Moda Madison: May 2022 Issue

EDITOR IN CHIEF

Gabrielle Gronewold

DEPUTY EDITOR

Arella Warren

ART DIRECTOR

Annika Ide

HONORARY ART DIRECTOR

Jessica Tenenbaum

ARTS CURATOR

Emma Gray

PHOTOGRAPHY DIRECTOR

Audrey O’Neill

CREATIVE DIRECTOR

Sam Starks

FASHION DIRECTOR

Corbin Woessner

FASHION EDITOR

Manon Bushong

LIFESTYLE EDITOR

Mason Braasch

CULTURE EDITOR

Rachel Hale

ARTS EDITOR

Kora Quinn

ACTING FASHION EDITOR

Jane Houseal

ACTING FASHION DIRECTOR

Jane Houseal

ACTING LIFESTYLE EDITOR

Abby Cattapan

ACTING CREATIVE DIRECTOR

Hannah Bruder

SOCIAL MEDIA MANAGER

Rachel Van Hefty

PR AND OUTREACH DIRECTOR

Emily Fleming

ONLINE EDITOR

Jessica Katz

NEW MEMBERS DIRECTOR

Maya Greenberg

PROGRAMMING AND SPECIAL EVENTS COORDINATOR

Madeleine Olson

DIVERSITY AND INCLUSION CO-DIRECTORS

Abbey Perkins Sonakshi Garr

MAKEUP DIRECTOR

Riley August

VIDEOGRAPHY DIRECTOR

Madelyn Vilker

WEBSITE MANAGER

Kara Conrad

MODA IS PRODUCED WITH SUPPORT FROM THE WISCONSIN UNION AND WISCONSIN UNION DIRECTORATE PUBLICATIONS COMMITTEE.

ON THE COVER

Hannah Bruder, Assistant Creative Director photo graphed by Hannah Huber, Staff Photographer

WRITERS

Laine Bottemiller • Mason Braasch • Noa Chamberlin • Sam Downey • Erin Galioto Maddie Gamble • June Glenney

• Emma Goshin • Gabrielle Gronewold • Rachel Hale •

Kylie Hynes • Jack Ives • Nina Johnson • Jessica Katz • Sarah Kirsch • Mi Chuinda Levy • Ava McNarney • Clara Padgham • Kora Quinn • Holly Shulman • Cate Tarr • Arella Warren • Zack Zens

ART

Riley August • Mac Gale • Nicole Glesinger • Emma Gray • Filip Jawdosiuk • Alexa Kantor • Shea Murphy

• Rosie Quinlan • Quinn Ruzicka • Riya Shah • Jessica Tenenbaum • Arella Warren • Haley Wolff

PHOTOGRAPHY

Jami Balicki • Claudia Chan

• Abby Cima • Evie Dockray

• Hannah Huber • Anna Janke • Sophia Krupka • Luc Marchessault • Tara Osbourne Emma Spaciel • Jessica Tenenbaum

MODELS

Sophia Abrams • Jada Ajami

• Hannah Bruder • Ella Cunz • Najma Hurre • Alyssa Lenius

• Mi Chuinda Levy • Djamal Lylecyrus • Allison Milano Johnson • Alicia Obiakor • Tracy Pham • Christopher Raemisch • Jasmyne Short

• Phoebe Smolan • Noah White • Chris Ziebert

TABLE OF CONTENTS

CULTURE

20

The Bandana Project

Bridging the mental health resource gap on campus

26

The Hot Girl Walk

How quarantine turned walking into a fad

38

The Light of Our Lives?

Our obsession with perception

ARTS

06 Golden Hour

The symbolism of sunrises and sunsets in film

12

An Interview with Sophia Abrams

UW art curator talks Black art, upcoming exhibits and inspirations

14

Arts’ Beacons

Media that brings joy and comfort to the Moda Arts section

28

First Loves: A Guiding Light

Our favorite media’s odes to first loves, and the indelible paths they form

32

Illuminating Art Forms

Tracing the use of artistic mediums that shine, shimmer and glow

33

Seeing the Light on the Other Side of Adolescent Girlhood

What growing up as a girl means in the media

46 Inbetween Dreams

The dreamcore aesthetic told through dream-pop, shoegaze and more

05 Good Morning Sunshine

A guide to blissful mornings

10 Main Character Moment

Five ways to romanticize your life this spring

11

When I See the Sun Shining…

The lessons I’ve learned from my grandparents

42

Sun Kissed and Full of Bliss

Navigating bright, bold eyeshadow looks as a person of color.

44

Close Your Eyes and Count Backwards

From Ten

My journey with hydrocephalus and brain surgery

FASHION

08 (Un)Coordinated

Your guide to clashing patterns

22

Health, Healing & Hoodies

Brands with messages that go beyond seams

24

Dressing Out of Disaster

Dopamine dressing sweeps pages with bold colors to overcome strife

30

FEATURED LIFESTYLE

The Power of Pucci

An homage to the Prince of Prints

34 Cut the Tag

The exploitative nature of a fashion industry norm

15 Buoyancy

33 Spunk

FROM THE EDITOR

Admiration of the Past, Present and Future

Dear Readers,

It is finally here. Our last issue of the 2021-22 academic year: Beacon.

A beacon is defined as “a fire or light set up in a high or prominent position as a warning, signal, or celebration.” It’s a lighthouse. It’s a lit-up landing runway. It’s a friend with good advice. It’s a city we daydream about moving to.

A few months ago, while thinking about themes, I was inspired by the things we look up to and look forward to— our beacons. I reflected on the past season of my life in college—something anticipatory, romanticized and fleeting. And I reflected on my next season—what cities, what opportunities, what people and what love could possibly arise. There are these touchpoints in our lives that we place high on a pedestal, that we build our lives around, that we feverishly attempt to enjoy and hold—our May issue is dedicated to this phenomenon.

Around the same time, our amazing Fashion Staff Writer Zack Zens was motivated by the concept of dopamine dressing. This is the act of dressing to spark joy, something you can read more about in “Dressing Out of Disaster.” Zens urged us to bring bright colors, prosperity and happiness to our reader’s gaze—becoming a beacon for this very issue.

Nina Johnson’s “First Loves: A Guiding Light” reflects on love as a beacon and how the strong emotions of our first deep connection can remain as great symbols and inspire our future love stories. Maybe we won’t hold our first love forever, but the hold of our first love is undeniable.

Clara Padgham on the other hand inspires us to let some things go—specifically, the sizing of our clothes. “Cut the Tag” discusses the current fashion industry’s unethical practice

of vanity sizing, a mode of manipulating sizing numbers to make consumers feel “better” about themselves in order to drive sales—and ultimately drive unhealthy societal expectations. Maddie Gamble continues the effort of letting go with “Good Morning Sunshine.” Gamble redefines a.m. productivity and gives us a guide to mornings without the unhealthy pressure or shame.

As the school year comes to an end, letting go becomes prevalent in many of our lives. As my own time with Moda and UW-Madison is closing, I find myself with many reflections which can be summed up in the work of those I admire. The great Joan Didion once said while unexpectedly moving away from New York, “It is distinctly possible to stay too long at the fair.” To my surprise, I think I’ve had enough of these very rides Didion discusses. My own idea of the fair is shifting—it’s still bustling, but it no longer needs me as I may no longer need it.

And, as hummed by the great Joni Mitchell, “There’ll be icicles and birthday clothes and sometimes there will be sorrow.” There is not much I am capable of adding to that.

With that, I give you Beacon—a celebration of life as we know it and life as we hope it will one day be. To Moda— thank you. Your fair was both a season and a beacon and I had a wonderful time.

Warmly signing off,

GABRIELLE GRONEWOLD EDITOR IN CHIEF

good morning sunshine

A GUIDE TO BLISSFUL MORNINGS

Written by Maddie Gamble, Lifestyle Staff Writer

Graphic by Shea Murphy, Contributing Graphic Artist

Ihave never been an early riser and frankly, I don’t think I ever will be. However, that doesn’t mean I’m not a morning person—I actually love mornings. Waking up to a new day has grown into one of my favorite things, but first I had to let go of the idea that a good morning needs to start at a certain time.

It has taken me a while to realize my morning routine doesn’t have to emphasize productivity. I don’t need to get up early, work out or journal for it to be beneficial. I simply need to do whatever makes me love getting ready for another day.

Society has fostered the misconception that your morning routine has to look a certain way in order to be success ful—a concept that is entirely false. Scrolling through Tik Tok, I frequently come across videos containing aestheti cally pleasing series of clips of an individuals’ morning. They look so well put together and perfectly radiate “that girl” energy. However, the reality is that outside of the camera, mornings rarely ever look like that. Social media is a con stant highlight reel and we have to keep this in mind when we start comparing ourselves to others.

The most important thing to remember when creating your morning routine is to center your morning around person al happiness and positive energy. A negative mindset first thing in the morning will instantly generate a bad mood—a mood that may carry through your whole day.

I often find myself waking up and instantly wanting to press the snooze button to go back to sleep. This simple act puts me in a bad mood and is something I have intentionally re moved from my morning routine. Instead, when I wake up, I instantly think to myself or even sometimes say out loud “I love today.” It can feel silly, but acknowledging how grateful I am to wake up for another day takes the dreadfulness out of my mornings—it has made me genuinely excited to get up.

Not all mornings need to look the same. I wish all of my mornings could consist of me sleeping in until noon, eating breakfast in bed while binge-watching Netflix, and drink ing endless amounts of coffee—but the reality is that they can’t. I used to think every morning had to look the same. If I missed a step one morning, the entire routine felt point less. It took me years of struggle to realize that’s not the truth. Morning routines exist to provide an order that brings us happiness—not stress. Landing on a routine that’s effec tive with on pressure is a hard balance to achieve. I found it helpful to identify a few steps to do every morning, re gardless of when I wake up. For me, those steps are mak ing a cup of coffee, journaling or writing in my planner and drinking a glass of water. Picking a few steps to commit to doing every day makes sticking to a morning routine a lot less overwhelming.

When it comes to your mornings, there should be no place for comparison. There is no value in striving to perfect a routine that doesn’t align with your needs. What works for others isn’t necessarily going to work for you. If you don’t love getting up early, don’t get up early. If you hate working out in the morning, work out in the afternoon. The beautiful thing about mornings is that there’s no rule book. You get to craft a time for your personal growth and well-being with out any expectations from others.

Creating your morning routine shouldn’t be stressful. A good morning routine is one that makes you feel ready to start your day, and it shouldn’t be influenced by anyone but you. You should do whatever makes you feel energized and confi dent to face the world. The goal isn’t perfection and produc tivity—it’s peace. ■

A good morning routine is one that makes you feel ready to start your day, and it shouldn’t be influenced by anyone but you.

golden hour

THE SYMBOLISM OF SUNRISES AND SUNSETS IN FILM

Written by Kylie Hynes, Contributing Writer Photographed by Jessica Tenenbaum, Honorary Art Director and Staff Graphic Artist

One of the most photographed natural phenomena in the world, sunrises and sunsets have a majestic, awe-inspiring quality that never fails to both capture our attention and leave us reaching for our cameras. But what exactly is it about the rising and setting of the sun that’s so enchanting? Is it the colors or the sound of the waves reflecting beneath them? Is it the contentment that comes from a day well spent or the hope of a new and better one? Is it the peace of solitude or the warm glow on the face of the person beside you? Don’t blink or you’ll miss it. Take a photo before it fades. Remember how it feels.

There’s little that films do better than capture moments like these. Name your favorite movie, and no matter the genre, I’d bet there’s a sunset in there somewhere. After Rose final ly concluded she was in love with Jack in “Titanic”? Sunset.

After the Breakfast Club went their separate ways? Sunset. After the Narnians defeated the White Witch? Sunset. I could go on and on.

Shown most iconically at the end of films before the screen fades to black and the credits start to roll, sunrises or sun sets set the screen aglow in a beacon of color and light. Meanwhile, we watch the characters ride off into the dis tance, contemplate the future, embrace sweetly, part ways or relish a hard-won victory. Tragedy struck, love conquered and change was on the horizon.

Symbolic of birth, growth, resurrection and creation, sun rises represent all kinds of new beginnings for characters in films.1 It’s at dawn that armies march and ships set sail, that duels are fought and that characters rise to contemplate the events of the day ahead. As the sun rises in swaths of orange, red and yellow, we watch as characters’ faces are illuminated in its warm glow and they stare into the horizon towards whatever the future may bring.

Sunrises are energizing, anticipatory and always filled with the hope of newness.2 However, the new beginning sunrises

¹ “Sunrise, Sunset Bring Power and Knowledge,” Deseret News, April 8, 1998.

2 Christopher. “Sunset Symbolism (6 Meanings in Life and Literature),” Sym bolism and Metaphor, Jan. 16, 2021.

often symbolize in the life of characters on-screen is not always a welcomed change. While we usually associate sun rises with moments where characters are filled with hope fulness and inspiration, they can also bring about feelings of hopelessness. Whether trying to fathom life after loss or the excitement of a new era, sunrises are there to welcome characters into a new day, ready or not.

Sunsets, on the other hand, symbolize the completion of a cycle and the end of an era for characters in film.3 Whether it’s over the ocean, behind a city skyline, over the hills or elsewhere, sunsets represent closure, finality and even vic tory. As the sun sets, time seems to slow for the first time after hours of plot unfolding. Characters are finally allowed to feel a sense of calmness and completion while simulta neously looking ahead to the new beginning the sunrise will inevitably bring. The setting sun symbolizes both who the characters have become and hope for who they have yet to become throughout the film and beyond it.

The cyclical nature of the sun as it rises gives light to our days and retreats below the horizon once more is reminiscent of life itself. We’re born, we live and we die. We wake up in the morning, we go about our days and we go to bed. We start and finish, live and learn, fall and get back up in a never-end ing cycle of love, loss and everything in between.■

³ Ibid.

Shown most iconically at the end of films before the screen fades to black and the credits start to roll, sunrises or sunsets set the screen aglow in a beacon of color and light.

