MAGAZINE

FALL / WINTER 2022

EMERSON FASHION SOCIETY
THE SUBCULTURES ISSUE EFS 1
INDEX MAGAZINE
THE SUBCULTURES
ISSUE
 STATEMENT OF SOLIDARITY WITH PALESTINE
**This statement does not necessarily
reflect the views or beliefs of all INDEX contributors.**

The signers below firmly believe in the right to achieve liberation from colonization through art, design, and
any oppressed people’s chosen form of resistance. As creatives, it’s our responsibility to consciously and
actively engage with real-world events as they inevitably inform our art and stories.

In the past few years, INDEX Magazine and its increasingly diverse leadership have worked tirelessly to
turn our publication into a platform for the voices of the silenced and unheard. With every issue, our goal is
to offer more stories by creatives whose identities have become inextricable from histories of cultural and
artistic imperial exploitation.

While making this issue of INDEX, we’ve watched Palestinians be massacred as mainstream news and
political superpowers orchestrate their dehumanization and disintegration. As a vast portion of the world
looks the other way— we refuse to do the same.

In past issues, contributors have illustrated hopes and demands for the decolonization of their art, fashion,
and communities, not just for the sake of representation or reclamation, but for autonomy and radical re-
imagination of what has been owned, stolen, co-opted, lost.

INDEX aims to challenge the dominant spheres of fashion and expression in this capitalist world and
imagine a space of transformation where those voices are no longer forced to suffer, survive, live, or die
in the shadows of their oppressors. Where they can thrive in the light of their own. Where the erasure
of invaluable life, culture, family, art, people, and legacy can take everlasting shape in our shared
love, creations, and solidarity. Where Israel’s attempts to manufacture and commodify imitations and
replacements of the native Palestinian spirit mark an immeasurable threat to the entirety of the world.

We stand firmly alongside Palestine and its diaspora’s 75-year-long subjugation to displacement,
encampment, genocide, and ethnic cleansing. We hold closely Palestinian’s unwavering displays of
resilience, defiance, community, and love in the face of relentless intimidation, terror, and grief. We not just
condemn— but vow to resist— the violent expansions of white supremacist, Zionist empires. As privileged
students in higher education, it’s necessary to call out all complacent institution’s efforts to suppress and
villainize the solidarity between Palestinians and every single one of us. That includes Emerson College.

As we continue to work toward a liberated future for all through art, fashion, and expression, Palestine’s
undeniable power, beauty, and imagination, and that of every other historically oppressed population,
define our practices of solidarity.

No fight for freedom should be taken on alone or in isolation. The liberation of Palestine is the liberation of
art, expression, humanity, and us all.

From the river to the sea,

Sadia AboHussien, Amrita Bala, Khatima Bulmer, Elisa Davidson, Juliana DiPaolo, Madeleine Golden, Nalany

Guerrier, Hannah-Mia Hinds, Brooke Holder, Georgia Howe, Nadine Ibraheem, Arushi Jacob, Gia Kim, Manyi

Li, Chiara Marini, Leila Minkara, Abigail Moser, Emma O’Keefe, Riya Patel, Sae Philips, Ava Scanlon, Habeebh

Sylla, Justina Thompson, Jagger Van Vliet, Moe Wang, Stephyne Weathersby, Libby Wilkins, Bec Wright

(Words by Sadia AboHussien / Art by Rayan Afif)

Chiara Marini
Leila Minkara
 INDEX MAGAZINE
PRESIDENT/EDITOR-IN-CHIEF
Jeanie Thompson

VP/DIRECTOR OF COMMUNICATIONS
Ananya Dutta

ViSUAL CREATIVE DIRECTORS

Ava Scanlon Moe Wang

EDITORIAL CREATIVE DIRECTOR

Sadia AboHussien

PHOTO DIRECTORS EDITORIAL TEAM PHOTO TEAM

Bec Wright Georgia Howe Jessica Zhang
Hannah-Mia Hinds Bridget Frawley Kyra Badger
Elisa Davidson Brooke Holder
STYLING DIRECTORS Bailule Hadgembes Charlene Cheung
Sae Philips Arushi Jacob Gia Kim
Nadine Ibraheem Vivian Nguyen Laura Valentine
Penelope Patsis Khatima Bulmer
EDITORIAL DIRECTORS Moe Wang
Sadia Abohussien Sophia Waldron
Dana Albala Sydney Ciardi
Habeebh Sylla Lucas Plitt Nikki Emma
Jagger van Vliet
CREATIVE PRODUCERS Veronica Deng
Stephyne Weathersby
Libby Wilkins
Nalany Guerrier EVENTS TEAM
STYLING TEAM
Vivian Nguyen
EVENTS DIRECTORS Jules DiPaolo
Samantha Switall
Manyi Li Anne-Claire Edwards
Amrita Bala Meredith Gross
Nicole Levine
Bree Ligon Emma O’Keefe
Madeleine Golden
ADVISOR
Tikesha Morgan MARKETING TEAM
Riya Patel
Ashley Maningas
Celeste Glass
Celeste Sanchez Proano

website EFSOCIETY.ORG
instagram INDEXBYEFS

ALL RIGHTS
RESERVED

EFS 6
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Please show them your support!

E M E R S O N
F A S H I O N
S O C I E T Y
EFS 7
 L E T T ER S FR OM
T HE EDI T OR S
This one is for the people.
This semester’s issue of INDEX has taken a radical approach to its theme for FW23:
Subcultures. This is my second publication with INDEX and Emerson Fashion Society as
Editor-in-Chief; as I reflect on our collective growth, awareness, hard work, and collaboration
as an organization, all I can say is that I am incredibly proud of and impressed by everyone’s
commitment to creating a magazine that means something and speaks to someone. This
semester challenged many of our members not only to persevere with creativity but to, in that
process, think critically and abstractly about what it means to redefine and reclaim connections
to self and their communities.

As you immerse yourself in this semester’s issue, you’ll notice that we’ve curated a unique
viewing and reading experience that can only be understood by thoroughly engaging with
every single piece of editorial content and visual art created by the members of EFS. We have
threaded together stories to explain a bigger message, and it’s up to you to decipher and sit
with that message. While you read, assess your feelings, your privilege, your lack of knowledge,
and your resonance with specific imagery, words, or phrases. Everything with this issue is
intentional.

Furthermore, I thank my insanely talented Creative Team — Sadia, Habeebh, Bec, Nadine,
Saela, Libby, Ava, Moe, Hannah-Mia, and Nalany — for their dedication to strengthening
our artistic vision and mission within INDEX and EFS. You guys not only held things down
but also reminded me of the importance of practicing community and friendship in this work.
All of you have become people that I look up to and respect. This will not only be my last year
with INDEX but with Emerson College, and in all of my time spent here, you all have become
my definition of a dream team. Thank you immensely for everything. You all have bright and
beautiful things ahead of you.

Lastly, I would like to say: FREE PALESTINE. FREE SUDAN. FREE CONGO. FREE
INDIGENOUS LAND. FREE THE WORLD.

INDEX is a reminder that we all have the opportunity to make art because we can. A lot of
people — especially people in historically-compromised parts of the world — are not granted
access to the same resources and freedom of expression that we are. Please stop looking away
from what’s happening right now. Please speak up. Please resist. We no longer have the choice
to sit by passively.

“A colonized people is not alone. In spite of all that colonialism can do,
its frontiers remain open to new ideas and echoes
from the world outside.”
— Frantz Fanon, The Wretched of the Earth

JEANIE THOMPSON
PRESIDENT/EDITOR IN CHIEF

EFS 8
Over time, INDEX has strived to fill critical gaps in the
Emersonian dialogue on fashion, culture, and identity. Guided
by questions like “Whose perspective isn’t represented?” and
“How can we change that?” INDEX aims to fill these gaps
with reflective, experimental, and radically imaginative stories,
amplifying voices historically drowned out by oppression.

Now, we’re reminded of the importance of amplification.

Meaningful art is rarely created in a void; the FW23 issue is
no exception. As INDEX came together, an unimaginable
loss of life has continued to unfold in historic Palestine. Many
communities’ needless loss of innocent lives is heartbreaking
and requires our critical engagement. As creatives at Emerson,
we carry varying levels of privilege. Whether this comes from
our class, nationality, ethnicity, or race, it is our responsibility
to engage with the world around us and use our creativity and
privilege to uplift those who aren’t afforded the same security
and opportunities that we are.

Engaging critically with the ongoing violence we’ve all watched

unfold, from the comfort of our homes and digital separation,
means holding space for universal grief while acknowledging
that a specific population is disproportionately targeted,
dehumanized, and displaced at the militaristic hands of the two
most powerful “democracies” in the world. If these words make
you uncomfortable, I invite you to consider this: conversations
of oppression exist despite instead of for. They move at a
different pace than that of institutions — which can be a cause
for friction. Sit with that friction. Let it guide you.

The art we create has power. With the privilege and platform
afforded to me by INDEX, I ask you to join me in lending your
empathy, your compassion, your support, and your creativity
to the Palestinian people. Palestinian dreams and creativity
have nowhere to go right now. Use your influence, wallets,
voices, art, and platforms to advocate for an end to the systemic
occupation and ethnic cleansing of Palestinian people.

Equity and mutual liberation remain urgent until achieved.

“None of us are free until all of us are free.”

