting, and the use of one specific ethnic group

as the standard of beauty for all ethnic groups is diminishing and ignorant.

Arguably, it was the Tarte Shapetape concealer, the staple concealer of many prominent beauty gurus, that began the conversation about inclusivity. There was a noticeable lack of medium and dark shades, yet a very well-crafted and curated selection of fair and light shades.

Since then, numerous beauty companies have come under attack for lacking a diverse shade range, and with the prominence of social media, popular beauty gurus such as Jeffree Star are quick to point out brands that have missed the mark.

Consequences of a Lack of Inclusion

Many would probably roll their eyes at this problem and think, “what a simple, first world problem!” While I agree with this statement, there are several political and societal implications of this seemingly very simple firstworld issue.

The problem lies in the fact that Eurocentric beauty ideals and standards have shaped our views and until now, left little room for interpretation and other ideals of beauty. It encourages and promotes the idea that these beauty standards should be upheld for everyone in society, which is widely inaccurate and extremely harmful.

The Reinvention and Future of Makeup

Fenty Beauty by Rihanna astonished the beauty community when they released their foundation, which comes in fifty shades. Since then, brands have jumped on the inclusivity train, releasing foundation ranges that extend to paler and darker consumers.

I believe that the future of makeup and beauty will become increasingly diverse, with shade ranges catering to all skin tones and more inclusivity and visibility of minorities in ad campaigns.

Ultimately, the big question is whether companies are starting to expand their shade ranges due it becoming the new norm and recognizing the necessity to cater to all consumers, or if they’re doing it just to increase their profits and boost brand recognition. It’s unfortunate to say, but given that profit is at the core of a business’ goals, revenue and sales are certainly taken into consideration. Though, if it means better quality, a more diverse range of options, and happier consumers, does it really matter why a company is doing it? Furthermore, companies are also capitalizing on an important social and political movement; the time has come to realize that there is no ideal mold for makeup, just as how there is no ideal mold needed become a leader. It’s time to reframe old colonial structures, and recognize the modern era that we’re in.

Makeup is meant to inspire users and the create art on a blank canvas, and it’s about time that all consumers are able to do so. A more inclusive shade range creates opportunities for young makeup enthusiasts, targets a deep-rooted racial issue within society, and elevates everyone to the same place in society. Perhaps a small move, but a highly crucial one at that, reflecting the shifting dynamics and demands of an ever-changing society.

WORDS BY WINNY WANG

FROOT

Creative Advisor: Kayleigh Gray Photographer: Kiara Botha Stylist: Kayleigh Gray Models: Ayham Yassein, Bernice Chan MUA: Meghan Gray, Carla Maduta

Gender Hegemony in the Fashion Industry Fashion, to many, is seen as a means of self-expression unbound to the otherwise normative, conventional expectations we face. For most high fashion enthusiasts, this method of artistic escapism may deter them from the effects of gender constructions on both the productions of the fashion industry, and its inner workings. Despite the progressive nature which various sectors of the fashion industry may represent to some using Avant-Garde aesthetics and ideologies, the industry has continuously been riddled with various social agendas – particularly pertaining to the gender identity of those working in the industry, and the distribution of wealth associated with them. Furthermore, in-depth analyses of leaders in the fashion world reveals both the gender gap, and how this contributes to the inaccurate representations of women in fashion throughout the media.

I​ n recent years, it was revealed that out of 50 major fashion companies surveyed, only 7 were run by women. Therefore, while we might believe the fashion industry is female-dominant, this does not include influential roles within companies, which are still very much male-oriented. A simple example of this is Paris Fashion Week – in which fewer than 30 of 92 shows are led by female creative directors. Because of this, I find it ironic that although women are propping up the fashion industry and constantly fulfilling the roles of students, muses, and objects of interest, they are hardly considered in leadership roles.

The existing gender gap in the corporate realm suggests that while more a more progressive, positive body image is becoming popularized in fashion media, this does not deter the industry from its attachment to the traditional notions of women and men in the workplace. Furthermore, the lack of representation of female fashion leaders has adverse effects on the industry.

