CONTENTS
FRONT OF BOOK
#04 Haute Online
#08 Top 5
#12 Editor’s Note
#13 Masthead
SEAMS
#18 Runway Realway: Kusama X Louis Vuitton
#20 Runway Realway: Momo Wang 2011
#22 That’s So Julia
#24 Celeb Style: Addison Rae
#26 Junk Drawer
#30 She Just Wanna Party
#32 Gorgeously Gothic
#34 Seams: Divine
#36 Seams: Myra Magdalen
WHO, WHAT, WEAR
#40 In the Eyes of the Beholder
#26 Junk Drawer
#118 Killing it with Color
#34 Seams: Divine
It’s Camp, Dammit!
CONTENTS
MIDDLE OF THE BOOK
#46 To Scale
#58 Bombshell
#66 Unconventional Sports
#78 Glampire
#90 Trend Radar: Anti-Trend
CAMPUS CASUAL
#98 Betting on Obetty’s
#100 Quiz: Which Maximalist Character Are You?
#102 Convience & Casual
#104 Queer Origins in Camp
#106 Fourtune Favors the Bold
#108 Understanding Upcycling
BACK OF THE CLOSET
#116 Almost so Good They’re Bad
#118 Killing It with Color
#120 In Good Fashion: Mr. Jones Watches
#122 Both Theory & Play
#124 Killing it with Color
#126 Rant/Rave: Camp Met Gala
#90 Looks We Like: Anti-Trend
#22 That’s So Julia
#126 Rant/Rave: Camp Met Gala
HAUTE ONLINE
Looking for a new internet obsession? Whether you want to listen to podcasts or watch some videos, we’ve got you covered virtually.
NEE-DOH
Call me a kid at heart, but I can’t get enough of fidget toys. Yes, you heard that right — fidget toys are back, and they’re not just for middle schoolers anymore. One brand in particular has blown up online called NeeDohs. The brand has several different types of stress balls, but their Nice Cube is the best option, which is a slow-rise, sugar-squeeze cube that comes in different sizes and colors.
I first discovered these gems while working at
Learning Express, a toy store I worked at during high school. At first, I was a little embarrassed to be caught using them, but now they’re a full-on TikTok trend. As a busy college student, NeeDohs are the perfect stress reliever. I keep one in my backpack, and I always pull it out while studying in the library. Trust me, it’s a worthwhile investment.
- CAMI
DEAR HANK & JOHN
“Dear Hank & John” is a podcast hosted by the fabled Green brothers, John and Hank Green. The podcast is not new — in fact, the first episode was released on Spotify in 2015 — and the Green brothers have been internet-famous for much longer than its existence. Yet, in an issue celebrating the theatrical extravagance of society, I can’t help but feature the self-proclaimed “comedy podcast about death.”
Hank and John Green have been present in my life like distant, but omnipresent mentors who appear when I need them most. If asked what famous person I’d like to have coffee with, I flip-flop between brothers. Their books and “Vlogbrothers”
videos got me through middle school, “Crash Course” got me through high school and now their podcast is getting me through college.
“Dear Hank & John” has a unique format. The brothers start by answering questions from viewers about anything — and I mean anything — and then transition to the most recent news about Mars and AFC Wimbledon (the English football club). It’s simple and strange, yet I still recall their advice and jokes from years past. I’d recommend the podcast to anyone facing life.
- ALEXANDRA HOPKINS
NORMAL GOSSIP PODCAST
You didn’t hear this recommendation from me, but if you are looking for a new podcast to listen to, let me suggest “Normal Gossip.” Hosted by Rachelle Hampton — though all past seasons were hosted by Kelsey McKinney — each episode features an anonymous gossip story told to a guest. Listeners of the podcast submit their own juicy, utterly insane gossip, which is then anonymized for the show’s production. I found myself laughing, gasping, and jaw dropping to the floor listening to the unpredictable stories told on the show. It is the perfect show to put on while driving, cleaning, or walking; it feels like spilling major tea with your friends.
Where to start, you may ask? I got hooked on the show from the episode “Forbidden Feline Fanfiction,” which is about the drama and chaos of an elitist online community for the “Warrior Cats” book series. It gets so much more intense than you may imagine. I would also recommend “It Was Never About the Figs” and “Rich Mom Razzle Dazzle” to those interested. McKinney makes you question your own relationship to gossip, and why we might need gossip to survive.
- ABBY JOYNER
“MODIFY FOR YOU”
Music is an incredibly personal part of my life, as it is for most people. I have spent nearly two decades creating memories that relate to music and countless hours curating my playlists. However, sometimes I find myself uninspired by the music I listen to. I often fall into the habit of listening to the same songs so repetitively they become redundant, leaving me at a loss for my daily soundtrack. This is where Spotify’s “Made For You” playlists come in handy. From the “daylist” to “Discover Weekly,” these playlists allow me to expand my musical horizons while maintaining
stylistic preference. They are the perfect solution to times when I don’t feel like choosing my own discography for the day, but still want to hear the sounds and styles I am a fan of. Although I will never understand the algorithm behind these collections of music and have no intention of completely phasing out the playlists of my own creation, I am grateful for these small gifts from Spotify that have given me so many new additions to those personal playlists of mine.
- SOPHIA ROOKSBERRY
Find out the top five things that our exec board is inspired by right now.
