The Avenue_Lucid_Pages_final_

utopia mundane fever

LUCID

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CREATIVE DIRECTOR

Abby Falzone

ASSOCIATE CREATIVE

DIRECTOR

Sasha Lewis

DESIGN DIRECTOR

Claire Higgins

COMMUNICATIONS

DIRECTOR

Azra Schorr

ART DIRECTOR

Renee Pearce

EDITORS IN CHIEF

Jessica Brite

Lily Elwood

MANAGING EDITORS

Husein Esufally

Farrah Haytham

ASSOCIATE ART

DIRECTOR

Jacyn Daniels

PHOTO DIRECTORS

Angelina Chau

Lynne Khouri

ASSOCIATE PHOTO

DIRECTOR

ASSOCIATE DESIGN

DIRECTOR

Rachel Osborne

DIGITAL DESIGN

DIRECTOR

Tanya Kler

HEAD STYLIST

Yeani Kwon

COMMUNICATIONS

ASSOCIATE

Elana Keller

OUTREACH

COORDINATOR

Rachel Mann

PRODUCTION

ASSISTANT

FASHION EDITOR

Mia Rapella

MAKEUP DIRECTOR

Hannah Shapiro

Hill Mak

VIDEO DIRECTOR

Melanie Barest

PRESIDENT

BEAUTY EDITOR

Sara Akhtar

UX/UI DESIGNERS

Isabelle Roberts

Antonia Sousa

LIFESTYLE EDITOR

VIDEOGRAPHER

Cali Cardenas

Jason Harris

Titamah Simpson

Jade Khatib

VICE PRESIDENT

Tommy Bell

Elena Plumb

PROJECTS EDITOR

David Donoian

VIDEO EDITORS

Emanuele Dokyi

Katie Ma

SOCIAL MEDIA DESIGN

Elana Lane

WEB DEVELOPER

Ania Misiorek

TREASURER

Paige Keeler

SECRETARY

Phoebe Kahn

WRITERS

Alex Trotto, Soomin Yang, Meghna Iyer, Sophia Naumovski,

Lily Elwood, Lauren Violette, Nyree Christianian, Wraven

Wantanabe, Rachel Erwin, Valeria Martinez, Sarah Gordon,

Gray Timberlake, Isabella Bernstein, Ebube Onwusika,

Logan Roberts, Kat Tse

PHOTOGRAPHERS

Azra Schorr, Peyton Pollard, Kathleen Ma, Shirley Wang,

Izzy Bernstein, Serena Buscarello, Sydney Singh, Jenna

Ory, Lauren Violette, Mukki Gill, Olivia Leon, Emma

Lawson, Amanda Kerr, Cali Cardenas, Alex Chang, Kira

Briggs, Isabella Pozzi, Adriana Alvarez

DESIGNERS

Daisy Tuller, Sydney Singh, Vanessa Peng, Sharon Chen,

Emlyn Griffiths, Sophie Fiks

MODELS

Sasha Lewis, Anthony Peters, Ax Balione, Tanya Verma, Sam

Levis, Samantha Diaz, Rachel Solomon, Yue Chen, Miles

Stevenson, Bhavana Sinha, Annika Geiben Lynn, Jason Harris,

Kat Tse, Elana Lane, Bita Adel-Zadeh, Lazaria Harris, Marisa

Munoz, Andrew Barnett, Lina Petronino, Wraven Watanabe,

Halima Duarte, Andrea Gertrudis, Ty Orlando, Lazaria Harris,

Ronnie Efremov, Jacyn Daniels, Harrison Freiman, Yene Usua,

Srishti Gummaraju, Luna Bruss, Amelia Ball, Aidan Sevier,

Hannah Hartsough, Sasha Shrestha, Chloe Cowan, Schekinath

Biaou, Jennifer Uyanga, jack deutsch, Chris Parker, Lynne

Khouri, Ken Yin,Cassie Stanely, Cassidy Chamillard, Hill Mak

STYLISTS

Gigi Gillen, Adriana Alvarez, Solomon Canada, Woody Lindor

MAKEUP ARTISTS

Clarisa Zalles, Sofia Urrutia, Celine Plaisir

AN EXPLORATION OF HOW

OUR FANTASIES JUXTAPOSE

REALITY TO CREATE A

CLEARER LENS THROUGH

WHICH WE VIEW THE WORLD.

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LETTER FROM

THE

EDITORS

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This semester we entered a new era of The Avenue, with a brand new leadership team,

ushering in quite a bit of nerves with the fear that we didn’t know what we were doing. To

be honest, most of the time it very much felt like we were making it up as we went — who

knew we would spend hours on Zoom with the Creative and Art Directors just to plan out

a calendar. Nevertheless, here we are, and we couldn’t be prouder to present this issue.

Both of us have been with the magazine since our first year at Northeastern as writers,

columnists, and section editors, so taking on the EIC position has been an incredible and

humbling experience.

This issue, we really wanted to keep the writers in mind for our magazine theme.

Something that spoke to them, that evoked creativity — and we arrived at a theme

that would allow our writers to explore aspects of fantasy-based storytelling in media

and dive deeper into how our culture is shaped. LUCID is exactly that. It perfectly

encapsulates the line between reality and fantasy; how we as people interact with the

world through different lenses of thinking; how media interacts with fantastical elements

to create something tangible for our consumption. It is both sanity and insanity, the

concept of control over yourself and your environment, it is theatricality, it is over-thetopness.

Lucidity is about hyper-awareness, understanding that you are a product of

your environment, at its mercy, while simultaneously knowing that change is possible.

The articles that came out of our brainstorming process are both outrageous and muted,

both fantastical and realistic, both light and dark. The comparison of opposite aesthetics

became a staple for us as we sent our writers to begin their processes. Keeping in mind

a light or dark theme allowed them to go full throttle in their specific direction and has

given this issue an air of juxtaposition that The Avenue has not had in the past.

With this issue, the editorial team worked on overdrive for weeks concepting and

perfecting this semester’s slew of articles. We were able to connect with the creative

process as well, striving to make the magazine cohesive across the board, all in the

hopes of giving our readers the best immersive experience.

LUCID is the product of hours and hours of hard, collaborative work between the

creative and editorial teams. It is so inspiring to work with like-minded, talented, creative

individuals who deeply care about the finished product. There truly is nothing like being

a part of something every step of the way from its inception to its final form. Overseeing

the process has ultimately been such a joy for the both of us and it absolutely represents

everything we believe The Avenue to be — innovative, beautiful, and of course, extremely

fashionable. Thank you so much for taking the time to read LUCID; we hope you enjoy it.

JESSICA BRITE AND LILY ELWOOD

EDITORS IN CHIEF

LETTER FROM THE

CREATIVE DIRECTOR

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THE FANTASTICAL, THE PERFECT, THE TERRIFYING

LUCID has pushed the boundaries of what The Avenue

is, what we can produce, and how far we can experiment

as a collective before we get lost in it all. With all of the

new talent added to our team this semester, our creative

collaboration has never hit a high this amazing and I can’t

help but believe that this is a turning point for The Avenue

as a whole. Always pushing each other to question if we’re

“doing too much,” I am extremely proud and grateful for

everyone involved in making this issue what it is.

One of our biggest goals as we moved into this semester

was connecting to our audience, showing our readers that

this is not just an exclusive, high-fashion magazine. We

aimed to connect and evoke emotion and excitement out of

everyone who lays eyes on our spreads and articles. LUCID

represents the fantastical, the perfect, the terrifying, the

real in our everyday lives and society. We hope that we’ve

created a world in this issue that you can not only see, but

touch, feel, and get lost in.

This being my first issue as creative director, I hope to have

started a new chapter and push what it means to be a part

of The Avenue and its production. From styling to design to

photo to direction and everything in between, I am so, so

proud of this issue and how far we’ve come since we sat

down in May and started building our creative team. With

all of the (literal) blood, sweat, and tears we have spent on

making LUCID what it is, I can whole-heartedly say that it

was worth it.

I hope you can feel the passion we’ve put into making this

issue what it is, and that The Avenue continues to push

what is possible as a publication at Northeastern, Boston,

in the industry, and in our lives. Thank you to everyone who

was a part of this beautiful creation process, enjoy.

ABBY FALZONE

CREATIVE DIRECTOR

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TABLE OF CONTENTS

012

UTOPIA

072

MUNDANE

024

60s Fashion: A Conduit for

084

I Am Not a Sin

Social Change

090

Fashioning the

030

Iris Van Herpen:

Mad Hatter

Fashion in Flux

094

Dissecting the 90s

036

Romanticizing Your Life

'Heroin Chic' Look

042

The Sweet Escape

098

Not So Clean After All

046

Psychedelics: In Pursuit

102

Victoria's Dark Secret

of Change

108

The Nihilist Generation

050

Young and Beautiful

112

Dreams: Fantasy

056

Healing through

or Reality?

Mindfulness

116

Couture from the Dark

060

All That Glitters

122

FEVER

066

Finding Answers

in the Stars

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creative direction ABBY FALZONE art direction RENEE PEARCE photography MIA RAPELLA

design CLAIRE HIGGINS contributing art direction JACYN DANIELS

modeling SCHEKINATH (KIKI) BIAOU & CHLOE COWAN styling YEANI KWON & GIGI GILLEN & ADRIANA ALVAREZ

makeup & hair MELANIE BAREST & GIGI GILLEN & JACYN DANIELS & ELANA LANE

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an imagined world

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60S

60S

60S

60S

FASHION:

a conduit for social change

In times of struggle, people often turn to fashion

to express their emotions. They look to it to spark

the cultural changes they crave but aren’t ready to

speak aloud. As such, fashion becomes the conduit

for social change and the beginnings of a revolution.

We do this on a small scale every day as individuals.

However, when a community of people join together

in the movement, it can push the boundaries of

shared cultural values. This cultural phenomenon

was exemplified during the war-filled 1960s. As the

Vietnam War and the Cold War unfolded, people felt

a range of emotions — from fear, to rage, to a desire

to escape from the chaotic world around them.

Women stepped up to fill nontraditional roles, and

style trends evolved to suit their changing needs.

As people attempted to find direction in the midst of

social turmoil, fashion and style became dictated by

each individual. In this era, fashion ceased to begin

in the hands of designers, but instead grew from

people and the way they chose to live.

In the midst of war, optimism is a necessity. There

was a common wish to escape and a sought-after

remedy at the time was psychedelics. They grew

to be popular because they provided a means of

freedom from reality, and through this escapism,

people were able to access a semblance of hope.

This social movement found its way into the

patterns and colors of clothing. The bright designs

evoke a sense of confusion, resisting reason or

order. Men’s clothing in particular drew influence

from psychedelics and music. The novel prints

found in their clothes grew to be known as “A

Peacock Revolution for Men.” The bright prints were

used most prominently by musicians like the Beatles

and the Rolling Stones, whose lyrics frequently

explored the use of psychedelics.

writing MEGHNA IYER modeling RONNIE EFREMOV & JACYN DANIELS & HARRISON FREIMAN

photography MUKKI GILL design DAISY TULLER styling ADRIANA ALVAREZ

makeup CELINE PLAISIR

CREATION

AND

ROLE DISRUPTION

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Similarly, music has the power to subdue and

transport an individual to another world — one

that, at times, is easier to live in than the real world.

When a person wears the chaos and immerses

themselves in it, they let go of the pressure to

process the chaos around them, which opens the

door toward acceptance of one’s circumstances.

This mindset helped people to cope with the effects

of war and made room to hope that better days

were ahead. Men’s clothing had never been colorful

or bold before, but these new trends enabled them

to explore their feelings regarding the traditional

features of masculinity in greater depth and

ultimately confront them.

For women, the ‘60s was a time of creation and role

disruption. With the threat of death and violence

looming in the background, many young women

used their time to live life to the fullest and without

regrets, which included embodying non-traditional

roles for the first time. From that youthful, rebellious

spirit came the miniskirt. After seeing how women

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were shortening their own skirts, French fashion

designer Andre Courrèges and Mary Quant, an

English designer, were the first to pioneer the

miniskirt. They were made in every color and

pattern, including “Space Age” themed skirts, which

reflected the future-friendly sentiments inspired by

the ongoing Space Race. The trend of futuristic

fashion fueled the Mod, or Modernist, clothing

movement, an era characterized by more rulebreaking.

Women did not have to follow the age-old

rules of what to wear or who they should be — they

could be anyone they wanted.

