INDEX MAGAZINE

SPRING/SUMMER 2023
EMERSON FASHION SOCIETY
EFS
 NEW EYES
INDEX MAGAZINE
SPRING/SUMMER 2023

FASHION SHOW
IMMERSED INTO INDEX

EFS EFS
 BUSINESSES TO SUPPORT
INDEX MAGAZINE IN BOSTON
EDITOR-IN-CHIEF
Justina Thompson

DIRECTOR OF COMMUNICATIONS
Ananya Dutta BODEGA BLESSING BARN RASPBERRY BERET
CREATIVE DIRECTORS designer picks speak- non profit homeware vintage clothing
Libby Wilkins Nalany Guerrier
easy @blessingbarn_bea- @cambridgeraspberryberet

@bodega conhill
PHOTO DIRECTOR EDITORIAL TEAM PHOTO TEAM THRIFTY THREADS
Hannah-Mia Hinds Teddy Beamer Hannah-Mia Hinds
Elisa Davidson Nikki Emma CIRCA VINTAGE LOLA’S community run thrift store
VIDEO DIRECTOR Bailule Hadgembes Jessica Zhang
Ellie Carlin WEAR secondhand fashion @thriftythreads_brookline
Georgia Howe Kyra Badger
Arushi Jacob Sophie Roberts-Fishman handpicked vintage @lolasboston
STYLING DIRECTORS Vivian Nguyen
Orly Gonsalves Lily Farr
Penelope Patsis @circavintagewear ARDZIR
Izzy Bryars Samantha Edelman
Delaney Roberts Lidya Sezer CICADA COFFEE- boston-based designer
EDITORIAL DIRECTORS Moe Wang Khatima Bulmer
Sadia AboHussien Xinzhu Dong BULLSHIT BOU- HOUSE @ardzir
Habeebh Sylla STYLING TEAM Dana Albala
Astrid Ortega TIQUE coffee, vietnamese
ART DIRECTOR Ariel Wile
Celeste Sanchez Proano
ART TEAM vintage clothing eats COVET
Ava Scanlon Chiara Marini
Jennie Greco @bullshitboutique @cicadacoffeebar luxury consignment
Khatima Bulmer
MARKETING DIRECTORS Grace Guarascio
Willow Torres
Kasvi Bhatia Brooke Vickerman @covetboston
Marisa Negron
Kaitlin Curtis Julianna Dipaolo
Olivia Miller SARAPHYM’S CAFE SAUVAGE
Julia Magdziak
Emilie Dumas
EVENTS DIRECTORS Abigail Stanicek BLESSING black owned french
Nicole Levine Jonathan Lopez
Danielle Webb EVENTS TEAM cafe
handmade arts & crafts
Vivian Nguyen
MARKETING TEAM Sam Edelman @saraphyms.blessings @cafesauvage
Abigail Robinson
Meredith Gross
Sydney Gaines-Wheeler
Maya Wright
PRODUCTION TEAM
Danielle Webb
Nicole Levine
All stores are located in Greater Boston,
Vivian Nguyen
Massachusetts. They can be found via internet or
Sam Edelman social media. Please show them your support!
Meredith Gross
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Julieta Crissien
website EFSOCIETY.ORG Emilie Dumas
vimeo INDEX MAGAZINE
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Atreyi Roy
Genevieve Doucet E M E R S O N
ALL RIGHTS
F A S H I O N
RESERVED
S O C I E T Y
EFS EFS
 This issue, New Eyes, is a unique contribution to
INDEX’s developing history of publications. When I initially
conceptualized the New Eyes theme, much of its artistic
inspiration originated from my personal fascination with
introspection and what materializes from self-reflection,
especially as our morals solidify and we become physical

Letters From
representations of how we see the world around us. New Eyes
is not just an abstraction; it is a tangible experience of transition
and transformation — an inevitable awakening, if you will — that
cultivates innovative ways of thinking about ourselves, others,

Our Directors
and what we want to manifest in our lives.
That said, the collections of creative work featured in SS23
of INDEX are, indeed, our team’s testimonies and interpretations
when I encouraged them to consider what they see with “new
eyes.” For this semester’s issue in particular, Emerson Fashion
“Spring is ALL about reawakenings. Society’s (EFS) Executive Board wanted to intentionally highlight
the voices and narratives of our members whose identities
As trees shed themselves bare and are marginalized and isolated, in many forms on this campus,
everyday. For many of them, the New Eyes theme was an outlet
flowers bloom once more, introspec- for expressing perceptions of selfhood (Finding Home), taking
up space and creating it for those who are rarely offered it (Crate
tion begins within all of us. We inevi- Diggers and Record Spinners, F*ck Your Flattery), and, lastly,
ensuring that both talent and voices of color are acknowledged.
tably begin to wonder about what the Diverse visibility is demonstrated through nearly all the writing,
visual imagery, and design within this issue.
season will bring. New perspectives? I am overwhelmed by the culmination of hard work,
dedication, and overall care that was poured into this issue of
New relationships? New identity? INDEX by all of our team members. I want to extend the biggest
thank you to EFS’ amazing Vice President, Ananya Dutta, for her
INDEX wants to know what YOU see.” commitment to and co-leadership in maintaining INDEX during
this semester. I also want to thank the entire Immersed into
INDEX team and Ellie Carlin, its creative leader, for pioneering
a new, fresh perspective on the effort that goes into INDEX’s
photoshoots. Lastly, I express my personal gratitude to our
magazine team directors: Sadia, Habeebh, Ava, Nalany, Libby,
and Hannah-Mia, for their patience in the process, trust in my
vision, and their collective collaboration in making INDEX a
magazine that truly has a message. I hope that all of you — our
readers — see yourselves in what we have cultivated.
JUSTINA THOMPSON, EIC

EFS EFS
 “What does New Eyes mean?” As the semester comes to a close, I Working with the Emerson Fashion As spring and its vibrant days are
wanted to take a moment to express Society this semester has been a great growing upon us quickly, we wanted
This is the most asked question I re- my gratitude and appreciation for all learning opportunity. Having worked to take this opportunity to create art
ceived at the beginning of the semes- the hard work and dedication put in with EFS in the Fall of 2022, I was that felt cohesive for the times; New
ter. Whenever I heard this question, I by my fellow EFS team. As the Art excited to take on a more administra- Eyes.
had a standard answer ready to go. I Director, I am more than satisfied with tive and creative role as Co-Creative
would say something along the lines all of the design choices for this issue, Director this spring. With this issue, In its original form to what it has be-
of: especially with our fabulous theme: the EFS and Index team aspired to come, I have had the pleasure of
New Eyes. rebuild the organization for the better. working with all the wonderful team
“Think… spring awakening. Or maybe I want to thank Jeanie and Ananya members to create art bound so
just bring a new perspective to some- New Eyes left room for an amazing for their mission toward inclusive and personally to us, and then to finally be
thing old. It’s up to you to interpret it!” umbrella of themes for the magazine progressive leadership, Libby for being able to share it with all of you who may
this year, as we are all experiencing a great Co-Creative Director, and Ellie be reading. With that being said, thank
Now, at the end of the semester, you blossoming into our future selves, and and Willow for their amazing work as you to everyone who put so much
are holding in your hands (or viewing I hope this issue is a perfect reflection Creative Assistants! time and effort into this issue, all with
digitally) a collection of the answers to of that. Through colorful layouts, to leaving such beautiful bits and pieces
that first question. And I have to say, beautiful editorials, we have such a We worked so hard to push barriers of your personal stories and life experi-
these answers have made for what beautiful mixture of media this year, through creative expression with this ences behind of who you are, who you
is likely the most innovative issue of featuring artists from all over the world. Spring 2023 issue of INDEX and invite might have been, and perhaps who
INDEX Magazine yet. What really sets you to explore our theme, New Eyes. you want to be.
this issue apart, though, is that each Working with everyone has been an New Eyes allows us to see something
shoot and writing piece featured in this absolute pleasure. From brainstorming done before in a whole new way. As I’d like to give an especially large thank
issue of INDEX is a strong, meaningful ideas, to executing them flawlessly, you read, I hope you fully embrace the you to our Art Director, Ava Scan-
piece of work. Each member of EFS we have worked together to produce theme’s meaning and are sparked with lon, and our Editor-In-Chief, Jeanie
was encouraged to use this maga- an outstanding magazine that I hope creativity and curiosity. Thompson; you both are everything to
zine to explore concepts that pushed you are all proud of. I am grateful to me.
boundaries or had significant personal say that each person has brought their Thank you for all your support!
meaning, which is evident through the unique skills and talents to the table. With the perspective you hold before
quality of work included. And, for the Although putting the magazine togeth- To God be all the glory, indulging yourself in a world of New
first time ever, you will be able to catch er did bring its challenges, I believe Eyes, please remain gentle. There is
a glimpse of all the hard work that has that we as a team made everything Nalany Guerrier something so warm about this issue,
gone into bringing these concepts to work and we remained consistent with Co-Creative Director something that I hope provides you
life through our virtual initiative, Im- our values of inclusivity, representation, with that same warmth. Bright colors,
mersed into INDEX. and expressing all different art forms. soft sounds, and personal depictions
Thank you for making this semester of what New Eyes means to us, for
I am so proud of all the work that has such a great success and thank you you.
gone into producing this magazine. I Jeanie and Ananya for the trust!
hope this inspires you to create with- Libby Wilkins
out restriction and bring New Eyes to Co-Creative Director
your life. Ava Scanlon
Art Director
Ananya Dutta
VP/Director of Communications