- Maya Angelou

ANANYA
DUTTA
VP/DIRECTOR OF COMMUNICATIONS

EFS 9
 Welcome to the latest issue of INDEX Magazine!
This year, the INDEX team made an effort to break the
boundaries of previous issues. I extend my heartfelt thanks
to our incredible team for their dedication to making this
magazine possible and to our visionary Editor-in-Chief,
Jeanie, for her guidance. I would also like to thank my Co-
Director, Moe, for putting her heart and soul into every
layout. Thank you all dearly for entrusting me with the
design of the magazine.
Working with everyone in INDEX has been nothing but an
absolute pleasure. With every meeting, every revision, every
new idea, my heart is so full with joy from working with
some of the most talented people I know. Knowing that
each thing in the Subcultures issue is so special to our team
members, I feel so honored to be trusted with everyone’s
work. We need these stories now more than ever.
As you turn the pages, embrace the fusion of style, culture,
and art.
“When I look back on my life
It’s not that I don’t want to see things exactly as they
happened It’s just that I prefer to remember them in an
artistic way
And truthfully the lie of it all is much more honest because
I invented it.” - Stefani Germanotta
Free Palestine
Warm regards,
AVA
SCANLON
VISUAL CREATIVE DIRECTOR
EFS 10
To me, a subculture is any form of expression that is unique
and far more exciting than the boring mainstream. In a way,
it is a resistance to widely accepted dominant standards,
freely exploring distinctive styles and carving out space
for itself to be heard and seen in this world where the
mainstream gets the most spotlight.
During my time at INDEX, this organization has felt like
an important subcultural community to me. With all the
diverse ethnic representations that I see in its membership,
it’s been a safe, inclusive space for me to express my love for
Asian fashion, which all started with my very first INDEX
shoot on the Japanese gyaru/gal subculture one year ago.
INDEX is one of the few Emerson communities where, as
an international student, I can relate with a diverse team who
all share the same love and passion for fashion. Although
this was my first semester serving as Co-Visual Director, I
am grateful for how INDEX welcomed me into the new
position. I’m incredibly delighted to have contributed to this
issue before I set off to ELA next semester!
As digital and virtual styling starts rising as a new form of
aesthetic expression, I believe that the future of fashion is in
technology. With digitalism, there are no more limitations
to the materials used and the shape and design clothes can
take. It presents us with more excitement and possibilities in
how fashion can exist. In fact, digital and metaverse fashion
is already becoming an integral part of the local visual
language for many magazines and fashionistas in Asian
countries like Singapore and China.
Thus, through this issue, I wish to invite all my Emerson
fashionista readers to see, feel, and explore the futuristic
world of fashion.
From,
MOE
WANG
VISUAL CREATIVE DIRECTOR
Throughout my time at Emerson College, I’ve come to realize that
there is always something new to learn. No matter how knowledgeable
or “woke” we assume we are, there is always something that we are
oblivious to. I used to think that as a Black woman, my challenging and
sometimes liberating life experiences made me “woke” to everything.
But, I soon became aware that I had only scratched the surface of
knowledge and insight about diverse identities.
Admittedly, I held an unconscious bias about my own identity that
hindered my ability to learn about other individualities. Becoming
aware of my own bias made me discover a cosmos of intersectional and
intercultural identities far beyond what I could previously comprehend.
Throughout my time with INDEX, the reality that each identity and
culture stands to be more different and diverse than another became
even more evident. I’ve learned how identities and cultures can be
dynamic, influential, captivating, and present all at once.
This semester’s theme embodies the uniqueness and similarities of
Subcultures, some longstanding and others created and experienced
in our own lives. We invite you to set aside your unconscious bias
and reacquaint yourself with the individualism that lives within large
communities, from Emerson’s campus and beyond. As you experience
the FW23 issue, I challenge you to learn of a subculture unfamiliar to
you, solely with the intent to open your awareness of identities that
differ from your personal perspective. Compel yourself to acknowledge
that there are prominent cultures beyond your own and become
awoken to Subcultures.
Enjoy.
NALANY
GUERRIER
CREATIVE PRODUCER
Before immersing ourselves into this beloved body of work,
I want to take a moment of recognition for the work our
incredible team here at EFS has contributed to making this
all happen. We wanted this issue of INDEX to elicit feelings
one would have never anticipated sprouting from a student-run
collective.
We aimed for everything but fantasy: we wanted raw, real,
uncut, and even a little uncomfortable, as that’s how life goes.
We wanted to provide a space for everybody’s stories to tear
through the pages, supported by their loudest voices and
brightest colors.
My biggest wish for the release of this issue is that everyone
sees a glimpse of themselves or something they can connect
with. We want this to extend the space we have created within
our home bases to everyone who picks up a copy; this, in its
own way, is for everyone.
With so much love and admiration, I thank our incredible
EIC, Justina Thompson, and our E-Board, whom I am forever
in awe of. You all are the coolest. And to our audiences and
readers, we are motivated by your support every semester to
deliver you our absolute best, so it is with great pleasure and
pride that we present to you… INDEX Magazine’s FW23
issue, Subcultures.
With abundant thanks,
LIBBY
WILKINS
CREATIVE PRODUCER
EFS 11
 From the moment we realized that INDEX’s theme for the
Fall semester would be Subcultures, three powerful words
resonated in my mind: diversity, delicacy, and pride. Stepping
into my first INDEX shoot only intensified the relevance of
these words. The entire INDEX team not only demonstrated
respect but also a deep consideration for the content we curated
for the magazine.
This was my first semester working with INDEX, but also
my first semester working as a Style Co-Director alongside
the amazing Nadine Ibraheem. It’s been such a ride, but I’ve
loved every single minute of it. It has been a privilege to work
with such dedicated and driven individuals who care so much
about this magazine and the impact it has had on readers. I’m
so grateful for this opportunity.

Throughout this whole process, the INDEX team exhibited
great care in selecting shoots, choosing models, and tending
to the intricate details of each individual project. Even my role
as the Co-Director of the Style Team, overseeing makeup and
outfit looks, was executed with precision to honor the overall
vision set by the photo directors.
As a lead stylist, I aimed to respect and shine a light on
subcultures that often go underappreciated, using clothing as a
powerful medium. I am incredibly grateful to have been part of
such a beautiful and enlightening process. The positive energy
within the team made this experience not only gratifying but
also life-changing for me.
As a united team of directors, we collectively agreed to make
diversity the norm, ensuring that it wasn’t a matter of ‘not seeing
color’ but celebrating every color. Flipping through the pages
of the FW23 issue, it’s evident that this goal was successfully
achieved.
When I think of the word ‘Delicacy,’ I envision something that
should be nurtured and cared for. This precisely encapsulates
how we treated each subculture featured in this magazine.
To capture every photoshoot director’s subcultures, a level of
nurture and care was indispensable.
To our lovely Style Team, thank you all for having such a great
work ethic and amazing creativity. Styling can be difficult, but
you all do this job with an ease that I admire. Your talent and
ability to problem-solve have played a significant part in each
stage of production. While I know how stressful and tedious
the process was, you have all done beautifully, and I am so
excited for everyone to see all the great effort you all have put
into this magazine. From the bottom of my heart, thank you for
working with Nadine and me to make this all come together;
we are so appreciative.
To Nadine, thank you for being a great partner. It has been
the most fun to work alongside you and witness your talent for
styling. You are the real deal!
Readers, all I can say is enjoy!
Much love,
SAE
PHILIPS
STYLE DIRECTOR

As readers explore the magazine, I hope that each page

resonates with them on a personal level, evoking a sense of
pride. Even if it’s just a small connection, I aspire for many
to feel proud that reflections of their communities have been
beautifully conveyed for others to see.

NADINE
IBRAHEEM
STYLE DIRECTOR

EFS 12
Last semester, I took a subcultures class, only having a vague
idea of what it meant at the time. That class deepened my
understanding of what it means to belong to a community
through shared clothing, slang, and rituals and what it means
to have someone not a part of that community tell you what to
practice, what to wear, and everything wrong with how you
present.
Ironically enough, this semester, INDEX chose Subcultures as
the theme. I found myself wondering what subculture I could
speak on; what I discovered was how to find myself in these
subcultures I didn’t originally see myself in. The subcultures
I learned about in that class had certain communities they
belonged to and specific audiences they spoke to. I wondered
what it would look like to pay homage to the early 2000s culture,
including an aspect we didn’t see enough of during that time, a
queer relationship. So, I followed through and was so glad I did.
From the initial pitch to the final outcome, the process of
building my team, finding the clothing pieces, and designing the
layout proved to be incredibly rewarding. I have never been more
grateful to have a group of people put their trust in me and my
ideas over two days of shooting. While this theme will speak to
a variety of cultures and perspectives, I hope Give Me a Smile
Sweetheart will speak to how a diverse group of people came
together to support one another and make a vision spark to life.
I wanna thank my beautiful friends who helped with the pictures
and let me keep the dorm a mess for a couple of days. I want
to thank Jeanie and the INDEX team for believing in this idea.
Bec for the stunning photos!! Nadine for going along with my
early 2000s fashion concept from the jump, and Sae for their
incredible hair styling. I’m so grateful to my beautiful, beautiful
Leila for being my co-model and muse for this photoshoot.
Lastly, my amazing partner, my ride-or-die in this whole
process, deserves all the thanks in the world, and even more,
my Co-Editorial Director Sadia, who made this photoshoot
come to life with her jaw-dropping makeup skills and
collaboration on the fun little game in the magazine. She
is the best person to be surrounded by, and I love learning
from her every time I see her.
Thank you, everyone; I couldn’t do a lick of this work
without all of you!
I hope you all enjoy this newest issue.
HABEEBH
SYLLA
EDITORIAL DIRECTOR
It’s hard to find words of optimism and joy in the face of
catastrophe. Whether we have the privilege to look away
or not, the sad reality is we live amongst relentless tragedy.
Regardless, what we can always find is love. That is exactly
what the Subcultures issue is— uncovered pieces of our equally
relentless love.
Working on many of these spreads, whether as a makeup artist,
editor, director, or moral supporter, I have constantly been
reminded why leading with love is how we get closer to the
world we dream of living in. How we strengthen our collective
power. How we act fearlessly in the scariest moments. The
various teams I’ve worked with while constructing the FW23
issue made me believe humanity is invincible despite what
we’ve seen of it set ablaze and destroyed.
Thank you to the wonderful Spill The Chai cast for allowing
me and my partner in crime, Leila, to feel and capture the
infectious love you have for yourselves, one another, and queer
SWANA people everywhere with Najum Al Nas (Stars of
the People). Thank you to my best friends, Jeanie and Amrita,
whose hearts and minds inspire me so deeply; it’s always an
honor to help bring your visions to life and constantly find you
in mine. Thank you to Habeebh, my uplifting and insightful
Co-Director. Growing alongside you while learning from your
patience, sincerity, and instinct to keep it as real as it gets has
been a gift. Thank you to the INDEX team; your excitement
to challenge limits without any hesitation is invigorating. All
of you make it so easy to love unflinchingly.
Thank you to everyone who picks up a copy of this issue, reads
each page, and offers back every ounce of care, intention, and
unequivocal love embedded into it. Thank you to everyone who
isn’t yet ready to experience such a visceral and revolutionary
existence; we’ll continue loving extra loudly until you are.
No matter what pushes people into shadows, sometimes
viciously into complete darkness, what lives within us is
unassailable. What we share, pass on, and immortalize in our
art and one another cannot be threatened. Not the abundant
stories of our people, not this magazine, not our love.
With every bit of my aching heart and more,
SADIA
ABOHUSSIEN
EDITORIAL DIRECTOR
EFS 13
 Everyone who is part of the Emerson Fashion Society
and who worked on the INDEX Fall ‘23 Issue has made
such incredibly beautiful content. This semester’s theme,
Subcultures, offers a broadened perspective to the world of
fashion.
Fashion should not just be what we see worn within our
own communities. True fashion is the embrace of diverse
cultures and expressions, allowing each individual to create
unique identities. Highlighting voices that are continuously
ignored, especially within the fashion industry, offers a
great opportunity for learning how to keep spaces open
for various perspectives inside and outside of the Emerson
Community.
As Co-Events Director, my mission is to provide
opportunities for the members of EFS to come together and
celebrate their art and love of fashion. We’ve planned the
launch party for this issue in a way that honors all the hard
work and dedication everyone has put into the magazine.
NICOLE
LEVINE
EVENTS DIRECTOR
EFS 14
This was my first semester joining EFS, and it has been so
amazing! Culture can be defined in so many ways and doesn’t
necessarily have to be tied to a country; it can be anywhere
we find community. Being a first-year Co-Events Director
for EFS, I’ve loved the energy my team gave me at every
meeting. At EFS, we have our own culture, which makes it
very fun to work with everyone.
At the beginning of the year, it was a little bit overwhelming. I
didn’t completely get on top of things, leaving my Co-Events
Director to do the job I was originally asked to do. After
talking to other team leaders about my role, I immediately
understood what a director position at INDEX meant.
Holding a leadership position is very important at INDEX,
which helped me to become more responsible with tasks like
responding to messages quickly, communicating with other
organizations, staying on top of everything, and so on.
To me, this year’s theme is so interesting because it gives
everyone a chance to express themselves with their culture.
With there being so many subcultures in our society, each
one needs to be respected equally. Through this theme,
many more have a rightful opportunity to show their identity,
no matter what. I really hope our community enjoys this
semester’s theme and gains a stronger understanding of what
it means to be a part of a Subculture.
MANYI
LI
EVENTS DIRECTOR
Fostering communities from shared experiences,
interests, or struggles can be revolutionary to those
who are otherwise lost, isolated, or facing rejection
in dominant society. Subcultures provide us with a
sense of belonging; they allow us the opportunity
to authentically express ourselves in a society
where conformity is often a means of survival.
Subcultures can challenge the status quo and
push the boundaries of normalcy, sparking crucial
conversations about self-discovery, diversity, and
inclusion.
Our theme, Subcultures, highlights the importance
of all these things. With each project you
experience throughout this issue, you might find
that some speak to you and others don’t. Despite
this, each project artistically displays an idea,
value, or community that has the power to bring
people together and offer representation. Bringing
attention to an array of subcultures as a theme for
this magazine has the potential to serve as a form
of advocacy, which is something I feel incredibly
blessed to be a part of.
I have had the absolute pleasure and privilege
to work with some of the most talented and
creative individuals as a part of the INDEX team
this semester, and I firmly believe that this issue
attests to that. As a work of art curated with great
care and thoughtfulness, I ask that you reflect on
BEC
WRIGHT
PHOTO DIRECTOR
As I reflect on this amazing issue, I am filled
with immense gratitude for the dedication,
creativity, and courage displayed by the photo
team. Each member has poured themselves
into some of the deeply personal experiences
This one is for the people.
featured in this issue. I want to express my
thanks to each member of my team for handling
these narratives with such care and elevating
them with unique vision and skill.
The Subcultures issue shows what we can
conjure up when we include much-needed
perspectives in much-deserved spaces. The
E-Board and every single INDEX member
have come together in a way that I have never
witnessed before, resulting in one of my favorite
INDEX issues yet. The synergy of our team is
unparalleled, and the result is nothing short of
incredible.
Looking ahead, I am filled with anticipation
for the future of INDEX. Thank you again to
everyone for their countless contributions.
We are not just back. We are here to make a
long-lasting impact.
HANNAH-MIA
HINDS
PHOTO DIRECTOR
EFS 15
 HANNAH-MIA
HINDS
PHOTO DIRECTOR