(un)coordinated

YOUR GUIDE TO CLASHING PATTERNS

Written by Ava McNarney, Fashion Staff Writer | Modeled Christopher Raemisch and Alyssa Lenius Photographed by Anna Janke, Staff Photographer and Claudia Chan, Contibuting Photographer Videography by Abby Moritary | Makeup by Nicole Escobia, Staff Makeup Artist

I’ll never forget the first time I felt self-conscious about my style. A blissfully naive ten-year-old, I had crafted a colorful getup of a mismatched striped purple top and leggings to wear to dance class. I had a rude awakening on my way out when my mom took one look at what I had on, laughed, and told me to change. I left the house that day with a pink tinge of embarrassment lingering on my cheeks. Albeit the new outfit my mom had picked out for me was admittedly better aesthetically, I certainly didn’t feel any better about myself. I felt worse–and confused.

Looking back, I’m grateful for my mom’s better judgment. Al though I’m not so enthusiastic about the idea of wearing the same outfit today that I put together all those years ago, I almost wish I was. I have a nostalgic appreciation for ten-year-old Ava’s bold ness and, finally, the world agrees. The rising popularity of Y2K and similar out-there aesthetics encourages us to avoid the main stream altogether, opening our eyes to a whole new world of pos sibilities.1 If you’re searching for a subtle way to start broadening your horizons, you’ve come to the right place.

Over the past decade, the high-fashion world has taken pattern clashing from repulsive to the runway. Check out any of Gucci’s relatively recent collections–drowning in noisy prints from kalei doscopes to oversized logos; each is a unique feast for the eyes. Marketing for the Italian designer’s spunky Caledio line showcased extravagant backdrops that made each piece appear more vivid than it would alone.2

Global style icons have recently adopted this approach. In 2021, paparazzi spotted Rihanna heading to dinner in a cheetah-print fur coat and red and black patterned dress, carrying a mono grammed snakeskin Fendi bag.3 Her natural aura certainly added to the look, but the clashing patterns could’ve worked in unusual harmony on anyone. While influencers have bursted the intimi dating bubble surrounding this technique, Rihanna’s approval is not the only reason why mixing patterns is cool. Even if–or maybe especially if–nobody was doing it, it would still be daring, effort lessly fresh and characteristically creative. It’s an easy and inex pensive way to add countless new outfits to your wardrobe. A pat tern-clashing student myself, I’ll share a few tips to get you started.

If you’re understandably apprehensive and wish to start some where less daunting, I recommend starting with simple, same-col or prints.4 Keeping your color combination straightforward allows you to focus on the heart of the matter, the size and detail of your

1 Christian Allaire, “Like it or not, gaudy Y2K style is roaring back,” Vogue, Feb. 25, 2022.

2 “Pattern, Interrupted,” Gucci Stories, 2015.

3 Christian Allaire, “Rihanna shows how clashing prints are done,” Vogue, Mar. 9, 2021.

⁴ “How to mix prints 2022,” The Fashion Folks, Feb. 7, 2022.

chosen patterns. Purposeful discoordination is the point of pat tern clashing; so, if you wish for any part of your look to appear uber-organized, make it color. A color scheme that’s monochrome, features a couple of vivid hues or several shades that align on the color wheel gives your patterns just the right amount of polish.5

Craving a little more contrast? When it comes to clashing prints, opposites attract. Smaller-scale prints like polka dots and pin stripes pair well with larger-scale prints like florals or abstract de signs.6 Pairing a dainty-patterned top with louder-patterned bot toms is charmingly avant-garde. One of my favorite stylists and creators, Areballa Bartelloni (known as @lilrotini on TikTok), shows us how it’s done. In a TikTok responding to a comment challenging her to combine a few prints, she pairs a striped and polka-dotted button-up with a large-scale plaid vest. Even though the getup re quired only a few simple pieces, it was inspirational yet irreplicable.

So you’ve already clashed patterns with artistic color schemes, tried merging prints big and small, or maybe you just have a flair for the dramatic. Luckily, there are plenty of pre-clashed pieces on the market that include multiple prints in one piece. If the Gucci collections I mentioned earlier are out of your price range, check out online vendors like ASOS that highlight more affordable de signers offering pieces that are just as bold.7 Of course, you can still invent something chic by sticking to what’s already hanging in your closet. Clash your wildest options and let yourself be the designer.

However you go about mixing designs, I encourage you to use the technique to your sentiment’s advantage and incorporate as many of your beloved garments as possible into one outfit. Pat tern clashing isn’t a trend, it’s a side effect of growing open-mind edness worldwide. Dressing for yourself is a mindset that’s here to stay.8

Nobody deserves to feel embarrassed about their personal style. When done thoughtfully, the way we dress is how we choose to express ourselves to the outside world. Therefore, adorning an empowering outfit full of joy-sparking pieces must be the key to finding happiness within yourself. Don’t let the key rust–you’re never too old to stop playing dress-up.

■

⁵ Lindsay Samson, “5 golden rules of pattern clashing,” Industrie Africa, Jun. 2, 2021.

⁶ “Beginner’s guide to pattern mixing like a fashion blogger,” Bella Ella Boutique, Jun. 14, 2021.

⁷ “5 strong cases for pattern clashing,” ASOS Style Feed, Jul. 26, 2018

⁸ Kimberly Chrisman-Campbell, “Break the fashion rules in clashing pat terns,” Wall Street Journal, Mar. 26, 2016.

Therefore, adorning an empowering outfit full of joy-sparking pieces must be the key to finding happinesswithinyourself.

main character moment

FIVE WAYS TO ROMANTICIZE YOUR LIFE THIS SPRING

Written by Mason Braasch, Lifestyle Editor Graphic by Haley Wolff, Staff Graphic Artist

We’ve all heard the trick: Buying yourself an overpriced latte and going for a walk can make you feel like you’re the main character of your own coming-of-age movie. Romanticizing your life is as easy as some caffeine and fresh air! But when you come down from your caffeine high and it’s time to go inside, it can be hard to keep the movie reel rolling.

Romanticizing one’s life has become a trend across social media platforms, urging people to view their own experi ences through rose-tinted glasses—but how do you actually do it? In a busy season of finals, deadlines and the impend ing change of seasons, it can be a challenge to find the time to maintain your main character moment. These five unique and simple ideas will help you to fall in love with your dayto-day routine and thrive in the plotline of your own life!

PINTEREST-BOARD YOUR LIFE

One way to romanticize your life is to focus on the small things throughout the day that make you smile. Be inten tional about taking pictures of these things throughout your day—whether it’s the latte art on your matcha, a slickedback bun on a good hair day or your bed that you made. At the end of each day, make a sleek collage of the four pictures that make you the happiest and put them into a folder on your phone. This is not only a fun way to reflect on your day at the end of the night, but you’ll be able to look back on an aesthetic collection of things that have brought you joy!

INVEST IN WHAT YOU REST IN

Buying a pair of fancy pajamas is an easy way to instantly spruce up your nighttime routine; think back to the princess slumber party scene in “Princess Diaries 2.” Whatever your style—a silk set, a nightgown or a fancy robe with feathers— swapping your old t-shirt for fancy pajamas will make you feel like a main character who has their life together.

LIVE OUT YOUR ROM-COM DREAMS

In what seems like every ‘90s rom-com, there is a scene in which the main character sits cross-legged in her pajamas eating chinese food out of the white take-out container with chopsticks (you know the one). Sometimes, roman ticizing your life can be as easy as ordering yourself some greasy food and eating it in front of the TV while watching your favorite cheesy romantic movie—and maybe wearing your new fancy pajamas. Romanticizing your life doesn’t always mean green smoothies and Hot Girl Walks—some times it can be pretending you are the main 20-something character from a ‘90s rom com.

BLOW IT ALL OUT

Nothing feels better than having soft, voluminous hair. Giv ing yourself a blowout will not only give you confidence and make you feel great about yourself, but it’ll make you feel like a movie star (what movie star doesn’t have great hair?). If you need some extra romanticization, invest in yourself and have a blowout professionally done!

GO WITH THE CLASSIC: FLOWERS

Buying yourself flowers might be the oldest trick in the book of romanticizing your life, but the tried-and-true tac tic never fails to add some color to your life. Buying your self cheap flowers from Trader Joe’s or the local supermar ket will make you feel like a main character for days, and they’ll serve as a reminder of it during a busy season.

■

When I See the Sun Shining…

THE LESSONS I’VE LEARNED FROM MY GRANDPARENTS

Written by Jessica Katz, Online Editor Graphic by Nicole Glesinger, Contributing Graphic Artist

My grandma is my best friend.

She has been by my side since the day I was born. When I was supposed to start daycare, she quit her job to take care of me. She thought it was better for me to spend the day with family than with strangers in an un familiar environment. When I started preschool, she picked me up every day and took me to our favorite spot: the “Blue Park.” The moment I saw her through the door frame, I’d sprint over and wrap my tiny body around her legs.

As I grew older, I had less time to spend with my grandpar ents, but it was important to keep them in my life. Every once in a while, my grandma and I would go shopping or grab some food and catch up. She’d ask me about boys, gossip and school. She always told me how she’d rave about me to her friends at the synagogue.

My grandpa is my biggest fan.

When I was a kid, I appreciated his positivity. He’d often joke around with me and my brother. He kept toys in his house, which I suspect was because he knew we’d enjoy them.

My grandpa may be opinionated, but he embraces all with open arms. He sparks conversations and he’ll crack a cou ple of jokes to genuinely get to know the people he meets and make them feel comfortable. Every time I speak to my grandpa, whether over the phone or in person, he says the same thing—“Jessica, you know your grandparents love you very much, right?” He knows just the thing to say to make me smile.

I’ve always had a deep admiration for my grandparents, for the way they would do anything and everything for those they care about. They constantly express how lucky they are; my grandpa explained that his life is “heaven,” but they’ve made many sacrifices to get to where they are now.

My grandpa grew up in Russia, and he didn’t have it easy. In his 20s, he moved to Israel to be a paratrooper in the mili tary. “The first time I got a big bruise on my behind because I was afraid to jump,” he explained. “But later on, after 36 or 38 jumps, I grew from that experience. I learned to be tough.”

After that, he and my grandmother took a risk and immi grated to the United States in hopes of creating a better life for themselves and their future family.

My grandma did not want to move and leave behind her large family in Israel, but she made the sacrifice for her hus band. “I didn’t have anyone here,” she said. “ It was just the two of us. And at first, I was miserable, but I stuck through it and everything worked out. I had a good husband, a good new life and I found so much joy in my children.”

My grandfather did not take a break. He dove straight into college, earning a degree in engineering and continuing on to achieve a successful career. When he looks back at his life, he feels proud of the life he and my grandmother built for themselves and their family. “I’ve seen a lot of negatives, so now when I see the sun shining, it’s beautiful and the people in my life, my family, make my life a lot happier,” he said.

What has made me who I am today is not only the life my grandparents have created for me but the hardships they faced and the sacrifices they’ve made on their way. They risked it all—from my grandma’s job to their lives in Israel— for my family. For me. And for that, I’m thankful and eager to give back all that love and care.

I aspire to be like my grandparents, both of whom have shown me endless love—that if you love someone, you al ways show you care. From their stories, I learned that even in moments of uncertainty, when life feels out of your con trol, there is always a reason to move forward. It was the two of them against the world, and they made a heck of a life out of it. ■

I aspire to be like my grandparents, both of whom have shown me endless love—that if you love someone, you always show you care.

An Interview with Sophia Abrams

Over the course of her time at the University of Wisconsin-Madison, senior Sophia Abrams has made elevating Black voices a core focus of her work. As a student historian at the University Archives since the fall of 2020, Abrams spent this year interviewing 18 Black artists who graduated between 1969 and now for her oral history project, “Black Expressions: 50 Years of Black Student Artists.” The exhibit is one of four Abrams has curated this year based on Black art research, including her shows “Black Expressions Ephemera,” which will reside in the Kohler Art Library, and “Camouflage and Cologne,” which highlights the work of UW artist Taj Matumbi. Outside of campus, her current exhibit, “Time(is): An Exploration of Black Art in Madison,” highlights the works of four Black artists residing in Madison.

Previously, Abrams worked last fall as one of the curators of “In Transit,” an exhibit that took themes from the mum blecore film genre to focus on the use of art for healing. Outside of her work as a curator, she has partnered with Little Picassos, an art enrichment program for low-income families in Madison, and assists with documentaries at PBS Wisconsin, where she is co-producing a short documenta ry with Elizabeth Parker building off of the Time(is) exhib it. After graduating with degrees in journalism and African American studies this spring, Abrams plans to work in film in New York City.

Recently, Moda Magazine sat down with Abrams to talk about her goals and the importance of illuminating Black history in art.

This interview has been lightly edited for length and clarity.

Moda Magazine: Could you speak to the importance of highlighting artists beyond campus?

Sophia Abrams: With the “Time(is)” exhibit, I wanted to focus on Black artists beyond UW, and the gallery coordi nators were really helpful in making it an open experience. The other aspect of the show was to facilitate community amongst Black artists because no one knew each other be fore, and I hope that the community is sustainable in some capacity. I’ve gotten some good feedback from people like “thanks for introducing me to these people,” or “thanks for giving me this space” because a big part of practicing art is that you do need spaces to show your work in exhibitions. I guess if I can be of help to better someone’s picture as a working artist, I’ll happily do what I can.

MM: “Time(is)” will be displayed at a public library. How is accessibility important to your work?

SA: When I was at the Brooklyn Museum last summer, one question that always came up was kind of like, “what’s the role of the museum? Is the museum accessible?” Museum directors are reckoning with that right now. Some muse ums are free, others are not—there’s that barrier, but also, people just don’t feel art spaces are for them, because they see it as this elite space for the upper white society. I’ve al ways been very comfortable going to museums, but I know that’s not the case for everyone. So making a free, accessi ble space in the library at the Bubbler is a great way to ease people into art, because you’re at a library, which I think is the epitome of a free space for knowledge.

