bare magazine: issue 15 - verdant

b a re

N O . 1 5 V E R D A N T

EDITOR-IN-CHIEFCecily Manson

EDITORIAL DIRECTORSophie Golub

CREATIVE DIRECTORSElizabeth Epstein

Kate Harwitz

LAYOUT DIRECTORElizabeth Lin

MARKETING DIRECTORSnow Zhu

EVENTS DIRECTORChristy Wang

BLOG DIRECTORSJon San MiguelCaroline Young

FINANCE DIRECTORNatalie Chyba

CONTACTbaremagazine.org

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Aisha JoshiAlexa PennAlexa RosenfeldAlexandra HoangAlice PangAndrew PabonAngira ShirahattiAnita XuAnkur ManiarAthicha NontikarnBianca DoerschlagBrea WeinrebCaitlin KramerCatherine ZhouCharisse CelestialChristiana KoClare KoehlerClaudia WongCory MaryottCory MohnDakota GoodmanDivya SuriEddie YuElizabeth LippmanElizabeth RuppEmily ZhongEmma SchifferErica ZhangEvan RuizGenesis Ahtty-MarmolHyunkin KimJasmine BarakatJason MaiJennifer HuynhJennifer SiuJennifer TanjiJessica HelmKalmina (Alex) Wu

Kara SzczechKaren BraunsteinKarina LiuKatherine OkparaKatrina BothwellKseniya YefimchykKyle ChenLindsay LewisLisa InoueLizbeth OchoaLok Tung (Loretta Chan)Madeeha SiddiquiMashael AlsaieMeena VempatyMichelle BaoMiranda KingMojdeh TarighatPamela ShermanPaula AntaplyanPhyllis ThaiRan FlandersRina HungSarah HuertaSarah MorenoSaumya ChoudharyShreya ShankarShyan KashaniSo Hee KimSophia FishSpandana SinghSteven PhamSunny HuangSusan LeeTaylor AndersonTiffany ToWinnie LauYanika AmarasckeraYolanta Siu

THE STAFF

T 0 C0 6 CALSLAM • 0 7 PHOTOTROPISM PHOTOSHOOT • 1 0 EXHI-

BITION • 1 1 FOUNDATION • 1 2 DREAMBOX • 1 4 FERRUM

PHOTOSHOOT • 1 6 CASSEY HO • 1 7 DEVIATION •

1 8 UNTITLED NO. 1 PHOTOSHOOT • 2 0 T H E

SIXTH SENSE PHOTOSHOOT • 2 5 UNTI-

TLED NO. 2 • 2 6 LIVING IN A CO-OP

AS EPITOMIZED BY THE FREE

PILE • 2 7 MALACHITE

PHOTOSHOOT • 3 1 CAGED FREE-

DOM

E D I TO R - I N - C H I E F C E C I LY M A N S O N • E D I TO R I A L S O P H I E G O L U B • C R E AT I V E K A T E H A R W I T Z • B L O G C A R O L I N E Y O U N G C R E AT I V E E L I Z A B E T H E P S T E I N • L AYO U T E L I Z A B E T H L I N • B L O G J O N S A N M I G U E L • M A R K E T I N G S N O W Z H U • E V E N T S C H R I S T Y W A N G • F I N A N C E N A T A L I E C H Y B A

F R O M T O P - L E F T T O B O T T O M - R I G H T

Verdant was initially a narcissistic revelation. I took a photo of myself on what else, Snapchat, and colored over my face in various shades of green, captioned it “Verdant.” I was wearing my emerald green, whale-rib

corduroy coat that day too—it all felt very Matisse at the time.This egotism morphed into a poetic exploration of spring. It

shifted from understanding verdant in a literal sense—the color green, particularly that which results from an abundance of vegetation-- and became an attempt to understand the pathos of the vernal season. Verdant, for me, was a captivation with felted moth wings, the swirling sinew of marble, malachite, and timid sunlight—that first augur of spring. For months I saved pictures of mossy ponds on my computer.

BARE staff graciously took on my obsession, and then further interpreted the initial vision into photo shoots and written pieces that embody Verdant to varying degrees of explicitness. While “Phototropism” is an overt reference to flora that characterizes the spring months, “Malachite” is oblique. Inspired by the late 19th-century portraits of Siamese royalty, this spread is a reflective moment; it is a nostalgic pause in the midst of an issue focused on the theme of new vitality. “Living In a Co-Op as Epitomized by the Free Pile” picks up the motif of reminiscing in written form, and explores the cyclical, and fleeting nature of cooperative living.