PEARL JAM
Pearl Jam is a band that was popular in the ‘90s grunge scene along with Nirvana and Alice in Chains. The band’s lead singer, Eddie Vedder, has an incredibly unique voice that brought the band to mainstream success. You might not be very familiar with the band, but chances are you might’ve heard one of their songs like “Even Flow” (1991) or “Last Kiss” (1999). If you haven’t heard of them, I recommend listening to the album “Ten” to start because it’s one of the best albums of the ‘90s. Even if you’re not a fan of rock, I think there’s something for everyone in their music. No matter what mood you’re in — angry, sad, happy — there’s always a Pearl Jam song to listen to when you need it.
My parents first introduced me to Pearl Jam. Growing up, our car rides consisted of Lithium Radio and Pearl Jam Radio, and I would find myself singing Pearl Jam songs around the house before I even knew the names of them. When I was old enough to get a Spotify account and start creating my own playlists, I started listening to full albums and making playlists of the songs I used to listen to when I was little. I really enjoyed listening to their music and discovering new songs, but it was also a way to connect with my parents. In a way, it helped me relate to them and made car rides a lot more fun. We created a bond through music and I get to share new experiences with my parents like going to the Pearl Jam concert in May.
- AVERY ST. GEORGE
KENDRICK LAMAR HALFTIME SHOW
Every year, I look forward to the Super Bowl halftime show. I adore the hard work, planning, and creative vision that goes into the performance each year. After all, the halftime show is viewed by millions of people, so this is one of the biggest stages a musical artist can have in their career. Kendrick Lamar’s 13-minute performance was packed with symbolism. The more I’ve rewatched it, the more hidden details I’ve noticed. Whether it was Samuel L. Jackson as Uncle Sam or the colors the performers were wearing, he spoke about the issues our country is currently experiencing while using symbolism to strengthen his message. There were also celebrity appearances, including Samuel L. Jackson, and Serena Williams, who did the crip walk during “Not Like Us.” But my favorite moment was when Lamar brought out his producer, Mustard, during “TV Off”.
A major part of Lamar’s career has been using his voice to make an impact. With the political divide our country is experiencing right now, it was perfect timing for Lamar to perform. It was very inspiring to see him speak out with the platform he has, even with the possibility of censorship or backlash.
- GWYNETH SHOEMAKER
NOSTALGIC FRENCH FILMS
Anyone who has ever met me knows I am French. My culture has always been split between the beautiful American works of actors like Meryl Streep and Robin Williams contrasted with the silly belly-ache laughs brought by French actors like Louis de Funes and flirtatious coming-of-age movies like “La Boum” (1980) with Sophie Marceau. Whenever my weeks are a little too stressful or I need to remember the country that awaits me across the Atlantic, I always choose to put on a nostalgic French film. My newest obsession these days has been showing my American friends and my American boyfriend these wonderful pieces of art. It’s almost like a little piece of me I’ve always kept just for myself is revealed when I show them these films. My two worlds cross and the people I love most get to understand me just a little more. I highly recommend popping in a nostalgic French film with the closest Frenchie you know.
- GABRIELLE CABANES
VINYLS
Everyone has at least one vinyl from their favorite artist or band and I would hope that they cherish it and take care of it. Vinyl is, in my opinion, the best form of physical media.
For my older rock ‘n’ roll albums I will always opt to throw a record on the table instead of turning to digital. However, I love collecting newer music on vinyl to play and display around my room too. I always try to buy second-hand when I can so I don’t completely drain my bank account but it is definitely money well spent in my eyes.
With artists releasing their music on different pressed vinyl in different shapes and colors, it
just adds to the appeal of owning physical music. There are even companies where you can make your own personalized soundtrack and have it made into a record.
I love all the vinyl my family has passed down to me, from my dad’s old Kiss and Billy Joel tracks to my grandma’s 45s from her teens. Every time I put them on, I feel a little closer to home.
Whether you are a die-hard vinyl fanatic or just want to spice up your decor it doesn’t get better than vinyl.
- SHYLA ALGERI
WRITING LETTERS
Although I am still sending text messages, like most people, I have recently rediscovered the art of letter-writing and sending mail. Prior to this month, I don’t remember the last time I made a birthday, get well soon, or a congrats card for my friends, but nobody has grown out of the excitement of receiving mail.
With exponentially quicker forms of communication such as texting, calling, or Facetime, writing letters now serves a completely different purpose. When I write cards to my family and friends, I am not reaching out for a favor, to gossip, or to complain about whatever is on my mind. I write knowing there is no delete, backspace, or unsend button, knowing my words will be kept in a drawer for a long while, probably randomly reread during spring cleaning or when sorting through junk looking for a charger. When
I write a letter to someone, it is always to show appreciation toward them or to tell them about the best parts of my week, something that will improve my recipient’s day. It is a more permanent marker of my love for whoever I am writing to and is less fleeting than a phone call or a quick text. Along with its contents, the presentation of my message matters almost just as much. There is no way to decorate a text message or phone call, and oftentimes we send texts without a second thought. However, a letter can present itself however I want it to. Outside of being a method of communication, it is also a gift and a keepsake, making it more special than any other medium of message.
- DISHA HOQUE
Editor’s Note
Welcome to our third issue of the year Threadies! This issue is one that we are all really excited for you to have fun with and explore with an open and playful mind. This year at Thread we have really got to break boundaries in creativity and do things we have been scared to do in the past but with this issue specifically there were absolutely no limits. “It’s Camp Dammit!” is the title of our brand new issue and it perfectly sums up everything this issue may or may not mean to you. From Addison Rae to O’Betty’s hot dogs, there is something for everyone here. The entire idea of this issue sparked from wanting to do something outside of the box and it was so outside of the box that we didn’t even come up with a title until mid-production. The messiness of this issue is what makes it so overwhelmingly stunning. In fashion, “camp” refers to an aesthetic and style characterized by exaggerated, over-the-top, and often ironic or playful elements. It embraces absurdity, kitsch, and an extravagant, self-aware sense of humor. Camp often celebrates bad taste, theatricality, and exaggeration in ways that can be both satirical and celebratory. The style is typically associated with flamboyance, bright colors, bold patterns, and extravagant designs that challenge traditional norms of beauty and good taste.