Fashion reporter Marc Bain highlights “The Glass Runway” in much of his work. The Glass Runway is a study conducted by Glamour Magazine, which surveyed over 500 people in the industry to better understand how their gender impacts their occupational experience. The findings suggested that women are no less hardworking or ambitious than their male counterparts, with a 17% higher likelihood of aspiring for top executive roles. However, surveying people of higher job status revealed that as their positions became more affluent, men held a 20% higher likelihood of becoming hired.

Obviously, this evidence suggests a hypocrisy in the industry – the female identity and body are continuously used by companies through clothing and advertisements to generate profit and yet the women working in the industry are not able to succeed beyond these parameters.This speaks volumes on the role that women are expected to play in the industry through the products that are sold and portrayed. ​ oving along, Brian Moeran, an anthropology professor at the University of London, has touched on popular fashion magaM zines’ portrayal of female beauty. Often, the depiction of women in fashion media sets the standard for ideal feminine beauty – a power which the industry has historically taken advantage of for profit. Fashion media’s misrepresentation of diverse ethnicities and body types have further contributed to gender hegemony, particularly for females. Gender hegemony refers to the dominant sociocultural views attached to males and females. This is done through the overrepresentation of slim, lighter skinned, female figures - often portraying them as the ideal body type and in turn contributing to the negative body image perceptions of many women. Through understanding the misrepresentation of female leaders within the industry, it becomes more apparent where these discrepancies in representation arise from. Overall, inclusivity and positivity can be implemented in fashion media through appropriate representation of men and women through dimensions such as race, age, and physique. ​ s the public becomes more aware of the representation problem in fashion, larger brands have begun enlisting models of A colour to walk their runways at New York and Paris Fashion Week. Although much work still needs to be done to regulate female representation in corporate roles, these steps in which Eurocentric brands embrace racial differences has a large global impact. This positive impact is primarily because of the repair being done on years of underrepresentation, leading to toxic body image issues in many young girls. Gender hegemony’s impact on fashion, like in many other aspects of life, are profound, yet subtle. Although difficult to point fingers to a specific company or action, the collective misrepresentation of women and lack of opportunity given to women for skill development purposes are representative of the gendered occupational expectations of global citizens.

Words by Zahra Fatina

Saeedah Haque: A New Kind of Streetwear

Europe is the birthplace of a multitude of fashion inspiration and home to some of the most renowned fashion brands.

As such, it’s no surprise that amidst the flurry of London’s fashion scene we find Saeedah Haque and her line of streetwear-styled abayas – a traditional black coat-type garment worn by Muslim women. Her simple yet elegant designs are slick with detail, taking inspiration from Japan, and of course, her own Muslim heritage.

Saeedah is the perfect representation of the millennial generation; she simultaneously juggles a full-time job with her self-titled fashion brand that started from her own bedroom, all while riding the tube through London.

She makes it sound easy though - the charm and flair in her voice is defiant of all the obstacles thrown at her. From a random meeting room in across the Atlantic, Saeedah spoke to me about her journey and goals as not just a fashion designer but as a humanitarian and a woman.

So let’s start with a bit about yourself, what’s your background and what do you do?

I graduated in 2017, studied human geography and I’ve been working at an NGO for almost a year – not so fashion related, I know. The fashion side of stuff has always been more of a creative passion for me. I’ve always done it regardless of being employed or not. I did it while I was at university and in college. I decided to start my brand while I was working last year and I’ve kind of been juggling that with my full-time job.

Does it get tough to do both?

I’m lucky because it’s an office job and I do a lot of my creative work when I’m actually in here– sounds bad, I know. It’s usually the small things like orders or researching or replying to emails I can find time to do in the day so I’m lucky in that sense. I call it my side project but it’s actually full-time since I’m always doing it and I’m always thinking about it.

Do you see yourself leaving your job to pursue it full-time? Is that a goal for you?

Not really. I mean I know fashion can be seen as a really materialistic thing to pursue. When I was younger I never really knew what exactly I wanted to do. I knew I was creative and I knew what I enjoyed but ultimately I just wanted to help people and that’s why I studied human geography. I come from an Asian background so fashion wasn’t something I could even think about studying.