So here is Number Fifteen—enjoy it! Maybe I’m just bitter because I couldn’t afford Siri, but I think you’ll like Verdant much better in BARE form than the amateur self-portrait version taken on a cracked iPhone4.

EDITOR’S NOTE

06 SPRING 2014 • BAREMAGAZINE.ORG

Squeezing my way through the packed doorframe, I scan the classroom for a place to sit. I participated in a sparsely attended lecture in this exact room only hours earlier.

It is a bit astonishing to find it filled with an audience that overflows onto the stage and out the hallway. Opting out of the mad scramble for chairs, I head towards a dark corner at the back of the room. Here, I figured I could remain inconspicuous, a silent observer of my first spoken word event, CalSlam’s Battle of the Bay.

I see the irony in my clamminess now. I’m doing my best to be invisible, as I prepare to watch artists from all around the Bay expose their inner souls. I cannot fathom how poets can transition from the intimate process of writing (an art I have always loved because it does not require eye contact) to an impassioned vocal revelation of themselves and their work.

One by one, poets take the stage. I am blown away. With quick speech and touching stories, the night reaches an emotional pitch I had not anticipated. Each time a line hits particularly close to home, the audience snaps their approval or murmurs “mmmm” in empathy. The entire room is bound by the impact of the raw human energy each poet shares with us.

I leave emotionally exhausted. I had laughed, I had cried, and I had felt united with strangers. Each time a poet spoke, it allowed the audience to walk their path for a few brief moments. They would take us to places

of social acceptance and memories that confronted the injustices of patriarchy.

The impassioned performances central to Slam Poetry are the foil to the silent papers we write so often in English classrooms. The poets pour their hearts out on a stage, relying equally on their poetic language and sonic voices.

An unexpected side effect of the Slam is a renewed abundance of creative energy. I am motivated to write something, to create my own poetic gift. I sit down at my desk later, determined to create something as thought provoking and emotionally charged as the poems I heard. But I feel a jolt in my stomach. Where moments ago I had been enthusiastic about working, now a million little voices pop up in my head. And they are crueler than the voices on stage.

So I keep writing. I tell myself that my pen cannot stop moving until I reach the end of the page. What results is a page long rant. I am exhilarated. And I am anxious to keep tweaking and working on it. That is, until I remember that part of this package is performing in front of a crowd. I tear the poem from my notebook, walk across my room and tuck it safely into a drawer. I may not yet be brave enough to expose my soul to a crowd, but I do know that this experience has made me want to move out of the dark shadows of the back wall. So maybe you’ll see me on stage one day or maybe not, but you’ll definitely find me front row at CalSlam’s next event.

CALSLAM’SBATTLE OF THE BAY

- J E S S I C A H E L M

“THE IMPASSIONED PERFORMANCES CENTRAL TO SLAM POETRY ARE THE FOIL TO THE SILENT PAPERS WE WRITE SO OFTEN IN ENGLISH CLASSROOMS.”

PHOTOTROPISMM

ODELNINA GUSTIS

PRODUCTIONANITA XU, ANDREW

PABON , SARAH MORENO,

LOUISE, CAITLIN KRAMER DEBOUTTE

PHOTOGRAPHERTONY LEE

DRESS , MADEWELL SNEAKERS , VANS FOR MADEWELL

07SPRING 2014 • BAREMAGAZINE.ORG


BLOUSE , AMERICAN APPARELLEGGINGS , WASTELANDHEELS , STYLIST’S OWN


BLOUSE , ZARA PANTS , BANANA REPUBLIC


EXHIBITION

- B R E A W E I N R E B

It was nearly a century ago that Marcel Duchamp placed a urinal in the middle of a museum and called it art, claiming, “Art is not about itself but

the attention we bring to it.” The process of redefining the traditional gallery space that Duchamp’s “Fountain” began is still going on today. Its most recent culmination is the Berkeley Art Museum’s new The Possible exhibit, which curator, David Wilson, describes as a ‘vessel’ in which a form holds a space. This experimental exhibition re-conceives the museum as a site for public discussion and creative convergence.

The Possible invites museumgoers to take part in the art-making process,

undermining the the commodification of art and redefining the museum’s role as a public space. The exhibit functions as a series of different interactive “workshops” ranging from print shops to dye labs and recording studios that encourage exploration and shared creativity. Guests are invited to collaborate with visiting artists in these various workshops to create products to be showcased in an ongoing gallery installation. Participants are anywhere from seven to seventy-five years old; the exhibit functions as classrooms during a series of public workshops every Sunday that engage guests of all ages in the art-making process. Workshop activities

include crocheting rugs and learning scents with natural perfumer Mandy Aftel to burning calories in art-gym Sweat Sessions and group hikes.

