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GOLDEN ISSUE 06

ISSUE 06 CONTENTS

05 LETTER FROM THE EDITORS 06 STUDY ABROAD: SHADES OF CHANGE 16

THE MIXED IDENTITY CRISIS

24 WE ALL KNOW THESE THREE STUDENTS 32 SILVER LINING IN GOLDEN PLACES 44 HOW STUDENTS LOOK THEIR BEST 54 GOLDEN GOPHERS CROSSWORD PUZZLE 56 THE ENDURING MAGIC OF STUDIO GHIBLI

05 06 16 24 32 44 54 56

64 LIGHTS, CAMERA, COLOR: HOW COLOR THEORY ADDS DEPTH TO VISUAL STORYTELLING IN FILMS 74 RIVERSIDE PLAZA IN COLOR 84 DISCOVERING YOUR TRUE COLORS WITH MARISSA RAY 90 FROM FRANK OCEAN TO BILLIE EILISH: SYNESTHESIA TAKES MUSIC PRODUCTION TO THE NEXT LEVEL 98 GLOBALIZATION OF FASHION: A SHARED LANGUAGE 110 SERPENT’S CHARM FASHION SHOW IS MORE THAN A RENEWAL, IT’S A REBIRTH 122 VIDEO HIGHLIGHTS 124 CREDITS

64 74 84 90 98 110 122 124

LETTER FROM THE

EDITORS

olden is a home for creatives. It is a place where anyone belongs, is welcomed with open arms, and can gain invaluable experience. Starting as underclassmen looking for a place to explore our creativity, we both landed at Golden’s doorstep and have made it our home these past few years. It is the place where we are allowed to be completely ourselves unapologetically. For our sixth issue of Golden, we wanted to test the bounds of what we have done before. Explore anew and challenge ourselves to create something that inspires something in all of us. This led us to our theme for this year – Chroma – an exploration of color theory.

Colors evoke emotions and memories within us. Different hues and shades mirror the diversity of human life, culture and identities. The harmony and clash of colors reflect social dynamics within our society. Colors are what paint the picture of life. From dark moments of sadness and nostalgic hues of memories to vibrant shades of happiness and striking tones of empowerment, color follows us through life. This issue would not have been possible without the tireless efforts of our Golden family. We want to take this opportunity to thank everyone who used their time and talents to make the magazine in front of you a reality. Creating a magazine, especially an edition as extensive as this, is no small feat, and unachievable without the creativity, organization and boldness of the Golden teams. Issue 06 has tested the bounds of what a group of college students can accomplish when they put their mind towards a common goal. Much like color theory, the talents of individuals throughout Golden weave a colorful mural of people that represent Golden. The relationships made through this club have been a crucial part of our college experience and we think we speak for everyone when we say the people make Golden what it is. Saying we are sad to leave this organization is an understatement, but we are confident in the group that will continue the legacy and we are excited to see the even greater things that are in store for the future. Stay Golden,

ALEXA YUNG EDITOR-IN-CHIEF

ELLA ANDERSON EDITOR-IN-CHIEF

STUDY ABROAD:

Shades of Change When I began my experience studying abroad in Italy, I didn’t consider the nuance of my successes and challenges. True growth happens in between.

BY ABBY MEINART

n a crisp spring evening, the sun had just dawned while I marveled at the golden Florence skyline at Piazzale Michelangelo, a lookout spot at the top of the city. I was with a group of new friends in a foreign country and I found myself engulfed into the quiet hum of the city. It had been six weeks since I first arrived, and I had gotten comfortable with the rhythm of daily life as a student studying abroad. Yet, in this particular moment surrounded by exquisite European architecture, a wave of homesickness washed over me. Despite the beauty and excitement of living in the birthplace of the Italian Renaissance, I couldn’t help but feel out of place. I longed for the familiarity and comfort of the Midwest suburbs.

After a few weeks had passed, I realized that this push and pull between excitement and homesickness, connection and isolation, was not only a part of the experience but also a crucial element of personal growth. The harsh realities of studying abroad felt like the sharp contrasts of the colors black and white. Yet, just as the interplay of light and shadow in black-and-white photography creates depth and meaning, these opposing forces were blending together, shaping my journey and the person I was becoming. Just as monochromatic photography can evoke powerful emotions through its simplicity and contrast, my time abroad opened my eyes to the emotional, social, and cultural complexities that make up a meaningful experience.

Studying abroad is often portrayed as a thrilling adventure–one filled with new places, faces and experiences. As anyone who has lived in another country can attest, the reality of this experience is far more complex. It is a journey of contrasts, where learning to embrace both the good and bad moments is key to understanding the full experience. It’s a personal battle but the highs and lows, the challenges and rewards, and the cultural differences shape growth and empathy for a life outside of your own. One of the most immediate challenges is the language barrier. Nearly every day, I had difficulty communicating with the city’s locals. The first day I arrived I walked down the street until I ran into an Italian bistro playing familiar American top hits. I sat down with my new roommates I had just met and instantly felt

overwhelmed by the all-Italian menu. To order, all I could do was embarrassingly point, gesture and nod as the server tried to decode my order. I felt both embarrassed and self-conscious trying to engage in Italian norms, like every misstep revealed my “outsider” status. This feeling extended beyond the dinner table and into everyday routines, like grocery shopping. Expecting the wide aisles and endless options of American supermarkets, I instead found a small, crowded shop with just the essentials. I learned that grocery shopping here often meant visiting multiple stores: the bakery for fresh bread, the butcher for meat, and the market for produce. Every awkward exchange, every moment of doubt and every misstep taught me the importance of patience and persistence. These not-

It is in these dark, vulnerable moments, when the weight of misunderstanding and isolation feels overwhelming, that the seeds of growth are planted. In learning to struggle through the hardships, I learned that there were many opportunities for growth. 9

so-bright moments were essential in shaping my understanding of the world and my place in it. The pride I felt when I successfully ordered a meal in Italian and figured out how to navigate public transportation outweighed any embarrassment. These moments were not just personal victories; they were tangible demonstrations of growth. There’s nothing quite like stumbling upon a small café that becomes your regular study spot, or finding a hidden park with an incredible view of the city. Studying abroad is not about finding a simple dichotomy between good and bad, or successes and failure. It’s about learning to live between spaces–where highs and lows coexist and create a richer, more meaningful experience. Study abroad is not simply a quest for excitement or adventure; it is a journey of transformation, where the contrasts between comfort and discomfort, shape us into more resilient, open-minded individuals. It is in the grey areas, where these contrasts overlap, that we find the richest experiences and the greatest opportunities for growth.

THE MIXED IDENTITY CRISIS BY SOFIA ESPARZA

It was 3 p.m. on a warm September afternoon and I was the most eager 7-year-old in the room. In my Payless sneakers, I walked into my elementary school’s 20-person computer lab. After school Spanish lessons were about to begin and I couldn’t wait to impress my parents with my new vocabulary. There were about 12 first graders, two of us being Hispanic, and the first activity was a game of guessing colors in Spanish. The teachers had us split ourselves into teams and several pieces of candy would be our prizes. We grouped ourselves together and discussed who our teams should be. Immediately, students crowded around Carmella, the other mixed girl in the room. “We want Carmella because she looks more Mexican,” one of them said. It was so long ago, I can’t remember who but I never forgot it. “Her name looks Mexican, too.” My 7-year-old brain couldn’t comprehend this. We both were half-white. Neither of us spoke Spanish. Then it hit me. She was tanner than me. She had darker hair, a more Hispanic-sounding first name. At that moment, I realized that I was not Mexican enough. For my classmates, my family or myself. My parents met in Monterrey, Mexico, when my small-town Wisconsin mother pursued Christian missions through my Monterrey-native father’s church. My mom charmed my dad with her impressive Spanish and dedication to the church and they were married in 3 months. They raised their first two children during missions in Mexi-

co until they encountered more and more issues through Immigration & Customs. It became too dangerous to travel between the border and they gave up their passion to move back to Wisconsin with my mother’s family. My mom was pregnant with me when they left everything behind. Growing up in the Midwest fueled my white American identity. I spent weekends with my mom’s family at my only living grandparent’s house in Bloomer, Wisconsin, a town of 3,000. We fed piglets on the farm and rode ponies with my cousins. We went to an all-white Evangelical church. My parents stopped speaking Spanish to us entirely, only using it as an occasional conversation switch when they needed to talk about “adult stuff”. We only visited Mexico once in 2009, 10 years after my dad moved away from his siblings. I was too young to notice a language barrier as we / kids played in a universal language. That was the last time we visited and my dad hasn’t been home since. I stopped caring about my identity as a Latina after I quit the after school Spanish club. I checked the “white” box at the doctor’s office when they asked about my demographics. I thought of myself as white and hated it when I looked in the mirror to see my father’s face and skin staring back at me. I still enrolled in Spanish in 7th grade to fulfill the language requirement, however, the classes

were riddled with embarrassment as some white kids spoke better Spanish than me. I’m now 21 and minoring in Spanish and I don’t think I’ve ever walked out of a class without feeling ashamed that I was there in the first place. According to a report by the Pew Research Center, about 50% of U.S. Hispanics who don’t speak Spanish have been shamed for it. The same study said that 4 in 10 Hispanic adults hear jokes made by their own community for not speaking the language. I visited Monterrey for the first time in 14 years in the summer of 2023 to attend my cousin’s wedding. Though I spent the week understanding and nodding along in conversations, it was difficult for me to swallow my embarrassment and respond to my relatives in their native tongue. At one point, my uncle got so frustrated and told me point blank,

