Lauren Smelker Kristine Bakker Editor at large Fashion Director
Elara Montana Kanahara Miguel Editor in Chief Beauty Director
Lola Spring Tatiana Colmenares managing editor Web Director
Abigail Hennessey Lauren Smelker editorial director Marketing director
Violeta Romanyuk Madison Vaglio Creative director Social Media director
Jenna Persaud Ragini Bishnoi Art Director Styling director
Claire Maxwell Accessories
Grace Kuey Beauty
Alexia Martinez Culture
TJ McCaffery Gender & Sexuality
Ellie Mooney Fashion
Fernanda Mannarino Lifestyle
Sydney Schnurbusch Music
Alex Padilla Sports Editors
Macy Melancon Accessories
Luzaya Nayer Beauty
Bijou Sene Culture
Brandi Hawkins Gender & Sexuality
Jane Biedermann Lifestyle
Cori LaVigne Music
Lilly Griffiths Sports Assistant Editors
Audrey Burch Assistant creative DIRECTOR
Olivia Weilbaecher ASSISTANT Art DIRECTOR
Paige Collins ASSISTANT STYLING DIRECTOR
Jiya Agarwal Roberto Rojano
Sianni ClarkBrowne Isabela Simona
Colette LowryKikhus STYLists
Carly Gabriel Photography Director
Alexandra Adams
Maddie Larson Photography assistants
Sophia DelRosario Emma Saville
Alexandra Cristofoli Isabela Simona
Gail Flores Sophia Valencia
Azrielle LoweGray Social media team
Nicole Philipp Amanda Mugari advertising Marketing Strategist
Samelly Serra PUBLICIST
Alexia Huang
Abby Tanenbaum marketing analysts
Katalina Faught Tanysha Lessage
Sadie Flocco
Ciara Gabriel graphic designers
masthead
Julia Mattos-Pereira
Tamara King Krystel Vera
Numa Sareen Web editors
Professor John Deming
Professor Joseph P. Sgambati III Faculty Advisors EDITORIAL
Dr. Kenneth Kambara
Professor John Keane Faculty Advisors MARKETING
Dr. Daniel Chaskes Arts & sciences Department Chair
Natessa Aldridge • Amie Blumberg • Professor Dani Brand
Laura Cioffi • Kally Compton • Michael Donohue • Meredith
Finnin • Professor Timothy Foran • Laura Healy • Maranda
Janky • Professor Laurel Lueders • Professor Michael Meyer
Dean Nancy Miller • Maurice Morency • Olga Raganelli
Professor Monica Rakocy • Travis Stephens • Professor Liz Sweibel
Dr. Alex Symons • Sabrina Talbert • All LIM College Faculty
All Contributors to The Lexington Line MANY THANKS
Ron Marshall, President of LIM College
Elizabeth Marcuse, President Emeritus of LIM College
Dr. Scott Carnz, Provost
Michael Londrigan, Business Department Chair
Special THANKS
Dear Readers,
Welcome to the 20th issue of The Lexington Line. With ten years of publishing behind us, it’s safe to say that those who came before this issue have established a strong foundation. What started as a team of five has grown to more than 50 team members spanning 10 departments. With each new department we develop, aspiring creatives are given the unique opportunity to explore their artistic perspective in new ways.
In this issue, we seek to accentuate the imperfect, inordinary, and unstandardized. Our articles tackle the unorthodox, focusing on things like the changing culture of generational drag scenes, the unseen world of the front row at fashion shows, the rise of sports betting, and the new use of floral codes in the design industry. Each new story allows readers to discover alternate outlooks on the everyday.
Our fashion shoot, “Nonsense,” continues playing with the idea of the unconventional. A mixture of eye-catching colors and fun patterns brings a sense of otherness. Through our inventive set design and use of outdoor landscapes, we hope to challenge readers to rethink how they perceive fashion and beauty standards. Our stylists capture the essence of the unusual using pink and royal blue hues.
Continuing with the idea of flawed perfection, our beauty shoot dabbles with postmodernism, utilizing bold colors and simple shapes. Its namesake, “The Thing Called ‘Art,’” quotes the famous pop artist Andy Warhol, who is known for challenging the traditional notion of what constitutes as art. Similarly, we seek to provide an intriguing visual experience that leaves our readers hunting for every last detail.
There’s always a different way to look at things. Every Lexliner before us offered a perspective that has challenged us to explore fresh angles and build on their legacy for years to come. Thank you to all of the previous editorial staff members who made this magazine what it is today.
And for everyone behind the camera, we see you. Here’s to another ten.
We hope you enjoy the 20th edition of The Lexington Line.
Always,
The Editors
editors' letter
‘CAUSE THEY’RE SINGER A
The return of the pop star
By sydney schnurbusch
The year of pop's revival, 2024, saw artists like Chappell Roan, Charli XCX, Tate McRae, and Sabrina Carpenter launch into the spotlight like never before. With them came the return of catchy club beats and larger-than-life stage personas.
In the past decade, popular music turned towards singer-songwriters like Adele, Taylor Swift, and Lana Del Rey, as listeners craved lyrics and storytelling over the pop star glam that marked the ‘90s and 2000s.
Even 2010s artists are making comebacks. Kesha released her EP Joyride in July, marking her first release since leaving her label Kemosabe Records in 2023.
Perhaps the most notable figure of this new wave of female pop artists is Chappell Roan. Her debut album, The Rise and Fall of a Midwest Princess, was initially released in 2023 but made her a star when she hit the top 10 on Billboard’s Hot 200 nine months after its release.
Roan’s stage presence is iconic, with powerhouse vocals and intricate drag looks, such as her Statue of Liberty outfit at the Governor’s Ball or her Joan of Arc performance at the Video Music Awards. As the Midwest Princess infamously stated, she is “your favorite artist’s favorite artist.”
Roan and the other women breaking into the pop scene carry the it factor. They command the stage and create an experience.
One of the most notable aspects of these women's personas is their outfit choices. Roan
herself often wears caricatures of historical events or people as a commentary. Sabrina Carpenter typically dons iconic bedazzled bodysuits and tall platform go-go boots.
Alongside wardrobe, choreography has reemerged as a must-have quality in pop stardom. Artists like Tate McRae are bringing back the moves in a callback to the pop princess herself, Britney Spears.
Spears sparked the rise of teen pop in the ‘90s and early 2000s. In the 2001 VMAs, when she sang “Slave 4 U,ˮ the stage was covered in cages filled with wild animals, and smoke poured out from backstage. Perhaps the most memorable part of this act was the giant python she flounced around with on stage. It became the emblematic “pop star” performance.
Another key to the pop star genre is controversy. Carpenter found herself in hot water after filming a portion of her “Feather” video in a Catholic church in Brooklyn.
In the video, Carpenter kills men and attends their funerals, which caused outrage and a priest to be stripped of his administrative duties. Carpenter’s response to this backlash was simply, “Jesus was a Carpenter.”
Similarly, Roan was subjected to scrutiny when she posted a video rebuking fans for hounding her in public for photos, autographs, or any other non-consensual fan behavior. Opinions were mixed; some said she was asking for attention by putting her music out for public listening, but others adamantly supported the singer.
As with anything these days, social media has played a large role in this pop renaissance. TikTok, in particular, has launched these artists into the stratosphere. Look at Brat Summer, a trend that centered on Charli XCX's new album of same title. Users created dances and memes to go along with the different tracks.
