MODE Magazine Fall/Winter 2022 SIDE B

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

We’re Bringing Back 80s Beauty

Written

by Molly Fitzpatrick

Layout by Lucia Marino

Recently in the beauty industry, we’ve seen a very natural and soft look being heavily popularized. I’m over it. We need more color, more face, more fun. So where better to look than the 80s? Think Madonna’s bright red lip, Brooke Sheild’s bold brows, even Princess Diana’s exaggerated blush. Back in the day, makeup was used to dramatize facial features in a way that we don’t see anymore. The resurgence of 80s beauty has taken this infuence and modernized it by focusing on one bold aspect of a look, like a bubblegum pink lip or a glittery eye. Personally, my favorite trend to revive this iconic period is bold-ass eyeliner. Whether it be a bright neon wing or a classic black liner enhanced by dragging it into the water line, eyeliner is the next big thing.

Eyeliner isn’t the only way to channel your inner maximalism fantasy. The 80s gave us so many other iconic inspirations: blush all over the high points of your face, razor sharp contour, and dark lipliner topped with a juicy gloss. We are making the 80s contemporary by toning down the maximalism to give it a more current feel. This is our time to experiment.

Photographer: Elizabeth Sadler

Models: Molly Fitzpatrick, Mackenzie Neviaser, & Olivia Gutt

Stylist: Molly Fitzpatrick

Get crazy, get creative, it’s time for color.

“You’ll never live a pain free existence.” Those were the words I heard after a year of medication, surgery, side efects, weight gain, extreme fatigue, depression, and anxiety. Words from a doctor, someone who was supposed to be my advocate. One in ten women sufer from endometriosis, dealing with one of the most painful disabilities in silence. Endometriosis is a disease where scar tissue grows outside of the uterine wall and attaches itself to organs such as the ovaries, bladder, rectum, and intestines causing them to become infamed. It can only be diagnosed through surgery slowing down the process of a diagnosis and leaving little treatment options available.

I was always told that I was too young to be diagnosed, that I didn’t have enough symptoms, and birth control would be a fx all to my problems. Women have to advocate for themselves in every medical situation. Doctors do not trust our own knowledge or concerns about our bodies. It took four years for my OBGYN to take action, but I am an anomaly. The average age of diagnosis is 25. Some women spend decades living with their symptoms, not being taken seriously. Women are expected from a very young age to push through the pain they are experiencing no matter the circumstance. At my worst, when it was too painful for me to lift myself out of bed, I didn’t go to the hospital. Instead, I laid in my bed all day, fnally forcing myself to get up, clinging onto my dorm’s railing to get food. I thought because it was my period, it wasn’t a serious health emergency, it wasn’t enough to fuss over. A few months later, I went to my doctor with a list of 15 of my symptoms, fnally getting referred to a specialist. This was the frst time I advocated for myself. The frst time I stood up and said that I deserved more. I don’t deserve to be in pain, to miss out, to feel that my life is less fulflling.

The more we talk about the struggles we go through, the harder it is for others to continue silencing and normalizing these experiences. We are our best advocates, we know our bodies the best, and we know when something isn’t right. Endometriosis gave me resilience, taught me my self worth, and showed me how strong I could be. However, this doesn’t make what I went through justifed. I am all of these things despite.

I Blame Tim Burton

(But I Also Don’t)

Written by Rider Pesco Layout

their children for superfcial gain, but they’re also dreadful and disrespectful people in general.

As a six year-old watching this movie, my frst thoughts, however, were not about social status and the concept of marriage as an economic proposition (re: Greta Gerwig’s Little Women and also every movie in existence). My childhood self saw these four horrible individuals and thought to myself, “Well, I’m not thinking about marriage, but if these bad people could do it, then I guess I can get married if I want to.”

And it wasn’t just Corpse Bride. It was almost every movie or series I watched in my adolescence, pretty much all of which consisted of grumpy, relatively unattractive couples and parents, who were always overbearing caretakers like Freddie’s mom in iCarly or oppressive school administrators like Headmaster Grof in Sex Education. I was in elementary school and thought to myself, “How did [insert main character]’s dad pull? He’s a terrible person!”

Honestly, I’m not sure where I’m going with all of this. Maybe I’m just a jaded college student writing this at midnight, bitter about the fact that I can’t pull and Victoria’s mom with her comically large chin did.