UW ART CURATOR TALKS BLACK ART, UPCOMING EXHIBITS AND INSPIRATIONS

Written by Rachel Hale, Culture Editor

Sophia Abrams photographed by Elyza Parker

MM: How has your work on Black art changed your own notions of identity?

SA: I don’t know if things have changed, but rather reaf firmed this notion that the intersection between Blackness and art can be essentially anything because everyone’s art is different. This is cliché, but we shouldn’t put people in boxes. We should let people make their art, and people’s art can be whatever they want it to be.

MM: How have your three areas of study intersected in your work throughout college?

SA: Journalism gave me a way to read up on contempo rary things related to the arts, and also just to become a better writer and communicator. And I think Afro-Am was fit for my historical background, and I’m also a big reader, so it paired well. The courses I took helped teach me about becoming a critical thinker, refining your work and picking things from an editing perspective—those all come togeth er. I think each major has done exactly what it needed to do for me.

MM: You mentioned your interests in film and other art forms. How did you come to be a curator?

SA: I got more into curating last year, and I think it was just the logical next step. I’m like, “I have all this research on Black art, I have to put it up in a gallery, therefore, I’ll inhabit the role of curator.” And then, there are parallels to film, since it’s very much an editing process and a story telling process as well. There’s also like this whole aspect

of the crew and the community, it’s very collaborative. It’s very hard to curate or produce something by yourself, and I honestly think that things are better with collaboration.

MM: Where do you pull inspiration from on a day-today basis?

SA: Honestly, I love Instagram, just to see artists and what they’re posting. In terms of artists, I’ve always thought Yoko Ono has been very influential in terms of who she is as a person. There’s also the artist Kara Walker, I discovered her in high school and she’s very influential. From my project, there’s an artist named Jay Katelansky whose work I really cling to. She uses a lot of texts and phrases but also has done conceptual work. I’m also a huge Greta Gerwig fan.

“Time(is): An Exploration of Black Art in Madison” is avail able for viewing at the Diane Endres Ballweg Gallery on the third floor of Central Library until July 1. On UW’s campus, “Camouflage and Cologne: A Taj Matumbi Solo Show” is on display until May 12 at the School of Education Gallery, “Black Expressions: 50 Years of Black Student Artists at UW-Madison” will show until a day later at Memorial Union’s 1925 Gallery and “Black Expressions Ephemera” is on dis play until July 30 at Kohler Art Library. ■

arts’ beacons

MEDIA THAT BRINGS JOY AND COMFORT TO THE MODA ARTS SECTION

Written by Moda’s Arts Section—Kora Quinn, Arts Editor, Nina Johnson, Arts Editorial Assistant, Sam Downey, Arts Staff Writer, Cate Tarr, Arts Staff Writer, Noa Chamberlin, Arts Staff Writer, Jack Ives, Arts Staff Writer, June Glenney, Contribut ing Writer, Kylie Hynes, Contributing Writer | Graphics by Alexa Kantor, Staff Graphic Artist

Kora - “Endless” by Pinegrove

I think it’s safe to say we’ve all had those days in which we feel low-energy and, not to be dramatic, but almost life less—not necessarily sad, but stagnant. The song “Endless” perfectly captures all these emotions while simultaneously twisting them into something peaceful and hopeful. When your burdens feel endless, Evan Stephens Hall says, “But it’s an honor to feel this way / To feel the color of the longest day / ‘Cause it’s a shadow that many know / And while it’s feeling pretty bad to me / I don’t think it goes on endlessly.” It’s a good reminder that those feelings aren’t endless. This song has always uplifted me when it’s easy to forget that.

Nina - “Writers & Lovers” by Lily King

“There’s a particular feeling in your body when something goes right after a long time of things going wrong. It feels warm and sweet and loose,” Casey, a late 20-somethingyear-old living in Boston, tells readers. “Writers & Lovers” follows Casey Peabody as she narrates her life through two avenues: writing and love. The elegant prose is never de void of grief, romance, nostalgia, pain or joy—confronting us with emotions that we often refuse to acknowledge. An ode to the power of the novel is King’s gutwrenching ability to have you sitting with tears streaming down your face, suddenly so grateful for all that you’ve experienced and ev eryone that you’ve loved. This story still leaves me with a softness and warmth with which I take to approach each day.

Sam - “Mamma Mia”

I will never not be down to re-watch this movie, no matter how many times I’ve seen it before. In case you’ve never had the fortune of seeing this cinematic masterpiece, it follows protagonist Sophie’s efforts to determine which of three possible dads should walk her down the aisle, set against the backdrop of a small Greek island hotel run by her mother. It’s one of those blissfully comforting pieces of media where nothing bad happens, and each successive ABBA song, gleeful reunion and twinkling turquoise ocean shot takes you further away from your own troubles.

Cate - “Little Miss Sunshine”

“Little Miss Sunshine ‘’ is a film that might evoke a tear and a need for reflection, yet still provides moments for laugh ter. By telling a story about a unique yet familiar family dy namic, this is the perfect film to watch if you’re looking for something to smile about. Not only does it contain aesthet ically beautiful shots, imploring sunlight visuals and various light, neutral shades, but it also holds a meaningful message about relationships. The film features a family that embarks on a road trip from Albuquerque, New Mexico to Redondo Beach, California for a beauty pageant in support of their daughter who hopes to be crowned Little Miss Sunshine. Full of laughter, arguments and instances of heartbreak, “Little Miss Sunshine” solicits a spectrum of emotions while still finishing with a feeling of comfort.

Noa - “You’ve Got Mail”

One of my favorite rom-com films is “You’ve Got Mail,” which takes place in the upper west side of New York where strangers, Kathleen Kelly and Joe Fox, live and work near each other. They communicate through an internet chat room where they find themselves fully confiding in one another, despite not knowing each other’s identities. You can’t help but feel joy watching the love story unfold in this unique and touching film, something I know I can always count on for comfort.

Jack - “Burlesque”

I find myself rewatching this classic early 2000s movie on a weekly—sometimes even daily—basis. The movie follows Ali, a small-town girl with an astounding voice, who leaves her bleak life behind and heads for Los Angeles. In LA, she lands a job as a waitress at the Burlesque Lounge, famous for its star-studded performances led by proprietor Tes. Her determination to join the performing crew drives her from the bar to the stage in an attempt to restore the club’s former glory. With the flow of emotions, sweet romance and amazing performances by Christina Aguilera and Cher, “Burlesque” never fails to raise my spirits.

June - “The Perks of Being a Wallflower” by Stephen Chbosky

My ultimate comfort book is Stephen Chbosky’s “The Perks of Being a Wallflower.” It begins by introducing the shy and observant “wallflower” Charlie, a teenager starting high school. The story follows Charlie’s life as he makes two older friends and navigates all the good, bad and ugly of high school. Unlike other stories that tend to draw unre alistic or glamorized illustrations, Chbosky gives a brutally honest and authentic depiction of what being a teenager is like. Chbosky doesn’t sugarcoat this difficult and confusing time—he maintains the goodness of these years by weaving in loveable characters and beautiful memories that cannot be replicated outside of the teenage sphere.

Kylie - “The Selection” series by Kiera Cass “The Selection” is a young adult series similar to “The Bach elor,” but better. Though I read this series for the first time in middle school—and have read hundreds of books since— “The Selection” continues to be one of the series I keep coming back to. Maybe it’s the rags-to-royalty trope, may be it’s my inner desire to be a princess or maybe it’s just Prince Maxon, but this series makes me giddy every time I read it. It takes place in a dystopian kingdom and follows America Singer as she navigates a competition against 35 girls to win the prince’s heart—and crown. Filled with lov able characters, a sweet romance, friendship and endless drama, this story is one I keep coming back to time and time again. ■

Directed by Hannah Bruder, Assistant Creative Director, and Ella McCue, Creative Staff

Assisted by Cole Lewis, Creative Staff, and Jack Audi, Creative Contributor

Photographed by Abby Cima and Hannah Huber, Staff Photographers

Videography by Madelyn Vilker, Videography Director

Makeup by Riley August, Makeup Director, and Sydney David, Staff Makeup Artist

Modeled by Hannah Bruder, Alicia Obiakor, and Jasmyne Short Floral pants made by Hannah Bruder, Assistant Creative Director

Buoyancy

the bandana project

BRIDGING THE MENTAL HEALTH RESOURCE GAP ON CAMPUS

By Laine Bottemiller, Culture Editorial Assistant Illustrated by Riley August, Makeup Director and Staff Graphic Artist

of suicide

Iwas sitting on the 80 bus, lost in my own thoughts, when a flash of bright green caught my eye. It was a lime green bandana tied to a backpack. I could have sworn I saw the same bandana earlier that day, again captivated by the bright green. You’ve most likely seen them too: a green flash cutting across the street or catching the wind as a late student jogs to class. Whether we realized it or not, we were witnessing an international movement of mental health solidarity.

The Bandana Project, also known as the Green Bandana Project, was created in 2016 at the University of Wiscon sin-Madison as a way to empower those struggling with mental illness.1 After founder Conlin Bass experienced the suicide of his uncle and close friend in high school, he was compelled to take action: “I was just really looking for a way to kind of change things, or look for an outlet to try and im prove situations for people struggling with mental illness.”2 Working alongside the UW chapter of the National Alliance on Mental Illness (NAMI), Bass created a movement that now supports mental illness in over 50 chapters.3

Unfortunately, Bass’s tragic experience with suicide and mental health are not uncommon. According to the Center for Disease Control and Prevention, suicide is the third-lead ing cause of death for people 15 to 24-years-old,4 and 73% of college students report facing some sort of mental health crisis while at school.5 Bass details the universal impact of mental illness: “Nobody is unaffected by it.”

Despite how widespread mental illness is across college campuses, there is still a stigma against those who struggle with it and seek help. According to psychiatrist Wulf Rössler, stereotypes about mental illness impose assumptions of dangerousness and unpredictability, exacerbated by the negative and inaccurate media representations of mental illness that sensationalize violence committed by those with mental illness.6 The consequences of these stereotypes in clude the worsening of symptoms and reduced likelihood of pursuing treatment.7 College students seeking treatment are also faced with a lack of information on where and how to access mental health resources; 28% of students say they would not know where to go on campus to receive mental or emotional health care.

This lack of resources is where The Bandana Project seeks to bridge the gap between students and the support they need. The project breaks down the barriers of stigma by maintaining simplicity; as their website explains, there are only two steps to joining the project: “Step 1: Wear a Ban dana. Step 2: Change a Life.”8

When members join the project, they tie a lime green ban dana to their backpack, pledging to support the mental health of those around them and to reject the stigma sur rounding mental illness. The bandanas signify the individual is carrying resource cards with national and regional-spe

¹ “Bandana Project,” Bandana Project, accessed April 2022.

² Mary Kate McCoy, “UW-Madison ‘Bandana Project’ Shows Students They Aren’t Alone In Mental Health Struggles,” Wisconsin Public Radio, Dec. 24, 2018.

3 “Bandana Project.” Bandana Project, accessed April 2022.

4 Eliza Abdu, Steven Schlozman, & Gene Beresin, “The College Mental Health Crisis: A Call for Cultural Change

5 MGH Clay Center for Young Healthy Minds.” Clay Center for Young Healthy Minds; Centers for Disease Control and Prevention. 2020. “10 Leading Caus es of Death, United States.” WISQARS Data Visualization.

⁶ Rössler, Wulf. 2016. “The stigma of mental disorders.” EMBO Reports 17, no. 9 (July): 1250–1253.

7 Borenstein, Jeffrey. 2020. “Psychiatry.org - Stigma, Prejudice and Discrim ination Against People with Mental Illness.” American Psychiatric Associa tion.

8 “The Bandana Project.” n.d. Bandana Project.

cific mental health information.9 At UW-Madison, these re sources include the phone numbers for University Health Services and multiple suicide prevention lifelines. Addition ally, the cards include guidance on calling 911 in the case of a mental health emergency. All the while, members of the movement are not required to obtain any additional train ing, maintaining the accessibility of the project and those who want to take part.

Sabine LaLiberte, The Bandana Project’s Director at UW, ex plained how these resources make mental health help more approachable: “It’s already hard enough to have conversa tions about mental health, so a movement that requires a training or time commitment will cause barriers for people to join.” LaLiberte compared the bandana wearers to a liaison, bridging the gap between students and mental health treatment.

LaLiberte described how another key aspect of the project is the visible solidarity the bandanas provide. She said the project has “made a lot of people more aware [of men tal health issues],” ensuring students know “this is a real ly common issue” and that they’re not “the odd one out.” Furthermore, the glimpse of lime green creates an oppor tunity for conversation.

“By wearing your bandana, you’re saying I’m open to those conversations, I’m open to helping [you] and giving you those resources,” LaLiberte said.

The Bandana Project can help facilitate the conversation around mental health on campus, but support needs to come from multiple levels. Right now, students pursuing mental health services at University Health Services face long wait times and a limit of 10 sessions per 12 months— not even one session a month for a year.10 Students deserve institutional change to make mental health resources more accessible.

Madison students interested in learning more about The Bandana Project can find the organization on Instagram @ bandana_project_uwmadison or online at namiuw.org. Stu dent groups looking to connect with the project can email nami.wisco@gmail.com to find a time to introduce the proj ect and distribute bandanas and resources.11 The simplest yet most powerful way to support the project is to become a part of it—stop by the NAMI office, pick up a bandana and start the conversations necessary for change.

May is Mental Health Awareness Month, a time to raise awareness and advocate for mental health. The NAMI’s na tional message this year is “Together for Mental Health.”12 The Bandana Project offers togetherness, a chance for con nections that break down barriers. A body of 47,936 stu dents can be overwhelming and lonely, but The Bandana Project offers reassurance that there are students ready to start the conversation and make changes for mental health support on campus—one bandana at a time.13 ■

9 Bandana Project. n.d. “Bandana Project.” Bandana Project.

10 UNIVERSITY HEALTH SERVICES UNIVERSITY OF WISCONSIN-MADISON.

2018. “MENTAL HEALTH AND SUBSTANCE USE INFORMED PARTICIPA TION AGREEMENT.” University Health Services.