The trend even reached the election process, with Kamala Harris leaning heavily into Gen Z trends to lift her platform. The campaign played pop music at rallies to appeal to young
voters and participated in social media trends which would then be posted on the @KamalaHQ TikTok account.
This has also been a banner year for highbudget world tours, which helped these artists gain exposure both in-person and through social media.
Big hits, elaborate music videos, intricate stage performances, and larger-than-life personas are the most important aspects of this genre. Each of these pop girls fits the bill.
Drag Queens Get Down
To lift each other up
By Tj Mccaffery
Monday marks the beginning of the typical 9 a.m. to 5 p.m. work week. But for some, those hours are 9 p.m. to 5 a.m.
This is the case for the likes of Ambroja Zwaan and the 14 other drag performers who compete to make a name for themselves at “Drag Wars: The Next Generation,” a weekly competition held at Pieces, a gay bar in Greenwich Village.
The competition—hosted every Monday at 10 p.m. by Shequida Hall—features 15 upand-coming drag performers who each have five minutes to showcase their abilities. Hall started her drag career in 1990, and she has
grown from managing clubs to performing internationally, working both onstage and off.
Despite where her career has taken her, starting wasn’t easy.
“There were not that many drag queens. And the drag queens that were there never gave up their gigs,” she recalls. “Older queens were very mean to me and not very welcoming.”
As soon as she was given the opportunity, Hall wanted to provide new queens with a space to get their names out in the drag scene.
“I wouldn’t want a new performer to not have the opportunity to show,” she says, “because
all you have to do is show people what you can do. Then people can start being like, ‘Oh, I liked her.’”
Eight years later, the show continues to be a success, with a full house and a full roster of queens every Monday.
Competitors change from week to week, with debut performances and returners coming to win the loudest applause and a $200 prize.
Hall likes to separate her own biases from the competition and decides each week’s winner by “whoever the audience was entertained by most.”
“It’s a business,” she explains. “If you can bring in a crowd, and the crowd loves what you are doing, then you are going to be good for the business of that bar or you’re going to be good for the business in general.”
Some have argued that gauging the winner by applause is not fair, as some queens will have friends and family there, skewing the voting in one queen's favor.
“Okay, she has a fan base. That’s what every bar needs to see. If I’m going to book you, I need to know that you can bring in people,” Hall says.
Zwaan is one of the newest queens to enter the competition, having started in June of this year, and has already secured four wins.
Because Hall gives this space for newer queens such as Zwaan to perform, a safe and supportive environment has emerged.
“I’ve been able to garner respect and make friends with the queens who are there consistently,” Zwaan shares. “It’s always a pretty safe space.”
Her typical routine at Drag Wars consists of 2000s and 2010s dance-pop, showcasing her dancing abilities while also highlighting her style and personality. Her song choices make her feel “hot and sexy and confident because
Ambroja, as a character, presents as very sexualized, but isn't afraid to be a little goofy.”
Every queen, she says, brings something different to the show.
“Not every drag artist performs the exact same. But luckily, it is a supportive enough space that all types of art are welcomed there,” she says. “It’s fun to see people express themselves in different ways—I like to watch everyone perform so I can become wellrounded in the culture.”
While Drag Wars gives new and up-andcoming queens a space to perform, learn, and grow as performers, the competition is also a place for these queens to network.
“It's actually about getting people booked in New York and starting their careers,” Hall explains. “Whether you win or lose, there’s always someone in the audience watching. You don’t need to win for some club owner, bar owner, or manager to be like, ‘Oh, I liked her. I want to book her.’ So if you’re stank and nasty and an evil competitor, people see that.”
Performers at Drag Wars frequently become popular and get bookings elsewhere. Hall says it is fulfilling to see many queens who once competed at Drag Wars become iconic contestants in the RuPaul’s Drag Race franchise.
Some queens include Season 10 winner Aquaria, Season 13 and All Stars 8 finalist Kandy Muse, Season 14’s Jasmine Kennedy, Season 16 winner Nymphia Wind, and Canada vs. the World Season 2 winner Lemon.
Capitalizing on her kindness, congeniality, dancing abilities, and looks, Zwaan has found opportunities outside of Drag Wars.
“I’ve been able to find so much support and success with not only the people who go to Pieces, but people who go to all of the neighboring bars,” she explains.
Getting started in the drag scene can be daunting. Zwaan advises anyone who is looking to start a career in drag to start with the basics.
“Find someone who you find visually appealing and copy what they're doing, and figure out what works and what doesn't work for you aesthetically,” she says. “If you feel connected to it, it's going to inspire you in some way.”
“Don't be afraid to put yourself out there,” she continues. “Don't be afraid to talk to people. Don't be afraid to network. And don't be afraid to ask questions. Chances are, unless people are bitter and insecure, they're going to want to help you.”
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Hot-girl-ification The It
is a school night in autumn, the decor is up, and you’re tucked in bed with one of the Magic Tree House books nestled in your lap. You know you shouldn’t be awake, yet you neglect rest to get a taste of the next chapter.
Dreaming isn’t exclusively for the young, and as we’ve known since childhood, reading can activate the imagination and intellect in profound ways.
“The way that you reflect on the plot of a book really helps you figure out what your own values are,” says Madison Huizinga, who published a piece on SubStack last December titled “BookTok is Turning Books into Commodities: On the Dampening of Art & Literature on TikTok.”
“Even if you're not thinking through that consciously—those are all really important building blocks to gather as you're growing up and developing a moral constitution.”
Reading is a way to foster our connection with the deepest parts of ourselves. It helps us retain what we learn in ways other media cannot and can help us empathize and understand others.
The good news is that young people still seem to be reading; the bad news is that
in the BookTok era, it often seems like a case of quantity over quality, of public performance over personal growth.
On BookTok, a popular TikTok subcommunity, readers share reviews, recommendations, and insights about literature. The medium emphasizes short videos designed to leave a significant impact. However, what began as a space for meaningful thoughts and emotions now emphasizes not only how much you read, but how you look while you’re doing it.
There are a myriad of reasons why the community has shifted this way, but in a way, it is just how social media has cultivated our minds.
“People are concerned with presenting as intelligent versus actually being intelligent,” Huizinga says. “I also think that there's something to be said about sitting and reflecting with a work of something versus sharing your opinion on it right away because I think that we are very complex people.”
This troubling trend gives rise to another: men reading classic literature to be perceived as “deep.” Everyone fights silent battles over how they are perceived and whether they want to be perceived at all. But this kind of showmanship is depressing.
of Literature
By Tatiana Colmenares
Reading a book is a very personal experience, a way to challenge yourself honestly and openly. We will always have our communities of family, friends, or peers, but it is solely on us to provoke, broaden, and complicate our already complex minds.
People are concerned with presenting as intelligent versus actually being intelligent
“Books that are deeply internal and emotional have really helped me gain a better understanding of myself,” Huizinga says. “I'm so much more thoughtful about my own emotions and my own relationships and experiences after reading.”
Books force you to think and use your imagination in ways that have the potential to atrophy in our world of screen-based media. That’s why it’s
problematic when they become simply a byproduct of mediums like TikTok. Huizinga suggests this is an almost dystopian way of being, lives filled with sameness and imitation that do not test the mind.
“We're all just kind of seeking this very formulaic and cookie-cutter format that will satisfy us. And I don't really think it's challenging a lot of people,” she says.
“When you don't know what you like in literature and media, it can kind of cause a dilemma of self,” she continues. “You're just kind of like, what do I even like to read?”