Fashion was always kind of my side hobby. My goal eventually would be to merge my interests–I would love to have women in less developed countries find employment in the textile industry or something along those lines where I could mix my NGO work and fashion as well.

That’s really great! What was your goal with the abayas when you designed them?

That’s actually something I recently pursued. I always knew I wanted my own brand and wanted to design clothing but I didn’t really know where to start. I thought I would start with who I am and my identity and fuse my Western style with South Asian style. I come from Bangladesh, and I noticed that it was hard to find that sort of clothing. Me personally being Muslim I wear the abaya and noticed that there was a huge market for that sort of clothing – simple, clean cut clothes.

The absolute traditional abaya is supposed to be quite classic – not always black but sort of like a classic piece that you layer, like an overcoat. Slowly the modest fashion industry has gotten huge but me being my own target customer I noticed that all of the brands catered towards traditionally feminine looks, like floral and pink patterns.

But the crazy thing is that the abaya is something that a lot girls wear everyday but a lot of brands are catered towards more occasion wear. You’d think they’d focus more on comfort and material and fit.

So what sets your streetwear line apart from a traditional abaya?

I started the line because I couldn’t find an abaya that catered to my style or the level of practicality that I need, as someone who works full time or studying or you know when you’re out and about in London.

I just needed abayas that you could wear to work or outside, where you don’t need to put on a pair of heels or stylize it in any way. Something that was clean and you know like well fitting. It’s crazy because you’d think that there were abayas with pockets and zips but it’s so scarce.

Where did you draw inspiration when designing?

I was greatly inspired by the Uniqlo X Hana Tajima collaboration. She’s a designer and was approached by Uniqlo to create a modest line which I

think is amazing, to get that kind of recognition is amazing. I’ve always loved Uniqlo, because of their approach to designing clothes that are well made and durable and practical. That’s the goal for my clothing too.

What’s next for you?

I would love to start a menswear line. Men’s Islamic clothing industry is scarce with clean cut designs similarly, it’s all quite repetitive. I’d love to do it but obviously I’m still just starting out and it’s hard to do it all. It’s funny because people message me as if I’m an organization but I’m literally just one person who started this in their bedroom.

Wow that’s crazy!

I know I’m literally speaking from a random meeting room at work right now.

I respect the hustle.

How do you go about fulfilling all your goals?

Must be hard on your own!

It is! I’m lucky to have a lot of friends who have side hustles also, like a lot of creatives do.

My good friend for example is a photographer so I get to use her for a lot of my campaigns and I know a lot of make-up artists and girls that are happy to model. All of this is of course a team effort, I can’t do everything by myself.

In terms of the clothing side of things, it takes a long time.

I think everyone only sees the end result but I personally see so many months of hard work, planning and resources. I mean I can literally remember times when I went to the fabric store in London and I would be on the tube with bags full of just fabric.

You know like, I don’t have a car so I have to take half a day off of work to go to the fabric store.

I remember all these little things and it humbles me and reminds

me how important this is to me. I like doing things on my own and I think it’s important when you are passionate about something that you believe in yourself before you get everyone else to believe in you.

That’s amazing, you can really see all the work you put into your designs. Do you make the pieces yourself too?

Haha no...I am terrible at sewing! There’s no way I would make the clothes because I’m very much a perfectionist when it comes to tailoring. Especially when it comes to customer satisfaction, there’s no excuse to have poorly made clothes even if I am a small and new brand. A lot of brands can get away with that but that’s not what I want.

It’s about the customer getting something that fits them perfectly and can genuinely take it out of their closet time and time again– I don’t want to fuel that whole fast fashion industry and that’s my take on that.

How was entering the industry for you?

I’m new to the industry but I worked as an intern for a couple of years at fashion shows, runways, exhibitions and things like that which gave me that entry point. I learned so much working for designers rather than as a designer. I did a lot of boring stuff like steaming clothes and intern coffee runs – but I learned so much about the audience, how things work and how fast paced it is.

I worked very closely with many Indian designers and was lucky enough when I was around 17.

I remember working at an

exhibition where Sabyasachi was sharing his pieces. He’s a huge designer and it was anhonour to be able to work with him.

