The Wake - Issue 9 - Spring 2022 by The Wake Magazine

fortnightly student magazine

Travis’ Law

p. 8

volume 21 — issue 9

Workwear and Culture

p. 16

The Microtrend Addiction

p. 10

Living at Home in College

p. 19

Words Really Do Matter

p. 13

Apparel Design Students Q&A

p. 22

ART

Art by Jean Balestri

MARCH 21 – APRIL 4

©2022 The Wake Student Magazine. All Rights Reserved. Established in 2002, The Wake is a fortnightly independent magazine and registered student organization produced by and for students at the University of

Fortnightly Student Magazine

Minnesota. The Wake was founded by Chrin Ruen and James DeLong. Disclaimer: The purpose of The Wake is to provide a forum in which students can

Volume 21 Issue 9

Editorial

voice their opinions. Opinions expressed in the magazine are not representative of the publication or university as a whole. To join the conversation email eic@ wakemag.org.

Production

Editor-in-Chief

Marley Richmond

Executive Director

Shannon Brault

Managing Editor

Jemma Keleher

Creative Director

Laura Kuchar

Cities Editor

Ian Knoll

Finance Manager

Erin Krotz

Voices Editor

Mitchell Levesque

PR/Ad Manager

Hannah Lundquist

Online Editor

Erica Bouska

Social Media Manager

Renée Mottet

Copy Editors

Autumn Sanders

Art Director

Megan Bormann

Peter Nomeland

Web Manager

Sahra Hussein

Music Reviews Editor

Tosin Faseemo

Distribution Manager

Kami Kendall

Multimedia Producer

Noah Berghammer

Designers

Gavin Schuster

Multimedia Editors

Natalie Aue

Makenna Larson

Cecilia Harold

Zoë Foster

Cities Interns: Vishalli Alagappan, Marie Ronnander

PR/Ad Interns: Pat Gagnon, Gracie Kibort

Voices Interns: Srihita Raju, Carter Starkey

Social Media Intern: Natalie DeBaker

Features Interns: Nina Afremov, Sophia Goetz

Art Interns: Sarah Jiang, Madison Kuehn, Natalie Williams

Online Interns: Zoe Hoornbeek Copy Interns: Veronica Nowakowski, Anika Wilsnack Music Reviews Interns: Avery Wageman, Griffin Jacobs

This Issue Writers

Art

Abby Vela, Olivia Hines, Vishalli Alagappan, Marie

1 Megan Bormann, 2 Madison Kuehn, 3 Natalie

Ronnander, Joshua J Kloss, Nina Afremov, Lydia

Williams, 4 Sarah Jiang

Tallarini, Sanjali Roy, Emma Wolters, Srihita Raju, Carter Starkey, Shannon Brault, Anthony Vystoropski,

Cover and Feature Art: Laura Kuchar

Avery Wageman, Griffin Jacobs, Matthew Zeichert, Jun

Feature Spread Design: Zoë Foster

Lin, Ingrid Hildebrand, Quinn McClurg, Gracie Kibort, Tosin Faseemo

I Want You Back, Jeen-Yuhs Episode 1, Maude Lautor’s “Headphones”, HBO Max’s “Peacemaker”, “Asha’s

Creative Submissions

Awakening” by Raveena, and Love is Blind Season 2

Jean Balestri, Nina Afremov, Megan Borrman

images from original sources.

The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455

THE WAKE

The Wake’s Childhood Bookshelf wink! one page magazine

MARCH 21 – APRIL 4

INSIDE 8

Travis’ Law Seeks to End Police-Only Responses to Mental Health Crises

“Undergrads” and the Twin Cities Film Industry

“I used to wear that when I was your age!” The Microtrend Addiction

Uncovering the Past of the “Witch’s Hat” Tower The American Swedish Institute

Words Really Do Matter: Exploring Abelist Language Workwear and Culture To Read or Not to Read? That is the Question

The Price of a Smile

YouTube and Media Habits

Is Living at Home in College Really the Worst Thing?

Six Reviews

Apparel Students Q&A

THE WAKE

UPCOMING EVENTS 3/22 & 3/33 @ 8PM - 10PM Elton John: The Farewell Yellowbrick Road Tour

4/1 - 4/3 @ 6:30PM 8:30PM Rarig Center Presents: Hamlet

From “Your Song” to a recent collaboration with Gorillaz, Sir Elton John ends his historic 60 year long career of public performances with one last suitably over the top, globetrotting tour, coming to Saint Paul’s Xcel Energy Center this March.

Widely regarded as one of Shakespeare’s four great tragedies, University of Minnesota’s Bachelor of Fine Arts 2nd Year Company puts on the iconic tale of paranoia and existential reckoning this spring.

175 Kellogg Blvd

330 21st Ave S

4/1 - 4/3

3/28 @ 8PM

Spring Festival

Mt. Joy with Yoke Lore

Spring Festival– a yearly expo featuring the work of over a hundred artists and crafters from across the country for sale– drafts, assembles, and fabricates itself into Shakopee’s Canterbury Park. 1100 Canterbury Rd

Los Angeles based indie rock quintet Mt. Joy comes to Palace Theatre alongside opening act Yoke Lore, a folksy, acoustic led solo act from New York. 17 West 7th Place

3/21 - 6/9 (Times and Dates Vary)

3/24 & 3/25 @ 7:30PM 8:30PM

Paper Dialogues: The Dragon and Our Stories

The Great Strike Theater Improvised Bake Off

The American Swedish Institute’s current exhibit puts Nordic and Chinese history and culture into conversation through the image of the dragon, rendering in all shapes and sizes of papercraft by artists Karin Bit Vejile and Xiaoguang Qiao. 2600 Park Ave

You’ve heard of Who’s Line Is It Anyway, you’ve no doubt heard of the Great British Bake-off, but have you ever thought about combining them? If this tantalizing bit of culinary and comedy confection has your sweet tooth aching, then come down to the Strike Theater! 824 18th Ave