So take recommendations from TikTok if you must, but get them everywhere else, too. And remember that in many cases, you’re likely to get more out of reading the same great book ten times—really knowing it, what it’s doing and why— then reading ten different books and showing off your stack.
Reading doesn’t have to be social; perhaps it’s what you learn from reading that should be. So when you step into your local bookstore and spot that BookTok table on display, maybe walk past it and look around with fresh eyes.
Anyone Can Write (and Publish) a Book,
By Elara Montana
From fairy smut to nefarious family secrets, the modern mainstream novel has taken a drastic turn from its predecessors, as more and more readers take to indulge their deepest desires and depravities. With the emergence of fanfic websites like Wattpad and Archive of Our Own (AO3), writers no longer require the backing of a traditional publisher, so everyone seems to want a piece of the fiction pie.
Writers can publish themselves now. But should they?
It's no secret that getting a manuscript picked up by a major publishing house is extremely difficult—in fact, aspiring authors may only have a 1 – 2% chance, according to research site WordsRated.
With backing from a publisher, writers are able to have practically everything they need for success—particularly money, support, and time.
It all starts with an agent who takes someone's work and pitches it to various publishing houses. If an editor is interested in buying, they draft a contract, and the author receives a cash advance on the projected earnings for the novel. From there, a publication date— usually two years out—is set. The team gets to work, editing, revising and proofreading the text until it’s ready for publishing.
Advances are a big draw for traditional publishing, as they help authors devote themselves to their writing without worrying about their income. The publisher will pay its writers in incremental payments: once when they first sign their contract, and again when their manuscript is completely finished and ready for production, and finally when the book is officially published.
“It's a signal that the publisher is willing to put its money where its mouth is,” author Victoria Strauss says in an article for the writer’s resource website Writers Beware. “To assume the financial risk of publication, and put cash and effort behind the production, distribution, and marketing of the book.”
In a poll of 1,400 authors, Mary Adkins, who is an author and online writing coach, found that the average advance given to first-time writers is $57,000, with Adult Fiction novelists earning upwards of $66,000. These paydays allow first-time writers to profit from their writing regardless of book sales.
Authors are also assigned a whole team of skilled professionals who are dedicated to every step of the publishing process. With the assistance of various editors—developmental editors, line editors, copy editors, and more—and a department of marketers and strategists, writers are able to focus solely on the writing itself rather than the other aspects of creating a book.
While these aspects of traditional publishing may appeal to the novice writer, they carry risks as well.
A book contract brings a loss of numerous liberties, including creative vision.
Most traditionally published authors have very little say over their books. The design, title, cover synopsis, and even an author’s vision for a story are all left to the publisher's whim. Because the rights to the story belong to the publisher, they are able to make any change they see fit, regardless of whether it aligns with the author’s perspective.
Publishers also inflict immense pressure on authors due to their investment. They are expected to meet strict deadlines in a specific time frame and deliver a quality story that earns publishers the projected revenue. If an author fails to deliver any of these elements, they run the risk of legal and financial trouble—losing their contracts and potentially having to return any paid advances. And because most publishers set a publication date up to two years in advance, the timeline from manuscript to release can be long and grueling.
“Even in this digital age, it’s the sales and marketing aspect that requires long lead times,” literary agent Rachelle Gardner says. “This is where all those things you get with a traditional publisher that you don’t get with digital self-pub come into play.”
Self-published authors control their own timeline.
“These days, you can get your book up for sale on Kindle within a matter of days after you finish writing it, so authors have less patience for publisher lead times,” Gardner says.
With the emergence of self-publishing platforms such as Amazon’s Kindle Direct Publishing, authors are now allowed to take control of their own stories.
“You are truly the director in every aspect of your novel,” says author Tessa Aldridge, who has self-published two novels.
The creative vision that is forfeited in traditional publishing returns to the writers when self-publishing. Without the looming pressure of marketability from publishers, authors can now deliver a story that is more authentic to them and what they want to convey, and on their own timeline.
“As a self-published author, you really get the most say over what you change, what the cover is,” Aldridge notes. “My two novels are the most authentic version of my voice that will ever be out there, versus taking lots of opinions from others.”
Self-publishing also breaks down a lot of barriers previously placed by traditional publishing. It can take years for a manuscript to get picked up by an agent and subsequently sold, and with the industry’s proclivity for gate keeping, many new writers are met with rejection. Self-publishing takes out the middleman for book publication and allows first-time authors to publish what they want, when they want.
Publishing your own book may seem like the better option when compared to traditional means, but there are some setbacks.
While writers do retain creative autonomy over every aspect of their project, this also means that they are left to foot the bill of all upfront costs. Self-published authors are known to make more money than those who are traditionally published—as they are able to retain a higher royalty rate—but most independent authors will spend between $1,000 to $5,000 to create a high-quality book, according to Well-Storied. A self-published writer must shell out thousands of dollars to pay for editors, cover designers, interior formatters and publishers in order to create the same quality of product that a traditional publishing house would distribute.
Without the backing of a publisher writers, are also responsible for curating a reputable publishing team. Freelance editors and cover designers are a growing market nowadays, but finding individuals who meet the needs, time frame, budget, and creative vision of an author can be difficult.
“So much more work than many people realize actually goes into publishing a book, and those that are doing it themselves almost have to turn into a jack of all trades to get it done,” says Alexandra Kleinmann, an avid reader and social media intern for the literary platform Bookstr.
Book production may be an expensive endeavor, but promoting it can present even bigger obstacles. Without the assistance of marketers and strategists, an independent author will need to shoulder the responsibility of getting their book noticed by readers. Thankfully, with the rise of TikTok’s BookTok, many self-published authors are able to tap into their audience through promotional videos.
Though an indie author may be able to produce an authentic and high-quality novel themselves with enough effort and money, there is something that traditional publishing will have over them—reputation.
It’s no secret that there's stigma around selfpublishing. Some readers, like Reddit user buteo51, are so averse to them that they refuse to read any self-published books at all.
“I wouldn't touch self-published non-fiction with a ten-foot pole. I wouldn't buy a selfpublished fiction book without having read a few sample chapters first,” they say in the Reddit thread r/books.
Many authors who dare to publish their own work are often seen as invalid and amateurish.
“I definitely think they don't take it as seriously. There's a stereotype around it not being as good, and I can understand where they're coming from, as there are fewer experts in your corner,” Aldridge says.
Independent authors are still able to create impactful work despite the stigma. Several self-published authors have gained the title of New York Times Bestseller, including the iconic Fifty Shades of Grey series by E.L. James, and
create a platform that has granted them access to traditional publishing later on.
“There are so many works that get selfpublished and then picked up by bigger publishing houses when they become more popular,” Kleinmann says. “The publishing industry today is extremely competitive and many indie authors don’t have the ability to work with big publishers but have great writing that people want to read.”
Whether it's self-published or not, good writing comes from everywhere. Each publishing route comes with its own setbacks and challenges but are ultimately aspires to the same goal: creating literature that not only connects with audiences, but leaves a lasting impact.
“Novels are more so about the story and message, rather than how they were published, and I think that's what matters most,” Aldridge says.
INVITE ONLY
By: Kristine Bakker
Life in the Front Row
As you’re directed to your seat, you feel the bustling energy of the people around you. Even though you’ve done this many times, the excitement is still surreal.
As the lights dim and the music turns on, you’re part of something greater than yourself.