To which I only replied that I didn’t know. It’s easy for me to be upset with my uncle, who I barely know, to scold me the way that he did. But I forgive his ignorance. There’s so much nuance to it that it seems impossible to understand unless it’s your own lived experience. I’ve gone most of my life engaging in my two different identities separately and feeling ashamed when they overlapped. When my American accent trickles into my broken Spanish and other students in my minor classes speak fluently. When I don’t feel like I can show up to multicultural club meetings or identify as Latina in front of other Mexican-Americans. When my all-white high school volleyball team would compare their tans to my skin tone and cheer when they were darker than me. When boys didn’t know my name and referred to me as the “hot Latina friend” of my white circle of friends.

Tu papa habla español. Tu mamá habla español. Porque no hablas español?

When I was the only brown person in church when the pastor said that white supremacy doesn’t exist during the Black Lives Matter protests in 2020. I’ve learned to embrace my identity as a mixed woman since moving to college. I’ve surrounded myself with diverse clubs and organizations, where I’ve met people like myself. I’m continuing to pursue Spanish and I feel my comprehension and ability to speak the language growing, with each Spanish-speaking YouTuber I watch and each pretend conversation I have with myself in my bedroom. While I often think about what my life would have looked like if my family never had to move to Wisconsin, I am grateful for my Midwestern upbringing and all of the cornfields, lakes and stars I grew up seeing. Being mixed no longer feels like a black-and-white issue but rather a beautiful shade of gray. My identity doesn’t need to be split among the two sides of myself. It’s just me and I’m proud of that.

We All Know These

By Ziggy Keairns

From fairy tales like “The Three Little Pigs” to significant historical documents such as the Declaration of Independence and “Life, Liberty, and the pursuit of Happiness,” the rule of three is an inescapable aspect of life.

thirds can be seen in aspects of art like patterns, posing, and silhouettes. The principle also manifests in the foundational trio of primary colors–red, yellow, and blue– essential to countless creative works. The simplicity and structure allows artists to communicate powerful and lasting visual The storytelling principle suggests that messages. people better understand concepts, situations, and ideas when presented in groups In the realm of higher education, this of three and patterns. The rule goes be- principle can be applied to categorize stuyond storytelling–it’s rooted in how we dent behaviors and preferences. By examprocess information. ining interviews with college students, we can identify three archetypes: the OverThis principle is a favorite in marketing, achiever, the Social Butterfly, and the with examples like “Just Do It” and “Re- Laid-Back Explorer. duce, Reuse, Recycle.” Experts say it aligns with the brain’s natural way of retaining The first archetype is the overachiever. information, making it a tool for effective This archetype is always ahead on coursecommunication. work and job searching, involved in multiple activities and striving for excellence. In art, the rule of threes enhances both balance and visual appeal. The rule of These students are highly motivated, dis-

As a prevalent part of multiple religious circles as well, being represented in angel numbers and religious trinities, the rule of threes is engrained in oral traditions and expressive culture.

ciplined and focused on academic and extracurricular success. They often have a clear set of goals and are driven to achieve excellence in everything they do. Lynniah Weddington, a finance major at the University of Minnesota said that they push themselves to be the best they can.

She discussed how her dad had to work at a warehouse and how her mom was constantly stressed out, and despite her respect for her parents and all they’ve done, she wanted to break that cycle for herself. She stated that this is what encourages her to always strive for greatness in her schoolwork and her other endeavors.

“I always strive to do my best academically... [I’m] always striving to get A’s,” Weddington said.

Weddington’s resilience reflects the determination common among overachievers.

Lynniah Weddington exemplifies the overachiever archetype with her strong academic drive and commitment to excellence. At 20 years old, she actively participates in activities like Women in Business to grow professionally.

The desire to improve one’s socioeconomic status can be a powerful catalyst for academic dedication. Weddington said that their upbringing in a low-income household encouraged them to prioritize their academics and the importance of an education.

Weddington’s focus and intrinsic motivation keep her on track toward her goals. Weddington’s drive is deeply personal and shaped by a desire to improve her socioeconomic status after seeing her parents’ struggles. Despite challenges like burnout, Lynniah has learned to set boundaries, reduce her workload, and seek support.

The next archetype is the social butterfly. This archetype loves networking, making friends and attending social events. They are known for their outgoing and charismatic nature, and are often the life of the party with a large social network. An English student at the University of Minnesota, Jennifer Page, said

that she frequently visits campus to be a socially involved student. Page finds that socializing helps her decompress and detox from academics, and that the break improves her mental health. “I hang out at the Q [the social group of the Queer Student Cultural Center] a lot, and I usually go to football games and just go to other stuff,” Page said. Page’s engagement in campus life goes beyond casual socializing–she deeply values the connections she builds through her involvement. Whether spending time at the Queer Student Cultural Center, attending football games, or other events, Page finds these moments help her decompress and maintain her mental health. Through these interactions, she not only grows personally but also strengthens her sense of community. As the facilitator for Quartz [a subgroup of the Queer Student Cultural Center that meets every other week and encourages queer individuals to pursue art], Page exemplifies the qualities of a social butterfly who thrives in collaborative spaces. The last archetype is the laid-back explorer. This archetype generally takes unconventional paths, often involved in travel, internships or unique projects. These students have a more relaxed

“One aspect of being a social butterfly is the leadership aspect because in order to be a leader in things, you have to be sociable and be able to speak to people,” Page said. “I’m the facilitator for Quartz and I feel like I stick to that well.”

approach to college life. They are open-minded, curious and enjoy exploring different interests and paths. They might not have a set plan and prefer to go with the flow. Education major Amanda Curtis took a while to find her path. “It took me a while to figure out my major. I came to college being a premed focus, and I was deciding between biology and something else. Chemistry was terrible,” Curtis said. “And so then I went to psychology, developmental psychology focused, but I didn’t really want to be a therapist. Then I went into teaching.” Curtis’s journey highlights the importance of embracing change. Each shift in their academic focus represents willingness to reflect on personal strengths and interests, making deliberate yet relaxed decisions. Moreover, Curtis’s approach underscores how unconventional paths can lead to meaningful outcomes. By exploring various fields, they’ve gained diverse perspectives and skills that will likely benefit them in their future career. Curtis’s ability to adapt and remain curious sets an inspiring example for anyone navigating the often unpre-

dictable journey of college and beyond. Curtis said they maintain a sense of balance and avoid feeling overwhelmed in the face of uncertainty by using escapism; they simply do what they need to without thinking too much about it. These archetypes are not mutually exclusive and many students exhibit traits from multiple categories. A student may be academically driven while also engaging in social activities while another might maintain a relaxed attitude toward academics while actively participating in extracurriculars. Considering that these are college student archetypes, many would also consider themselves overachievers for prioritizing a degree. This blend of characteristics highlights the complexity and individuality of student experiences. The rule of three offers a lens through which we can understand the diverse behaviors and preferences of college students. Recognizing these archetypes—Overachiever, Social Butterfly, and Laid-Back Explorer—provides insight into the various ways students navigate their academic and social lives.