If we are to accept Duchamp’s claim that art is about the attention we bring to it, it seems modern curators must feel pressure to make an exhibit radical enough to create a buzz. The Possible; however, does not seek recognition by making itself superior to the viewer; it instead heightens engagement, and captivates audiences through its accessibility. Wilson brings attention to the art by inviting everyone to enjoy it regardless of whether or not they identify themselves as an artists.

MARY BLAIR

THE POSSIBLE

- J E N N I F E R TA N J I

As this spring marks the fifty year anniversary of the opening of the “It’s A Small World” ride, it’s fitting

that The Walt Disney Family Museum showcases the work of the woman behind the whimsical design of the classic ride in a new exhibit. Aptly titled “Magic, Color, Flair: The World of Mary Blair,” the approximately 200-piece collection chronicles Blair’s work created before, during, and after her thirteen-year-long tenure at The Walt Disney Studios.

Blair’s career began after she graduating from a prestigious Los Angeles art institute. It was the height of the Great Depression, and she entered the animation industry in lieu of pursuing her intended career in fine arts.

Her signature surrealist style—characterized by a playful palette and designs modern compared to the contemporary Disney aesthetic—is apparent in a number of cherished childhood movies like Peter Pan, Cinderella, and Alice in Wonderland.

Although Blair’s imaginative technique did not match Disney’s mainstream animation style, she quickly attracted the admiration of Walt Disney himself. In fact, he was so captivated with her unconventional approach, he asked Blair to help design “It’s A Small World” in 1964.

The ride grew so popular after its initial launch at the New York World’s Fair that each of the subsequent Disney Parks’ Fantasyland features the cruise and its catchy tune. Currently, the original

at Disneyland is undergoing further refurbishment. This is a source of concern for those who fear the classic Blair aesthetic will be compromised in the process.

While updating the ride signals a departure from the beloved style of this legendary Disney artist, her legacy lives on. Blair was one of the first and few female artists in the studio. Her innovative spirit can be found in the attractions she helped design, the films on which she worked, and the archive of her works from her decades long career. Thirty-five years after her passing, her creations continue to unite millions in merriment, if only for a moment on screen or a few while floating down an artificial river, surrounded by singing dolls. Thanks to Blair, it is indeed a small world after all.


Arguably the most iconic fashion designer of our time and often proclaimed “fashion pope,” Karl Lagerfeld is a master at bringing together the past and the future. Known for revamping the houses of both, Fendi and Chanel, Lagerfeld infuses everything

he touches with that carefully tailored ‘Karlness.’ His trick? Rejuvenating the vintage and imbuing classic pieces with a modern edge.

Lagerfeld designed his first collection under the name Roland Karl while working for Jean Patou in 1958. In a time when high fashion was synonymous with elegant modesty, Lagerfeld introduced a collection of shape-hugging and skin-bearing designs that challenged the contemporary laws of style. At this time, his vision was largely criticized for not following the strict fashion guidelines.

He then went on to work for House of Tiziani, where he gained recognition but was still unable to bring his edge to the brand. It was not until 1965 when he joined Chloé, the house that created the concept of ready-to-wear, that Lagerfeld was allowed to take a step towards experimenting with mixing the old and the new. He used loud prints and bold colors in silhouettes from drop-waist dresses to cropped jackets, and even created the ‘surprise skirt,’ loose pants that deceivingly look like a skirt. It is possible that at this time Lagerfeld also introduced crop tops, pairing bra-tops with skirts of varying lengths.

At the same time as he was working for Chloé, Lagerfeld joined Fendi’s fur department. The chic, yet rough character of fur complimented his own style perfectly; and Karl continues to utilize fur in every Fendi collection he releases. Joining Fendi finally gave him an opportunity to creatively combine wild uses of fur, with sleek silhouettes.

Chanel is, arguably, Lagerfeld’s most significant work. While Coco Chanel established the house’s prominence, Karl made it modern. Coco refused to embrace mini-skirts and jeans as fashion trends, but Lagerfeld recognized the full potential of designing for a younger audience-- to this day, his signature strategy when modifying classic designs. Just as with Fendi, he continues to seek inspiration from the timeless Chanel tweed and quilting patterns, but injects them with an innovative color palettes and rebellious edge.