The fashion industry right now is really saturated with one kindof beauty standard. And it’s hard for someone who’s wearing a hijab or part of an ethnic minority to be a part of that because you feel like you have to prove yourself more. I’ve always said this: when it comes to my Muslim fashion line I want to be just seen as a fashion line. I know … my target audience is predominantly Muslim women, but I want people to see past that and see it for what it is. It’s part of fashion; it’s a fashion line. My goal is not to be a part of Vogue Arabia–I want to be featured in Vogue.

love about streetwear, it’s always evolving and always ready to step out in. You don’t need to be wearing a huge price tag or a hundred brands on your shoulder. Muslim girls have been dressing like this since the 2000s. I grew up seeing Somali girls rocking Adidas Stan Smiths with their burqas.

I’m not creating a new demographic here, I’m just trying to put them on the map.

Words by Matthew Nadarajah

Did you face any obstacles?

Of course I face a lot of obstacles but I don’t let it define me.

With the rise of social media and everything we’ve seen girls break those barriers. I don’t want to break barriers or stereotypes, I’m just trying to be normal.

Can you elaborate?

I get people commenting ‘how is this streetwear’, and I think it’s because this current generation seems to have streetwear defined by hype, for example brands like Supreme and ASSC. There’s nothing wrong with it, but I define streetwear as anything you want it to be that you would wear on the streets.

When I design my abayas, the styling, the campaigns, I don’t look at the Middle East, I get all of my inspiration from my city here in London. That’s what I

You can check out Saeeda Haque’s line of streetwear Abayas on her instagram page, @SaeedahHaque, available for preorder at time of printing.

Photographs by: @sanahkphotos, www.tinamiguel.com Interview was edited for print.

STILL HERE

Creative Advisor: Kiara Botha Photographer: Kiara Botha BTS Photographers: Electra Hu MUA: Melissa Wong Styiists: Erin Paschos, Kiara Botha Models: Hannah Jones, Michelle Alarcon, ZoĂŤ Abernathy

Words by Roveena Jassal

SCREAM FASHION

Emotions play an integral role in the way we conduct ourselves; however, it can be difficult to express them in a socially acceptable manner. Recently, art and music have been utilized for channeling feelings, so using fashion as an outlet to release emotion seems like a different, more unconventional approach. It can be quite difficult to express powerful emotions in a healthy way. Fashion encourages the transformation of such feelings into creative energy to form outfits that are personally unique and trendy. In other words, pent up emotions are released in an innovative manner and help you look good in the process!

Similar to art and music, most strong and unique ensembles are composed when emotions are a key influence. By choosing distinct colors such as red, light blue, black, dark purple and yellow, you can portray your mood. The choice of hues depends on subjective preference, but the colors should accurately portray the emotion you want to represent.

Furthermore, different cuts and styles of clothes add to using fashion as an emotional outlet. Flowy, long dresses can represent calmness or melancholy moods. Tighter, more strong edged shirts and pants can depict anger, irritability, or even a feeling of self-empowerment. It completely depends on the individual and which styles mean

which emotions to them.

Bolder choices are made when stronger emotions are involved.

Such fashionable decisions may include wearing animal prints, zippers, leather jackets, fishnets, sheer, frills, lace or other very textured materials. However, more plain materials like silk or velvet can be more accurate at times as well. It is not about being extreme as possible; it is about individual artistry. In this manner, the outfit will appear unique and emotionally authentic.

In the process of channeling powerful feelings into fashion, you will feel more relieved because you’re releasing your emotions into a production that you created yourself.

This then develops a sense of confidence and alleviation. Though it might seem counterintuitive to wear clothes that depict your current emotional state, it works because you are being truthful with your feelings. However, the effect is only applicable when actively expressing yourself by taking time to specifically choose clothes because this demonstrates you are actually aware of your current emotional state. In this manner, a feeling of accomplishment replaces powerful emotions or stress because such energy was channeled into a creating a uniquely beneficial outcome.

Goodwill: For Our Own Good The fashion industry is booming: with new trends coming out every season, brands using influencers for promotion, and humans being driven by our desire for new, novel things, the fashion industry’s market worth is exponentially growing. According to the McKinsey Global Fashion Index, the fashion industry is worth an estimated $2.4 trillion as of 2017 and grows at a rate of 5.5% annually.