SILVER LINING

IN GOLDEN PLACES BY SOFIA ESPARZA

Between films like “Pitch Perfect,” “The Social Network,” and “Legally Blonde,” depictions of what the ideal college experience should look like have been forced onto young students for years. The reality of your situation doesn’t settle in until you’ve stepped onto the thick concrete steps of Coffman Memorial Union and realized that your college experience is happening here and now. It’s no surprise that these movies dramatize what a four-year university might look like. Stepping foot onto a university as large as the University of Minnesota can be daunting and every freshman looks for guidance one way or the other. Whether it’s joining extracurricular activities, making dorm friends or spending endless hours in your advisor’s office, Belonging looks different for everyone. For these

WE ALL ENTERED COLLEGE WITH A MISSION: TO FIND WHERE WE BELONG.”

past Golden Members, it looked like finding and creating a space where they could be themselves and express their artistic vision. Originally from Hong Kong, Randall Xiao, spent a few years at high school in Buffalo, New York before he graduated and committed to the University of Minnesota. Xiao said he always wanted to go to a state school and the university offered him the most value for his investment with a Management Information Systems (MIS) program and the most financial aid. Xiao bought his first camera when he was 18 years old. He used a month of savings to buy it off of Facebook Marketplace. “I grew up loving sports and watching live TV. I’d watch a basketball game and there would be this camera man on the sidelines and I thought it was so cool,” Xiao said. “I wanted to be the camera guy. I just love the arts and the capability of images; that

they are able to bring up emotions and tell a story.” At the University Xiao was a photographer for Golden Magazine and a Gopher Sports Marketing Intern. After his sophomore year at UMN, he realized that something wasn’t working. He felt like he didn’t quite fit in and began exploring other options. He took a leap of faith and ended up transferring to the University of Michigan. Transferring had its challenges. “The connections and relationships, it takes time to develop them,” Xiao said. “When I transferred, I thought ‘I’m in season one, episode one, but we’re already deep in season three.” At the University of Michigan, Xiao got opportunities he didn’t have back in Minnesota, Xiao said. “I have better mentorship, which was a huge part of my career right now,” Xiao said. “I was able to find the mental strength for myself in all kinds of areas, especially in photography, where it really

pushed me towards what I could be or what I can achieve in ways that I can’t even imagine.” With switching to a UX design major, Xiao is able to find routes for creativity in his major and ways that he can pursue his own creative vision. User Experience (UX) design is the process of designing products, systems or services that are straightforward and user-friendly, with a focus on creating intuitive and relevant experiences for users. “It’s a lot of problem solving. I feel that the creativity part goes into the visual design of elements and then maybe even just creative solutions for whatever problems that the user is facing,” Xiao said. Xiao’s creative vision is all about observation. In sports photography, you have to be mindful of the game but you also need to be aware of the context of a shot and how an audience might receive it.

“I feel like it’s all about context and stories and composition, and then what you do as a photographer is just be set up to capture those moments. It’s about being mindful and being in the right place at the right time. And being lucky enough.” Xiao takes a different approach to sports photography. His images are often blurred, trying to capture the movement and energy of the moment captured. Xiao said he receives both praise and criticism with his photography but ultimately tries to stay true to his vision and his silver lining when it feels like there’s no room for creativity.

“I’M JUST PUSHING WHAT’S POSSIBLE WITH SPORTS WITHIN STORYTELLING” Xiao said. “I was inspired to create something that’s truly unique, I feel that’s what’s true to myself.” While some students like Xiao maybe had to leave their previous experience for something better suited for themselves, others graduated and had to learn how to navigate the corporate world as a freshly graduated college student who had less access to creative opportunities on campus. Cooper Olson was a photographer for Golden Magazine Issue 5 and is also the owner of Cooper Olson Studio, his personal creative studio that specializes in

art direction, photography and design. He graduated from UMN with a bachelor’s degree in Strategic Communications: Advertising and Public Relations in May 2024. Olson, 22, now works as an art director at BBDO MW, a creative advertising agency in Minneapolis, Minnesota, where he’s created campaigns with clients ranging from SPAM to Planters Peanuts. When he started college, he was undecided and decided to pursue a major in graphic design. “I took one graphic design class and I hated it and I was really bad at it,” Olson said. “After the first day

I was like, I can’t do this, so I dropped it and then I was kind of undecided for a while and I just looked through the list of majors.” Olson stumbled across the strategic communications program through the Hubbard School of Journalism & Mass Communication. He liked writing and advertising and all of the visual aspects that came with commercials so he decided to give it a try. “I didn’t really fully know what I was doing,” Olson said. “I was just kind of taking the classes and then senior year was when I was really like, okay, I want to try and go into advertising and learn what this is” That’s when Olson decided that he wanted to be an art director, too. He started building his portfolio to get an internship and doing side projects through class 41

and personal connections to showcase his work. Olson hasn’t looked back since. As an art director, he gets to pursue a creative vision and fine tune his Adobe Illustrator and Photoshop skills on the daily. He finds ways to express his own creative vision through the advertising work he does and makes a name for himself and his team. “Everything I make is my own, it’s my idea, it’s my vision,” Olson said. “It’s cool to be able to feel like I’m creating something of my own through the lens of a brand.” While most art directors studied graphic design or similar pursuits, having a background in communication allowed Olson to offer a different perspective and approach to directing a creative advertising team.

“I had to work a little harder since I didn’t have those hard skills but ultimately I knew how an advertising agency should work and look,” Olson said. Beyond the opportunities to express creativity at his corporate job, everyday he’s reminded that he chose the right route for him despite his trials in the beginning of his undergraduate education. “I’ll be walking in the Minneapolis skyways and see men in finance in their suits talking about God knows what and I’m in hoodie and dunks,” Olson said. “It’s reassuring that I chose something right for me because I couldn’t be that guy.”

How Students Look Their Best: Seasonal Changes with Silhouettes and Hues By Ava Van Hofwegen

“F

lorals? For Spring? Groundbreaking”, said Miranda Priestly in the iconic film The Devil Wears Prada. The seasonal changes in fashion come in all variations, with silhouettes and colors. Even student life, especially in the wintery Midwest, sees all sorts of changes in style. In particular, nightlife wardrobes fluctuate not only through negative temperatures and warm summer nights. These changes are a result of trend cycles, personal style, and feelings. The styles we wear can convey a certain mood for the night. With the ever-changing seasons and Midwest weather, along with rotating trends, it can feel difficult building a solid wardrobe. Finding colors that suit your style and preference can make all the difference when choosing an outfit for a night out. 45

Nightlife in the Twin Cities has a range of personalities depending on the activity. For students, that can vary from a girl’s night at Sally’s Saloon or a date night at Berlin, a jazz club in the North Loop. With this variety of options comes a change in wardrobe. Genevieve Heywood is a recent graduate at the University of Minnesota. She doesn’t follow many social media trends for her personal style since she doesn’t use platforms like Pinterest or TikTok, where a majority of common fashion trends emerge. “I’ve been following the same formula for years, low-rise bootcut pants and a tight-fitting top because it always looks good and fits with any kind of outing,” Heywood said. Another classic outfit that many Gen Z women wear to go out includes light-wash denim jeans and a black tight-fit top. Even in the winter, this outfit

doesn’t always include a coat. This outfit has become such a staple look that it can be noticeably popular in crowds. Teaching Specialist for Apparel Design at the University of Minnesota, Lucienne Kandler has noticed in New York, that color-blocked mohair scarfs are everywhere and has seen them in Minnesota as well. This bright pop of color is a contrast against the dreary winter weather. “Hats used to be big in the winter on campus but this year there was a switch to babushka style head scarfs,” Kandler said. “A few companies designed their own version of this, starting last year with a Reformation/Canada Goose collaboration. I’m seeing students make this trend their own with whatever scarf they have.”

Kandler said style often influences the color of the year. The Pantone Color of the Year for 2025, Mocha Mousse is a rich brown that’s not only gaining popularity in fashion but also in interior design. Brenda Iris, a color analysis stylist, has been in the field for four years with her Minneapolis-based company, Mindful Styling. Iris said she often didn’t wear much color herself before the discoveries she made on her own styling journey. Iris found when she wore gray she felt she looked sad.“It made my face look a little more shadowy and then I understood I have a completely different undertone than what gray usually has, so I learned about color analysis,” Iris said. The color analysis process for clients follows three factors. The first is the undertone, which uses a spectrum of warm to cool. The second is your chroma, which is how vivid or

how muted your features are, meaning how angular and vibrant. Mindful Styling looks at hair color, eye color, skin tone and undertone. The final factor is the value, meaning how light or dark your features are. Color analysis also considers the client’s overtone or the actual color or pigmentation of your skin, and that’s what can change throughout the year depending on weather conditions and nutrition.

“I do feel that it helps people. There is color psychology as well, and the energy of colors, because I do color more holistically, it’s energy psychology, and also in your wardrobe,” said Iris. With recent popularity from TikTok, this process is becoming more well-known among younger generations. There are filters that users can try that determine what colors suit them best for their wardrobe.

This can be taken into account for planning a going-out look, students who are curious can try these filters online. For a more in-depth experience, people can visit studios like Mindful Styling with Iris. While color analysis doesn’t have to play a major role in your wardrobe, it can help you look your best depending on your color season. A color that has been popular in fall and winter among clients is the deep wine red. However, this color doesn’t always suit everyone who might have a more summer pastel

palette. Iris focuses on individual clients who are interested in change and a confidence boost in their style, not on specific trends. “People should find out who they are when it comes to their style and colors,” Iris said. “It does make a huge difference in how you feel about your body and your appearance, not to focus on trends and society standards of beauty, which change so much.” Just focus on your individuality and what makes you feel radiant and beautiful,” Iris said.