Letter from the Executive Director Welcome loyal readers, writers, newbies to The Wake and everyone in between, I’m graduating in December, which has recently been terrifying me to no end. What on earth do you do after you’ve been in school for 16 years of your life? Where do you go? How do you form relationships? How on Earth do you find a job that feels fulfilling and still pays the bills? The whole thought about something new and different scares me, and I think even more since my “college experience” has been, for the majority, during a pandemic. But, I’ve also been thinking about all the amazing people I have met and things I have gotten to do during the past three years, one of which being the opportunity to work for The Wake. The Wake has become a home for me. It’s somewhere that I feel welcomed even when I am all over the place. It’s a place where I feel like I can connect with people on an emotionally intellectual level reading stories, writing stories, and talking to people that are just as passionate about random things as I am. It’s been a place where even when I’m feeling like I am being “too much” I know that I am loved the same. I am forever grateful to this magazine and all the wonderful writers and staff I have worked with. Every person associated with this publication is wildly talented and so incredibly kind. The Wake has given me a home on campus. And I hope it can be something similar to you. Sending the biggest thank you to everyone who has ever been a part of this magazine. Writers, artists, staff, interns, and readers because without everyone who makes up this incredible team and this magazine possible, we would be nothing. Thank you for 20+ years of giving students a platform to write about what is on their minds and what is important to them. This is a legacy and no easy beast to tackle. The Wake is one big mosaic story. Thank you for being a part of it. With love always, Shannon Brault Executive Director

MARCH 21 – APRIL 4

CREATIVE WRITING

Puzzles and Palm Readings BY NINA AFREMOV When you lay against her body, She loves it when you curl your palm Around the back of her hand And lace your fingers with hers. You fit together like a jigsaw puzzle – Separate pieces, But still one. You both notice the identical curve of your nail beds, How they’re the same pink carnation hue, And how the tips of your fingers both Taper off from the joint in the same fashion. To you, her hands are smaller – cuter. To her, your hands are warm and safe. In awe, you compare the similarities of your palms. The creases thin, decline, and intersect in the same places. Your life and wisdom lines both cross over. Your love lines span most of your hand. No two pairs of hands are the same, But they can come close. You both google the potential meaning Of such uncanny uniformity Only to discover from Quora that you two Are most certainly soulmates. She blushes and grows bashful, Unsure of the rudimentary research. All she knows for certain Is now everytime she looks at her hands, She sees yours, too.

THE WAKE

CITIES

Travis’ Law Seeks to End Police-Only Responses to Mental Health Crises A new law passed last year by the Minnesota legislature is changing the way 911 responds to mental health crisis calls

BY JOSHUA KLOSS Last year, a new law was passed in the state of Minnesota that makes the horizon just a bit brighter for individuals experiencing mental health issues. The law was passed thanks to a Twin Citiesbased organization that was created to combat police brutality on an ongoing basis, called Communities United Against Police Brutality (or CUAPB for short). Their work spans from helping victims of police brutality build a legal case for the court to lobbying for legislation that helps prevent cases of police brutality such as this.

Ching and Taren Vang, who was Travis’ girlfriend at the time of his death, were active supporters of the bill when it was first proposed back following Travis’s death in 2018 and testified for its passage.

The law is titled Travis’ Law, after Travis Jordan, who was killed by two police officers on November 9, 2018, at home located on Morgan Avenue North. He was killed during a wellness check for his suicidal ideation. As Flo Ching, Travis’ mother, explains: “my son was killed by two police officers while he was in the throes of a mental health crisis. I grieve the loss of my son every day, especially knowing this tragedy never needed to happen.” Truly, no police officer should be the one called to respond to mental health crisis calls to 911, given the fact that people experiencing these crises are sixteen times more likely to die during a police encounter than any other group of people, a staggering statistic found in a study released by the Treatment Advocacy Center. Thus, the law is an important and necessary step in ending the widely accepted status quo of police officers responding to 911 calls that deal with individuals experiencing mental health emergencies.

Minnesota law requires that mental health crisis responders be mental health professionals or practitioners– highly skilled professionals who can provide care and resources on the scene. Mental health crisis response teams already cover every part of our state, so failing to utilize them where they are most needed is a waste of resources and an alarming disregard of human wellbeing. In addition, in situations where there is a weapon or threat, co-response teams of mental health crisis responders and police can be deployed to avoid a police-only response.

Considering the Minneapolis Police Department’s historical lack of humane responses to the very citizens they are sworn to protect, Travis’ death was greeted with rightful protest and grieving. Flo

Being new, the law is not yet well known, and some 911 call centers haven’t yet fully implemented it. Thus, people should know about Travis’ Law and that they have a right to request mental health crisis responders rather than police for mental health crisis calls.

Ultimately, current progress in the context of police reform is lacking at best. We can (and should) always strive for more legislation to fix this country and state’s flawed policing that has cost countless lives of marginalized communities and those struggling with mental health issues. Yet, Travis’ Law is a beautiful reminder that there is hope to be relished in and is an important step toward ending police-only responses to mental health crises so that people get the care they need and deserve.

And this type of reform is not completely new to Minnesota either. For example, Ramsey county has been diverting calls to mental health crisis teams since 2016, long before the passage of Travis’ Law. As outlined in Ramsey County’s Crisis Teams and Collaboration with Emergency Communication Services report, this has worked remarkably well by relieving the burden from police officers and providing immediate, appropriate care to people in crisis. By 2021, Ramsey County 911 was dispatching mental health crisis teams to over 1,200 calls a year, proving the effectiveness of such responses.

MARCH 21 – APRIL 4

CITIES

“Undergrads” and the Twin Cities Film Industry A look into a young Twin Cities director’s experiences BY NINA AFREMOV Minnesota is a hidden gem in terms of our local art scene. We have the second-most theater seats in the country behind New York, as well as the world-class Walker Art Museum. We also have a vibrant literary scene with its slew of local publishers and the presence of the Loft Literary Center in downtown Minneapolis. It’s equally hard to forget our musicians who have toured far and wide, such as Prince, Bob Dylan, and, most recently, Hippo Campus. But did you know we also have a blooming film industry? Recently, the young director and the University of Minnesota–Twin Cities alum Andrew Zuckerman have made big strides in actualizing his dream of being a director right here at home. His first feature-length film, “Undergrads,” which he filmed in Saint Paul and Minneapolis, debuted this past month at the 2022 San Francisco IndieFest, winning the Audience Award for Best Narrative Film. “Undergrads” is a “hangout” movie that follows a group of friends nearing the end of their college years. The film follows the characters’ escapades over one summer weekend. “We wanted, like, a really contained ensemble with just college kids just to showcase a lot of different personalities through the ensemble piece,” Zuckerman tells me over our Zoom call. “And I guess the goal was [to] just kinda show college life and make a vibe.” As a college student myself in her final year, it was indeed relatable. This largely character-driven movie creates the atmosphere of nonchalance and bliss that we chase during our summer breaks but also gives it an existential twist as characters navigate their relationships and their own personal objectives.