We’ve all heard the phrase that fashion is expression. For designers, it’s expressing a feeling into something concrete. For journalists, it’s expressing a perspective. For models, it’s expressing someone’s expression.
But what is it like to witness all of this? To be so close to this world that you’re invited to see the newest designs before they hit the market, or to feel the texture of luxurious fabrics brushing against your skin?
The front row is seen as its very own world, a dream if you’re invited. It’s exclusive, and only the most adored celebrities and fashion icons are allowed in this sacred space.
Fashion shows date back to the 1860s. English designer Charles Frederick Worth, considered “the father of haute couture,” started this culture by introducing live models to showcase his collections.
In this era, shows were more intimate, with few guests. They were casual get-togethers during tea time at ateliers and maisons, rather than the heavily-produced events we see today.
According to fashion researcher and professor Tetê Laudares, the left side of the catwalk is reserved for people working in the industry, such as press members and brand CEOs. The right side is reserved for clients and celebrities.
Influencers are now joining traditional celebrities in the front row. Brands treat them as A-listers. 23-yearold Emma Chamberlain, known for her fashion and lifestyle content online, has attended fashion shows and The Met Gala since 2019.
Influencers and celebrities “invading” the fashion world can be a controversial topic. Some people are quick to criticize this, saying they don’t have the right to a front-row seat.
“Sometimes when big celebrities attend, it can feel like it’s all about them and not so much about the clothes,” she adds.
The front row is a communication strategy—a place of prestige and recognition that also communicates something to people watching from the comfort of their own homes.
“If a rapper, influencer, or K-pop star I follow and identify with is attending a show, I’ll identify with that brand,” says Laudares.
In an era where fame spreads rapidly thanks to social media, brands need to understand the type of consumer that follows these influencers. This is where all the market and consumer research and negotiations with celebrities come into play—it all connects with the runway and who’s sitting front and center.
“Brands want to put their clothes on influencers, who are now also seen as celebrities, because they’re opinion makers,” Laudares says. “When you see someone you identify with, it influences your clothing direction.”
From the moment we’re born, we’re taught to imitate.
“Imitation is a psychological behavior in fashion,” Laudares explains.
You might think fashion shows are entirely formal, and this is, to an extent, true. People invited to sit in the front row receive orientation, and it’s a known fact that they’re supposed to maintain a poised position.
In turn, all this formality comes with chaos, and paradoxically, informality.
Guilherme de Beauharnais, a fashion editor for Harper’s Bazaar Brazil, says the front row is important because it plays a part before the collections are displayed to the crowd. It's not just a place where VIPs reunite to show support for a certain brand; it is also used by fashion lovers to share admiration and passion for this complex industry.
“Before the show starts, you can take a walk around the space. You don’t have to automatically sit down when you get there,” Beauharnais says.
“People usually look at the scenery and, of course, the front row to see the names of the celebrities that’ll be there.”
Beauharnais explains that these days, fashion show VIPs have different roles. Events are bigger than ever, so brands are inviting more people to the front row. When fashion show culture started, only a lucky few got to see the new collections. Today, it’s much more than that. It’s not only meant for brands to communicate with the consumer, but for fashion leaders and employers to come together.
The editor has also seen guests run to the front row once a show has ended to retrieve invitations left behind by celebrities like Anna Wintour and Penelope Cruz.
“Nobody imagines that guests fight for these invites to take home as souvenirs. It’s very interesting to see because it’s like they perform an X-Ray to see who’s going,” Beauharnais says. “The post-show is an interesting anecdote and social experiment.”
The first row isn’t necessarily the best location to see the show, he says—what’s even better is the feeling of honor he gets when he’s invited to participate.
For VIPs, fashion shows can be hectic, exciting, and amusing. This intricate culture has evolved over time, and it seems like it won’t die down anytime soon.
Even though invites are only given to the most prestigious high-end consumers, influencers, journalists, and celebrities, the point of this culture is to contribute to a brand’s identity. As exclusive as the front row is, it somehow connects us.
Runway
Asymmetry
Classic silhouettes are often overplayed, but asymmetrical hems are going to make fashion fun again. Christian Siriano’s baby pink halfsuit is both business casual and fun, playing with coat length and lapels. Monse continues the playfulness, using an off-the-shoulder neckline with sailor-esque pleats and trim. Grace Ling’s bra top and low-waist pants set and Max Zara Sterk’s high-to-low pantsuit offer a sexy nighttime look. Any way you wear them, asymmetrical hems are both chic and eye-catching.
Leopard Print
There’s a new neutral on the horizon, and it’s leopard print. Leopard print made its runway resurgence during Fashion Week this September, catwalking in shows like Isabel Marant and Christian Dior. Some view the print as “tacky,” but labels like Marni and Zimmerman are making it classy again through matching knee-high boots and nylon tights. Alexander McQueen played with excess fabric and draping, and Isabel Marant used ruching to add depth to the print.
Report
Embellishments
Embellishment is as old as fashion itself. This season, Valentino took inspiration from archived collections, showing dainty and detailed sequin embroideries. New York-based fashion brand Sea chose to exhibit colorful details with a country aesthetic, while Markarian showcased sparkly, kid-like patterns and rough textures. Specializing in gowns, Elie Saab used intricate beading techniques.
POWERFUL LACE
Combining romance and femininity with power, designers went the bold route this season. Designs were dramatic but accented with lace, proving femininity can be fierce. Rodarte used lace to construct a striking cape silhouette, while Chloé went with a structured look that emphasized the intricacies of the fabric. Michael Kors and Nina Ricci focused on the it factor, implementing dark, striking colors with the delicate textile.
Pop Stars & Their Rockin' Beauty Secrets
By Grace Kuey
These five pop stars have taken the music industry by storm in recent years. But there is much more to an artist than just their music, and an important factor when touring is looking their absolute best. Each celebrity has makeup and skincare products that must last through their entire show. Here are their favorites.
Taylor Swift
Charli XCX
In 2021, Vogue released a “Get Ready with Me”-style video starring Charli XCX. There, she revealed her entire skincare routine. She begins with Ole Henriksen Truth Juice Daily Cleanser, Dr. Barbara Sturm Eye Cream, and La Mer Crème de la Mer Moisturizing Cream.
With the release of Charli’s album brat in June, Gen Z coined the summer of 2024 “Brat Summer,” an era defined by free-spirited female empowerment. Messy makeup became all the rage over the summer and has continued into “Brat Fall.” Pat McGrath’s Labs EYEdols EyeShadow, Charlotte Tilbury’s Legendary Lashes Volume 2 Mascara, and the Charlotte Tilbury The Classic Eye Powder Eyeliner Pencil complete this look.
Taylor Swift’s record-breaking Eras Tour is the highest grossing concert tour of all time. She performs songs from her entire career, ranging between various genres, in a three-hour production. Taylor’s iconic makeup look features her signature red lipstick. This look was introduced on the cover of her album Red, released in October of 2012. Her favorite red lipsticks include MAC’s Ruby Woo, Pat McGrath’s Labs LiquiLUST Legendary Wear Lipstick in Elson 4, and NARS Velvet Matte Dragon Girl.
Chappell Roan
In September of 2023, Chappell Roan released her debut album, The Rise and Fall of a Midwest Princess. Her songs “HOT TO GO!” and “Good Luck, Babe!” have made her a household name. These songs have been blasted all over the radio, making top charts on streaming services, and becoming popular sounds on TikTok and Instagram.