REDEFINING WHAT IT

MEANS TO BE OURSELVES

As women made their way into positions of power

within the workplace and the wider world, the first

pantsuit for women was designed. In 1966, Yves

Saint Laurent debuted the “Le Smoking” tuxedo for

women. Previously, the tuxedo had been a clothing

item reserved for men, and with the advent of this

suit, it became more socially acceptable for women

to don them as well. As women gained social

agency, so too were they able to better control what

they wore and how they were perceived — a kind of

power that, until the 60s, had been unheard of.

The ‘60s were about creative dissent and

challenging norms amidst dwindling support for

the ongoing war. The fashion trends of the decade

represented a time of dissonance and redefining

what it means to be ourselves. People dressed to

be free and to express their passions, a pivot made

possible through communities finding common

ground. Clothes do not magically inherit the power

to break boundaries on their own. Individuality is its

own culture, but the community is a counterculture

with the potential to restructure the ordinary.

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FASHION IN FLUX

Is human evolution ever complete? Are our physical

bodies reflections of our souls or impediments to

humanity’s next stage of development? Ethereal

fashion designer Iris Van Herpen’s latest collection,

“Meta Morphism,” suggests that the human form is

an ever-evolving concept. Our current state is not

the end of Darwin’s thesis, but simply a point on the

map of the human continuum.

Rarely does fashion send its audience spiraling into

existential crises. However, toeing the line between

fantasy and reality has become somewhat of a

trademark of Van Herpen’s career — and “Meta

Morphism” is no exception. Van Herpen explores

humanity’s relationship with nature by delving into

the lore of Ovid’s “Metamorphoses,” deconstructing

the poem’s transformative themes to comment

on humanity’s increasing reliance on technology.

Through sustainable materials, a manipulation of

shape and form, and celestial designs, the forwardthinking

fashion designer is writing her own mythos

of transhumanism, leaving the audience wondering

how the next stage of humanity will emerge.

It is no secret that Iris Van Herpen is the fashion

industry's unrivaled paragon of biomimicry. Even

as a student at ArtEZ University of the Arts, her

unconventional ingenuity was evident. What other

student constructs designs from umbrella boning

and metal boat paneling? Her designs are evocative

of both a dreamscape and the future of fashion,

combining whimsy and methodical modernity in an

unprecedented manner.

Drawing influence from the beauty and chaos of

nature, the shape of the human body, and the

flow of movement itself, Van Herpen has defined

her label with her surreal designs for the past

15 years. She hopes to elevate fashion beyond

limiting labels such as a “garment” or “commercial

product.” Instead, she operates under the more

abstract definition of fashion: an art that explores

its interactions with its surroundings. Even for Van

Herpen, “Meta Morphism” is her most ambitious

project to date; it posits that such otherworldliness

is now fast approaching our lived reality.

writing SOPHIA NAUMOVSKI illustrations IAN NICASTRO design VANESSA PENG

Meta Morphism” reinforces that the human form

is in constant flux. Its unique manipulation of form

distorts models’ bodies along with our sense of

reality, muddling our understanding of where the

human form ends and art begins. The flowing

silhouettes and exoskeleton bodices become an

extension of the models, transforming them beyond

the constraints of their natural figures. The draping

of white tulle in the “Ananda-Maya” gown frames

its model in a shroud of smoke, rebirthing her as

a celestial goddess emerging from the heavenly

clouds of Olympus. The billowing, copper sleeves of

the “Singularity” jumpsuit become fluid appendages

of the model, gliding with her as if they are one

entity. These transcendental, mystic shapes elevate

the models into supernatural beings.

As Arachne becomes the spider and Daphne

becomes the Laurel tree, Van Herpen fabricates her

own definition of a utopian reality through humannature

symbiosis, an evolution sought after since

Ovid’s time. The “Mano-Maya” and “Arachne”

gowns breathe beauty into the woman-spider

mythos, with the former enhancing the model with

claw-like limbs and the latter entwining her in the

fringe-like threads of her own web. The final look

of the collection materializes the myth of Daphne.

Van Herpen enhances the lace dress with white

laurel branches that envelop the model and blur

the boundaries between clothing and body. Such

designs allow the audience to view the world

through Ovid’s dream, where humanity and nature

positively interact and merge as a singular being.

The Maison's insistence on the sanctity of nature

is further realized through its creative process. Van

Herpen utilizes some of the most environmentallyconscious

materials and tools to spawn her

designs. In this collection alone, she employed

biodegradable banana leaf fabric blended with

raw silk, cocoa shell beans, and up-cycled and

overstocked organza. Such eco-friendly inventions

are made possible through Van Herpen’s use

of cutting-edge technologies like 3D printing,

laser cutting, and electroplating. Even as nature

remains the essential player in her designs, Van

Herpen embraces human technology as a tool for

modernizing fashion. She realizes its potential as

an asset to facilitate sustainability, rather than a

threat to the natural world.

In this collection, technology is not only a means of

production but a central theme in her work. “Meta

Morphism” is more than a reflection on ancient

mythology and the literal objectification of women’s

bodies — it is a metaphor for humanity’s next leap

in reality: virtual reality.

Where the metamorphic transformations of Daphne

and Arachne are fantastical fables, transhumanism

is a near reality, where humans seek to enhance

their bodies and cognitive faculties beyond their

natural capabilities. Though cyborgs are still science

fiction, the advent of the Metaverse has made

the virtual universe a concrete possibility. The

Metaverse is opening a new dawn of humanity

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where socialization, work, and play may take place

on a completely different plane, where humanity

and technology converge as one. Reality is now

being redefined, begging the question if such an

“enhancement” is a blessing or a curse.

Will a virtual lifestyle threaten to dissolve our sense

of self? What happens to the “real world” if life

exists exclusively online? Just as Van Herpen finds

the beauty in Daphne’s metamorphosis, she also

finds it in the transhuman transition. The “Glitched

Growth” dress allows the model to embody a

futuristic cyborg form without sacrificing Van

Herpen’s signature, ethereal style. The dress’s

robotic, exoskeleton bodice is embossed in a

reflective, silver coating and embellished with loose

threads looping from the shoulders to the hem,

reminiscent of tangled wires. The dress seems to

imply that our bodies are still evolving; this is simply

a stage in the negotiation of boundaries between

human form, natural evolution, and technology.

As Van Herpen embraces these changes, she also

warns of the hazards of transformation. Taking

inspiration once again from Ovid’s genius, her

“Narcissus” gown layers the model’s face against

an embroidered white profile on a black organza

panel. The model’s face blends with the dress and

is swarmed by distinct, yet similar reflections of

white faces throughout the dress, materializing the

danger of both narcissistic self-obsession and a

loose grasp on self-identity. The Metaverse provides

an opportunity for people to redefine themselves,

which can both promote self-expression and

muddle our sense of identity. Assuming different

identities between the physical and virtual may

create a confusing and complex split reality.

Though the Metaverse introduces more questions

than answers, Van Herpen welcomes it as an

opportunity for progress. For the fashion industry

itself, the Metaverse presents opportunities for

increased consumer engagement, as users may

extend their sense of style into the virtual world.

Additionally, without material constraints, both

designers and consumers alike are provided

the opportunity to develop even more eccentric

fashions. “Meta Morphism” explores these

possibilities by creating 16 physical looks and 3

virtual ones. Consequently, Van Herpen challenges

the audience to consider, “why not?” when it comes

to the Metaverse and technology’s role in the

evolution of form.

“Meta Morphism” is more than simply another

haute couture collection festooning Paris

Fashion Week’s runways. Van Herpen seized the

opportunity to remind us that new technology is

not a threat because it challenges conventions

of humanity. In fact, she welcomes it as a tool for

transformation. This collection is a supernatural

experience, ushering in a new wave of reality at

the nexus of nature, humanity, and technology. If

anyone is guiding us on this intimidating journey of

hyperreality, it's going to be Iris Van Herpen.

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When the future is undefined, limitless, and

unknown, it’s easy to feel overwhelmed. I often

feel like I am sailing through choppy waters, with

waves crashing in every direction. Uncertainty and

instability are at the forefront of my mind, clouding

any ability to remain present or optimistic.

Our generation has witnessed seemingly endless

hardship. We were born right around 9/11, making

fear an emotion ingrained from birth. We were

taught how to hide silently underneath desks as

news channels flashed headlines of the latest

school shooting. We saw natural disasters that

ravaged communities and took hundreds of lives.

And now, after a global pandemic that caged us

for months, we are facing the second recession

of our lives — right as we are about to enter the

workforce. With all these external factors influencing

such momentous chapters of our adolescence

and young adulthood, it has become increasingly

challenging to hold onto any semblance of hope. My

faith in humanity has been continuously challenged,

alongside my belief in myself.

I used to be the type of person who trusted that

things would work out. I trusted that my life would

fall into place and that I would become everything

I wanted to become. As my adulthood quickly

approaches, I’ve found it difficult to maintain that

optimism. When reality feels overwhelming, there’s

comfort in an escape. I, like many others, will scroll

through social media to find entertainment and

reassurance in curated snippets of other people’s

lives — ones that seem significantly more enjoyable

by comparison. They appear more regulated,

more beautiful, and more predictable, like a movie

montage. I envied them and wanted to recreate this

feeling in my own life. I needed to know if it was

possible to regain the hopeful mentality of my youth

through romanticizing life, and in turn regain the

magic that it used to hold.

writing NYREE CHRISTIANIAN modeling SRISHTI GUMMARAJU photography KIRA BRIGGS

design EMLYN GRIFFITHS styling YEANI KWON makeup MELANIE BAREST

To test whether romanticizing my life would actually

make me feel better, I gave romanticism a threeday

trial run. Three days where anything that didn’t

make me feel fulfilled fell to the back burner. Three

days of movie-montage soundtracks. Three days

of loving myself and the people around me, hard

and unabashedly. Three days of conscious effort

to remain present, and trust that the life I want is

coming my way.

The first day was a challenge — I couldn’t quite

grasp how to remain present. I was so overloaded

with deadlines that it felt nearly impossible to focus

on myself. I spent the morning feeling anxious,

and the afternoon feeling disappointed in myself

for not checking off every item on my to-do list. To

move past the feelings that would have previously

demotivated me, I decided to look at my life as a

story, categorizing this moment as a growth period;

the rising action part of my story. I was able to

gain perspective by journaling, engaging in my

EFT tapping routine, and listening to the countless

Spotify playlists built to inject a little more sunshine

into my life.

The following morning, I was uncertain of the

efficacy of my three-day trial but cautiously

optimistic that it would be better than yesterday.

My boyfriend and I were scheduled to fly out for

my cousin’s wedding: we woke up before the sun

and played music while we made the bed, grabbed

our luggage, and eventually headed out the door to

Mike’s Donuts. We sat in that tiny restaurant where

we were regulars, and watched the sunrise through

the café windows. I felt so full of love and so full of

hope. I couldn’t wait to celebrate love with my love.

There’s no doubt that travel days can be tough for

most people. My checked bags were not initially

recorded in the airline’s system, but after a minor

panic attack and a laugh with the lady standing next

to me in line, my baggage tags were printed and

we were ready for take-off. The remainder of the

flight was easy, and my mani-pedi was waiting for

me when we landed. I sank into the massage chair

and pictured my ideal life, careless and worry-free.

Spending a day on self-care is not something I

usually prioritize, but I immediately felt grounded, in

touch with myself, and able to take on the day.

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The third day of my trial coincided with my cousin's

wedding, and it was absolutely magical. I was

reminded of romance in my own life as I watched

two people I love commit themselves to each other.

Despite the inevitable family theatrics of a big event,

I felt relatively unaffected. I was crying happy tears

throughout the night, absolutely thrilled to see my

cousin and his wife celebrate their union. I felt like

a kid again, in awe of the beauty of the bride and

the excitement and pure joy in the groom's eyes.

A beautiful moment was made even more beautiful

because I was present — my phone was buried

in my bag, and my self-consciousness seemed to

melt away when I danced. I felt like I was in a movie,

watching the speedy exit of wedding crashers,

overhearing two brothers reconnect, and slowdancing

with my boyfriend.

I really wasn’t sure whether romanticizing my life

would change how I felt, especially because it is

such an abstract mentality. However, I felt real

physical and mental changes. I have struggled with

anxiety ever since I can remember, but at this event,

which would have previously sent me into sensory

overload, I felt in control of my emotions. I was

reminded of all the strategies I had accumulated

throughout my years in therapy and was able to

exercise them. I have been emotionally dependent

on nicotine for a few years as well, trying to quit

for just as long, but for those three days, I didn’t

touch it. I was able to start letting go of habits

that had long impeded me and my future health. I

was reminded that I don’t need anything beyond

what I already have. I was less affected by little

inconveniences and I was noticeably more confident

in myself. I felt like I was able to sail smoothly again.