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When Zuckerman transferred back home to the UMN after spending several years at NYU Tisch School of Arts, he felt there was no better way to launch his artistic and career aspirations than just doing it here. It turns out filming a feature-length film in the Twin Cities has its advantages, especially if you’re a local. “Because we’re from here, we know the area, we knew where to shoot, and we felt like we could do it.” Having familiarity with the various sets, such as residential streets and the Saint Thomas campus, emblazoned Zuckerman and his team to seize every filming moment. Zuckerman continued to detail for me various other advantages of filming here: “It’s cheap, and also nobody shoots here, so everyone wants to help out.” When asked what sort of local help he received, Andrew replied, “You know Bogie’s bar and other locations? They were happy to have us film there because we’re, like, local and a lot of locations let us shoot if not for free, then for very cheap.” Zuckerman deduced that the generosity is a result of him being a local and young director. As far as being a young director working on their first feature, Andrew faced challenges. “We never had made a movie, so we have to navigate, I guess, how to make sure everyone was safe while learning how to make a feature, so, uh, it was a lot of pressure already on top of not knowing much.” In regards to cast and crew safety, Andrew referred to the COVID-19 pandemic. In addition, much of the film was shot in the summer of 2020; a time marked with acute uncertainty. Although challenging for all involved, especially when shooting was halted for several weeks due to an outbreak among the cast, Andrew was able to

reorganize the cast and crew at the tail end of the summer and at various times in the spring and summer of 2021. Despite the challenges that arose during its production, “Undergrads” has done well at its first festival and soon will play at the 2022 Beloit International Film Festival. But that’s not all! Zuckerman tells me some of the details for its distribution on streaming services. “It’ll be free on Tubi, and you’ll have to rent it on Amazon.” The film should be available to watch as early as summer 2022. As for Zuckerman, he has other projects already on his mind. “[I’m] just trying to get another movie made. I have a script I’ve been working on that I think I’d like to get funded soon.” Having successfully produced and directed one noteworthy film, “Undergrads” will hopefully be the first of many cinematic works to emerge from the growing Twin Cities film industry.

CITIES

“I used to wear that when I was your age!” Recycling fashion trends every twenty years BY VISHALLI ALAGAPPAN Recently, one of my favorite pastimes has been raiding my parents’ closet for older pieces like sweater vests and wide-leg trousers (I stopped wearing jeans during quarantine, and I refuse to go back). It’s just so nostalgic to root through the back of my sentimental hoarder mom’s closet and find clothing as old as I am. Every time I bring out a sweater I like, my mom has a story to go with it: “Oh, I used to wear that in college all the time,” or “I remember I waited in line for so long to get that piece, it was all the rage back then!” Mom jeans from the 50s, tie-dyes from the 60s, bell-bottoms from the 70s, shoulder pads of the 80s, and bomber jackets of the 90s have all made a comeback, and now it’s Y2K’s turn. I’m seeing bright monochromatic sweats mimicking the tracksuits of the ‘00s, bra tops as a refined alternative to baby tees, and low rise pants competing with the reigning high rise trend. It’s a nod to our infancy and childhood, and, can I just say, it’s all that and a bag of chips (is that 90s? Still in vogue, though). We see fashion trends repeat every twenty to thirty years because designers take inspiration from older styles. The younger generation is influenced by their parents’ clothing and seeks to imbue the style with a “modern” twist that is reflective of their generation. In the 2020s, the trend seems to be an increased focus on durability and sustainable and ethical manufacturing of clothes in the background of wasteful consumption, climate change, and capitalist exploitation of laborers. Modular clothing like zip-off cargo pants and jackets with detachable sleeves, designed in a futuristic yet grounded style, has made the rounds in the fashion scene. I, for one, am super excited to reuse my parents’ old clothes and age enough to say to a teenager, “I used to wear that when I was your age!”

The Microtrend Addiction

Where have all the dirty AF1s gone? BY MARIE RONNANDER My Nike Airforce 1s are stuffed into the bottom of my “shoe-shelf” with scuffed soles and peeled leather from over three years of (tough) love. They’re cherished in my memory as the first shoes I saved my money to buy, a proud memento of my first steps into the fashion world. Unfortunately, though once proudly regarded as “my most favorite purchase ever,” they now are borderline neglected. This is the sad story for many other shoes and articles of clothing as the empire of fast fashion takes hold of our wallets. The danger of the constant fluctuation brought on by microtrends is that fashion pieces now have increasingly shorter lifespans. Where typically trends from the 70s to 80s lasted 5 to 10 years, the arrival of the micro-trend has caused fashion to change every 2 to 5 years. This is partly due to influencers and the over-abundance of advertisements for online stores polluting our social media feed. These marketing techniques are used to force a click, and, psychologically, it works. Retail therapy is a real addiction that has been encouraged by internet platforms and exploited by large corporations. In an interview with Cleveland Clinic, clinical psychologist Scott Bea, PsyD., explains that by simply browsing online, the “anticipation of the eventual possibility of a reward or treat… releases dopamine,” a feel-good neurotransmitter that leaves us craving more. With this information, fast-fashion businesses such as Forever21, Shein, Cider, and many more use Instagram ads that take you directly to their page. New lines of clothing come out every season, and the human inclination to fit in causes us to click the “add to cart” button. But what happens to the old Nike Airforce 1s that used to be incessantly worn? The issue with the revolving door of clothing is that it leads to piles of waste and contamination during production and disposal. The new popularity in thrifting and vintage clothing has brought hope into the fashion industry, but we as a society need to remember that fads come and go. The old clothes that we’ve forgotten are begging to be reworn.

MARCH 21 – APRIL 4

Uncovering the Past of the “Witch’s Hat” Tower Bob Dylan’s inspiration, lightning strikes, and more fun facts about the beloved landmark BY EMMA WOLTERS

The American Swedish Institute

Many students may recognize the Prospect Park Water Tower (nicknamed the “Witch’s Hat”) not by name but rather for its unmistakable shape, peering over the sleeping city each night with a warm yellow light. In addition, you might know of it as a not-so-secret date spot where you and a partner can adventure to watch the sunset over the city. However you’ve heard (or maybe haven’t heard) of the iconic landmark, it’s clear that this century-old structure has a bit of magic in it for the countless students that have visited over the years. It’s even rumored that the old water tower was the inspiration for Bob Dylan’s song, “All Along the Watchtower,” after his time living in Dinkytown.

Porcelain stoves, paper cuttings, and a pantry

Perched atop Tower Hill at a modest 110-feet tall, the “Witch’s Hat” was erected in 1913. The tower’s capacity of 150,000 gallons was designed to improve water pressure for the Prospect Park neighborhood and aid firefighting efforts. Unfortunately, just a few years after its decommission in 1952, the tower’s roof was brutally struck by lightning. As a response to the disaster, the city moved to bulldoze the operation, but it was soon forced to back down due to the relentless community organizing efforts of Prospect Park residents.

