Hoot Issue 22

Dollface The Ecstasy of St. Theresa Synesthesia

Sweater Weather (and I’m Okay with That)

Nostalgia in NYC

Pages from Orlie’s Journal, 3:45 am, London Time

Table of

CREATIVE DIRECTOR & STYLIST Leah Overstreet

PHOTOGRAPHER Kendal Bartel MODELS Tomisin Fasosin, Simone Swersky, Savanna Rust MAKEUP Arden Pochna ASSISTANT STYLIST Kiahra Read BEHIND THE SCENES PHOTOGRAPHER Cas Sommer NAIL ARTIST Grace Madey @gnycnails PRODUCTION ASSISTANTS Madeleine Cesaretti, Kailyn Grant, Ana Guinand, Anna Harshman

The Ecstasy of St. Theresa

by Norman Godinez

Synesthesia*

Symphony of Pure Feelings

*Syn•es•the•sia, /ˌsɪnəsθiʒə/, noun, involuntary perceptions that cross over between senses (tasting shapes, hearing colors, etc.)

GRAPHIC DESIGNER Penny Shapiro GARMENTS Wenjue Lu

PROP HEADPHONE DESIGN: Madeleine Ragunas

PROP FLOWERS DESIGN: Wenjue Lu Studio

POST-PRODUCTION Penny Shapiro, Danielle Feit, Dingzhi Lu

Weather is the biggest indicator of fashion. Cold weather breeds coats, hats, and scarves while the heat lends itself to shorts and tank tops. Whatever the newest trend is, it will be shaped by the climate it’s entering. Matching sets may be the moment, but for most people, those sleeve and pant lengths change with the seasons. Therefore, the way we interact with our bodies also changes throughout the year.

SWEATER WEATHER

We’ve all heard the super healthy saying “bikini body-ready,” knowing that those hot summer months mean more skin will show. There is a shame that comes with the heat, a knowledge that you will have to interact with your body more during this period. Adversely, the winter brings hibernation of the body. I am completely covered from socks to hood throughout the coldest months, and I couldn’t confidently say the state of my body, things like shaving are forgotten. The cold creates a barrier between the self and its flesh. There is a literal physical clothing obstacle in the way of the body.

AND I’M OKAY WITH THAT

Sometimes this is a nice break from the constant awareness that less clothing brings. It also means that when it’s cold, a major part of us concealed from the world is also a stranger to ourselves. This stark shift means that parts of the year are dedicated to self-consciousness while other parts feed into an avoidance of the tangible.

For better or worse, social media has partially changed this. Photos of the body can be posted year-round despite outdoor temperatures. What used to just appear in print magazines can be demonstrated by friends and famous people alike on Instagram or TikTok where videos of outfit ideas still start with underwear in the winter. This causes greater interaction with the body, but it’s from an outside influence rather than the self. Maybe we all should just take January to stand naked in front of the mirror until it’s in admiration, or maybe there’s a way to find balance with our physical selves despite the temperature. The weather may dictate fashion, but it shouldn’t shape the comfort we feel in our bodies.

What makes you nostalgic? “Franco de

What clothing or fashion styles or pieces make you nostalgic? What clothing style or piece of clothing etc. most embodies your experience of NY? “90s models.”

What was your perception of NYC as a kid? As an adult? “As a kid I thought of New York City as home, I grew up here. It wasn’t very chaotic. There were a lot of African immigrants around me and Muslims and for some reason, I didn’t even notice the di erence between us. We were just coexisting. As I’m older and genuinely navigating the city and not just the Bronx, I have grown to dislike it just because seeing the wealth di erence between one train stop is so insane. That disparity is so clear. Realizing what it truly takes to make it in this city. Realizing that someone like me wasn’t really meant to make it in the city. And then also this weird sensation of being granted an opportunity to do better and move up but then looking back at some of my elementary school friends that dont have that opportunity and seeing how di erent our lives our because of it.”

Vista. Ricardo Arjona. C.S. 134. Playgrounds.”

What have you seen change about NYC with gentrification?