EFS EFS
 The unapologetic embrace of imagina- I am so thrilled to be a part of INDEX INDEX’s Photo Team was tasked with Prepare yourself to step into the sun––
tion in the making and content of this and have contributed to the team’s capturing the visions of this issue’s this season’s issue is meant to dazzle and
semester’s issue of INDEX is unde- latest issue. To some, editing might theme, New Eyes. Serving as eyes inspire. We’ve all worked hard to offer
niably inspiring. It has been beautiful sound like a mundane task, but it’s ourselves, our talented team of pho- innovative interpretations of the past and
to watch each and every creative not when you’re getting the chance to tographers and I investigated what the fresh representation ––directing the spot-
director, artist, writer, and designer read pieces that each hold such beau- theme meant to us. Whether that was light on unique stories. The studio lights
commit to their ideas and fall more tifulmeaning. The editorial team’s goal by carrying out the visions of direc- were often set to oranges, pinks, and
and more in love with their concepts, this semester was to highlight diverse tors we’d never worked with before golden hues with twinkling and wave
art, and teams in the process. While voices and stories that give a sense of or developing entirely new concepts effects. This mood setting has definitely
leading the Editorial Team alongside someone’s culture or an outlook into a from the ground up.I took on the role contributed to the energy and excite-
my wonderfully patient and uplifting background we fail to hear from of- of photo director at the beginning of ment of the shoots. The Production Team
co-director, Habeebh, I’ve discovered ten. While fashion is used to express my freshman year, and since then worked exceptionally hard this season to
a new appreciation for what it means personal style, it’s meaningless when have been thrown directly into a fast- make sure all the technicalities of shoots
to play a part in helping people bring there isn’t an authentic story and paced, collaborative, creative envi- ran smoothly; I’m so proud of Atreyi,
their stories to life. This year’s writers history behind its conception. It’s im- ronment. The directors of each team Genevieve, Emilie, and Julieta for adjust-
and editors fiercely tackled the task of portant, especially at a primarily white are the embodiment of INDEX’s New ing to hectic shooting schedules and stay-
adding to existing conversations in the schoollike Emerson College, that BI- Eyes theme. This issue would not ing determined while balancing more than
world of fashion and design through POC artists are pushed into the light. have been possible without the team 4 shoots, and their own projects. The past
refreshing, honest lenses that leave We have been graced withan editorial directors’ collective determination and season was full of discovery and reform,
us all with hope and excitement for team that sincerely cares about the guidance, and the commitment of our but I believe I speak for everyone when I
what’s to come. This issue would not work they’re writing and pushed this members. Thank you to my team, EIC say that this season, we have witnessed
have been possible without everyone’s issue to go beyond just the clothes Jeanie, and every director who gave INDEX’s exceptional growth as a commu-
willingness to invest in others’ work we’re wearing, and deeper into why so much of themselves to this maga- nity. The process was occasionally
and perspectives. The opportunity to we are wearing them. I am incredibly zine. stressful yet thrilling, and left me with high
look through New Eyes is what you grateful to Sadia AboHussien, Editorial expectations for future issues. Hopefully,
make of it, and though that outlook Director, who has brought me under Hannah-Mia Hinds we leave you wanting more. Enjoy bathing
might change each day, our openness her wing and guided me through the Photo Director in the sunlight as much as we did. :)
to nourishing the spectrums of cre- editorial process. With her support, we
ativity within ourselves and each other have led our wonderful editorial team XOXO,
makes life, art, community, and fash- to craft pieces that carry personal Mariia Lykhtar
ion boundless. Every time you open significance but also the most beautiful Production Team Manager
this issue of INDEX, you’ll find some- prose. Everyone on INDEX has cre-
thing new to consider and love. ativity like no other, and we hope you
feel that with this issue.
‫ريدقتلا و ركشلا ليزج عم‬
With great thanks and appreciation, Best,
Sadia AboHussien Habeebh Sylla
Co-Editorial Director Co-Editorial Director

EFS EFS
 Firstly, thank you to the entire Emerson What would happen if fashion never I wanted to take a moment to express my I am the Co-Events Director for Emerson
Fashion Society team this semester. Every evolved? gratitude for every person that has con- Fashion Society this semester! Thank you
part of this journey has been filled with tributed to EFS and Index Magazine. so much for the dedication and hard work
laughter, friendship, and dedication. Work- When I think of New Eyes, I think of As the Events Director for EFS, I feel everyone put into creating this issue of
ing alongside my co-marketing director, change. Fashion is a dynamic cycle incredibly fortunate to work with such INDEX. It has been an honor working with
Kaitlin was the best part of this experi- of trends, colors, patterns, and styles talented and kind individuals. I am grateful the incredible Executive Board to execute
ence, and will truly be missed. that we see everyday. This issue for the opportunity to work with each of the organization’s efficiency this semester.
shows the unique transformation that you. Thank you to my Co-Director, Danielle,
From being Co-Marketing Director to the organization has experienced for her devotion and ambition in execut-
directing my own shoot, I felt more con- these past few months. Depending on Going forward, I am extremely excited ing events. Incorporating the theme New
nected to EFS thisyear than ever before. how you look at it, change can mean to see what more is to come of EFS and Eyes into the work of the events team,
New Eyes was such an inspiring theme, so many things. We all have differ- Index magazine! has allowed me to take a step back and
and you can see that through every one ing perspectives on the way fashion appreciate the beauty EFS truly embodies.
of the shoots in this magazine and on our evolves, and that’s why this issue is so Danielle Alexis I look forward to seeing everyone at the
Instagram. Since I graduate this semester, special to me. You may have different Co-Events Director magazine launch party!
I’m heartbroken to be leaving EFS but I ideas of what you think is ‘good’ fash-
hope the organization continues its legacy ion, but I see that as an opportunity for Nicole Levine
and keeps it edgy! I look forward to keep- me to look through new eyes into an- Co-Events Director
ing track of INDEX’s future issues, as we other side of the craft. Not only does
all should, and seeing how the magazine this theme represent fashion, but it en-
grows. capsulates the different perspectives
we need to be open to when navigat- Sincerely,
Your INDEX SS23 Team
Lots of Love xx, ing our day to day. This issue grasps
Kasvi Bhatia the importance of being mindful of our
Co-Marketing Director evolution, and the amazing things we
can create from that mindfulness. Our
team has put a copious amount of
time and effort into its completion and
we’re all so excited for you to see the IMMERSED INTO INDEX
hard work and creativity put into these
pages. Collaborating with an amaz-
ing set of cross-functional individuals
on the marketing team has made my
last semester at Emerson and EFS an
unforgettable one. I want to thank my
team for all of the time and dedication
put into the organization. Thank you
for taking the time to read our maga-
zine. Here’s to fresh, bold, bright New
Eyes.

Best,
Kaitlin Curtis FASHION SHOW INTERVIEW SEGMENTS
Co-Marketing
Director

EFS EFS
 Table of Contents
1 NURTURED BY NATURE
11 ECDYSIS
17 HONEYMOON LAGOON
19 CONSURGO
28 THE WINTER & SPRINGS OF YOUR LIFE
30 FINDING HOME
37 ON THE FAIRY WINGS OF TIME
39 IN HER EYES
51 CRATE DIGGERS & RECORD SPINNERS
65 THE AMERICAN WING
75 THE PRISONER’S CINEMA
81 SOMETHING OLD, SOMETHING NEW
83 THREADS OF CONNECTION

85 F*CK YOUR FLATTERY

EFS EFS
 Nurtured
By Nature
direction: Delaney Roberts, Bailule Hadgembes
photo: Khatima Bulmer
models: Delaney Roberts, Justin Nicholson, Lyanna Zammas,
Lorina Sediqi, Donald Ford, Jemma Sanderson
writer: Delaney Roberts, Bailule Hadgembes
editor: Vivian Nguyen
layout: Willow Torres
EFS 1 EFS
EFS 3 EFS
 Recording artists SZA and Ariana Grande hold the
power to beautifully and touchingly say so much through
various outlets of their work. Along with the music itself, “Special.” Speaking to her music videos, SZA is always looking ethereal while encapsulated by nature.
their art, creative direction, and branding are elevated by In her music videos for “Good Days” and “Garden (Say it Like Dat),” fans see her singing while frolicking in the
aspects of nature intertwined into their work and identity. forest, wearing flowy clothes, and effortlessly being in tune with the vibe around her. In nearly all of her album cov-
SZA and Ariana Grande have written and sung about ers, SZA is surrounded by nature. With her debut album CTRL, an album of self-discovery, we see SZA surround-
many topics with which people can find familiarity. Every ed by greenery and vintage, broken computers, contrasting the inherent vibrancy of nature with the destruction and
lyric, line, verse, and chorus can resonate with whoever is fragility of manmade technology. SZA’s newest album art for the long-awaited sophomore album, S.O.S., centers
listening. Whether it’s conversations of heartbreak, grief, her on the edge of a diving board, surrounded by nothing but restless, deep blue water. She took inspiration from
finding happiness, or new beginnings, they navigate Princess Diana of Wales, who was captured in a strikingly similar pose just a week before her untimely death. The
these moments in complex yet simple creations. In their princess’ legacy of being a passionate, free spirit who was isolated, mistreated, and misunderstood by her family and
aesthetics, music, and performances, SZA and Grande society is not unfamiliar to Sza. SZA herself confirmed that she liked the feeling of isolation and introspection that
embody the essence of Mother Earth. Princess Diana emulated. “Originally, I was supposed to be on top of a shipping barge, but in the references that
I pulled for that, I pulled the Diana reference,” SZA states during a recent interview with Hot 97. “Because I just
The 2017 release of SZA’s debut album, CTRL, loved how isolated she felt, and that was what I wanted to convey the most.” S.O.S focuses on the anger SZA feels
touched millions of people’s hearts. Her lyrics from being screwed over so many times, seeking refuge in her isolation, and wanting nothing to do with anyone.
radiated what love meant for Black women in their Hence the significance of the album cover’s call on nature to express the peace and loneliness in isolation. On the
20s. With songs like “Normal Girl” and “Supermod- 18th track, “Far,” SZA sings, “Done being used/Done playing stupid/Done faking cool,” vocalizing how tired she is of
el,” she expressed the complexity of loving oneself everyone and everything. Like the many artists who came before SZA and those who will come after her, she is not
before loving others and finding a balance between the only sensation of her time who makes endless connections and references to nature in their art.
the two. In her fourth most popular song on
CTRL, “Garden (Say It Like Dat),” SZA states, Popstar and actor Ariana Grande often intertwines nature into her music and fashion. With her 2018 album,
“Can you remind me of my gravity? Ground me Sweetener, Grande portrays heartbreak and loss through her lyrics while capturing natural yet sublime beauty in the
when I’m tumbling, spiraling, plummeting down accompanying visuals. In her music video for her hit song, “God is a Woman,” she sits on top of the Earth, stirring
to Earth You Keep me down to Earth” and her hands through the atmosphere taking control, and embracing the power of her femininity and this is support-
“Love me even if it rains Love me even if it pains ed by the choir that sings behind the voice of Grande. The galaxy also forms a skirt around her waist with vibrant
you.” In these lines, she uses references to nature whites, purples, and pinks which reinforce the feministic aspect of the visuals in this video. Thank U, Next brought
to navigate various emotional experiences. In the artist to peak success, becoming the third album by a female artist to surpass five billion streams on Spotify amid
the same song, she continues by singing, “You the COVID-19 pandemic. Still, she went on to create her sixth studio album, all about reflection and Love: Posi-
know I’m sensitive ‘bout having no booty, tions. She created that album for herself to express her feelings of grief, love, and sexuality.
having no body, only you buddy/Can you hold
me when nobody’s around us?” which more Further bringing the album to life, the singer accompanied its release with a live Vevo performance, showcas-
directly showcases her insecurities. These ing Grande diving deeper into her natural aesthetic. As she performs on a set designed as a dream-like flower field,
lyrics, along with many others by her, use wearing a floral-printed dress with long silky pink gloves, we see Grande enter a whole new era. Some perceive this
symbolism in nature to depict SZA’s inse- artistic choice as a connection to the idea of flowers as symbols of sexuality and femininity. The 2020 album illus-
curities in herself, love, and relationships. trates a clear vision of what’s on the pop star’s mind. She reflects on her stories of heartbreak but ensures that she is
In the music video, she starts in a cave moving on. The floral ornaments in her fashion and set design tune into this idea of blossoming, not only mentally
on a rocky beach and makes her way to a but sexually. “POV,” the concluding song on the album, ties together all of Grande’s self-reflection in her previous
vibrantly green forest, splashing around in work as she prepares to conquer a development of self-love. She ends the song by singing, “‘Cause nobody ever loved
the water as she sings. me like you do/I’d love to see me from your point of view.” Throughout the song, the presence of water is consistent
throughout the melody and is executed through a marimba. It creates a soothing flow and keeps the legato melody
Even more recently, with her moving and progressing forward, reflecting where Grande was in her Journey at the time.
newest album S.O.S., released
in 2022, she taps into SZA and Ariana Grande convey the message of how essential nature is to humanity. Displaying it in their work
anger, jealousy, and and connecting themselves and their journeys to its vastness and symbolism exhibits how inextricable it is from their
vulnerability with identities as artists and people. There’s a special connection we can all share with the natural world, as it not only
her songs “Kill provides physical necessities for survival but also a language and guide we can look for healing and introspection.
Bill,” “Good
Days,”
and

