MODE Magazine Fall/Winter 2022 SIDE A

CLAIRE REYNOLDS

NIAMH COGLEY

WESLEY SCOTT

JUSTINA BRANDT

MAYA DOMINGUEZ

STEPHEN PASTORE

MADDIE BOONE

MARGARET CRANEY

HENRY PELMAS

NINA CARBONE

CLARE KAYE

PAIGE PANDOLFO

CHEALSY GARCIA

GRACE GAGLIARDI

MOLLY FITZPATRICK

CARLEIGH HASSING

VICTORIA BROADBENT

ELISA GEORGE

JULIANA HUXTABLE

ILLUSTRATORS

LAUREN WALCZYK GENEVIEVE VANSTON

PHOTOGRAPHERS

ELISE ANSTEY ANDY MEEKER

STEPHANIE LANE

ELIZABETH SADLER AMY MALBURG

IZZI BUDETTI JAQUELINE MORAN

MAIA MUNICH

AMELIA WHITE

MADISON RHOAD

MADELINE FORD ANDY MEEKER

ALAINA STANISCI

NATALIA CRUZ

MACKENZIE NEVIASER

SYDNEY FLOOD

MIKEY DUFFY

KELLY CIMAGLIA

CIARA SHORE

KAITLIN RIGLEY

MODELS

PRUTHA CHAVAN GRACIE DAVIS

MANUELA JULIAO

LEAH STUART MO SALZER

LIZZIE DEMACOPOULOS

JULIETTE LABRECQUE

LAURA PEREIRA

KAMRYN CHUBB

SARAH ZAMPINO

KATHRYN LABAGH

NORA DETTLING

GABRIELLE GONZALES

NIAMH COGLEY

OLIVIA GUTT

KEVIN HAMMILL

SHAMIA RAHMAN

STEPHANIE LANE

KARA FEINBERG

MADDIE THOMPSON

AOIFE HARRIS MIKEY DUFFY

HAILEY PRYOR VERONICA EULATE-GIMENEZ

CAMILLE RIVAS CLAUDIA DE LA CAMPA

CAROLINE ABELLA

ELISE TROUSDALE

ZOE ENNIS

CALEB ROCHA

AOIFE HARRIS

IANA HENDRICKSON-SLACK

GABY SIMPORIOS

LAUREN LARSEN

DANIELLA GRONO

DANIELLA DEYOUNG

LAUREN WALCZYK

MAIA GOUAZÉ

CAMILLE RIVAS

RACHEL ERICKSON

IZZI BUDETTI

JULIANE PAUTROT

ALAINA STANISCI

MOLLY FITZATRICK

HANNAH JOHNSON

GRACE LIVECCHI

CIARA SHORE

LUCIA STEPHENSON

AVAILABLE

NEAR YOU

ERIN PENDERS CLARE KAYE

MALLORY ROOF

AMELIA WHITE

CAROLINE KUHLMAN

STYLISTS F/W 2022

SOFIA CORA AVA ORTIZ

JACQUEE MORAN

LILY PARTURZO

LAYOUT BY PRUTHA CHAVAN

KAMRYN CHUBB

STEPHANIE JAMES-LEON

AMANDA BUCKLEY

NATALIA ALVAREZ

Wr t By A n D r

A NIGHTM E GAY ET

The second installment of the Nightmare on Elm Street franchise, Freddy’s Revenge (1985), is undoubtedly its gayest—which is what makes the movie truly scary. A myriad of commentators have interpreted the flm’s iteration of Freddy Kreuger and its homoerotic themes as a representation of the protagonist Jesse’s repressed homosexuality. This sequel centers around teenage Jesse, who is possessed by Freddy in his sleep and forced to do things against his will, namely, murder. This overarching narrative is combined with countless queercoded moments. At one moment, Freddy tries to convince Jesse to succumb to him, telling him, “I need you,” while caressing his lips with his fnger-blades. At another, Jesse tries to have sex with his girlfriend, but freaks out and leaves after he starts to turn into Freddy. The most bizarre sequence sees a delirious, sleep-deprived Jesse wandering into a gay bar in the middle of the night where he runs into his gym teacher. For some reason, the teacher makes Jesse run laps as a punishment and sends him to the showers, before he himself is dragged into the shower, stripped, and whipped to death by Jesse/Freddy. It’s undeniably camp.

Nevertheless, what makes the flm horrifying is the fact that Mark Patton, who portrayed Jesse, was closeted during the flm’s run. Patton has spoken out about how he felt betrayed by the flmmakers, who knew about his sexuality, increasingly emphasized the homerotic undertones as production progressed, and ultimately took advantage of his identity. Being in the closet is traumatic enough, but being confronted with your sexuality in a mainstream movie is far worse. While the flm’s writer David Chaskin has since tried to apologize to Patton, he also explained how he intended to tap into the “angst” caused by the rising homophobia during the AIDS crisis to give the flm an edge. However, we now know that the true horror he inficted was the emotional stress upon Patton, who left the flm industry as a result.