Even though I am still filled with uncertainty,

romanticizing my life rewarded me with a smile that

widened each time I reminded myself that I am in

control. I get to decide what city I move to next

and which career I choose to pursue; who I let into

my life and who I let go. Who I am, and who I will

become. I am the author of my own story. This time,

I’m sailing toward the horizon, no matter the storm.

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the

sweet

Embroidery

We are obsessed with escape — the luminous,

magical, the distant — obsessed with diverting from

the dull monotony of our day-to-day lives and into

better realities.path to healing.

Escapism is the desire to disengage from reality

and escape into a world of wonder and fantasy.

Designers draw inspiration from the fantastical

and imagined to help wearers and audiences to

break free from normalcy. Escapist fashion has

been interpreted by designers both established

and emerging, utilizing elements from science

fiction, fantasy, and more. They seek to transport

viewers of their collection to a new reality, one

perhaps more bearable than the one we currently

exist in. The imaginative nature of escapist fashion

allows designers freedom from the constraints of

modern, on-trend collections that may fall victim

to blending in with the crowd. From ready-to-wear

accessories to haute couture, designers of wearable

art transport their subjects and audiences into their

imaginations with their extraordinary creations.

designer kaMILA of Mila Textiles

enhances the human form with hand-embroidered

bags and balaclavas. The one-of-a-kind

accessories are like their own miniature worlds,

which are exploding with vibrance and color.

kaMILA’s stitch work is embellished with beads and

sequins and, according to their website, is “inspired

by natural surroundings with a touch of surrealism.”

Their designs look like colonies of coral polyps

from afar, but a closer look reveals dense patches

of hand-stitched embroidery thread, clusters of tiny

beads arranged in spikes like sea urchins, sequins,

pearls and iridescent beads that sparkle and shine,

and the occasional grinning critter. kaMILA posts

photos modeling the playful, saturated balaclavas

and nothing of their face shows except for the

expression they wear on their eyebrows and dark

eyes. Instead of being lost in the explosion of

color and life of the piece, the juxtaposition of reality

and the surreal makes the mask wearer’s eyes

become even more entrancing and somber, as if

they are yearning for the imagined world the

mask comes from.

Wearable art is not only a means for escape, but a

tool to enhance the escapist visions of their

wearer’s imaginations. As such, these extraordinary

pieces are often worn by performers and music

artists onstage or in music videos to heightenthe

illusion of fantasy. Fashion has always been

entwined with the music industry, and has become

a way for performers to both assert their individual

brand to their audience and create a memorable

experience at concerts, in their music videos, and

walking red carpets.

4 2

escape

writing GRAY TIMBERLAKE modeling YENE USUA photography SERENA BUSCARELLO

design SOPHIE FIKS makeup SOFIA URRUTIA styling WOODY LINDOR

The mask was created by Lance Victor Moore, a

self-described mask-artist, face jewelry creator,

and avant-garde fashion designer who has created

fantastical pieces for the likes of Grimes, Machine

Gun Kelly, Iris van Herpen, and Lady Gaga.

Moore gives animal products like horns, bones,

and leather a second life by resurrecting them into

nature-inspired face masks. He uses parts

of animal carcasses as the base of his pieces, but

he transforms them into wearable art with a

metal and punk style — giving bear-fanged skulls

metal grills and embellishing leathered pony skin

with large studs. His masks cover most of the

wearer’s face, but he says his pieces make people

feel more free, as they can be anyone in any

world while wearing them.

Rapper and singer Doja Cat takes us to the world

of “Planet Her” in her “Need to Know” music video,

a space-travel themed number full of holograms

featuring a star-studded clique of aliens —

including an elf-eared Grimes. Doja Cat’s skimpy

space outfit contrasts massive, out-of-this-world

Windowsen FW21 Athletic Platform Thigh High

Boots. Windowsen’s Creative Director, Sensen

Lii, combines exaggerated costumewear and

sportswear in their dramatic, genderless designs.

Inspired by science-fiction media like the TV series

Black Mirror, Windowsen’s futuristic wearable art

effortlessly enhances Doja’s otherworldly allure.

Escapism is meant to take us out of our world, but it

often brings us right back to it with inspiration from

its natural elements. At the same time, escapist art

and fashion can truly take those who experience

it out of their world, as artists are creating surreal,

fantasy worlds to escape to, with wearable art

functioning as the conduit.

Like Doja Cat, futuristic dance-pop artist Grimes’

music videos also break viewers free from reality,

and she uses otherworldly art and fashion to

enhance the imagined worlds that exist in her

videos. Grimes’ “Shinigami Eyes” music video

brings us into a world that bears no resemblance to

our own. “Shinigami Eyes” evokes a glitchy, trippy,

futuristic escape, exploding with holograms, color

and fantasy, where cyborg women duel with shiny

metal swords and laser beams. This world is electric

and techy, but a closer look reveals much of it is

influenced by the natural world. The abstract, spiky

metal mask Grimes wears enriches these biopunk

aesthetics that are the core of the video.

4 4

ake us

out

of

our

PSYCH-

EDELICS

4 6

What does the word “psychedelic” bring to

mind? One might imagine the Beatles tripping

out with tangerine trees and kaleidoscope eyes,

or Alice discovering Wonderland. Aside from

fanciful lyricism and surrealist literature, the term

“psychedelic” is used to describe the class of

hallucinogenic drugs that run the gamut of LSD,

psilocybin mushrooms, ayahuasca, and peyote.

Throughout history, psychedelic drugs have served

countless functions and become important cultural

phenomena. Some use psychedelics for religious

and spiritual experiences, while others use them

socially at parties or festivals. Many people try

them out of pure curiosity. Beyond making one

hallucinate, many believe psychedelics grant us the

ability to see life through a different lens.

Psychedelic drugs have long been associated with

escapism. LSD, for example, is known for its crazy,

colorful psychedelic properties and its ability to

trigger transformative, mind-altering experiences,

or “trips.” What better escape than to enter a

seemingly alternate reality filled with bright colors

and eccentric hallucinations?

But for many, using psychedelics isn’t

necessarily about escape. Although LSD is a

hallucinogen, having an “acid trip” probably won’t

make one see things that aren’t there. LSD does

cause visual distortions like swirling patterns and

movements among still objects but is best known

for its effects on your mindset. Researchers

don't fully understand the effects of LSD and

other psychedelics on the brain, but previous

studies have revealed that they depress certain

parts while stimulating others. A series of brain

scans conducted by experts at the University

of Sussex and Imperial College, London found

the drugs to induce a “heightened state of

consciousness” overall.

LSD may trigger euphoric feelings and intense

empathy. People on psilocybin mushrooms

might experience similar excitement and giggles.

However, these drugs can just as easily induce

a state of intense paranoia and anxiety, also

known as having a “bad trip.” Whether one has a

good or bad experience depends on their mood

and surroundings, signaling that the psychedelic

experience greatly amplifies what the user is

already experiencing.

OF

writing WRAVEN WANTANABE modeling LINA PETRONINO & WRAVEN WANTANABE

photography AMANDA KERR design RACHEL OSBORNE styling WOODY LINDOR

Aside from altering emotions, psychedelics are

characterized by their ability to elicit a deep

preoccupation with their present surroundings.

Someone on LSD might become fascinated with

an element of their environment, fixating on it for

long periods of time. Such preoccupation might

also come in the form of emotionally connecting

with someone else or reflecting upon oneself.

Since the drug can inspire intense contemplation

or soul-searching, many describe their experiences

as profound mental or emotional journeys. Rather

than providing an escapist reality, psychedelics

can allow people to very deeply connect with

themselves and their environment.

The “psychedelic experience” contrasts with much

of what younger generations like Generation Z

experience. From cell phones to social media, we

exist in a hyperconnected era. We’ve grappled

with a global pandemic, climate disasters, and

a mental health epidemic, so one might think

escapism would be in high demand. However, it’s

not everyone’s cup of tea. Some, left listless by

the pandemic or weary about the future, might

gravitate towards psychedelics in the search for an

entirely new lease on life, or at least a different lens

through which to view the world. Some may only

try them once, whereas others will have countless

psychedelic experiences over their lifetime.

Regardless, more and more people are interested

in psychedelic drugs, and the social and cultural

trends of our generation are a hint as to why their

popularity is increasing.

Today’s rise in psychedelics draws parallels with

the popularity of LSD during the 1960s. At the

time, a counterculture movement was taking place,

born from the anti-war sentiments of young people

— LSD was partially a symbol of that movement.

The culture that arose culminated in the “Summer

of Love” in 1967, a social phenomenon that drew

roughly 75,000 young people to the streets of San

Francisco to usher in a new era of liberation by way

of fashion, ecstasy, and Utopianism. While Gen-Z

isn’t gathering in the thousands to do psychedelics

together, we are seeing the undercurrents of a

new social revolution. The Black Lives Matter

movement (BLM), the anti-work movement, and

global support for Ukraine are examples of the

shifts we are seeing. So, while psychedelics don’t

represent our generation in the same way they

represented the free-spirited folks of the 60s, their

popularity and usage are representative of young

people seeking change.

Ultimately, psychedelics are just a small category

of the countless recreational drugs that humans

use. Their popularity is rising, but they aren’t used

as widely as alcohol and marijuana. Regardless of

the numbers psychedelics are extremely culturally

significant. From our ancient ancestors first

discovering plants with hallucinogenic properties

to hippies doing LSD at Woodstock, they have

played an important role in our collective social

development. Although everyone has different

experiences with psychedelics, it’s clear that the

most important thing they can do is allow us to see

things from a unique perspective.

4 8

WHAT BETTER ESCAPE THAN

TO ENTER A SEEMINGLY

ALTERNATE

REALITY

FILLED WITH BRIGHT

COLORS AND ECCENTRIC

HALLUCINATIONS?

YOUNG &

BEAUTIFUL

COQUETTE REFERS TO A FASHION STYLE

CONSISTING OF A CLASSIC, ROMANTIC,

AND HYPER-FEMININE APPAREL

5 0

writing ISABELLA BERNSTEIN modeling BITA ADEL-ZADEH & SOFIA FRANCHESCHINI & MARISSA MUNOZ

photography OLIVIA LEON design SYDNEY SINGH styling ADRIANA ALVAREZ

makeup CLARISA ZALLES

From the minute her first album, “Born To Die,”

was released, Lana Del Rey has been a fashion

and cultural inspiration. She burst onto the music

scene in 2012, quickly becoming a prominent icon

on social media app Tumblr in the early 2010s,

and has been idolized across platforms such as

Instagram, Pinterest and TikTok for the entirety

of her career. Often labeled as “sad-girl” pop, Del

Rey’s raw, personal lyricism and dreamy musical

style serenades listeners directly. Her accessibility

— particularly in these online spaces — has made

her extremely influential. Del Rey’s 1950s and 60s

Americana-inspired aesthetic pairs flawlessly with

her emotional and glamorous lyrics, making for a

perfect source of inspiration for style-inspo videos,

movie edits, and photo captions.

A common tag on posts utilizing Lana Del Rey’s

media is “#coquette,” a word defined by the

dictionary as a flirtatious woman. Recently, the idea

of a coquette refers to a fashion style consisting

of classic, romantic and hyper-feminine apparel.

Coquette style contrasts girlish charm and luxurious

sex appeal, and is dominated by dainty patterns,

lace and frills, bows, natural makeup and light

neutral colors, punctuated by deep reds. The

expansion of coquette’s dictionary definition to a

complex subculture can be credited to Del Rey’s

lyrics, which are arguably the most interesting and

influential aspect of her artistry.

Famous for dialogue about taboo topics such as

drug use, violence, naivety and unrequited love,

Lana Del Rey is a master at mixing sad motifs with

romanticism and opulence. Her risqué lyrics have

garnered controversy over the years, but these illicit

5 2

topics are most likely the biggest appeal to her

music — their shocking nature and raw humanity

are what make them influential and powerful.

Del Rey’s lyrics glimmer with vintage romantics,

melancholia, and luxury. Songs referring to luxury

items, like “The Other Woman” and “Off To The

Races” have inspired listeners to love high-end

designers including Chanel, Dior, and Vivienne

Westwood. But this is just the tip of the iceberg.