Our middle of the book shoots most definitely capture Thread’s camp. Things get a little weird in our “To Scale” shoot when perception of everything is blurred. Then, there is nothing more camp than a bombshell! Next, we turn your favorite sports into… camp sports? Think of sports, then add a heel and a cat eye. Finally, we bring all your vampire love dreams to life but in more of a glam way. Glampire!
I am extremely proud of each and every individual who took part in bringing this vision to life. It’s a lot more difficult to create an entire issue with no direct path and in camp, there really is no right or wrong. Our team was stretched and challenged creatively in ways they haven’t been before and it was an extremely eye- opening experience for everyone. Everyone who touched this project felt growth in every aspect and every boundary set by themselves. It has been an extremely powerful experience.
To our creative team, I want to express my greatest gratitude for exceeding all expectations anyone ever had for you. You all absolutely kill it every time when it comes to fashion, makeup, photography, multimedia,
and design. This issue has allowed you all to express yourself creatively in ways you have not gotten to and it’s absolutely some of your best– or should I say most camp work yet.
Our business team, the work you do for our staff as well as for the magazine will never go unnoticed. Every member is essential to the production of the magazine and sometimes the behind the scenes work is the most important.
The editorial staff was most definitely pushed in ways I don’t think they ever expected and I am extremely grateful and blown away by the way they were able to step up to the plate and blow camp out of the ballpark editorially. Coming up with stories for something like camp is more difficult than you would think, especially when there is no clear vision and everyone is just going solely based on a vibe or feeling. There would be no Thread without the editorial staff and I am extremely grateful for each and every one of you.
I want to especially thank our creative director Hadley Fain, art director Morgan Clark, and managing editor Gabrielle Cabanes. I am extremely lucky to get to work with you all so closely and learn from you all on both a personal and professional level. There is absolutely no one like you all and I am grateful for the work you do. Finally, thank you to the readers. Thread is possible because of those of you reading this and words are not enough to express my deepest gratitude to you all. Camp has most definitely become a way of life for
everyone here at Thread and I hope that this issue reminds you all to keep things a little camp in every aspect of your life as well. I am so excited to now present to you our third issue of the year, “IT’S CAMP DAMMIT!”.
With Heartfelt Appreciation,
Hunter Gibson Editor-In-Chief
EDITOR-IN-CHIEF Hunter Gibson
MANAGING EDITOR Gabrielle Cabanes
CREATIVE DIRECTOR Hadley Fain
ART DIRECTOR Morgan Clark
EDITORIAL
COPY CHIEF Cami Seymore
SEAMS EDITOR Abby Joyner
WWW, & CAMPUS CASUAL EDITOR Avery St. George
FEATURES & BOC EDITOR Sophia Rooksberry
ONLINE CONTENT EDITOR Alex Hopkins
OFFICIAL STAFF WRITER Olivia Leggans
EDITORIAL STAFF Disha Hoque, Shyla Algeri, Abby Joyner, Lauren Stidham, Emilie DeOreo, Alex Hopkins, Sophia Rooksberry, Avery St. George, Gabrielle Cabanes, Hunter Gibson, Kitty Crino, Divy Bose, Aiden Cox, Mackenzie Carr
DESIGN
DESIGN DIRECTOR Gwyneth Shoemaker
ILLUSTRATION DIRECTOR Kendall Wiff
WEB DIRECTOR Carly Hart
DESIGN STAFF Ella Huelskamp, Emma Henry, Carly Hart, Meredith Viox, Nicole Bell, Tanner Vance, Hadley Fain, Gretchen Stoner, Lesia Leskovska, Morgan Clark, Sophia Cianciola, Kendall Wiff, Maris Cordial
ILLUSTRATION STAFF Kendall Wiff, Colette Trout, Carly Hart, Emma Henry, Maris Cordial, Sophia Cianciola, Kyrah Grant
PHOTO
PHOTO CHIEF Disha Hoque
HEAD PHOTO EDITOR Jori Husted
PHOTOGRAPHY STAFF Alayna Talladino, Avery Arnold, Catherine Lyons, Gabrielle Cabanes, Jackson McCoy, Kitty Crino, Nate Conklin, Nicole Bell, Olivia Lutz, Skylar Seavey, Zennia Lam
MULTIMEDIA
MULTIMEDIA DIRECTOR Jenna Skidmore
VIDEO EDITOR Maggie Musto
STAFF Ally Parker, Avery Callison, Avery Tyla, Ella Huelskamp, Emma Henry, Gabbie Weil, Kourtney Gierke, Maddie Benedict, Nicole Bell, Sean Terrell
FASHION
FASHION CO-DIRECTORS Bella Bolin & Natalie Schoolcraft
HEAD DIRECTOR Julia Brown
MAKEUP CO-DIRECTORS Kamryn Clark & Shyla Algeri
MAKEUP ARTISTS Geneva Day, Catherine Lyons, Sarah Kellenberger, Shea O’Flaherty
HAIR STYLISTS Geneva Day, Sarah Kellenberger, Wylie Lytle
FASHION STYLISTS Sarah Kellenberger, Catherine Lyons, Madelyn Joens, Zennia Lam, Sarah Kellenberger, Erin Brogan, Shea O’Flahert, Geneva Day, Ella Marcinek, Alex Cunningham, Sofia Baer, Rey De Spain, Tamar Clark, Crystal Fillman, Elise Talaga
MODELS
Tamar Clark, Maris Cordial, Christian Connors, Alex Cunningham, Elise Talaga, Emma Erion, Sarah Kellenberger, Aidan Cox, Rory Rothgerber, Katie Kinder, Leighton Heiner, Emma Kiefer, Mallory Lough, Shea O’Flaherty, Wylie Lytle, Gwen Spaliatsos, Zennia Lam, Rey De Spain, Madelyn Joens, Crystal Fillman, Ella Marcinek, Carl McCutcheon, Harlee Shae, Linda LaCour, Geneva Day, Kadance Shepherd
BUISNESS & SOCIAL MEDIA
DIRECTOR OF PR & CREATIVE STRATEGY Sabine Obermoller
HEAD OF EVENT PLANNING Emma Hedges
SOCIAL MEDIA MANAGER Lila Newman
BUISNESS & SOCIAL MEDIA STAFF Taylor Belvins, Camden Campbell, Halle Andrus, Olivia Beatty
SEAMS
From the runway to the streets, and everywhere in between, here are this seasons’s most soughtafter trends.