EFS 5 EFS
EFS 7 EFS
EFS 9 EFS
 ECDYSIS
direction: Georgia Howe makeup: Amanda Kornfeld
Grace Guarascio asst. makeup: Charlotte Naftal
photo: Jessica Odonoghue writing: Georgia Howe
models: Josephine Wolfe style: Grace Guarascio
Alex Gill layout: Chiara Marini
Jolie Mitchell Germain bts: Carys Hirawady
Zarina Levitsky pa: Atreyi Roy

EFS
EFS 11 EFS
 ECDYSIS
/ekdəsəs/
The shedding of skin
The casting off of the outer cuticle
Molting old feathers to give birth to new
Do not discard that snakeskin
Keep it tight
Under your pillow
And dream of transformation
Transfiguration
Springtime
Symbiosis is spicate and silken
Silk raked through mud
Do not choke
On the flowers that bloom
On your tongue with each
Spoken word
You are tunicate
Laid in concentric layers
Peel back each petal
Pluck away the pappus
And be reborn
In every biosphere.

EFS 13 EFS
 T
he narrative of femaleness was written to domesticate
the wild, feral beauty in every cellular unit.
Softness and femininity are often tied to images of
passivity. Renaissance masters painted femininity in smooth,
watery brushstrokes, lounging on chaise-lounges. They
sculpted forms swathed in silk in an attempt to disguise
the hardness of the marble. They created an image, a stan-
dard, of femaleness, founded on falsehoods.
They say to be soft, feminine, and beautiful is
to smear the edges of your existence. They say it
requires that you defang your danger and wash the
dirt out from under your pink nail beds.
Do not listen to them: softness is inherent and
divine.
The divine feminine is much more raw and
intense than they can stomach. Femaleness is to
shed, like the snake, and reemerge anew. It is to
turn those who cannot bear you to stone. Feminini-
ty is creation through transformation.
Softness is skin and rose petals, but not with-
out the hard exoskeleton that is shed every
lifetime. Beauty, femininity, and thorns are
interdependent. They exist in a symbiotic
relationship.

EFS
EFS 15 EFS
HONEYMOON
LAGOON
direction: Penelope Patsis
photo: Dana Albala
style: Celeste Sanchez
make-up artist: Liv Harvey
layout: Khatima Bulmer
model: Kylah Nee

EFS
EFS 17 EFS
 CONSURGO
direction: Julianna DiPaolo, Jessica Zhang
photo: Jessica Zhang
style: Julianna DiPaolo
models: Caroline McGinn, Delaney Roberts, Gia Kim,
Sof Martinez, Thuy Anh Nguyen
writer: Vivian Nguyen
editor: Habeebh Sylla
layout: Marisa Negron
bts video: Em Levy
production: Julianna DiPaolo, Jessica Zhang, Khatima
Bulmer

EFS 19 EFS
EFS 21 EFS
In my head, there’s a conversation I have Looking back on each time she stopped since I was a little girl, so I’d be consid-
with my mother that plays over and over It’s why my mom always makes sure to ered an “acceptable” Asian who falls with-
again: wear her nicest clothing when going to in the conventional standards of Western
parent-teacher meetings and brings her attractiveness. Someone that pretty white
Mom, I have a confession to make. I finest jewelry on family vacations. It’s girls would want to befriend. I like to
want to get more ear piercings. I want a why she gets upset with my dad for going think I’ve mastered this skill pretty well;
tattoo just under my collarbone, a small to gatherings in his sweaty golf polos and I can never say that I’ve beat it, though.
tiny one that only a select few would ever why, for reasons I could never compre- That’s not what winning looks like.
be able to glimpse. hend as a kid, she makes our entire family
show up like we’re fresh off the set of a Six-year-olds shouldn’t have to know
My mom is not shy of her distaste for Ralph Lauren modeling ad just to gro- the implications that come with wear-
an abundance of tattoos and piercings, cery shop. ing a t-shirt with an innocuous dump-
ready to combust with her nose curling ling graphic on it. Eighteen-year-olds
unpleasantly every time my little sister My mom once told me, “You always want shouldn’t have to believe that blending
mentions how all her high school friends to look presentable. If you look present- into the crowd is safer than standing out.
are getting another ear piercing and how able, people will actually look at you.” I Nobody should have to sacrifice their ex-
she wants one too. was in kindergarten. pression and unique style to be accepted.
We shouldn’t have to surrender to the ex-
“You girls mature too fast,” She says to us, That is my earliest vivid memory of dia- pectations of white colonial professional-
tutting disapprovingly. My sister furrows logue with my mother. ism. Yet, we do anyways.
her eyebrows and opens her mouth. Here
we go again; I think to myself when I see I’ve carried her words with me as I’ve People of color are held to different stan-
the defensiveness in her eyes. Looking back on each time she stopped grown into my own person, spanning a dards than our white peers. Whether in
me from dyeing my hair or getting a sec- pretty normal, sometimes emotionally tu- schools, workplaces, restaurants, or even
“It’s just a piercing.” My sister rolls her ond piercing, I understand now that she multuous, twenty years of life. As a wom- our own neighborhoods, racist, classist,
eyes before throwing the dagger, “You was just concerned about how a signif- an of color who grew up in white Amer- and xenophobic stereotypes are immedi-
weren’t born in America; you wouldn’t icant majority of the world would per- ican suburbia, it feels as though I have ately projected onto POC if they’re not
get it.” She is carelessly cruel in the way ceive me. been dressing a certain part my whole dressed “appropriately” or in the “right
only a teenage girl can be, just like many life. I refused to wear skirts for three way.”
of us once were. Just like I once was. I’m descended from two scared children years because I heard one of the popular
who fled Vietnam during a war. We’re girls say that skirts were for “lame girls,” Who even gets to decide what looks “pro-
When I was younger, I used to think my people of color (POC). My mom is a and eight-year-old me knew I didn’t want fessional?”
mom was just being mean. How could woman of color; I am a woman of color. to be lumped in with them. At eleven, I
she be so flippantly anti-piercing and We’re not afforded the luxury of going forced my parents to buy me expensive Most notably in workplaces, POC are
tattoo when they’re so cool-looking? I outside looking like we just rolled out of Lululemon and UGG products that I expected to look, dress, and act just like
couldn’t rationalize why she’d think this bed; while our white peers would be re- didn’t wear after the 9th grade, all so I their white counterparts, down to their
way except for the fact that she was being garded as stylish and clean, we’d be per- could fit in with my friends. physical attributes.
a hater. ceived as unkempt and lazy.
I’ve been learning how to play the game
EFS 23 EFS
 There are many stories of Asian women trying to Then only 18 years old, Emmy-winning actress Zendaya wore
lessen the slant of their eyes and Black women be- locs on the red carpet of the 87th Academy Awards. It was
ing sent home for wearing their natural hair. Re- a moment of expression and pride for the actress, who is bira-
gardless of how good we are at our jobs or how cial. Reporter Giuliana Rancic “joked” on E!’s Fashion Police
much respect our coworkers have for us, society that Zendaya’s locs must smell like “weed” and “patchouli.” Al-
is always poised to label POC as “unprofessional.” though Rancic went on to say that her comments were not re-
lated to race but rather that Zendaya’s hair reminded her of a
“chic, hippie look,” it feels safe to call bullshit on that. Unfortu-
nately, locs have long been associated with racist and detrimen-
tal stereotypes towards the Black community. Rancic’s igno-
rance reflects the dangers of industries dominated by whiteness.