Lagerfeld’s own designs and his eponymous brand reflect his style most perfectly. With the freedom to channel no other creative vision than his own, he demonstrates true genius by combining high fashion with raw, leather, motorcycle style. After his struggle for recognition, he has prevailed as a driving force in the fashion industry with a reputation for altering classic designs to fit the current aesthetic. Lagerfeld, by challenging fashion conventions, persevered in creating fashion for the bold.

- K S E N I YA Y E F I M C H Y K - A L E X W U

FOUNDATIONIN THIS SEGMENT, WE TRACE THE HISTORY OF TWO CLASSICS: THE T-SHIRT AND KARL LAGERFELD. THIS IS OUR HOMAGE TO THE FOUNDATIONAL ROLES BOTH THE GARMENT AND THE DESIGNER HOLD IN OUR MOD-ERN UNDERSTANDING OF FASHION.

The first form of the T-shirt was called a union

suit. Issued by the U.S. Navy, it was a basic one-

piece article that was white with buttons down

the front. Submarine workers wore them for

harsh working conditions.

Football players from the University of Southern

California began wearing T-shirts as part of their

uniforms. Students then stole the shirts that read

“Property of USC” from players.

The T-shirt, featuring crewnecks and short-

sleeves, is adopted by the U.S. Army to be worn

underneath the standard uniform. Workers in

other industries, including mechanics, factory

workers, farmers, and dockworkers, began

wearing the T-shirt as well.

T-shirts became popular for casual wear among

young audiences when Marlon Brando wore a

thin, white T-shirt in A Streetcar Named Desire

and James Dean wore one in Rebel Without a

Cause. Governor Thomas E. Dewey printed

his slogan on T-shirts during his presidential

campaign.

People began to use clothing, particularly

T-shirts, as a means of expression. Company

logos, anti-war slogans, and tie-dye prints were

all commonplace T-shirt designs.

Musical band artwork, political cartoons, images

of landmarks, and other pop culture icons

became common T-shirt imagery. The wrinkle-

free T-shirt, which is made from a mixture of

cotton and polyester, was also perfected.

Tight-fitting T-shirts cropped to reveal midriff

became a rising trend in women’s clothing.

Other people would “layer” shirts by wearing

a short-sleeved T-shirt over a different colored

long-sleeved one.

Various different designs and styles of T-shirts

have appeared, including crew necks, ringers,

tank tops, V-necks, and “wife-beaters.” “Tall”

T-shirts (T-shirts worn to knee-length) have

become common in hip-hop culture. The modern

T-shirt can also now be customized and printed

almost instantly and on-demand.

1 9 3 2

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2000S

1 9 1 3


BARE MAGAZINE’S MIRANDA KING SAT DOWN WITH BERKELEY ALUM DAVID PASTEWKA, CEO OF TWINDOM, A COMPANY THAT SCANS AND PRINTS 3D MIN-IATURES OF PEOPLE, AND PREVIOUS FOUNDER OF DREAMBOX, THE WORLD’S FIRST 3D VENDING MACHINE, TO TALK ABOUT THE IDEAS BEHIND THE CRE-ATIONS, WHAT TRULY MAKES A BUSINESS WORTHWHILE, AND THE FUTURE OF 3D PRINTING.

What sparked the idea for the original DreamBox?

DreamBox started for many different reasons. We (Will Drevno, COO, Richard Berwick, CTO) met in the Mobile Application Class about three years ago. We all knew we wanted to start something for real - to take the plunge. We’re sitting at a white board one day, and the idea of 3D printing comes up. Richard had been on Cal’s solar vehicle team, and they had used one for parts. At the time, no one had access to 3D printers. We decided to bring 3D printing to the masses.

What were the beginning stages like?

We had to hack into an existing 3D printer to figure out how it worked. From there, it took us eight weeks to build the first DreamBox. We originally designed the one in Etcheverry for engineering students, but we then quickly introduced a simple catalogue of items like iPhone cases and shot glasses. People loved watching their designs print, so that was also a draw.

How did it progress to Twindom?

Our whole lives shifted when we started scanning people in 3D. It was a Sunday, and we’re working on full body and color scans, and Richard says, “Do you want to get printed?”

What does 3D printing’s future look like?

3D printing is supposed to provide an industrial revolution of sorts in the coming years. And what do most people consume? Clothing – that’ll become big in the next five years. You’ll be able to buy a machine for around, say, $500, and then produce your own clothing.

What about the role of 3D scanning for online shopping?