The Enduring Magic of

STUDIO GHIBLI:

A Multifaceted Analysis

BY ZIGGY KEAIRNS 56

hen you think of your favorite comfort movie, what draws you in? Is it the music, color, characters or a combination? Studio Ghibli, a Japanese animation studio, is known internationally for its iconic animation style and diverse filmography. From the music to art to storylines, Studio Ghibli’s movies have resonated with adults and children alike. Studio Ghibli films serve as comfort films for a wide range of audiences due to their recurring motifs in their music, the enchanting allure of hand-drawn animation, and their deeply relatable themes of self-discovery, unconventional family dynamics, and spirituality. One of the most universally celebrated aspects of Studio Ghibli films is their music. Joe Hisaishi’s compositions are a form of storytelling, creating an emotional connection with audiences. Fans describe Ghibli’s music as nostalgic— even if they have never seen the film before. Studio Ghibli films immerse audiences in rich, universally relatable experiences. Themes of resilience, self-discovery, and unconventional family dynamics foster connection and hope, making these stories comforting companions. The blend of fantasy with human struggles creates a bridge between the extraordinary and the familiar. The hand-drawn animation further enhances their appeal, offering a tactile, timeless quality. From the natural palette of landscapes to intricate charac-

ter details, every frame reflects care and craftsmanship. The visual beauty, combined with emotional storytelling, evokes nostalgia and warmth, solidifying Ghibli’s place as a source of cinematic comfort. Vocal performance major Ava Phillippi thinks of impressive composition when Studio Ghibli comes into conversation.

“I ’VE NEVER SEEN HOWL’S MOVING CASTLE, BUT I KN O W THE MUSIC. IT FEELS NO S TALGIC, EVEN WITHOUT A DIRECT CON N ECTION TO IT.” Music allows Studio Ghibli to transcend language barriers, making them globally resonant. Phillippi said that the use of music in Studio Ghibli movies impacts the storytelling immensely. In “Ponyo,” a Studio Ghibli film about a magical fish who transforms into a human girl, music is absent during the calm moments of the story. However, a recurring musical motif underscores scenes of conflict, appearing when Ponyo is first introduced and again during the movie’s climax. Studio Ghibli’s approach to storytelling goes beyond visuals and sound, as the intentional use of silence further enriches their films. By omitting music during calm moments, the studio creates a space for viewers to process the narrative and connect with characters on a deeper level. Additionally, Joe Hisaishi’s compositions don’t just accompany the films–they act as an extension of the characters and their

the storytelling but also adds a sense of warmth and authenticity that resonates with viewers.

journey. By weaving recurring motifs throughout the story, the music mirrors the emotional highs and lows of the plot, drawing audiences into the world of Studio Ghibli and leaving a lasting impression long after the credits roll. Although it was the same melody, it was adapted differently depending on the scene. These changes in the music help the audience grasp the movie’s context more effectively. “Even though it’s the same melody, they change it up depending on the scene—sometimes it’s grand and orchestral, other times it’s delicate and simple,” said Phillippi. Studio Ghibli’s animation approach, which remains largely hand-drawn, stands in stark contrast to modern digital techniques.The blend of hand-drawn animation and carefully crafted music creates a deeply engaging and unique experience. This combination not only enhances

By weaving nature-inspired themes with personal craftsmanship, the studio builds emotional connections that feel both genuine and timeless. Emily Fritze, an animation lecturer at the University of Minnesota, said that this contributes to the studio’s nostalgic charm.

“T

he hand-drawn aesthetic, combined with the music and themes of nature, creates a unique balance of danger and beauty—it heightens the emotional stakes while still feeling dreamlike and safe,.” Fritze said. Fritze highlighted how their hand-drawn style, glowing colors, and carefully crafted natural environments create a balance of danger and beauty, offering both emotional depth and a dreamlike sense of safety. Fritze also pointed out that Ghibli’s patient pacing and morally complex narratives set it apart from Western animation. By blurring the lines between heroes and villains and presenting the supernatural as a natural part of the world, the

studio crafts stories that are rich, nuanced, and universally relatable. University of Minnesota Computer Science student Gabe Northrop enjoys the hand drawn style of the studio. “It makes it feel more personalized, it’s like there’s a person that animated and put care and love into it, and I think it adds to the sense of nostalgia,” Northrop said. Color and lighting further enriches Studio Ghibli’s storytelling. Instead of hyper-realistic shading, Ghibli employs a stylized palette with glowing, warm tones that enhance mood and atmosphere. “The natural environments are almost surreal in their beauty, which makes the audience feel both grounded and transported to another world,”

Fritze said. Nature itself is a character in Ghibli films. The landscapes are not merely backgrounds; they breathe, move, and hold significance in the story. The film, “Princess Mononoke,” particularly exemplifies this, where industrial expansion directly threatens the spiritual and natural world. According to Fritze, this industrialism is a problem meant to counteract the spirit world, and meant to emphasize the beauty of nature. One of the most distinctive aspects of Ghibli’s storytelling is its pacing. Unlike Western animation, which often relies on rapid plot progression and clear distinctions between heroes and villains, Ghibli films unfold more patiently. “Even when stressful things are happening, the pace is measured, allowing the audience to fully

absorb the world and characters,” said Fritze. Sage Rose Cornell, an astrophysics student at UMN and avid Ghibli fan said that for her, coexistence is an important theme in the movie. “An important aspect of the story is about our place with nature and how we need to find coexistence instead of just trying to steal from each other,” Fritze said. Fritze said the reason these movies are so popular among international audiences is because of their relatable themes: familial problems, coming of age and environmentalism. Ghibli films rarely adhere to the black-andwhite morality found in many western stories. Characters must coexist with others who may have conflicting interests. “The ‘villains’ in Ghibli films aren’t outright evil. They have

motivations that, while sometimes harmful, are understandable. The supernatural elements in films like “Spirited Away,” and “My Neighbor Totoro,” seamlessly integrate into the narrative, making them feel like a natural part of the world rather than external forces. The elements enrich themes of wonder and self-discovery while reflecting a natural harmony disrupted by industrial forces, as seen in “Princess Mononoke.” Ghibli’s influence extends far beyond Japan. Many modern animation studios have drawn inspiration from its approach, shifting away from traditional western storytelling tropes. The naturalistic way Ghibli incorporates supernatural elements has inspired animators to experiment with blending the fantastical and the ordinary. Instead of relying on purely dramatic

or action-driven narratives, Ghibli demonstrates how subtle, wonder-filled moments can captivate audiences and add layers to a story.

“WE’RE SEEING MORE ANIMATION THAT EMBRACES QUIET MOMENTS, MORAL AMBIGUITY, AND VISUALLY RICH, PAINTERLY STYLES,” FRITZE SAID. The studio’s impact is particularly evident in works that move beyond the typical hero’s or princess’ journey to explore more introspective and atmospheric storytelling. Ultimately, Studio Ghibli resonates because of its willingness to embrace ambiguity, emotional authenticity, and breathtaking artistry. Whether it’s through music, animation or storytelling, Studio Ghibli’s films remind us of the beauty in both the extraordinary and the everyday.

HOW COLOR THEORY ADDS DEPTH TO VISUAL STORYTELLING IN FILMS BY NATASHA DELION

sing colors to convey emotions, drive the narrative and display themes throughout films is a powerful storytelling technique that many filmmakers use. Wes Anderson and Tim Burton are prominent examples of filmmakers who utilize color in a fascinating way.

Burton’s “Corpse Bride” is a prominent example, with the land of the dead being in more vibrant and saturated tones than the dull, muted palette of the land of the living, essentially showcasing the freedom of the dead and the rules and expectations that constrain those who are living.

Anderson uses a mix of vibrant colors and pastel or muted tones in his films, creating a mood and adding emotions and feelings symbolized by colors. Burton’s style is more gothic and monochromatic, but also using pastels and bright colors to create a stark contrast.

Color is a powerful tool that subconsciously drives the narrative for the audience, and can also create fascinating visuals in the actual cinematography. Some films that exemplify this well are “La La Land,” “Fantastic Mr. Fox” and “The Florida Project.”