11 NAMI-UW. n.d. “SUPPORTING THE BANDANA PROJECT.” NAMI-UW.

12 National Alliance on Mental Illness. n.d. “Mental Health Month.” NAMI.

13 Erickson, Doug. 2021. “Record-setting freshman class maintains UW–Mad ison’s commitment to Wisconsin families.” UW–Madison News, September 28, 2021.

Health, Healing

BRANDS WITH MESSAGES THAT GO BEYOND SEAMS

Written by Holly Shulman, Contributing Writer Graphic by Emma Gray, Arts Curator

We don’t always think about the meaning behind our clothing. While fashion is a great way to express creativity, it can also be a powerful tool in creating change and spreading positive messages—inspiring ourselves and the world around us.

Many brands, specifically MadHappy, Mayfair Group and The Happiness Project, are taking this idea to a whole new level. These brands contribute to mental health efforts by donating to organizations and spreading important information regarding mental health activism. Destigmatizing mental health is no easy task, but starting conversations is one of the most effective ways to end the stigma. While brands such as MadHappy may be popular due to their trendy and fun styles, the message behind the pieces matters much more.

MadHappy

MadHappy was started by Peiman Raf, Noah Raf, Joshua Sitt and Mason Spector.1 After Raf graduated high school and saw all of his friends going off to college and pursuing society’s idea of the “perfect life,” he felt lost and did not think college was for him. Raf and his childhood friend, Spector, knew they wanted to do something in apparel, which led them to start the brand online with a few pieces.2

They felt that many brands were negative, focusing on punk/ rock. They wanted to create a brand of the exact opposite, including bright, ‘60s inspired colors. The mental health aspect did not come into the brand until about a year after the brand was launched, although it was always centered around inclusion and happiness. Spector had struggled a lot with mental health as a kid and always felt isolated and different from his peers. With the help of MadHappy, Spector and his co-founders created a brand for those who need comfort and light when in a dark, isolating place.

Their brand now focuses on education and starting conversations about mental health, which is what led them to launch The Local Optimist (TLO), a mental health resource to produce destigmatizing and educational content to share amongst social media. Some of the content they share on TLO include informative posts such as “how to recognize and deal with burnout,” “how to reduce your inner critic,” and “how to get comfortable talking about your feelings.”3 Like their brand aesthetic, TLO features lots of funky fonts and colors to promote a comforting and accepting space.

In addition to The Local Optimist, they also created the MadHappy podcast in 2021.4 The podcast is hosted by ¹ Sara Radin, “Madhappy Is the Fashion Brand Building a Positive Communi ty Using Hoodies And Tees”, Teen Vogue, 2019.

2 Andrew Wetmore, “The Oral History of Madhappy”, The Local Optimist, 2022.

³ Ibid.

⁴ “About”, Madhappy, 2022

two of the founders, Spector and Raf. They have weekly episodes with special guests about mental health struggles, personal stories, and much more. Some of the most popular special guests on their show have been Youtuber Emma Chamberlain, TikToker Tinx and actress Ashley Tisdale. They also have episodes where they speak amongst the two of them, covering topics such as growth, identity, habits and more. I am personally a fan of MadHappy, as their designs are uplifting and simple, yet trendy and popular amongst many people I know. As someone who has always been a fan of podcasts and have listened to a few of the MadHappy podcasts, it makes me happy to see my peers listening in because of their love of MadHappy the brand. My favorite design of theirs is their “Local Optimist” merch, as I love the content they produce surrounding this aspect of their brand. The MadHappy brand has clearly been a driving force in mental health conversations across the world.

Mayfair Group

Similar to MadHappy, The Mayfair Group is another popular brand centered around changing the narrative around unrealistic societal standards. CEO and founder Sam Abrahart built the Mayfair Group to spread positivity and inspire connectivity. After working in fashion for over six years, Abrahart felt there was a gap in the business world for an “all-serviced based company,” meaning they provide all of their services in-house (PR, social media, graphic design, sales, etc). Abrahart wanted to be the “virtual big sister,” as she puts it, producing content on how to love and embrace yourself. She built her brand without the use of any paid advertisements, simply organic reach and connections. Similarly to Spector, founder of MadHappy, Abrahart also struggled with anxiety and depression, and wanted to create a safe and accepting space to empower women within the MayFair Group.5

They have done a lot of powerful campaigns with different celebrities or organizations, such as MayFair Group x Creative Label BLM. Aside from the merch they created, they posted important infographics on their social media, as well as linked resources such as books and podcasts on their campaign front page. Another campaign of theirs was the “Be the Effect” campaign, which features a butterfly on the back of the sweatshirt. This campaign was centered around being a positive change in society. They also donated 20% of all proceeds to Direct Relief, and gave a bunch of frontline healthcare workers sweatshirts, simply to say “thank you” for being true heroes. Their unique campaigns are powerful and make a difference in our world, even if it’s simply some print on a sweatshirt.6

Their slogans are some of my favorites, with powerful lines such as “Your Emotions are Valid,” “Empathy” and “It’s Okay

5 “Q&A with Sam Abrahart - The Mayfair Group, CEO & Founder”, Girl Gang, 2021.

6 Ibid.

Healing & Hoodies

not to be Okay” plastered on their comfortable sweatshirts, hoodies and sweatpants. Although these seem like odd phrases to put on a sweatshirt, they make a statement and allow for people to stop and think, “What does their sweatshirt say?” which I think is a powerful tool to bring mental health conversations into everyday life.

Happiness Project

Happiness Project has one of the most powerful origin stories. In April 2017, Jake Lavin was a junior in high school when one of his classmates, Nick Spaid, lost his battle to mental health. Jake launched the Happiness Projects to “elevate happiness around the world”. They have donated over $100,000 to mental health charities and donate 15% of their profits to the American Foundation for Suicide Prevention. They have a lot of different apparel, including their “It’s Okay not to be Okay” line. Their most popular and well-known item is the “Happiness Project” hoodie, which has simple rainbow lettering with light, pastel-colored hoodies.

Aside from their apparel, Happiness Project’s Instagram page is the most informative and impressive. Their posts are simple and straight to the point, but clearly have a lot of thought and research behind them. One post had the quote, “suicide thoughts that don’t just include ‘I want to die,’” followed by multiple phrases that could mean the same thing. Another example was “25 alternatives to self-harm,” which included tearing apart a newspaper, going for a walk and more.

Posting content like this may seem small, but it makes a large impact. Happiness Project’s posts effectively break up an Instagram feed filled with everyone’s “picture-perfect” version of themselves, and offer useful ways to cope with anxiety, depression, etc. Social media is one of the easiest ways to reach people, especially teenagers, so the best way to get these messages across is through various platforms.

Brands like MadHappy, MayFair Group and Happiness Project inspire and excite me to purchase from them. Rather than focusing on solely making products, these brands have created their own voices, whether that is through Instagram, podcasts or simply sharing their stories and struggles. Many consumers fail to realize the impact beyond just the brand’s clothes. It is important for these companies to continue to shine a light on important conversations through their actions beyond their seams.

Dressing Out of Disaster

DOPAMINE DRESSING SWEEPS PAGES WITH BOLD COLORS TO OVERCOME STRIFE

Written by Zack Zens, Fashion Staff Writer | Photographed by Luc Marchessault, Staff Photographer Makeup by Riley August, Makeup Director | Videography by Elizabeth Kallies, Staff Videographer Modeled by Noah White, Djamal Lylecyrus, Phoebe Smolan, Ella Cunz, Fashion Staff Member

The long days spent in quarantine contemplating what the sound of a busy restaurant was like or how it felt to be at a show with the booming reverberation of live music have undoubtedly left their mark on society. Whether it be lockdown depression or any other form of stress, could fashion possibly offer emotional support? A new trend, dopamine dressing, has gripped the fashion world in a focused obsession of color and print. Despite troublesome realities, there is a cause and reason for prioritizing personal well-being and for the pursuit of ways to cope and bring joy back into one’s life.

Dopamine dressing, coined by fashion blogger Anabel Mal donado and her publication “The Psychology of Fashion,” explores that very notion, stating that one should dress in bright or expressive clothing to elevate their mood and bet ter cope with challenges.1 This trend helps lift one’s spirits even when things seem to be at their grimmest, providing a beacon of joy in the wake of hardship. The characteristics of dopamine dressing closely align with modern fashion move ment maximalism, where many colors, textures and patterns can be forced into a chaotic but spectacular harmony. So cial media influencer Sara Camposarcone along with artists like Remi Wolff are excellent exhibitions of both dopamine dressing and maximalism, clashing several bright colors, textures and jewelry.2

While many so-called fashion experts have vehemently railed against color-blocking and pattern-clashing, these are the very rules broken when it comes to successful dopamine dressing. When forming a dopamine-inspired outfit, the ulti mate key is to dress in things that inspire joy in the individ ual. From the color combinations of songbirds to the murals plastered on the frayed edges of old buildings, the color and vibrancy of the world is a limitless palette for inspiration.

This year, the strongest color trends come awash in pas tel shades of pink, blue, green and yellow. Hues of fuchsia and other strong jewel tones continue to splash the pages of lookbooks far and wide, peppering pages with eye-wa tering color and pattern.3 A bold green top and orange pants create an eye-catching and scientifically supported mood-boosting outfit combination.4

There is a great deal of scientific research that suggests that bright colors not only influence the mood of those who wear them, but can boost spirits for onlookers as well.5 These re actions create a stunning cycle of positive energy exchange, promoting exuberance all around. The real magic comes down to the fact that not only does the person’s who’s do pamine dressing get a mental boost, but also almost every other person that happens to take a look is cheered as well.6

Dopamine dressing is not a “quick-fix” or “cure-all” for the grave challenges any one person must face. However, taking control of one’s life and reclaiming power in the things one can is not only liberating but gratifying, laying a foundation that allows one to overcome grander and less controllable problems. Can a Canary yellow trench coat solve all of our problems? No, but the boost of strength one gets from that Canary yellow coat may be the push needed to propel them forward to excel and meet the day’s expectations with a firm resolve and clear conscience.

1 Anabel Maldonado, “What is Dopamine Dressing?” The Psychology of Fashion, 2021.

2 Nadia Ebrahim, “Meet The Kidcore Stylist Who’s A ‘Sustainable Maximialist,’” Refinery 29, 2022.

3 Bella Gerard, “These Spring Color Trends Make A Case For Throwing Out Your LBD,” Stylecaster, 2022.

4 Anabel Maldonado, “What is Dopamine Dressing?” The Psychology of Fashion, 2021.

5 Ibid.

6 Ibid.

Many designers have lovingly embraced this trend, with houses like Prada incorporating more vibrant colors such as fuchsia and rust orange into their collections.7 Houses like Missoni and Gucci have long been known for their enthusi asm towards unconventional and flamboyant use of color and pattern, continuing to challenge the ‘70s and ‘80s aes thetics to juxtapose the blandness of modern minimalism.8 The ornate and graphical baroque-pop aesthetic present in brands like Casablanca and Versace cannot be overlooked when it comes to a successful dopamine dressing pedigree.9

One does not have to look to high-end designers for dopa mine dressing pieces, as numerous approachable streetwear brands such as Braindead, Pleasures, Vans and Carhartt have several inventive and daringly-bright fashion options. Even here in Madison, the local streetwear store August has several seasonal sales and opportunities to pick up fantas tic pieces from popular designers at great prices. Not to be forgotten, the discount bins and other thrift options are of ten rife with a rainbow display of color options, making it a great place to start looking for bolder color and pattern choices without having to commit big bucks.

Celebrities have also been quick to adopt this trend, with models like Emily Ratajkowski and Hailey Beiber choosing bolder color combinations and patterns than ever before.10 Most notably Rihanna, whose liberal use of bold and bright colors has become something of a hallmark, along with Queen Elizabeth the II, of course.11 Celebrities often choose simple pieces like a denim jacket, cocktail dress or sweater for unconventional shades, instantly elevating an ensemble and ensuring a breathtaking moment whenever they are seen.

Dopamine dressing is a trend that seeks to boost mood and help the wearer deal with and overcome potential struggles. Humans have long embraced color as a means of self-sooth ing, and this trend is no different, making it certain that an injection of vibrancy and colorfulness into the fashion main stream is on the way. Though these times are hard, and a combination of burn-out from trauma and significant histor ical events has made life that much more difficult, dopamine dressing remains a loyal companion, capable of taking the edge of life and making each day that much more bright. ■

7 “Spring/Summer 2022 Collection,” Prada, Jan. 15, 2022.

8 “Color Dominates Menswear This Spring,” L’Officiel USA, March 25, 2022.

9 Amy De Klerk, “Should we all be dopamine dressing?” Harper’s Bazaar, Jan. 10, 2022.

10 Maddison Hockey, “We’re Taking Cues From Our Fave Celebs When It Comes To Dopa mine Dressing,” Elle Australia, Jan. 12, 2022.

11 Ibid.

When forming a dopamine-inspired outfit, the ultimate key is to dress in things that inspire joy in the individual. From the color combinations of songbirds to the murals plastered on the frayed edges of old buildings, the color and vibrancy of the world is a limitless palette for inspiration.

the hot girl walk

Flashback warning: whipped coffee, banana bread and dancing to “Renegade” are a few TikTok trends reminiscent of the March 2020 Covid-19 lockdowns. While the pandemic resulted in an overall explosion of social media use, TikTok in particular experienced a massive user growth rate with a 75% uptick in users in 2020.1 One of the most popular trends that came out of the surge in media use was the “Hot Girl Walk,” a viral trend encouraging users to go on a daily walk for physical and mental well-being.

Mia Lind, self-proclaimed CEO of Hot Girl Walk, introduced the fad in a TikTok video that now has 2.9 million views.2 Lind recommends listening to music while on your walk and even compiled her own Hot Girl Walk playlist filled with em powering anthems by artists like Beyoncé, Megan Thee Stal lion and Fergie.3 She attests that her mental and physical health has improved since implementing the activity as part of her daily routine.