Virtual fitting to date has kind of been like the quest

for the Holy Grail. The first company that nails it will be as disruptive to brick-and-mortar retail as the Internet has been. We’d love to play a part in solving the problem of not knowing how clothes look on you until you try them on. But I don’t believe that the technology we’re using today is going to be the technology that cracks the code. These virtual fitting products just aren’t realistic enough. Fit is a very difficult thing to nail especially when you consider that every material has different elasticity, wrinkles in different ways, etc. I do have a theory on how the virtual fitting problem can be solved and scanning is one part of the puzzle, which puts us in a good place to be the people to develop the rest of the puzzle, but we’ve already got our hands full trying to disrupt photography for the time being.

Have you scanned yourselves?

Oh yeah. We just scanned the whole team the other day.

Have there been any unique stories or prints so far?

There was an amazing story we had; a man came in to be printed holding a sign saying, “Will you marry me?” Then, we had a woman come in a few days later holding a “Yes!” sign. That was pretty great.

How do most people react when they see themselves in 3D?

People are generally excited, but it’s an odd experience. We only ever see ourselves in pictures, mirrors and occasionally in movies, so being able to hold and look around yourself as if you were a separate human being is a very different experience. Some people have been moved to tears by the final product. When that happens, you forget your entire business model—you know you’re providing a special and worthwhile product. That makes the whole venture meaningful.

DREAMBOX

PRODUCTION EVAN RUIZDAKOTA GOODMANJENNIFER TANJILINDSAY LEWIS STEVEN PHAM

PHOTOGRAPHER STEVEN PHAM

MODELS MASHA ANDREYEVA WINSTON LI

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ON MASHA DRIES VAN NOTEN BLAZER, MODERN APPEALING CLOTHING • BLOUSE, AMERICAN APPAREL • LEGGINGS, STYLIST’S OWN. ON WINSTON T-SHIRT, ASOS.


CLOCKWISE ON MASHA DRIES VAN NOTEN BLOUSE, MODERN APPEALING CLOTHING • SKIRT, HEELS, STYLIST’S OWN. ON WIN-STON SWEATER, AMERICAN APPAREL, JEANS, BOOTS, STYLIST’S OWN. ON MASHA DRIES VAN NOTEN BLOUSE, MODERN APPEAL-ING CLOTHING • DRESS, STYLIST’S OWN.


FITNESS IN THE DIGITAL AGE

Riddled with job dissatisfaction and teaching Pilates part-time, Ho uploaded her first video for her students in 2009–and her world turned upside down. The massive

popularity of her YouTube channel (currently around 93 million views) has enabled her to start her own fashion line, a lifetime dream of hers. Emma Schiffer sat down with Ho to talk Pilates, fashion, and body image.

Give us the SparkNotes version of how you came to make videos on YouTube.

I have been doing Pilates for 11 years and making these [videos] for 8 years. When I first started doing Pilates and teaching, I wanted to put up a video for my students on days that I wasn’t teaching class so that they could still workout with me. I put a video on YouTube, other people started watching it and asking for more.

What goals or dreams has YouTube fame allowed you to achieve that you would not have been able to by designing on your own or just teaching classes?

YouTube has really given Asian Americans a chance to show their talent, whereas it would have been really hard in the entertainment world at the time. I never expected this career in entertainment to turn out how it has. But now, because of the exposure I’ve gotten, I see myself at Target [through magazine features and exercise DVDs], I’m working with Random House Publishing, and I got the opportunity to be on Dr. Oz and Steve Harvey.

How does it feel to have your life shared with the Internet?

I think it’s fine for me. I choose what I want to share. For the most part, it’s almost everything. But anything that can help people, help them live a better life, or help them through their troubles, I will share. I share what I feel is very relatable.

Since you’re a fitness instructor, have you ever felt pressure about your own body?

As a fitness instructor or just being in the public eye, you’re expected to be perfect and iconic. And there’s this pressure. But for me, what I like to do is workout anyway; and I like to eat the way I do, and my body responds how I want it to respond. And there are times when I need to diet for a photoshoot; and I have to take it a little bit extra hard. I’m just like any other girl.

How do you try and foster a positive body image for your viewers instead of just saying “lose weight, it’ll be okay”?

I think that it’s important to first look in the mirror and love yourself for who you are today, right now. Your body is going to respond to you saying ‘I hate my arms, I hate my face.’ You have to love yourself as you are, along every step of the way of the journey. Once you do that, you stop focusing on the weight loss. It’s just about eating well and exercising. But you have to learn to accept who we’re going to be but also work to be the best we can be. You have to find who you’re going to be and your potential.