The 2016 film was directed by Damien Chazelle, who won the “Best Director” Oscar for the film, becoming the youngest person, 32, to receive the award. At the time, the film was nominated for 14 Oscars, and brought us the iconic “La La Land” and “Moonlight” mix up for the Best Picture Oscar. The film utilizes bright primary colors as reference to big Hollywood musicals and old Hollywood in general, just think of “Chicago” and “Singing in the Rain.” Chazelle used yellow, red and blue to convey major themes of the musical. Blue, sometimes called the color for dreamers, represents creativity and success, as well as showing Sebastian and Mia’s aspirations and dreams. Sebastian wore a blue suit while playing a gig at a restaurant and Mia wore a blue dress to a party with her roommates, setting her apart from others in the crowd and foreshadowing her eventual success. Blue lighting was also used often throughout the film while Sebastian was playing or even at times that Mia and Sebastian were together. Mia and Sebastian both have dreams of making it big in Los Angeles, but in a way that’s different from others. Referring to color’s connections to old Hollywood, Sebastian is set on doing jazz (not modernized, but truly classic jazz) and Mia’s dreams of acting are connected to a classic Hollywood, often displayed in her aesthetic.

Yellow was used to convey a change in their lives. In the scene where they sing and dance to “A Lovely Night,” Emma Stone adorns the iconic yellow dress displayed in the movie posters along with a bright red bag (which we’ll talk about later).

s they sing about how much they don’t like each other and being together is a waste of their night before their *almost* kiss gets interrupted, the yellow dress symbolizes the change in relationship that will happen soon after. Another prominent moment of yellow is when Keith (aka John Legend) enters the mix in his mustard crewneck, bringing a change for Sebastian’s career. Red meant waking up to the truth/reality or at times, dangling a promise in front of our beloved main characters. Going back to Mia’s red bag during “A Lovely Night,” it hints at a relationship between them yet one that has a harsh reality to it. The red lights across Los Angeles almost dangle a promise over everyone who moves there for success, but especially the main characters. Mia ends up serving a famous actress that she admires, who is wearing a red dress, while working as a barista, teasing her with her dream but also foreshadowing her success. Sebastian’s instances with red were not as promising as it represented his reality. While he per-

formed at a pool party, he wore an 80s style red jacket while he and the band performed A-Ha’s “Take on Me.” It also appears when he signs a contract with Keith and compromises on his dreams of being a jazz performer.

scene that uses the entire color spectrum is the “epilogue” where it shows what Mia and Sebastian’s relationship could’ve been.

Chazelle utilized other colors as well, such as purple to represent love, black and white to represent a blank state, low moments and faded promises, and green for uncertainty. The only

Wes Anderson is known for his use of color in his films, including “The Grand Budapest Hotel,” “Moonrise Kingdom” and “The Wonderful Story of Henry Sugar.” His 2009 film “Fantastic Mr. Fox” mainly uses fall, earthy tones creating a cozy aesthetic. Beyond just the visual enjoyment of the autumnus color palette and the storybook feel, Anderson uses colors in a different way than we saw in “La La Land.”

The contrast between darkness and light of day was a major theme as well as lack of colors and blending characters into their surroundings.

In the film, Mr. Fox talks about how he doesn’t want to live in a hole anymore and seeks to buy a house on the surface, ultimately triggering a series of events that drive the characters further underground. As Mr. Fox enlists his opossum friend Kylie to steal from the major human corporations (Bogus, Bunce and Bean), his actions lead him and all the other animals to having to live underground to avoid being hunted by the three antagonists, aching to see the light of day again. Another method Anderson uses is the lack of warmth in certain areas such as the Bean family kitchen, the supermarket and the storage houses, all displayed in neutrals such as white and gray. This is also seen when Mr. Fox sees a black wolf on an icy landscape as he’s escaping after rescuing his nephew from above ground. The warm, vibrant colors also represent happiness and warmth, as seen in the feast scene and when he’s spending time with his family outside. A contrast in colors is shown in serious and realistic scenes for Mr. Fox such as talking to his wife about his own greed and need for recognition that caused the mess they’re in or confronting his fear of wolves at the end as the warm and cool landscapes blend together in the world above the ground.

Sean Baker, director of the recent Oscar-winning film “Anora,” also directed the A24 movie “The Florida Project” (2017). The film explores the housing crisis in post-recession Florida, but through the eyes of a six-year-old girl named Moonee. The colors of the film display childlike imagination and invoke a sense of joy by using a color palette often described as an ice cream or candy kind of look, emphasizing seeing the world through the eyes of a child. In an interview with Complex, Baker said watching this movie is like having your senses enhanced as kids colors are brighter and sounds are louder.

he colors in the film are very vibrant, with bubblegum blue skies, the bright purple Magic Castle Motel and bright green grass. Some of the settings are also very literal such as a large orange shore shaped and colored like an orange, as well as an ice cream stand shaped like ice cream on a cone. Despite the brightness that the colors display, what these kids and their families are going through are the opposite. They live very unstable lives, struggle with unemployment, affording rent, etc. Also, despite the Magic Castle Hotel being purple, which usually indicates wealth and status, it is the opposite. Everyone there is struggling in the housing crisis and post-recession and the landlord (William DaFoe) is struggling to keep the place together. In this film, colors are used to put us in the shoes of a child and see the world with rose-colored glasses (or in this case cotton candy-colored glasses) and

maintain a childlike innocence. This also plays a role in making the end of the film feel more devastating and unexpected. Colors are an important piece of storytelling in films and are used in many different ways, whether it be setting the tone or having audiences view things in a different light. Different colors in film create depth and enhance storytelling throughout movies. As we’ve seen in just these few examples, colors are never just colors and it may take a rewatch or two to understand the full depth of the director’s choices.

Riverside Plaza in Color

By Autumn Brainerd In 1974, following a wave of nationwide urban renewal projects and a shift toward high-density housing, Tognoli & Associates, alongside architect Ralph Rapson, constructed Riverside Plaza. Spanning an entire block of the Cedar-Riverside neighborhood and housed between two major universities, the Plaza stands at a lofty 338 feet and consists of 11 buildings. Having community in mind, Rapson designed various building heights and unit layouts, symbolizing the diverse population he envisioned living there, according

to Docomomo US MN. Constructing Riverside using Brutalism — a European architectural style characterized by its raw, exposed concrete — Rapson contrasted the building’s dull appearance with bursts of color and life. Balconies and windows around the plaza are arbitrarily adorned with geometric panes hosting primary colors: blue, yellow and red. The Plaza’s distinctive structure and vivid colors have cemented it in Minneapolis history, earning features on “The Mary Tyler

Resident’s stories reveal a reality of perseverance and pride. Inside the Plaza, communities gather to celebrate festivals, share traditional meals and support one another through mutual aid networks.

Moore Show,” and becoming an unmistakable city landmark. That being said, what Rapson pictured as an image of community and unity has been muddied by public perception. Inside, over 4,000 residents from diverse backgrounds foster culture, hope and life. Outside, the world sees something else entirely — crime, poverty and social stigma define the Plaza’s reputation. By focusing on the stories of those who call Riverside home, there’s still a chance to restore Rapson’s vision and rewrite the narrative. For Ralph Rapson, architecture wasn’t just about structures — it was about shaping society for the better. He believed that design could influence how people lived and interacted, fostering community and connection. With this idea in mind, Rapson set out to create Riverside Plaza as a space where

individuals from diverse social, economic and ethnic backgrounds could come together and build a shared sense of belonging, according to the Minnesota Daily. His original blueprint went beyond housing: it incorporated public spaces, open areas and retail hubs, meeting both practical and social needs. By mixing market-rate and subsidized units, Rapson hoped to create an accessible and inclusive community, according to Docomomo US MN. The Plaza’s colorful exterior wasn’t just for aesthetic flair—it was deeply intentional. According to color theory, primary colors like red, blue and yellow evoke feelings of hope, warmth and optimism. These shades were not random choices but symbolic gestures tied to the Plaza’s origins in urban renewal, representing fresh starts and revitalization. Despite Rapson’s thoughtful design and optimistic vision,

public perception tells a different story. Many Minneapolis residents dismiss the Plaza as harsh and ugly — judgments that likely reflect more about societal biases than architectural design. Negative labels like “Ghetto in the Sky,” “Little Somalia,” “Ellis Island of Minnesota,” and “The Crack Stacks” emphasize this mentality and reduce the Plaza to symbols of crime and poverty. Initially welcoming refugees from Vietnam, Korea, India, and various Middle Eastern countries in the 1970s and 1980s, the Plaza soon became a multicultural hub. Today, its hallways are filled with

the languages and traditions of Somali, Ethiopian, and Oromo communities, who now make up the largest share of residents, bringing cultural practices, cuisine, music, and traditions with them, according to Sherman-Associates. The Somali community, for example, has fostered a strong sense of identity within Riverside, establishing local businesses, cultural organizations and mosques that serve as pillars of support for newcomers. Children learn not only English but also the languages of their heritage, bridging between cultures as they navigate school, home and society, as noted by Docomomo US MN.