Del Rey often alludes to youthfulness and

adolescence, as seen in songs such as “Lolita”

and “Carmen,” and unreleased songs such as “Put

Me In A Movie.” These allusions parallel the girly,

bashful and seemingly innocent essence of the

coquette, explaining the bows, frills, lace, and ballet

attire that is seen throughout the style.

Lana Del Rey often references clothing and

makeup in her songs. She mentions heart-shaped

sunglasses in “Diet Mountain Dew,” a 50s babydoll

dress in “Yayo,” and says “I keep my lips red”

in “Black Beauty.” These references have direct

influences on her listeners. The stylistic philosophy

Del Rey is known for has quickly become a staple

of coquette fashion. When Del Rey makes explicit

references to pieces in her wardrobe, her listeners

are able to purchase their own versions. This is

part of what makes Del Rey so magnetic — anyone

can wear what she sings about and recreate her

air of glamor.

Lana Del Rey’s lyrics are not her only influence

over the rise of the coquette trend. Soft vocals,

effervescent melodies, and classical and jazz

influences have characterized Del Rey’s music

across her many albums. She often utilizes

IT COMBINES BOTH ELEMENTS

WITH ITS CONTRADICTORY

YOUTHFUL GIRLISHNESS

AND QUIET SEX APPEAL

euphonic instruments such as the piano, violin, and

harp, seen most prominently in her 2019 album,

“Norman F****** Rockwell.” This accentuates

the sense of classic, romantic and victorian

lusciousness in her music, coupling her work further

with the ornate nostalgia of the coquette style. Del

Rey’s vocals — soft, high, and whispery — have

a feminine, flirty and innocent charm like no other.

The mixture of these dream-like harmonies and

mature lyrics are embodied in the coquette style,

as it combines both elements with its contradictory

youthful girlishness and quiet sex appeal.

Lana Del Rey’s music videos — perhaps closer to

short films or video art — are equally as significant

as her lyrics. Del Rey masterfully pairs her retro-chic

visuals and personal style with her music, furthering

her influence on the way her listeners dress. Her

natural makeup is often paired with a graphic

1960s liner, as seen in “National Anthem.” White,

lacy dresses, heart-shaped sunglasses, and pearls

have become staples of the coquette style for their

lovely, elegant, slightly provocative and — most

importantly — nostalgic flavor.

Lana Del Rey’s visual iconography and recurring

motifs also contribute to the style as a whole. Her

use of flower and water imagery coincides with the

florals and flowy materials that dominate coquette

clothing. Most of Del Rey’s videos are filmed on old,

grainy cameras, or in black and white, making her

work look like it is straight out of a time capsule.

This presentation matches her evocative, retro lyrics

and melodies, and is yet another tie to the vintage

look of coquette.

The coquette style of clothing is not isolated to

internet and commercial fashion trends. Recently,

high-fashion designers have been inspired by

the modern day coquette, elevating the style on

runways around the world. Australian fashion house

Ozlana showed a stunning collection — each look

complete with bows, pastels, hearts and pom-poms

— in Winter of 2021 at Shanghai Fashion Week.

Sandy Liang’s Spring 2023 collection incorporates

coquette’s classic girlish pleated skirts, flowy

fabrics, bows and braids. In October of 2021,

Marc Jacobs dropped a collection inspired by

Sofia Coppola’s The Virgin Suicides, a staple of the

coquette subculture.

Not a soul captures lovely nostalgia as effortlessly

as Lana Del Rey. She has truly brought the past

back to life with great technicolor and her own

modern twist. Coquette holds an innocent, feminine

beauty that has been ever present throughout the

ages – it is centered around the concept of love.

Everything Lana Del Rey creates embodies this.

What could be more “classically feminine” than love,

the desire to love, and the desire to be loved?

5 4

HEALING

THROUGH

MINDFULNESS

5 6

I still remember the very first time I entered the

orange room and met my meditation instructor:

Berna. The room was strikingly large and enclosed

by warm orange lights. I placed my backpack on the

ice cold floor and my attention immediately turned

to the aromatic smell that came from the incense on

her table side.

“Gently close your eyes and take a breath in,” Berna

said, as I caught myself fidgeting with the pillow she

gave me to sit on.

Since I was 14, I had struggled with anxiety on

a day-to-day basis. Some days were better than

others, but overall, it was a challenge for me to get

through just three full days without breaking down

or feeling drained.

Tears started trickling down my face and a wave

of emotion rushed through me. I was confused by

how I felt — I thought meditation was supposed to

make me feel more calm and centered, so why was

I crying? Was the practice itself a trigger, or was I

finally confronting all of my suppressed emotions?

Over the next few months, Berna and I continued

uncovering these hidden emotions. It took some

time for me to sit still and be at peace with my heart,

but once I slowed down and observed the way

my body moved, everything gradually

began to piece together.

On the harder days, I felt like I only had the energy

to be upset. It was like I was sinking underwater

— into the deep, blue ocean, where the darkness

seemed to have taken over my sense of self, future

and identity. I wished I could swim back to the

shore, but the waves kept dragging me back out.

It had come to a point where I knew I had to ask for

help. After many different trials of several different

practices, I finally decided to enter the world of

mindfulness: the practice of seeking comfort from

my breathing and from within.

As Berna instructed, I took a breath in, but my mind

was racing with thoughts. I was bored and didn’t

feel comfortable, but I became patient with the

practice and began to feel calm.

“Place your hand over your heart, and start taking

care of your inner child,” Berna said. “The one that

feels abandoned, the Kat that needs love and care.

Don’t leave her alone, because you are truly loved.”

writing KAT TSE modeling KAT TSE photography KATHLEEN MA

design SOPHIE FIKS styling GIGI GILLEN

Six months later, I bought a notebook and

began to write. I wrote all of my thoughts, worries

and fears down onto the pages of my notebook.

From the test I had to take at school next week

to the things I hated about my body, every single

thought that appeared in my brain was written.

It was through this practice that I started to

distinguish what I do and don’t have control over.

A few weeks later, Berna and I burned these pages.

We watched all my most destructive thoughts go up

in flames. The “unrealistic expectations” were now

specks of ash in a fireplace. Over time, I realized

that I shouldn’t have to worry or beat myself up over

situations that were beyond my control. It’s nice to

reminisce about the past every now and then, but I

must be careful to not sink back into that hole.

For me, the most helpful meditation practice was

thinking about the past, then bringing my breath

and my mind back to the present. It was a mind

technique that I had to slowly master from within.

I realized that the uncertain feelings of guilt

stemmed from my childhood traumas, and fresh

betrayals, such as my recent breakup, triggered a

constant battle between my mind and heart. Once

I started to become more aware of my triggers and

emotional patterns, I could start to feel a sense of

ease and comfort with my own company.

Over time, I learned my boundaries — what I liked

and disliked. I learned how to give myself space and

time to reflect instead of jumping to conclusions. It

was these breathing and mindfulness exercises that

brought me this level of clarity. It was taking a small

pause from the busy hustle culture to reconnect

with myself and my inner child. With these new tools

in my arsenal, I slowly started to heal from

my past traumas.

Today, I can use this technique anywhere I want —

not just in the orange room. I could go for a walk

around the park and truly take in my surroundings.

I could admire how the trees swayed side by side,

how the birds chirped and how the rays of sunshine

felt as they brushed past my face. I began truly

appreciating the small wins that life could offer

me, and became grateful for the little things that I

might’ve previously taken for granted.

5 8

AT THE END

OF THE DAY,

IT ALL CAME

BACK TO

MY BREATH,

MY BODY,

AND ME

writing RACHEL ERWIN modeling SAMANTHA DIAZ & SAM LEVIS & TANYA VERMA

photography SYDNEY SINGH design SYDNEY SINGH styling GIGI GILLEN

makeup CLARISA ZALLES

6 0

ALL THAT

GLITTERS

This year, I struggled to come up with a theme for

my birthday party. I wanted it to be something fun,

flashy and affordable for my friends.

It had to be glitter.

Glitter is everywhere: it’s in Sephora, Party City,

Target and most likely your favorite corner store.

It usually comes cheap, priced below $5 per

offering. You can find a glittery version of almost

anything, ranging from edible sparkles to a

dazzling cowboy hat.

Glitter has been a part of my life for as long as I can

remember, and it’s been a lasting presence on Earth

since 40,000 B.C. Mica, a glittery mineral found in

rocks, can be found in cave drawings and on

Mayan temples. Later on, Egyptians, including

Cleopatra herself, used crushed beetles to adorn

their faces with glitter.

The glitter we use today originated in 1934 when

Henry Ruschmann discovered a way to use plastics

and other landfill materials to make packaged glitter.

Decades later, glitter has become a beauty staple.

Notable brands like Revlon and Estée Lauder were

among the first to formally introduce glitter to the

beauty industry in the 1960s, an era defined by a

“refined shimmer” rather than bold, bright sparkles.

The 1970s and 80s saw more daring uses of

glitter, from David Bowie’s glittery alter ego, Ziggy

Stardust, to the rise of British glam rock. By the

6 2

1990s, glitter had taken over products marketed

to young girls, with sparkly school supplies and

fashion accessories filling the shelves at stores like

Claire’s and Limited Too.

What was once just an accessory, has become

a tool of expression and rebellion used by

marginalized groups. Looking beyond the Euphoriathemed

parties and the Fenty body sauce, one

will see the countless ways feminist and LGBTQ+

activists have made glitter their weapon. In a sense,

it is the perfect battle tool for those seeking a

nonviolent form of protest.

2011 signaled the start of “Glitter bombing” — the

act of showering someone in glitter, first employed

by activist Nick Espinosa against right wing

presidential candidate Newt Gingrich. At a book

signing, Espinosa doused Gingrich in rainbow

sparkles, making a statement about Gingrich’s

disdain for the LGBTQ+ community. For Gingrich

and other right wing politicians, it was perceived as

a threat to their masculinity, as a spray of a feminine

powder is undoubtedly as dangerous as a nuclear

weapon. Additionally, when trying to clean up glitter,

it is nearly impossible to find every fleck, which

added to the politicians’ frustration.

GLITTER IS USED

AS A WAY TO

CELEBRATE

AND EMPHASIZE

In a statement against body negativity, individuals

on social media have started their own rebellion,

painting their stretch marks with gold glitter and

calling them “tiger stripes.” In this case, glitter

is used as a way to celebrate and emphasize a

feature that once made someone insecure. It puts

the power back into the hands of people who have

been badgered and bullied for their natural bodies.

In a few major cities like New York and Chicago,

queer-friendly churches are mixing ashes and

purple glitter on Ash Wednesday in a movement

titled “Glitter+Ash.” Glitter Bombs for Choice, a

group of pro-choice activists, mails anti-abortion

organizations packages filled with glitter, in a

statement that people with uteruses should have

control over their reproductive decisions. While

the LGBTQ+ community has used glitter as a form

of expression for decades, it has also long been

associated with women most often perceived as

a trivial display of femininity and vanity. Glitter

may appear frivolous and soft, but when used

as a weapon, it can be a powerful tool of public

humiliation and shame.

IT ADAPTS AND

EVOLVES, EACH

TIME A LITTLE

MORE POTENT

Following an alleged sexual assault of two girls by

a police officer, feminist activists in Mexico City

protested the normalization of violence against

women by throwing pink glitter across the streets

and at the security minister. This act was intriguing

in the way that it paired typical protest violence with

the dispersal of glitter, a nonviolent act.

There is a way to make glitter using cellulose,

which can be plant-based. Universal Soul, a beauty

company, is using trees to create biodegradable

glitter. If other brands were to follow suit, this

innovation could soften the impact of glitter on

the environment, making it a more ethically-sound

protest tool.

Using mica, as cave painters did in the early days,

is still an option, but it is frequently mined by child

laborers. Though difficult to differentiate between

Mica mined by children or not, a few brands to

note, including Coty and L’Oréal, have committed to

stopping child labor in India as early as this year.

These instances, as well as many more not

listed here, reveal glitter’s uses go far beyond an

eyeshadow look. It is a symbol of the fight against

patriarchal power and oppressive

governmental actions.

That is not to say, however, that glitter is the perfect

symbolic tool. Activists must consider that glitter,

despite its power, can be detrimental to the planet.

Knowing all this, how do we decide if the impact

of glitter in an expressive sense outweighs its

environmental consequences?

Those using glitter should be open to new and more

ethical alternatives, provided they remain affordable

and readily accessible. It is the responsibility of

large corporations and manufacturers to take the

necessary steps to keep glitter accessible.