FOR CASSEY HO, THE INTERNET IS NOT A PLACE TO RETREAT TO FOR RELAX-ATION. SHE DOESN’T SIT SLACKJAWED IN BED STARING AT HER SCREEN. IN FACT, SHE DOES THE EXACT OPPOSITE. FOR HO, THE INTERNET ENABLES HER TO UPLOAD PILATES VIDEOS TO HER YOUTUBE CHANNEL, BLOGILATES, AND TO DESIGN HER OWN LINE OF ACTIVEWEAR APPAREL ON THE SIDE.

- S PA N D A N A S I N G H


Vivid colors and floral print, which gracefully find their way into Spring 2014 ready-to-wear (RTW) collections of

top designers, are nothing new to spring runways. Yet, the novel way in which the two stylistic themes are applied this season is hardly rudimentary, and so deserves some serious acclaim. Designers took a whimsical, lighthearted approach to their designs this season. This is especially emphasized in the masculine cuts in feminine styles that are prevalent in a handful of the Spring collections.

For the Chanel Spring RTW collection, Karl Lagerfeld artfully dressed his models in flowing fabric covered with rainbow-colored patches, enlisting looser shapes and styles previously foreign to the historic fashion house.

While Lagerfeld’s collection champions bright colors, the Marc Jacobs show presents a deliberately defiant band of marching tomboys decked in deep colors and crisp floral patterns that resemble masculine oriental patterns. Jacob said of his collection characterized by dark hues, puffy overcoats, and padded shoulders, “I didn’t want the cliché of Spring and

- S O P H I A F I S H

Some people plan their vacation getaways with the intent to shop for clothing not found in the U.S., but these retail dreams can either

be crushed or realized upon finding out that some products are far more expensive in some countries and much cheaper in others. The reason for these discrepancies comes back to basic economic principles.

Popular Spanish clothing retailer Zara, for instance, sells its products most cheaply in Spain and surrounding countries like Italy and Portugal-- the areas in which Zara’s factories are located. This decrease in one of the major factors in production costs-- transportation-- is the reason why a simple pleated skirt in Zara Spain costs only a third of the price it does in the United States.

Price change can never be discussed without discussing the fundamental economic theory of supply and demand, two factors that vary from country to country. For example, there is a higher demand for Western brands like Zara, Forever 21 and H&M in places like Russia and Indonesia. As a result, these companies market themselves as high-end brands, and raise their prices in these regions because they know the population will happily pay.

While price disparity may be obvious, for example, when looking at a Forever21 dress that costs three times as much in Indonesia than in New York City, it is unrealistic to expect the prices to be the same in these two places, given all the variables that factor into the cost. Avid shoppers will just have to join forces with the increasing numbers of global consumers to find the best international deals.

Summer, I wanted it to be about girls who have no problem coming to work in a Victorian gown and Birkenstocks.”

This aesthetic translates almost directly into Jacobs’ Louis Vuitton Spring 2014 RTW collection where we see slouchy boyfriend jeans with lavish black lace tops embroidered with sequins, glitter. Here Jacobs rarely strays from his noir color palette, but that certainly doesn’t take the feeling of spring out of the clothing. The sheer fabrics and feminine cuts show off the body and offer a fresh take on gothic styles.

Alexander Wang’s collection also deviates from the spring-time norm. His models flaunt pullover sweaters with stamped-on logos and playful tennis skirts paired with structured blazers. Wang experiments with the notion of masculine femininity, dressing his models in combinations of button-down shirts and boxer-like shorts, or petite peplum-style tanks and slouchy trousers. The clothes are dyed in neutrals: white, black, grey, and light blue and pink. Wang explains his collection as reminiscent of the 90s, a time when, “fashion was really fun, when there was wit and humor, and it wasn’t so serious.”

DEVIATIONTHIS FEATURE IS THE BOOKEND TO “FOUNDATION.” HERE, IN-STEAD OF CELEBRATING PRECEDENT, WE HIGHLIGHT THE WAYS IN WHICH FASHION INDUSTRY PRICES AND DESIGNS STRAY FROM CONVENTION.