Other cities have successfully reframed the perception of similar communities.

The Plaza’s reputation isn’t shaped by architecture or design but by societal biases toward race, class and immigration. Changing the narrative means moving beyond black-and-white stereotypes that reduce entire communities to symbols of poverty or crime. Instead, we must recognize the full spectrum of color within Riverside. Doing this requires more than a surface-level rebranding. It demands a shift in how we perceive spaces connected to immigration and diversity. In New York, neighborhoods like the Lower East Side have transformed from stigmatized immigrant hotspots into celebrated cultural hubs, rich with history and community vibrancy. Similarly, Toronto’s Regent Park, once a symbol of urban decay, has been revitalized into a model of

inclusive redevelopment that honors its resident’s stories and heritage. Reclaiming the Plaza’s narrative isn’t just about how outsiders see it — it’s also about amplifying the voices of those who live there. Riverside Plaza isn’t waiting for permission to be recognized as a thriving community; it already is one. The resilience of its residents, their cultural traditions, businesses and sense of belonging prove that this space is far more than a relic of urban planning. The Plaza is a living, breathing example of how communities define themselves, regardless of how others choose to label them. The Plaza isn’t just concrete and color; it’s alive with stories, dreams and the enduring belief that every person deserves a place to call home. In the end, it’s not the outside world that determines the Plaza’s future—it’s the people within it.

Discovering Your True Colors with Marissa Ray BY KATIE ROHLING

ouse of Colour Analyst Marissa Ray describes the color analysis process as “using the science of color.” Color analysis is a tool to determine which colors best suit one’s self. Ray describes herself as a color, style, and image consultant. She ultimately finds what makes people look their best.

color that is more blended can be described as softened or muted, like the edge of color was taken off. Then, colors on the color wheel are broken up into four seasons while incorporating the characteristics listed above. Autumns are warm and blended - think rich and earthy. Colors such as warm greens, deep yellows, and golden browns fall into this palette.

Another term for color analysis is “getting your colors done”. This appointment begins with a client sitting in a chair with several drapes, sometimes up to 20 at a time, held up beside them.

Springs are warm and bold, similar to a fresh, crisp morning in April. Turquoise, peachy pinks and orangey reds are some colors that fall into this category.

“We are gonna look at a whole bunch of colors next to someone’s face and see how those colors respond,” Ray said.

Summers are cool and blended, such as mauve and taupe, contrary to cool and bold winters.

As humans, we crave natural harmony. The reason why this process works is because certain colors have distinct attributes that define the color. When similar attributes are next to each other, they are complimented, Ray explained.

When someone wears colors that compliment them, their skin appears more smooth and soft, like they have a natural glow, accentuating their natural features.

First, Ray looked at a multitude of warm and cool colors. Warm colors are yellow-based or “sunshiney”, while cool colors are blue-based, resembling a cloudy day. Then, these colors are established as either bold or blended. When a color is categorized as bold, it has an intensity to it - high contrast and vibrancy. A

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creators,

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influencers, have been sharing their experiences getting this process done or conveniently using the “seasons” filter TikTok provides. Although this does not compensate for the entire experience of one getting their colors done, this filter familiarized a younger, tech-savvy audience,

with a concept that could make them feel more confident in what they are wearing. Similarly, the idea of dopamine dressing is when one wear’s colors that boosts their mood, improving their mental health“I have a lot of people say, ‘I can’t wear red, I can’t wear yellow’ and I’m like oooh just you wait … we are gonna find the red and yellow you get to wear,” Ray said. When an individual wears their version of a red or yellow, something that initially could be deemed as daunting can now feel like a pick-me-up. The clothes someone wears can be a reflection of themselves or how they want to be perceived, but is fashion identity all encompassing? “A lot of times we take our fashion identity as who we are, but they are two separate things, [fashion] can tell the world a little bit about you, but it doesn’t define you,” Ray said.

Through the era of aspiring to be a “cool girl/person”, popularized by TikTok, what someone wears is the first layer reaching them to that golden title. This pushes the ideology that fashion is simply a front, rather than a conscious choice someone uses to creatively express their personality. Although clothes can serve as a great way to self-express, they aren’t a holistic marker of someone’s identity.

“We think there must be something wrong with us, instead of ‘there’s something wrong with the clothing’ and it doesn’t honor us.” Ultimately, style isn’t about what you can prove to the world - it’s letting your true colors shine.

hile synesthesia is a rare condition, it affects many musicians that we all know and love, with quite a few being vocal about their experiences and how it affects their music process. It has played a role in creating some of the most iconic albums of our generation such as “Melodrama” by Lorde (2017) and “Channel Orange” by Frank Ocean (2012). Synesthesia is a neurological condition where the stimulation of one sense can trigger an involuntary stimulation of another sense. This can come in many forms such as tasting shapes or smelling colors. While synesthesia can be experienced in all its intensity, sometimes it takes more specific forms. One that’s common for musicians is chromesthesia, where color is perceived in response to stimuli. The condition only affects about 1 in 2,000 people, according to the American Psychological Association, and each person experiences it differently. Beyond the variations of synesthesia, people with the same types don’t expe-

rience the same sensations. While someone may see Monday as a shade of blue, another may see it as red or pink.

Artists With Synesthesia Experiencing synesthesia is not an on and off situation, and it’s something people experience throughout their lives. For musicians, this can influence their creative processes and how they visualize their music. Musicians like Lorde, Frank Ocean, Billie Eilish and Pharrell Williams have been vocal about the role synesthesia plays in their work. Lorde has talked about how she can envision a song based on the first few notes, driving how the rest of the song will sound. In a New York Times profile she said, “It’s about getting the actual thing to sound like what I’ve been seeing.” For her album “Melodrama”, Lorde had color codes for each song with different hues representing a different theme, according to the article. The colors can also affect her songwriting. Too much of a certain color at one point of a song or a chord stimulating a really atrocious col91

or are just a few of the influences to changing the music or lyrics.

rank Ocean’s debut album “Channel Orange” is a documentation of the summer he first fell in love, in which he described everything as feeling orange. Some listeners connect orange to Ocean’s descriptions of heat throughout the album, emulating the orange heat of the California sun. Orange has also been associated with queer culture between the 1970s Orange Juice Boycott organized by LGBTQ+ activists and many novels using the color to represent queer love. Billie Eilish, her brother Finneas and her dad all have synesthesia, which comes through in her and Finneas’ music. She describes her experiences on The Tonight Show with Jimmy Fallon as “associating random stuff to everything” and giving examples such as “every day of the week has a color, a number, a shape.”

Eilish’s synesthesia shines through in the mood and vibes of her songs. In the interview, she said it inspires all aspects of her career including music videos, artwork, live performances and colors for each song. While the artwork for “Hit Me Hard and Soft” is blue and she is underwater in the album cover, to me, the songs really encapsulate the feelings of different hues of blue. Pharrell Williams not only has his own music, but is behind many popular songs performed by other artists. He’s produced “Stir Fry” by Migos, “Pink + White” by fellow synesthete Frank Ocean and Daft Punk’s “Get Lucky.” William’s extensive experience and knack for music production gave him an advantage during his run on “The Voice,” where he coached 16-yearold Sawyer Fredericks all the way to his win on season 8. Williams shared more about his experiences in his documentary film “Piece by Piece,” where he says the colors, shapes and textures of a sound influence the melodies he creates, translating the

colorful landscape in his head to the sounds we hear in the music. His song “Happy” emulates bright yellows and visuals, aligning with what most people typically associate with it. For all these artists, making music means bringing their colorful sensations to life and into the masterpieces that reach our ears. The storytelling goes beyond the lyrics and sounds and creates a cohesive vibe for the song or album. While colors like the bright, vibrant sunshine orange in “Channel Orange” and the blues and purples of “Melodrama” are more obvious, we may never know what colors artists may have envisioned for other songs.

BALIZ

ZATION

OF FASHION A SHARED LANGUAGE

BY RAKEB AZEZE 99

he world is not as disconnected as it seems, like the complex mixing of chromatic colors, different humans are connected through their fashion styles. These fashion choices are partly voluntary, but how much of that is affected by social media and the globalization of trends? From designers’ like Demetrius Douglas and Cam Ivrey’s creations to the clothes in our closets, the concept of fashion and what’s “in” changes with the adoption of different trends. Fashion designers like Douglas and Ivrey reflect a fusion of influences, which eventually find their way to consumers like Isaiah Hebert. This cycle of trendsetting designers, to social media posts, to boutiques, and to the hands of consumers transcends borders and unifies people by a single thread.