BEC
WRIGHT
PHOTO DIRECTOR

EFS 16
TABLE OF CONTENT
1 THE LAST SUPPER

9 WHAT THE EYES MISS, THEY

CATCH!

19 A TIGHT SPOT

25 CICADAS

35 COUP

43 THE SPACE GIRLS

55 TRAPPED IN UNIFORM

61 *****

69 JAPANESE GYARU!

75 SEE MY SOUL

81 WE, THE PEOPLE

EFS 17
 MAGAZINE
THE SUBCULTURES
ISSUE

EFS 18
CHAPTER ONE

IN NEW SOIL
EFS 19
EFS 20
 Director and Stylist: Amrita Bala
Photographer: Veronica Deng
BTS Photographer: Jeanie Thompson
Makeup Artist and Editor: Sadia AboHussien
Layout: Ava Scanlon
Models: Simrat Pannu and Amrita Bala

EFS 21
EFS 22
There is a certain type of joy that really only comes from
seeing your mom smile. Even if everything else went wrong,
I already accomplished the most important thing of the day.
I tied my own saree while she got her makeup done. The
pleating is always what frustrates me most; they never
sit as crisp as I see every experienced saree wearer have
them. Ma came into my room while I picked out my jew-
elry. I got ready to tie her saree, admittedly nervous.
It’s been a difficult task for
me in the past, and since this
day was the first time in years
my mother and I would get
a picture together, there
was added pressure. She
likes to blame me for that,
complaining that I never let
her take pictures of me any-
more, but that is something
I directly inherited from her.
Prior to this photoshoot, I
had almost no pictures of
her, which is not shocking
considering she has practi-
cally no pictures of her Ma.
I tucked in the fabric all the
way around the waistband
of her petticoat and began
on the pleats. She looked up
at me with such excitement, a warm break
from the usual dread I saw on her face while
tying a saree. I pinned it in all the necessary
places, adding a couple more so she felt extra
secure. I laid the pallu —the decorative end
of the saree— on her shoulder. She looked so stunning.
From the look on her face, I could tell she knew it too.
My mother is not a person who thinks of herself
as beautiful, which is crazy, and I’m sure you think
so too, looking at these photos. When you tell
her, she always laughs it off, like she’s just politely
responding to the obligatory compliment. What
I don’t think she realized was that, in this world
where she was one of the only reflections I had of
myself, one of the only people that looked like me,
I really needed her to believe she was undoubtedly
beautiful. In an unfortunate reality where your face
and body are politicized, unwavering self-love is as much self-
care as it is an act of resistance. What I didn’t realize until
the moment the first photo was taken, was that as much as I
needed her to be my representation, I could be hers too. It’s not
shocking when people don’t like something they were forced
to wear. As a toddler I would fight back with every ounce
of me as my mom forced my arms into my baby pink winter
coat with white faux fur trim around the hood. But for Ma, it
was a little less specific; instead all sarees had these negative
associations. Bringing up resentful memories of
her wedding, where her pushy mother-in-law was in
full control of everything, even Ma’s clothing choice.
It’s unfortunate that she never got to have the big
Sikh Punjabi wedding of her dreams for
either of her marriages. The sarees
became an example of the ways that
she has been forced to change herself.
To make herself smaller and more
amenable. To conform to Hinduism—
a religion that I have a lot of love for,
but was such an oppressive force in
the later years of her upbringing.
I followed in her footsteps as a
kid and also hated sarees. They
seemed way too complicated,
and the only person I ever saw
consistently wear them was my
grandmother. We did not have
the best relationship, mainly
because of the way she treated
my mother. Still, once I learned
to appreciate sarees, the mess
of family drama aside, I saw
them as a symbol of expression.
Something tangible that
showed a resistance to dominant
American culture, which was all
too easy to drown in as a Sikh
and Hindu brown girl. Just like
for Ma, as a Sikh woman in India.
I’ve developed such love for the colors, patterns, drapes— the
way they are so fluid in nature. Just being endless yards of
fabric, sarees allow people to focus on creativity because the fit
can be so customizable and in your control. They’re so versatile
in their beauty, and that only makes me love them more.
The way my mother and I connected with each other was very
stiff when I was younger. I felt that her voicing this distrust of
Hinduism and its dominance over India’s culture meant that
she wanted to distance herself from those parts of my identity.
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EFS 24
While I am still very much a Sikh, I am as much a Hindu,
and I wanted both of those pieces to be loved. Especially
in the environment I grew up in, where neither of them
were. I misunderstood her because I placed her feelings
in the context that I grew up in, not the context she
grew up in. We both had this want for rebellion; for me,
that meant an embrace of all things Indian that I could
get my hands on; for her, that was a rejection of some of
these more predominantly Hindu symbols, like sarees.
With this photoshoot, the hope was for her to find the
love, joy, and liberation in sarees that I had eventually
found. By making this an experience where she had
all the say. Instead of both of us wearing a bindi — a
traditionally Hindu adornment — I wore a bindi, and
she wore a tikka — a more collectively shared piece of
Indian jewelry . The subversion of tradition is what
made Ma the most excited. I wore my hair in a bun
and was draped in a blue and orange saree, two things
that are very classically meant for older women to wear.
Ma wore her hair down and was draped in a pink and
green saree, typically a more youthful look. Instead
of conforming to those things, we chose whatever
we actually wanted to wear, whatever felt the most
true to each of us. My wish was to provide her with a
space where she could feel beautiful without feeling
the need to become anything she just is not. To feel
beautiful in a space without judgment or without a
need to conform to something else, to give her choice,
some of what the world has not given her enough of.
“With this photoshoot, the
hope was for her to find the
love, joy, and liberation in
sarees that I had eventually
found.” EFS 25
EFS 26
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Photographer: Laura Valentine
Model: Meron Nephtalem
Stylist: Amrita Bala
Editors: Sadia Abohussien,
Habeebh Sylla, Vivien Nguyen,
Layout: Ava Scanlon
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EFS 34
 “Habesha is a collective term
for the native inhabitants of
Ethiopia or Eritrea. Habesha is
neither a race, nor an ethnicity,
nor a nation. It is a way of living,
a state of mind, and a collective
of various cultures. It doesn’t
have a common language or

C
religion.”
- Abigail Mengesha
offee is made from
scratch when guests
come over. It’s tradition
to let everyone in the
house get a whiff of
smoke from the roasted
coffeebeans.It’ssomethingthateveryHabesha
household does, that you never question. Just
like how there is always incense burning.
When I think about being Habesha, I think
about my home, friends, and family. I think
about my culture. I think about the delicious
food my mother makes. I think about my
grandmother, who knows the slightest bit
of English and speaks to me in Amharic.. I
think about my father, who would blast his
Teddy Afro CDs in his old car. The bass and
drums of the music would make the whole
car vibrate. I reminisce on the Friday nights
that I spent as a kid with the other Habesha
kids in the Boston area. I think about the
eye contact I make with Habesha people
on the street with distinct facial features:
Large foreheads, strong cheekbones, and
big, beautiful eyes. I wonder if they’re my
aunt, uncle, family friend, or just a stranger
who happens to share the same roots as me.
We are most identifiable when the culture
especially shines through for special events,
like weddings or any celebrations of
sorts. My mother usually dresses me
in a traditional white Kemis, with
colorful threading along the sleeves
and hems. When my grandmother
lived with us, she would bring out her
extensive collection of traditional gold
jewelry giving me options to choose
from. When none of them appealed to
me, she would offer me the gold cross
necklace she wears. Weddings were
like the Met Gala, a chance for people
to embrace their cultural style and, of
course, love. Though, these are a few
of the distinguishable features that I’ll
always be reminded of, embracing and
taking ownership of this culture wasn’t
always easy for me. “Why does the house
smell like coffee?” or “Their language is
so weird!” is what I always thought was
going through other people’s minds.
Growing up, at certain times, I
would try to hide my cultural identity.
When my mother would braid my
hair, tears would be rushing down
my face. Not only because it felt as
though she was braiding my thoughts
maneuvering through my thick, curly
hair, but because in those moments, I
wished I had the pin-straight hair my
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EFS 36
 “When I think about being
Habesha, I think about my home,
friends, and family. I think about
my culture. I think about the
delicious food my mother makes. I
think about my grandmother, who
knows the slightest bit of English
and speaks to me in Amharic.”

EFS 37
 white friends had. I wanted it to flow
with the wind and wished I could
brush my hands through it without
getting tangled in the curls. Instead,
my hair would be filled with endless
amounts of leave-in conditioner, curl
custard, and concoctions of oils,
still somehow managing to frizz
up. This feeling of embarrassment
would wash over me at times, a
constant fear of judgment especially
when friends would come over.

I feel a sense of guilt when I reminisce

about how much I wanted to change
as a kid. I was so enthralled by the
characters in the shows I watched,
like Hannah Montana. I was too busy
wishing I had the bright blonde hair
that I forgot how to appreciate my
own qualities. I thought about bright
pink lips and rosy cheeks, convinced
that was true beauty. Now, I think
about my parents, specifically my
mother. She gave and still gives so
much, but I wanted to be different.
She came to this country for a better
life not only for herself but for her future
children, for me. She speaks to me in
both Amharic and English, spends
hours doing my hair, and makes
mouthwatering injera. It has become
instinctual for her to integrate the two
cultures in so many aspects of our lives.