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 She belittled a woman of color who embracing our uniqueness and stand-
was showcasing how proud she was of ing out instead of fading into the back-
her culture, roots, and identity through ground like society wants us to.
her fashion. Zendaya stepped out of
the “appropriate” and “professional” box There will always be a particular sense
that she was put in by society as a bira- of melancholy I carry inside me when I
cial woman when she wore locs to the think of the standards that I’ll be held
Oscars, and the critics didn’t like that. up to in comparison to my white peers.
But while there is sadness, there also
Professionalism has long strived to sti- lingers a small, steady fire too, eager
fle diverse expressions of fashion world- to break these rules and carve my own
wide simply because it’s seen as an act route. As I’ve grown older, this defiance
of rebellion against colonial standards. has only grown larger, and I have gone
from strength to strength, going from a
Still, people of color fight back. The timid little girl who wore whatever the
resistance is often subtle, a mere mur- Queen Bee wore to a woman whose
mur, no louder than a faint whisper. In outfits radiate expression and individ-
response to Rancic’s comments, Zen- uality. I’ve begun to view picking what
daya took to Instagram, stating that I am wearing each day as though I’m
her locs are a symbol of “strength and creating art. For the first time in my life,
beauty.” Whilst she still condemned every time I look in a mirror, I am hap-
the ignorance and racism, she chose to py with the clothing that I am wearing.
focus primarily on the love and pride I am comfortable, and I am confident,
she holds for her hair, blackness, and and I am proud. That means more to
identity. Her actions showed that she me than anyone else’s approval.
wouldn’t allow oppressive expectations
to back her into a corner.

The standards and expectations

placed on people of color are unfair
“WHO EVEN GETS TO
and steeped in a history of discrimina-
tion, racism, and hatred. But more and
more, we are seeing people break down
DECIDE WHAT LOOKS
these boxes. We’re entering spaces that
weren’t originally designed for us and PROFES SIONAL?”
making them ours,
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 A January weight around my shoulders
My thick discouraged winter coat

Soon you will welcome spring’s breeze

recognizing its new love for you
Gentle caress and whispers in your ear
In new vulnerability flowers birds and trees
your skin let them kiss plant and peck

Dragged my shoes through snow soaked ground

worn tired and thin leaves mud in my socks
Our bootprints in the snow may get us lost
but as they melt in our spring we walk in step

The sun so sincerely shines

when your life begins to feel less cold
From burdening garments thaw to reflect
the new warmth you feel toward the world

Small deceits of cloud-broken radiance

reassign long sleeved layers to closets
Though ground no longer feels the frost
Winter’s wind is not so eagerly evicted
and reminds you with a shiver
A new wardrobe to feel so
My fresh mindset and its matching outfit

EFS 28 writer Teddy Beamer layout Chiara Marini EFS

images Dall-E Mini AI
 direction: Atreyi Roy
photo: Kyra Badger
style: Atreyi Roy, Arhana Singhania
makeup: Ariel Coleman, Khatima
Bulmer
models: Riva Vig, Khatima Bulmer,
Arhana Singhania

FINDING HOME
by Atreyi Roy
writer: Atreyi Roy
editor: Arushi Jacob
layout: Ava Scanlon
bts: Amina Adeyola

EFS
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 Diary Entry no. 534: I find myself thinking about home
quite often these days. Home being
of it, inspires me to dress the way I do. Wearing
jhumkas with leather jackets, kurtis with cargo
Mumbai. It’s a funny city. It’s funny pants, and chudiya with sundresses. The fusion of In-
Atreyi’s Big, Fat how the length of a journey there is not
measured by distance but by time. It’s
dian and western clothes helps me represent my Indian
roots which have become a larger part of my identity

Existential Crisis #1 funny how 100 Rs (approximately 1.22

dollars) can get you an entire meal or
since coming to America. In India, I was always
surrounded by other brown people. Here, I’m not.
nothing at all, depending on which part I wonder whether it is the lack of a community or the
of the city you are in. There is chaos at physical place that makes me miss “home.” Returning to
all times, but still glimpses of harmony Mumbai after leaving for the first time just three months
within its midst. The city is a strange ago felt familiar. Yet, there was something missing. I longed
mashup of the East and West in its ar- for “home” even though I was home.
chitecture and its people—mannerisms The home I left behind and returned to was not the
of the East, ideologies of the West, and same despite most objects, spaces, and material things re-
fashion from all over. maining unchanged. Maybe, it was my old self I longed for.
Mumbai being a melting pot of I came back somewhat an adult, while I’d left as a kid who
different subcultures, both from wanted more in her life than being stuck in a place where she
within the country and outside wouldn’t be able to pursue her dreams.
I’ve grown and I want to keep growing,
but at times, I crave the curiosity and
naivety I held as an adolescent. I will
always call Mumbai my first home,
the city of dreams. Much like its
name, the city made me dream of
bigger things. Still, it will serve as a
reminder of my longing for the older
self and alienation from a past life.
At times, I want to jump ahead into
the future and some days I miss
myself and home.
- Roy <3

EFS
EFS 32 EFS
EFS
EFS 33 EFS
 “Thus, the search
for “home” continues!
Who knows? I might
find it here.”

EFS EFS
 Identity is fluid when you’re still in the fashion becomes a way to express the inner self
to the outside world in a way that might have

ON THE
discovery phase of your life. In “Mother Knows
Best?” Cook, Kaiser, and Rawlins discuss how felt overwhelming or difficult as a child. Your
“Mixed emotions regarding gender, sexuality, personality has fully formed, and clothing be-
and age are reflected in tween girls’ clothing comes less of a dream and more of a reality. The
and appearances… They re-dress their bodies world cannot see you for who you are inside, so

FAIRY
in line with their changing identities and sens- you have to show it. Those clothes your mom
es of self.” This explains the essence of what is picked out for you when you were little because
captured in every childhood photo, a moment they “made you look so cute” might not be right
in the journey of figuring out who you are, for you anymore. Maybe you feel they don’t

W I N G S
trying on new costumes, new yous, and some- adequately represent the darkness inside of you.
times wearing whatever you’re told to wear. Maybe you just aren’t a fan of cute little shorts.
When you grow older, fashion becomes Fashion isn’t about who you want to be any-
a tool to form your identity in a very different more; it’s about who you are.

OF TIME
way. Clothes take on a different meaning in a Sense of self changes for some people
world that puts great focus on self-presentation and not so much for others. It can be difficult
to tell how your fashion sense forms who you
and individuality. Now, we’re trying to stand
are as an adult or even what stayed and what
out. Something fundamental changes about
went. Some people think that they’ve changed
by Elisa Davidson this dynamic between yourself and the world
very little from when they were children or that
as you age, forcing you to consider fashion
certain traits were always shown in them from
more seriously. You’re no longer playing ev-

E veryone has that picture. You

when they were younger. Others think that the
As a child, there are fewer limitations er-changing characters— you’re the character.
way they view themselves and others has shifted
on who you can be and what you “I had long wrestled with how to dress in a way
in a fundamental way. Both fashion and being
know, that picture. Of you wearing a can wear. There is a certain freedom that I could feel like the most authentic version human are things that many people deal with in
fairy costume and pajamas, or maybe in your imagination. You have the of myself, experiencing firsthand the uplifting different ways.
a dastardly attempt at a haircut from moments of success, and the discomfort of
innate ability to choose playground It can be difficult to understand the in-
yours truly. This picture captures you feeling like a look wasn’t representing the true tricacies of that moment when you look at that
activities and your active imagina-
as a kid. The essence of you. These me,” said Cara Doiron in her thesis paper titled old picture. The surprise. The disgust or affec-
tion over acting (and dressing) like a “Constructing Identity Through the Lens of
are the pictures your family members grown-up. You’re a kid, and kids are tion for the person you used to be. The sense of
Fashion,” discussing identity and fashion. For distance, but also recognition. Knowing that
treasure the most because “You used allowed to dream. Clothes feel a lot many people, if you wore those same clothes now, no matter
to be so sweet when you were young- more like dreams when you’re young- what, you’d wear them differently. Accepting
er!” It’s always weird to look at those er, something for you to grow into that change. You look back at that photo of
slightly blurred faces and realize it’s
you. You’ve grown and changed; the
and explore. No one’s stopping you
from saying you want to be an astro-
“Fashion isn’t about yourself, and maybe the child looking back
now would see you with some sense of wonder.
little kid with the giant fairy wings is
a new person. Getting older, you’ve
naut when you grow up or telling you
that growing fairy wings is unrealis- who you want to be You’re everything they didn’t know they could
be. Who knows, maybe you look like one of
become someone who swears they tic. At that young age, even a trip to those older kids who you used to pass by on the
are unique. Fashion has turned into
a new type of expression. But how
the grocery store is a reason to pull anymore, it’s about street. You’d follow them with your eyes, taking
in their clothes. And you’d say, “Wow, I want to
out last year’s Halloween costume.
does this perception of self and fash-
ion change as we grow?
who you are.” be just like them when I grow up.”