Lind explains: “It’s what you do on the ‘hot girl walk’ that matters.”4 On your own walk, the goal is to focus only on self-growth and empowerment: things you are grateful for, your goals, dreams and, like its namesake, how hot you are. After you finish walking, take the positive energy you have generated and apply it to the rest of your day.

In one of Lind’s videos on the Hot Girl Walk, she tells users to tag her in their videos and spread the #hotgirlwalk. That hashtag now has 99.6 million views, proving the trend’s popularity has spread even beyond the initial months of the pandemic.

¹ John Koetsier, “Massive TikTok Growth: Up 75% This Year, Now 33x More Users Than Nearest Direct Competitor.” Forbes, Sept. 14, 2020.

² Mia Lind, @exactlyliketheothergirls, “#greenscreen literally my best glow up advice in 45s follow if you wanna hear my whole journey #advice,” Tik Tok, accessed April 2022.

³ Mia Lind, “Soundtrack your 2022 resolutions with Mia Lind,” Spotify, ac cessed April 2022.

⁴ Mia Lind, @exactlyliketheothergirls, “#greenscreen literally my best glow up advice in 45s follow if you wanna hear my whole journey #advice,” Tik Tok, accessed April 2022.

One product, the Bala Bangles, has been named a Hot Girl Walk essential by its enthusiasts.5 The wrist and ankle weights are a modern version of the types of weights many women would wear in the ‘80s during workouts. The sleek bands come in 1 or 2-pound options and add resistance to your workout.6 Tons of TikTok users have added Bala Ban gles to their Hot Girl Walk vlogs or “get ready with me” videos.

The Hot Girl Walk was only one of many wellness trends to arise in 2020, as the concept of maintaining or improving health during a time of isolation became a theme. Posting about Hot Girl Walks became a fun way to take part in the online discussion at the time, but research indicates the trend has serious positive health benefits, too.

It is widely known that exercise is great not only for physical health, but mental health as well.7 A study that asked two groups to write either what they were grateful for or irritat ed about found that those who wrote about gratitude were more optimistic, exercised more and visited physicians few er times than the other group. Gratitude helps people feel positive emotions, enjoy good experiences and deal with misfortune.8 Additionally, setting aside time to be alone can lead to great social energy, creativity and personal exploration.9

The beauty of the Hot Girl Walk lies in its accessibility. You don’t have to be a girl to go on this trek, nor do you do not have to be a young TikTok user who keeps up with all the trends. Walking is free, low impact and can be done regard less of fitness level. Lind challenges walkers to take con trol of their thoughts and build their confidence to make a positive lifestyle change. The Hot Girl Walk is empowering. Focusing your thoughts on positive aspects of your life is a superpower you can obtain—one step at a time. ■

⁵ Rory Satran, “Bala Bangles: Essential Weights for a ‘Hot Girl Walk,’” The Wall Street Journal, Dec. 4, 2021.

⁶ Bala Bangles.

⁷ Larissa Ham, “Hot Girl Walk: Why Women Need to Start This Empowering Exercise Trend,” The House of Wellness, Jan. 26, 2022.

⁸ “Giving thanks can make you happier.” Harvard Health Publishing, August 14, 2021.

⁹ Kendra Cherry, “How Important Is Alone Time for Mental Health?” very wellmind, May 27, 2021.

Written by Emma Goshin, Culture Staff Writer | Photographed by Jami Balicki, Staff Photographer and Emma Spaciel, Contributing Photographer | Makeup by Nicole Escobia, Staff Makeup Artist | Styled by Ella Cunz, Fashion Staff Member Videography by Elizabeth Kallies, Staff Videographer | Modeled by Allison Milano Johnson and Jada Ajami

first loves: a guiding light

OUR FAVORITE MEDIA’S ODES TO FIRST LOVES, AND THE INDELIBLE PATHS THEY FORM

Written by Nina Johnson, Arts Editorial Assistant

Photographed by Hannah Huber, Staff Photographer, and Tara Osbourne, Contributing Photographer

Makeup by Nicole Escobia, Staff Makeup Artist, and Samantha Rubinstein, Staff Makeup Artist

Videography by Yejin Kim, Staff Videographer | Modeled by Najma Hurre and Chris Ziebert Styled by Erin Galioto, Fashion Staff Member

When conceptualizing first loves, I like to think of them as a lighthouse. They’re similar to the physical structure in Virginia Woolf’s “To the Lighthouse,” which endlessly guides the beloved Ramsay family out of their growing pains and into adulthood—a fervent, irrevocable force. Woolf’s lighthouse shares a striking similarity to our first experiences with love. So does the writing of André Aciman, the acclaimed author known for first-love fiction, who verbalized the guidepost that this love elicits best, for both readers and lovers:

“Everywhere I go, everyone I see and crave is ultimately measured by the glow of your light. If my life were a boat, you were the one who stepped on board, turned on its running lights, and was never heard from again. All this might as well be in my head, and in my head it stays.

But I’ve lived and loved by your light alone. In a bus, on a busy street, in class, in a crowded concert hall, once or twice a year, whether for a man or a woman, my heart still jolts when I spot your lookalike. We love only once in our lives, my fa ther had said, sometimes too early, some times too late; the other times are always a touch deliberate.”1

This narrative of “first loves” routinely appears in books and movies. It’s beautiful, often relatable and oh-so poetic. Although each story’s depiction varies, the label of a “first love” carries with it the assumed weight of a lasting impact. Whether cliche or a firmly held belief, we understand that first love is important. What, exactly, are we supposed to take away from these narratives in art though? How do we place them into our own lives?

We often use fiction to help us tease out our real emotions. Regarding love, it’s easy to feel trapped in the past or en veloped by the future. Yet books and movies ground us in the present, while still honoring our younger selves and providing us with hope for a love-filled future that’s up to us to mold.

The media we consume now may focus more on adult, grown-up and post-teenage love, but much of the media’s romantic turmoil is geared toward new teens. The movie “13 Going on 30” is one example, as well as young adult series like “The Selection” and “The Hunger Games.” Each of these has the common theme of a heroine undergoing some sort of life-altering trauma while in a transformative phase of their life. Even if they don’t end up with their first love, much of their story is woven by what was learned from that ex perience. Soon, however, teenage-dom ends and leaves us with the question: What occurs post-first love?

¹ André Aciman, “Enigma Variations,” London: Faber & Faber, 2019.

While there’s magic in first love stories themselves, what re mains is how we move forward from this experience—both for fictional characters, and ourselves. If our first love in forms us, these different forms of media provide us with various ways to conceptualize these formative emotions.

Films such as “13 Going on 30,” “One Day” and “Call Me By Your Name” offer (fictional) anecdotal testimonials of what it means to grow up after this love occurs. For some, it means finding their way back to that person, and for others, it means living in the light of what the experience taught them about themselves. As each protagonist grows older, they fondly look back on the emotions they once felt so deeply, but age provides a clearer sense of the bigger picture.

Perhaps a first love brought out a certain emotional depth you weren’t aware of yet, a depth that you’ll carry into your relationships in the future. This concept extends into novels that touch on relationships beyond that “first” one: “Writ ers & Lovers,” “Americanah,” “The Sense of an Ending” and “Conversations with Friends” are a few modern, striking novels that portray the complexities of cyclical relationship patterns, often stemming from a youthful love.

Aspects of how we act or don’t act, treat others and show love in relationships often follow from partner to partner— and usually not in a bad way. It is, however, still our job to recognize negative patterns, as well as show up to improve upon them. It is a powerful thing to call ourselves out on behavior that may seem like an integral part of who we are because sometimes it is hurting us and those we love. In our favorite films and books, equally flawed and lovable charac ters may point out something that could have gone unno ticed in our own character.

The lamentations and poeticism in Marquez’s “Love in the Time of Cholera” and Coehlo’s “By the River Piedra I Sat Down and Wept” both boil down to one thing: love, and how we keep living through it. Most of the renowned mod ern literature on first loves totes femininity from the first person. These incredible novels bring a new voice to the table of love and dutifully trace how the impact of loving another person can easily transcend decades.

In many narratives of first love, the notion of “virginity” is often looming, either indirectly or explicitly. Sex is an im portant part of healthy partnerships for many people. Do we, as consumers of Western film and literature, unknow ingly obsess over the sacred virginities of a character a bit too much? As I—a self-proclaimed, sex-positive feminist— sift through my favorite movies and books which ultimately defined who I am, I continually question whether I’m giving virginity more power than intended. The moral obligations we tie to women and virginity have been turned over for centuries. While these rigid ideas of femininity may appear ostensibly vague in these stories, critics argue that forms of

It might not be clear, but the first love narrative is not the main takeaway from our favorite media—it’s not the attainable goal we may think it to be.

media offer new ways for us to store these antiquated notions.2

New novels and films about first loves will grow alongside the fluidity of sexuality and love. The cultural nuances be hind virginity remain another wall to scale. As writers and directors, it’s a daunting task to simultaneously reduce the constructed and misogynistic understanding of virgini ty, while still emphasizing the importance of doing what’s best for you. “The Sex Lives of College Girls,” one of HBO’s newest installments, tackles this complexity. New media will beg the question: how can liberation and safety best coex ist in love and relationships?

It might not be clear, but the first love narrative is not the main takeaway from our favorite media—it’s not the at tainable goal we may think it to be. But watching different relationships materialize through fiction often teaches us something. Seeking out these messages in media guides us to crucial conclusions regarding our muddled stories of first loves and heartbreaks.

Not everyone’s first love will remain an important person to them forever. But that partner’s previous importance to our younger selves informs our present and future re lationships. So stretch out a hand to that younger version of yourself, watch and read that endearing romance and clear up anything that might have been left unsaid. Do not let that guiding light of love go unnamed or unnoticed, be cause it will find a way to come up—regardless. ■

² Angella d’Avignon, “Why Have We Always Been so Obsessed with Virgini ty?” Medium, Aug. 9, 2017.

The Power of Pucci

TO THE PRINCE

Throughout history, there has been an undeniable connection between politics and fashion. Following the end of WWI, the roaring ‘20s saw a transformative period of rapid economic growth and social change. It can not be remembered without the glitz and glamor of the flapper dresses, long pearl necklaces and cloche hats that accompanied it, showcasing the need for levity and freedom.

The progressive ‘60s marked another turning point for so cial change following a devastating war. Women’s liberation movements like the fight for equality in the workplace and the introduction of oral contraceptives led to revolutionized fashion as well. Shorter hemlines, above-the-knee silhou ettes and weightless fabrics replaced rigidly-structured and restrictive garments such as corsets and petticoats.1

In today’s post-lockdown world, we are met with yet anoth er cultural and social shift that has serious indications for the trajectory of fashion. As we see a sort of renaissance against regulations and restrictions, minimalism is taking a backseat to loud, shameless expression and experimenta tion. Following this emphasis on freedom and individuality, bold, kaleidoscopic prints and rhythmic, free-flowing fab rics—as seen in the fabulous designs of Emilio Pucci—are becoming coveted pieces yet again.

Emilio Pucci became a designer somewhat accidentally. Otherwise known as Marchese Pucci di Barsento, Pucci was born in 1914 into an important aristocratic family who resid ed and worked within the 13th century Pucci Palazzo in Flo rentine.2 From a young age, he was exposed to worldly des tinations and the luxurious Italian jetset lifestyle. He studied politics at Reed College in the United States and was heav ily involved in sports such as skiing and swimming. In fact, his first designs were for the Reed College cross-country ski team.3

While vacationing in the Swiss Alps in 1947, some skiwear he had designed for a friend caught the eye (and lens) of a photographer working for Harper’s Bazaar. When the ed itor saw the photos, she was instantly enamored and hired Pucci to design a collection of skiwear for a feature in the magazine.4 Pucci continued to experiment with both winter and summer resort wear. He was the first to produce a onepiece ski suit, creating his first swimwear line in 1949 and then expanding to daywear, after which he opened his first boutique in Capri in 1950.5

Pucci was no coward with color. He worked with chemists to produce vibrant hues that had never been seen in garments before. Sometimes using 16 colors in a single pattern, the brilliant designer described his color matching process like arranging flowers in a bouquet.6 The designs appeared at the end of the long, gloomy war and were bright, youthful and refreshing. Stanley Marcus of Neiman Marcus once said, “Americans were so color-starved after the war, viewing his work for the first time was like seeing fireworks.”7

1 Bianca Zanotti, “Taking Flight: Emilio Pucci and His Influence on Class and the Jet Age,” Ryerson Fashion Research Collection, Nov. 20, 2020.

2 Clair Watson, “How Fashion Icon Emilio Pucci Became the Prince of Psy chedelic Prints,” 1st Dibs, Oct. 6, 2019.

3 Howard McGaw Smyth, “The Ciano Papers: Rose Garden,” Central Intelli gence Agency, 1969.

4 Clair Watson, “How Fashion Icon Emilio Pucci Became the Prince of Psy chedelic Prints,” 1st Dibs, Oct. 6, 2019.

5 Aemilia Madden, “The Grassroots Revival of Emilio Pucci,” Fashionista, March 29, 2022.

6 “Emilio Pucci - Designer Biography - Videofashion Vault,” Videofashion, May 27, 2010.

7 Bianca Zanotti, “Taking Flight: Emilio Pucci and his Influence on Class in the Jet Age,” Ryerson Fashion Research Collection, Nov. 20, 2020.