When slasher flm X was released by A24 earlier this year, the flm was praised for its subversion of common grindhouse tropes. Within X, Mia Goth plays both the role of Maxine and Pearl. Goth’s portrayal of Pearl, who is 80 years old in the flm, is the result of some pretty severe prosthetic application. This could inevitably appear gimmicky at frst, until it was announced that a prequel—also starring Goth as a much younger Pearl—had been shot in conjunction with X. Enter the country, campy world of Ti West’s aptly-named Pearl. The flm takes place in 1918 and chronicles the desperate attempts of Pearl to escape her small-town circumstances and garner celebrity status as movies begin to take shape. Both flms ofer an inventive critique of ageism and its psychological efect on women. The breakdown of a younger Pearl sparks empathy in audiences; this is a woman who sufers through her

isolation and the duties attached to her role as a woman and wife. After auditioning for a role in a traveling dance troupe, Pearl is told that they are looking for somebody “younger and more blonde.” This quote echoes the message of X, during which Pearl takes her pent-up sexual frustrations out on the young cast through increasingly violent means. Fusing themes of sex and horror is not a new concept, with flms like Hellraiser showcasing the potential early on in the history of the genre. However, a tour de force array of performances from Mia Goth showcase how she is efectively driven to the edge by the lingering presence of sexuality in her life. Pearl is never detached from her sexuality, but rather never allowed to fully embrace it—a factor which motivates her horrifc breakdown in the end.

the hurricane of a generation in

bodiesbodiesbodies

Written by Lauren Lombardi

Bodies, Bodies, Bodies opens with a scene of Amandla Stenberg’s Sophie and her girlfriend Bea sharing a passionate kiss. Their afection is immediately put on hold when they get in the car as they ignore each other and blast a poppy song, scrolling through their beeping notifcations. Any pep talk one would want to have to prepare for a party with her girlfriend’s unfamiliar friends is not given. Instead Bea settles for a lack of connection and the distractions from the media around them on their drive.

The flm surrounds the mishaps that take place at a

“Hurricane Party,” mainly among fve friends who are rich, recent college graduates. Everything goes haywire when the storm causes a power outage and one ends up with a slashed throat. From there on out, anything goes. These young people are at a loss in a situation where they aren’t aided by their technology and they realize how shallow the human connections they have formed really are.

The Gen-Z satire is sold by tell-tale comedic genius Rachel Sennott. Sennott’s Alice is the least self aware person in the flm, interrupting all dialogue leading toward the point of the

flm: fguring out how this strew of murders began. At one point, Alice proclaims herself an ally in a moment where it doesn’t mean much to who she is trying to support, showing the little efect these words have when used this frivolously.

Though it is difcult to show a wardrobe in a classic one-night movie, it is still clear that these wealthy people are indulging in microtrends. From Alice’s Urban Outftters top, her leather pants that have become a hot new staple, or Emma’s foral dress, their lack of commitment to sustainability goes without saying. They are constantly attempting to keep up with the fashion of the “in” crowd, meaning their personal style is ever changing as they go along with what the other cool, rich kids are buying that day. In turn, it is non-existent.

Many facets of the GenZers from buzzwords to fashion to self-preservation tactics show that while every generation has their own attributes, none of them are perfect; there’s fault in us all.

Models: Caroline Abella, Maddie Boone, & Jaqueline Moran

Photographer: Hailey Pryor

Layout by Emily Koch

Enter Chanel Oberlin, president of the Kappa Kappa Tau sorority, who is exactly what you would picture when you envision a mean girl/queen bee of the early 2000s: wealth beyond comprehension, paper thin fgure (which she accredits to her diet of cotton balls and habit of bulimia), perfect natural blonde hair, a squad of minions that she aptly refers to as Chanel 2-5, (She’s Chanel #1… obvi), and a boyfriend who is the president of the top Fraternity on campus. To tie up her mean girl status with a big Chanel tweed bow, she makes it very clear from the pilot that she does not care about anyone but herself, and will not stop until she reaches her ultimate goal: winning back her equally awful boyfriend.

Despite everything awful Chanel does, viewers still fnd themselves rooting for her. In her own words “[I might be an awful person] but I’m rich and I’m pretty, so it doesn’t matter.” This is very much of the time; Regina George was awful but nobody would pass up the opportunity to be one of her friends, the same goes for Heather Chandler, and Chris Hargensen. How far will we compromise our moral compass to be popular? How many people will we push down the stairs (literally, in Chanel’s case) to be top dog? Scream Queens may seem like a camp dramedy on the surface, but it really is a critique of the compromised moral compass of our generation.