EFS 37 EFS
 I wanted to give them a space ded-
icated to documenting the stories
that made them who they have be-
come, whether it be a childhood an-
ecdote, or fond memories they can
recall of those who raised them. As
I move through my newfound adult-
Carolyn Wilkins, Mid-1990’s hood, reconnecting with where I
came from and who I was, and how
by Libby Wilkins
I have a photo of my grandmother, who that translates into who I am now is
something that I have a specific and
I call Grammy, from around the late 80s
ruthless desire to engage with. This
or early 90s. She’s wearing these massive
is why this project is so personal to
reading glasses, which she thinks are
me. I want to thank my beautiful
ridiculous, but I love them. Everyone
friends - some of whom I am well
takes the time to note to me how much
aware do not enjoy the spotlight -
they think we look alike, which I never
for helping me turn my life’s struggle
agreed with when I was younger. I al-
into something tangible, that hope-
ways thought my face was too round and
fully everyone can find some solace
my hair was too flat, and my smile wasn’t
in. This is for you to keep. Thank
gummy enough to make the cut, but I’m
you.
20 now, and I can say in confidence that
it’s an honor to see it manifest more as I
- Creative Director, Libby Wilkins
age with her. With this project, I wanted
to give those who are closest to me an
opportunity to see that same, almost bit-
tersweet comparison that I see every time
direction: Libby Wilkins I catch a glimpse of myself in a mirror. I
photo: Hannah-Mia Hinds
style: Amaya Gonzalez-Mollmann, Liv Miller
see my Grammy, the woman whose blood
makeup: Liv Miller I proudly share, and whose perspective I
models: Sophia Drummond, Marissa Vilanova, Camila
Perez Herrera, Maya Wright, Justina Thompson have spent years trying to understand for
writer: Libby Wilkins myself. I know my friends well, but
layout: Ava Scanlon
bts: Justina Thompson
production: Ellie Carlin

EFS 39 EFS
 Serpil Ergin, 1983 Marissa Vilanova, 2023

EFS 41 EFS
 Lalty Jackson, Early 1970’s
Maya Wright, 2023
EFS 43 EFS
 Ann Marie Drummond, 1988

Sophia Drummond, 2023

EFS 45 EFS
 Elizabeth Herrera, 2000

Camila Perez Herrera, 2023

EFS 47 EFS
 Justina “Jeanie” Thompson, 2009 Justina “Jeanie” Thompson, 2023

EFS 49 EFS
EFS 51 EFS
In an effort to give well-deserved acclaim to curated playlists is an opportunity to approach un-
derstanding the history and future of these obscure
Black, fem, and non-binary musical artists of
genres outside of Western ideologies and contexts.
the past and future, we sat down with Emer-
Nahisha’s slogan on Certified Haters is “I’m Black
son creatives Lydia Aga, Christina Brown,
and right”, and that they are. In a creative space that
and Nahisha Jackson. Our favorite WECB
begrudgingly relies upon the authenticity of Black
radio show hosts walked us through their
talent to succeed, Nahisha makes it a point to defend
perspectives on music and how they navigate
their voice and ‘give credit where credit is due.’ You
artistic expression and spaces at our primar-
can catch their show every Thursday from 6-7 pm.
ily white institution. On Fridays from 9-10
Black fem, queer, and nonbinary
AM, Lydia hosts Diggin’ Thru Da Diaspo-
artists don’t get enough recog-
ra, where she dispels the one-dimensional
nition in real-life, let alone
perspective of Black music by presenting the
on our PWIs campus.
musical variety and cultural influences of
Still, they deserve to
the entire African Diaspora. On Mondays
be celebrated.
from 5-6 PM, you can tune into Sonic Nahisha
Theory. On her show, Chris
explores niche musical
movements and es-
oteric subcultures. Chris
Behind the intri-
cate and carefully

Lydia

EFS 53 EFS
 Maya Wright:
What is the creative direction of your show?

Lydia
I just play a mix of things that are in my rotation, but sometimes I’ll purposely play a
song that gets sampled by something and then the song that samples it just to show
that sounds familiar to that song, and it’s putting the pieces together about how
they’re connected. I try to always have something from continental Africa, from the
Caribbean, or from multiracial Black people and try to show every type of identity
within the diaspora through my shows, and then sometimes I want to focus just on
the Caribbean just on Africa just on North East US West coast and just tying in art-
ists that are connected to each other.

Chris
For my show, I like for each playlist to explore music theory outside of music com-
position and outside Western ideology. I’ll play house music, but I’ll go deeper than
that and talk about New York drum and bass and how that influenced UK drum and
bass. Then I have one playlist called “The Sample of the Soul” to talk about how soul
music and hip-hop are interconnected. I also mix that in with talking about the art
of the remix, to talk about how integral remixing is to not only Black culture outside
hip-hop but R&B with Mariah Carey, Janet Jackson, and the symbiotic relationship
that musicians have with DJs and their communities and live performance because
I also think in this day and age music tends to exist in a vacuum we consume it like
content, but music is not content. Artists are not content; they make art like there’s
culture, history, theory behind what they’re doing, and we should listen for it.

Nahisha
This season, I was focusing exclusively on Black artists, whereas last season, I did not
focus exclusively on Black artists. Then season two is pretty similar in terms of just
exploring the ways that Black artists have influenced every single kind of music, but
also Black artists, that, not only their music but maybe their style or their politics that
have been really important to crafting their creative image and how that has also been
influential. Like, I had a Kelis episode where I talked about that. I talked about her
style and how people like Doja Cat and even Nicki Minaj are very similar to what she
was doing before them. But my show is really about giving credit where credit is due
and being able to analyze, think critically, and go into history and figure out what has
been going on and what will continue to go on. I know that sometimes people will
talk about new artists or people talk about music like it’s bad to be influenced by other
things, and that’s the point; it’s not bad to be influenced by other people that have
come before you; it’s natural and a part of what makes art as a collective exchange
worth it.

EFS 55 EFS
 Maya Wright
IN OUR DISCUSSION, we lamented how music is consumed How were you first introduced to DJing as something that just exists and then as some-
within predominantly white, male, cishet spaces, especially here at Emerson. All thing that you wanted to pursue?
too frequently are the same five names of male artists regurgitated by white mu-
Chris
sic critics. Their stances on black music lack the necessary nuance and frame of I’m from the Bronx so, so it was never an option to not know. My grandma was there at
reference to go further than discussing the accomplishments of Kendrick Lamar, the Herc (DJ Kool Herc) shows and parties. And my grandfather was a drummer, so mu-
Kanye West, or Tyler the Creator. Even in their infatuation with these artists, sic was really prevalent in the house. Especially being from New York, like if you’re not lit
the appreciation tends to come across as voyeurism, prioritizing who these art- in the house parties, you’re banned, you’re going to Jersey. Like, you’re not rocking with us.
ists are rather than the ability and ingenuity that goes into their work. As self-de-
clared music nerds, our subjects combat these superficial discussions with their Growing up, DJ-ing was something kinda thrown in my face because, again, my family was
the DJs at the parties; it was an honor to do it. I learned guitar, but I hated playing because
radio shows. By highlighting their favorite artists, they make room for different
it fucked up my fingers. I did piano, but it fucked me up because my hands were too small,
names to be added to the monotonous discourse surrounding music history. Ke- and then I realized I didn’t like composing music in that way, and I was like, I’m fucking
lis, Janet Jackson, and Mariah Carey are just a few of these tastemakers’ favor- with DJing a lot. I love sampling.
ite artists. What do these remarkable women have in common? Each of their
legacies, as significant as their respective influences on popular culture may be, Lydia
tend to go under-appreciated. Particularly as they tend to be overshadowed due My dad plays guitar, it was more so just a hobby of his, and he learned by ear, which is real-
to the prevailing chauvinistic exploitation of women that exists within music.. ly cool. My uncle is an artist, so he was always part of the Harlem art community. We used
to go to record stores together, and I would know the owners, and it was just really cool
older guys just kind of seeing the records and seeing what they put out. I just see DJs as
the moderators of vibes. They get to create this beautiful environment and also be able to
Similarly to our subjects, Kelis, Jackson, and Carey have always approached put people on to new stuff, which is really important. For me, I just like to be able to show
people different parts of the world, different sounds they’ve never heard of. I’m also a huge
music daringly as they effortlessly toyed with the through lines between genres
sample nerd. I find the history and evolution of music to be really beautiful. Sampling, I
such as hip-hop, r&b, rock, house, and funk. Their sound brought a new vari- feel, gives people access to things that they don’t have the money or resources to get. I love
ation to the sounds of the artists before them. Mariah fused r&b and hip-hop talking about music; I love listening to music, I love showing people music.
in the early 90s to the present day in ways never before seen. Let our subjects
tell it, Janet Jackson’s entire career and artistry are the blueprint for mod-
ern pop artists. Kelis channeled all of her unfiltered Black girl rage and put a Nahisha
unique sound out there for other Black, alternative people to lean into. These I developed it from my sister. My sister’s nine years older than me. Growing up, she was
always playing R&B, early 2000s R&B, pop-punk. She was a huge Paramore fan, super
women, like our interviewees, would not allow all of the nuances within them
into Alicia Keys, Brandy, Mya and as I got older, music just became a really big part of my
to be put into a box for the consumption of white audiences. Their sound life. I found it really fun to make playlists. I guess my first DJing type of thing that I was do-
made others realize that being a Black woman and making alternative music, ing was making playlists, and finding similarities between certain songs. I was doing that
or having an unorthodox style are not incongruent. In their own way, these since I started making playlists when I was thirteen. I always found myself always recom-
DJs are doing similar work here at Emerson. As well as their artistic influenc- mending music to my friends. And that being something that was really exciting to me was
es, their upbringings are what laid the basis for their love for DJing and music. whenever they would ask “Oh, What should I listen to?” or “Do you have anything new?” I
was always really excited to answer those kinds of questions. I was also just giving people
my unsolicited opinions so I was like why don’t I just do that on air?
EFS 57 EFS
 In their personal lives, our interviewees
were surrounded by environments that
fostered their love for music and support-
ed their perspectives as Black creatives.
Though, at Emerson, everyone felt similar
feelings of hearing their people, but not
seeing enough of them. Fortunately for
us they didn’t let this hinder their ability
and desire to express themselves. A lot
of Black music being played by their
white peers failed to understand the
proper sensitivity and cultural mean-
ing that was needed to air it. The radio
shows at Emerson WECB lacked the
input of Black voices and music
which desperately needed to be
pointed out to the masses.

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 Maya Wright
What made you pursue DJing here at Emerson? Was it something you’ve always
done and wanted to continue, or is this something new for you? Did you know

“I KNOW THAT SOMETIMES

about it before coming here?

PEOPLE WILL TALK ABOUT

Chris
I knew Emerson had radio shows before I came here, but, full disclaimer, Emerson
was my last choice. Then I got here, and I didn’t see a lot of niggas, period. That
NEW ARTISTS OR PEOPLE was really scary for me because at the time there were no Black DJs. I felt discour-
aged because I didn’t want to be the only person sharing my culture because I’m also

TALK ABOUT MUSIC LIKE a firm believer in no white DJs, and it just felt like the antithesis of what I was grow-
ing up and saw. But, I found Lydia’s Instagram and I was really scared that they

IT’S BAD TO BE INFLU-

were a white person but Jeanie assured me that Lydia was Black and I was like okay,
you’re sick, you’re sick! I’m fucking with this. Lydia really encouraged me, even with-

ENCED BY OTHER THINGS,

out trying to, to just apply to the show, and that it’s okay to just be Black in these
white spaces. You can go beyond co-existing, like even pretending they’re not there.