Glitter is usually a microplastic, which can take

hundreds, if not thousands, of years to break down.

It also requires the usage of fossil fuels in order to

be produced, which are detrimental to the ozone

layer and remain primary drivers of climate change.

Glitter pollution is showing up throughout our

planet, especially in bodies of water. This is mainly

because, when we come home from a club, a

protest or party, we wash the glitter off, then allow

it to flow down the drain and eventually into these

bodies of water.

So, when using glitter as part of our wardrobes,

beauty routines or party plans, we must consider

its history, source and impact. Glitter does not have

to be consistently exercised as a statement or a

protest symbol; it adapts and evolves, each time a

little more potent, each time a little more powerful.

For me, glitter is my method of standing out. It

announces my courageous, unapologetic femininity

in a loud way. It is also fun as hell! We all can use

glitter to amplify ourselves because the world is

always in need of more unwavering shine.

6 4

FINDING

ANSWERS

IN THE STARS

6 6

There’s something so unsettling about the unknown.

The future may hold our wildest dreams or our

greatest fears — so how do we come to terms with

the things we do not know? Do we learn to accept

uncertainty, or do we escalate our search

for answers? Many people turn to divination,

the practice of seeking knowledge through

supernatural means.

Until the 17th century, astrology was considered a

scholarly tradition. However, as Western science

developed, so did skepticism toward astrology.

Divination can be practiced in many forms, whether

it be fortune telling, psychic readings, astrology, or

tarot, but each practice serves the same purpose:

to answer our questions. As college students

with uncertain futures in regards to career paths,

relationships and economic stability, there is little

sense of security. Sometimes we find comfort in

the answers, or the “path” outlined for us in these

age-old practices — whether legitimate or not, they

provide at the very least an illusion of certainty, and

there is comfort in that.

Astrology interprets how stars and planets influence

human destiny. It is one of the oldest practices on

Earth, originating in the Mesopotamian region and

dating back anywhere from 4,000 to 6,000 years.

In recent years, there has been a surge in the

popularity of wellness and self-improvement

practices, and with it came the reprise of astrology.

Today, many identify with the basic attributes of

their sun sign and utilize daily horoscope apps

such as Co-Star to help focus their day. Astrologer

Steve Parson has watched the practice become

increasingly popular throughout the 2010s and

was not surprised when more people started

using astrology for guidance — he had already

been guiding himself and others through life with

astrology for years.

At the age of 23, Steve Parson received a chart

reading by a woman who he now sees as one

of the most incisive astrologers he knows. After

an eerily accurate reading about his personality,

familial relations, and even a prediction of a family

member’s health condition, he began studying

astrology himself shortly after. Now a practicing

astrologist, Parson offers his own reading services

to shed some light on some of the mystery.

writing SARAH GORDON modeling LAZARIA HARRIS & TY ORLANDO

photography IZZY BERNSTEIN design VANESSA PENG styling GIGI GILLEN

However, Parson never meets his clients face-toface.

He knows each of his clients only by their

chart and shares his interpretations through a voice

recording. He says a birth chart can tell him when

someone will move, break up with their significant

other, change career paths, or even take their last

breath — though he does not disclose theories that

would cause excessive disturbance to the client. By

providing insight into the future, astrology can offer

a sense of reassurance to those who feel discomfort

in the unknown.

“For many, the idea that whatever is happening

to them is supposed to be happening to them is

validating — that it somehow involves a plan,” he

said. “Without astrology it feels like chaos…‘When

is this going to end?’ or, ‘Is my life always going to

be this way?’”

Parson sees many of his clients regarding

uncertainty, particularly within their career

choices. He claims the “fear of future regret” is

always a major motivation for his clients to seek

answers. Many people fear devoting their lives

to unrewarding, unstimulating work, and Parson

believes his services can help prevent that. Through

his clients’ birth charts, he can assess their

passions and personalities, which in turn helps them

better understand themselves and their desires.

Ultimately, Parson operates under the philosophy

6 8

that what is meant to be, must be. He sees no

reason for trying to reshape the future, but instead

hopes his clients will use these answers to take

control of their lives, live more confidently, and

unlock their fullest potential.

Similar to how birth charts can offer a glimpse

into the future, a deck of tarot cards can do the

same. Through a single deck, tarot readers channel

an elevated insight to decipher a person’s past,

present and future. Tarot decks are similar to

playing cards in the sense that they also have four

suits, but instead of diamonds, spades, hearts and

clubs, tarot cards have wands, swords, cups and

pentacles, with each suit representing a specific

approach to life. Cards are shuffled and laid out in

a personalized manner to ensure that the client’s

energy is reflected.

Card reader Kiki Wallace explains that most of

her work is in observing the future. When doing a

reading, Wallace says she can focus on someone’s

career path, healing journey, friends, or family.

Although she says 90% of her clients seek

information about their future love life, there

are many other insights she can reveal from

someone’s future.

“Tarot has the incredible ability to tap into the

energy you have already been manifesting to help it

come true,” she says.

The use of tarot has also seen a rise in more recent

years, which comes as no surprise to Wallace. She

saw many clients virtually throughout the COVID-19

pandemic, as they were questioning how long the

world would be shut down, what the impact of the

new vaccine would be, and what their world would

look like post-pandemic. Now, many of Wallace’s

clients are curious about the future of the economy

and the progression of wars. People want to feel

as though they have a sense of certainty in times of

uncertainty, and tarot can provide that feeling.

Astrology and tarot foster a sense of confirmation

in one’s self. Parson believes the work he does is

healing for his clients, as it offers an alternative

explanation for why they are the way they are. In

a sense, people feel like there is something larger in

this world keeping them afloat.

While many find comfort in the use of astrology and

tarot, others remain skeptical. Without any science

or logic to back these practices, how does one trust

their reliability? Wallace reveals that even she has

questioned her practice before, but is reassured

when time after time, her readings provide a sense

of direction to those who feel lost.

Parson agrees, as he knows how questionable

it may appear to rely on stars to dictate our

personalities and our futures. However, he believes

that those who question astrology can see the

power for themselves if they open their mind to it.

“How do you reconcile that in 2022, we understand

6% of the human brain and perhaps 7% of outer

space? How do you reconcile the existence of the

church [with science]?” he asks. “Some things are

not reconcilable. There is a great deal we don’t

know. Have humility.”

7 0

READINGS

PROVIDE A SENSE

OF DIRECTION

FOR THOSE

WHO

FEEL

LOST

u

a

7 2

n

n e

creative direction ABBY FALZONE art direction RENEE PEARCE design CLAIRE HIGGINS & RENEE PEARCE

photography ANGELINA CHAU contributing creative direction SASHA LEWIS makeup MELANIE BAREST

styling YEANI KWON & SOLOMON CANADA & GIGI GILLEN & WOODY LINDOR & ADRIANA ALVAREZ

modeling JENNIFER UYANGA & CHRIS PARKER & CASSIE STANLEY & JACK DEUTSCH & LYNNE KHOURI & KEN YIN

42.34253 N

71.08636 W

7 4

7 6

10/15/22

9:05AM

CAM 02

09:06:04

7 8

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DAY #2894 CITIZEN #788089049

12/08/22 #16

8 2

ANOTHER ONE

CITIZEN #78

DAY #2894

BEGIN AGAIN

ANOTHER ONE

DA

EGIN AGAIN

DAY #3411

BEGIN

DAY #3208

CITIZEN #788

BEGIN AGAI

ANOTHER ONE

I

AM

NOT A

S I N

8 4

SO LUST BECAME

A THREAT. DESIRE

BECAME AN INSECURITY.

AND QUEERNESS

BECAME MY SIN.

Sunday, 9 a.m.: the bells toll in my small hometown

church. Crowds arrive and gather, taking a seat,

some speaking Spanish, some speaking English,

some speaking both. I sit next to my mother and

wait for the pastor. Oblique, beige walls, benches

of wood that creak under our weight, stained glass

walls that echo the words of the churchgoers,

and the inevitably-present cross that stands in the

middle of the room. Discomfort? Fear? Anxiety? I

wasn’t sure what I felt. But I wasn’t safe.

I never really liked church. I struggled with the idea

of praising someone who I couldn’t know existed —

and in tandem felt some sort of guilt in that doubt.

Yet, here I am, every Sunday. Was it to make my

mother proud? To make myself proud? God proud?

To this day, I fail to find the answer. Yet, here I am.

Yet, here we all are.

I wasn’t old enough to understand what it meant. I

was only 10. But I could see. Small, grim nods. Soft

whispers of praise. The small ecstasy of approval

for the words, “God loves those who obey, but God

shows his anger against all wicked people, and

abandonment is all they learn. All they learn, that

they turn to abominus, dark and confused worship,

worshipping of their shameful desires, sex between

each other.” I wasn’t old enough to understand what

that meant, but I could see it was wrong. I could feel

it was wrong. I was convinced it was wrong.

writing ANONYMOUS modeling ELANA LANE & AX BALIONE photography ALEX CHANG

design EMLYN GRIFFITHS styling ADRIANA ALVAREZ makeup MELANIE BAREST

So lust became a threat. Desire became an

insecurity. And queerness became my sin. A

death sentence to someone I could no longer be,

someone I was never given a chance to be.

And who was I to be, so as to defy God? God won’t

forgive me. The Catholic Church won’t forgive me.

My family won’t forgive me. And at one point, I

couldn’t forgive myself. So I did the only thing that

was reasonable — I hid.

I couldn’t bear to see who I truly was. I couldn’t

bear to know what God thought of me. And I simply

could not bear the fact that I could disappoint the

person that I had always believed would love me

unconditionally. For 18 years I believed in this truth,

and I wanted to make ’Him’ proud. I wasn’t queer, I

was just confused. God would only love me if I felt

that way. If we felt that way. If we fixed our confused

daze, he would give us a chance.

First communion,

Sunday mass,

Confirmation,

Everything was all for you.

For 18 years, everything was for you.

I COULDN’T BEAR TO

KNOW WHAT GOD

THOUGHT OF ME.

8 6

Kneeling, praying, and praising became a numbing

routine. You became my routine. You became me.

And that was all I knew.

Eventually, college began, and I was no longer

tied to family or religion. Having the freedom to

pursue everything and anything suddenly became

an unnecessary, threatening objective for me to

chase. A chance that all my work of praise would be

crucified if I were to disobey him.

I would lose ‘Him.’

And with him, I would lose myself.

And I couldn’t lose myself at the point in my life

when I was supposed to be finding myself.

People yearned for it. People feared for it.

It’s the fear of not being enough, coupled with the

fear of being too much. The same fear of being you.

Except this time it's different, I was queer. But that

was all I knew. That is all we know.

We are queer, but what’s next? Who can we talk to?

And why does it feel like we are rushing it? Hiding

from it?

A trait of we who are, but a deformity of who we

don’t want to be. An endless abyss of straight

couples, holding hands, getting married and

following the praise of God. But for us, it’s just

looks, grim nods of disapproval, and harsh whispers

of condemnation. A small ecstasy of castigation that

tells us we're not enough, that we'll never have the

chance to become something. Anything.

And when we do, it’s rushed. We don’t have time.

But we don’t want that time. Because when we

have strayed from what we practice, we have the

chance to know what has been unfamiliar. And

we would rather sit in the uncomfortable silence

of that unknown than acknowledge everything we

missed, everything that was grasped away from us.

Everything that was grasped from me.

8 8

Our childhood, our life. Our dignity and our identity,

just to keep yours alive.

And it only took me 19 years to be sure. Not

confident, but sure of who I belonged to. To keep

our desires separate from yours. To keep our truths

separate from your lies. To keep my community

separate from your society. I belong to the LGBTQ

community. I am queer. We are queer. We are who

you suppressed, who you rushed, who we kept

hidden away for your glory. And it’s enough. We

have always been enough.

9 0

m

ad

hatter

fashioning the

In 2021, “Alice in Wonderland” was recognized by

Vogue Magazine as one of fashion's most enduring

muses. It seems we enjoy leaning into the

madness and majesty of costumes as a way to

soothe the streak of insanity within ourselves.

Fashion is a silent voice, but it’s also a yelling

siren, especially when the end goal is to be both

mad and magnificent.