Written by Carson Waldron

Layout by Sophie Dreskin

Photographer: Elise Anstey

Models: Kamryn Chubb, Henry Pelmas, Amelia White Stylist: Kamryn Chubb

DAY CAMP: THE DEATH OF MINIMALISM

How often do you open your closet and feel like your clothes just aren’t…enough? Like, the clothes that you’ve been collecting for years are somehow inadequate. The root of this wardrobe ennui is the infuence of camp culture on day-to-day fashion: a surge in maximalism often showcased by high-end designers. Except now, the fundamentals behind such styles have trickled down to everyday people. The question is, why?

At its core, camp is extreme and fantastical, relying on wacky colors, exaggerated silhouettes, and seemingly clashing materials and designs. Now, we haven’t seen any Lady Gaga meat dresses in class, but feathers and furs have become much more mainstream. The reality is that dressing campy has become synonymous with being fashionable.

The reason for the focus on camp in daily fashion has to do with the cyclical nature of broader trends. Camp is the expression of fashion-maximalism: the antithesis of minimalism. For the better part of this century, minimalism dominated styling as a whole. An easy way to conceptualize this trend is through the lens of interior design. Think of quintessential 21st century homes: grayscale, granite, stainless steel, nothing else. Sleek lines and cookie cutter designs characterized both the clothing and broader popculture style throughout the past couple decades.

On the tail of that trend, maximalism reemerges, introducing more extreme styling. Current interior designs feature arches and bold—sometimes eclectic—color choices, and fashion mirrors as camp is introduced to daily fts. That being said, you can never really go wrong with a simple ft. Color blocked and well-sized outfts will always work for daily wear, but in the era of maximalism you won’t be notably stylish. Keeping up with current trends requires some adherence to the “extra” that we see in camp, but don’t be spooked when ordinary comes back from the dead!

Written by Caleb Rocha & Nina Carbone

Layout by Izzi Budetti

Photographer: Gracie Davis

Models: Caleb Rocha & Nina Carbone

Stylist: Juliane Pautrot

The 1983 erotic horror flm The Hunger stars Catherine Deneuve, David Bowie, and Susan Sarandon. The flm features a vampire couple and their love triangle with a gerontologist. What caught my eye most throughout the flm was the timeless, gothic fashion. The flm strays away from the traditional portrayal of vampires in flm (long cloaks and high collars) and moves into a more modern, sultry, and subtle portrayal of the immortal creature. The costumes were designed by Italian costume designers Milena Canonero. Catherine Deneuve’s character Miriam Blaylock’s costumes specifcally stood out to me. Deneuve’s costumes were styled by Yves Saint Laurent. Just like Miriam, these outfts are immortal. Miriam is commonly seen wearing black and always sports a red lip; there’s nothing more timeless than that! Miriam’s costumes include a low cut bodysuit, pantsuits, and jackets with padded shoulders. Her outfts were a perfect mixture of both masculinity and femininity that enhanced the flm’s sultry aesthetic. Her accessories, including slick silver cat eye sunglasses, were just as timeless. Miriam had amazing headpieces including a black hat with a fshnet studded in pearls that laid over her face.

Icon David Bowie played an aging vampire in the flm. His style within the flm was just as infuential as his style as a rockstar. Bowie was known for incorporating masculine and feminine styles and challenged fashion boundaries. His character was seen in black round sunglasses and tailored suits. Bowie’s role in The Hunger paved the way for androgynous gender expression in fashion. Gender fuidity has been very prevalent in fashion in the last few years as we move away from the social constructs that we have become accustomed to. This flm was so infuential in fashion that Alexander McQueen’s 1996 Spring fashion show “Hunger” was based on it. McQueen’s collection features shoulder-padded blazers and clean lines paired with punk rock, gothic hairstyles. The show’s main colors were black, white, and red; colors seen throughout the entire flm. This show is representative of the flm’s impact as a whole because it incorporates the androgynous gender expression from the flm. The Hunger inspired viewers to challenge the gender norms set by society through fashion.

80s Ja c e F h a y G e?