Roan’s most famous look includes a base of white face paint, accompanied with colorful lips and eyeshadows. It is recommended to always prime the lids before attempting these bold looks to avoid creasing and fall-out. Roan keeps her brows thin, a trend that has recently resurged.
Some of the products that help Roan achieve this look include the Fenty Beauty Pro Filt'r Soft Matte Longwear Foundation and the Trixie Cosmetics Play Pigments. She also enjoys products from the LGBTQ-owned brand KimChi Chic Beauty. She uses their eyeshadows and primers while on tour.
Doja Cat
Doja Cat has been in the public eye since 2018 when she released her viral YouTube song “Mooo!” Since then, she has dropped multiple hits, including “Woman” and “Paint the Town Red.” This 19-time Grammy nominee is known for her cartoonish makeup looks.
When it comes to skincare, Doja Cat is a loyal Tatcha customer. She swears by The Deep Cleanse and The Rice Polish: Classic. She uses Becca’s Undereye Brightening Color Corrector to achieve an even skin tone. For makeup, she prefers Fenty’s Pro Filt’r Soft Matte Longwear Foundation and the Pro Filt’r Instant Retouch Concealer. Top off the look: Maybelline Lash Sensational Mascara, Icy Wifey Cosmetics’ Glitter Chrome eyeshadow, and Sugar Pill’s Liquid Lip Color.
Olivia Rodrigo
Rodrigo’s rise to fame began with her acting career. Two years after High School Musical: The Musical–The Series aired in 2019, Rodrigo released “Drivers License.” She later released her album SOUR followed by GUTS, which came out in 2023. The GUTS World Tour kicked off in February of this year and will conclude in July of 2025. She is known for her natural makeup looks that emphasize her glowy, dewy, and healthy-looking skin.
Rodrigo’s collaboration with Glossier brought fans the Ultralip in a shade called Pisces, a deep-purple/mauve color, and a Monochrome eyeshadow palette. Rodrigo herself utilizes tons of Glossier products. She loves the Stretch Concealer and Boy Brow.
Chanel Polish Boy De Chanel
$32
KimChi Setting Powder
$20
KP Bump Eraser Body Scrub 10% AHA
$30
& Co Clean Cleansing Balm
$15
Beauty Buys
all bets are off Best of Luck
By Lilly Griffiths
The ads are everywhere: “Bet $5, get $200 in Bonus Bets.”
The first hit, as they say, is free.
In 2018, the U.S. Supreme Court ruled that the Professional and Amature Sports Protection Act of 1992 violated the U.S. Constitution, prompting individual states to decide on their own regulations. Since then, sports fans have crumbled under the pressure to make or lose a quick buck.
After sports betting became legal, the annual Gross Gaming Revenue (GGR) was $400 million, according to Visual Capitalist. GGR is the total amount of money wagered minus winnings. From 2018 to 2023, annual GGR jumped to $11 billion.
It can be hard to control gambling habits once they start. Winning is only an incentive to bet more, and losing creates the desire to cover losses. This can lead not only to financial problems, but afflictions like anxiety, substance abuse, and the breakdown of personal relationships.
Researchers at Ipsos, a market research and consulting firm, found that 96% of 11 to 24-year-olds have been exposed to gambling marketing messages in the past month. Draft Kings, BetMGM, ESPN BET, and FanDuel are some of the biggest players. Their sign-up promotions guarantee “free bets” and can lead to false confidence in consumers’ betting skills, leading to them make more bets and lose more money.
Caron, an addiction care center in New York City, started treating gambling addiction earlier this year.
“As with drug addiction, gambling stimulates the brain’s reward system,” according to Caron’s website. “When these receptors are
stimulated by normal activity, like eating a good meal or winning a game, dopamine is released. This encourages us to repeat the behavior to get more of that same good feeling.”
Even though gambling is a slippery slope, if you’re at all curious, you’ll probably end up giving it a shot at some point. It’s possible to do it recreationally in ways that don’t negatively impact your life. According to the Office of Addictive Service and Supports of New York State, The Sports Geek, and Yahoo! Sports, there are factors you need to consider if you’re going to do it safely.
1. Think of who you are and what traits you have
What kind of personality do you have? Do you get addicted to things quickly? Are you impulsive? If your answer was yes to either of those questions, betting might not be for you. To bet, you need to be rational, and your decisions should be thought out for more than five minutes. If you get addicted easily, one thing leads to another, and you can lose hundreds, even thousands of dollars.
“Certain personality characteristics such as competitiveness, impulsivity, and restlessness may also contribute to an increased risk of gambling addiction,” says Ahaana Singh of Osmosis, a medical and health sciences technology company. “Individuals with a family member who has a gambling problem are also more likely to engage in such behavior.”
2. CONSIDER your finances
When you’re betting, you have to think about how much you have to lose. Winning big can also mean losing big, so prepare for the worst. Keep records of how much you’re betting, and don’t take extra money set aside for other purposes, like savings or rent. Don’t ever borrow money from anyone to make bets, because you may not be able to return it. Use only money you intended to use for recreational purposes like eating out or attending events—money that you would have no chance of recouping either way.
“You shouldn’t rely on gambling as a source of income, banking your financial hopes on winning the following slot spin, blackjack hand, or sports bet,” according to Jeremy Olson, a writer for Casino Center.
If losing will have any real repercussions for your finances, don’t make the bet.
3. Bet with STATS, not emotions
Use whatever information is available to make your choices. Who is picked to win? How do these teams perform under pressure? Is the weather going to impact how certain players perform during the game? Did the team just get back from an away game? Does travel negatively affect certain players?
Don’t engage in confirmation bias; that is, don’t solely seek information that supports the bet you are considering. Numbers don’t lie, but at the same time, overconfidence can lead to aggressive betting, and in sports, nothing is certain.
Read up on the sport you are betting on, even if you think you know everything about it. You may find something you didn’t know that can positively impact your betting experience.
4. Don’t bet in large amounts
Anything you win means more money than before, so don’t bet too big, no matter how strong the temptation. In particular, don’t chase losses—making larger wages is tempting when you want to make up for a loss, but this is emotional betting that is likely to bury you in a deeper hole.
“If you're making numerous wagers each day, it's vital to keep bet sizes smaller to prevent rapid depletion of funds,” according to Futsalua, a match analysis and prediction site.
“By understanding how bet volume correlates with appropriate bet sizes, you can better maintain the longevity and health of your bankroll over time.”
5. Don’t bet on your favorite team, Just don’T
If you’re betting, it’s best to remove your emotions from the equation. Remove your bias, even if you eat, sleep, and breathe your favorite teams.
“You can bet on your favorite teams if you want to, but I recommend using a separate bankroll to do it,” says Sarah-TSG, a guest writer for The Sports Geek. “It’s difficult for a fan to look at their favorite team and players without bias, and this bias costs you money in the long run.”
Let go of the guilt you may feel when it comes to betting against your favorite teams. The players and the organization don’t know that you’re betting against them.
Soft Spoken
The lost art of floriography
By Lauren Smelker
City, overflowing buckets mix roses with daisies, daffodils with tulips, and carnations with baby’s breath.
The harmony of color blends with the flowers’ perfumes, separated only by the cellophane that marks each bundle.
These days, flowers serve mostly as romantic gestures or decorative arrangements, but understanding the historical associations of a given bloom can add significance to your floral choices, and some contemporary designers are making a priority of reviving these added layers of meaning.
Historically, floriography—the language of flowers—was a subtle,
artful code representing thoughts that could not be spoken aloud.