But upon further refection, this entire tirade was pretty ironic considering that the point of Corpse Bride was that (spoiler alert, although this movie is from 2005) the Corpse Bride herself is never able to fulfll her dream of true love and marriage because she and her chances at romance died a long time ago. And while Victor and Victoria’s respective parents are grumpy and manipulative now, it is possible that living in a repressive society simply sucked the youthful optimism out of them. It’s also likely that their parents didn’t actually attract each other and were forced to marry in the same way Victor and Victoria were.

So I blame Tim Burton (and every other movie ever) for convincing me that anyone could be successful in romance if they wanted to be, but I also don’t. Maybe I should blame myself, missing the point like I always do.

by Zoe Ennis Photographer: Elise Anstey Stylist: Amelia White Models: Carleigh Hassing, Sydney Flood, & Kevin Hammill Creative Director: Lily Parturzo

Written

Tiernan

The chokehold of Pinterest outfts—we all know the feeling. When you see that outft and feel so overwhelmed by the prints, patterns, textures, and accessories that you feel you need to buy everything new to replicate the look. You have tunnel vision—you see the outft, and you believe you need all new pieces.

How to break this tunnel vision? Here are some tips on how to not buy EVERYTHING, and instead use what you have!

1. t b ak g down w t y th k y n d. Maybe you lack that funky statement necklace, shoes with two diferent laces, or even a baseball cap that has frayed edges. Whatever makes an outft feel unique or eccentrically textured, tends to be easily accessible items in your wardrobe (but with a few alterations).

2. L k thr gh w t y . L k thr gh w t y r bro r mo r fri d neighb .

Outsource your clothes from friends and family, especially when you are in need of a non traditionally ft item—I love using my Dad’s oversized shirts!

3. C e a pho album y r cam a row, tail g di tf s su y ’ us g y r piec e ici ly uniquely. This tactic prevents over-use of the same outfts, which often leads us to believe we need to purchase new clothing. Include all accessories too!

4. S if y c alt someth g somehow. Perhaps what you own has potential for a revamp. Maybe some Tiktok hacks and scissors can transform your jeans into frayed denim shorts.

5. L k n trad al ways a s ize. Remember; prints, patterns, textures, and accessories can really make you feel like you have a whole new look!

6. Shop su a ably.

Not only do these tips prevent this “tunnel vision” of desiring new purchases, but it also helps you develop your personal style. Have fun what you have—it’s sustainable!

by Kathleen

Photographer: Leah Stuart Model: Lauren Walczk Stylist: Natalia Alvarez Layout by Natalie Conte

Bloodsucking Bisexuals American Horror Story

of

Wri􏿂en by Lauren Walczyk

American Horror Story, in all its campy glory, is a staple in the LGBTQ+ community. With at least one explicitly gay character in nearly every season, viewers can bypass fan theories and go straight to loving a new queer icon. As a bisexual woman myself, we love seeing ourselves represented as… villains?

Season 5 of AHS takes us to a murder hotel. Lady Gaga’s Elizabeth, known better as The Countess, is our reigning vampire queen. She, along with almost every other vampire, is shown to be bisexual. While these characters have been praised for being badass bloodsuckers, they still reinforce biphobic talking points with a couple of glaring plot details.

Even within queer spaces, a prevailing narrative surrounding bisexuals is that they have no loyalty to a partner. This perceived lack of loyalty is primarily due to the fact that bisexual individuals have an interest in multiple genders, and through that, some insist that we cannot be happy in a monogamous relationship.

Not a single vampire, except for Donovan, is shown to be loyal to their original partner. Donovan, our token straight with an afnity for luxury apparel, is fully discarded by Elizabeth. The narrative makes us watch Donovan’s grief, manufacturing audience’s hatred of the heartless, blood-sucking bisexual. Ramona and Tristan, our other resident vampires, are also seen to cheat. Ramona decides to cheat on Tristan with a man in secret, only loving him in a recording studio. However, Tristan decides to come clean to Elizabeth as being in love with a bartender.

Perfect! Our main three bisexuals are all known for infdelity. What a radical, never-before-seen concept.

Not all representation is good representation—while we can continue to praise AHS for pushing visibility, the bisexual community doesn’t have to accept the way we are frequently pictured.

Stylist: Caroline Kuhlman

Layout by Laura Pereira

Photographer: andy meeker

Models: Michael Duffy & Victoria Broadbent

Written by Alexa Mancini

Written by Alexa Mancini

Illustrations by Lauren Walczyk

Illustrations by Lauren Walczyk

Layout by Nora Dettling

Layout by Nora Dettling

Ghosted! Ghosted!