Platforms like Instagram and TikTok significantly influence younger generations’ fashion choices. Through celebrity posts and influencers showcasing their fashion choices, young people looking up to these highly liked individuals begin to adopt some of the items they see online. Isaiah Hebert, a student at the University of Minnesota studying Sociology on a pre-law track, talks about the many influencers that had an impact on his fashion life. “A big influence has been Playboi Carti, his impact on the fashion world, and how it’s grown, I’ve also grown with it as well,” Hebert said. Hebert said many of his influencers tend to be black because of how popularized black culture is in mainstream media. He hopes to speak up for the marginalized community and one way he is doing that is by bringing

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“In a perfect world, I’d love it if everybody dressed how they wanted to and we’re free of social judgment, so especially for black men, I think it’s important to stay who you are, don’t listen to anybody who tells you, you can’t do something.”

awareness to many of the Black American struggles. What was once local, national, or regional is now accessible anywhere. There are many ways people can express themselves through their clothing choices, and social media platforms give others a chance to do that. The accessibility of global trends means that someone in Paris could be wearing a style popularized in Tokyo, or a teenager in Kenya could replicate the same streetwear as someone in New York. Hebert believes that fashion has the power to connect people across the globe. “We dressed similarly. He’s from across the world, yet we were still able to connect through our fashion style,” Hebert said. “I got back from Japan and I’ve taken a lot of the fashion back home, so that’s a large part of what I wear,” he said. Experiences like this highlight how fash-

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ion can bridge cultural gaps and serve as a form of personal and global expression. Hebert was not only influenced by his Japanese peers as he saw how his black culture was visible on the streets of Tokyo. “In Japan, there is a lot of black culture influence on what they wear as far as Y2K streetwear,” Hebert said. A lot of their influence from [Northern] America is visible but they also mix and draw from their own styles.” Japan is known for its eccentric and avant garde styles with the popularization of gyaru, a form of rebellious take on fashion meant to challenge the stereotypical beauty standard of pale skin and dark hair common in Japan. Characterized with eccentric outfits with daring silhouettes, and bold makeup, gyaru was meant to exemplify women empowerment and breaking the mold. This combination of black culture influence with Japan’s own styles reflects a unified world.

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This interconnectedness allows people to express themselves in a way that celebrates individuality while embracing cultural influences. For example, the popularization of waist beads, traditionally worn in West Africa, can be seen in American secondary and primary school halls. Designers and stylists are the drivers for this as they mix traditional cultural influences with their flare and preferences. This, in turn, is adopted by customers and supporters, surpassing the cycle of global trends.

his form of fashion globalization blends each country’s traditional elements with contemporary trends, creating a unique clothing style. Understanding this concept can help mend the gap that geographical distance creates and makes a connected world that embraces and celebrates differences through fashion. While Hebert reflects on how fashion shapes personal identity, designers like Douglas and Ivery use it as a platform to drive meaningful change. The fabric we choose and the styles we combine are replicated around the world, so in a sense, fashion is not as seclusive as we think. Demetrius Douglas, a 26-year-old University of Minnesota alumni and owner of online clothing store, WeShouldTalkAboutMeech is an example of how fashion can have the power to change the world. WeShouldTalkAboutMeech is a brand focusing on creating pieces that promote sustainable fashion by a combination of different elements of items. “I want to make a difference in the clothes that I make and the trends and the styles,” Douglas said. Like an artist arranges colors on a canvas, Douglas arranges fabric, textures, and shapes to create meaningful and impactful clothing. “My work combines different elements of items found around my house, Douglas said. “Like a painting, my clothing is a mosaic of different influences.” Each material Douglas selects carries its own story, whether it’s

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“I want to have an impact one day on the world as a whole, but what I do as a creative, like open people up to new ideas and creation within [while also being] sustainably friendly” 107

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repurposed denim from local thrift stores or vintage fabric collected from different cultures, turning old items into new works of art. His calls for sustainability in fashion symbolizes how fashion could also be used to connect people through a bigger cause. In Savannah, Georgia, Cam Ivery, the founder of INSPO and a freshman at Savannah College of Art and Design, creates clothing that speaks to his style while incorporating global influences. Ivery blends streetwear with vintage elements, combining different eras of fashion to create something new. Ivery discusses how pop, Asian, and military culture have influenced his brand as he references trends in all sections. These influences he draws from social media are reflected in his work as he features “Asian cuts” with extreme baggy styles and military cultures for their utility functions that are common in most of his pieces. Designers are also influenced as they pull ideas from brands and other artists. Ivery says, “Supreme is the brand that got me into fashion, Virgil is the person who got me into creative direction, Telfar is the brand who got me into high fashion, CashK and PrettyboyFredo are the people who got me into social media and wanting to become an influencer.” Through these celebrity influences, Ivery can create a brand that speaks to his style while incorporating the fashion of the influencers he admires.

Customer feedback is also an important aspect of the design process, as designers can take input and refine their designs. “Customer feedback helps me refine my designs,” Douglas said. “I want to create clothes that people not only love to wear, but that also have a positive impact on the environment.”

esigners like Douglas and Ivery are catalyzing a mass movement built on the foundations of fashion inclusion through trend adaptations, listening to customer feedback and embracing cultural differences. In an ever-evolving world, the shared language of fashion continues to connect regions across the globe, transcending borders and oceans. Douglas and Ivery lead the way in this movement as they shape what people wear and how they think about style, sustainability and cultural identity. As their brands continue to grow and the global fashion landscape continues to evolve, their work reflects how global fashion is created through the minds of these designers. Fashion, at its best, connects us. It serves as a bridge between cultures, an avenue for self-expression. Simply put, fashion is a shared universal language. By moving beyond the “me only” mentality, we can open our eyes to see that the clothes in our closets are part of a much larger conversation- one that unites us all.

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Serpent’s

CHARM Fashion Show IT’S MORE THAN A RENEWAL, IT’S A REBIRTH BY BIANCA CAPUTO

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fter nearly a year of planning, gathering designers and photoshoots, the Serpent’s Charm editorial team put on the Serpent’s Charm Fashion Show on January 31.

The event was put together to celebrate the Year of the Snake, renewal and rebirth, focusing on the 2025 Lunar New Year. Featuring six independent Asian American and Pacific Islander (AAPI) fashion designers and a variety of AAPI vendors, the show completely sold out and captured over 300 Instagram followers for the team. The glitzy event came together in the Luminare Event Center in Minneapolis, with tall white ceilings, bright lighting and a stripped-back space. The space was decorated with lanterns, photo booths and projectors with photoshoots of the designers and logos. The venue was also filled with the anticipation of the day as designers put together their final looks after months of preparation for the show. Organizer Vivian Tran was excited to show off her embedded message through the show’s order. he order of the collections in the show intentionally began with literal translations of the snake, while toward the end it showed what the Year of the Snake could inspire. Tran said that finding designers was one of the easier parts of the process.

“A lot of people are really down to collaborate with each other,” Tran said. “I feel like people underestimate the creative scene here but it’s super fantastic.” Designers Christine Nguyen, Mengfei Lin, Jaylee Rosand, Kue Thao, Monica Dinh and Uviusia Vang each brought a unique take to the new year. Key elements of each collection were sequins, satin fabrics, metal appliques and bold colors. Designer and University of Minnesota student Jaylee Rosand brought a historical context to the ending of the show with her collection “The Great Joseon Revival,” which featured traditional Korean silhouettes 114

“THERE’S SOMETHING DEEPLY FULFILLING ABOUT STUDYING TRADITIONAL CLOTHING–THE SILHOUETTES, THE CONSTRUCTION, THE CULTURAL SIGNIFICANCE–AND INTERPRETING IT THROUGH MY OWN EYES. FOR ME, DRAWING FROM CULTURE ISN’T ALWAYS AN AESTHETIC DECISION–IT’S A WAY TO STAY CONNECTED TO MY ROOTS.” – JAYLEE ROSAND

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and colors, tying up the theme of the show. Just like the historical period, Rosand’s collection symbolized a new birth of things that were once old. She said the Serpent’s Charm was one of the largest projects in terms of production scale that she’s worked on so far. “In terms of audience, what made this especially meaningful was that so many attendees were Asian or at least aware of the cultural ties in my work, given the Lunar New Year theme,” Rosand said. “It was rewarding to see my collection interpreted the way I intended, and with so many people being able to pinpoint what I was referencing.” Jaylee’s personal brand, “JULI et LEE” has a historical and cultural emphasis through different collections. Some of her motifs over time have been knitwear, fans, parasols and lace. “So much of the fashion world leans Eurocentric, so having a space where I could express myself authentically was a very special experience,” Rosand said. Rosand graduates next May with a focus on apparel and product design, and said even with school she found a flow between both worlds. “Honestly, design is such a big part of my life that it rarely feels like a separate thing, I’m always thinking about projects, gathering inspiration, or mentally designing ideas,” Rosand said. “It’s never not on my mind.” Tran said the Twin Cities was a better place for planning a fashion show than people might think, and definitely underrated.