Day to day, not only trying to succeed

for yourself but for the ones who gave
you this life. There’s a pressure when
trying to uphold these goals that we or
our families set for ourselves. It’s safe to
say that I haven’t fully figured out how to
balance it all, but when I see Habesha
people conquering and flourishing in
life it inspires me to keep going. From
Habesha musicians like The Weeknd

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(Abel Tesfaye), Aminé conquering the
industry, to actors like Tiffany Haddish
making appearances in all types of
movies. Seeing people with deep
connections to their Habesha roots
means a lot, from strangers on the street
to prominent figures in Western culture.

One of the most influential people to

me who represents the intersectionality
between Western and Habesha culture
is my mother, Saba. To this day, I admire
her stylistic choices. Especially in the
2000s, when she would sport her black
Bebe tank with the letters written out in
rhinestones. Skinny jeans or black yoga
pants were always staples when she wasn’t
in her scrubs, typically paired with a denim Her skin radiates when the sun hits her face, never changing from when she
jacket. On her shoulder was her black would pick me up from elementary school. I can spot her from a mile away.
leather Guess purse that held her life’s Something she has always worn, that you wouldn’t catch her without,
belongings in it, including her bright red whether it’s a jeans or yoga pants day, is her Habesha, gold necklace. She
lipstick and shiny clear lipgloss. Her curls proves that you can experiment with new things and still incorporate your
always bounced as she walked, showing heritageintoit.Whetherit’sachangeofwhereyoulive,yourdailylifestyle,who
off her honey-blonde highlights. If her you surround yourself with, or simply your clothing, you don’t have to give
hair wasn’t down, she rocked a slick back up one culture to experience the other. Though she’s immersed in Western
look, thanks to the tried and true Eco gel. society,embracingtheprospectsof individuality,hercultureneverleavesher.

EFS 43
 “Why does everybody ask me if I’m Latina? Isn’t it obvious?”
Maddy Perez, Gloria Delgado, Jasmine
Flores, and Veronica Cecilia Lodge.
What do these names have in com-
mon? They all sound as Latina Mami
as humanly possible. These names be-
long to the token Latina characters in
well-known TV shows such as On My
Block, Euphoria, and Riverdale. These
characters are usually written for two
reasons people tend to overlook: first,
to add lazy representation and “diver-
sify” the character cast, but most spe-
cifically, to add some “spice,” or sazón,
if you will. What makes these charac-
ters identifiable? What makes you say,
“That is the token Latina character,”
when you start a new Netflix show?
Fashion and makeup are what give
birth to the Latina Mami aesthetic
represented in the media. Slick-back
ponytails, flawless foundation, sharp
eyeliner, big hoops, and long acrylic
nails, all nicely wrapped in a confident,
sexy attitude that most men find “exotic.”
EFS 44
This dangerously becomes everything that being
Latina means. American media creators tokenize
the Latina woman’s identity in a failed attempt to
represent a marginalized community. But, at what
point does this representation become tokenism?
Is non-Latinos participating in the so-called Latina
Mami fashion culture harmful or beneficial to
Latina women’s representation in the United States?
An actress particularly known as an example of the
Latina Mami archetype in contemporary American
TV is Alexa Demie. I know she is an overused
example, but trust me,
it’s inevitable to think of
her when you hear the
words “Latina Mami.”
Alexa Demie’s breakout
role, Maddy Perez, in
HBO’s Euphoria, easily
stands out from the rest
of the show’s characters.
Her nails are always on
point, monochromatic
outfits from head to toe,
and she knows damn well how to
walk in any size heels. If I had to
narrow it down to a single outfit that
primely exemplifies Latina Mami
fashion, it would have to be Maddy’s
outfits in Season 1, Episode 2.
During the parking lot scene, Maddy
wears a basic white lace trim tank on
top of an iconic pair of denim jeans
with cheetah print details along
the waist and back pockets. This,
accompanied by gold jewelry and a
high bun, is the epitome of Latina
Mami Fashion. Her outfit emits
confidence, sensuality, femininity,
and power: all components of the
Latina Mami style. However, we all
know that the outfit Maddy Perez is
known for is her carnival outfit from
Season 2, Episode 2. Wearing the
classic I.AM.GIA Lucid Matching
Set in a deep purple shade, she
shows up every other girl at the
carnival. She wears the same outfit
in the scene where she mercilessly
confronts Nate’s family, a moment
she is most often recognized for.
Maddy’s character is redefined by
this scene. It’s some of the first insight
the audience gets into Maddy’s
fearless and groundbreaking attitude
when it comes to protecting herself
against a possible enemy. Despite
this, it’s also inevitable to pick up on
how the directors are attempting to
characterize her, and there’s no better
way to put it— like a crazy bitch.
The truth is no one would ever do
a thing as confront their partner’s
family by throwing their huge pot of
hot chili to the ground and calling
their mother a cunt. All of Maddy’s
All of Maddy’s friends, even her
boyfriend, are secretly scared of
doing anything that might come
even remotely close to pissing her
off since they all know she’ll do
anything and everything to get
what she wants. Why is it only she
who appears to have this approach?
Why not Rue, Jules, or even Lexi?
Because Maddy is the designated
Latina Mami, and her attitude can be
justified by the fact that she is Latina.
Maddy’s traits are severely
exaggerated throughout the entirety
of the show, and still, some Euphoria
fans deem her a “queen,” admiring her
“confidence.” In reality, these attitudes
“American media
creators tokenize
the Latina
woman’s identity
in a failed attempt
to represent a
marginalized
community. But,
at what point does
this representation
become tokenism?”
EFS 45
 attitudes represent a well-known stereotype:
Latina women are loud, crazy, and
unpredictable. Based on this, Maddy’s
character can be perceived as a form of harmful
tokenism. A half-assed attempt to have Latina
representation in television that only benefits
the directors and producers who get praise for
so-called diverse casting. Flattening Latina
women into these redundant, predictable
characteristics has resulted in one thing
and one thing only: the birth of a new trend.
There was a point last year when it was
impossible to open TikTok and not come across
videos of different girls trying out the “copy-
paste Latina” makeup look. Flawless, almost
filter-like foundation, voluptuous strip lashes,
a neutral lip combo, and thinned eyebrows.
Then came the various fan edits of Alexa
Demie posing to songs like “Baila Morena” by
Hector y Tito or “Yo Voy” by Daddy Yankee
and Zion y Lennox. At the end of the day, it’s
not wrong for people to participate in these
trends; in fact, it’s great that Latin American
fashion and music are recognized by diverse
media users. What gets blurry is when people,
sometimes even unconsciously, believe that
the basis of being Latin American is accurately
portrayed through these media depictions. It
seems like no one around is pausing to ask
themselves if this recognition is the respectful,
well-deserved recognition our culture deserves
or if it’s performative recognition that
Hollywood giants are using to their advantage.
Representation of any culture is necessary. It
provokes curiosity in others to want to learn more
about certain communities. These trends serve
as a starting point for learning. But many simply
do not explore beyond their first impressions.
The Latina Mami style isn’t just a fashion trend;
it’s inspired by whole lifestyles. Reducing
it to something so superficial dilutes Latina
EFS 46
identity. In reality, it’s much more than that.
Latina Mami Fashion is as if Western fashion
customs, the Chola, and Chonga styles had a
love child: a modern twist on Latina street style.
Women dressed in Chonga and Chola styles can
be seen confidently strutting the streets of Cuba,
Mexico, and even California, Florida, or anywhere
else in the United States where there are large
Latino populations. These two styles surfaced in
the 1980s when large amounts of Mexicans and
Cubans began migrating to the United States
in search of better opportunities and had to
establish their sense of self in their new country.
Latina women around the world found these styles
to be some kind of liberation. Most Latinos grow
up surrounded by extremely conservative Latino
culture, usually derived from extreme interactions
with Catholicism. The Catholic Latino expectation
to be a “good Christian girl” prevented Latinas from
exploring who they wanted to be through the ways
that they presented themselves in society. They had
to stick to the norm: looking like good girls. Chola
and Chonga styles are ways of rebelling against the
institutionalized and internalized shame women
feel when exploring femininity and sexuality.
Latina Mami Fashion has an undeniable history,
proving that it’s much more than a simple trend
or a certain way of acting. From serving as a
representation of the mass migration of Latino
communities to the United States to depicting how
religious conservatism disproved Latina women’s
liberation, pigeonholing Latina identity to certain
characteristics simply doesn’t do justice to what
the Latina experience is in reality. Fashion and
TikTok trends, despite their appeal, don’t show the
whole story, and it’s up to their audiences to, in the
same way, take time off their day to consume these
trends and educate themselves on what these trends
represent. Latina Mami Fashion is here to stay, and
it’s our job as consumers to be mindful of the ways
in which we treat it, respond to it, and praise it.
EFS 47
 MAGAZINE
THE SUBCULTURES
ISSUE

EFS 48
CHAPTER TWO

SEX SUBVERTED
EFS 49
 -POP’S

direction MOE WANG

photography JESSICA ZHANG

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 DIGITAL FASHION

X
traordinary Girls (XG) is a new-generation girl group from a pixie dust-covered galaxy far, far away. Glittering
like shooting stars, the seven members of XG weave unique colors and energy into Asian pop culture through
their international scope. The group presents a groundbreaking and refreshing addition to the K-pop and
J-pop markets for how they harness a magnetizing cyberpunk essence in their music and digital fashion. Introducing
a new style of “X-pop,” the neo-genre is groundbreaking not only for its music style that defies the expectations of
what an Asian girl group sounds like but also for its unique fashion sense that embodies confidence and individuality.

The use of virtual fashion, which frees one from physician design limitations, is one unique characteristic of
X-pop. With its metaverse fashion styling, X-pop presents infinite possibilities for XG. In many of XG’s music
videos like “TGIF,” “SHOOTING STAR,” and “LEFT RIGHT,” digital fashion stylings are incorporated
which looks otherworldly; from metallic digital textures to pearlescent designs, their looks create striking,
sculptural imagery that dreamily bends reality. By introducing its global image with powerful and futuristic
visuals, XG is single-handedly changing idol markets seen in Japan and Korea by establishing a new genre
of expression. Their galaxy-esque vision upends genre conventions and pioneers the art of digital fashion.

EFS 51
 What As K-pop and J-pop rapidly gain worldwide popularity

is
today, X-pop establishes itself as an entirely new genre that
transcends the current paradigms of idol culture. Instead of
aligning with the stereotypical images formed by the K-pop

X-pop?
or J-pop industries, XG chooses to carve a unique space for
themselves, coined as X-pop. “We’re a group of girls who
want to think outside the box all the time. XPOP is what
they call us and that’s what
really represents – how we
mix R&B and hip-hop,”
says Jurin, the leader
of XG, in an interview
with UPROXX. An all-
Japanese girl group that
promotes and bases its
music in South Korea
while expressing messages
in English is the pinnacle
of internationality.
While this global scale
propelled XG to a wider
audience, many also
expressed confusion over
their intentions, which
stray from the traditional
J-pop or K-pop methods.