Pucci’s designs really took off in the ‘60s after being em braced by style icons like Marilyn Monroe, Jackie Kennedy, Elizabeth Taylor and Princess Grace of Morocco.8

Another unique appeal of Pucci garments was the unprece dented use of movement and free-flowing lines. Pucci’s use of innovative textiles like silk jersey allowed for clothing that was weightless and wrinkle-free.9 He drew inspiration from the organic forms and colors around him: Sicilian mosaics, the Mediterranean Sea’s bright blue color and waves, Bali Batiks and African motifs.10 He once said, “My prints are or namental designs worked in continuous motion; however they are placed, there is rhythm.”11

Pucci’s unique prints feature lines that follow the natural curves of the body, earning him the title of the “Prince of Prints” by the International Fashion Press.12 “The base of his inspiration has always been the woman’s body, and the woman’s body for him is beautiful if it moves,” his daughter Laudomia once said.13

Pucci introduced designs that had all the life and explo sive color of couture without the impracticality. After WWII, commercial travel for pleasure increased and was gradually becoming more accessible. Fashion and travel became syn onymous and the Pucci brand embodied the indulgent and luxurious jet set lifestyle.

“Fragile-looking but indestructible, chic and sexy, it was the capsule wardrobe for the mobile woman.”14 Pucci’s free-moving stretch fabrics were designed for sashaying along the beach or for a belladonna carefully stepping off her private jet in large sunglasses as the scarf coddling her perfectly styled hair dances effortlessly in the wind. The aesthetic can be described as “rich hippie”—casual aesthet ics and aristocratic elegance, luxury in harmony with fun.

From the ‘60s to the ‘90s, everyone wanted a piece of Pucci. Braniff Airlines famously hired him to design mod steward ess uniforms that fully embraced retrofuturism. The uniforms featured “rain domes” that emulated astronaut helmets which flight attendants wore when crossing between termi nals to keep every strand of hair in their up-dos in place. The campaign was so popular that Mattel’s Barbie even released a set of cabin crew dolls inspired by the collaboration.15

Also among Pucci’s rich portfolio was his emblem for the Apollo XV Space Mission, the interior of a Ford Lincoln Continental Mark IV and a 300-foot hand-painted sail for Wally Yachts.16 Even when designing porcelain tableware for Rosenthal, Pucci continued to play with movement. According to his daughter Laudomia, he would wrap his signature scarf around the ceramics to experiment and visualize movement.17

8 “The Story behind Pucci’s Prints,” Suzanne Lovell Inc, Jan. 30, 2020.

9 Bianca Zanotti, “Taking Flight: Emilio Pucci and his Influence on Class in the Jet Age,” Ryerson Fashion Research Collection, Nov. 20, 2020.

10 Lara Mansour, “Prince Of Prints: The History Of Emilio Pucci,” A&E Maga zine, Feb. 22, 2018.

11 Clair Watson, “How Fashion Icon Emilio Pucci Became the Prince of Psy chedelic Prints,” 1st Dibs, Oct. 6, 2019.

12 Lara Mansour, “Prince Of Prints: The History Of Emilio Pucci,” A&E Maga zine, Feb. 22, 2018.

13 “Inside the Pucci World,” Yoox.com, Nov. 25, 2008.

14 Bianca Zanotti, “Taking Flight: Emilio Pucci and his Influence on Class in the Jet Age,” Ryerson Fashion Research Collection, Nov. 20, 2020.

15 Amanda Hallay, “5 Minute Fashion: Emilio Pucci,” The Ultimate Fashion History, Oct. 10, 2018.

16 “The Story behind Pucci’s Prints,” Suzanne Lovell Inc, Jan. 30, 2020

17 Clair Watson, “How Fashion Icon Emilio Pucci Became the Prince of Psy chedelic Prints,” 1st Dibs, Oct. 6, 2019.

Currently, our world is yet again crawling back from the depths of international trag edy. After months of bleak isolation, we are all hungry for a little Pucci whose sil houettes are injected with a sense of joy and playfulness. Given the world’s recent op portunity for introspection, we now have a deeper con nection to our inner selves and imagination and a real need to express it.

“Bold joyful prints are exactly what shoppers are gravitat ing towards in a post lock down world,” says Noelle Sciacca, women’s editorial lead at The RealReal. Over the last 12 months, TheReal Real has seen a significant ly large increase in demand and sales for Pucci.18

Fashion is currently in the midst of vintage revival sparked by celebrities and influencers wearing vintage in a way that feels new and exciting to younger audiences. “For younger generations stepping into their purchasing power, these are trends they didn’t participate in the first time around but now they’re excited to experiment with them,” says Sciac ca of ‘00s fashion. Pucci, among other similar brands like Blumarine and Robert Cavalli, are becoming highly sought after pieces for the post-lockdown reset. On TikTok, the #emiliopucci hashtag alone has over 10 million views.19

Vintage Pucci designs are not the only thing to keep on your radar. Newly appointed creative director Camille Miceli is set to breathe new life into the brand with her collection launching on April 29th. Her collection, “La Grotta Azzur ra,” will be unveiled in Capri—like Pucci’s first boutique— and is described as a “nomadic, joyful and colorful ward robe, anchored in the Mediterranean.”20 Once again, the genius of Emilio Pucci will come alive for a new generation. His influence will no doubt be felt in the designs of future visionaries looking to create whimsical elements, color and joy through fashion. ■

18 Aemilia Madden, “The Grassroots Revival of Emilio Pucci,” Fashionista, March 29, 2022.

19 Ibid.

20 Sophia Ysabel, Concordia, “Camille Miceli Unveils her First Collection as Artistic Director for Emilio Pucci,” Inquirer Lifestyle, April 4, 2022.

Following this emphasis on freedom and individuality, bold, kaleidoscopic prints and rhythmic, free-flowing fabrics—as seen in the fabulous designs of Emilio Pucci—are becoming coveted pieces yet again.

illuminating art forms

TRACING THE USE OF ARTISTIC MEDIUMS THAT SHINE, SHIMMER AND GLOW

Written by Sam Downey, Arts Staff Writer Graphic by Quinn Ruzicka, Staff Graphic Artist

Neon signs, stained glass windows and cave paintings may not seem to have much in common, but one thread pulls each art form together both in make-up and in time—each medium uses light as an essential part of its artistic expression. Yes, even cave paintings.

Dating back to 36,000-years-old, cave paintings are found deep within natural structures and often depict overlap ping, many-limbed animals.1 For the early humans who cre ated them, they would only have been visible in torchlight given their location so far within cave systems. Archaeol ogists have theorized that the flickering, shifting nature of firelight would have made the cave paintings appear to move as if the animals were galloping in herds across the stone.2 The strange, anatomical depictions and the tracing of the stone’s natural contours would have worked together to bring the paintings to life in the flickering light.

Thousands of years later, light was used in early European art to signify divinity, exemplified by the use of gold leaf in illuminated manuscripts.3 The gold leaf was most often used to illuminate halos around saints and holy figures, or to depict the sky as the color of heaven.4

Light was also used to represent divinity in stained glass windows, which rely on sunlight streaming through colored glass panels to bring images to life. As a technology, stained glass dates back to at least the fourth century with ancient Roman craftsmen.5 Glass is colored by adding metallic ox ides that create different hues with different additives: blue and green glass, for example, is made with copper oxides.6

The use of stained glass in simple windows dates back to seventh-century Catholic churches, and by the eighth-cen tury, the method was being practiced and perfected in what is now considered the Middle East.7 Ornate stained glass windows adorned mosques and palaces, and one Persian chemist, Jābir ibn Ḥayyān, even published a “cookbook” containing recipes and advice for creating colored glass and glass gemstones.8

Muslim stained-glass artists did not use pictures in mosques, instead creating abstract floral and geometric patterns.9 There are theories among art historians that European Crusaders were inspired by these rosette and octagonal stained glass windows and brought the ideas back to Eu rope, along with other advancements made by Muslim art ists and scholars.10

1 Bridget Alex, “Archaeologists Are Seeing Cave Art in a New Light,” Atlas Obscura, 2021.

² Ibid.

³ “A History of Light in Art,” Paint Basket Online Art Lessons, 2019.

⁴ Erla Zwingle, “The History of Gold Leaf,” The Craftsmanship Initiative, 2022.

⁵ Kelly Richman-Abdou, “Stained Glass: The Splendid History of an Ancient Art Form That Still Dazzles Today,” My Modern Met, 2019.

⁶ Ibid.

⁷ Ibid.

⁸ Ibid.

⁹ “Glass,” Cities of Light, 2022.

10 “Rise of Glass Industry in Golden Age of Muslim Civilisation,” 1001 Inven tions, 2020.

The 12th century saw the advent of Gothic architecture in Europe, replacing the Romanesque style of thick walls and rounded forms with delicate spires and large, intricate stained glass windows.11 The features of the Gothic style were deliberately chosen to bring height and light into buildings and works of art, and stained glass was the per fect medium to brighten both the insides and outsides of Gothic buildings.12

In the Renaissance, as European art experienced a rapid burst of exploration and change, Leonardo da Vinci studied the properties of light and shadow, incorporating this into his painting style.13 Other Renaissance artists followed suit, with some, such as Caravaggio, developing iconic art styles based on the use of high contrasts.14 Frames began to get painted gold, not necessarily to signify divinity as the medi eval manuscripts were meant to, but to draw the eye in and give the framed work an elevated look of importance.15

Light continued to be used as an attention-getter in various ways, but none so iconic as the neon sign. In 1910, French engineer Georges Claude perfected the process of using electrodes to direct voltage through neon-gas-filled glass tubes to cause the tubes to glow.16 Within 10 years, the nov elty of glowing signage meant that neon lights were fast becoming a staple of advertising in the United States. (It’s interesting to note that neon, as a gas, only produces red and orange tones in signs. Other colors were made by using blends of argon and mercury and painting the glass tubes with phosphorescent coatings.)

The 1960s saw a shift towards using neon for more than just practical signage. Some artists were inspired by the textbased origins of the medium, while others transformed the glowing lines into abstract sculptures or representation al outlines.17 Artistically, neon can be used to invoke ideas of commercialism and superficiality that trace back to its origins as an advertising medium.18 In terms of its use of luminescence and color, however, neon lighting could be considered a creative descendent of stained glass, gold leaf and even early humans’ torchlight. This may seem a harsh comparison, but neon is still a beautiful art form that builds on older luminescent mediums to bring light and color to

Ibid.

13 “A History of Light in Art,” Paint Basket Online Art Lessons, 2019.

14 Ibid.

15 Ibid.

16 Tori Homann, “The Golden Age of Neon,” North American Signs, 2021.

17 Tori Campbell, “Neon Art: Ten Artists Who Defined the Medium,” The Artlander, 2021.

18 Chenoa Pettrup, “the enigma that is neon,” Design Online, 2018.

Kelly Richman-Abdou, “Stained Glass: The Splendid History of an Ancient Art Form That Still Dazzles Today,” My Modern Met, 2019.

SEEING THE LIGHT ON THE OTHER SIDE OF ADOLESCENT GIRLHOOD

WHAT GROWING UP AS A GIRL MEANS IN THE MEDIA

Written by June Glenney, Contributing Writer Illustrated by Filip Jawdosiuk, Contributing Graphic Artist

“He

hit me and it felt like a kiss.”1 These were the lyrics from Lana Del Rey’s “Ultraviolence” that played through my wired headphones as I sat in seventhgrade study hall, my friend next to me with the other wire in her ear, singing along to the lyrics we both knew by heart. The meaning behind those words—centered around drugs and older men—were obviously foreign topics to two 13-year-olds, yet at the time, it all seemed magical and exhilarating.

Growing up, I aspired to be just like Lana. She lived a lux urious life, but more importantly, she was worshiped. All I garnered from her music was the power that she held in be ing wanted without realizing what had been done in order to get it. This lifestyle glamorizes the complete surrender of yourself to become what we are taught that men desire: women who are sexy, desperate and malleable.

The next year, I stole Vladimir Nabakov’s “Lolita”—a story about a 12-year-old girl who is whisked away from her home into a relationship with a middle-aged man—from my local library.2 It made me feel dangerous and grown-up, much like the story’s main character. This false glamor of “Lolita” was all I grasped at the time; the power that a young girl my age could hold over a grown man was inspiring. I planned to read it on my front lawn and look just like Lolita in the first scene she is introduced, flipping through magazines under a sprinkler.3

“Lolita” first introduced me to the term “nymphet,” meaning “a sexually precocious girl barely in her teens.”4 Having been so inspired by the book, naturally, I came under the impres sion that as a young girl, I should strive to embody the term. I thought: What could be more powerful than being desired by men, the most powerful figures in society? This mindset only proved harmful as it tricked me into believing my power as a girl derived from how much someone else wanted me.

Later, I watched Sophia Coppola’s “The Virgin Suicides.” Fol lowing five mysterious sisters who are hopelessly adored by the neighborhood boys, this movie both glamorizes a young Josh Hartnett as well as suicide. Being a quiet, young blonde girl myself at the time, I couldn’t help but feel as if I was one of them. After the youngest sister’s first suicide attempt, her doctor tells her she isn’t old enough to know how bad life gets. In reply, she said “Obviously, doctor, you’ve never been a 13-year-old girl.”5 Upon the girls’ eventual successful at tempts, they are misguidedly sworn into eternal admiration and wonder by their town. This misplaced worship yet again presents a dangerous message that only in sacrificing your self will you be loved.

1 Lana Del Rey, “Ultraviolence,” UMG Recordings, 2014.

2 Vladimir Nabakov, “Lolita,” Olympia Press, 1955.

3 Adrian Lyne, “Lolita,” Pathé, 1997.

4 “Nymphet,” Merriam-Webster Dictionary, 2022.

5 Sofia Coppola, “The Virgin Suicides,” Paramount Pictures Studios, 1999.

This depiction of young girls in the media paints them as highly desirable, beautifully troubled elements of mystery and allure. John Berger, an art critic, summarized it perfect ly by saying, “Women are there to feed an appetite, not to have any of their own.”6 Growing up, I was fascinated by these songs and stories that made me feel older and more powerful, promoting self-destruction with the promise of validation. I felt exhausted by the age of 13, catching my self posing in public and making sure that even my pajamas looked effortless and sexy.