Runway Realway
BY ABBY JOYNER
Yayoi Kusama x Louis Vuitton
Louis Vuitton and Yayoi Kusama collaborated two times, and both collections were a charming mix of Louis Vuitton’s polished, luxurious craftsmanship and Kusama’s contemporary, colorful, and eccentric polka-dotted patterns.
In 2012, the two first launched their collaboration in correspondence with Kusama’s art retrospective at the Whitney Museum of American Art in New York City. The collection, called “Dots Infinity,” celebrated Kusama’s hypnotizing primary-colored polka dots through handbags, footwear, and other accessories. Commemorating the 10-year anniversary of this primary collection, Kusama and LV reunited to bring the emblematic polka dots back for the French brand’s Cruise 2023 collection.
Kusama is a contemporary Japanese artist who rose to prominence during the New York City avant-garde scene, which began in the 1950s and lasted until the 1970s. Her artistic inspiration stemmed from her abusive childhood; she began hallucinating around age 10 and spun these visions into her first artworks. Always unique and innovative, Kusama’s work reflects expressionist, feminist, and avant-garde artistic styles, but remains distinctly her own. She often
found inspiration in the idea of infinity, emulated through the endless circles in her polka dots which form eternal seas of color and pattern on each canvas she touches. Describing herself as an “obsessional artist,” Kusama’s work both uncovers her inner psyche and destroys it.
Louis Vuitton reinvented the infinity motifs of Kusama’s work in the Cruise collection. Taking inspiration from many of her exhibitions, such as “Infinity Mirror Rooms” and “Obliteration Rooms,” Louis Vuitton overlayed the colorful polka dots onto their signature Capucine and Dauphine bags as if they were painted over the original bag. In addition to the colorful dots, metallic orbs covered many of the pieces to further reflect the idea of Kusama’s infinity mirror.
The marketing for this collaboration campaign was just as impressively extravagant as the collection itself. In Paris, outside Louis Vuitton’s store on the famous Champs-Élysées, onlookers could ogle at a giant Kusama leaning over the building, placing her polka dots across the refined Parisian architecture. It further proliferated the unprecedented collaboration between classical elegance and modern artistic rebellion.
PHOTOS BY KITTY CRINO
EDITING BY MORGAN CLARK
DESIGN BY GWYNETH SHOEMAKER
MOMO WANG 2011 R R
BY LAUREN STIDHAM
PHOTOS BY SKYLAR SEAVEY
EDITING BY CAT LYONS
DESIGN BY CARLY HART
Runway fashion remains the paragon for desired high-class wardrobes, often flaunting elegance and artistry esteemed for its upscale appeal. It’s not very often the usual sophistication is replaced with a collection of playful artistry that abandons wearable attire, but the Momo Wang 2011 Central Saint Martins BA Honors Show is just that.
While the runway has seen varying attempts at unorthodox and abstract collections, the animated ensembles that graced this event envisioned their own category in the world of fashion. This student collection introduced a range of theatrical designs, many cartoonish in their unconventional silhouettes, childlike colors, and jovial adornments.
Capturing the entire spirit of this event is impossible, and while the collection held similarities in its eccentric looks, it completely abandoned any sense of consistency. It strayed from traditional runway predictability and cohesion while maintaining its integral childlike essence; the rabbit costume, the holographic dress, the balloon pig-tails, and the bubble machine felt similar to the dystopian nature of Capitol fashion in “The Hunger Games” series.
complete sovereignty of student designers can be accredited for its transcendence of rationality, and arguably this surplus of creativity is commonly forgotten amidst the standards of high fashion.
Runway culture often introduces modern
The patterned and fringed knitwear, exaggerated shapes adorned on each piece, and dissimilar cuts and fabric layered in each outfit proved to be the concoction that makes this collection noteworthy 14 years later. The
That’s Julia SO
BY EMILY DEOREO
PHOTOS AND EDITING BY MORGAN CLARK
DESIGN BY MEREDITH VIOX
Whenever Julia Fox is introduced on a talk show, no one can fully expect what she will walk out wearing. The actress, artist, model, and ultimate “it-girl” mastered reinvention, turning any and every public appearance into a performance. Whether she is walking the red carpet in a latex look or casually shopping for groceries in underwear, Julia Fox has solidified herself as a pop culture phenomenon who uses unpredictability to her advantage. But Fox’s aesthetic isn’t just about shock value — it’s an extension of her personal history, a wearable narrative of survival, rebellion, and reinvention.