The entrance to the Institute is actually through an attached building whose starkly plain lines complement the mansion surprisingly well. After passing by the gift shop, the restaurant, and some rooms for events, you arrive in the main structure and enter a world of ornate woodwork, beautiful paintings, and eleven Swedish porcelain tile stoves spread throughout the rooms.

In the decades since the tower has undergone multiple renovation projects. Thanks again to vigorous community involvement in the restoration process, the “Witch’s Hat” and surrounding Tower Park made it onto the National Register of Historic Places in 1997. Sadly, while the views from the park are offered year-round, a tour of the building and its observation deck is offered only one day of the year: the first Friday after memorial day. So whether you’re a Dinkytown dweller or Stadium Village settler, next time you see the cap of the “Witch’s Hat” poking out over the horizon, go see for yourself what magic it holds for you.

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CITIES

BY LYDIA TALLARINI Any castle in Minneapolis is bound to be interesting—and the Turnblad Mansion, completed in 1908, does not disappoint. The ornate yet not overly ostentatious building houses part of the American Swedish Institute, a museum dedicated to promoting the stories of Swedish influences in America.

In late February, I visited the American Swedish Institute to see the new exhibit “Paper Dialogues,” which is scheduled to run through July tenth. Paper-cutting and dragons are common in both Chinese and Nordic cultures. The main part of the exhibit is a conversation between Chinese professor and artist Xiaoguang Qiao and Danish artist Karin Bit Vejle. In both of their works, dragons play the leading role, and the beautiful patterns are displayed modestly in the paper. Bit’s works were the ones I remember the most: Her eggs of the past and future were a truly impressive and remarkably intricate combination of history, art, and social commentary. The works’ theme of understated elegance and attention to detail carries through the whole building, from the sunroom to the panty. Frankly, if the Turnblad Mansion were my house, I think I would just live in the sunroom—its framing is pleasing to the eye, seeming natural and beautifully crafted at the same time. Even the servants’ areas, although less adorned with whimsical decoration, are representative of the Scandinavian design principle of combining functionality and beauty —something I think the Institute shows very well, especially with the present exhibit.

ART

12Art by Megan Bormann

MARCH 21 – APRIL 4

FEATURE

Words Really Do Matter: Exploring Ableist Language Ableism is embedded in our everyday language—here’s how we can dismantle it THE WAKE

13 By: Sophia Goetz

FEATURE

As kids, there is an age we reach when we begin to understand which words are “no-nos.” We may have heard them uttered on late night TV, caught between the whispers of the big kids on the school bus, or hurled at a Sunday football game in a fit of shouts by Dad. As we get older, we begin to acclimate our language to what is more socially acceptable, and those “no-no” words either make rare appearances or are not used at all. We learn which words are appropriate in which settings; for example, I might not utter the same expletive to express my disappointment about the ice cream flavor at my grandma’s birthday as I would around my close friends. We also learn that “words can hurt” and begin to use terms that are less severe to express negative emotions. Words like “stupid,” “crazy,” and “bipolar,” to name a few, are supposedly more tame than your average expletive but are often used flippantly and with a negative connotation. But adjectives like these are ableist, and given the normalized cultural attitudes that surround them, we often do not realize the harm they cause to people with disabilities.

What is Ableism? To begin to exorcize ableist language from our everyday vocabulary and understand its effects on other people’s lives, we must define ableism. Merriam-Webster defines it as “discrimination or prejudice against individuals with disabilities.” When it comes to language, ableism often manifests as metaphors (“my partner is emotionally crippled”), jokes (“her stand-up act was hysterical!”), and euphemisms (“they can’t participate because they’re special needs”).

is a privilege to be able to change our language, and being aware of our language can help us to understand how pervasive ableism is. Language both reflects and influences our society and culture. Identifying ableist terms and phrases is not about policing words or censoring each other. The first step in critically examining how language is part of an ableist hegemony is being compassionate towards ourselves and recognizing that we have all participated in ablesupremacy and ablenormativity to some extent.

When trying to eradicate ableist language from our vocabulary, it is important to understand that language is only one tool of an oppressive system. Ableism is not just a list of bad words. It

“But I’ve used some of these words before… Am I ableist?” When trying to eradicate ableism from our everyday vocabulary, our intent needs to come from a place of education, rather than shame. Words are how we make sense of our feelings and environment. When describing things, experiences, and the people around us, we unconsciously assign value to them, and that impacts how we interact with one another. It is also important to note that ableist language is not only a way of expressing yourself but also a means of stigmatizing, mocking, stereotyping, or pitying those with disabilities. Ableist language intentionally equates disability with deficit, focusing on people’s shortcomings rather than the failures of the system. What are some examples of ableist words? While it might seem difficult or daunting to replace ableist words that devalue people with disabilities, there are many alternatives that do not rely on using disability as a vehicle for cruel analogies and metaphors. Activist Lydia X. Z. Brown has provided a glossary of ableist words and phrases, such as “bipolar” or “schizo,” as well as some outdated words that aren’t used as often like “simpleton” or “feeble-minded.” While the severity of the words on

MARCH 21 – APRIL 4

FEATURE

Brown’s list ranges from egregious to somewhat ambiguous, if a word seems questionable, you can choose a more neutral alternative. Brown has also provided a list of synonyms that are non-ableist but can be used to describe things, feelings, and situations in a negative manner. Ableism in the age of COVID During the pandemic, there has been an increase in the use of ableist language, euphemisms, and metaphors in the news. Our nation’s debt, labor shortages, and infection rates have all been described, at one time or another, as “crippling.” We are living in unprecedented times and have struggled to describe the impacts of COVID, falling back on outdated and offensive language to make sense of it. Ableism in relation to COVID does not only exist within language. While it is both morally indefensible and harmful to people with disabilities, the pandemic has amplified the harm that it causes. At one time or another, many journalists, politicians, and public health officials have either stated or implied that people do not need to be so fearful of dying from the virus, as it mostly kills people who are elderly, chronically ill, or disabled. While the able-bodied may regard COVID as something to wait out, the pandemic will never truly end for those with disabilities if we do not steer away from ableist responses in our actions, attitudes, and language. “There is work to be done” The examples of linguistic and physical ableism described above do not fully encapsulate all of the elements of the complex system that disparages and complicates the lives of people with disabilities. Dr. Jessica Horvath Williams, a postdoctoral fellow in English and co-leader of the Critical Disability