Disney’s 2010 “Alice in Wonderland” movie enlisted

Colleen Atwood to design its costumes. Tarrant

Hightopp, or The Mad Hatter, was usually always

in three-quarter culottes that splayed out midshins,

wacky socks, a burgundy blazer, distressed

tuxedos, and, of course, a hat. His makeup

consisted of red eyeliner, bright green and orange

contacts, rouge blush that stood out against a pale

white foundation, blue eyeshadow, and red gravitydefying

eyebrows and hair. When asked about the

balance between the bright hues of the costumes

and the period piece tailoring, Atwood remarked,

“The Hatter’s look is other-worldly and magical but

still somewhat real in a sense. He is in a different

head space at the beginning of our story and his

costume goes through a journey of trying to help

him find his soul.”

While Hatter’s costume is a highly successful

extension of his off-kilter personality, contemporary

audiences question if he was truly as mad

as he appeared. His fashion choices, while

unconventional, seem too stylized and calculated to

truly be crazy. He is more inspiring where he should

perhaps be disconcerting. Rather than scare us

away with the loud hues and patterns,

it draws us in with the bright colors and enthralling

synergy. The costume is almost alive, with an

utterly vibrant personality and eye-catching soul.

Audience members, designers, and fashion

personas alike still find inspiration in the liveliness

and irony of the costume.

writing EBUBE ONWUSIKA modeling LUCY CHEN & MILES STEVENSON & BAHVANA SINHA

photography JENNA ORY design SYDNEY SINGH styling SOLOMON CANADA

makeup CELINE PLAISIR

“Mirror Mirror” (2012), a Snow White retelling

directed by Tarsem Singh, is also known for its

costume storytelling, as the plot of the film was

symbolically reflected in the attire of its characters.

Designed by Eiko Ishioka, the costumes were

described in Fashionista to be so awe-inspiring

that they film themselves. The Queen, played by

Julia Roberts, wears a red peacock dress with high

shoulders, representing the Queen's intimidating

nature and her constant efforts to scare away—or,

in the case of Snow White, kill—any competition.

Snow White herself was also outfitted with a

memorable costume, particularly in the movie’s final

scene. She wears a flamboyant orange and blue

dress tied back with a gigantic bow. Ishioka wanted

the gown to represent Snow White as a gift to the

people who lived in the land after bringing an end to

the Evil Queen’s reign. Who would expect entire plot

lines to be encoded in peacock dresses and giant

bows? The costume designers, that’s who — it’s

what they do.

We can more clearly see the effects of such

costumes when they are juxtaposed with casual

clothes in everyday life. This pattern is particularly

prominent in 2004’s “Enchanted,” in which Amy

Adams plays the bubbly Giselle, a princess

magically transported from the fairytale land of

Andalasia to New York City. When Giselle first

arrives in New York, it is in nothing less than

a humongous wedding gown, complete with

puffy sleeves and a million layers of hoop skirts

— entirely impractical for the cosmopolitan city.

As the movie progresses, Giselle starts wearing

increasingly smaller dresses, more conservative

prints, and smaller sleeves until she reaches her

final outfit: a simple, sleek, solid-color evening

gown that ditches the sleeves completely. This

final gown stands in stark contrast with her initial

wedding dress. Costume designer Mona May never

explicitly confirmed that this pattern was intentional,

but Giselle’s costume changes are an undeniable

reflection of her growth during the movie.

9 2

AWAKE IN BOTH

THE WHIMSICAL

FANTASY AND

CAUTIOUS REALITY

OF OUR LIVES

Though these outlandish outfits may seem removed

from our real lives, the costume changes are

familiar elements of reality. Not a lot of us can

claim that we have the same style now as we did

when we were twelve. As our experiences and

thoughts change, so does the way we choose to

convey ourselves to the world. It’s the exact same

thing with costume design in the film: designers

aim to reflect characters’ personalities, growth,

and even dreams through what they wear — a

strategy that is even more remarkable when they

come from imaginary worlds.

Inspired costume design draws audiences into the

world of fantasy to enrich our real lives. Those of us

who are awake in both the whimsical fantasy and

cautious reality of our lives most likely find joy in

seeing the most erratic and beautiful of finery come

to life on the silver screen.w

9 4

DISSECTING THE

90S

‘HEROIN

CHIC’

LOOK

“Heroin Chic” is an aesthetic that rose to popularity

in the early 90s. The term “Heroin Chic” was born

from the style’s appropriation of physical features

often associated with heroin addiction, including

pale skin, a thin figure, dark undereye circles,

and mangled hair. The aesthetic took the fashion

industry by storm, from photographers to models

to producers, and quickly grew from a trend into

a cultural movement encompassing glamor, high

adrenaline, and partying.

Heroin Chic likely found its advent with supermodel

Gia Carangi in the 80s — the New York Times

called her “The Model Who Invented Heroin Chic.”

However, it did not truly grow to peak popularity

until Calvin Klein’s 1993 campaign shot by Mario

Sorrenti featuring Kate Moss. Only 17 years old at

the time, Moss became one of the most influential

models of the decade after her appearance in the

campaign, and remains the face of the

aesthetic to this day.

The glamorization of the aesthetic increased with

the eye-catchingly raw works of Davide Sorrenti.

The famous New York fashion photographer was

infatuated with the look, and most of his art was

inspired by it. At the peak of 90s, when many in the

industry dabbled in drug usage and drug culture,

Sorrenti captured the models in a hauntingly

beautiful form — though dressed in high-end

writing VALERIA MARTINEZ modeling RACHEL SOLOMON photography AZRA SCHORR

design DAISY TULLER styling YEANI KWON makeup MELANIE BAREST

clothes, he shot their awkward poses and emotion

filled eyes. Editors from fashion’s most influential

magazines loved the air of naïveté and fragility

that came with the uncomfortable posing. The

makeup looks the models were photographed in

perpetuated these characteristics; a common one

being the grunge look, which consisted of pale red

eyeshadow, dark liner, and matte lipstick, giving

the look a sense of unease and chaos. However,

Sorrenti’s success was short-lived, as he died in

1997 at the age of 20 — at the time of a suspected

heroin overdose, which his mother later disproved in

a 2019 Vogue article.

Despite passing from kidney failure, Sorrenti’s

supposed heroin death led to a turning point

from admiration to disgust within the industry

towards the normalized drug culture and “Heroin

Chic” aesthetic. It was a wake-up call to the

consequences of the glamorization of addiction in

society, and more specifically in the fashion industry.

As depicted by editorial magazines, beautiful

fashion shoots, and red carpets, the fashion industry

may seem like a glamorous, exhilarating, and

vibrant space. As outsiders, all we see are the pretty

photos on social media and entertainment outlets.

However, the reality is that it’s an overwhelming,

stressful, and high-pressure industry where low pay,

high hours, and misogyny are common. In a Glossy

survey completed by fashion employees, 87%

of respondents said they were overworked. The

normalization of worker exploitation in the fashion

industry led many to unhealthy coping mechanisms,

including but not limited to drug abuse. Its

prominence within the industry led supermodels like

Naomi Campbell and Kate Moss to become victims

of substance addiction.

The “Heroin Chic” look the public saw was very

different from what models were actually going

through. As is often seen in the fashion and beauty

industries, extreme thinness was a hallmark of the

aesthetic and models went to dangerous lengths to

keep their physique in line with the waifish look that

was on trend. The industry took physical features

that would normally signal poor health such as

emaciation, dark circles, and hollow cheeks, and

made it sexy and desirable. Photographs that

encapsulated the “Heroin Chic” look were planned,

designed, and edited in a way that glamorized the

look and made it fashionable.

Despite its harmful effects, the “Heroin Chic”

aesthetic is still seen as an iconic moment to

remember in the fashion and beauty industry. It is

a mystery the way it is perceived as satisfying, but

why is it so chaotic and destructive, yet exquisite

and sophisticated at the same time? Perhaps it is

due to the constant messaging from multimillion

dollar companies pushing imagery that glamorizes

and normalizes unhealthy lifestyles to achieve a

certain beauty standard. Perhaps it is our culture’s

obsession with feminine frailness and weakness,

an ideal that was especially prominent during the

90s when looking starved was the new beautiful,

especially in editorial and high fashion contexts.

Perhaps it just feeds the beast that is the industry

as it craves new ways to control women by turning

their bodies into trend cycles.

However, over the past two decades, much

progress has been made in shining a light on

the toxicity of the fashion industry and its lack of

inclusivity. Well-known models like Bella Hadid

have started to open up about being overworked,

the pressure models have to endure, and the

importance of prioritizing mental health. The “Heroin

Chic” aesthetic’s negative impact on society

has in part pushed people to hold brands more

accountable for improving their inclusivity and

diversity on runways and in campaigns. The hope

is that this trend remains in the past and progress

continues in pushing the industry to be focused

more on acceptance of all bodies and less on

glamorizing dangerous lifestyles.

9 6

naïveté and fragility

9 8

CLEAN

Not So Clean

After All

The so-called it-girl, “clean-girl” aesthetic has

been one of the biggest trends on social media

in 2022. If you search the keywords on TikTok or

Instagram, you’ll be flooded with countless results

showcasing what society collectively labels as the

wannabe clean girl. The hashtag #cleangirlaesthetic

has hundreds of videos on TikTok from creators

showcasing what they perceive to be “clean.” With

Hailey Bieber, Kendall Jenner, and the Hadid sisters

all being examples of the celebrities who embody

this look, millions of women aspire to achieve this

glowy, minimalistic aesthetic in order to fit the

modern beauty standards reinforced by social

media. As you scroll, you will also notice the

lack of diversity and range in this aesthetic as your

feed is covered with women fitting eurocentric

beauty standards. Despite its recent popularity,

the only new thing about the clean girl aesthetic is

its token title.

Central to the clean girl aesthetic is “natural beauty.”

This “effortlessly gorgeous” look is meant to look

like one “just got out of the shower,” and revolves

around glass skin, lack of under eye bags, freshly-

writing SOOMIN YANG modeling ANNIKA GEIBEN LYNN & JASON HARRIS & ANDREA GERTRUDIS

& HALIMA DUARTE photography CALI CARDENAS design EMLYN GRIFFITHS

styling SOLOMON CANADA makeup CLARISSA ZALLES

washed hair, clean nails, feathered eyebrows, and

minimal makeup. It is often presented as easily

achievable with minimal steps. Tutorials usually

include three to four makeup products and a

slicked back ponytail or bun, alluding that the

end-goal is to look like you just woke up and you

essentially have your life together. Among the

most popular videos on Tiktok under the #cleangirl

hashtag (with over 12 million views) is a tutorial

for the look, introducing the clean girl as the girl

“whose skin is always glowing, their lips are always

glossed, and they never, ever look like they’re

wearing too much makeup.”

Despite its very foundations originating from women

of color, the aesthetic only became the beauty

standard when it was adopted by white creators.

The slicked-back bun and laid edges originate

from Black women and the culture they have built

onto the historical elements behind their hair.

Where fluffy, feathered eyebrows were demeaned

on Latinx women, they are now “brow goals” on

white women. Slugging, the generous application of

petroleum-based skincare, has been a well-known

skin-care routine of Asian countries for centuries

before it became popular by white

creators on TikTok.

Despite its widespread appeal, closer inspection

reveals that this aesthetic may not be as “clean”

as it seems. The aesthetic’s rise in popularity

reinforces that the ideal woman is someone who

has white, eurocentric features. Implying this look is

“clean” automatically affirms that there is also the

opposite end to the spectrum, being the non-clean,

or “dirty girl.” As we try to retain beauty standards

as they come and go as trends, we begin to notice

the same few unattainable characteristics being

resurfaced with different titles every few months.

In a society that is so strongly influenced by

aesthetics, there is a cap to the femininity as cis

and trans women are able to explore and express

themselves before they are faced with labels given

to them by the general mass.

The reality behind the ‘clean-girl’ aesthetic is that

it appropriates the practices of its pioneers who

created what has now become an oncoming trend.

The prototypes of the current “trend” revolves

mainly around white influencers and celebrities, and

it is notably harder to find “clean-girls” who are from

diverse racial or ethnic backgrounds. Popularizing

these styles as the “clean-girl” aesthetic without

recognizing their origins robs recognition from their

rightful creators and negates the history behind the

experiences of the makers.

1 0 0

Among the aesthetic’s faults is the lack of

affordability tied to achieving it. Furthermore,

not everyone can afford to be the “clean girl.”

Social media creators and celebrities constantly

commercialize and influence users to feed into

consumerism as they market products that will

supposedly help achieve these desired looks.

Keeping up with this aesthetic is pricey and

unrealistic, as it implies that not keeping up with a

certain lifestyle equates to being dirty.