Fox entered mainstream media in 2019, starring in “Uncut Gems” alongside Adam Sandler. This breakout role introduced Fox to Hollywood, but rather than conform to industry expectations, she carved out her own space and became a fearless style icon and a cultural disruptor. Instead of taking on blockbuster roles, Fox pivoted and focused on pushing the boundaries of fashion and self-expression. Her bold looks — denim bralettes, a dress made
of reconstructed seatbelts, and exaggerated graphic eyeliner — cemented Fox as one of the most daring dressers in the industry.
“I love putting a newer spin to classics,” Fox said in an interview with Variety, “I like breathing a new life into an everyday item that you would normally overlook or not really consider couture or special and I like to make it special.” Her ability to reimagine ordinary pieces and elevate them to high-fashion status sets Fox apart from other celebrities who simply follow trends rather than start them.
However, Fox’s influence extends beyond fashion. She made waves as an outspoken feminist and social commentator, unafraid to tackle topics that many celebrities avoid. She speaks candidly about her experience as a single mother, her struggles with addiction, and her past as a dominatrix, using her platform to destigmatize conversations about sex work and body image. Rather than presenting a polished, carefully curated version of herself, Fox embraces rawness, often rejecting traditional beauty norms. She challenges the idea that glamour must be effortless and pristine, proving that true style is about attitude rather than perfection.
“That’s why I do things, you know, it’s for other people to enjoy, we’re all one: a collective consciousness. If I have an idea, it’s already in the universe, ready to be claimed.”
Fox said, reflecting on her role as a cultural disruptor. Her philosophy underscores her deep connection to her audience, as she views creativity as a shared experience rather than an isolated endeavor.
With her raw, unfiltered approach to fame and her fearless commitment to pushing boundaries, Julia Fox is not just a celebrity — she is a movement. Whether she’s strutting down the street in a sculptural masterpiece or offering her fans unfiltered life advice, one thing is clear: she’s just getting started.
RAE ADDISON
WRITTEN BY HUNTER GIBSON
PHOTOS AND EDITING BY MORGAN CLARK
DESIGN BY ELLA HUELSKAMP
Addison Rae is the definition of current pop culture. The cultural shift over the past year which has transformed Rae from a bland TikTok persona to a funky and flashy pop star was unprecedented. Her undeniable it-girl status is hard not to be obsessed with.
Most people know Rae from her stardom on TikTok during the COVID-19 pandemic, where she went viral for performing trendy dances and sharing content as part of the influencer group the Hype House.
Today, Rae has since become unrecognizable, thanks to an incredible style evolution. Her inventive wardrobe and ability to throw a calculatedly campy outfit together to grab a coffee or do pilates is mesmerizing. Wearing brown knee-high legwarmers and white slingback kitten heels with a pair of Alo Yoga shorts and a tiger print slouchy tote is a perfect example of Rae’s originality. Her paparazzi candids have become a staple in pop culture and the fashion world.
Rae’s red carpet looks have also played a major role in the changed perception of her in the fashion world, with looks like her cheeky satin bra and panty set with ruffled tulle down the back from the MTV Video Music Awards. Rae was praised for taking risks and having fun on the VMA carpet.
Aside from her shift in fashion and style, Rae has paved a path to becoming a pop princess. In 2024 she became a major force in the resurgence of pop music’s popularity. She collaborated with Charli XCX on the hit “Von dutch a. g. cook remix featuring addison rae” and released her own singles “Diet Pepsi” and “Aquamarine,” which received praise from critics, fans, and Rae’s pop peers, who lauded her campy, inspired aesthetic and undeniable star power.
The music videos accompanying her singles have also enhanced her rebrand. Taking clear inspiration from pop muses of the earlier 2000s like Lana Del Rey and Britney Spears and cult-classic film visuals and models of the ‘60s and ‘70s, Rae can make high fashion casual and fun.
Rae definitely has no plans for slowing down; this year she will release new singles and fans anticipate a debut album. Now a Rolling Stone cover star, Rae’s fun self-confidence, sweet relatability, and campy style exploration have defined her wildly successful year. Her dramatic change from TikTok star to emerging pop royalty signals the cultural desire for bouncy, slightly sleazy pop music to be in Vogue again. Rae is the one to watch in 2025.
BY KITTY CRINO
PHOTOS AND EDITING BY
DESIGN BY CARLY HART
You may not find what you wanted, yet possess everything you never knew you needed. A place of organized chaos, or rather chaotic organization. From rubber bands and staples to jewelry repair tools, miscellaneous batteries, and one lonely die, the junk drawer provides for family members of all ages. It is an in-home lost and found: the first place you check and always a trusted last resort.
Home improvement network HGTV released an article containing tips as to how one can organize a messy junk drawer. These include using an ice cube tray, a cutlery tray, or a cardboard
simple and subjectively annoying actions such as junk drawer scavenging.
There is a sense of nostalgia when it comes to the junk drawer — as a kid, finding what you need usually comes with the aid of an adult. But knowing the old and reliable junk drawer was freely accessible brought about independence, experimentation, and simple
drawer aimlessly for a final addition to a craft, or for the on e hot glue stick you know lies hidden away somewhere makes for an exciting experience. As humans age we must preserve the delight in finding excitement in
SHE SHE SHE JUST JUST JUST
BY DIVY BOSE
PHOTOS AND DESIGN BY NICOLE BELL
EDITING BY JORI HUSTED
Wild, messy, and garish. Partygoers are applying their makeup with a returned vivacity inspired by classic party scenes of the past. The look enhances the “messy” and replicates the aftermath of a night out through smudged eyeliner or glittery, smokey eyes.