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Studies Collective at the University of Minnesota, described the work that needs to be done beyond eliminating ableist words from our everyday language. “So often, I think, the monumental task of creating a just and equitable world seems impossible and overwhelming. How do you know what success looks like, and how do you feel like you’re doing anything for the world, if the results of your labor won’t be seen for another century?” Doing the work to consistently remove the words we use unconsciously can feel tedious, especially when the results do not immediately manifest noticeable changes in the long-standing and oppressive system. “An awareness of what makes certain terms ableist and problematic is good—and we, of course, should all work to not say phrases that devalue or stigmatize disabled folks,” said Horvath Williams. “But it’s also an easy stopping place. Rather, I think we should work to eradicate ableism itself—which has a far greater impact on disabled people’s surviving and thriving—and the awareness that flows from that work will likely, over time, remove ableist terms from our lexicon.” While being aware of and removing ableist terms from our language is only a starting place, we must remember that it is still important work. Being an ally begins with an awareness of how we contribute to oppressive systems, and understanding the history and meaning behind ableist language is the first step we can take toward dismantling it.

VOICES

Workwear and Culture How blue collar fashion has transcended its humble origins BY CARTER STARKEY Carhartt, Dickies, Wrangler, and Lee. Canvas, denim, brass buttons, and, of course, the everso-common beanie adorned with the brand’s tag. Workwear is everywhere, here on campus, around the city, and even in boutiques in places like Milan, London, and Paris. Does this not seem a bit odd? For decades, these brands were more commonly associated with agrarian and blue collar work, and now they’re synonymous with high fashion. Admittedly, this trend is not new. From punks wearing combat boots in the 80s to rappers wearing Timberlands and overalls in the 90s, there has always been overlap between workwear and other subcultures, but now it’s worked its way into popular culture. This curious shift in culture has made it to fashion’s biggest stages, including in 2018, when Belgian designer Raf Simons collaborated with Dickies, or just this spring, when Coach’s runway featured skater kids in baggy denim. I’ve heard this trend called “blue collar stolen valor,” and while the term usually comes up in jest, it raises a real question: do we owe more recognition to the working class people who popularized the looks we now see on runways? And/or is this the natural evolution of fashion, forever adapting and changing, as culture does too? For some of us, a small sense of imposter syndrome is felt while donning an outfit more fit for construction work than for the classroom. One wonders if those working outdoors in the Minnesota winter while draped in blanket-lined canvas resent those of us who wear the same clothes with a different intent. Nevertheless, I’ll be wearing my double-knee carpenter pants and Carhartt beanies because that’s what I think looks good.

To Read or Not to Read? That is the Question DNF-ing books isn’t as bad as it may feel

BY SRIHITA RAJU As much as I love reading, I may be the worst person I know at actually starting a book. It doesn’t matter if I saved it to my “want-to-read” shelf on Goodreads, marked its release date on my calendar, and woke up early on the release date to get my work done so I could get in my car and drive to my favorite bookstore to pick it up. I could start that book right away—there’s nothing stopping me. But odds are that it’s going to sit on my already overcrowded shelves for anywhere between a month and several years. But eventually, I flip to the first page and get started. There’s nothing that compares to getting immersed in a story: the character’s thoughts flowing along the stream of your own, your physical surroundings being replaced by the ones you’re reading. But what about when that doesn’t happen? What about when you’re fifty pages in and you find yourself staring at a wall of text, feeling nothing besides the strain of your wrists from holding up the hardcover that you’ve just spent $27.95 on, the book you spent an hour at the library looking for, or the tablet you’ve been waiting to charge so you could use your Kindle app? First off, there’s nothing wrong with calling it quits on a book. Most people don’t have a problem with turning off a movie they think is boring or annoying, so there’s no reason to treat books any differently. And maybe it’s not that you’re not enjoying the book—maybe it’s just not the right time for that book. But on the other hand, there can be something to gain from finishing a book you’re not enjoying. You can take note of the type of writing that doesn’t resonate with you or the plot devices you find boring. Sometimes I’ll do this when I’m close to the end of a novel and feel too committed to call it quits. Personally, I’ve found that I’ve learned just as much from writing I can’t stand as from writing I admire. But if you don’t feel that the rest of a book is worth your time, at least not for now, there’s no shame in putting it down and moving on to something else. There are so many books out there and so many better things to do with your time than forcing yourself to read something you’re not enjoying. And if you do decide to finish your book, you’re sure to learn more about writing and yourself. Any time with any book is rarely time wasted.

MARCH 21 – APRIL 4

VOICES

The Price of a Smile Does one partake or abstain from achieving a perfect smile? BY ANTHONY VYSTOROPSKI 38% of Americans would rule out a second date with someone with misaligned teeth. In 2015, cosmetic dentistry represented the largest nonsurgical beauty industry after makeup. Cosmetic dentistry is dentistry aimed at creating a positive change to your teeth and to your smile, which has become even more prevalent today. Our culture is quick to adapt the next beauty trend that will help you stand out, or, on the other hand, fit in with a perfect smile. The cosmetic dentistry market was valued at 23 billion USD in 2018. It is projected to reach 43 billion USD by 2026, almost a 50% increase within eight years. So why is the market growing so quickly? This industry is booming due to rising disposable incomes within the middle-class population and growing consumer knowledge about cosmetic dentistry, which focuses on the refinement of dental aesthetics in terms of shade, location, form, size, arrangement, and overall appearance. One benefit to such treatment is the patient’s self-esteem. People with misaligned teeth or a hang-tooth may often cover their mouths due to these perceived flaws. They may try to hide their imperfections because society pushes such a perfect version of a smile. If they choose to go through procedures such as braces, Invisalign, or tooth removal/implants, they may

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gain a sense of security or self-confidence. They may feel that they can laugh without trying to hide their imperfections, helping them to live their lives to the fullest.

$1,500-6,000, while multiple tooth implants can cost more than $50,000 depending on the patient, the dentist performing the procedure, and the geographical region.