AND THAT’S THE POINT; Lydia

I felt like there was nothing new on WECB or no radio show back that wasn’t doing

IT’S NOT BAD TO BE INFLU-

anything deeper than just being like, “I have the best music taste in the world; let
me show you these same eight alternative albums! Let’s play Boy Genius!” Even the

ENCED BY OTHER PEOPLE

Black music or Black culture white people on campus listen to look woke is always
the corniest people of the community. For me, I just wanted to show people other
parts of the Black diaspora because, for them, their only interactions with Black
THAT HAVE COME BEFORE people is appropriating African American culture. Everything you love is coming
from Black people, and I know Nahisha’s show Certified Haters has a similar ethos

YOU; IT’S NATURAL AND A which is really cool but I know for me, I wanted to show the world Black identi-
ty through music, and there wasn’t any show that was accomplishing something

PART OF WHAT MAKES ART

similarly. As someone who loves music, I wasn’t HEARING my people and I was
scared.

AS A COLLECTIVE Nahisha
When I had the idea for Certified Haters, I knew for a fact that I wanted to talk on
EXCHANGE WORTH IT.” it. I wanted it to be a pop culture slash music analysis, where I was drawing a lot of
comparisons between certain artists. That’s why on my show, I will have a theme.
My first episode was Afrofuturism, and I will usually just talk a little bit about what
Afrofuturism was and then how that relates to music. Usually, I will go into history
and music history to be able to learn more about Black music history.
EFS 61 EFS
 Chris, Lydia, and Nahisha’s shows, alongside other
WECB shows with Black hosts, are creating even
more space for diverse Black opinions and identities.
All of their perspectives provide us with styles and in-
sights that have been overlooked, which is even more
reason to tune in. Through this candid conversation,
we aimed to give these three amazing DJs their flow-
ers, open New Eyes to their work, and honor the leg-
acies of artists who, like them, deserve more credit for their
visions and cultural contributions. Listening to Black music the right way
means acknowledging the history and cultural significance behind songs
and artists; while recognizing the contributions of Black queer, fem, and
non-binary creators and how they have pushed culture forward. We too
often disregard their work to further dote on the same list of male artists
which, quite frankly, does a disservice to our
understanding of music as a language and
art form. To continue this exploration and
appreciation of Black queer, fem, and
non-binary brilliance, scan the QR code
and further support these artists.

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 THE
AMERICAN
WING
direction: Marisa Negron
direction
photo: Sydney Ciardi
photo
style: Brooke Vickerman
models
models: Anthony Spidell, River
Caraballo, Liz Farias, and Indigo
Pinedo
editorial: Ananya Dutta
editorial
layout: Marisa Negron
style
bts: Anthony Jakobs
layout
production: Emilie Dumas

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 Anachronous eyes watch
as you wander through the
“American” wing of a museum.
They belong to men who lead
courts in powdered wigs and
women who walked the streets
in puffy, Elizabethan dresses.
The portraits, hanging with
gold-rimmed edges, stare back
at you and seem to interrogate
you: “What are you doing
here?” The question hangs
heavy in the stillness of the
gallery. As you look up at the
portraits, it’s almost impossible
not to acknowledge that the
vast difference between your
two worlds feels like an ever-
widening chasm. At some point
in history, things began to
shift, and now the gaze of the
“American” wing doesn’t feel
quite so American anymore.

The American Wing returns

this gaze and coolly answers the
question posed earlier— “what
are you doing here.” It challenges
the dissonance between our
modern-day diversity and
traditionally homogenous
American art exhibitions.
This photoshoot opens the
door to artistic representation
that embraces the myriad of
identities, backgrounds, values,
and innovations which have
generously shaped American
culture as we know it. As you
enter our reimagined gallery, we
invite you to join us in reflecting
upon classical American fashion
with new eyes.

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EFS 67 EFS
 Anthony
“Pharrell Williams, Shai Gilgeous-
Alexander, and Jeremy Pope. Just
their freedom of expression through
fashion in addition to all of them being
Black men… I’m able to see myself
represented in that way.
I’m all about expression. Being able to
express yourself through your clothing
no matter what the previous standard
was is important to me. Like, I wear
Liz pearls. I’m from Michigan and when I
came home for Thanksgiving break it
was kind of like, “Oh, you’re wearing
“I go for things I like and I emulate that in my fashion. I
pearls?” And I was like, “Wait, no we’re
would go into my dad’s closet and take his sweaters from
redefining what that means.” Being
when he was a teenager. My mom’s color palette. The
able to give new definition and new
beach style in Rio. I’m first-gen, so I grew up with a heavy
meaning to things that historically
Brazilian influence. For fashion influencers… Wisdom Kaye,
meant something different is what
Nailea Devora, and Emma Chamberlain are big ones. To
American fashion means to me.”
me, American fashion is that intersection between being
Brazilian and American.”

EFS 69 EFS
 River
“I like to dabble in everything;
60s and 70s… right now a little
bit of 80s and 90s. You won’t
see me with the same aesthetic
twice.
Growing up first-generation
in America, I’m obviously
influenced a lot by American
trends, but I don’t want that
to be seen as whitewashing or
overtaking my culture — I’m
Colombian & Puerto Rican.
Just because I dress like the
typical American teenager
doesn’t mean that my culture is
erased. What I’m wearing is to
show that people of color can
wear American fashion too. ”

Indigo
“I have an eclectic mix of styles.
Janelle Monae, underground hip
hop streetwear, and hippie fashion Now, finally, it’s allowing people
as well… like the new age kind of to be really expansive when it
stuff. comes to expressing themselves.
Fashion has to evolve over time
To me, American fashion is how
because if it doesn’t then we’re
people perform their gender
mentally, emotionally and socially
identity, their sexuality… the
kinda stuck.”
parts of their identity they choose
to make apparent. It’s an anti-
oppressive force. For centuries it’s
been a way of confining people.
EFS 71
EFS EFS
EFS 73 EFS
direction: Kasvi Bhatia
photo: Alejandra Cordova Rubio, Samantha Edelman
style: Sophie Roberts-Fishman
Emerging from the darkness, forms of color, forms of light.
models: Aaryika Jaipuria, Andrea Mendez, Cordelia After extended periods with lack of visual stimulus, the eye
Kelly, Kasvi Bhatia, Risa Michiwaki and brain work together to create visions, hallucintions in the
writer: Teddy Beamer
editor: Arushi Jacob mind of the alone. This is The Prisoner’s Cinema, a phenomenon
layout: Emilie Dumas caused by phosphenes within the eye.

A similar scene can be simulated by gently applying pres-

sure to your closed eyelids. While scientists have found a prac-
tical explanation for the prisoner’s cinema, many throughout
history have cited this as a deeply spiritual event, believing
some divine force presents itself to them in their moments of
seclusion.

THE
THE PRISONER’S
PRISONER’S CINEMA
CINEMA

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 Holi, in the Hindu tradition, serves as a similar explo-
sion of vibrance amid bleakness. Holi is an ancient holiday,
the festival of color, love, and spring, and is particularly sig-
nificant to the Hindu religion and the culture of India. The
celebration exists as a day to forgive and to love, to cleanse
your life of unnecessary bitterness, and fill your world with
color. Spreading this color is an important part of the holiday.
Each spring, as a metaphorical transfer of love and peace
to others, dyes and paints are tossed and smeared, staining
crowds of peoples’ clothes and skin.

Holi was celebrated during

March this year and in-
spired Kasvi Bhatia, the
creative director of this
photoshoot, to visualize
the concept of the pris-
oner’s cinema through
the context of Holi. Set
in blackness, the pastel
powders which blow and
stain the models represent
the visions seen by those
in isolation. In a twist, the
usual lackluster disposable
white garments worn by
those celebrating Holi are
traded for properly styled
and fashionable outfits.

EFS 77 EFS
 “When I invite people who are not
Indian to Holi, they usually say ‘What’s that?’
or they say ‘Oh, I wouldn’t be welcomed,’ and that’s
something that sparks a trigger in me,” says Bha-
tia. Holi, being a celebration of acceptance and love,
is welcome for anybody to celebrate, a concept that
Bhatia wanted to express through this project by us-
ing models of all races and from all places. The Em-
erson College students shown in the photos are Risa
Michiwaki from Tokyo, Japan; Andrea Sofía Méndez
from Toa Alta, Puerto Rico; Cordelia Kelly from Den-
ver, USA; Aaryika Jaipuria from Bangalore, India, and
of course, Kasvi Bhatia of Dubai, UAE & Delhi, India.

Cordelia Kelly was excited to learn about Holi

through the process of the shoot. “I think it [was] such
a wonderful way to celebrate Holi and I’m glad I got to
participate,” she says. Aaryika Jaipuria appreciated
the photoshoot’s authenticity and ability to express
the beauty of Holi, to “create such a beautiful interpre-
tation of color and natural beauty for the magazine.”
As The Prisoner’s Cinema comes to those in dark-
ness, and as Holi serves as a reminder to find the
light and beauty in the world and share it with oth-
ers, let this photoshoot remind you to do the same.