Charli XCX’s “BRAT” summer takeover embraced the underground nightclub, messy-girl look in the fashion and makeup world. This look is a complete 180 shift from the clean-girl aesthetic, which was trending before XCX proliferated disheveled club couture.
According to Harper’s BAZAAR, much of party girl makeup evolved from the looks seen at Studio 54, a former nightclub in Manhattan where celebrities such as Elton John or Cher would party in the ‘70s and ‘80s. Glittering cheekbones and vivid colorful eyeshadow characterized this era of partying, makeup smudged by freely dancing and sweating the night away. Billboard published photos of historic Studio 54 partygoers, like drag queens Angel Jack and Hibiscus, who wore feathered hair accessories and sequined gowns. Their larger-than-life hair and gaudy outfits, complete with a vivid red lip, inspired the experimental side of makeup, which helped birth and evolve the scene of party girl makeup.
In the ‘90s and early 2000s supermodel Kate Moss and heiress Paris Hilton were known for their nightlife appearances, setting the trends for sexy, party-girl makeup. Hilton’s most beloved look was for her 21st birthday when she applied a dark smokey eye with a glossy nude lip. Her slinky, bedazzled silver dress, and sparkling silver choker made a lasting fashion statement for party girls everywhere.
Recognizing the historical significance of her past party girl prestige, makeup mogul Charlotte Tilbury named Moss the face of her Studio 54-inspired holiday collection in 2022. Tilbury designed a lipstick in honor of her party girl glam in the shade “Nude Kate.” The collection featured remnants of the bygone party era: a pink metallic eyeliner and multi-chrome eyeshadow palettes
hinted with glitter melded the glamorous, sparkling parties of Studio 54 with Moss’s chic supermodel legacy.
As glitz and glam return to the makeup scene, beauty influencers such as Ryan Bailey Potter and Jordan Lipscomb posted tutorials on how to capture the ultimate party girl look. Both Bailey and Lipscomb replicated the look with affordable drugstore products by cosmetic brands like e.l.f. or NYX, making the look accessible and attainable. Many partygoers have chosen to reintroduce shimmering and sexy makeup post-pandemic as part of their long nights out. Whether partying in a dingy basement or dancing in a strobe-lit club, tousled looks are officially back. Messy and glamorous, this look is a response to societal expectations of constant flawlessness. Many are choosing to embrace their smeared lipstick and smudged glittery eyeshadow.
DIVINE: More Than The Face of Filth DIVINE: More Than The Face of Filth
Sky-high, pencil-thin eyebrows and matted freestanding wigs are often inseparable from Harris Glenn Milstead’s drag persona, Divine. Outside of queer communities, however, Milstead himself is often divorced and removed from Divine’s identity. The deliciously grotesque, sexy, and shocking Divine character was created by director John Waters for a slew of short films and movies released throughout the late ‘60s and ‘70s. Films like “Mondo Trasho” (1969), “Pink Flamingos” (1972), and “Female Trouble” (1974) established Divine as an underground star. What began as a friendship between two queer outsiders in 1960s suburban Baltimore\ the counterculture scene, challenged fragile illusions of good taste, and changed queer and mainstream culture forever.
While living in San Francisco in the early ‘70s, Divine performed with the well-known drag stage group, The Cockettes. In one of these live shows, called “Divine Saves the World,” he seduced Fidel Castro. In another, called “Journey to the Center of Uranus,” he dressed up as a big red crab and sang about crabs finding love on Uranus. The audience’s simultaneous disgust and hunger for Divine’s subversive messiness eventually catapulted Milstead into films outside of Waters’ world, a notable recording career, and the social circles of Andy Warhol, Elton John, and Mick Jagger.
Divine was trashy and outrageous; his stature, wit, and chilling cackle filled the screen andstage. Divine was an anarchist and a true icon for all outsiders. But, before Divine consumed dog feces in “Pink Flamingos” and cooked men in soup cauldrons at the Palace Theatre, Milstead dreamt of being a movie star like Elizabeth Taylor, even dressing up as her for costume parties. Milstead dabbled in the traditional prim and proper drag balls of the 1960s but quickly outgrew his fellow earnest and typically thin queens. He rebelled against the overly serious and competitive drag queens by proudly wearing clothes no other 300-pound person would dare to wear at the time. Divine did not wade into pity or self-hate while on the outside of the mainstream. He seriously committed to the art of entertainment without losing his humor and camp sensibilities. Divine ultimately laid the groundwork for today’s wellloved and celebrated world of drag.
Despite Divine’s reign throughout the 1970s and 1980s, he actively permeates popular culture. Disney’s “The Little Mermaid” (1989) used Divine as inspiration for Ursula, and Chappell Roan paid homage by donning Bab Johnson’s attire from “Pink Flamingos.” Eventually, Milstead attempted to establish himself outside of his drag persona, yet found it difficult to shed his reputation as an ostentatious, filthy, and unpredictable character. Rather than understanding him as a disturbingly talented character actor, mainstream media pushed Milstead to the outside and pulled in Divine to rehash the perversely humorous scenes of “Pink Flamingos.” Divine proudly and rightfully praised the filthy bits of himself and others, but he was far more than his filth. Divine’s origins in the periphery are intimately tied to his revolutionary disruption, yet perpetuating mainstream culture’s ability to both applaud the filth within us all and keep brave outsiders at arm’s length is not the way to celebrate Divine. Filth may have been his life, but so was acting — Milstead should be celebrated for all his historic contributions to drag and queer culture.