Dentists’ offices have effective marketing tactics that make you realize the societal importance of The notion of a perfect smile likely stems from a perfect smile. One example shows a man with Hollywood. Most, if not all, actors have partaken a missing tooth and his family. It is the first thing in cosmetic dentistry. Just think about how many that you notice about him. The advertisement says, actors are missing teeth or have gaps in their smile. “Why is dentistry important? Because even though By creating the ideal smile, Hollywood is setting he’s missing an eyebrow, the first thing you notice a standard that is hard to obtain for everyday is his smile!” And because having perfect white people: more and more parents are fixing their teeth is thought to be so important, dentists often children’s dental problems because there is such ask if you drink black coffee or wine, which stain strong pressure to have a perfect smile. Moreover, the teeth. This makes people think about whitening in a study done by the University of Missouri their teeth because they do not want to be known Kansas City, researchers discovered that smiling as someone who has yellow teeth. This constant makes you look thinner and younger. In addition, pressure is the price of a smile. It has become Mayo Clinic has found that positive thoughts so accepted in our culture that there is no way and laughter help your brain fight off illnesses around it unless you choose not to fix your smile. and disease, boosting your immune system and Where does this leave us? Well, it depends on one’s lowering blood pressure. This research indicates views and abilities. There are studies that show that having a better smile will get you further in life that a better or more perfect smile gets you further and increase the likelihood of better impressions. in life, but to achieve that, you may have to pay a small fortune, depending on your mouth. But at Braces or Invisalign are often involved in achieving the same time, it may provide you with a sense of the perfect smile. Tooth removal/implant may security or confidence, if society has determined also be involved. The average cost for braces is that your smile is lacking. Now you know what the often $5,000-6,000 but can be $3,000-10,000. The price of a smile might be, but the possibilities and average cost for a single tooth implant is between variations do not end here.

VOICES

YouTube and Media Habits Media habits, self regulation, and what it means to be productive 4

BY QUINN MCCLURG Growing up surrounded by the Internet and steeped in meme culture, it comes as no surprise that my use of YouTube was destined to eventually reach apocalyptic levels. Over the entirety of 2020 and the majority of 2021, it wasn’t unusual for me to spend four hours a day on YouTube alone. Of course, this might sound outrageous and even obsessive (I’m sure it was on some level), but if you take worldwide events into consideration, I feel like it becomes pretty understandable. When it’s boiled down, I believe YouTube provides users with two different types of content: education and entertainment. The educational side of YouTube makes it easy to justify spending time on the platform (given one thinks learning something new is a productive use of their time), while the entertainment side makes it easier to spend more time on the platform (given inherent tendencies for humans to seek pleasure). Most videos on YouTube are an effective blend of both of these types of content, but for the common person, entertainment alone provides more of an appeal than information alone. For example, a YouTuber who makes video essays with the primary goal of education will reach a larger audience and have more appeal if they provide entertainment of some kind; to encourage the uninitiated to engage with and learn from your content, you have to make it accessible by making it appealing and enjoyable. On the other hand, other YouTubers rely on producing content that seeks only to entertain, given it is enjoyable and easy to consume; no extra

effort is required to make this content worthwhile. It is easier to view videos like this as a waste of time or as having nothing of substance. As a result, it is harder to justify spending time on. YouTube is a sum of two parts, the stronger and more enjoyable part being entertainment, while education plays the weaker but more justifiable role. YouTube is no different from any other social media platform; it could be considered addictive in terms of both engineering and consumption. Algorithms provide an individual with content they find enjoyable, while consuming and spending time with creators and communities provides rewarding emotional and social bonds. The more time you spend with creators you enjoy, the more the algorithm becomes trained to find similar content. The more similar content it finds, the more creators you enjoy and the more content you consume. YouTube’s social, emotional, and technological bonds have been purposefully designed to encourage and increase time spent on the platform. When discussing social media habits, it’s easy for the conversation to end in sentiments of doom and gloom, especially when speaking about dependence or addiction. But compared to other social media platforms, I believe that YouTube has more of an emphasis on self-regulation. Content on YouTube is primarily audio-visual and usually long-form, making it more of a commitment to watch than other forms of digital and social

media. For example, an app like Instagram, with content that is primarily visual and less substantive, proves to be more accessible and less of a commitment, therefore encouraging more use. Additionally, platforms like TikTok (which seem to serve the same purposes as YouTube) are made more accessible, usable, and bingeable due to short-form videos. Other factors, such as the entertaining nature of most of this content or the social aspect of the platform, contribute positively to TikTok’s accessibility, usability, and bingeability. YouTube encourages more active watching and listening to engage with content, requiring more temporal and attentive resources. Thus, in requiring more commitment than other mediums, YouTube is inherently less bingeable, less addictive, and more encouraging of regulation. I do not mean to say that YouTube isn’t addictive or harmful in other ways. Misinformation and harmful content can still be spread on this platform, negatively impacting user’s physical, mental, or social health, but this only emphasizes the importance of self regulation and literacy in the digital and informational world. Nowadays, my average use of YouTube is down to about 45 minutes a day, and I would like to think that this knowledge of the platform and its structure helped to decrease my screen time. I hope this knowledge will encourage you to be mindful in your media consumption and help to decrease your screen time as well. If it doesn’t, well, there will always be time to (right after the next video, of course).

MARCH 21 – APRIL 4

VOICES

Is Living at Home in College Really the Worst Thing? Letting go of the idea of the “real college experience” BY SHANNON BRAULT College is seen as a right of passage to get out of your parents’ house, an act that is equated with growing up. I’ve been in college for three years now and for two of those, I’ve lived in my childhood bedroom in my childhood home. I am so thankful for that and so over the question I get all too often: “Aren’t you afraid of not having the ‘real college experience?’” Besides the fact that I hate the term, it can and does send me into a spiral sometimes. So far I haven’t lived in an apartment or house with three to six of my closest friends, only eating ramen because I can’t afford rent. That doesn’t mean that I haven’t had experiences living outside of the house and that doesn’t mean I am not “growing up.” I started college in 2019 at the University of Wisconsin-Eau Claire where I had a nightmare experience in the dorms. There were a lot of reasons why I transferred after a single semester. One of which was the fact that I was forced to move out of my dorm room for reasons that would require another story, but trust me, it was horrible and degrading. On the last day of the semester, I got the help of some friends, packed up my dorm room into the back of my Honda CRV, and drove back to Minneapolis. Moving home was an adjustment and something that I saw as temporary. I planned on moving out after the first semester. But eight weeks after I transferred, the pandemic reached Minnesota and everything was moved online. There wasn’t a chance in the world that I was going to move into an apartment with people who didn’t take

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the pandemic seriously, especially when I had no reason to be on campus except the supposed “real college experience.” Fast forward to fall 2021, when I moved into the dorms again, but this time at the University of Minnesota. I was a Community Advisor, something that I desperately wanted to work out and something that I have wanted to do for a long time. It only lasted for three months, ending with me resigning from the position at Thanksgiving due to problems with my housing and leaving me with nowhere else to go besides home. Finding an apartment near the university with your own room will cost you at least $700, if not more. Living with roommates means that a lot of your downtime doesn’t feel like downtime because you are still surrounded by other people. When you’re already paying $20,000+ in tuition and fees a year, an additional $10,000 in living expenses feels a bit insurmountable to me.

wanting to know what was up when I wasn’t always willing to talk. I would get overwhelmed when it felt like none of my time was my own anymore. In college, when our schedules are filled with classes, internships, work, passion projects, friends, volunteering, and more, I don’t think we value time with ourselves enough. While I sometimes wish I had a more “traditional” college experience in the housing world and experience FOMO, I am thankful to have my own space and thus my own privacy. The typical “college experience” you see on Instagram (and whatever else that is supposed to mean) is what I’ve been scared that I’ve been missing out on. But is there really one college experience that is more valid than all the others? And is mine really less valid because I live at home, which also happens to be the healthiest living environment I’ve had?

