PL(ü)G clueless
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Why Racil’s pant-suit screams feminism
Editor-in-Chief Hanwen Liu Creative Giancarlos Kunhardt Gabriel Conte Danny Peña Yilin Zhou Jessica Joyce Editors Cheyenne Lee Paul Marino Stella Dudley Shradha Rao Samantha Berlin Madison Paddock Jane Lee Financial Yiqing Zhou Rebecca Vasconcellos Advisor Kandice L. Salomone
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Boujee, Boujee, Bourgeois
Wonderful Trickery
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Cured
Lili
Special Thanks Tingjun Long Danielle Bianco Lili Burch
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Contact recruit@plugmagazine.net
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The New Americana: The Doomsday Clock says it’s all going to sh*t
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By Danny PeĂąa 4
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The New Americana: Doomsday Clock says it’s all going to sh*t
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By Samantha Berlin
Early this year Lawrence Krauss, a theoretic physicist at Arizona State University, said, “This is the closest to midnight the Doomsday Clock has ever been in the lifetime of almost everyone in this room.” The Doomsday Clock, is a visual and symbolic representation warning the world of an impending existential catastrophe. The “hour hand” has not been this close to midnight since the Cold War, a period in American history where we all rightfully believed the end was near. That being said, America, we are going to complete shit if we don’t do something, and fast. There are a lot of titles for our current decade: “The Trump Era,” “The Ohs,” “The Twenty-Tens,” and our personal favorite, “The Impending Doom.” This so called “Impending Doom” all starts with something small. Like a rigged election, nuclear weapons, right winged patriotism and under controlled capitalistic ventures. Whatever your political views might be, we are in for some serious conflict. Just open your laptop and you can already feel the tension shared between international governments. First, let’s delve a little deeper into what the Doomsday Clock actually is. The Bulletin of Atomic Scientists created the “Doomsday Clock” in response to international nuclear threats beginning in 1947 after WWII. According to an article by Wired.com, the Bulletin takes the following five factors into consideration when setting the symbolic clock: nuclear threats, climate change, bioterrorism, and other threats such as cyber warfare. According to Noam Chomsky, institute professor emeritus in the Department of Linguistics and Philosophy at Massachusetts Institute of Technology: The last time the Doomsday Clock reached three minutes before midnight was in 1983…Recently released Russian archives reveal that the Russians were deeply concerned by the operations and were preparing to respond, which would have meant, simply: The End. This means we only have three minutes. Three hypothetical minutes to get it right. These few seconds could theoretically amount to three days, three years, or a lifetime, but regardless, we need to make a change as a so-called doomed generation. Chomsky would advise us to spend our time fighting real battles, trying to make an actual change, not just sitting around and complaining about every single thing we do not like in this world. Get up and do something about it. For one, as a generation who has grown up behind a computer screen, it is much easier to type #prayfor___ or #saveour___ rather than actually take action. We’ve become a complacent in our own bad habits, a culture of hashtags and a disconnect between actually helping and just spreading the word. Just lookup “Millennials” on google and you will find articles from “the laziest generation” to “Millennials: The Me Me Me Generation.” And while all of theseinterpretations might be based on some sort of fact, they aren’t completely representative of what we can accomplish if we work together.
Take The Standing Rock issue. Millennials used their social media power to live stream, educate, and even help stand in solidarity if they couldn’t actually be there to protest. In an article by Time, the author presents the idea that since we were brought up to be narcissistic and as consequence, we have also gained a terrible quality: entitlement. Yes, many see us as a generation of laziness and might say that we lack implementation, but let’s prove them wrong. Let’s start those protests at our universities. Let’s create those social media campaigns but put forth donation drives to make a significant difference, let’s write strongly worded letters to our politicians, wear our opinions on our faces, not shy away from what we believe. We are the biggest generation there is. Shouldn’t that mean something? Shouldn’t we leave the world better than it was when we came into it? We have the resources, we have the ability, so what’s stopping us? It is our duty as a civil entity to involve ourselves in our nation’s government. Whether it be simply casting a vote in an election rather than saying “fuck it my opinion won’t change anything anyway” or actually partaking in protests at our nation’s capital, signing online petitions, sharing your views, and actually caring. In an article by Vox.com, “This is a generation that leans left in its policy views, but doesn’t like the idea of strongly affiliating with a partisan brand… they are more focused on pragmatic policy than party identification.” In other words, it’s all about policy over partisanship with this generation. Your party doesn’t matter at this point. What does matter, is the policy that is being discussed in our government. If you don’t like what they have to say, regardless of party, say something. Policy is for the people, so tell them what you really think. We need to start caring or there will be nothing left to care for, because of our disillusioned faith that “things will just work themselves out.” We will all be dead and gone with either a nuclear war, some major disaster due to our lack of shits given to the environment. This is our call to action. We are the generation being directly affected by every single policy that’s being made out there and we must take a stand. Keep up with the news, know what’s going on in the world and have a strong opinion on it. Opinions are good, but sitting back and ignoring our destruction as a society will do absolutely nothing. Yes, we are the technologically gifted generation, so let’s use that to our advantage and be and make those hashtags exist beyond your timeline. Contact your local government official. Give them a piece of your mind. Step up and make a change. (end)