M R A Y CELEB STYLE:
BY CAMI SEYMORE ILLUSTRATION BY COLETTE TROUT DESIGN BY NICOLE BELL
If there is anyone in the social media space that encapsulates “camp,” it’s Myra Magdalen. Known for her eccentric looks and captivating presence on TikTok, Magdalen is a 28-year-old fashion designer, influencer, and actress known for her outlandish and unconventional style.
Magdalen’s social media presence skyrocketed from her “get ready with me” videos where she creates outfits using everyday household objects. She has since gained over 940,000 followers who are captivated by her creativity.
She films all her videos in her bathroom which is completely decorated with keyboards, a design choice that perfectly mirrors her unconventional fashion inspiration. Magdalen’s everyday style always has a clear theme, often building her outfit around one central item and accessorizing accordingly.
Magdalen has dressed as a worm, a Barbie Dreamhouse, a teapot, an onion, and more. One of her standout looks was a “bathroom” outfit, where she wore a two-piece bath mat skirt and top, attaching actual sink handles to her body and accessorizing with a washcloth, soap, and toothbrush.
In one outfit from February 2024, Magdalen dressed up as “the ocean,” attaching a large squid stuffed animal to her torso and pairing it with a coral-themed headpiece and matching crochet skirt, accessorizing with purple tights decorated with sea horse figurines. She topped it off with a fish duffel bag, fish gloves, and other ocean-inspired trinkets scattered across her body.
More recently on Feb. 2, she dressed up for Groundhog Day, wearing a groundhog T-shirt that she designed and sells on her website, paired with a khaki pleated skirt that’s adorned with shrubbery and pictures of groundhogs. She completed the look with animal ears, furry paws, and a groundhog choker necklace, embracing the whimsy and silliness of the holiday.
Although her style might seem extremely impractical and absurd for everyday wear, Magdalen’s style is a form of visual expression and artistry; it’s so much more than just an outfit. For Magdalen, fashion is not just about clothes; it’s a performance, a statement, and an experience.
WHO, WHAT, WEAR
A glimpse into some of Athens’ most captivating people, places, and events.
PHOTO PROVIDED BY DISHA HOQUE
In the Eyes of the Beholder
How tangible items become so significant to us
BY DISHA HOQUE PHOTOS PROVIDED BY INTERVIEWS DESIGN BY TANNER VANCE
From stamps to postcards, coins, and mugs, collecting and gathering trinkets often become part of personal identity and a point of pride.
Savannah Swanson, a sophomore studying communication studies, finds both connection and a hobby in vinyl collecting.
“It’s a way I can connect with my family, especially my dad and brother who are big music lovers,” Swanson said.
Swanson draws differences between streaming music albums versus acquiring a tangible item.
“Something about records is a lot of times, especially now with online streaming, you never fully listen through an album, like, front to back,” Swanson said. “So it’s kind of cool because that’s what you have to do with the record. I started to appreciate certain albums more because I have them on vinyl.”
Along with being a hobby, collecting can turn into profit for some, as well.
Kiersten Whiteman, a junior attending Athens High School, collects and sells jewelry. Through collecting items from her grandmother, grandmother’s friends, and thrifting, she has developed an extensive personal collection.
“I’ve always worn jewelry since I was a kid and loved putting together pieces,” she said.
Along with her personal collecting, Whiteman helps others find connections through her business.
“It’s really nice when I get to know somebody as they are looking at [jewelry pieces],” Whiteman said. “I sell to them and it feels so nice to give something I have an attachment to to somebody. I feel like [the item] fits them and I love that.”
For Alpha Delta Pi’s Ohio University chapter, collecting contributes to a bigger philanthropy effort. The sorority collects aluminum pop tabs from cans, commonly considered recyclable over a collectible. The pop tabs are collected by
the sandwich bag and donated throughout the academic year to support the Ronald McDonald House.
Alpha Delta Pi’s national organization has partnered with the Ronald McDonald House since 1979, with chapters hosting philanthropy events and fundraisers for the organization. The OU chapter organizes pickleball tournaments, an annual ‘Pie a Pi’ event, and a “Mr. University” pageant to raise money for the house. Collecting pop tabs is a personal way for the chapter to increase its contributions to the Central Ohio house.
“It’s really fun to get to see the people [we are] helping and the impact [we are] having,” said Cami Mathews, OU ADPI’s director of philanthropy. “It’s been very mutually beneficial. We help [the house] and it gives high spirits to the girls in the chapter.”
Members of ADPI travel to Columbus multiple times a semester to deliver pop tabs. The trip allows girls to spend time with families and children staying at the house.
“A lot of girls really enjoy being able to see firsthand what their donations and hard work is going toward,” Mathews said. “It definitely brings a lot of joy when we get to go to the [Ronald McDonald] House.”
While ADPI collects pop tabs in bulk amounts, prized items are sometimes one-of-a-kind and personal, too.
Collector’s items often hold meaning because of the messaging or organization they represent, as well. Vivienne Jacobson, a sophomore studying political science, holds her Harris-Walz campaign hat in high regard.
“I impulsively bought [the hat] last fall because I want to contribute to the campaign,” Jacobson said. “I like their campaign but at the same time, it also just felt like it would be cool and kind of
flashy to have the hat.”
Initially bought as a joke, the hat now holds sentimental value to both the campaign but the time period Jacobson acquired the accessory, along with a method of making an impact.
After wearing it to the Paw-Paw Festival and other events and receiving compliments on her hat, Jacobson also feels a sense of camaraderie when wearing the hat.
Georgia Booth, a junior studying graphic design, says her plush bear, named “Beary,” would be the first item she saves in a theoretical house fire.