The thing is, I don’t mind living at home. I have a good relationship with my family, which I know I am lucky to have. I have my dog, a full room to myself, a kitchen to cook in, access to a car, and my rent isn’t $800 a month to get an ounce of privacy in the world of college apartment and dorm living. As an extroverted introvert, I really value my personal space and really need it. Living in the dorms both times was filled with constant knocking on my door to ask me questions and people

SIX REVIEWS

Maude Lautor’s Jeen-Yuhs Episode 1 “Headphones”

I Want You Back Where have all the good rom-coms gone? BY AVERY WAGEMAN Amazon Prime’s newest romantic comedy, “I Want You Back,” follows two recently dumped strangers, Peter and Emma, played by Charlie Day and Jenny Slate. Longing for a second chance to prove to their exes that they can live more ambitious lives, Peter and Emma scheme to befriend the other’s ex in order to convince them to break up with their new romances. Rom-coms are by no means known for their ironclad plots or stellar writing, but I was pretty disappointed with the rushed characterizations and forced romance (or lack thereof) between Peter and Emma. The best movies show not tell, and “I Want You Back” is too busy rushing punch lines to formulate any believable chemistry between its leads; there is too much comedy and not enough romance. Despite its faults, “I Want You Back” has some of the best falling-action apologies and healthiest reconciliations I’ve seen in a rom-com. Also, Manny Jacinto’s character, a very hot, overlypassionate middle school theater director, basically absolves the movie of any flaws. The movie has a great cast and fun concept, but it falls flat on delivering the warm and fuzzies I expect from a romantic comedy. I had high expectations for “I Want You Back,” and it left me deeply dissatisfied.

Coodie Simmons’ bet on Kanye West finally pays off after 20 years with Jeen-Yuhs

NYU’s Maude Latour’s latest single shifts the mindset of a bewildering breakup

BY GRIFFIN JACOBS

BY GRACIE KIBORT

Coodie Simmons struck gold when he began documenting the career of a young Chicago beatmaker in the late 1990s. Twenty years in the making, audiences can finally see into a story of one of the most interesting and polarizing pop culture figures of the 21st century.

It’s a universal feeling. The abrupt, selfcombusting, train-stopping, understanding post-breakup that one is alone again. Things are swift and suddenly silent and simultaneously suffocating. At face value, Maude Latour’s latest single, “Headphones,” appears to be the fresh, intricately created indie breakup bop that we all crave far more than we’d care to admit. Maude, a 22-year old senior at New York University, is creating a new universe of music, an era solely focused on the world living inside of her head. After all, she has to live there for the rest of her life.

“Jeen-Yuhs” is segmented into three episodes, each representing a different era. “Act i: VISION” shows the least known but perhaps most insightful era of West’s career. “VISION” shows West as a young and hungry producer trying to make a rap career out of his beat-making. Despite previewing some of the legendary rhymes from songs like “All Falls Down” and “Family Business” and being known for being the mind behind Jay-Z’s “Blueprint,” West struggles to be taken seriously by a major label. Despite some problems with its pacing and a little too much narrative intervention from Simmons, “VISION” shows a captivating story for both those who are obsessed with West and those who only know him from his antics. For superfans, this episode shows the origins of many bars on West’s first album, displays the beautifully wholesome relationship between him and his mother Donda, and makes West’s success feel much sweeter in hindsight. For passive observers, this episode shows West’s arrogance as a necessary part of his genius and explains how West feels like he’s deserved the voice he’s gained after so much hardship and doubt.

Latour’s music, reminiscent of pre-Solar Power Lorde, sings about the realization that she’s the only inhabitant of her brain for the rest of her life. “Headphones” preaches the importance of constructing a world of self-love, but not based on one’s lonesome. “So I read the letter that I wrote to myself in my sleep, and I know I’m okay/I know there’s a brighter day, but it’s not today.” Latour’s single acts as a reminder that despite the bleakness encompassing us, things will get better, and it is crucial to look within for guidance. She sings for the cautiously optimistic dreamer Gen Z in all of us. Despite her pop vocals, she manages to avoid the nauseainducing Pinterest quote style of inspirational self-reflection. Instead, her layered vocals and pops of color within the song encourage the listener to hear love ubiquitously. Latour encourages us all to crawl a little deeper into the tunnels of our brains and listen to the world around us, for it shall reward us far more than we may already understand.

MARCH 21 – APRIL 4

SIX REVIEWS

HBO Max’s “Peacemaker” James Gunn’s new TV series rights the wrongs of “The Suicide Squad”... mostly BY MATTHEW ZEICHERT The new HBO Max series “Peacemaker” chronicles the misadventures of the DC character Peacemaker as he attempts to aid the United States government in a covert mission entitled ‘Operation: Butterfly.’ Portrayed by John Cena, Peacemaker was first introduced in the 2021 film “The Suicide Squad” (not to be confused with the 2016 film “Suicide Squad”), but Cena is given much more screen time throughout “Peacemaker’s” eight episodes than in the convoluted “The Suicide Squad’s” two hours. About 25% of the jokes in the crude humor heavy “The Suicide Squad” actually landed with audiences. With “Peacemaker,” audiences can expect to laugh at most if not all of the crude humor because the jokes are well crafted this time around. Aside from its hilarity, “Peacemaker” also does an excellent job at developing characters. The story arc of the Peacemaker himself is particularly fascinating, but the supporting cast also does a solid job at creating characters that feel real as well. Two particular supporting characters that are particularly engaging are the characters Vigilante and Adebayo. As for the show’s downsides, much of the plot is hopelessly predictable and formulaic. “Peacemaker” is chock full of plot twists and turns, but most of them fail to evoke any sort of surprise. Without diving into the waters of spoiler territory, the show ends in a particularly derivative fashion aside from a surprise cameo from an important team of superheroes. Although it’s not groundbreaking television, “Peacemaker” is a piece of goofy pop culturebound to entertain comic book fans from all walks of life.