Many Japanese
idols who become
successful among
Western audiences
are often promoted as
innocent, young, and
cute or “kawaii” images,
often seen in their styling.
Styling like schoolgirl
uniforms and colorful
Harajuku fashion
fits with the sense of
Japanese culture that
many Western audiences
would imagine. Up until
now, many Japanese idols
who used these tropes
have reached a wider
audience internationally,
including artists like
Kyary Pamyu Pamyu,
Babymetal, Perfume,
and New Gakko no
Leaders. However, XG

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set itself apart from the usual Asian girl bands by disregarding many stereotypical J-pop idol tropes. They’re
known for taking the “girl crush” route specifically used to empower women. This women-empowering concept
supports XG’s endeavor to stand out as a sub-group within the K-pop and J-pop genre and the idol industry. Their
expression of bold culture to the world by challenging stereotypes is exactly what XG’s mission is, one that goes
beyond labels and categories and delves into changing cultural behaviors typically promoted in the idol industry.

EFS 53
 editorial MOE WANG
editor JOSEPH PLITT
models AMY KAMIBEPPU, YVONNE YANG, HOAI CO
MAY NGUYEN, MAVIS ZOU

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style AMRITA BALA, JULIANNA DIPAOLO
makeup AMY KAMIBEPPU
bts SYDNEY CIARDI, YUDIE FENG

EFS 55
 Into Metaverse Fashion
In XG’s music video, “TGIF,” the seven-member group comes blasting in wearing Jean Paul Gaultier’s
tights and a long-sleeved jumpsuit covered with fruit-colored polka dots from the brand “Cyber
Collection.” The underwater world setting with silver, futuristic spears of light in the background
elevates XG’s cyberpunk act, giving a retro yet cutting-edge energy. Aside from WINDOWSEN’s
striking green and spunky orange long-sleeved t-shirt and Courrèges’s red vinyl miniskirt, digitalism
seamlessly incorporates XG’s futuristic colors on top of their actual clothing. In a city background
that captures a mixture of Hong Kong’s skyscrapers and towering 109 buildings in Japan, unique
characters in Japanimation appear bouncing around as the group takes us into their super-future vision.

Elements from East Asian media and pop culture are constantly referenced throughout
the work, whether it be in background designs or styling. According to the contributing beauty
editor Toru Mitani from VOGUE Japan, the white bodysuits in “TGIF” resemble the iconic
outfit worn by Major Motoko Kusanagi from “Ghost in the Shell,” a renowned anime and manga
series created by Shirow Masamune. The suits also closely resemble the famously striking plug
suit from Hideaki Anno’s “Neon Genesis Evangelion,” an animated masterclass known for its
psychedelic-mechanical, genre-bending approach. Besides gritty mech references, the septet
also pays obvious homage to the bright and bubbly anime classic “Sailor Moon” in their song
“SHOOTING STAR.” The members are enveloped in a dazzling sequence of lights and magic,
soothingly similar to when the Sailor Scouts transformed into their nostalgic Sailor Uniforms

EFS 56
using mystical powers. These are only a few of X-POP’s countless references to Japan’s entertainment culture.
XG thus breathes to life a new wave of futuristic taste embracing a touch of East Asian culture. Even seen in
detailed accessories like their Y2K-inspired, maximalist nail art, XG’s styling features Asia’s unique cultures
while staying true to its cyber aesthetic. Bold nail art is a large portion of Asian beauty trends, with Japan
and South Korea holding the most advanced technology in this industry. As an Asian girl group that has
successfully reached worldwide fandom, XG spotlights this Asian beauty trend by incorporating nail art
culture into their style, which successfully takes their styling to the next level with experimentally intricate
yet precise patterns and detailed crystals screaming taste. The translucent beads and baubles in cobalt blue,
bubblegum pink, and taro purple all give enticing looks, avant-garde visuals, and psychedelic, punky expressions.

XG is ranking high as the newest Japanese girl group to thrive boldly in the mainstream music industry through
the septet’s range of unparalleled techniques. With the letter “X” in the names X-pop and XG indicating something special
or unknown, XG is taking the world by storm and paving the way to Asia’s next pop-cultural craze and leading genre— X-pop.

EFS 57
 editorial ANANYA DUTTA
editor DANA ALBALA
art design DALLE-E , ANANYA DUTTA, AVA SCANLON

iGirly is a fractured, angry child. She was written into

existence by a non-unified collective, whose lack of unity
is in conflict with her existence. Although unsure of
her purpose, she tiptoes through the recesses of your
thoughts, visible to those who choose to acknowledge.
Her presence scatters across the digital landscape. She
is invisible to the masses and painfully clear to those
who choose to see. Her story begins in the 1920s with
Edward Bernays, Lucky Strike cigarettes, and the
suffragette movement.

On Easter Day of 1929, Edward Bernays ignited

the world of modern PR. Bernays, considered the father
of modern propaganda, alerted the press to a group of
social debutantes lighting up cigarettes during the New
York City Easter Day Parade in order to prove their
equality to men. This was a staged display puppettered
on behalf of Lucky Strikes, a tobacco company itching
to reach a new demographic; women. By linking the
previously “male-only” act of smoking with emerging
feminist notions of independence, rebellion,
and equality, Bernays transformed the male-
dominated act of smoking into a symbol of female
emancipation — each cigarette became a “torch
of freedom.” This was a catalyst campaign,
inaugurating a long line of proteges who use
women’s issues as pawns in a profit-driven
agenda. Today, perhaps, there is not a more
painful exhibitor of Bernays’ legacy than in
fashion.
Girlification, a contemporary chapter
in Bernays’ legacy, looms in the digital
sphere. We see it all around us with the
EFS 58
usage of the word “girl” as a label. From Megan
shadows of real people with false promises of
Thee Stallion’s proclamation of “Hot Girl
community offer a shiny new set of identities at a
Summer” to more recent community-driven
lightning-fast pace. Recently, a new segment has
campaigns such as “Girl Dinner”, it is clear
emerged with the overlap between microtrends
that “girl” is now a ubiquitous refrain. We just
and “girlification”— the process of feminizing
cannot get enough of the word. We don’t walk;
popular trends for profit-driven agendas. Here,
we Hot Girl walk. We don’t read news; we read
the Bernaysian stain on our collective psyche is
Girl News. And we certainly don’t do math…
glaringly evident.
we do Girl Math. Nearly every facet of modern
In theory, girlification should be fun. It’s
existence is being gendered.
based on a label (“girl”) whose essence speaks of
Whether we like it or not, fashion is who
child-like joy. Girlification dilutes and taints the
we are. If that statement strikes a dissonant
label. The identities that have emerged from the
chord within you — rearrange yourself and
overlap between girlification and microtrends
come back. Applied historically, it’s a useful
are bittersweet indicators of this contamination,
tool for examining the evolution of societal
pointing to confined notions of womanhood
takes on identity and methods of collective
lurking behind the seemingly harmless “girl trends.”.
categorization within mainstream society.
In digital fashion, the cycle spins and spits out half-
Take the trend cycle for example. As Anna
formed identities tied to some sort of “feminine”
Mikhaylyants writes for the Harvard Crimson
symbol. Clean Girls, Coconut Girls, Vanilla Girls,
in “TikTok Core: The Fashion World of Today,”
e-Girls, Lolita Girls, Strawberry Girls, and even
2020 saw the rise of a TikTok-driven, distinctly
Tomato Girls become mascots,
21st-century-flavored feature: microtrends.
creating their very own subculture
These made-for-retail trends are a direct result
— personified, collectively, as
of our desperation to put a label on each and
iGirly. They express their style
every aspect of our identity, which comes as no
through hyperspecialized “cores”;
surprise in a society that values individualism
Barbiecore, Cottagecore, and
so ferociously. Everyone around us seems to
Succubus Chic Core come
know exactly who they are, or at
to mind as recent examples.
least who they want to be, so the
As each micro-Girl gets
pressure succumbs to identifying
a spin on the trend cycle,
ourselves with something.
fashion brands cleverly
Anything, really. As the trend
insert themselves into the
cycle accelerates to
conversation, adding a
match the demand, it
personalized shopping
churns out increasingly
list and exploiting the
segmented identity-
moment to the fullest before
based microtrends. The
scurrying off to chase the
result should scare you:
next trend. One by one, the
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“Girlification, a contemporary chapter
in Bernays’ legacy, looms in the digital
sphere.”
micro-Girls are sent to digital oblivion,
leaving their consumer champions
void of identity and a collection of
randomized Shein accessories that
fall apart by the next turn of the cycle.
If the trends within iGirly’s biome
aren’t tainted by branded hashtags,
they are often victims of the collective
internalized patriarchy ingrained in us
for centuries. So in some cases, we don’t
even need the brands to taint the trend
for us – it’s just fucked from the start.
Like Girl News. Without being too
crass, I’ll venture to say that presenting
dumbed-down, oversimplified versions
of major world conflicts should perhaps
not be gendered.
I’ve hinted at it earlier, but It’s
important to state overtly that the
subculture woven by iGirly is empty.
Her ephemeral promises of community,
acceptance, and rebellion against the
mainstream’s norms ricochet through the
halls of the virtual world. Her mascots
do their best to replicate the key traits
of traditional subcultures—unique style,
shared values, exclusive membership,
and resistance to dominant customs
and interests. In a panic, they adorn
the internet with tomato red, blueberry
milk, or whichever color the latest
celebrity ingenue has chosen to feature
in her photo dump of the month. The
color show is a distraction. Its aim is
to take away from the fact that iGirly’s
mimicry fares quite well till the last trait;
resistance to dominant culture.
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 Here, iGirly’s mascots stutter and falter.
They’re programmed by their Bernaysian
ancestors, who taught them to sow the seeds
of profit under the mask of feminist ideals. In
order to match the forever-accelerating pace of
the trend cycle, the micro-Girls’ creators and
champions never stopped to evaluate the origins
or impact of their work. It is much easier to pull
from narrow, confined definitions of womanhood
and gender than to do the work of creating truly
liberated representations that reflect the diversity
and beauty of the world we live in today. Rather,
iGirly encourages the act of simply creating
and consuming at a record pace. And we fuel it.
Hopelessly divulging our valuable attention to a
collective of mascots designed to take advantage
of our desperate need to find ourselves in a hyper-
individualized society.
When Barbiecore’s Mattel-pink shade
gets branded as cheugy and the Coconut Girl’s
Shein necklaces fall apart, iGirly sighs and turns
to us, hoping that her infantilized feminine
demeanor covers her true intentions. She points
to the constantly expanding range of identities
she encompasses. “I’m with you,” she tells femme
consumers, “just look how many different types
of micro-Girls you can be. It’s not, like, the 1920s
anymore. We’ve got progressive identities now!”
To her credit, iGirly does indeed encompass a
wide range of identities. For nearly every niche
interest, a new micro-Girl emerges. If you’re into
the beach and vintage, Coastal Grandmother
appears to comfort you. Liked Harry Potter as
a kid? Maybe the Dark Academia girlies can
define your fall wishlist. Beyond the fact that all of
these so-called identities are more often than not
drawing from outdated definitions of gender and
placing people into segmented boxes of identity,
the main problem lies in the name; micro-Girls. It
is near impossible to derive genuine, sustainable
satisfaction from latching on to a minute identity
that will die an inevitable fashion death. Coconut
Girl may rack up billions of views on TikTok, but
she’s not made for longevity. She’s made to sell you
the House of Sunny Hockney dress.
iGirly is an abstract concept whose effects are
painfully real. Her lies are a continuation of
that Easter Day Parade in 1929 when Bernays
first handed a cancer-ridden torch of freedom
to the suffragettes. And if you’ve ever found
yourself wondering what a Tomato Girl is or
had a visceral reaction to “blueberry milk nails”
(they’re just light blue nails!) you’ve seen her
effects too. I urge you to ask yourselves the
same question I did — why do you latch on to
iGirly’s bizarre creations? She is a beauty and
identity death machine. You don’t have to wait
for Hailey Bieber to paint her nails chrome to
paint your nails chrome. The micro-Girls that
represent her are not real. At their core, they are
a troupe of distorted caricatures haunting the
digital ether, sneaking in bites of Girl Dinner
between begging for your monetary validation
and falsely claiming to forge culture and
community. And as they fade, their zombified
remains enter landfills, choking the earth and
our sense of self. iGirly yields no true sense
of belonging or empowerment—only fleeting
satisfaction.
“Coconut Girl may rack up billions
of views on TikTok, but she’s not
made for longevity. She’s made
to sell you the House of Sunny
Hockey dress.”
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Creative Direction: Georgia Howe
Photography: Kyra Badger
Production: Soph Cheung & Jimmy Pennington
Stylists: Amrita Bala & Julianna DiPaolo
Makeup: Sadia AboHussien
Models: Sadia AboHussien, Marisa Drogo, &
Josie Wolfe
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Fabled