Nobody likes ghosts, and I’m not talking about the foating, dead ones. The ghosts I’m referencing are the people who seemingly disappear after a date, a talking stage, or even a long-term friendship. It’s torturous to put yourself out there just to learn that it was a waste of time. What’s worse, though, is never fguring out why.

Consequently, I’ve decided to become a ghosting connoisseur, asking college students via a poll about their experiences with both getting ghosted and ghosting others.

The poll fndings were insightful; one individual wrote, “I was probably more into him than he was into me, plus he was talking to other girls. I ended up getting ghosted over the summer.” Despite seeing him face-to-face on campus once the Fall semester began, he stayed consistent with his ghosting habits, pretending he didn’t know her. This experience is universal among our generation, even when it comes to friendships. For instance, another individual wrote, “one of my close friends ghosted me without saying anything and to this day I’m not sure what caused her to do that.” This brings up an interesting question—

why do people ghost?

One poll respondent answered this query by saying, “it depends on circumstance. I ghosted someone because he wouldn’t leave me alone.” Another ghoster wrote, “he was nothing like his [dating] profle advertised so I just stopped responding.” These answers insinuate that ghosting is situation-based, which likely explains why 64.7% of polled students reported that they’ve been both the ghoster and the ghostee.

Overall, one main takeaway from this exploration into ghosting is that the same people who condemn ghosting for being grossly immoral have also ghosted someone. Additionally, ghosting isn’t always mean— sometimes, it’s used as a defense mechanism. And lastly, the spookiest part about getting ghosted is the unknown.

Written by Julia Daigle

relationships, and the worst one—addiction to hookup apps.

At frst, I had never personally experienced it. I had only heard horror stories. But, as I started going into Manhattan more to go out, I recognized the multitude of men sufering from Peter Pan Syndrome (PPS). Men, who were much too old to be at the places I was, would shamelessly firt with girls. Once bored with the one they were talking to, they would move on to the next. New York City is a playground for men in their 20s and 30s, making it too easy to fnd the next pretty girl. There is no reason to settle down with one because if you do, you might miss out on the next girl that walks into the bar or shows up on your Tinder. A girl that’s younger, prettier, skinnier, etc. And why would a guy get into a relationship if all of his buddies are at the bars doing the exact same thing? You wouldn’t want to be the only one in the group staying in with a girlfriend while the rest are out buying rounds for any girl that will tolerate the dreadful, “I’m in fnance” conversation, just for a free drink.

New York City has fallen to yet another epidemic! Not COVID. Not monkeypox. But, the dreaded Peter Pan Syndrome. It’s a truly terrifying disease that millions of fnance bros are sufering from. Ok, not just the fnance bros, but the many men in New York who are experiencing this illness. Symptoms include: inability to grow up, unwillingness to commit to

Unfortunately, there is no known cure for Peter Pan Syndrome, and I have not heard of Pfzer or Moderna working on a vaccine. So, unless things change in the near future, New York City will continue to be the collecting ground for the lost boys who will continue their neverending cycle. Otherwise, their only hope is to one day fnd a Wendy who will pull them out of Neverland.

B&W Illustration by Aoife Harris

Layout by Matthew Kowaski

y L t Li s ect

Wr t by Ke y Cimaglia

Lay t by Liz Lemieux

As someone who started watching Pretty Little Liars at age eight, I have a good grasp on how much the show has afected our generation. Watching any show on a weekly basis during your prime years of development is a guaranteed formula for it to become something you fxate on for the rest of your life—and Pretty Little Liars is a prime example for me.

This 2010 mystery was a trailblazer for its time, as it explored issues such as LGBTQ youth, bullying, stalking, friendship, death, pedophilia, family problems, and more. All of these subjects were somewhat controversial, especially with an audience of middle school children. At the time, I was too young to understand the depth behind these themes, but as I got older I recognized how groundbreaking it was—in part because I’ve rewatched it seven times all the way through.

Pretty Little Liars obviously had an insane plotline, yet the show taught its impressionable audience the importance of friendship, female empowerment, and love. While the liars were constantly getting blackmailed by A, they knew they weren’t alone in their struggles. They all had each other to lean on, which informed young girls how benefcial it is to have a group of friends that you can tell everything to. The core four were also able to take on the antagonist all by themselves. A group of strong female characters empowered the show’s viewers and revealed that they can conquer anything—whether it’s an anonymous person who knows your secrets or not! Lastly, having a strong lesbian identifying main character communicated that love can come in any form, and it should be celebrated regardless of who you’re with. The seven seasons of Pretty Little Liars will live on forever, as the show has inspired an entire generation.