“IT’S REALLY NICE TO SEE HOW CLOSE-KNIT CERTAIN CREATIVES CAN BE WITH EACH OTHER. I’VE DEFINITELY MET A LOT OF MY REALLY GOOD FRIENDS NOW FROM DOING CREATIVE STUFF TOGETHER” –VIVIAN TRAN

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This interconnection in the Twin Cities creative scene allowed Tran to connect with the Xia Gallery and Cafe after doing an exhibition with them last year. The Xia Gallery and Cafe is a nonprofit arts space focused on featuring art and products of Asian Americans in the Twin Cities community, according to their website. Funded by the Asian Economic Development Association, the cafe sits in the Little Mekong Cultural District along a strip of Asian American-owned businesses. Tran worked in the Twin Cities for several years producing art exhibitions and creative projects, but never a fashion show until the Xia Gallery and Cafe reached out to Tran to do a full Lunar New Year exhibition, spurring something more. What initially started as an idea of a photography collection expanded into something greater. . Tran was excited about the idea of showcasing her art but wanted to go bigger, creating an event that would showcase many different kinds of creatives. “Go big or go home,” Tran said. “Let’s do it!” That’s when Tran’s past production assistant, and the co-coordinator of the Serpent’s Charm Fashion Show, Aeola Lu came into the project. The two had met together several years earlier on a lion dance team together. Lion dances are supposed to bring good fortune and bless the space they’re in, Tran said. Traditionally viewers will give the lions money to ‘eat’ and viewers gain prosperity for the rest of the year. The lions can come to any kind of celebratory event and typically start things off — with the Serpent’s Charm Fashion Show being no exception to

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the rule. It’s no surprise that with the lion dance blessing this friendship, Tran and Lu remain close today. “Our lion dance team is essentially like my second family,” Tran said. The show started with a performance from the lion dancing team the two initially danced on together, drawing laughter and claps from the crowd before the models even walked. The event drew in an assorted crowd from the Twin Cities art scene, the University of Minnesota’s design program in addition to the local AAPI community. All but one of the six featured designers was a student at the University of Minnesota. hough the project started being put together over the summer, things ramped up with photoshoots and garment fittings around October 2024. The team made sure to do several photoshoots on each designer following up to the show to drum up support.

Volunteers were a key part of the show’s success, Lu said. The pair worked hard to find opportunities for young creatives to donate time to get worthwhile additions to their portfolios. “This project would not have come into fruition without all of their help and also their expertise,” Lu said. A variety of Twin Cities AAPI vendors also set up their booths at the show with prints, crocheted goods, jewelry and keychains and everything in between. “It was really cool to see the community come together because it’s not often, at least in Minnesota,

where you’ll see spaces where it’s mostly highlighting the AAPI community,” Tran said. fter the show on January 31, the photography collection “World’s We Live In,” started at the Xia Gallery and Cafe to display the garment collections at the show. The exhibition showcased the different identities of the featured designers, Tran said.

When all was said and done, lots of questions remained unanswered. The Year of the Snake is a year of rebirth— does this mean moving on to create a new show? Tran and Lu aren’t sure. “Should we do it? We’ll see,” Tran said. “To be determined.”

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SCAN FOR VIDEO CONTENT

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GOLDEN MAGAZINE

ISSUE 06 CREDITS

EXECUTIVE BOARD

TEAM MEMBERS

TEAM MEMBERS (CONT.)

VENUES & LOCATIONS

EDITOR-IN-CHIEF ALEXA YUNG ELLA ANDERSON

PHOTOGRAPHY ROWENA SNOW TREVOR DUNNING CLAIRE GARTON ELLIE HALVERSON ELSIE DEMPSEY-RICE BELLA LANDAETA

SOCIAL MEDIA (CONT.) SOPHIA LANCASTER SONJA PALMER ANANYA SARANGALWAR PHILIX NGUYEN BELLA LANDAETA

FIRST AVENUE: 7TH STREET ENTRY

CREATIVE DIRECTOR AVA SAHIN BELLA LANDAETA MANAGING EDITOR BIANCA CAPUTO ART DIRECTOR JANET XIONG MARKETING DIRECTOR ALEXIS MACUNA FINANCE DIRECTOR SOPHIE FELTON EVENTS COORDINATOR JADA DOKE PROJECT MANAGER KIYANA MAYNARD

TEAM LEADS PHOTOGRAPHY MEGHAN BUNKENBURG ASHLEY GUSTAFSON GRACE REDLAND VIDEOGRPAHY LAUREN PACE STYLING ZOEY BRAATEN WRITING SOFIA ESPARZA BLOG EMMA WALYTKA NATASHA DELION GRAPHIC DESIGN BENJAMIN DEACETIS SOCIAL MEDIA ONYX VANG EVENTS LILY PHANNAVONG LOLA BENNET PRODUCTION OLIVIA KRONZER

VIDEOGRAPHY MICHAEL MICHENFELDER BELLA LANDAETA STYLING AYMAN ROBA SAMANTHA CORTEZ OWEN PETERS ADA GABERT NICHOLSON GAOMONG XIONG SIRIANNA STORTROEN HAIR/MAKEUP KATE SAUCEDO ANNA ZINDREN REESE ROBERTSON KARINA BABCOCK ELLE SEBOE HENRY NORTH WRITING RAKEB AZEZE AUTUMN BRAINERD ABBY MEINERT AVA VAN HOFWEGEN ZIGGY KEAIRNS KATIE ROHLING BLOG CASEY O’BRIEN ABY GERVAIS GRACE VANG VERONICA BROSKOVETZ ISABELLA CASWELL MORGAN HEILMAN SOPHIA KNIGGE ELIZABETH KOSIOREK SYDNEY JACKSON EMMA VASA GRAPHIC DESIGN CLAIRE REVIER CHLOE BECHARD ISA DELGAGO CHASE GRIVNA PAMELA BLAESER LIBBY KAROL INGRID ANDERSON RORY MCNAMARA

EMAIL MARKETING AUNI JOBE MADDIE OBERPRILLER INGRID HARTZELL REAGAN RUSHING SIENNA PERKINGS EVENTS LAYNE STAMP PIEPER SEETAN RYANNE ROBERTS DELLA MUELLER SALMA IBRAHIM PRODUCTION GAITRIE PERSAUD MADDIE LEDFORD CHRISTINA QIU SKYLAR MACLENNAN SALMA ALI

SOUTHERN THEATER (THEATER SHOOT) GUTHRIE THEATER (PRIMARY SHOOT) KENWOOD PARK (HUES SHOOT) WEST REGIS STUDIOS (SILVER AND BLACK AND WHITE SHOOTS) THE LUMINARIE (SERPENTS CHARM) WASHINTON AVE BRIDGE (PAPARAZZI SHOOTS)

FINANCE ELIZABETH BRASSART PAIGE WICKERSHAM

MODELS KARINA BABCOCK NABIL HUSSIEN JENNIFER POUYO LAUREN WANDER CHARLIE PETERSON IZTLA ALMANZA LOPEZ ANDREA BATES RAY MAYNARD AEDAN GALLAGHER CLAIRE SLOCUM TERRA PELACH JULIUS MIMS JAMES CAROTHERS ANA RODRIGUEZ UGOMMA UGORJI LUKE BRAWTHEN DEYA AHMED ESI ADAMALEY CHANDLER SCHMITZ AZALEAS COLIN NIWAGABA

SOCIAL MEDIA MAGGIE NYHUS BEN DAVIS

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ABOUT GOLDEN MAGAZINE

Golden Magazine is a student-run publication dedicated to celebrating unfiltered voices and bold, experimental ideas that push beyond the mainstream. Through a diverse community of writers, artists, photographers, musicians, and designers, we create an authentic space for raw creative expression. Our mission is to uplift underrepresented voices, challenge conventions, and inspire our generation to question, explore, and create freely. Based at the University of Minnesota and extending across the Twin Cities, Golden Magazine spotlights the next wave of creatives shaping culture and redefining what it means to be seen and heard.

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Color theory is the study of how colors interact, mix, and influence each other, shaping both what we see and how we feel. It’s about how hue, saturation, and value work together to create balance, contrast, or tension. This idea also applies to how we navigate our lives. Our emotions, experiences, and perspectives overlap, clash, and blend in ways that shape our understanding of ourselves and the world around us. Just like in color theory, these interactions reveal deeper patterns, hidden connections, and the complexity that defines the human experience.

This is CHROMA.

AVA SAHIN CREATIVE DIRECTOR

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BELLA LANDAETA CREATIVE DIRECTOR