“We see it being used as far back as ancient China, Assyria, and Egypt,” says Caitlin Merritt, an Instructor of Landscape Design History, Continuing Education at the New York Botanical Garden.
Part of Merritt’s job is to study the overlap between history and nature.
“When we think about Europe in the Middle Ages, literacy was a rarity but people still needed to communicate,” Merritt says. “We have records from Medieval France or Turkey. These ancient practices moved with people and developed over centuries.”
Morgan Westerberg-Jackson, founder, lead designer, and floriographer of Blomstra Florals Co., agrees with Merritt.
“A floriography book often lists multiple meanings for a single flower, reflecting the diverse interpretations across cultures,” Westerberg-Jackson says.
Merritt says the floriography known during the Victorian era is the culmination of each ancient civilization’s records. In the 19th century, floral symbolism was established as floriography and first emerged in Charlotte de la Tour’s 1819 book, Le Langage des Fleurs.
“Since Victorians valued manners and stoicism, flowers could be used to show affection, a desire to court, or an end to a romance without open displays of emotion,”
Jessica Roux says. Roux is a floriography expert and author of An Illustrated Guide to the Victorian Language of Flowers.
“Young women of high society embraced the practice, sending bouquets as tokens of love or warning, wearing flowers in their hair or tucked into their gowns, and celebrating all things floral,” Roux says.
During the Victorian era, each flower’s meaning was drawn from history, mythology, or the flowers’ details.
“Many were pulled from Greek mythology, like the myth of Narcissus and the daffodil, which was assigned the meaning of
was also important. Suitors at the beginning of courtships who sent a single bloom communicated simplicity and focused on the flower’s message, whereas bouquets expressed complex messages because of the variety of flowers and unique combinations they could create.
“Many young women of high society created small arrangements of flowers, called tussie-mussies, by combining a few blooms in a small bouquet,” Roux says. “They embraced the practice of sending bouquets as tokens of love or warning, wearing flowers in their hair or tucked into their gowns, and celebrating all things floral.”
Red roses remain popular because their meaning is widely recognized. Unfortunately, the deeper symbolic communication of flowers is less prevalent now, Westerberg-Jackson points out. They’re seen as a luxury item, and it’s not guaranteed that the recipients understand the messaging.
But at Blomstra Floral Co., Westerberg-Jackson blends floriography and wedding floral design to create unique experiences for each wedded pair, continuing floriography in the 21st century.
“As a designer, storytelling often comes second to fitting flowers into a client’s color palette,” she tells me.
Westerberg-Jackson listens to her clients and recognizes that there are only so many flowers to choose from when designing for a wedding, so there tends to be some overlap.
“Even though many flowers have multiple meanings, I arrange them to fit the unique story of each wedding, often using the same wildflowers in different combinations to convey distinct
Westerberg-Jackson created a client questionnaire to understand who she would be creating for. She asked what three words they would use to describe themselves, and what their favorite flowers or botanical
And a few years after WesterbergJackson started her business, she noticed a trend in the responses.
“Remarkably, 75-80% of the time, their chosen flower reflected at least one of their self-descriptive words,” she says.
We’re all drawn to things that clarify who we are. Zodiac signs categorize us by season, and personality types give us a list of characteristics we’re defined by.
“One of the things I love is how humans simply seem drawn to flowers,” Merritt says. “We look at any civilization, and we can see flowers used in cooking,
medicine, decorations, and rituals. It highlights how even the most everyday flowers contribute to our everyday lives.”
Floriography allows us to share our emotions with others. Still, it also shows who we are colorfully and uniquely, presenting confidence through orange lilies, creativity through marigolds, patience through Aster, and honesty through a white Chrysanthemum.
The practice of floriography isn’t lost to the Victorian era, with companies like Blomstra Florals resurrecting the tradition with modern applications.
“Today, as more and more people garden, we’re seeing more interest in floriography,” Roux says. “It’s a wonderful way to connect with the past and create gardens full of intention and beauty.”
A Quick Floriogr aphy Guide
White: Purity, Humility, & Innocence
Yellow: Lightheartedness, Happiness, & Friendship
Red: Passion, Love, & Affection
Pink: Grace, Joy, & Innocence
Romance
Blush Rose: Admiration
Cornflower: Hope in Love
Daisy: New Beginnings
Lily of the Valley: Return of Happiness
Pansy: You Occupy My Thoughts
Posy: Longing for a Romantic Meeting
Red Tulip: Declaration of Love
Waxflower: Eternal Love
Yarrow: Cure a Broken Heart
Rejection
Buttercup: Childishness
Azalea: Take Care of Yourself
Stripped Carnation: Sorry, I Can’t Be With You
Yellow Carnation: Disappointment & Rejection
Snapdragons: Presumption
Hydrangea: Heartless
Other Meanings
Green Carnation: Homosexuality
Chamomile: Love & Peace
Purple Hyacinth: Please Forgive Me
Mistletoe: Overcome Difficulty
Mums: Condolences
Peony: Good Fortune
Ruscus: Thoughtfulness
The thing called 'Art'
Violeta Romanyuk
Audrey Burch
CREATIVE DIRECTION
Callista Anctil
Elara Montana
Lauren Smelker
Sofia Valencia
HAIR & MAKEUP
Kanahara Miguel BEAUTY DIRECTOR
Ragini Bishnoi STYLING DIRECTOR
Paige Collins ASSISTANT STYLING DIRECTOR
Alyah Bernal
Sianni ClarkBrowne
Pooja Tekwani
MODELS
Carly Gabriel
Alexandra Adams
Maddie Larson
PHOTOGRAPHY
Audrey Burch
Abigail Hoeman
William Neer
Chela Owuor
Rahi Premchan
Violeta Romanyuk
Ben Schott
Celeste Singh
SET DESIGN
Nonsense
Violeta Romanyuk CREATIVE DIRECTOR
Audrey Burch
ASSISTANT CREATIVE DIRECTOR
Kanahara Miguel
Callista Anctil
Elara Montana
Lauren Smelker
Sofia Valencia HAIR & MAKEUP
Ragini Bishnoi STYLING DIRECTOR
Paige Collins
ASSISTANT STYLING DIRECTOR
Jiya Agarwal
Sianni ClarkBrowne
Colette LowryKirkhus
Luis Nicolas
Lizbeth RiveraArdon
Roberto Rojano
Isabela Simona
Kaasandra Thymian STYLISTS
Carly Gabriel
Alexandra Adams
Maddie Larson PHOTOGRAPHY
Luke Arborn
Sianni ClarkBrowne
Sana Haider
Sebastian Lopez
Rebecca Moore
Dominique Prudent
Invi Salvador MODELS
Audrey Burch
Abigail Hoeman
William Neer
Chela Owuor
Rahi Premchan
Violeta Romanyuk
Ben Schott
Celeste Singh
SET DESIGN
and accessories stylists’ own unless otherwise noted
The Usual Pathways of a Brand-New Brain
Independence, Change, and Leaving Yourself Behind
By Lola Spring
New York was finally growing into me.
I no longer assumed I’d be charged a reasonable price for a street hot dog, nor did I recoil at the sight of a license-plate-sized rat. I'd roll my eyes at the pedicab assault of Sinatra's “New York, New York,ˮ its passengers millennials sporting gaudy Canal Street Gucci bags, or middle-American tourists, pink from exhaustion, or even tweens-atlarge, split from the group on a class trip, layered shopping bags, slung on wrists, hot pink T-shirts shouting “Franklin Middle School” sporting bold black print.