Only getting older has allowed me to realize that embodying this type of persona does not hold the power that I thought it did. In reality, I was being stripped of my power by trying to make myself putty in someone else’s hands. Lacy Warner, a published author on the convergence of sex and art, says, “I thought I was the powerful one when an adult man, some one my father’s age, stopped to watch me saunter down the sidewalk. I thought I was intimidating, hard to catch, not easy, like prey.”7

Having come out on the other side of adolescent girlhood, I now see the role I had been trapped in due to the media society pushed on us. I felt as if I had a million different voic es telling me what being a girl really meant and what the world wanted from me. Girlhood is beautiful in too many ways to count, and when I look back on my childhood, I feel happy with the stories I wrote, the make-believe I played and all the amazing things young girls do and are capa ble of. There is a lightness in realizing that my girlhood was valuable in and of itself, independent of any amount of male or societal validation. ■

6 John Berger, “Ways of Seeing,” BBC and Penguin, 1972

7 Lacy Warner, “The Lasting Effects of the Lolita Complex,” Longreads, 2018

CUT THE TAG

THE EXPLOITATIVE NATURE OF A FASHION INDUSTRY NORM

By Clara Padgham, Contributing Writer Graphic by Mac Gale, Staff Graphic Artist

Recently, I tried on the dress I wore to my sophomore year homecoming. My junior year, my body began to change as I started growing into a more “womanly” figure, which I hated. Suffice to say, I became so obsessed with fitting into that homecoming dress that I went to unhealthy lengths to do so. Somehow I convinced myself that the day I could zip up that dress is the day I would be happy with my body. Finally, the day came that the dress zipped—and I felt nothing but shame. I stood there weeping until I had an epiphany: I had to alter my mindset rather than try to create an “ideal” body.

I began to learn more about women’s clothing sizing and how it essentially means nothing. Many fashion brands rely on “vanity sizing,” a tactic that includes purposefully alter ing the measurement specifications so the size on the tag is smaller but the clothes can fit on larger bodies. Vanity sizing is why jeans of the same size fit differently at every store—size six jeans can have waistbands spanning a differ ence of six inches.1

The idea is to make shoppers feel “skinny,” or as though they fit into an “ideal body type.” Victoria’s Secret, a lin gerie brand, makes their sizes larger so people trying on their bras feel as though they have larger breasts, ultimately meeting the beauty standard for women. The company siz es their bras three times larger than what would commonly be someone’s fit.2 The issue behind vanity sizing is that it works––the psychological tactics used to sell these clothes make sales.

Vanity sizing generally aims to have consumers picture themselves as a smaller size. Since there is such socie tal pressure on women to be thin, companies want their customers to feel like the commodified body size in their clothes. If a customer can picture themselves as a small er size, they will subconsciously want to buy more clothing from the brand.3

As companies continue to associate smaller sizes with larger measurements, there are still groups of people that

1 Eliana Dockterman, “One size fits none,” TIME, accessed April 2022

² Sami Jilek, “Vanity sizing and how it impacts women’s body image confi dence,” Illinois State University, Oct. 19, 2021.

³ Erin Mayer, “Which brands use vanity sizing,” Bustle, Dec. 4, 2014.

cannot find their size in the majority of retail stores. This feeds into the privilege that people have to fit into straight sizes at stores, which are the standard industry sizes. It is easier for a woman who fits into straight sizing to find op tions for clothing.

Continuing to force clothes on women that make them feel smaller excludes larger bodies. About 70% of women wear a size 14 or larger, but only about 20% of apparel is made in these sizes.4 Vanity sizing disproportionately affects larger bodies because they are continuously left out from major retailers, perpetuating ideas of what a woman should look like.

This is not to discount that anyone of any size can have in securities, but to say that companies wrongfully exploit said insecurities. Brands should want to be inclusive and strive to sell to the majority of women.

Studies found that when women buy what they perceive as smaller sizes, their self-esteem is boosted.5 Also, when consumers purchased larger sizes, they were compelled to shop as a form or “retail therapy” to make up for the loss of self-esteem from buying clothing deemed “large.”6 Con sumers will never win as long as retail companies continue to profit off of insecurities.

The size on the tag does not matter, and if I can offer any advice, it’s to be mindful of that whenever you’re trying on clothes. Repeatedly tell yourself that the size of your clothes doesn’t matter, as it’s all fabricated. There is no “right way” to wear clothes and there is no “right size” for billions of dif ferent bodies. As hard as it is, we cannot let our self-worth be determined by a superficial number.

When I tried on the sophomore year homecoming dress a week ago, it didn’t fit, so I took it off and went about my day. After all, four years later, I should hope the shape of my body has changed—and this change is no longer something we should fear.

■

4 Beth Ashley, “What happened to plus size?” Vogue Business, Dec. 11, 2020.

5 JoAndrea Hoegg, “The flip side of vanity sizing: How consumers respond to and compensate for larger than expected clothing sizes,” Journal of Consumer Psychology, July 26, 2013.

6 Ibid.

Directed by Corbin Woessner, Fashion Director, Jane Houseal, Fashion Editorial Assistant and Ella Cunz, Fashion Staff Member

Photographed by Luc Marchessault, Staff Photographer Videography by Ethan Risch, Staff Videographer Makeup by Riley August, Makeup Director Modeled by Tracy Pham

the light of our lives?

OUR OBSESSION WITH PERCEPTION

Written by Gabrielle Gronewold, Editor in Chief

Graphic by Jessica Tenenbaum, Honorary Art Director and Staff Graphic Artist

Iwill always remember joining Moda. Moda has served as a great “beacon” in my life—giving me a space to learn new things, meet some of my best friends and be incredibly challenged. Moda is also a beacon in the sense that it has taught me a magnitude about our relationships with perception.

For example, during my freshman year, I could have never imagined joining Moda—I was mesmerized by the publica tion, but truly could not fathom myself being able to do something like that. My best friend encouraged me to join, perceiving this was something I would love and be capable of doing, but I didn’t see it. When I finally did join sometime later, I continued to fight this perception of not totally see ing myself within the walls of Moda. In many ways, I contin ued to doubt my creativity and capability. Over my course in Moda, I’ve heard many echo this same feeling, symboliz ing two things—that there is a great deal more we can do to make people’s creativity feel welcomed and that there is a great deal we can do as individuals to understand per ception.

Perception is the “organization, identification, and inter pretation of sensory information in order to represent and understand the presented information or environment. All perception involves signals that go through the nervous system, which in turn result from physical or chemical stim ulation of the sensory system.”1 Perception is a subcon scious function that guides us in interpreting and handling the world around us. It’s how we visualize and then draft our realities, rooted in our senses and psychology.

There are sound measures to our perception modes—but they differ from person to person. The 2,000 to 4,000 tastebud receptors on our tongues all give us a different palette—allowing us to perceive the food we consume and want to consume in individualistic ways.2 Our vision also varies, giving us all a greater independence in the way we physically perceive the world. Individuals who don’t experi ence some senses, such as deaf or blind people, further our understanding that the way we perceive the world is not congruent and there is no one way to live or understand living.

1 Wikipedia, “Perception,” accessed May 16, 2022.

2 “How does our sense of taste work?” National Library of Medicine, Dec. 20, 2011.

This is furthered by things like cultural perception, or the con cept of how culture informs life. We are made up of the lan guage, food, art, religion and thoughts that surround us, influ encing who we are and how we ingest and perceive things.3

The individual influence and individualistic nature of our perception proves that there is a built-up tool kit that gives us a sort of agency and authority in our perception. We have seen and survived in the world and we can be confident in our interpretations. Perception is also manmade and our personal influence on how we see the world can be challenged. If we create our internal realities and we are not perfect individuals, then we are not foolproof ves sels of visualization.

As we sit in the driver’s seat of our own realities, we can manipulate things and convince ourselves of things we so badly want to see. In recent years, we have leaned into con versations around imposter syndrome, or the personal act of doubting your abilities and feeling fraudulent. It often af fects high-achieving people from accepting their achieve ments.

Rather than living to perceive, we are perceiving to live.

In 1978 psychologists Pauline Rose Clance and Suzanne Imes studied the concept, primarily in women. They fo cused on high-achieving women and concluded that they were persistent “in believing they were not bright and have fooled anyone who thinks otherwise.”4 For decades we have continued pitting this imposter syndrome as a women-cen tric trait. Ruchika Tulshyan and Jodi-Ann Burey wrote for the Harvard Business Review that this socially held belief can be challenged, allowing us to question what fosters this evident phenomenon in the first place.5

3 Psych Neuro, “Culture’s Influence on Perception,” On Psychology and Neuroscience, Feb. 17, 2016.

4 Kirsten Weir, “Feel like a fraud?” American Psychological Association, accessed May 16, 2022.

5 Ruchika Tulshyan Jodi-Ann Burey, “Stop Telling women They Have Im poster Syndrome,” Harvard Business Review, Feb. 11, 2021.

7

When it comes to imposter syndrome, people—especially those who have been routinely affected by imposter syn drome on a societal scale—can and should question our perception. Maybe the way we perceive things isn’t totally accurate. Maybe the fabrication of our perception can be questioned. I was right about a few things when I was 18— like that Moda was very cool and worth turning my head towards. I was wrong about a lot too—like that I was a com plete, creative lost cause.

Our obsession with perception is accentuated when we observe our relationship with social media. Pew Research shows that 72% of Americans today use some type of so cial media. The rate of social media usage adaptation has been rapid, growing from 5% in 2005 to 50% in 2011, and then a 22% jump to today. 46% to 70% of Americans are using the most popular social sites, such as Facebook, In stagram, Snapchat, Twitter and YouTube on a daily basis.6 Social media upholds our society’s digital interconnections and is built upon perception.

Our social perceptions are activated on social media—we see and hear curated images, storylines and presentations. Even if one claims their social media presence is casual and uncalculated, perception denies this. As a form of social perception, social media cannot avoid the societal intercon nection that it sits upon.

The concept of the “content farm” affirms this. A content farm alludes to the recent discourse around social media content and the curation and expectation for curation. Many took to social media to define the 2022 Coachella event that happened just over a month ago as a “content farm” which sponsored creating social activations rather than enjoying the present moment.

Influencer Naomi Mahdesian made a TikTok sharing that “The commercialism and the marketing killed the authen ticity part of it for me. I don’t even think I’ve seen content about the music. It felt like one of those museums where you only go to get selfies, rather than a music festival.”7

We have reached a point where living for social media has caused us to value perception and curating perception more than we value the living itself. Rather than living to perceive, we are perceiving to live. We are obsessing with an image and how the consumption of that image will play out. As a basic pro-social and instinctual human behavior, per ception is a tool; it’s a guiding light to the food we like; the things we dream of; the people we surround ourselves with. It helps us navigate and manage our experiences. Yet the bounds of the human mind are limited and faulted. Percep tion is influenced by the constraints of the world, while also being influenced by the manipulation of ourselves as cura tors and perceivers. ■

6

Mahdesian.

SUN KISSED AND FULL OF BLISS

NAVIGATING BRIGHT, BOLD EYESHADOW LOOKS AS A PERSON OF COLOR.

Written, Modeled, and Makeup by Mi Chuinda Levy, Lifestyle Staff Writer and Staff Makeup Artist Photographed by Sophia Krupka, Staff Photographer and Evie Dockray, Contributing Photographer Videography by Yejin Kim, Staff Videographer

Whenit comes to makeup, I am a person who loves it as bright and bold as my personality! Though as a person of color, I quickly came to realize that making bright colors pop on my skintone was going to be a lot harder than it would be for many of the fair skinned makeup artists I watched on YouTube. Over the years, I have learned and pieced together advice from fellow people of color to find makeup techniques that help me consistently achieve desired eye looks.

Although these tips can be used on any skintone, they are the ones I would give to a fellow person of color who wants to make their next eye look really pop.

SIX STEPS TO SHINING SUCCESS

PRIME THE EYES.

Priming the eyelids can help the eyeshadow not only stick to the lids better, but it can also help intensify the pigment in the shadow. There are two main options when choosing how to prime your lids; concealer and eyeshadow primer. Concealer is one of the easiest ways to prime your eyelids. I typically like to apply a thin layer of concealer all over my lids and pack that with a light neutral shade, then go in with the desired colored shadows. I recommend using a white liquid concealer and setting it with your desired color rather than the neutral shade. If you want a product solely dedi cated to priming the eyelids, give eyeshadow primer a try! It works similarly to concealer, but often comes in more color ful options like orange and blue for when you want to really intensify specific colors.

WET THE BRUSH.

Using setting spray can go a long way! Lightly misting the brush you are using with your favorite setting spray before dipping into a palette gives the shadow a creamier consis tency that is easier to blend and more with on the eye. It can also really make shimmer and glitter shadows pop!

TAP, DON’T DRAG.

When using bold colors, they can become patchy easily if not handled with care. It might be a habit to drag or swipe the eyeshadow pigment across the lids but the best meth od for the smoothest and most pigmented look is to gently press the shadow onto the eyelids.

LAYER, LAYER, LAYER!

Although a great foundation (primer) is key, layering shad ows can also help build color intensity. With lighter colors, you might find that applying only one layer is not enough to get the payoff you’d imagined. Going in multiple times and tapping or packing color into the eyelids will help build the layers to your desired intensity.

CLEAN BRUSHES FOR BLENDING.

Experimenting with the color palette of your look and in corporating multiple colors is a fun way to create a unique look. To keep your look from getting too muddled together, opt to give each color their own brush for application, then blend using a clean blending brush. If you are working with a limited brush supply, look into a color switch sponge. This product will allow you to quickly clean your brushes be tween colors.

EYES, THEN FACE.

With looks where you know bolder colors will be used, do your eye makeup first! It makes it so much easier to clean up any eyeshadow fall out that might occur and it gives you a lot more flexibility to modify the overall look as you see fit to achieve your desired look. ■

Close Your Eyes and Count Backwards From Ten

MY JOURNEY WITH HYDROCEPHALUS AND BRAIN SURGERY

Written by Sarah Kirsch, Culture Staff Writer | Graphic by Rosie Quinlan, Contributing Graphic Artist

Waking up from brain surgery feels like taking your second first breath. I woke up with tears streaming down my face. Everything around me was a little bit blurry, and I felt like a completely new person. Major surgery can sneak up on a person and change a life forever.