DEVIATION IN DESIGN

DEVIATION IN PRICE


PRODUCTION YANIKA AMARASCKERA, MICHELLE BAO, MADEEHA SIDDIQUI, ATHICHA NONTIKARN, SARAH MORENOPHOTOGRAPHERS MICHELLE BAO, YANKIKA AMARASCKERAMODELS BLYTHE LEANN BERG, MOIRA LABANDON BLYTHE TOP, URBAN OUTFITTERS • ON MOIRA DRESS, NECKLACE, STYLIST’S OWN


THE SIXTH SENSE THE SIXTH SENSE PRESENTS SPRING AS IT CORRELATES TO EACH ONE OF THE FIVE SENSES. IN RELATING EACH SENSE TO THE FEELING THE SEASON EVOKES, A NEW, SIXTH SENSE EVOLVES–THAT WHICH IN ITSELF IS THE AMBIENCE OF SPRING.

ON MICHAEL CAPITAL EYEWEAR SUNGLASSES, JACKET, DRESS SHIRT 440 BRANNONON GINNY CAPITAL EYEWEAR SUNGLASSES, 440 BRANNON · GAP HALTER DRESS, JAMES ROWLAND


DRIES VAN NOTEN BUTTON DOWN, ENGINEERED GARMENT SHORTS, M.A.C. SF


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ON MICHAEL AXS FOLK TECHNOLOGY JACKET, DRIES VAN NOTEN T-SHIRT, M.A.C. SFON GINNY COMMES DES GARÇONS DRESS, M.A.C. SF


PRODUCTION ALEXA PENN, SOPHIA FISH, IRENE KIM, LIZBETH OCHOA, ALEX WU, KYLE CHEN

PHOTOGRAPHER GENESIS AHTTY

MODELS MICHAEL GAFFNEY & GINNY MCGINNIS

“


B eyond the monumental shadows of humanity, past the footprints of culture, and the gates of society, lies an ever-changing canvas: a creation that is, itself, self-guided

despite humanity’s incessant urges to alter the already perfect piece of art.

Despite the influx of popular societal imagination, the only real Truth is all that encompasses humanity’s ultimate creator: all that is ethereal–all that has been, all that is us, all that will be; the Natural.

The Natural, with its godly character that is embedded within the petals of flowers and the leaves of trees, resurrects a continuum of hidden mystery that can only be understood in the tidal pulls of seasonal changes: the crisp verdure of spring, iconic rays of summer, nostalgic winds of autumn, and silence of winter. It is this ever-changing landscape of a masterpiece in constant motion that inspires the essence of all living beings presiding within its beauty; living on the canvas.

The Natural, composed at the minute level by varying vibrations, radiates life force from the roots of the living planetary system - up the stems, to the budded flowers – and manifests in a silent orchestra of color and beauty that creates living space: a seething, breathing artist that embellishes itself as the Art.

The vibrational consciousness of the Natural, along with all of the pleasures and beauty produced by it, creates the beings that, too, have the same consciousness that allows the for vision to see the silhouettes of color embalmed on the canvass; the Natural space.

As conscious beings, every action, thought, word, and utterance abstracted and represented on the canvas is reflected back to the Natural, as the Natural is to the human.

In the presence of such divine consciousness it

becomes apparent that the human animal must devolve to witness a Higher Truth in order to interpret the complexity of such an artscape; and so, the schematic offerings of specific petals and leaves that begin to demand attention over others, that are commanded as such, seemingly suggest transcendent honesty.

Take the rose, which the human animal is deceived to understand as the transcendent symbol of Truth; an illusion that can be as pure as the very Truth that it attempts to abstract.

To capture all all that the rose encompasses with a single Truth is to overlook all that marks the rose as significant as the Truth that aspires to be: the seductive allure that metamorphoses into a striking illusion which permeates all humanity’s attempts to understand in the canvas.

This is the truth to the lies that such Truths are crystallized within: a myth.

There is nothing but a trace of Truth intertwined in the thorns and façade of red because, as is the fate of all things in the Natural and art, the rose appears to be a flower of divinity, yet at the same time in touching skin, is the reminder of the vulnerability of humanity; because the only Truth to face is the continuum of life and death and the illusions that attempt to cover that inescapable reality.

It is this reality that humanity begins by abstracting certain stroke marks in attempt to make sense of the greater masterpiece; but without seeing the entire canvas. The true illusion lies in the appearance of what Truth is because where there is Truth there is Illusion and within that Illusion is Truth.

The circle of life places humanity within an endless cycle that leads one right back to where they started: skin-deep and embalmed within the canvas of the Natural.

. . .THE ROSES HAD THE LOOK OF FLOWERS THAT ARE LOOKED AT.