Fashion is a way to express ourselves and our personality, but consumerist behaviours result in barely worn clothes being thrown out, which accumulates in landfills. Luckily for us, companies such as Goodwill Industries exist. While they are popularly known as a place to resell clothing and buy gently used clothes, they do much more than that.

What Is Goodwill Industries?

Goodwill Industries is made up of over 160 independent, autonomous social entreprise organizations in the United States and Canada, and is a non-profit social entreprise that provides work opportunities, skills development, and employee and family strengthening for those who face barriers such as disability or social disadvantage. Its aim is to advance individuals, families, and communities towards self-sufficiency and prosperity. Their network of community-based organizations empowers individuals and positively impacts the environment.

Goodwill Industries believes that everyone should have the opportunity to receive customized training and services in order to secure and maintain employment, pursue credentials, or degrees, and strengthen finances. According to the World Value Index for 2016 and 2017, Goodwill Industries is also the #1 brand that resonates with people’s values and has been rated in Forbes’ 20 most inspiring companies for the past three consecutive years.

On top of that, Goodwill Industries provides financial education to help people learn how to manage their money and save for their futures. Goodwill Industries provide and connect people to support services — including child care, financial education, transportation, youth mentoring and other services — that enable people from all backgrounds to obtain and maintain economic independence and an increased quality of life.

Why Is Goodwill Industries Important?

From their mission statement and core message, it is obvious that Goodwill Industries is focused on the community. By providing these work opportunities, skill developments, and support services, they are dedicated to training future leaders and makes significant societal impacts. We should all aim for an equal society where everyone has access to childcare, financial education, and skills development regardless of their background or socioeconomic status. This is a big step in achieving more equity within society and boosts people’s skillsets and their own confidence in their abilities. Goodwill Industries is creating the next generation of game-changers and entrepreneurs who will continue to contribute and give back to society.

Sustainability is an Important Goal It’s no secret that the fashion industry produces huge amounts of waste every year. In ABC’s War on Waste, it was estimated that 6000 kg of clothing is dumped into landfills every 10 minutes in Australia alone! Imagine the waste produced on a global scale!

To combat this, look towards thrift stores and consignment shops the next time you’re thinking of purchasing something new. The quality is just as good as what you’ll find in stores and you can add to your wardrobe without breaking the bank and adding more waste into the world. In a time where consumerist behaviours are constantly being fueled, take some time to reflect upon your purchases. It’s never too late to make a conscious effort to incorporate more sustainable practices into your life.

Goodwill Industries is funded by a network of retail thrift stores that also operate as nonprofits. Heavily based on donations of gently used items, they accept items that can be resold, which includes clothing, books, accessories, furniture, and appliances. By donating to or purchasing from Goodwill Industries, you are contributing to sustainable shopping and helping Goodwill Industries continue with their mission of helping families and communities thrive for self-sufficiency and prosperity.

Final Thoughts We need more social entreprises such as Goodwill Industries that focus on giving back to the community and providing opportunities and training experiences for underprivileged individuals and groups. People are important and indispensable, and Goodwill Industries recognizes that everyone has talent and is capable of accomplishing great things. Developing talents and providing job opportunities is perhaps the best investment any company can make in human talent.

To get involved with Goowill Industried, you can visit their website, donate, provide a monetary contribution, and/or find a job with them. Help support their cause and lower your environmental footprint! We only have one planet, so let’s take care of it.

Words by Winny Wang

L O N E LY

HEARTS

Creative Advisors: Adam Pisarek, Elisa Gontier, Stefanie Eleoff Photographers: Stefanie Eleoff Stylists: Adam Pisarek Models: Peter Molsey, James White

BLENDED

Creative Advisor: Elisa Gontier Photographer: Kiara Botha BTS Photographers: Elisa Gontier, Hamsa Jay MUA: Kayleigh Gray Stylists: Elisa Gontier, Kiara Botha, Maya Casson Models: Emily Chan

VOLTA: [vohl-tuh,vawl-tah]

In literature, the volta, also referred to as the turn, is the shift or point of dramatic change.