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 King
the

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 There was a kingdom once, nestled between
two great mountains, where a woman was King. She
had not risen to the position through bloodshed or
bloodline but rather for the miracles she performed
to keep her kingdom safe and healthy. Her touch
had the power to transform, be it wood to stone
or water to wine. With this power, she fortified
homes, purified water, and blessed all who came
to her halls. The King was beloved by many
for her might and tremendous capacity to care.
One day, as the King rested on her onyx throne
between waves of visiting subjects, she cast her gaze
to the western-facing window. There, suspended
in the sky, the Sun hung golden and glowing. The
King found herself filled with a sudden and viscous
ardor. Here was a being bursting with celestial light,
the likes of which she had never seen before. Here
was a being whose power dwarfed her own and
made her once-steady knees tremble. Here was a
being worthy of the King’s burning and mighty love.
So, the King began to court the Sun. She
removed her velvet gloves and set out to prove her
love. She ran through the castle, fingers brushing
every surface to turn it all gold. Every bed,
cupboard, spoon, tapestry, and beam transformed
to gold. The kingdom watched, enthralled as
their king worked a great auric magic on the land.
Each stream, each plank, each blade of grass,
all made golden for the King’s shining lover.
But the Sun never came. It left over the
mountains, bleeding the valley dull and gray in
its wake. When the King lowered her wide eyes
from the sky, she found a kingdom of gold at her
feet. Guards stood with spears raised, turned
statue-still by their ruler’s touch. The bard, whose
songs she always loved, was frozen in the midst
of a story. She was surrounded by thousands,
yet the King was alone. Her land was gloriously
cast in gold, but all was dead and cold and still.
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 Hunter
the

The stag, fur as silver as a thousand

stars, brought its eyes to where the Hunter
crouched, obscured in a blackberry bush. The
beast’s gaze struck the Hunter, dousing her in
the cold clarity of a mountain stream. It told the
Hunter of the sweet sacrifice of death. In the
laden silence, they spoke to each other of moon
cycles and life cycles and a return to the earth.

At last, the stag raised its head to the sky

It was the time when all things turned golden
and dead at the sun’s descent. When the royal court
summoned the Hunter, her breath clouded at the
season’s chilled kiss. The kingdom’s Queen bid the
Hunter to fetch her the silver stag who lived deep in
and bellowed, offering the Hunter its tender throat.
Bowing her head, the Hunter notched her arrow
and shot true and clean. The stag fell dead, a sigh
of steam and magnificence leaving its body. The
Hunter skinned the stag carefully, methodically,
and yet when she reached its silver heart, she did
not store it in her satchel. She buried the heart in
the soft soil by the water, and the forest became
verdant with eternal life. The Hunter still wanders
there, antlers and arrows slung over her back.

“This animal
the neighboring forest. The Queen wanted the stag’s
heart, and nothing else, brought back to her so she
could drink its lustrous blood to gain eternal, glorious
life. The Hunter, who was known throughout
the land for her skill with catching and killing,

was too great

accepted her charge and bowed her rugged head.

The Hunter set off into the forest at once,

trekking through heavy ferns and moss-muddled oaks.

for such a
Observing the swaying of the golden undergrowth
and the patterns of the blackberry bushes, she picked
up her prey’s subtle trail and followed it. She followed
it deep, deep into the forest where the sun barely

death.”
broke through the canopy. At last, she found the stag
resting by a stream-fed pool. The Hunter watched,
hidden from the stag, as it lowered its horned head
to drink. She could not make her hands pluck the
arrows from the quiver or pull taut the bowstring.
This animal was too great for such a death.

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 In a high tower overlooking a misted and
verdant land, a princess was locked away. For
many moons, she was captive there, kept from the
touch of earth’s cool soil by the impassable stone
walls of her enclosure. From her little window, she
watched time pass, forests growing thicker and
oceans expanding. Someone had told her once she
only needed to wait and her knight would come.
But the longer she waited, the more restless she
When a shooting star crossed the sky like
the dragon’s fiery breath, the princess climbed out
the window and jumped. She landed, wet grass
on metal, and spread her fingers into the earth. A
whole universe rolled out in front of her, the great
unfurling of a tapestry. She looked up to the tower
that had confined her for so long and bowed her head.
Rising from her knees, the Knight walked away.

“She landed, wet

became, and no knight rode forth on the horizon.

One night, when the moon was full, the

princess decided she wouldn’t wait any longer.

grass on metal,
In the shaft of light from her window, she began
to shred her silk bed sheets and stitch them back
together in the shape of short trousers. With

and spread her

the sharp edge of her mirror, she cut her curling
locks off. She melted down her candelabras
and spoons and rosaries. She shaped the metal
into chains and crowned her ebony head with

fingers into the

them. She sharpened her embroidery needle
into a sword and strapped it across her back.

Earth.”
Knight
the

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Creative Direction: Libby Wilkins, Ava Scanlon
Photography: Libby Wilkins, Ava Scanlon
Layout: Ava Scanlon, Libby Wilkins
Models (in order of appearance): Libby Wilkins, Val Garvey, Evonne
Johnson, River Rivas, Liv Miller, David Schell
Production: Shannon Josephs
Behind The Scenes: Shannon Josephs & Jeanie Thompson
Featuring lyrics from Madonna’s Bedtime Stories

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 MAGAZINE
THE SUBCULTURES
ISSUE

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CHAPTER THREE

POP THE CULTURE

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 direction & photography GIA KIM assist HALEY TIDMORE

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 LISTE
N BOY!

소 녀 시 대
(GIRLS’ GENERATION)
GEE
TELL ME YOUR WISH – GENIE
I GOT A BOY
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 style JESSICA ZHANG, JULIANNA
DIPAOLO, GIA KIM
makeup ELENA RUIZ
hair RUHRI LEE, MARIE AFIFY, AVA
BENZAN
models GLORIA LEE, RACHEL CHU, EMILY
YE, ADRIAN TANG, DEREK LEE, JOAQUIN
GUEVARA-HO, TYLER HWANG, BRYAN
LIU, KEVIN LEE

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BIGBANG (빅뱅)
FANTASTIC BABY
BANG BANG BANG
2PM (투피엠)
I'LL BE BACK
SUPER JUNIOR (슈퍼주니어)
쏘리쏘리 SORRY, SORRY
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A
Edited by Arushi Jacob
in’t nobody dope as me; I’m just so fresh, so clean.
When Atlanta-born artist André 3000 rapped
those lyrics, he set the tone of the 2000s. Every
Black person stood up, and yelled the lyrics
along with him, so fresh and so clean -clean! In that ballad,
he exemplified the relationship between the southern Black
youth and fashion. If the South had a song, fashion would be
the bass — the foundation of our culture’s expression, and just
as the harmonies and the choruses of music are trained inside
our minds as children, the essence of unique style is ingrained
in the youth. When prom season arrives with the blooming
flowers of the spring, it’s the time for celebration and expression.
I have experienced my own Southern Royal Ball, also known
as the high school prom. The theme was Starry Night, an ode
to Vincent van Gogh, which fit the essence of the art school I
attended in Mississippi. I rented my cream diamond-studded
gown that sparkled in the light from a locally owned dress
shop. The store owner told me that Miss Mississippi (I can’t
remember which one, but the inside of the dress was stained
with orange spray tan) wore the same dress at a pageant. My
friends said I looked like a bride, but I oddly felt like a Black
Marylin Monroe with how the halter straps braced my neck, and
the gown bounced around my hips while I danced. My makeup
artist cut my eye crease with pink and silver glitter, and my
eyelashes, admittedly too long, reached my bold eyebrows. My
forehead still remembers the stress in my attempt to achieve the
perfect half-up, half-down ponytail. Many of my friends’ parents’
bank accounts still remember the expensive cost of prom attire.
For instance, Bridjette Talbert of Summit, Mississippi, spent
approximately $800 on her junior prom dress alone. For
comparison, the average cost of prom expenses including
tickets, transportation, and attire, ranges from $600 to $1,000.
So Talbert’s expenses were beyond the average, but she is hardly
an outlier in her community. Upperclassmen plan their desired
outfits years ahead, and it usually starts with this question: What
colors are you wearing to prom? I remember sitting in my ninth-
grade English class when a classmate asked me. Underclassmen
weren’t even allowed to attend prom, but that didn’t stop a thang.
Written by Stephyne Weathersby
It’s common for students to acquire custom-made feathery
gowns and colorful, often shiny tuxedos. They arrive in style, no
not in limousines — they pop out in corvettes, mustangs, and
other luxurious sports cars. This culture is encouraged on social
media. For instance, the Instagram account, @HallofProm,
has over two-thousand and thirty followers and five-thousand,
three hundred forty-six published pictures and videos. Each post
shares a portrait of Black people, beautifully draped in regalia-like
attire. No matter the school-designated theme, the goal is always
to drip or drown. However, it is important to note the prevalent
community barriers that prevent the elaborate style. Most people
cannot afford to spend thousands of dollars on a one-night-only
event. I could only afford to rent my dress because my mama made
a deal with the store owner for a discounted price. Sometimes,
people are publicly humiliated online, and their appearance is rated
on a scale by strangers. Although I participated in this culture, I
never questioned why we went so hard and treated it earnestly.
Was it purely to flex? Yes, most people fantasize about prom night
and dress to the nines. Students who live in New York or Los
Angeles have more opportunities to dress up for elegant events, but
in small cities in the South, those events are few and far between.
Therefore, prom has a deeper significance. We also show our royalty
and beauty to stunt on every door that was slammed in our faces
because there was a time when Black people were prohibited from
attending prom. After the Supreme Court case, Brown v. Board of
Education, segregation in public schools was ruled unconstitutional
in 1954. However, many schools in the South resisted integration.
Black students were abused, mistreated, and often withheld from
prom celebrations. In the 1960s, schools began to hold segregated
proms, and this tradition lasted in some school districts until 2013.
Whether we are aware of this discriminatory history or not, our
dedication to expression rises to another level: it becomes resistance.
This simple act of dressing loud and creating space for Black joy is
a beautiful and artful protest. Just like when we created the Blues
and Hip Hop, the way we feel in our glamour showcasing our
vibrant souls through our fashion is our declaration. We are here.
The fashion of the South is under-credited and underrated. Our
style extends beyond clothes; it’s in how we talk, walk, dance,
and sing. Despite prom only lasting for five hours, the feeling of
everyone gassing you up, vividly expressing how good you look,
lasts forever. And even though our
pockets may never recover, and
graduation is creeping up, the
corset of our dress and the
sequins of our suits lift us up.
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 photography HANNAH-MIA HINDS

B-COMMERCE

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styling GIANNA SCARPA and HANNAH-MIA HINDS

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It is in major cities that style trends
emerge. New York is home to
countless vintage and thrift stores,
inspirational street style, and, of
course, New York Fashion Week.
Los Angeles plays its part in
showcasing celebrity style, laid-back
influencer looks, and luxury brands.
Boston, however, hasn’t always
been recognized in fashion the way
other cities have been. Infamous for
its citizens frequenting sweatpants
and sports jerseys, it’s difficult to
find those groundbreaking looks.
However, that is starting to change
rapidly. Boston has begun making a
name for itself in fashion, with youth
at the forefront of the movement.