- T.S. ELIOT

- C O R Y M O H N

“”


WHAT IT MEANS TO LIVE IN A

CO-OPAS EPITOMIZED BY THE FREE PILE

- S O P H I E G O L U B

I can’t remember how I first heard about these free piles. But once I finished unpacking on the first day of last semester, I knew there was a place I wanted to check out. I grabbed the mountain of green

knits and faded denim on my bed that I had reluctantly decided it was time to get rid of. With those in hand, I descended the three sets of stairs, past the graffitied walls, and the dirty workout equipment. Reaching the darkened doorway, I flipped the light switch on, only to see my own personal thrift store before my eyes. But this was even better, because it was all free.

The free piles take a different size and form in each house. Sometimes it’s just a couple of shelves next to the washing machines. And then there are the free piles like the one in the co-op I lived in last semester: two full rooms connected by an arched doorway, full of labeled shelves, bins, and clothing racks. I discarded my pile in the bin labeled “unwashed” and began rifling through the rack of jeans. My arms were quickly supporting another mountain of clothing, but this time none of my own.

Throughout my past two semesters in the co-ops, brief excursions like this have been a consistent ritual of mine.

To me, the free pile represents something more than just a pile of used clothing up for grabs. These free piles, found in the basement of nearly every student cooperative on campus, represent exactly what the cooperative system at Berkeley is. The very nature of reusing recycled clothing embodies the official Berkeley Student Cooperative mission of offering affordable housing to students as well as its informal tradition of fostering a sustainable lifestyle.

But there’s still something bigger–and better–about the free pile. Living in the co-op system is about being part of a story larger than yourself. It began with the first house back in the 1930’s. In those 80 years, much has happened within the walls of that first house and

the sixteen others. Like college itself, the co-op system, is a transient experience. People come and go. People make their mark, maybe just for one semester or maybe for a few years. But rarely does anything last beyond that. I can get a glimpse of those experiences if an alumni visits or if someone has a parent who used to live in one house. The house is endowed with stories and experiences that we know about but we do not know at all. Each house has a few stories that get passed down in the form of legends but that’s about it. I never know about the past people who danced on the paint-stained hardwood floors or ate dinner in front of the Where the Wild Things Are wall mural.

This ephemerality is what the free pile is about. Someone owns a sweater and has a history with it. When they are done with it, they drop it into the free pile. One week later, or even one year later, someone else picks up that sweater and makes it her own. She wears it, she creates experiences in it. Her knowledge of the past is ignorant, she does not know where it came from or who had it before. But she knows, just like I know when I walk through the halls of any co-op, that there is a past. The last owner had a history like mine, but not like mine. We both desired to live cooperatively, sustainably, and communally. But that’s all I know. The rest is a mystery.

And to me, that’s the beauty of the cooperative system. You become a part of something bigger than yourself and better than yourself. You never fully grasp it, but you always get inklings and clues. You are only physically part of it for a small period of time, but it becomes a part of you for the rest of your life, and in some way, a part of you stays to make it what it is.

When I walk down the hall wearing my shirt from the free pile, I always wonder if someone will stop me and say “hey that shirt was mine!” But it’s never happened yet, and who knows if it ever will.

PRODUCTION TEAMCECILY MANSON

DIVYA SURIALEXANDRA HOANG

EMILY ZHONG

PHOTOGRAPHERTAMARA KATONI

MODELELIZABETH KURATA

MAGDALENA TOBARJACKIE IYAMAHJUSTIN HSIUNG



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30 SPRING 2014 • BAREMAGAZINE.ORG30 SPRING 2014 • BAREMAGAZINE.ORG

ARTWORK BY ANGIRA SHIRAHATTI


CAGED

Crossing the swift source of life

A rush of adrenaline is the cue

Gateway windows appear only for those who search during their moments of strife

Enveloped in a hue

Dreams evolve as attainable when surrounded by the wild

Forests display the rings of age

Rescuing the soul from the jail cell of fear

Evolution as non-recognition of youth with each turn of the page

Experience of confrontation draws one near

Destruction of the knotted cage

Observing the simple and pure

Master of the puzzle and the cure

Industrialized and plugged into a network of irony

A breath of fresh air as you dive head first into the shine

Magnificent purity as you take flight

Redirection time and time again through the elements

Evolution as devolution

Drowning the sorrows so you can wait to disappear.

FREEDOM

- D A KO TA G O O D M A N

B A R E M A G A Z I N E I S U C B E R K E L E Y ’ S P R E M I E R E F A S H I O N , L I F E S T Y L E , A N D

A R T P U B L I C A T I O N .

W W W . B A R E M A G A Z I N E . O R G

bare magazine: issue 15 - verdant

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