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Wonderful Trickery
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By Gabriel Conte
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Why the Racil’s pant-suit screams feminism
Along with any socio-political movement is an iconic outfit. Black Panthers were photographed with their fists high sporting black leather jackets, French berets, and turtle necks. The hippies of Woodstock were immortalized in Life magazine as flowerchildren of the 70’s, wearing fringed vests and colorful bellbottoms. The fashion of the time spoke volumes in direct relation to the activism that inspired it—some of which were headed by women. The history of the pant-suit is no different. Made famous by senator Hillary Clinton and the many professional women emerging into the work place, the pant-suit became the symbol of female empowerment. It’s predication that women can become position holders and bearers of power, arose at a time when men, media, and most of society thought otherwise. Granted some of us are glad that modern-times have done away with the wide shoulders, awkward hemming, and muted office colors of the 90’s pantsuit—but despite its conservatism, the pant-suit became a politically charged statement of its own. It represented a feeling of womanhood that refused to be defined by a skirt, dress, or whatever societal imagining that worked to keep females tame and in an apron. The simple pairing of a blazer and matching trousers, ruffled the feathers of patriarchy and helped distance women from the matronly confines of typical women’s fashion. Today the same sentiment holds true, but now at least the pant-suit isn’t at all hideous. In recent years, the image of a woman in a suit has commanded the palpable curiosity of designers, leading them to tinker with its traditionally masculine design. In exchange for the iconic bulky shoulder pads, designers such as Altuzara and Laura Boschi have modernized the trend, daunting fashion lovers with the question; How can something so androgynous and borderline masculine, look so sexy? Stars like Octavia Spencer and Evan Rachel Wood have answered that question in silent elegance at the 2017 Golden Globe Awards. Lengthened lapels help create a plunging neckline, and softer fabrics like silks and suede give the pant-suit a feminine and alluring touch. Narrower waistlines and flared pant bottoms, also transforms the look into a wearable statement for the avante-guard fashionista. Lebanese designer, Racil Chalhoub has succeeded on that front, making the pant-suit a pairable option with your favorite pumps, sneakers, or oxfords.
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By Cheyenne Lee
“ Racil is a brand that mainly sells tuxedos for women that are feminine and always have a little twist. They are elegant yet nonchalant, for the girls like you or me; girls of today.” Chalhoub said to Far and Wide Paris, an international beauty, fashion, and wellness site. The 28-year-old became one the most buzzed about pant-suit designers following the advent of her 2015 collection Le Smoking—an ode to Yves Saint Laurent’s 1966 collection of women’s tuxedos. Chalhoub’s designs have attracted the attention of celebrity beauty and fashion bloggers Caroline Daur and Lana El Sahely, and have also been featured on luxury retailors like Moda Operandi, Avenue 32, and Kirna Zabete. Although the pant-suit had been revisited by high-fashion and luxury designers—Valentino, Ellery, and Rejina Pyo being just a few notable mentions— no one has done the pant-suit as
boldly as Chalhoub. Instead of modeling her designs after the pant-suit, Chalhoub has taken a special interest in the Tux. “A tuxedo is perennially chic, timeless, and alluring and we love Racil’s take on this classic evening attire,” editorial representatives from Matches Fashion.com said to Vogue. The designer, always had an eye for enduring fashion. Growing up in Paris since the age of one until her midteens, Chalhoub was influenced by the sleek aesthetic of Parisian couture. Her humble family roots in Beirut, Lebanon, conversely gave her the inspiration to soften the edge of formality of classic Parisian fashion, to create clothes that were generally more wearable for the fashion forward, woman-on-the-go. As of 2015, after eight years of sketching her designs into reality, Chalhoub incorporated her childhood fashion muses and the effortless dress of her mother’s generation to create Racil—her electric line of tuxedos. Her work has earned her feature spreads in Vogue Arabia, Women’s Wear Daily, and even a top spot on Marie Claire’s roundup of “Fashion brands to name drop and know in 2017.” In addition to her tasteful cult following and rave reviews by fashion powerhouses, Chalhoub’s newfound popularity has come to signify something more powerful than the upward trajectory of a young designer. Her ingenious melding of bright spring colors with the sharp and bold edges of the classic tuxedo, has further revolutionized what it means to be a woman in 2017, but also what new-wave feminism looks like through the lens of fashion. “I think that Racil has come at a time when people are prepared to buy something that will last,” she said, in reference to the predictability of today’s fashion, where the high-tide of “quick fashion,” seems to trump original and thought-provoking design. “The tuxedos, they sort of become your best friend,” she continued, in an exclusive interview with Matches Fashion. Now based in London, Racil, is continuing to turn heads for its vibrant usage of contrast, iron-on inspired embellishments, sleek tailoring, and the brand’s inadvertent reminder that women themselves are emblems of power. Chalhoub’s work may not be bringing back shoulder pads or baggy trousers in the name of feminism, but in her own understated and admittedly unintentional way, she has reaffirmed that a woman can be powerful, but still afford to look sexy. (end)