With this being said, there is nothing inherently

wrong with the look – just the label. The “clean-girl”

should just be referred to as being a simple and

easy makeup look you can use to enhance your

natural features. There shouldn’t be an end goal

for how clean or put-together you have to look, but

it should rather be about enjoying the therapeutic

process of getting ready and feeling like the best

version of yourself. Your confidence shouldn’t be

based on the amount of makeup you wear or the

aesthetic you fit closest to, but rather the comfort

you feel within yourself. The beauty standard

shouldn’t be a singular mold, but rather something

to be tested and explored.

As aesthetics come and go with trends, the history

of the defining elements to this look are deeplyrooted

in Black, Latinx, and Asian cultures. Its

inherently exclusive nature renders it entirely

problematic being that it centers whiteness at

the core of a “clean” aesthetic. Giving praise to a

certain demographic as clean-girls for the looks

diverse groups have been wearing for decades

takes away from the contribution and credit they

deserve.

THE BEAUTY STANDARD

SHOULDN’T BE A SINGULAR

MOLD, BUT RATHER

SOMETHING TO BE TESTED

AND EXPLORED.

ecret v

VICTORIA'S DARK SECRET

ictoria

s dark

1 0 2

rkc se

's

writing ALEX TROTTO modeling HANNAH HARTSOUGH & AIDAN SEVIER & SASHA SHRESTHA

photography PEYTON POLLARD design SHARON CHEN makeup SOFIA URRUTIA styling WOODY LINDOR

WOMEN HAD TO SUFFER TO BE

DESIRABLE AND ATTRACTIVE.

There I was, an elementary-aged girl, walking

through my town’s mall with my mother when

suddenly I came across the infamous pink and black

temple — Victoria’s Secret. I gazed into the store as

I slowly walked by since I knew that I could never

actually go in. Victoria’s Secret was a store only

for women. Some say that a girl officially becomes

a woman when she first begins menstruating, but

my younger self would argue that it’s when you felt

comfortable enough to walk into a Victoria’s Secret.

I truly believed that a simple retail store could be a

cornerstone of womanhood.

I wasn’t the only one who thought this. For the

majority of the mid-2000s and 2010s, our society

was entranced with Victoria's Secret’s beauty

fantasy and idealized depiction of womanhood.

Through their commercials, advertisements, and

vastly popular annual fashion shows, they created

an illusion of what a “real woman” should look like.

In 2022, many people look back at this so-called

beauty fantasy and wonder how exactly we bought

into this incredibly sexist and unattainable image of

women and beauty.

For a name like Victoria’s Secret, one may assume

that it was founded by a mysterious woman

named Victoria (or at least that’s what I thought

when I was eight). She was a myth, pure fiction.

In fact, the company was founded by a white man

from Connecticut named Roy Raymond in 1977.

However, Victoria’s Secret didn't gain popularity

until the 90s and the early 2000s. The company

took advantage of a new wave of feminism during

the turn of the century to sell its products. In the

late 90s, a sexual revolution arose revolving around

the self-objectification of women and the explosion

of “raunch culture.” Women were encouraged

to dress and behave scandalously as a form of

sexual freedom and self-liberation. Victoria’s Secret

jumped on this bandwagon. The company marketed

its products around the idea that women should

wear lingerie for themselves, to make themselves

feel sexy — not for men or the male gaze. In an

interview with author Susan Faludi for her 1991

book on anti-feminism, Raymond claimed that a

woman should be buying “sexy lingerie to feel

good about herself, and the effect it had on men

was secondary.”

The claim that uncomfortable and restricting lingerie

was made for the sole comfort and pleasure of

women was bizarre. Nevertheless, women bought

the sales pitch, as it was perfectly aligned with

this new era of female promiscuity. This concept

persuaded women to objectify themselves for their

own gratification in a way that coincidentally

aligned with the male gaze. They were able to

confine women’s sexual exploration to the realm

of male fantasy.

As the retail store began to take over the country,

they decided to host an annual Victoria’s Secret

fashion show, beginning in 1995. Archival footage

from these runways shows a predominantly male

audience as well as misogynistic commentary.

During the 2001 Victoria’s Secret show, host

1 0 4

THEY WERE ABLE TO CONFINE

WOMEN’S SEXUAL EXPLORATION

TO THE REALM OF MALE FANTASY.

1 0 6

Rupert Everett was heard saying “security is tight,

and so are the girls.” On top of that, the models,

famously coined “Angels,” featured in the show

were unrealistically lean. In an interview with the

Hollywood Reporter, former Victoria’s Secret

Angel Adriana Lima admitted to cutting out solid

food nine days before the show and not drinking

water 12 hours before walking the runway. These

models were portraying a beauty standard that

was incredibly unhealthy and unattainable for the

everyday woman — the brand’s supposed

primary demographic.

Fantasy is defined as the activity of imagining things

that are impossible or improbable. With that in mind,

Victoria’s Secret had created quite the fantasy.

The average woman doesn’t look like a Victoria’s

Secret Angel, and the brand knew that. They spent

the majority of the 2000s and 2010s conveying the

idea that women had to suffer to be desirable and

attractive. In order to be the perfect woman, they

were expected to eat like bunnies and overwork

themselves at the gym.

Thankfully, the brand has evolved with society

and diversified its image. In 2021, Victoria’s Secret

announced that they would get rid of their Angels

and replace them with a seven-woman group

called the VS Collective. This group is composed

of diverse women who are committed to changing

the image of what a “real woman” is or looks like.

Members of this collective include United States

soccer star Megan Rapinoe and plus-size model

Paloma Elsesser. It appeared that the brand may

finally be promoting realistic body types and actually

encouraging female empowerment. The company’s

new chief executive John Mehas told The New York

Times, “When the world was changing, we were too

slow to respond. We needed to stop being about

what men want and to be about what women want.”

This new campaign seemed to come very late

for the brand compared to other companies,

and because of this, many people questioned

the sincerity of the rebrand. It seemed as though

Victoria’s Secret was forced to evolve its image to

adhere to progressive and modern ideals in order

to stay in business. In 2018, The Guardian reported

that Victoria’s Secret’s stocks fell 40%as more

progressive and inclusive brands, such as singer

Rihanna’s lingerie company Savage X Fenty, entered

the industry. Victoria’s Secret knew that in order to

stay relevant, they had to take a page out of these

other brands’ books.

At the end of the day, it’s refreshing to see

companies like Victoria’s Secret finally diversifying

their brand, but that doesn’t mean that this wasn’t

a disingenuous response. Despite including

diverse female body types and ethnicities in their

new branding, Victoria’s Secret is still trying to

convince women that they need to buy fancy and

sexy lingerie to fully connect with their femininity.

Not to mention that the women featured in the

new VS Collective are women who still fit the

beauty standard. For instance, Megan Rapinoe is a

professional soccer player who has a very lean and

thin build. Another member, Priyanka Chopra, is a

former Miss World pageant winner. Although these

women have more realistic and attainable looks,

they still exceed the presentation standards of the

everyday woman. Although the departure of the

Angels dissolved the original fantasy, the sincerity of

its newfound voice is yet to be determined.

1 0 8

g

the

nihilist

nihilist

generation

eneration

have taken internet culture by storm. Much of the

content that Gen-Z publishes on the internet has

nihilistic and absurdist themes, true to the

extended belief that one’s actions and emotions are

also meaningless.

Nihilism is the belief that life is devoid of meaning

and nothing matters; the systems that people

subscribe to — religion, politics, economics, and

identities — are all hollow constructs. Dating back

to the Skeptic era and the anarchist revolutionary

movements in Russia from 1860-1917, nihilism

has consistently been associated with rebellion.

Friedrich Nietzsche famously characterized the

movement with themes of moral, epistemological,

and cosmic failures, which have inspired artists,

social critics, and philosophers since the beginning

of time. Nietzsche predicted that nihilism’s “caustic

strength'' would expose society’s beliefs and truths

as Western mythology, along with many other facets

of postmodern life. Though his recognition was

posthumous, his relevance today resurfaces with

the birth of a new generation.

Generation Z, those born between 1997 and 2012,

is perhaps best characterized by their ceaseless

grappling with climate disaster, economic peril,

humanitarian crises, and pandemic fallout. Historic

events occur with such frequency that many have

become desensitized to the headlines and horrors

that bleed on the front page. All of this begs the

question: does any of it even matter?

With this in mind, it’s no surprise that Generation Z

has shown an interest in these ideas of existential

nihilism. Extreme skepticism and relativism, along

with the 20th century belief that life is meaningless,

Esteemed American philosopher Hubert Dreyfus

critiqued this nihilistic prevalence of the internet in

modern life, writing, “as our lives become more and

more desituated and detached, our capacity for

committed action is undermined. We lose the ability

to distinguish between the trivial and the important.

And the multiplicity of causes and possibilities

for engagement either paralyzes us or makes our

decisions appear to be arbitrary choices.”

During the COVID-19 pandemic, struck by nearuniversal

feelings of hopelessness and loneliness,

many turned toward ideas of nihilism. The Biden

administration embodied a detached sense of

inevitability in their messaging, with White House

Press Secretary Karine Jean-Pierre’s remark,

“almost everyone is going to get COVID,” during

Biden’s infection. As the philosophy garnered more

and more public attention, nihilistic communities

grew. In January 2019, before the onset of the

pandemic, the subreddit “r/nihilism” had just

31,000 members; by September 2022, it fostered

over 120,000.

IS

LIFE

MEANINGLESS?

writing LAUREN VIOLETTE modeling ANDREW BARNETT photography LAUREN VIOLETTE

design SHARON CHEN styling SOLOMON CANADA

Nietzsche’s belief that nihilism would have a

pervasive effect on future centuries' culture has

been shown in the frequency of intense negative

feelings such as anger, anxiety, and gloom that

color much of modern-day life. Though Nietzsche

is often regarded as a symbol of the adverse effects

of nihilism, he himself believed that through great

struggle and societal reckoning, humanity could

rise above nihilism. He believed that if individuals

could put aside all that people consider to be true,

perhaps they could find a new course for

mankind, separate from the institutions that lead

to nihilistic beliefs.

Generation Z’s resulting action — or inaction — is

thus a point of interest in the spheres of activism,

social change, identity, and mental health. The result

is a dichotomy between those who feel a sense of

freedom from nihilistic beliefs and those who feel

constrained by them.

Wendy Syfret, author of “The Sunny Nihilist” and

self-proclaimed active nihilist, gained popularity

in 2021 for her upbeat and digestible approach to

nihilism. She advocates that the perspective can

“provide a balm for modern hyper-individualism

and an obsession with finding meaning in

everything, from our jobs to our skincare routine.”

This interpretation of nihilism is an up-and-coming

phenomenon amongst today’s youth; an emerging

trend to “romanticize your life” has swept TikTok,

with over 35.9 million views under the namesake

hashtag. In her own words for The Guardian,

Syfret identified that “while I may feel dwarfed by

the scope of endless and apathetic time… ifnothing

matters long term, my focus shifts to this moment.”

Rather than surrendering to nihilism, utilizing

portions of nihilistic concepts has become a popular

approach to fostering healthier perspectives.

With the increasing relevance of nihilistic ideals,

Gen-Z is redefining and repurposing nihilism

to grapple with the existentialism that naturally

results from an upbringing in a tumultuous world.

Generation Z is largely considered the nihilist

generation, yet as a whole, many stray from the

confines of passive nihilism and utilize the feelings

of insignificance as motivation to live freely and

unabashedly, making a difference in their

lives and communities.

The Harvard Crimson identifies two groups of

nihilists: “passive nihilists” and “active nihilists.”

Passive nihilists are “individuals who, when faced

with the realization that existence has no inherent

meaning, can fall into a deep depression as a

result.” Active nihilists, on the other hand, are

individuals who, when confronted with the lack of

meaning in the universe, strive to find their own.

Some might place these groups within absurdism,

a nihilist subcategory which takes a greater

focus on humanity’s theoretical conclusions after

identifying life is without a meaning that humans

can comprehend.

DOES ANY OF IT

EVEN

MATTER?

1 1 0

hope

hopeleeless

hope

hopeleeless

DREA

1 1 2

MS

FANTASY OR

REALITY

writing LOGAN ROBERTS modeling LUNA BRUSS & AMELIA BALL photography ISABELLA POZZI

design SOPHIE FIKS makeup SOFIA URRUTIA styling SOLOMON CANADA

The interpretation of dreams has been studied for

centuries. Why, as humans, do we even dream?