My first time in New York City was the day I moved here, and I remember telling myself that even if the city treated me as badly as I heard it would, nothing could be worse than being stuck as myself in the place that I came from. That may have been a naïve thought, because I was in for the thing most unfathomably foreign to a pre-18-year-old mind: independence in full throttle.
Surviving a walk against the grain of Fifth Avenue’s consumer stampede at noon on a Sunday was my version of some state school’s Greek Life hazing, only this was Manhattan. I held my head in line with the horizon; to ogle the city's skyscrapers—the crystallized growths that may as well have sprouted from the concrete—was to reveal myself as a transplant, and
I remember that’s the last thing I was told I wanted to be perceived as (even though that's what New York is all about).
In two years, I went from waking up to the basement bedroom view of a concrete window-well in my parents’ house to the significantly more pleasant sight of an office building across 51st, and then to my first apartment, where I settled for an Eastern-facing bedroom view positioned parallel to an elderly neighbor’s bathroom window. This is all to say that I willingly flung myself into the machine of utter change, hoping to be distilled down to the kind of person who can do it all on her own, and even find it thrilling.
Instead, I dug down so far from where I started that I hit struggle, and also banality, which was the thing I hated most. The way I see it now, I’m up to the ceiling with checked-off milestones of growing from child to adult: I had my 18th birthday, chose a college across the country, and got my own apartment; now I grocery shop on Mondays at 2 p.m. unless I’m scheduled for work that day.
I can single handedly build an IKEA Expedit and caulk the walls in my bathroom, and it's harrowing to know that “it’s my responsibility.” I think back to the period on the precipice of real life; it was two weeks before my high school friends and I were set to leave for college. We were all to disperse from the core in two weeks, and that reality was present in the sick that lined our stomachs.
It was the last sip of summer. We were headed east. Sean and I figured we should each drive a car over to the campsite.
We were the only ones that had it in them to endure three-odd hours behind the wheel that morning. Waking up before the birds for this venture hit us like a train; it flattened the highs of a spodiedrunk summer, where we were all 18 and, for the last time in our lives, exempt from the cortisol spikes induced by alarm clocks and W2s and knowing what day of the week it was.
So we left the Emerald City, for the last time as kids going back home to their parents, for a few days in the dust and all-American charm of Washington’s East. In the car, we talked over the twang of Johnny Cash and Bob Dylan about who we wanted to be and all that we hoped to leave behind.
I Wondered if the city had ever heard quiet like this, and if I'd crave it once I was there
The part of eastern Washington that borders the Columbia River is a spread of land that resembled burnt-sienna oil pastel, barren if you discounted its stout plateaus and tufts of lichen-green emaciated brush and shadowless, towering windmills trailing a monotone gray highway.
I wondered if The City had ever heard quiet like this, and if I’d crave it once I was there.
Here, the sun had the bandwidth to blanket the land with heat haze so strong it was malleable. My breaths slipped down my throat and plumed on the way out. The atmosphere had this almost rippling quality,
like the greasy mirage propane causes when you’re cooking on a barbecue, or when you take your mascara off with coconut oil.
The same distortion drew my gaze weeks later through the backseat window of my very first New York yellow cab. It was a Turkish bath outside, and my mother, who had already done the Manhattan thing a number of times, was sitting to the left of me and pointing out things like The Vessel and Little Island, 99-cent pizza joints and guys selling counterfeit designer bags on crowded avenues. It was like I was seeing the film set of my mother’s stories.
“One time my taxi pulled up to that light right there.” She pointed over me and out the right-side window. “Jim Carrey was in the car next to us!”
She had a flight out the next day, though it already felt like we had said our proper goodbyes.
The night I got back from camping, we sat in the backyard of the house where I'd spent my Terrible Teens. I pulled out one of the American Spirits I had left over from camping, just to see what she would do, and she asked if she could steal a drag or two. In that moment, I realized my mother had already accepted my new stage of life and grieved—or relieved herself of—the old one. Maybe I already had, too, when my friends and I took our one last temporary trip away from home.
The lake at Potholes is not a lake; it is a topographical depression filled with runoff from the Columbia Basin that may or may not give you an algae rash if you dare wade its waters. But it was 95 degrees outside, and we all brought clothes we didn’t care about, so we were going to get in the water—hives or not.
The sun was telling us it would set soon. It cast beacons of molten gold over the reservoir’s polite ripples and onto our faces. We hadn’t
thought to apply sunblock. The sky’s complexion was clear and peachy and free from clouds of worry. We were 18 and naïve to the fact that our friendships or our memories or the skin around our eyes would pucker with time, that student loans and grocery shopping and Con Edison would rule our finances, that as we got older, our parents would too.
Over the course of our threenight stay in the campsite we had poured Budweisers down the sinkhole of impending doom we were avoiding and reiterated over and over how glad we were that high school was finally over, and college was starting—how we’d miss this gray area. We bathed in the water, and cattails stood as pillars on the crumbling shoreline: Corinthian columns standing ground as we baptized one another into adulthood.
The Crone and the clock woman and the taboo of aging
By abigail hennessey
When I was a child, my small hands graced the wrinkly skin on my Yiayia’s arms, and I wondered how bodies could change so drastically. I saw her as a library of wisdom filled with stories only made possible through aging. I also saw her as an old woman, something the culture around me had already taught me to dread.
There are three female archetypes set by ancient Greek culture: the Maiden, the Mother, and the Crone. I used to envy the Maiden and her promise of freedom, however fleeting it would prove to be. Now in my twenties, I have grown a connection to the possibility of the Mother. And alongside my female peers, a fear of the Crone.
But why—when in many cultures, old women have been revered as wise and holy—does this fear still have a hold on us? In one case, after a bad reaction to an intensive skincare regimen, 10-year-old Scarlett Goddard Strahan told the Associated Press that she “didn’t want to get wrinkles and look old.” Will yet another generation of women be tricked out of appreciating the gift of aging?
I surveyed 42 women over the age of 40 and spoke with three 17-year-olds to figure out where women across two important age groups stand on the process of aging. The conversations that came from this showed that women want to speak about their experiences.
After welcoming honesty and removing terror, most came to admit they know that aging is a blessing.
Yet we are programmed to fear it and feel tremors at the first sign of what might be smile lines.
“Children's films showed older women as hags, villains, shriveled up with nothing left and lonely,” 17-year-old Sophia told me. “I remember being afraid of women with gray hair in grocery stores because I assumed they were evil; part of me is still afraid of that.”
Rooted in the Greek word “hagia,” the term “hag,” meaning “Holy Woman,” has come to mean something sinister, signifying a lost appreciation of age.
The holiness of menopause and wisdom behind wrinkles now represent the end of the patriarchy’s vision of a woman’s “purpose.” While most humans tremble at signs of mortality, there is an added layer of fear for women; women are partially acclimated to society as passive reproduction machines whose only purpose is the bearing and rearing children.
Women are “socially handicapped” by their signs of mortality, Barbara G. Walker writes in The Crone: Women of Age, Wisdom, and Power. Femininity is associated with passivity, helplessness, and politeness, which are qualities that age doesn’t improve, as Susan Sontag also points out in “The Double Standard of Aging.”
Masculinity, on the other hand, “is identified with competence, autonomy, self-control—qualities which the disappearance of youth does not threaten.”