“Everything. Everything feels so cold now. Nothing used to have that warmth that I remember as a kid or that neighborly feel to it where I could go to restaurants and get food and I wouldn’t even have to pay sometimes because they knew my parents. There’s not that communal and familial connection anymore. Everything is so gray and white and modern. It’s just to make profit and bring white people in. It doesn’t look like what the initial inhabitants had planned.”

Is there anything in particular you would say to the gentrifiers of your home?

“Go back to Scarsdale.”

What do you miss the most about your childhood?

“My mom.”

Aylín

TRANS(LUCENT)

i find myself being glanced at. No one looks me in the eyes. Not for long. Not for short. Not at all Just a flick of the white, a flash of the color, a pupil widening in shock before shooting from view. Opacity; an antonym of translucency. Don’t misunderstand me, i have no form of invisibility, no kind of magical protection from the gaze of the other. No, light cannot pass through me; it only glances off; is refracted; irrevocably changed or permanently altered. So, the diamond glitters. So, the opal glows. So, i receive no looks, only glances. What does it mean to want to be looked at? To be seen? Not just as aesthetic object but for the actual richness and fullness of being? i worry that this practice is individuating, a terrifying foreclosure of

MIRIAM MASON

the composite comportment of being itself, instead becoming an investiture in the private experience of self-adornment. That’s the tension of make-up, cosmetics. The cosmos is the totality, both more and less than the World, and cosmet- ics inherits that tension, etymo- logically and practically. It’s so freeing: aesthetically, bodily, metaphysically. The flesh becomes canvas, to be turned into art over and over and over again. A new being every time, in a true combinatorial exhaustion of cosmetic possibilities. Yet, all that time spent staring at the mirror makes me feel like an infant, like a psychoanalyst, like a dog that doesn’t recognize itself in the mirror. Each moment of dis/identification is a struggle against this individuation, turning away from a social, entangling practice into a private one. Every moment alone in my room, decorating my face, with my make up, and my skills is a moment away from the friends and fun and family that i want to adorn myself for. The moment of self-creation is always a lonely time.

by miriam mason

Grey records Karsen’s work (@ worms_in_my_brain_) on left arm. Lo records Micky’s work (@boy. panties) on right arm.

“for me tattoos have functioned immediately as a form of personal intimacy and physical adornment -- on a scale much more intense than owning an accessory or an art print. somewhat paradoxically ive found that tattoos are great reminders of the incorporeal. for the future I just hope tattooing will become part of an ongoing process of making my ephemeral body my home.”

– Grey

PERMANENT

“ P e o p l e a l w a y s a s k m e i f i t h i n k i ’ l l r e g r e t a n y o f m y t a t t o o s i n t h e f u t u r e . I tell them “ no ” , because

each tattoo I

it

Natalie records Joline ‘s (@jojcap) work on waist and @wr4th.co’s work on left leg. . . . T h e y ’ v e t a u g h t m e a p p r e c i a t i o n ; t h a t e a c h s t e p o n t h e p a t h of shaping who I am today is individually beautiful, unique, and deserving of my love They’ve t a u g h t m e t r a n s i e n c e , s u r p r i s i n g yl ; t h a t t h e p a s t v e r s i o n s o f m y s e l f c o n t i n u e t o l i v e i n s i d e m e a s w h o l yl m e , a n d t h a t t h e r e i s n o i n - etan noitarapes neewteb ym ,seiromem ex,secneirep dna eht em I ma yadot. ” – eilataN

time just as I’ve had to do with other parts o f m y b o d y : m y a r m s m y s t o m a c h m y t h i g h s I s e e m y t a t t o o s a s e q u a l l y a p a r t o f m y f o r m a n d b o d y M y t a t t o o s h a v e t a u g h t m e p a t i e n c e ; t h a t t o l o v e s o m e t h i n g rof a gnol emit si hcum erom lufgninaem naht rof a tnemom

with

learn to fall in love with

over

Natalie records @ neobot.fbx’s work on right arm. Dilara records Hannah Grant (@hannah. claire.grant), Ella (@sklaw_), and Evelyn’s (@evelyn.tatts) works on left arm.