On July 27, 2018, my life changed forever. A regular eye exam transformed into weeks of tests and scans after my optometrist discovered there was something wrong in my brain that was creating pressure on my optic nerves. Not only was the problem visible by my decrease in peripheral vision at the exam, but also by my previous years of intense headaches, blacking out when I stood up and fuzziness in my vision. What I thought would be a regular end to the summer before my sophomore year of high school turned into countless visits with ophthalmologists and neurologists at my local hospital. I was diagnosed with chronic head aches and was told to track them; the next week, I got my first MRI scan of many.

Initially, the doctors believed I had pseudotumor cerebri, a condition where your brain reacts to a tumor that isn’t actu ally there.1 This was disproven with a lumbar puncture, also known as a spinal tap, where a needle is inserted into your spine to see the flow of cerebrospinal fluid. In late August 2018, I returned to the hospital for my second MRI in hope they would discover what was wrong. On my second scan,

2022.

a radiologist found a webbed blockage preventing my cere brospinal fluid (CSF) from flowing normally, causing a build up. In early September, I was officially diagnosed with hy drocephalus and was rushed to meet with a neurosurgeon on that same day.

Hydrocephalus, often called “water on the brain,” occurs when CSF builds up in the cavities—also known as ventri cles—deep within the brain. The fluid buildup increases the size of the ventricles, putting pressure on the brain. This con dition is most common in infants and those over 60 and is often congenital, meaning people have it as soon as they are born. The symptoms of hydrocephalus overlap with many other conditions and vary within age groups; the most com mon are headaches, blurry vision, unstable balance and per sonality changes, ranging from irritability to mood swings to memory loss.2

As a 15-year-old that was preparing for school to start, it was exhausting to constantly have to attend appointments. My mental health was already declining because of past ex periences, and the continuous scans, medicine and hospital visits drained me. In a rushed sense, it took over my life; I felt disconnected from my body and brain.

There are two typical treatments for hydrocephalus: a shunt or an endoscopic third ventriculostomy (ETV).3 Both require

2 Mayo Clinic Staff, “Hydrocephalus,” Mayo Clinic, Sep. 3, 2021

3 Ibid.

4

brain surgery, but neither is a permanent cure. Shunts, the most common treatment, are a mechanical device placed on the side of your head with a draining tube inside of your body.4 ETV brain surgery is less common but less invasive. A new pathway for CSF is created by creating a small inci sion at the top of your head and opening a new spot in the ventricles.5 There weren’t a lot of neurosurgeons in the area that perform ETVs near my hometown, but I luckily found one that excelled at the surgery in Rochester, Minnesota.

live in the present moment, especially since I have a plan ner personality and enjoy having my next five steps planned out. Although I still love planning out my dream future, I’ve tried to live more impulsively, whether it be through sponta neous adventures or going to new events. I try to meet new people and try new things constantly. A few months after my surgery, my family and I took a trip to Seattle, Wash ington, which was my first major trip and big-city experi ence. I adored the city, and thinking back on the trip always reminds me of how life changing new experiences can be. Surgery gave me a genuine appreciation for life and grat itude for the opportunities I have been given, such as my Seattle trip or college experience at Madison.

I have been so lucky with my experience because of my surgeon, mother, friends and incredible support system all around. A majority of hydrocephalus patients do not get as lucky as me. Congenital hydrocephalus drastically affects a person much worse than mine did, and most patients face countless challenges that I have not.

5

My brain surgery took place on September 17, 2018 at Mayo Clinic. It was a relatively short procedure, and I only had to spend one night in the hospital for recovery. After confirm ing I had no postoperative complications, I returned home to recover. The week off school was relaxing and full of pain medications; nothing could touch the incision. About a week later, CSF started leaking from my incision, and I had to be re-stitched. In October, about a month after my new stitches, they were removed. My recovery period was short and relatively easy, and I had a check-up MRI, eye exam and neuropsychological evaluation three months later.

Although it seems like a fever dream now, my brain surgery and condition have affected me in ways I never noticed be fore. After my recovery, I used work and school to distract myself from the impactful events that had just happened, but when the pandemic started, I was able to relax and al low myself to feel every emotion that had been building up. My hardest barrier was comprehending I was okay; the headaches, blackouts and blurs in my vision no longer ex isted. My headaches used to last for days or weeks straight; it didn’t feel normal to feel healthy, and I am still not com pletely over this barrier today. Whenever I get headaches or feel tired, I fear my condition has returned. It is a mental jump that I work on everyday to overcome; there is always a constant worry that something is wrong. Yet, with annual MRIs and constant reassurance, I have been able to live my life without over-stressing about my hydrocephalus.

Surgery was an opportunity for me to grow and have a fresh start. Everything around me was the same—my friends, my school, my town—but I felt like a completely new person. There were countless positive outcomes aside from my health; I got my first job after my three-month check-up, I had more time to focus on school and I could exercise again without getting headaches. I felt healthier and whole, phys ically and mentally. It felt like my slate was wiped clean and I had a chance to start over. Instead of constantly worrying about my health or attending appointments, I was able to focus on living my best life and the future to come.

Brain surgery can drastically change your life—positively and negatively—but it can also offer new perspectives and ways of looking at life. I’ve learned how important it is to

J.P. McAllister et al., “What is a Shunt?” Hydrocephalus Assocation, ac cessed April 2022.

“Third Ventriculostomy,” UCLA Health, accessed April 2022.

Typically, congenital hydrocephalus occurs in two out of ev ery 1,000 births in the United States, but there still isn’t a permanent cure for it. It affects so many people and needs more support.6 Although I am basically “cured,” I, along with countless other hydrocephalus patients, will never be con sidered fully healed. The Hydrocephalus Association offers many great resources for patients, those looking to support a patient and those looking to help fund researchers look ing for a cure.

Although hydrocephalus is scary and definitely overlooked, with a good health and support team, bouncing back and finding the positives became a lot easier. If it wasn’t for the people around me, I wouldn’t be where I am today. My ex perience made me appreciate those people more. Drastic changes like brain surgery aren’t necessary to transform your perspective on life. Living in the moment and appre ciating life can be found in the littlest things or moments. Brain surgery can undoubtedly change your life, but with a positive outlook and a special appreciation, it becomes an easier change. ■

It felt like my slate was wiped clean and I had a chance to start over. Instead of constantly worrying about my health or attending appointments, I was able to focus on living my best life and the future to come.

My hardest barrier was comprehending I was okay; the headaches, blackouts and blurs in my vision no longer existed.

inbetween dreams

THE DREAMCORE AESTHETIC TOLD THROUGH DREAM-POP, SHOEGAZE AND MORE

Writing and graphic by Arella Warren, Deputy Editor

Throughout the 2010s onward, “core” aesthetics have taken the internet by storm. Cottagecore, skater core and softcore are some better-known examples that have been in the spotlight for several years now. While these aesthetics each have a distinct charm, a new core is gaining traction in the arts and music scene—it goes by the name of dreamcore.

The idea of an aesthetic today is used to convey the overall style of something, such as someone’s persona or “vibe,” how a person dresses or the way something looks or sounds.1 From this, “core” has entered our common vernac ular as a suffix that gets attached to the end of a word to explain a particular aesthetic, similar to a wave, genre or movement in media.

Dreamcore’s aesthetic is closely linked with the larger cate gory of weirdcore, a surrealist internet art movement. Both feature digitally-constructed, lo-fi images or sounds intend ed to evoke “feelings of confusion, disorientation, alienation and nostalgia” in their beholders.2 While weirdcore rep resents eerier feelings of yearning and discomfort, dream core tends to center on lighter, foggier, otherworldly visuals and beats connotative of the subconscious dreamscape.

Dreamcore media in specific aims to depict liminal sounds and spaces. The term “liminal” derives from the Latin word “limen,” meaning “threshold”—these liminal environments take the form of physical, visual or emotional in-betweens, representing a transitory point of being on the precipice of somewhere new, but lost in a plane of waiting.3 In images shared online, this is often shown through dreamlike spaces with no apparent end in sight, such as stairwells, hallways and pool rooms, or symbols reminiscent of endings, memories of childhood, outer space, uncertainty and nostalgic yearning.

Dreamcore is far from homogeneous, un bounded by typical musical tropes or genre restraints—dream-pop and shoegaze in particular have their roots in Black history.

In music, dreamcore is commonly embodied by dream-pop. The dream-pop genre grew out of the ‘80s, described as a “movement in alternative rock [that] combines guitar-driv en pop hooks with lush atmospherics and psychedelic pro duction.”4 Dream-pop artists merge elements of post-punk, such as heavier reverb and DIY structures, with indie rock5 to come together in forming an electronically distorted, psychedelic yet blissful ambiance.

¹ “Aesthetic,” Dictionary.com, LLC, July 1, 2019.

² Malavika Pradeep, “Inside Weirdcore, an internet-born art movement trig gering nostalgia of the unknown,” Screenshot, Sept. 5, 2021.

³ “Theodora Blanchfield, “The Impact of Liminal Space on Your Mental Health,” Verywell Mind, Oct. 20, 2021.

⁴ The MasterClass Staff, “Dream Pop Music Guide: 9 Dream Pop Artists,” MasterClass, March 4, 2022.

⁵ Ibid.

“Dream-pop” also gets used interchangeably with “shoegaze.” Both genres implement “atmospheric sound scapes”6 that intend to engage and stimulate all the senses in an emotive experience that other styles of music can’t quite encapsulate.

The classic My Bloody Valentine has long lived at the intersection of dream-pop and shoegaze. Their 1991 genre-defying album, “Loveless,” offers a billowing distortion of music and sound that has inspired countless bands across the decades.7 The output is fuzzy and Avantgarde without the traditional lyrical structure many expect to find in pop music.

Kevin Shields, the lead singer and guitarist, views this amal gamation of nearly indiscernible vocals and textured white noise as an emotional experiment with the listener. Shields explains “A good song is something that transcends what you’re doing and actually goes past that, and affects peo ple on a level that’s deeper than the superficial elements of the song,” which is a key aspiration for many musicians of the dream scene, including other notable shoegaze bands such as Galaxie 500 and Slowdive.8

Dreamcore is far from homogeneous, unbounded by typ ical musical tropes or genre restraints—dream-pop and shoegaze in particular have their roots in Black history. Much of the dream scene’s polyrhythmic structure and ob scure style draws inspiration from African American music of the 1920s.9 Black British duo A.R. Kane is often credit ed with inventing shoegaze, blending elements of freeform jazz with Afrofuturism and improvisational feedback.10

Other emblematic dream-pop artists, including Beach House, Mazzy Star and Cocteau Twins, have made a home for themselves and their listeners through their hazy, son ic soundscapes. Each headed by tranquil female vocalists, their music showcases a narrative of swirling, velvet vocals complemented by dark, fluttering undertones that prompt the listener to enter into a trancelike state.

As writer Sofia Lyon explains, the appeal of these melodies lies in our ability to “crawl into these records, float around in them, and process the pain and comfort of memory,” in the same way that the genre exists to remind us “of our unique ly human proclivity for dreaming.”11 The ultimate purpose is to provide a fully immersive listening experience.

The notion of floating through space, be it visual, audio or physical, is likewise captured through space rock bands such as the ethereal Spiritualized. Particularly, one can look to their profound album “Ladies and Gentlemen We Are

⁶ Ibid.

⁷ Caz Tran, “My Bloody Valentine’s second album Loveless remains the ultimate shoegaze record,” ABC, Oct. 25, 2021.

8 Ibid.

9 M.I.C., “Exploring the Black Roots of Shoegaze and Dream Pop,” Mixmag, May 24, 2021.

10 Ibid.

11 Sofia Lyon, “The Heart of Dream-Pop: Beach House Returns with Once Twice Melody,” The Bottomline, March 4, 2022.

Floating in Space,” a groundbreaking expression of the hu man struggle ideal for 1 a.m. listening sessions while teeter ing on the edge of wake and dreams.

Although dream-pop tends to be airier, dreamcore music can also border on the downright bizarre. Neo-psychedelic pop band Mild High Club draws on a colorful, hand-craft ed aesthetic, mixing acid jazz, synth and trippy cadences meant to “whisk listeners away to a strange land where real ity wavers in and out of focus.”12

Meanwhile, hypnagogic artist and animator Jack Stauber takes it to the extreme, fusing nonsensical lyrical storylines with animation through his albums and music videos. De scribed as “peculiar” and “perplexing,”13 Stauber has part nered with the cartoon program Adult Swim to create an imated smalls. These clips feature uncanny characters and deeply offkey soundtracks reflective of an old children’s car toon that crawled out of the grave, merging MS Paint with

12 Pooja Bale, “‘Going Going Gone’ is psychedelic jazz sensation from Mild High Club,” The Daily Californication, Sept. 21, 2021.

13 Jacob Cannon, “Artist Jack Stauber’s eclectic work reaches new depths,” The Wooster Voice, April 26, 2019.

claymation with VHS analog horror.14 Despite the darker undertones, Stauber’s music is distinguished for its upbeat surface sound and whimsical, twinkling melodies, maintain ing the youthful element of dreamcore.

For those who engage with the aesthetic, dreamcore exem plifies the heart behind Beacon in a multifaceted way. It’s atmospheric, enchanting, muffled, unsettling and deeply hypnotic. It acts as both a guiding light, allowing us to re flect on our childhoods and our romanticist ideals through a rose-colored lens—whilst warning us of the spaces and things that lie beyond our comfort or perception.

The aesthetic on the whole subtly and sometimes not so subtly reminds us that there’s always more to what we see and think. Dreamcore’s power lies in facilitating a unique and incomparable experience meant to induce a state of mental transcendence and stillness in between our other wise mundane moments of waking. ■

14 Grant Hinders, “Jack Stauber: The Man, the Myth, the Music,” SHS Today, Dec. 9, 2019.