Pho grap r: Maya Dom guez

Mo ls: Ke y Cimaglia, Step nie L e, Cami e Riv , & Juli a Huxtab

Styl t: N alia Alv ez

Can you talk more about how you rst got started in music?

I started making music when I was really young and became obsessed with production. I was born in the 2000s, so by the time I was eight, Garage Band was on the up and up. I became so obsessed with it and started writing and recording my own songs (with me playing guitar so poorly). They were tragically bad, but I thought they were awesome and would burn them onto CDs and decorate them to give to my parents and friends. I was also writing all the time and learning how to produce songs. In a very random chance encounter, someone at a publishing company overheard the songs I was making that I uploaded to SoundCloud and I was able to start working with producers. At the time I was 14/15-ish and I didn’t really think much about doing music as a career, but just really loved doing it. It took on a life of its own and soon I was in the studio everyday.

How would you describe your sound for someone that has never listened to your music before?

I am only 22 and I think that with time, my music and the style of music I gravitate towards will change. For example, when I look back on the music I was putting out at the beginning of my career, it is vastly diferent from what I am working on now. It all stays within the same realm of focusing on the writing. So I guess it is pop music with a songwriting focus. This is sort of what my goal is in making music right now, but it changes all the time.

Your debut album All The Places I Could Be came out November 11th, what is this album to you?

I think that it’s encapsulated in the title of the record. I love albums more than any other form of music, and that is how I have always listened to music. It was important to me to expose the fact that this record was all exploration. I wanted this album to stand the test of time because I usually never make music that I like by the time it is released. In making this album, the goal was to fgure out what music sounds like me and lean into what I write naturally, without references to other artists’ work. An element of that is leaving in all the imperfections and making

people feel like they were in the room by exposing the mediums by which the album was made. Overall, the album is a mix of exploration and an aspirational longing to be somewhere else or to sound like someone else. I wrote this album between the ages of 18 and 21, so a lot of the lyrical content is about trying to fgure out who I am and which of my experiences are worth writing about.

You came up with a lot of visuals to pair with the tracks, is there a video from the album that you feel best represents the project as a whole?

The “Used To” video, only because it is a collage of so many diferent things. It’s this pastiche of every medium and every story that is very representative of the album. Sonically, the album goes in a million directions, but it’s grounded in the fact that I wrote all of the songs myself. Having songs that do diferent things and sound diferent from each other was really representative of the fact that it was my frst album and I was fguring out my taste through the process of making the album. I wanted people to hear that when listening to it. If the album was cohesive, it would be dishonest to people because it wouldn’t represent my process. The “Used To” video is very representative of all of these strands and stories.

What do you want people to walk away with after listening to this project?

I think I just want them to listen to it again. There is something in the album for many diferent types of listeners. This wasn’t really the goal of the album, but it was a result of making songs that I liked which represented my tastes in diferent ways. My biggest goal for listeners is that they feel like the music is right in front of them. I just hope people listen and feel like there is something in it for them.

Written by Juliane Pautrot

Ethel Cain is dead and Preacher’s Daughter is her story. Hailing from a Baptist town in Florida, Hayden Silas Anhedönia pieces together her life experiences to create the fctional character of Ethel Cain—under whose name she sings and performs as.

Released in May 2022, the album Preacher’s Daughter story of Cain’s life.

The thirteen-song work depicts garish horrors from Cain’s past— all sung in Anhedönia’s gentle voice. Most songs are over fve minutes long, beginning as delicate ballads and morphing into screaming guitar solos.

A striking theme on this album is Anhedönia’s obsession with southern Americana. Songs like “American Teenager” and “House in Nebraska” explore the vastness of physical space in middle and southern America. Open and empty felds, sufocatingly small towns, and unkempt motels—Anhedönia lets loneliness and melancholy fll these empty spaces. These places are almost never depicted glamorously, but Anhedönia shows how alluring and romantic these eerie parts of America can be. While the vastness of America allows Cain to roam freely, she still has roots binding her to her past, as explored in the song, “Family Tree.” Anhedönia alludes to the abuse, religious trauma, and homophobia Cain grew up around, with the songs, “Hard Times” and “Sun Bleached Flies,” addressing them directly. Likening her pain to tattoos, tree roots, and blood coursing through your veins, Anhedönia sings of the impossibility of escaping intergenerational trauma. These traumas follow Cain in love, with “Western Nights” and “Gibson Girl” depicting Cain’s rocky relationships with troubled lovers. One of the lovers kills her and eats her body, bringing the album to a grandiose close with the song, “Strangers.”