EFS 79 EFS
 Something Old,
direction: Arushi Jacob
photo: Carys Hirawady
models: Ayaana Nayak,
Ayesheh Jasdanwalla,

Something New
Krusha Mehta
writer: Arushi Jacob
editor: Vivian Nguyen
bts: Nicole Townsend
production: Mariia Lykhtar
videographer: Reagan Lynch

skirts, and spaghetti straps that make the heat more but most powerful forms of reinvention. There’s a cer-
bearable. tain kind of freedom in taking something with cen-
Few below the age of 50 wear traditional turies of history and making it your own. The passing
clothing in India now. Indian clothes are reserved down of jewelry is the continuation of life. The jewelry
for religious holidays and ceremonies: floor- is the central character, and each generation brings a
length silk skirts for Diwali and stiff sari new perspective in a different setting with a unique set
blouses for temple visits. With in- of supporting characters. Holding on to generations of
creasing globalization, there’s not jewelry and adornment practices is one of the simplest
a country in the world that is ex- ways to keep your home close to your heart. It’s a
empt from its culture changing re- minder of the people and places you love
in accordance with the West, and the memories you share with them.
adapting to their interests Feeling particularly nostalgic,
and opinions. There’s a lin- I put on my grandmother’s
gering cultural impact of their ring and swap my hoops out
rule, a not quite gone need for heavy, intricate pieces
to imitate their behavior in of metal, feeling my con-
hopes of acceptance and ap- fidence instantly boost.
proval. The world is growing I watch as brown girls
closer to each other than ever, walk the streets, each
but all of globalization comes with their unique

T
from the return of colonizers armor. Tiny golden
here’s a pile of gold jewelry on the bed, glint- The first time I wore that ring was two years to their home country, taking nose rings, jhumkas
ing in the afternoon sun. Wrapped in scarves, later, the day I started packing for college. I’d let it sit stolen pieces of various cultures brush against bare
nestled in velvet— some dull, some bright— in the jewelry box on my dresser through the coro- with them, permanently linking shoulders, paayals
my grandmother’s careful hands sort her jewelry navirus pandemic, forgetting it was there. Though, them to their occupied countries. chime around their
into four piles. In the midst of one of her dramatic once I was reminded of its existence, I never wanted When that link is severed and a coun- ankles as they walk.
anticipations of death, she decides now is the time to take it off. I twisted it around my finger as my try obtains independence, the colonizing Someone out there
to divide up her jewelry among her four grand- plane crossed the Pacific, each revolution a reminder country gets to keep all they have gained, while loves us; some-
daughters. The only one still in India, I sit across the of my home, of the meaningful and historical cultur- the colonized find themselves open and vulnera- one wants us to
bed, running my hands over the smooth curves and al heritage I possessed. ble, looking for something to depend on. Decades, remember where
jagged edges of her collection, listening to the soft Scars from the British’s 75-year occupation sometimes centuries, of conformity are impossible we come from,
clinking sounds. A rainbow of bangles inlaid with and colonization of India remain deep and evident. to erase and the effects of colonization remain inter- know our
colorful stones, small dangling earrings with pearls, Reminders of the wound manifest in the way the twined with daily life. India’s growing habit of only culture, and
flat squares of metal on strings of beads, each piece country tries to run from itself. Whether it’s the wearing Western clothing isn’t seen as something preserve
seems to have a different story. She tells me about food on our plates, the languages on our tongues, or strange or sad; it’s just the way things are. I had our
their significance: wedding presents, mementos the clothes on our bodies, with each passing year, never known any different or felt the need to express roots.
from trips across the world, pieces borrowed from India grows more and more Westernized. With each where I come from; until I moved halfway across the
and never returned to her sisters. There’s a particu- generation, the blending of the two seems inextri- world and missed my country and family so much I
lar ring I love, and when my grandmother sees me cably interwoven, especially within clothing. Long couldn’t breathe sometimes. More than anything, I
looking, she presses it into my palm. “What’s the use gone are the days of loose cotton salwar kameez and wanted to find a way to keep them close.
of it sitting in my closet?” She asks as I try to refuse. dupattas, replaced by the West’s staples; jeans and Embracing your roots is one of the strangest
“This way, it’ll see a little life.” obscure band tees, crop tops and cargo pants, shorts,
EFS EFS
EFS 81
 Once
Oncewhile styling
styling aayoung
whilestyling youngman,
young man,
man, Pastor
Pastor
Pastor Ivan Ivan
Ivan noticedespecially
withinsecure
how me Blackso hismuch love,because
client is so
felt important.
in the love,
unique Black
especially
cloth-

THREADS OF
noticed
ing, andhow how insecure
askedinsecurefor his trust. his The
his client
client young feltman’
felt inin the
sthe love
outfit ended
Black isupso important
being
love, isa so
success; to the
important.people world loved
Black because,
it.
loveWhenis for
so
unique
he seesclothing,
people, heand wants asked
asked them fortohis
for his trust.different.
all look
trust. The When
The aimportant
longhetime, studies lovethe
to wasworld
others’ the only
outfits, thing
he
because, Black
imagines
for a cer- peo-
long
young man’s
tain man’s outfit
features heoutfit ended
would ended up
add to up being
make being aa suc-
them suc-
unique. He ple hadlove
explained,
time, to express
“When
was the themselves.
you only thingIt’sBlack
can take people so connect-
and put
people
cess; people
people loved something
loved it. it. When on
When he them that
he sees enhances
sees people,
people, them,ed it
had changes
with to our their
express whole
creativity, character.”
themselves. fashion, It’s and identity.
so connect-

CONNECTION
he wants
wants themthem to to allall look
lookdifferent.
different.When Whenhe he ed with our creativity, fashion, and identity.
The clothes that he styles people in are from his aforementioned brand, Jamon. “Jamon is very cre-
studies others’
others’ outfits, outfits, he he imagines
imagines certain certain For the sake of my own curiosity, I asked Pas-
ative. I can dress Jamon up, I can dress Jamon down.” He further described the versatility of the
features he wouldwould add addto tomakemakethem themunique. unique. tor
ForIvan
brand, “Jamon is just about moving on now. There’s a lot more that life has to offer. You don’t have
the sake whatofdrew my own himcuriosity,
to Rebecca I asked andPas-me
by Delaney Roberts He
He explained,
explained,
to sit there and“When “When
stay in the you
you can take
can
situation take
you’re people
people that
in. It’s about tor day
Ivaninwhat
moving theOne
on.” mall.
drew ofWithout
himthings
the surprise,
to Rebecca
that life andhe con-
has me
to
edited by Teddy Beamer and put put something
something on on them them that that enhanc-enhanc- cluded
that dayour
offer is love. in the conversation
mall. Without beautifully,
surprise, he saying,
con-
“We need to return to the foundation of love if we want to grow” - Pastor Ivan es them, it changes changes their their whole whole character.character.” ” “You
cluded twoour were so fashionably,
conversation casually saying,
beautifully, astute.
When we first met, Pastor Ivan was telling us howThere’s “You
he was twono
onwereway
his 34thIsocould walk by casually
fashionably,
anniversary you all
with hisand not
astute.
wife.
My friend Rebecca and I decided to aimlessly wander the streets of Boston on one of The
The clothes that
clothes
Witnessing thatdynamic
the he hestyles
styles peoplehim
people
between ininare are
andfrom from compliment
his wife and There’s
their no way
healthy youIandall.
could Youwalk
long know by youyou look
relationship, allI and good,
asked not
the sunnier Saturdays in February. One turn led to another, and we found ourselves his aforementioned
aforementioned
Pastor Ivan, what does brand,
brand,BlackJamon. Jamon.
love mean “Jamonto you,isand but
“Jamon nobody
compliment
why wants
is it important? you all. to
He say
You anything
said, know
“Black youbecause
look
love they
good,
is very,
at Copley Mall. Walking past stores full of merchandise, from clothing to chocolate, very
isvery creative.
very important.
creative. I can dress
II say
can todressJamon
my wife
Jamon up,
all the Iup,
can
time,I dress
can hate
and I say but on
to people
nobody you.” Wetime,
all wants
the were both
to ‘Never
say wearing
stop
anything black,
courting.’”
because
and kiosks offering phone repairs, we came across a captivating man and his wife. Jamon
He
dress Jamondown.”
continued, He ”further
down. “Black love
He further described
is creative
described the versa-
in itself.
the Love washed
is creative
they hate denim on jeans.
in you.” IWe
itself because waswere wearing
love bothmy
is never Billie
easy.
wearing
Pastor Ivan and Jeanette. Now, I’m writing this piece. tility
But of theofbrand,
when
versatility you endure
the brand, “Jamon love,
“Jamon is justis about
and when you
just about mov-
strive to Eilish
black,Xwashed
continue Nike denim
to love, Sequoia
it makes green
jeans.it all hoodie
the
I was better.”
wearing with sa
It’my
clear
ing on Pastor
moving now.
on now. Ivan
There’s views
There’s a lot aalllotparts
more more ofthat
that life from
lifelifehashasthe
to powerful
Billielens
brown jacket
Eilish of Xanover
artist,
Nike “There
itSequoia
and some is aChuck
green creativity
hoodie 70s toto
with
The couple approached us, complimented our outfits, and initiated a conversation toour
offer. Black
offer.You expression
Youdon’t don’thave havethat to
to sit wethere
sit bringand out stay
and instay
our fashion
inin goa andwith
brown our looks
it.jacket
Rebecca that
overmanywas
it and will
wearing
somenot Chuck
even
a long tell70s
us,to
white
but it inspires them. They look and say, ‘Who do they think they are.’” Everything he said resonated
from which we learned a lot about one another. Pastor Ivan owns a fashion brand the situation you’re you’re in. in. It’s
It’saboutaboutmoving movingon. on.”
” sleeve
go with turtleneck
it. Rebecca paired with a apuffer
was wearing long white vest.
with me so much because love, especially Black love, is so important. Black love is so important to
called Jamon, inspired by his mother and his own love for fashion. The encounter One of the thingsthings that thatlife lifehas hasto tooffer
offerisislove. love. sleeve turtleneck paired with a puffer vest.
the world because, for a long time, love was the only thing Black people had to express themselves.
stuck with me so much that I knew I needed a chance to talk to him again. It’s so connected with our creativity, Meeting fashion, the and wise and uplifting Pastor Ivan
identity.
When we first met, Pastor PastorIvan Ivanwas wastellingtellingusus reminded
Meeting the me wise that and fashionupliftingcan helpPastorcreate Ivan
On a chilly evening, Rebecca and I were waiting in Downtown Boston’s Tatte when how
Forhe he was
thewassakeon on his34th
of his
my 34thcuriosity,
own anniversary
anniversary I asked with
with his Ivan
his
Pastor bondswhatwith
reminded drewme others.
himthat Simply
fashioncomplimenting
to Rebecca canmehelp
and day a
thatcreate
we saw a man in a fluffy, light-washed brown fur hat and coat walk in. Of course, it wife.
in the Witnessing
Witnessing
mall. Without thesurprise,
the dynamichebetween
dynamic between
concluded him
him stranger’s
bonds with
our conversation outfit could
others.
beautifully, make“You
Simply
saying, theirtwo daywere
complimenting or even
so a
was none other than Pastor Ivan himself arriving at the interview he so graciously and wife and
his wife
fashionably, and their
casually theirastute.healthy
healthy There’ and
and s no long
long way rela-
rela- lead
I could walk to you
stranger’s
by a beautiful
outfit
all andcould bond.
not make If Pastor
compliment theiryou Ivan
day ordidn’t
all. even
You
agreed to do with us. We exchanged greetings and jumped right into conversation tionship,
know you I asked
look good, Pastorbut
Pastor Ivan,
Ivan, nobody whatwants
what doesBlack
does Black
to have the
to acourage
leadbecause
say anything beautiful
they hatetobond.
approach If Pastor
on you.” mywere
We friend
Ivan and
didn’t
both
like no time had passed since meeting two weeks prior. love
wearing
meanblack,
to you, washed
and why why denim isis ititjeans.
important?
important? I was wearingHe
He me,
my
have we
Billiethewould’ve
Eilish
courage X Nikenever
to knownmy
Sequoia
approach how
green beauti-
hoodie
friend and
said, “Black
with“Black
a brown love
love isisvery,
jacket very,
oververy very
it and important.
some Chuck
important. IIsay
say70s toful
me,his
go with wesoul is or gotten
it.would’ve
Rebecca was wearing
never the
known chance howto
a long whitehear
beau-
“Every Wednesday night is date night with my wife and me,” he said, “you know my to my wife all the the time,time, and and Isleeve
Isay saytoto peopleall
turtleneck
people all
pairedhistifulinvaluable
with ahis
puffer
soulvest.is orwords gottenoftheencouragement.
chance to hear
wife loves you guys because, on her date night, she let me do this interview…some- the time, ‘Never
‘Never stop stopcourting.
courting.’” ’” HeHecontinued,
continued, his invaluable words of encouragement.
Meeting the
“Black love is creative wise and
creative in uplifting
in itself.
itself. Love Pastor
LoveisiscreativeIvan
creative remindedLater me thatthat fashion
day, oncan myhelp train create
ridebonds
back home,with
times we get comfortable with our companions, and we just settle. You don’t settle,”
others. Simply complimenting a stranger’s outfit could make their day or even lead to a beautiful
and he continued by explaining, “This is why tonight is date night.” in itself because love is is never
never easy. easy. But Butwhen when ILater
noticed that day,someone on myontrain theride train
backwearing
home,
bond. If Pastor Ivan didn’t have the courage to approach my friend and me, we would’ve never known
you endure love, and
love, and when whenyou youstrive strivetotocon- con- an oversized,
I noticed
how beautiful his soul is or gotten the chance to hear his invaluable words of encouragement.
someone whiteonbutton-down,the train wearing bag-
Ever since Pastor Ivan was a child, he was attuned to his mother’s fashionability. She tinue to love, it makes it all the better. better.” It’sclear
” It’s clear gyan army green pants,
oversized, white and Dr. Martin’s.
button-down, bag-I
would dress up him and his seven siblings cleanly, earning them compliments every- Pastor
Pastor
LaterIvanIvan
thatviewsviews
day, on allmy
all parts
parts train ofoflifelifefrom
ride fromthe
back thepow-
home, pow- went
I noticed gysomeone
armyout of onmy
green way wearing
the pants,
train toand say,Dr. “Hey,
an I real-I
Martin’s.
oversized,
where they went. Ivan eventually took a liking to fashion, and since the 80s, he hasn’t erful
white lens of an artist,
button-down, artist,baggy “There
“There army isisaagreen
creativity
creativitypants,toto lywent
and Dr. like out
Martin’ your outfit,”
s. Iofwent myout wayand
of my tosmiled as
say,their
say,to“Hey,
way face
I real-
“Hey, I
stopped experimenting with his style, accessories, and clothing, “I never wanted to our Black
Black expression
expression that
that we
we bring
bring out
out in in our
our lit
ly
really like your outfit,” and smiled as their face lit up, and they returned the compliment.up,
like and
your they
outfit, returned
” and the
smiled compliment.
as their face
look like anybody else.” He took a risk and started to make custom clothing which fashion and our looks looks that thatmany manywill willnot noteven even lit up, and they returned the compliment.
he described as “enhancing people’s appearance” and “bringing people out of their tell
New butconnections
us, but itit inspires
inspires them. them. They Theylook
can lookand
blossom andsay, say,justNew fromNew connections
aconnections
few words can
can of blossom
blossomlove just andjust
comfort zone.” ‘Who do they think think they they are. are.’” Everythinghe
’” Everything he from fromaafew few wordswords of oflove love
andand kindness kind-
said resonated
resonated with withme kindness
meso somuchmuchbecause being
becauselove, uttered
love, into
ness being the
beinguttered world.
uttered into intothethe world.world.
EFS 83 EFS
EFS
EFS 85 EFS
 direction: Sadia AboHussien
photo: Brando Castro
style: Amrita Bala, Kimstelle Merisma
THE MOST FLATTERING
makeup: Sadia AboHussien
models: Sadia AboHussien , Brandley Delgado
writer: Sadia AboHussien
CLOTHES FOR PLUS-SIZE
editor: Habeebh Sylla
layout: Ava Scanlon BODY TYPES:
Oh, wait. It’s actually… all of them!
bts: Justina Thompson