Our implicit bias is attracted to the idea of youth and prefers to be surrounded by it. When you set the low expectations for contribution that society unconsciously or very openly has for women against the backdrop of a “sex sells” mindset, it becomes clear why their value decreases.
In her essay, Sontag uses the example of a late-in-life divorce, something most people have either witnessed or experienced.
“The husband has an excellent chance of getting married again, probably to a younger woman,” she writes. “His ex-wife finds it difficult to remarry. Attracting a second husband younger than herself is improbable; even to find someone her own age she has to be lucky, and she will probably have to settle for a man considerably older than herself.”
Cathy, a 42-year-old woman from the survey, related to the anecdote, admitting that the impact aging has on her self-esteem partially stems from being “left for a younger and carefree woman.”
“I feel like all the stress of aging in a woman’s life made me undesirable,” she told me.
50-year-old Beth Reiff added to this idea, revealing to me her perception of aging in men versus women.
“As a man, you have the opportunity to age gracefully with charm and sophistication. As a woman, reaching the pre- to post-menopausal stage presents an uphill emotional battle that’s often expected to be accepted,” Reiff said. “Instead of celebrating the end of menstruation, women must face the psychological and biological depression of menopause.”
The fear women like Cathy have of losing beauty and value as they age can actually complicate menopausal experiences like the one Reiff describes. Dr. Mary Jane Minkin, an obstetrician and gynecologist at Yale Medical School, explores this in her studies on menopause.
“Where age is more revered and the older woman is the wiser and better woman,” menopause symptoms are “significantly less bothersome,” Minkin writes to Reuters. On the opposing side, “where older is not better,” which is in most Western societies, “many women equate menopause with old age, and symptoms can be much more devastating.”
Menopause is a turning point in a woman's body that has great influence on their mental and physical wellbeing. Without support and discussion rid of any stigma in Western culture, the initiative to seek medical advice declines.
Discussion about the natural processes of aging in women vanishes because of the stigma that prevents men, youth, and doctors from speaking comfortably about it.
Fabrisia Ambrosio, the Director of the Musculoskeletal Recovery Center at Spaulding, told Harvard Medical School that even with the 75% effect menopause has on
age-related disease in women, “less than 1% of published studies considered menopause,” naming this “a big missed opportunity.”
Of 42 women I surveyed, 96% admitted to feeling a lot or some fear of aging, and the majority reflected Minkin’s findings that open discussions about the aging process and better education on menopause would reduce angst and other symptoms.
“It was difficult to find answers or even empathy in a male OBGYN during menopause when I had to switch practices after moving,” one 68-year-old woman told me. “I know it’s not their job to console you, but I always wished there was more discussion about the positive sides at the end of the tunnel.”
“The pain I experienced on repeat once a month for decades of my life was over,” she wrote.
So, imagine if aging was something anticipated with some measure of enthusiasm. Imagine if, instead of fearmongering, society embraced age as a chance to advance into something more compelling than childbearing and rearing. Imagine if age was sold as the property of a wise woman, not a useless one.
It may feel like the clock is moving the wrong way. You might rather return to a small frame with smooth skin. But the ticking won’t reverse—the abundance of remedies will run down a sink drain and the consuming dread will waste away time some others don’t get. In other words, you cannot delay the fated portrait of the Crone, so embrace it. And along the way, you might find it improves your quality of life rather than diminishing it.
“You get told you look good for your age, but what is that saying? It tells us we look young. Everyone likes a compliment, but just give it, don’t rationalize it,” one 56-year-old woman told me. “There would be little pressure to feel younger if we embraced aging and gave it value.”
ElaraMontana EditorinChief
The Truman Show
This film is an unadulterated classic. Its commentary on exploitation and identity, paired with Carrey’s renowned wit and comedy, creates a truly introspective experience you’ll be thinking of for weeks.
ColourPop Glossy Lip Stain in Tutti Fruity
Lip stains are by far my favorite lip product, and this is the holy grail. Its super rich and longlasting color makes for such a great tint—it’s a perfect and affordable one-and-done lippy.
A Certain Hunger Chelsea G. Summers
The horror genre has always been a personal favorite, so when I read this novel, I immediately fell in love with the premise: a female food critic that cooks the men she kills. Vivid food descriptions combine with grotesque, witty internal monologues to form an intriguing premise that any reader can sink their teeth into.
This album holds a special place in my heart—hell, I even got a tattoo to commemorate it. Ctrl feels like you’ve sought advice from older women in your life, and with each listen, it resonates even more.
Normal People
Sally Rooney
Years ago, Sally Rooney got me out of a long reading rut. In my opinion, Connell and Marianne are some of the most heartbreaking characters in contemporary literature. I still find myself opening the book to read my original annotations and add new ones.
My Boots
My best friend gifted me these boots two years ago, and I’ve worn them most days since. They match everything, and even when they don’t, I still wear them. I’ve worn them pretty much everywhere—even hiking—and have never been uncomfortable.
Mamma Mia
I got my love for Joni Mitchell from my mom, who played her music all the time. I feel most nostalgic when listening to Blue. I would consider it the soundtrack to my childhood, specifically “River,” which we
I don’t have many favorites when it comes to beauty, but I do use Bag Balm every day. It is pretty much the equivalent of Aquaphor, which is second on my list.
If Blue by Joni Mitchell was the soundtrack for my childhood, Mamma Mia was the set dressing. My sisters and I watched it more times than I can count and daydreamed about living in that world. It remains a goto comfort movie, especially when I miss my sisters.
Editors’ Picks
Blue Joni Mitchell
Abigail Hennessey Editorial Director
Pride and Prejudice
The 2005 version of this story is the perfect adaptation of one of Jane Austen’s best novels. Starring Keira Knightley and Matthew Macfadyen, this movie is the perfect blend of romance and comedy—and has one of the best love confessions in movie history.
Game of Thrones
George R.R. Martin creates amazing worlds in his actionpacked, suspenseful books. The first novel in his Song of Ice & Fire series, A Game of Thrones, is a long-time favorite.
Circus NY Ballet Flats in Silver
I love these shoes! The silver color makes them easy to pair with any outfit. You can dress them up or down, and they are some of the most comfortable shoes I have ever worn—I could walk miles in New York City with them on.
Rhode Barrier Restore Cream
Hailey Bieber’s breakout skincare brand is all anyone has talked about for the last couple years. Their Barrier Restore Cream is amazing! It is soft and nourishing without being too heavy.
Country Squire Tyler Childers
This is my favorite country album. My mom and I listen to this in the car all the time. Its mix of country and blues reminds me of my home in Virginia. I saw him in concert with her, so this album is extra special to me.
Editors’ Picks
CarlyGabriel PhotographyDirector
Editors’ Picks
The Song of Achilles Madeline Miller
This is a beautiful story with themes of love, loss, and overcoming adversity. It's everything you look for in a romance novel.
Vintage Jewelry
There are so many ways to style rings and necklaces that change your entire look. I love the variations of vintage jewelry. Each piece is one-of-a-kind.
Rhode Blush
This blush adds a pop of color and changes with its hue and placement. My personal favorite is a bright pink blush.
The Greatest Showman
Based on a true story about P.T. Barnum, the film shows how limitless imagination and persistence can create a world of your wildest dreams.
Harry’s House
Harry Styles
I remember hearing “As It Was” for the first time. I have been a fan of Harry Styles since One Direction. This album creates a particular feeling of home and love.
BEHIND THE
PHOTOGRAPHERS: Claudine Lorico, Madison Larson, Paige Collins