Preacher’s Daughter is an epic exploration of pain, love, family, and Americana. The tortured character of Ethel Cain is unforgettable, and this haunting album keeps her and her voice alive.

Layout by Hailey Pryor

Tim Burton u gly B u ful W ld ld

Tim Burton

wr t by N alia Cruz

If you were scarred as a child by devilishly-horrifc clay animation mixed with zany humor, creepy landscapes, and gothic, unsettling feelings of awe and beauty, you were probably exposed to the ominous storybook world of one of the most notable directors: Tim Burton. Acclaimed for his personal style, dubbed “Burtonesque,” he has captivated audiences since the late ‘80s. Burton drew inspiration from German Expressionism, the dark aesthetic crafting the imagery in his storytelling through lighting, music, and production. German Expressionism relies on the components of fear and insanity while constructing a dreamlike reality. What sets Burton apart as a director is the imaginative world in each of his narratives, conceptualizing characters with exaggerated features—dark, baggy eyes, thin, frail limbs, and pale skin. To pair with the haunting images, composer Danny Elfman understands how to cultivate scores that seem to shake a room-magic blooming through Beetlejuice, Edward Scissorhands, The Nightmare Before Christmas, Corpse Bride, and many others.

Within the flms, the sets paint a theatrical stage, from contrasting lights, exaggerated colorings, and lighting throwing silhouette shadows, enhancing the audiences’ feelings of dread. Whether it is clay animation or Winona Rider, he pairs the characters head to toe in black, eccentric outfts, tall curling hats, or stark white stripes and corsets. The more unique and loud the outft, the more it aligns with the Burtonesque style he has created. Tim Burton is able to make horror into a tale of the heart. We sympathize with those who look like villains and the monsters that live under beds. We connect with the walking dead, who have a knack for playing piano. We feel for the man with scissors for hands, who searches for love. Burton’s tortured characters are given a personifcation that makes outsiders feel like they have a place. He gives a voice to those who tend to stay in the shadows, feel like outcasts in society, and recognize the darkness as their own light as Burton takes in the grim parts of the world and reclaims them for us.

“I would like to be a spoiled, rich, white girl. Because they get what they want, whenever they want,” says Venus Xtravaganza in Jennie Livingston’s 1990 documentary Paris Is Burning. Before contemporary shows like POSE and RuPaul’s Drag Race, Paris Is Burning society to the queer culture of reading, voguing, and chosen families. The flm documented queer people of color in New York City and was a lexicon for the ‘80s drag ball scene. It taught us mopping (shoplifting) and reading— the art form of an insult. However, it also gave us lovable characters like Pepper LaBeija, Octavia St. Laurent, and my favorite, Venus Xtravaganza.

I’ve always felt drawn to the story of Venus, a Puerto Rican trans woman who left her family to pursue her dream life. In the flm, she desires to undergo a sex-change operation and get married in a church while wearing a beautiful white dress. As viewers, we watch and admire Venus because of her charisma, style, and memorability. We remember her lesson on reading and the iconic moment when she called her friend an “overgrown orangutan.” She delves into her previous life as a sex worker or “hustler”— as she calls it—and the perils that queer sex workers face. Livingston lets us fall in love with Venus and then concludes the flm’s last few minutes with the news of Venus’s death when she was found strangled and left under a bed in a hotel. Although never stated, it’s implied that Venus was with a man who had discovered she was transgender and killed her for it.

Venus’s death is quickly brushed over, except for a few minutes of her drag mother speaking about their friendship. However, the lack of attention given to Venus’s death leaves me disappointed after every viewing. I wonder if the flm’s creators truly cared for Venus or if they simply used her death for shock value. This is an injustice to Venus—her story of longing is something we, as queer people, relate to because we all desire normalcy in our lives. Paris Is Burning provides us with memorable stories of queer people of color in New York City; however, Venus’s story stands out because it’s timeless, cementing her in queer history for decades to come.

Wr t By Mikey Du

Lay t & I u r by Mikey Du y