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“Asha’s Awakening” Love Is Blind by Ravenna Season 2 Go on a trip with Raveena in “Asha’s Awakening”

BY JUN LIN Raveena transforms into Asha, a “space princess from the planet of Sanataan” to guide listeners through “Asha’s Awakening” (raveenaaurora. com). She creates a new universe with Asha, immersing listeners into the princess’ story with dreamy, fantastical music videos, a 16-page illustrated comic book, and the use of South Asian and Western musical instruments. The sonic introduction to her journey uses playfulness and sensuality to imitate the feelings of traveling to planets unknown. In the first half of the album, she dedicates her attention to her male and female lovers, sharing her affections freely. She touches on her cultural identity as she pokes fun at India-fetishizing white hippies (“Kathy Left 4 Kathmandu”) and switches between English and Hindi verses (“Magic,” “Kismet,” “Asha’s Kiss”). After the spoken word intermission, “The Internet Is Like Eating Plastic,” and musical intermission, “Arrival to the Garden of Cosmic Speculation (Intermission),” her sound shifts to a laid back drawl. Guitar is a staple throughout the album, but it pulls back from its bounce to lay a canopy of strummed chords and arpeggios for Raveena’s voice to sprawl across. She features Vince Staples when she’s playful and Asha Puthli when she’s contemplative. Raveena finishes the album with a guided meditation—for us, for herself, or for both—and closes the book on this part of Asha’s journey. Asha’s character gives Raveena space to experiment, and the result is a deeply personal exploration. While this chapter might be over, she invites us to wonder what could possibly happen next in her richly created universe.

Best paired with overpriced wine, rowdy friends, and many, many pillows to scream into BY QUINN MCCLURG Built on the perceived superficialities of dating in the modern world, “Love Is Blind” Season 2 seeks to see if people can fall in love “sight unseen.” With no physical or digital communication with one another, all contestants must communicate with one another through the blue walls which connect their respective rooms to one another. If they fall in love through this bizarre communication, contestants are encouraged to propose, after which they will see each other in person for the first time. It isn’t hard to see why the beginning is the most engaging part of the show; contestants are idyllic, hopeful, and dreamy, with not a care in the world other than finding their true loves. If you think “Love Is Blind” moves a little too fast, you would be exactly correct. After the engagement, couples begin to live together for about a month and tie it all off with their planned wedding. Due to this fast-tracked pace, relationships become messy from the start: love triangles and regret make themselves known. They are later chased with disillusionment and dissatisfaction when met with the challenges of living together in the real world, meeting family, and encountering negative personality traits for the first time. If you think that “Love Is Blind” would make for some entertaining television, you’d be exactly correct. Viewers can expect to see contestants navigate through a sea of red flags, manipulation, and gas-lighting galore. I had a great time watching, screaming, and ripping my hair out to this Netflix original, and I think you would too.

Q&A

UMN Apparel Design Students Julianna Bur and Zoe Weinmann BY TOSIN FASEEMO Julianne Bur and Zoë Weinmann are students studying apparel design at the University of Minnesota. Both students have some of their work on display at the University of Minnesota Senior Apparel Design Fashion Showcase. Julianne has worked as a Human Factors Intern at NASA and currently focuses on designing apparel for optimal comfort and quality of ﬁt. Zoë has had their work displayed at the Weisman Art Museum and they have an interest in creating comfortable plus-size clothing. Keep reading to ﬁnd out more about the designers. : What did you do during your internship? J: I worked with the anthropometry and biomechanics facility. They’re going to the moon again, and I helped with the new spacesuit. Astronauts have a lot of injuries from spacesuits and from training. So a partner and I worked on developing this vest that you wear. It has pressuresensing textiles in it so that you can pinpoint the amount of pressure and placement of pressure on the body in areas that are the most sensitive. So it’s helping prevent injury through informing yourself about the quantitative data of where the pressure is happening and what kind of force is being applied.

: Do you find yourself really drawn to applying fashion concepts to scientific data?

Julianne Bur : What are you studying? Julianne: I am studying apparel design. And I just got accepted to the master’s program here for human factors and ergonomics.

: What do you want to do with your master’s? J: I was always interested in the technical aspects of sewing. I wanted to be a pattern maker. And then I found out about the human factors program. One of the professors here is named Dr. Dunn and she has affiliations with NASA and their human factors team. She got me an internship there last summer.

J: Yeah, definitely, it’s kind of like a niche, like an odd niche.

: Tell me about your work in plus-size fashion. J: My older sister is plus size and I would hear a lot of these complaints about issues with larger breast sizes. It’s really tough to find a bra that is comfortable for plus sizes. I guess that really inspired me to just go for it and see what I could come up with. I had no idea what direction I was going or anything. But I ended up making nine prototypes. It’s kind of hard to explain, but there’s this little clip I 3D printed that goes where you usually have the strap meet the top of the cup. So if you have cup gaping, then you can make it tighter, and if you have spillage or it’s just too uncomfortable and tight, you can loosen it, which I think was probably the most interesting part of that.

MARCH 21 – APRIL 4

Q&A

: Do you have any specialties or things that you’re interested in specifically? Z: Plus sizes for sure, because while it has gotten better over the last few years, it’s still not quite where it needs to be, especially when it comes to sustainability. When I was looking at different brands that try to be sustainable and ethical. there weren’t very many plus-size options. So I wanted to see if there was a way for me to try to combat that, especially through my thesis.

: What is your thesis? Z: I chose to do a plus-sized convertible capsule collection. So they kind of look like staple pieces but you can transform them to look different. You can make multiple outfits out of them.

Zoe Weinmann : Why did you choose to study apparel design? Zoe: I wanted to be a fashion designer from a very young age. I taught myself how to sew at the age of 9, and it was fascinating. I wanted to learn more about how to do this. Throughout high school, I was basically self-taught in making my own clothing. I was also doing costumes for theater. I wanted to pursue it in college and just overall make it into a career.

: What job do you envision yourself doing? Z: I have an interest in theater costumes, so I might do a little bit of that. I also, because I am a very creative person, I like to do different things, not be tied to one category of design. I might do custom ordering in some sense, like if I have clients or something, and they want me to design an outfit, or maybe a capsule collection, or something for them.

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: Does that feed into your idea of sustainability? Z: A little bit. Another thing I developed an interest in is minimalism. A lot of it was trying to use more of what I already have versus constantly trying to buy new things. That creates a lot of waste too. It’s just that mindset of quality over quantity and consuming less.

To see more of the designers’ work, visit juliannebur.com and zoejow.wixsite.com/ designportfolio.