Written by Riley Drumm

These iconic outfts have been a marker of the 80s, especially in TV shows and movies. Examples of this fashion can be seen in the original 80s Slasher flm entitled Death Spa, as well as in modern interpretations on the 80s as seen in The Goldbergs and American Horror Story: 1984. Not only is there a resurgence in certain items from this era, but many popular clothing pieces have also taken direct inspiration from 80s workout gear. Yoga pants are a classic example, with the nylon stretchy fabric and tight, yet fattening silhouette. Workout wear has been incredibly trendy within the last few years, and the reason for that is it’s comfortability and functionality. Models, mothers, and young women are seen constantly sporting workout sets even when they’re not going to a workout. Part of this reemergence also helps capture that eclectic, funky look that many use as a source of inspiration. While there is pressure in the fashion industry to constantly be wearing something unique, I think 80s silhouettes and neon colors help to capture that. Slowly but surely, fashion trends from the 80s are working their way back into the mainstream and runway fashion scene. We’ve seen legwarmers being worn with boots in the fall, printed colorful tights, and metallic silver handbags in recent seasons. Since workout wear and 80s inspiration are both in full swing in the fashion world, what better time is there to reminisce on the classic 80s jazzercise mom!

Think Jane Fonda videos, women jazzercising on VHS, all in their uniforms of high-waisted and brightly colored everything. What made the 80s era of workout wear diferent from the eras before is how it is accessorized. The leotard and tights combination had been a staple of the 60s and 70s, but the legwarmers, sweatbands, and even the funky color block patterns are what make it stand out.

Layout by Julia Leedom Photographer: Manuela Juliao

Models: Andy Meeker & Nora Dettling Stylist: Alaina Stanisci

& the Rejection of Modernity

In 1988, Tim Burton gave life to one of his most wacky, vibrant, and endearing flms; the fantasy horror comedy, Beetlejuice, was one of the most forward-thinking visual stories of the time. This flm was not only famed for its storyline but also for the hair and makeup in it leading it to win an Academy Award for Best Makeup and Hairstyling.

In classic Tim Burton fashion, the inspiration for the color palette came from Necco Wafers which were thin, pastel candies. From there, the colors became brighter and less gritty and creepy-looking as the makeup artists experimented and let their minds run free. This flm became one giant creative exercise. The entire flm was so unique, which is clearly seen in the work of artists Ve Neill, Steve LaPorte, and Robert Short. In the wake of what is known as 80s beauty, their execution ties in very nicely to the trends but also completely rejects them. When it comes to vibrant colors, the flm has it. However, they also managed to make vibrant colors look horrifc and dark. The main character, Beetlejuice, has pale yellow hair with green tips. But by adding big dark circles around his eyes, he began to look cartoony.

This flm shows that experimenting with makeup, hairstyles, and trying new things outside of your comfort zone, and societal norms can have wondrous outcomes. Makeup can be strange and unusual; it is meant to spark creativity and be over-thetop. Beetlejuice’s combination of light with dark made them a clear winner for the pure reason of having the ability to surprise the audience. This makeup stepped out of the modern and is a look that is absolutely necessary to revisit in years to come.

THE HORRIFIC TRUTH ABOUT CAMP

Writen by Mady Ford

Photographer: Justina Brandt

Makeup Artist: Amanda Buckley

Models: Natalia Cruz, Niamh Cogley, Daniela Grono

Layout by Rachel Erickson

Stylist: Jacquee Moran

As postmodernist art revisits the beauty sphere, the makeup industry encounters one of the most controversial yet riveting aesthetics: CAMP. In the past few years, mainstream media has encountered a resistance towards the reign of basics and instead promotes an opportunity to be tacky and bold while illustrating theatrical concepts and a newfound freedom of expression. From Kim Kardashian wearing Mugler to Cher wearing Oscar de la Renta, CAMP has found a home within fashion circles. Inherently, this creative and captivating style has bled into the flm and entertainment industry and, specifcally, horror. Some may consider CAMP to be a subgenre of horror due to its juxtaposition of comedic relief and dramatized features. Amid the thrills of horror, CAMP allows for mystery and inevitably adds to the story.

Ezra Miller at the MET Gala in 2019 perfectly encapsulates why CAMP is simply a mockery of all things serious yet, is serious nonetheless. Why would someone go to the MET with a bejeweled corset paired with an elongated cape and fve eyeballs across the face? Because it’s CAMP. Miller’s look sent eerie chills down my spine and remained fabulous. Or perhaps Jared Leto carrying a replica of his head on his hip sent the right message: CAMP is so atrocious, it is good. We are to dethrone what is predicted and expected; this concept is widely accepted in the horror genre. Horror presents an unprecedented, spectacular version of universal fear with the intent to grab the audience’s attention in unique ways.

Ultimately, CAMP and horror work together to repress contemporary ideas and instead, create original and unrealistic imitations of the real world. Without CAMP, horror would be predictable, boring, and repetitive. CAMP is entertaining and pursues our imaginations, within horror and everything else. From the MET red carpet, to TikTok trends, to the best ranked horror flms, CAMP maintains the dichotomy between sophistication and vulgarity and refutes naturalism.