Q: Introduce yourself!
Name, age, any information
you would want in a bio!

A: My name is Kaylla Damaceno,

I’m 22 years old and I started Bullshit
Boutique in July 2020. I’ve worked
on it for like 3 years, I also worked
at a vintage studio for two years. All
the clothes we have are under $20!

How does a city like Boston begin

to cultivate culture and style? Kaylla
Damaceno, the owner of the vintage
store BullShit Boutique, has been
working to answer this question.
Damaceno built BullShit in the last
year, a small online vintage store
housing clothes of all sizes. The
store has a simple mission: to make
fashion easy. “I think [BullShit]
has helped by making things
more affordable.You don’t have
to break your bank or find dupes.
Everything is under $20, so the
affordable prices and accessibility
allow cultures of fashion to
flourish,” Kaylla says. Thrift stores
in the area are overpriced and
picked through, making it difficult
for shoppers to find clothes that
embody their personal style. With
affordable prices and unique pieces,
students looking to find their style
can experiment with different

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silhouettes, looks, and accessories. And
that’s how we go from sporty and sweatpants
to sports-wear inspired gorpcore, girlish
coquette, and bright, patterned Y2K looks.
Q: So, from your experience, what
have you noticed in terms of Boston
subcultures? What types of styles and
aesthetics are Bostonians most drawn to?
A: So, Boston is definitely not known for
having a good fashion sense, or like, styles.
Most of the expressionism comes from
college kids coming into the area. The scene
really flourishes there, a lot of business attire
and Aritzia, clean girl aesthetic-type vibes.
There’s also a ton of subcultures in TikTok
styles and niches. In my own demographic
though? Like a lot of Y2K, Paris Hilton pink
is starting to die out. I think there’s a lot of
basic style but people this age are adapting
basic in a more fashionable and nuanced
way. What other types of styles have I
seen? A lot of Mary Janes and baggy jeans.
YEAH, so many baggy jeans, like the 90s
big jean little top with a faded wash, that’s
so big here. Oh, and coquette girls for sure.
And on top of it all, these stores show newly
budding fashion aficionados that they’re
not alone. A lot of these local brands and
out-sourcers work together to create city
events like Sustainable Swaps, or similar
events where local sellers like Bull Shit, and
anyone looking to declutter their closets, sell
and trade clothes while meeting each other.
Communities unite in this way, mixing and
matching what styles they see on each other,
finding a place in Boston where they might
have typically felt othered before. Working
together to create a space for fashion to thrive.
Q: How do you think spaces like Bullshit
Boutique have helped spread all these
various fashion subcultures in Boston,
where there’s such a small community?
A: I don’t think Bullshit has helped spread
anything really. But I’d say it’s definitely
been helpful in making a community space
for fashion lovers. Like letting people find
each other. I remember one of the first times
I hosted an event, hundreds of people came.
I overheard some kids talk about how they
didn’t know there were so many people here
that were so cool and dressed like this, and
they made friends and everything. It was really
nice to hear them find each other that way.
Q: How do you think your fashion sense has
changed since working at Bullshit Boutique?
A: I mean, my fashion sense is kinda the same.
Since I’m sourcing everything, that does help
though with prices for me too, it makes things
more affordable. And since I’m sourcing, I’m
also able to keep some of the pieces I like!
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makeup JENNIE GRECO
models AVA ACOSTA, NYANDENG YAK, JALEN
BUNCH
casting HANNAH-MIA HINDS
creative direction HANNAH-MIA HINDS
space KAYLLA DAMACENO at BULLSHITBOUTIQUE
words ELISA DAVIDSON

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 ho’s Lola’s New Boo? Who’s Lola’s New Boo? Who Lola’
GiveMeASmile,
Sweetheart
direction HABEEBH SYLLA
photography BEC WRIGHT

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SCANDAL
Glamourous

BRAT
ICON
LOVER GIRL

Makeup: Sadia AboHussein

SEXY
Attention Whore
Stylists: Nadine Ibraheem, Sae Phillips (Hair),
Photo: Bec Wright, BTS photos: Jeanie Thompson,
Models: Habeebh Sylla and Leila Minkara
Editor: Sadia AboHussein
Layout: Moe Wang, Production Assistant: Kendel Dawson, Hand
+ Body Models: Afua Pinamang, Jaya Pernicone, Jeanie Thomp- EFS127
son, and Nadine Ibraheem
Location Cred: JiangNan Restaurant
 Lola decided to take a night out on the town, parading the
Boston streets with her expensive heels, low-rise jeans
that are so low, and hot pink top that dares to slip. But the
paparazzi just can’t get enough.

Oh, but who’s that on your arm? A new admirer? A

lover even? Wait, is that a woman? The latest tabloids
photographed you with men! Oh, the press is going to have
a field day with this! Um… what you want me to keep this a
relationship a secret? Well… how much are ya willing to pay?

Over Smile
here, over here for the camera,
sweetheart! honey!

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 u ld Y o u Escape t
W o h eP
w ap
RUN Back
Through s
Ho

TO YOUR to the five-

MICHELIN the dingy
star hotel?
alley?

?
Yum, do I I’m not Some Fine! Not in
they have already ready to go room Only if you my Manolo
escargot? had my to bed yet. service carry me! Blahniks’.
almond would be
today. nice.

Now It’s
how should I burn Quickie in the Thursday... let’s
those calories? car? go to Legacy?
Maybe just Spar Have the
a cigarette. with the And ruin And I could
driver wait this face? bring my go for an
paps!! outside! ;) boo around espresso
these martini!
thirsy
tramps?
NO!
Oh
The Now
no... I burnt Call
Academy she’s sucking
a hole through it a night... I
found out!! Now face with the DJ!!
boo’s new FUBU gotta take these
they’re trying to After I got her
jeans. Now she’s shoes off.
take my Oscar. into VIP?!?!?
yellin’...
Put her on FUCK I worked How
Kick her BOUNCER!!
the map so The too hard do these
to the curb! Get her out of
she can try Academy! for these Manolo’s
I’m not no here.
some real Manolos’. feel up
doormat!
designer. BYE!! you ass!
OOPS!
Dead end.

SPILL IT ALL AT A BREAK UP WITH BOO ARRESTED FOR

PRESS CONFERENCE! TO PROTECT MY IMAGE! ASSAULT AND BATTERY!
Man, I guess she has You decided to let her Crap! You got rounded
to tag along for a bit loose, good for you! up by the cops and the
longer as you build your Can’t have a nobody photos they have of you in
career. But maybe not dragging you down, the tabloids does nothing
for too long. You’ll give your career is too for your good side. You’re
her enough fame to important! They were going to be locked up with
create her own image only going to lead you the delinquents of society
and then, when you’re down a life of cheap and subjected to orange
jumpsuits. And there’s no
ready, kick her to the shoes and 4-star
way they have silk sheets
curb! restaurants, good
for you to sleep on!

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ve Me A Smile, Sweetheart Give Me a Smile, Sweethea

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Give Me A Smile, Sweetheart Give Me a Smile, Sweeth
 GET THE LOOK

TOPS: Blue, striped dress shirt (Commense), Navy, pinstripe blazer (Nordstrom rack), Yellow dress shirt (Brooks &
Brothers), White tank (Fruit of the Loom), Baby Pink Y2K Club Top (Depop)
BRAS: Red Lace Bra (Primark), Black lace bra (Primark)
BOTTOMS: Denim Jorts (Southpole), Jerome Dahan Lowrise Jeans (thrifted), Light blue, lowrise flare jeans (James brand),
Black Pleated Skirt (ZARA)
BELT: Brown belt
SHOES: Blue dunks (Nike), Boots (Timberland), Black Zimi Stiletto Boot (Shoe Dazzle)

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 MAGAZINE
THE SUBCULTURES
ISSUE

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CHAPTER FOUR

VISIONARY VANGUARDS
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 AYSM ALL YOU SEE MATTERS

DIRECTION JAGGER VAN VLIET PHOTOGRAPHY BEC WRIGHT,

EDITORIAL JAGGER VAN VLIET LAURA VALENTINE
EDITORS STEPHYNE WEATHERSBY, MODELS SOFONYAS ALEBACHEW,
GEORGIA HOWE, PENELOPE AARON HOUR
PATSIS STYLIST JAGGER VAN VLIET
BTS RACHEL BLACKMAN

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 It is the case that in the modern sphere, rarely does one encounter a true artist.

This is not to say that art is not abundant. There is a remarkable and overwhelming amount of content by
self-proclaimed creators populating the contemporary scene. Too often, the art one is apt to encounter is
created not by an artist but by a sort of dilettante, someone too focused on the immediate act of making
rather than the authentic essence of what it means to create. Art, that is to say, true art, reveals itself
plainly and without insistence. A true artist, few and far between, is at once and immediately recognizable.

For this interview, Vim, creative director and voice

of AYSM® (All You See Matters), subsequently
provided a stylized, expertly crafted presentation,
complete with archival photos and his signature
touch of avante beauty. It was an astounding
gesture, one that perfectly summarizes what Vim
brings to the table in any context: intense and
unbridled creative vision. He is the brains behind
a thought-provoking, obscure, otherwise motif-
filled fashion collection. Yet, it would be nearly
impossible to define the scope of Vim’s talents. The
enthralling, wide-varying art produced by a single
person is entirely irrefutable. Vim is a veritable one-
man army within the space of cultural creation, as
he has not only taken on the world of fashion but
also that of, art, film, music, and furniture design.

As it could be the perception that AYSM® has

a particular essence, Vim weighed in on how
he feels his brand falls in a world of increasing
subcultures and genres. He says, “Depending
upon the medium I choose to present at the time,
an essence of sub-culture is most
definitely important in the creative
process. However, I hope that people who
like my work don’t try and pinpoint it to one
specific subculture.” For a brand as compelling
and versatile as AYSM®, there is a clear,
decidedly unique blend of styles. “It’s a blend of
many subcultures that I either grew up in or was
inspired by. These elements will always be a part
of who I am. As I grow, I learn new things and
subtract others that may not serve me anymore.”

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PICTURED: @metrashboi
WEARING: SS 22-23 AYSM MOTIF SHIRT
LOCATION: BOSTON MA, 2023

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 Of this response, Vim mentions growing up and
his early references. In speaking of these early
influences, Vim detailed, “As a kid, I was a skater,
but I also played basketball. My playlist would be
both Gucci [Mane] mix-tapes and Bad Brains. That
reflected in my friends. I was cool with the nerds
and the punks and skaters… I just like pure people.”