What purpose do dreams serve? Our dreams are

often bizarre — it’s hard to imagine a dream of

being stuck in a floating clownhouse or chased

by a gigantic goldfish having any real-life

applications. However, the fantastical stories

that play out in our psyche every night can actually

tell us a lot about ourselves.

Our dreams occur within the subconscious,

which processes our memories from the day

and amalgamates them into a series of jumbled,

seemingly nonsensical storylines. Think of

the subconscious mind as a hard drive of

stored information, containing everything we

have ever experienced. It judges, reacts, and

interprets situations based on past experiences.

Being conscious of behavior is one thing, but

understanding the drives behind those behaviors

is another. Thus, understanding the subconscious

is integral to self-awareness — and the key to our

subconscious lies within our dreams.

FANTASTICAL STORIES THAT

PLAY OUT IN OUR PSYCHE...

Many have debated the role of the subconscious

in dreams. Carl Jung, an influential psychologist,

viewed dreams as a “bridge” to the psyche and

the subconscious mind. Dreaming is where

consciousness blurs, and our waking senses of

logic and rationale are shut off.

For centuries now, psychologists have believed

that the subconscious sends messages during

sleep — especially during REM, where dreaming

occurs. In this REM state, although technically

asleep, our brain is still active. Our brain waves

are just as rapid during REM as they are when

we’re conscious, but our senses of logic and

rationale are not employed to the same extent.

As a result, our dreams can get a bit crazy —

but they hold valuable messages at their core.

Sigmund Freud, another prominent psychologist,

believed that dreams were a way for the

subconscious mind to express innate desires and

fears, which ultimately guide our conscious

actions. To better understand and control our

actions, we can look to our dreams and the

insight they provide.

While dreams can be mundane and easily forgotten,

unpacking the more vivid fantasies can be

particularly useful. Dreams are abstract — akin to

art, they can be interpreted differently. Ultimately,

the only person who can genuinely reflect upon and

understand those dreams is oneself.

By looking at repeating dreams or the strong

emotions that our dreams invoke, we can engage in

deep self-reflection. Understanding fears, desires,

traumas, habits, and values is essential to selfawareness,

which, in turn, is essential to growth.

1 1 4

Dreams point to our subconscious, which reveal the

focal points of our attention and the mood of our

psyche. For example, if someone fears stepping out

of their comfort zone and meeting new people, a

favorable dream may illustrate a situation in which

they found the confidence to meet new people. An

interpretation of this dream may motivate the person

to confront that fear, as the dream reinforced that

they can be successful.

Take a zombie apocalypse for example. This could

reflect that one’s inner world or subconscious feels

a lack of control, or is overwhelmed in a present

situation. If dreams are constantly switching

between various obscure situations, this may reflect

a scattered mental state and the body’s need to

regroup. The overall tone of one’s dreams holds a

mirror to their current inner workings.

To remember one’s dreams and subsequently

leverage the lessons they teach, logging has proven

to be effective. Journaling in the morning about

dreams can even lead to lucid dreaming —

the ability to consciously control these events.

Actively writing your experience down in the

morning helps strengthen future recall of dreams.

Furthermore, this activity can increase

awareness of repeating patterns and uncover

more profound messages within your dreams.

Instead of wondering why things are happening

to us in our dreams, we can think about what they

are teaching us. With that mindset, we can take

advantage of dreams and view them as an open

resource to heal the mind, body, and soul.

Through dreaming, the psyche can also learn to

process different emotions so that the body and

mind aren’t as overwhelmed in a waking state.

The emotional regulation dream theory explains

how your body and brain will label something as

traumatic, and the REM phase of sleep will then

help the body regulate the response to that

event. In this sense, dreams can be interpreted

as a survival mechanism. For example, people

suffering from PTSD have symptoms that regularly

appear as nightmares, which is a way of processing

and building resilience to daily triggers. As mental

health worsens, dreams become more violent and

vivid in correlation. Identifying emotions through

dreams can help get to the root of any fears or

inner turmoil, which can help guide someone on

the path to healing.

...TELL US A LOT

ABOUT OURSELVES

couture

the

from

dark.

1 1 6

seams when expressed under cover of darkness.

Though the styles of counterculture fashion can vary

substantially between the decades, the purpose

of subculture remains the same: people crave a

place where they can be that person that lurks

deep within them — or even become someone

else entirely — and often this is accessed through

making deliberate fashion choices.

The bouncer waves you in and it’s a feast for the

senses. The darkness of the club is illuminated

by the bursts of strobe lights. Strangers glance

playfully at each other before drawing together.

Individual identity becomes lost as you move

deeper into the dance pits; forgetting where your

body ends and others begin. A warm, smoky haze

envelops the club as you journey toward the bar.

The nightclub is both a place for the self and a

venue for community; a place where everyone is

vulnerable and free at the same time. Going to a

club is inherently escapist; it’s a place that often

feels separate from the outside world. Your job

doesn’t exist there; there’s no pressure to catch

up on schoolwork, the day-to-day stresses of your

regular life are left at the door. The experience of

losing oneself to the collective can give way to

new discoveries and personal transformations. The

liberating nature of the club allows self expression

to thrive, especially when it comes to fashion.

Nightclubs have long been the birthplace of fashion

inspiration, and quickly became locations for

members of fashion subcultures to gather. From

the glamorous disco exuberance of Studio 54

in the 1970s, to the outrageous flamboyance of

NYC’s Club Kids in ‘80s and ‘90s, to the refined

edginess of 1990s and 2000s European clubs

like the notorious Berghain, fashion bursts at the

In the 1970s, New York’s most nameworthy and

star-studded discotheque, Studio 54, reigned

supreme. Even today, Generation Z reads about the

club and wishes that there was a way to recreate

the wild reputation that followed it. Characterized by

loose rules, unrestrained sexual activity, and flagrant

drug use, Studio 54 drew some of the most famous

personalities of New York City into its enigmatic

walls. High fashion designers like Halston and Diane

von Furstenburg often frequented the club, attracted

to its untamed party culture. The likes of Cher and

Mick Jagger could often be seen dancing the night

away as well. Despite its glossy clientele, Studio 54

was not conceived as a show of luxury and

wealth.Though it was exclusive, throwing around

exorbitant amounts of money was not the point of

the club; the founders described it as a place for

freedom. Fun was the priority. And because of the

looseness of rules at Studio 54, people felt safe in

expressing themselves, triggering several culturally

significant fashion moments that remain wellremembered

today.

THE NIGHTCLUB IS BOTH A

PLACE FOR THE SELF AND A

VENUE FOR THE COMMUNITY.

writing LILY ELWOOD modeling SASHA LEWIS & ANTHONY PETERS photography SHIRLEY WANG

design SHARON CHEN makeup CELINE PLAISIR styling ADRIANA ALVAREZ

The style sensation Studio 54 witnessed Bianca

Jagger arrive in Halston garments atop a horse;

it saw Grace Jones’ outside-of-the-box crochet

dress. Dolly Parton wore a mesmerizing, glittery

floor length black cape. Olivia Newton John entered

the club in bright satin for the premier party of

Grease. Diana Ross showed up in Levi’s jeans. The

‘70s fashion scene blossomed at Studio 54, and

more experimental fashion choices set the tone

for future trends. Queer figures like Halston were

also able to express themselves in their clothing

without fear of backlash. Studio 54 was among few

places where queer people in the ‘70s could feel

accepted, cementing club culture as a necessary

safe space for the community. The freedom of disco

culture is still alive and breathing, with ‘70s trends

circulating through social media constantly as a new

generation of teenagers seeks to find methods of

self expression. Studio 54 remained a central driving

force of fashion through to the end of the ‘70s and

into the ‘80s.

A new subculture emerged in the ‘80s and ‘90s in

New York City, as the LGBTQ+ community began

to take over clubs and build the foundations of

ballroom — the Club Kids. Originating from a single

group of queer people, Club Kid fashion became

widespread through an entire community of queer

partygoers. The fashion was dramatic, rebellious,

and ridiculous. It was invented to turn heads, to be

offensive to the elite. The aesthetic was raunchy and

gender fluid, an expression of sexuality removed

from the confines of the gender binary. The original

Club Kids threw salacious, shocking parties at clubs

where attendees wore dramatic costumes and

makeup. Drugs were the norm at these

parties, and experimentation was the gas that

kept the fire burning.

The Club Kids set fashion trends as some of the

original influencers before the age of Instagram.

Their exaggerated, attention-grabbing style choices

controlled influence on the fashion industry and

helped to push queer people further into the

mainstream. At the same time as the Club Kids were

partying in established nightclubs, Black and Latinx

queer people took over the underground club scene

with the inception of ballroom culture. In a push

against racism often experienced at drag pageants,

they created a subculture full of voguing, house

music, hip-hop, and, of course, extravagant outfits.

Often facing discrimination when attempting to

enter mainstream club spaces — even queer

dominated spaces — queer people of color were

able to live that life of freedom mainstream clubs

couldn’t offer through the ballroom scene. Houses

were formed where young queer kids could be

“adopted” into an unconventional family, and

ballroom events carved out an exclusive cocoon for

the Black and Latinx communities to come together.

Ballroom fashion was also over the top and in your

face, just like Club Kid fashion. In different ways,

and through different subcultures, queer people

were sending a defiant message through club

culture and loud fashion that they existed, and they

were not going anywhere. At a time of increased

marginalization, sexual violence, and prejudice due

to the AIDS epidemic, these communities were

critical to queer joy and survival as a safe haven for

pride, community, and acceptance.

1 1 8

lub

id

THE FASHION WAS DRAMATIC, REBELLIOUS,

AND RIDICULOUS. IT WAS INVENTED TO TURN

HEADS, TO BE OFFENSIVE TO THE ELITE.

PUSH

FASHION

BOUNDARIES.

1 2 0

THESE COMMUNITIES WERE CRITICAL

TO QUEER JOY AND SURVIVAL

AS A SAFE HAVEN FOR PRIDE,

COMMUNITY, AND ACCEPTANCE.

Some clubs have risen to fame because of their

exclusive nature — no one really knows what goes

on inside their walls. The fashion trends of these

clubs have evolved to reflect these sentiments.

While clubs in New York City have often been

known for their loud acceptance, with exclusive

clubs in the modern era often being looked down

on, clubs like Berghain in Berlin have claimed their

spotlight by turning people away at the door.

Founded in the mid 2000s, Berghain is located in a

formerly abandoned concrete building; the almost

threatening brutalist architecture is the first thing

you notice about it. It is extremely difficult to make

it into the club; people plan their often all-black

outfits all day in the hopes of being rewarded with

entry, only to be turned away. Upon entering the

techno capital of the world, phone cameras are

covered, promoting the idea that clubs are places

for unobserved freedom. BDSM-inspired fashion

and fetishwear are frequent staples in Berghain

fashion due to its reputation for the more extreme

and experimental flavors of sexuality. Housing

a downstairs basement where a male-only sex

club exists, Berghain has long been a venue

that celebrates queerness and the pleasures of

hedonism. Rapture and liberation are the priorities,

and the restrictive nature of the club seeks to

preserve this culture — only letting in those who will

fit the club’s specific atmosphere and energy. Most

people dress in all black — almost communicating

a message that within the walls of Berghain, you

are no longer an individual, simply a member

of the mass energy that pulsates on the dance

floor. Notorious for warping time within its bunker,

Berghain partygoers often remain inside the clubs

for days at a time, making functionality and comfort

a must for a multi-night escape.

Historically, nightclubs have been a place where

fashion experimentation is not only accepted,

but encouraged. Trends that have ascended to

the mainstream are often rooted in queer club

aesthetics, though these communities are frequently

over-shadowed. Today, queer and POC club

cultures continue to push fashion boundaries, and

club fashion has been notably more excessive

and extravagant in the outskirts of the COVID-19

pandemic. With a new generation of young

adults craving that feeling of intense liberation

post-lockdown, fashion has never had a better

opportunity to grow out of the unspoken activities

that take place after-hours.

FEVER

1 2 2

creative direction ABBY FALZONE art direction & design RENEE PEARCE photography LYNNE KHOURI

contributing creative direction SASHA LEWIS contributing art direction JACYN DANIELS

makeup MELANIE BAREST modeling CASSIDY CHAMILLARD & HILL MAK

1 2 4

1 2 6

between

space

the

space

the

between

the

space

between

1 2 8

conscious

and

unconscious

1 3 0

1 3 2

ISSU

E.

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