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Lili
By Giancarlos Kunhardt; Stella Dudley Model Lili Burch
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By Shradha Rao
Jamie Chua, a local Singapore socialite owns over 200 Hermès Birkin bags (which is more than what Victoria Beckham owns, and she has a penchant for collecting these luxurious items), each one costing anywhere between $9,000-$150,000. She belongs to the nouveau riche, having come into wealth from an expensive divorce. With 444K followers on Instagram, this mother of two is one of the Rich Kids of Instagram. It is exactly what it sounds like; these kids are famous for their obnoxious display of their affluence. Sifting through endless pictures of private jets, yachts and shopping bags can be tormenting. While the intention is to inspire envy, one can sense the desperation and isolation in these pictures. Both the rich and poor seem to suffer from this malady. Materialism, which can be defined as a “a tendency to consider material possessions and physical comfort as more important than spiritual values,” can sever social ties and prove to be self-destructive, causing anxiety and depression, according to an article published in The Guardian. Multiple researches suggest that excessive materialism can breed insensitivity and spawn unhappiness. Not only do we buy stuff, we post pictures of these on our social media platforms with appropriate hashtags to gather more eyeballs, be validated with every like, and swell with narcissism with the increase in followers. Even our everyday vocabulary seems to suggest the height of consumerism we live in. We don’t wish to buy things anymore, and we lust after them with an intensity that has become increasingly problematic.
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Boujee, Boujee, Bourgeois
In yester days, the standard of comparison were your neighbors who lived right across the street from you and their earning capacity was similar to yours’. Today, one is likely to make comparisons with those on our friend lists, public figures etc, whose income maybe three or five times their own income. With large-scale participation, this has become an international sport of over-spending. The high-ranking classes have always dictated the rules of fashion. During the 18th and 19th century, the bourgeoisie in France single-mindedly strived to climb the social ranks and did so by copying the style of the nobility. In Elizabethan England, only royalty was allowed to wear clothes trimmed with Ermine. But, over the years these sumptuary laws relaxed and ever since, fashion has trickled down from the highest to the lowest echelons. The middle classes have for long tried to ape the ways of higher classes to establish their position in the higher stratum of society. But, your average Joe or Jane can’t afford your $1,000 Burberry trench coat right off the runway, that is only a possibility for a select few. So, they wait for the price to be slashed once, sometimes twice before they can buy it.
who are able to reproduce the designs on the runway for the fraction of the original cost. This particular demographic is tempted to buy these low-cost, trendy products in place of the originals, especially if they only want to wear it for a season or two. The luxury item that is counterfeited the most is the handbag because bags have become the most attainable and recognizable luxury item, thanks to the “logomania” of the 80’s and 90’s. It is an 80-billion-dollar industry alone in New York City and climbing. Consumers need to understand that these knockoffs come at a price. The price they pay goes to terrorist outfits and organizations that violate human rights by employing child laborers. In 2005, the CEO of Lulu Lemon justified child labor under the pretense that it helped break the cycle of poverty starting with the young. High-end brands have taken on the same position, if not remained silent, as most raw materials and fabrics are made overseas by impoverished children in parts of the Middle East and in Asian countries. We are deluded into thinking that buying more stuff is going to enhance our lives. We are a culture of worldly ambition and bare materialistic aspirations at the expense of others—and also at the expense of other cultures. Dolce and Gabbana, recently released a hand-painted collection of their “Sicily” handbag in March of this year. Although the designs are inherently an ode to how bags were made previous to large printers, painted bags have long-derived from the bourgeois. According to historians from the Tassen Museum, handbags were made of perishable prints such as delicate embroidery and handpainted designs since 1500 A.D. In India, painted embellishments have been an artesian skill long-before the Mauryan Empire—the arguable starting point of ancient civilization in India. The inter-generational technique of hand-cutting leather and painting designs have become the inspiration for “ Anuschka,” a middle-tier handbag company based in India. The brand incorporates the high-end aesthetic of the hand-crafted luxury item, for the bourgeois price. In other words, the bourgeois and the upper-class have long worked in tandem with each other, building fashion inspiration from either class across languages and borders. The next you pine over a high-end pair of shoes or bag, maybe consider that extravagance can be found in the most mundane of fashion items and are maybe, not as luxurious as you may think. (end)
The markets today, are flooded with knockoffs of high fashion merchandise and accessories. Fast fashion companies like H&M and Zara are multi-billion-businesses
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