In speaking on more recent influences and inspirations, Vim says, “As of lately, I’ve been drawing inspo
from old things. Old feelings and ways of life. As we enter the new age, I want to make sure I’m connected
to new technologies without forgetting about the past. I don’t think any of this is new, anyway. We are
experiencing this life we live as if it was an infinity symbol.” Indeed, there is an innately timeless nature in
AYSM® clothing, evident in the designs, images, and silhouettes, which often transcend uniformity entirely.

Despite Vim’s ready-to-wear lines being a striking first

impression, there is another high-end offshoot side
of AYSM® that deals entirely more with the avante-
garde. Silhouettes take on abstract shaping; the pieces
themselves encompassing spinal denim corsets and
pillowy neckpieces. In answering if he views the creation
and marketing of these two distinct sides differently,
Vim says, “When I create my more avante garde pieces,
it’s strictly to show I can compete at that level if given
the resources. It’s good to have in the archive. Give me
a YSL budget. I’m going crazy, for sure. But for now,
I think it’s important to create independently so I can
garner those types of opportunities in the future. Virgil
dropped Pyrex Vision at my age. I’ve shown what I
can create right now. With no investors, no backers, or
anything. I’m very excited about what the future is going
to bring. The sacrifices have already been made. The
work is there. The consistency is there. My ready-to-wear
pieces are to generate revenue to put into more ideas.”

Herein lies one of the most noteworthy and commendable aspects of Vim’s place at AYSM®: he does it all
himself. For those who haven’t tried their hand at screenprinting, this is an intensely difficult thing. Vim is not a
stranger to this notion, saying, “Man. It’s very difficult. I feel many people think my brand is run by a team and
staff. In reality, it is just me for the majority of the time…People who will criticize you are either projecting or,
deep down, have an insecurity within themselves. No matter what, I will be a creator, the life lessons along
the way make me better. There is no losing because I’m attempting things that have no road map, no blueprint.”

This concept is decidedly striking as it accurately assesses the types of art that ought to be promoted more. Art that has
no blueprint. Art that is forging a new and altogether more intriguing road for everyone. Vim also spoke on this and
the subsequent challenges that ensue when breaking into the fashion world or reaching higher echelons of success.

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PICTURED: @sofu4real
WEARING: AYSM EUROPEAN IDEALISM
SHIRT
LOCATION: CITY HALL SQUARE, MA 2023

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 “Most definitely. Let’s get it right, though. I enjoy the
process and making of the art. The business end is a
whole other thing… Whatever medium I’m working in,
I just like the process or experience over anything else.
Every time I’m walking in my purpose, opportunities
do appear. As my character improves as a person, so
do the opportunities in my life. They go hand in hand.”

In speaking on art, Vim touches on something

fundamental here. There is an unspoken but genuine
link between purpose and personhood. Where in finding
what truly drives and motivates a person, there should
be a natural semblance of energy, or rather a feeling of
intense drive, to learn, grow, and experience authentically.
This sense of authenticity is mirrored in Vim’s
sentiment about the youth of up-and-coming creators.

“I see young kids at these shows. They almost seem to

idolize characters. But they should know that these
characters are made up. Not real. In all honesty, most fans
would not want the lives of the people they idolize. So if

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you are going to put yourself out there, make sure you have
intention with it. You don’t want to create a character you
don’t want to play. Leave yourself room to evolve. All the best
artists evolve over time. In regards to sub-cultures, don’t try
too hard; you will naturally get drawn towards what intrigues
you. Shit, you are straight up born into certain sub-cultures.”
In looking at Vim’s work at AYSM® and beyond, there is a clear
element of artistry in everything attempted and everything
succeeded. Throughout, there exists an undercurrent of
what true art is: a sincere appreciation for the process,
pain, pressure, and passion that exists within all creation.

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Vim cites a Nipsey Hussle verse, “Red Rose in the
grey pavement, Young black N***a trapped and he
can’t change it. Know he a genius, he just can’t claim
it. ‘Cause they left him no platforms to explain it.”

In speaking on this quote, Vim says,

“Hear me now, I have these gifts. Even though

the circumstances I was born into made the
road a bit more difficult, the talents I was
blessed with most definitely have given me the
ability to change the direction of the future.”

Here, it is immediately apparent that witnessing Vim

is not witnessing the ordinary. This is not uninspired,
not superficial, not nearly inauthentic. With AYSM®
and every subsequent endeavor, Vim seals his fate as
a true talent, a rising star, and, above all else, an artist.

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Creative Direction: Justina Thompson
Photographer: George Annan
Models: Kimstelle Merisma, Nyatche Martha, Mars Boucher,
Justina Thompson
Makeup: Sadia AboHussien, Ava Scanlon
Styling: Nadine Ibraheem, Saela Phillips, Amrita Bala
Assist: Libby Wilkins, Habeebh Sylla
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 Authors Note: I won’t waste my word count attempting to palatably define what an Awkward
Black Girl (ABG) is. What I will do is affirm and assert that we exist, we are here, and we
matter more than we have ever before.
Initially, the Awkward Black Girl was born as a television pigeonholed into one-dimensional, qualifably anti-Black
character trope. But since its emergence in widespread roles — commodifiable contemporary caricatures: the
media around 2010 and 2011, it has creatively disrupted mammy, the jezebel, and the sapphire as named by the
and dismantled various misguided preconceptions of Aljazeera article, “Stereotyping Black Women in Media.”
Black femme identity. Specifically, It’s cleverly steered
discussions of Black women’s influence on fashion, race, As a self-proclaimed Awkward Black Girl, I can re-
and popular culture. And yes — the Awkward Black Girl reflect on this history in action, thinking about the
trope isn’t new; it has handful of times when I
actually lived several lives — could love the Black femme
but as a new generation of characters that looked
unapologetic Black women like me but could never
create space for themselves, see myself within them.
we’re witnessing a seminal
reconstruction of what Luckily, one thing that
it means for historically Black women won’t do is
disparaged groups to sit by idly. Time and time
transcend the margins. If again, we self-empower,
you open your eyes wide and forge our paths out
enough, you’ll see that of subjugation toward
there’s a groundbreaking liberation. In the last
revolution happening. few years alone, ABG
For the first time, the divas have truly come
Black girls are taking into their own. Icons
ownership of themselves like Issa Rae (Insecure,
across a multitude of The Mis-Adventures of
spaces and industries, Awkward Black Girl),
collectively engendering a Boston’s own Ayo Edebiri
cultural renaissance simply (The Bear, Bottoms),
by being themselves. Quinta Brunson (Abott
Elementary), Tracee
It must be said that the Ellis Ross (Girlfriends,
Awkward Black Girl Black-ish), musical artists
was cultivated to give Rico Nasty, Docheii, and
Black women the space countless others have
deserved to be more than utilized their relevance
what mainstream white America thinks they should and association to the Awkward Black Girl
be. More pointedly, the ABG was designed to amplify subidentity to carve out space for their own success
the presence of and expand thinking around Black and the inclusion of diverse representations of Black
femme identity. In dominant culture’s past, there have womanness. What makes the Awkward Black Girl
been plentiful opportunities to let Black girls shine, groundbreaking is its ability to radically challenge
but until the rise of the Awkward Black Girl, Black historically-minimizing constructs regarding Black
women have always been repurposed and reused, women and their relationship with race, gender,
reified into the B-story best friend, the unfriendly Black and class. This includes — but is not limited to —
hottie — and if none of those things? Then, nothing hypersexualization, monolithic labels, and alienation
at all. At the hands of non-Black writers, producers, from freedom of expression or performance.
and industry big shots, Black women were constantly
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To resist othernes
Girls, through the
sense and unwaver
of Black femme id
conveyed with humo
effortlessly broken
glass ceilings. Moreo
a steadfast commitm
a-kind personalities,
constructed binaries
that have circulated
and sectors of popula
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ss, Awkward Black
eir unique fashion
ring demonstrations
dentity (particularly
or and honesty), have
through all of the
over, by maintaining
ment to their one-of-
they break free from
s about themselves
d throughout history
ar culture for decades.
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 quirky, savvy, and smart lawyer turned
restaurant entrepreneur by the show’s end.
Joan always, for lack of better words, put that
shit on; Tracee’s real-life reflections of Joan,
particularly through eccentric style and
an endearingly oddball-like demeanor,
prove that the Awkward Black Girl
absolutely transcends fictional landscapes.

As articulated by Alexis Payne, author of

Down Magazine’s “The Importance of the
Awkward Black Girl,” we’re experiencing
a major cultural phenomenon in how
Black women are represented. Moreover,
Payne contends that Issa Rae’s The Mis-
Adventures of Awkward Black Girl series
“pushes the envelope by suggesting that
Blackness can mean a range of different

For example, I think

about Tracee Ellis Ross’
character of Joan Clayton
(from the hit sitcom
series Girlfriends), a
quirky, savvy, and smart
lawyer turned restaurant
entrepreneur by the
show’s end. Joan always,
for lack of better words,
put that shit on; Tracee’s
real-life reflections of Joan,

and by emphasizing through her work

that there is no one way to be Black.”
Now, there’s no formula for the prosperity
of the Awkward Black Girl. But what
makes the journey to the top hyperreal?
A commitment to a greater purpose.

When asked about continuing to create

space for Black girl writers, actors,
and all of the above alike, Bottoms
and The Bear star Ayo Edebiri stated,
“I want to try to help in whatever
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 “Now, there’s
no formula for
the prosperity
of the Awkward
Black Girl. But
what makes the
journey to the
top hyperreal? A
commitment to a
greater purpose.”
There is so much beauty in knowing
that Awkward Black Girls are
building, and have been building, the
world they want to see. Despite being
at the margins of society for so long,
awkward Black women continue to
find ways to make the world theirs.
As they shatter stereotypes and write
their own rules, they not only redefine
their narratives but also contribute
to handcrafting more inclusive and
diverse industries. By simply existing,
Awkward Black Girls assert that Black
women do not have to succumb to
oppressive notions about Black female
capacity I can to make the future that I want to live in. I don’t
identity. We can be whatever we want
know totally what that looks like, but I’m also okay with not
to be, even if it’s never been done
knowing as long as I keep pushing, and the people around me
before. And if the world doesn’t like it?
are pushing too.” She also discussed the value of allowing Black
identity to exist without the pressures of satisfying the require-
ments of the Black-person-character quota. “It’s radical that I get
to [play] a young Black queer person doing something stupid in Well, the
a movie,” Ayo explained. “People in marginalized groups have
always been funny, and I’m so glad that there’s space for us now.
We just want to keep making space for other people as well.” And
world can
fuck off.
that’s just it: Black girls and women everywhere are intentional-
ly molding a better, brighter future in the palms of their hands.

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 N A ,
N
l
WA
ik e ,

a d e ?
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Tr
direction KHATIMA BULMER
photographer KHATIMA BULMER
bts JESSICA ZHANG
style JULIANNA DIPAOLO, ZADE HUSSEIN
hair, makeup AIDYN FRIAS
models JESSICA RUSSELL, YOEHAN RUDECINDO, LUIS BETANCOURT, FAHAD BUNJO, FAROUK MUTAAWE

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INDEX MAGAZINE
THE SUBCULTURES
ISSUE
EFS171
 EMERSON FASHION
SOCIETY
EMERSON FASHION SOCIETY

INDEX
FW21