“I see tattoos as a form of memory keeping and scrapbooking my body. It’s a form of simultaneously aesthetically accessorizing my being (like a sim) while also freezing intimate moments in time through collecting art and words and embedding them in my skin—remembering the day and the era of my life through looking at and conversing about my tattoos with others. I love the way they shape my body and the community it forms across artists and enthusiasts.”

– Dilara

Lo records Jane Doe (@d0llici0us) and Quiana’s (@quiana.tattoo) works.

“all my tattoos have various purposes as records, memories, etc. i get tattoos because they allow me to claim certain versions of myself or commemorate who i am or inspire me to find something more lol.

i’m a collector of all things bunny, and have three tattoos of them at this point, extending my physical collection to myself. this tattoo was the first tattoo i had done by someone i found through my friends. they tattooed a bunny candle that lived in the room of someone they love on my arm. low and behold the friend who connected me to this artist gifted me the matching physical candle holder for the holidays later that year when they stumbled upon it in a thrift store out in mass.

somethings account for my love of science … the anatomical piece of course although it works both scientifically and has a more personal meaning for me as well <3 and of course the zeros and ones.

i love finding things i love in the work of artists from around the city, state, and world, so most of my tattoos are flash minus a couple (guess which ones… haha).”

Lo records Jane Doe’s (@ d0llici0us) work on right rib and Alberto Monroy’s (@pandemic_tattoo ) work on back.

Grey records Karsen’s (@ worms_in_ my_brain) work on left arm.

DIRECTOR & PHOTOGRAPHER Suiya Yuan MODELS Grey Bakwin, Natalie Cheng, Dilara Balkan, Lo/renza Bartu MAKEUP ARTISTS Gianna Bianchi, Natalie Cheng (model’s own), Dilara Balkan (model’s own) STYLIST Natalie Cheng CLOTHING Caroline Zimbalist, Nausicaa NYC, Cloudiejobi, Ella Park SPECIAL THANKS Jordan Lewis

Contributors

lA e x Esh e ,naml imA Dosso, Ana Gui n annA,dna hsraH m a n, AraKim, Arden Poc h n ,a anairA ttivaC , nílyA Cdla e r on, CasSommer, Danielle Fei t , D i aral ihzgniD,naklaB uL , limEWy na g , Eny a Kaonga,Gema Mercado , Gianna B i a cn h,i ,niwkaByerG allebasI illaWdoolF n , J a n e Meenaghan, Jordan Lewis, KailynGrant , Kend al B a r et,l aimiK,daeRarhaiK ivaznoM , tsrevOhaeL teer , L i s b e t h Tineo, Lo/renzaBartu, MadeleineCesaretti , Madel ei n e gaR ,sanu ,odacreMairaM nosaM repraH , mairiM Mnosa , N a t a l i e Cheng, NormanGodinez, Orlie May White , PennyShapiro , P r a n a v i K ah ,nati arramaS,kzeRanirbaS ,raknaS tsuRannavaS , enomiS S ew r s k y , Siq i Deng, SophiaSipe,Suiya Yuan, SungyoonLim , TomisinFasosi n

Hoot

Editorial Board

PRINT EDITOR-IN-CHIEF Erin Ikeuchi DIGITAL EDITOR-IN-CHIEF Tamara Sarpong EDITOR-AT-LARGE Olivia Treynor ARTISTIC DIRECTOR Beiren Zhu

FASHION COORDINATOR & TREASURER Mia Cucufate

Hooties

GRAPHIC DESIGNERS Sophie Johnson, Leila Mir LAYOUT EDITORS Andrada Mara Nicolae, Joel Soto, Fatima AlJarman MERCH Danielle Feit EVENTS PLANNING Andee Sunwoo Lee, Rita Nguyen FASHION Jalen Lee, Stephanie Hwang CONTRIBUTING EDITORS Cate Mok, Catie Knight, Leila Eden Sheridan, Romy Levin SOCIAL MEDIA Quinn Canova, Anna Harshman, Alexandra Landry, Oscar Ortiz, Rocio Tambunting

VISUAL Kendall Bartel, Grace Schleck, Macy Sinreich