EFS
EFS 87 EFS
 ist economics teacher on the stu- What I’ve settled on, though, is
dent government trip to D.C.), who that what they truly felt was envy.
Wear something that hides your arms so the jiggle won’t was disturbed enough to write me Envy of seeing me embrace my
disturb anyone when you wave. Make sure your top is long up for “leaving little to the imagi- body with eye-catching and play-
enough to cover your stomach in case your camel toe peeks nation.” I’ll spare us all an inquiry ful clothing, obviously uncon-
about what the hell goes on in her cerned with what anyone might’ve
out. Don’t you think that dress is a little tight? Wear some fucking imagination. thought, something they’d never
shapewear underneath; it’ll smooth you out. Your stom- been able to do in the 40+ years
ach is practically spilling out of those jeans. Can you even What bothered me most about the of their lives. They couldn’t con-
lift your arms in that top? Thighs that big should not be in dress code violation was that she front me because they knew I was
sent that description home in a let- a walking contradiction to every
a skirt that short. It’s unflattering. Fat people should not
ter to my parents and made me sit moment they’d spent scrutinizing
wear— in a 70-year-old man’s office while and judging themselves, opting
he stared at my chest and slut- for the safer choice when dress-
shamed me for 3 minutes straight. ing each day, letting their favorite
You know what I love to see? Fat Two of my most vivid memories of When my thin, modelesque peer pieces collect dust in the back of
people blatantly and unapologet- being policed for dressing out of wore a similar outfit a week later, their closets while waiting to slim
ically having fun with their style. colonial accordance with my size the same teacher praised her for their already flat stomachs. They
Crop tops rolling up freed, round, are by two teachers in high school. looking so good. Two years lat- forever live trapped in the confines
hairy stomachs that stick out Yeah, grown-ass adults worried er, one of my prom chaperones of their own peoples’ imperial con-
farther than their asses. G cups about a child’s body— typical. stopped by my father’s restaurant cepts of gender, beauty, and sexu-
pouring out of plunge neck tops. to tell him I would’ve looked beau- ality, never getting to walk around
Curves hidden beneath oversized I stared blankly at the vice prin- tiful in my red, a-line dress with the offering themselves acceptance
jackets or button-ups. Short neon cipal, the sound of my swallows high slit if I’d lost some weight. My even when no one else wants to.
hair framing broad shoulders. Lay- echoing off his office walls covered first thought was, damn, we were I looked good and fucking free!
ered necklaces getting tangled in the football team’s decade-old getting high as fuck in the venue’s Also, of course, since they had me
in triple chins. Rectangle-shaped achievements, while he asked me bathroom stall, and she was too as a student, they knew I’d chew
bodies in skin-tight dresses, and if I could close up my jacket with busy wasting the whole night wor- up their white supremacist, misog-
skirts freeing cellulite-covered the broken zipper. “I can’t believe rying about my armpit fat popping ynistic ass perspectives in a milli-
thighs that thunder lusciously with you made it this far into the day out the side of my dress to do her second if they had the nerve to say
every step. We’ve survived enough dressed like... that.” I’m sure the damn job. In both cases, I found that shit to my face.
“Best Things to Wear Depend- black lace Wet Seal bralette get- myself confused about why both
ing on Your Body Type” articles ting lost in the rolls on my back of these straight, cis-gendered
to know that it actually doesn’t and torso, peeking through my white women couldn’t just bring
matter if you’re shaped like a pear sheer, white full-sized t-shirt, both- their concerns directly to me. May-
or an apple; it just matters that ered plenty of people that day. be, they knew it was perverted, or
you’re in tune with yourself and However, it didn’t bother anyone they assumed I’d react emotionally
having fun. Nothing will stop peo- more than the science teacher and didn’t want to deal with that.
ple from giving their input, anyway. (rumor has it, she fucked the rac-
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 Between forcing the width of my paralleled arms inside ev-
ery t-shirt, stretching them out as far as the fabric will allow,
and wearing two pairs of tummy-tucking underwear beneath
my bodycon dresses, I have never experienced euphoria like
I do when I just let my shit hang out for everyone to see. For
some, that feeling comes from being draped in bright, loose
fabrics that leave everything to the imagination.

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 For others, it’s struggling to breathe in all-black, rib-crushing corsets
that live in every incel’s fantasies. Since retiring from the combination
of a baggy black t-shirt and doubled pairs of leggings that formed rips
on the inner thighs after one wear and picking up the green monochro-
matic outfits that let my fat slip out in all the right places; I’ve learned
that dressing for myself, my joy and my pleasure is a better use of my
time than forcing my body into clothes that were never truly made for
me, and never truly felt like me.

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 Next time you think to tell
a fat person what they
should and shouldn’t
wear, keep your colonial
ass projections to your-
self. The last thing you’ll
do is like what we put on our
bodies either way. So, while you’re
worried about forcing your body
into an imaginary standard that,
sorry if you haven’t heard, you’ll
literally never fit into— we’re going
to have a good fucking time.
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 EMERSON FASHION SOCIETY

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