“He’s like a little buddy,” Booth said. “I’ve had him for so long, he has such sentimental value.”
Beary has been in Booth’s life for as long as she can remember, offering her stuffed companionship for the past 21 years. Gifted by her great-grandmother and sporting a tie-dye T-shirt made by Booth and her mother, Beary has been a treasured item in Booth’s room.
Collector’s items are often timeless to the owner, increasing the significance of an otherwise insignificant item.
“I don’t think collecting records is specific to a specific age, because obviously I collect them but I also know 60-year-olds who have huge collections as well,” Swanson said. “So I feel as I grow, I can just keep accumulating.”
“I am a very maximalist-type personality,” Booth said. “I own a lot of stuff and I never really place too much value on it because I buy so much and I give it away or donate. But Beary, I’ve had him for so long and he grew up with me.”
Booth said her attachment to Beary is like no other.
“For anyone that has a stuffed animal or a blanket or pillow they’ve had since they were young, it’s hard to explain why [they] like it so much,” Booth said. “[They] just do because they’ve always had it.”
Regardless of the form, quantity, or longevity of a collectible item or prized possession, these things typically connect owners to their loved ones, a larger organization, or strangers. Using and sharing tangible items to foster connection and impact, from strangers giving compliments on the street to sharing favorite vintage items, loving tangible objects allows for better understanding and appreciation of others.
“Just buying the hat and donating to the campaign shows there’s something I can always do to contribute and do my part.”
VIVIENNE
JACOBSON
PHOTO PROVIDED BY DISHA HOQUE
PHOTO PROVIDED BY VIVIENNE JACOBSON
MIDDLE OF THE BOOK
A look into Thread’s creative shoot concepts.
PHOTOS, EDITING, AND DESIGN BY HADLEY FAIN
BY MORGAN CLARK
DESIGN AND EDITING
PHOTOS BY GABRIELLE CABANES
Unconventional Sports
PHOTOS BY ZENNIA LAM
Unconventional Sports
match game
match game GAME SET MATCH
UNCONVEN TIONAL
Sports
GLAMPIRE
PHOTOS BY ALAYNA TALLADINO
EDITING & DESIGN BY JORI HUSTED
LOOKS WE LIKE
PHOTOS AND EDITING BY
NATE CONKLIN
DESIGN BY TANNER VANCE
ANTITREND
CAMPUS CASUAL
Light-hearted reads for the quiztaking, listicle reading, horoscope believin’ spirit in all of us.
BETTING ON
Asits a small building with nothing but a neon sign of a flaming hot dog in the window. Within the unassuming facade is O’Betty’s Red Hot, a locally beloved hot dog restaurant with much more to it than meets the eye.
Bob Satmary bought the building, located at 15 W. State St., in 1988 and rented the space out as he moved back and forth between Athens and New York City. In 2003, Satmary permanently returned to Athens and began his pursuit of opening a restaurant. Satmary had spent decades in the food industry and was looking for a specialty that would be easily prepared and accessible to a wide audience.
“Hot dogs are totally part of American history, so I thought I could utilize that,” Satmary said. “The challenge was to have a really, really good hot dog.”
Satmary decided to source his hot dogs from Cleveland, ones that come in encased links to keep them “robust and flavorful.” The menu takes inspiration from a variety of regional recipes, from slaw dogs of the southern states
this recipe that has not changed in nearly 22 years, Satmary faced the task of customizing the restaurant.
“The hardest part was trying to figure out a catch or a hook, and I was having trouble with that,” Satmary said. “... my friend called from New York City, and they were like, ‘You have to come back for next weekend, there’s a big burlesque renaissance,’ and I was like ‘Oh my god, burlesque is it.’”
Each hot dog on the menu is named after a different burlesque girl, from the BLT-inspired Sally to the chili-doused Dixie. After placing an order and continuing to the back of the restaurant, customers were greeted by a small but vibrant space, surrounded by yellow and red walls accentuated by cheetah print, whirling disco ball lights, and framed photos of genuine burlesque girls.
“They allchoreographed their own stuff, [they were] hardcore entertainers making their own outfits,” Satmary said. “... Zorita [is my favorite], she was a big star
and she called all her own shots and ended up having her own club in Miami.”
The influence of burlesque is a representation of Satmary’s feminism, while the other aspect of the shop’s decor is a reflection of something else entirely. The walls in the very back of the store are made of glass-encased shelves overflowing with hot dog memorabilia, referred to as O’Betty’s Hot Dog Museum.
“The museum turned out to be really fun because the more I got into it, the more it was a verification of the human species, there’s a joy and a sincerity,” Satmary said.
This joy is derived from the outlandish inventions Satmary has accumulated over the years, and Satmary said this is all thanks to the generosity of the museum’s benefactors.
Soon after the shop opened, friends and customers began bringing in hot dog-related gifts and trinkets which were supplemented by Satmary’s personal purchases. The Hot Dog Museum features items such as a carved wooden hot dog, a century-old hot dog cooker, hot dog socks, belts, puzzles, soaps, candles, recipes, and so much more.
The atmosphere created by the decor and the quality of the food has kept some customers coming back for years. Kevin Funk is an instructor at the University of Rio Grande and has been frequenting O’Betty’s since 2007.
“The hot dogs are probably the best hot dogs I could find anywhere but also added the atmosphere — it’s pretty awesome,” Funk said.
According to Satmary, the business has been embraced by the Athens community since their earliest days.
“I’m happy with it the way it is, I don’t really want to see any changes,” Funk said. “I want Bob to be successful, but [I don’t want it to] get too crowded.”
Nevertheless, changes are on the horizon for O’Betty’s. In addition to adding a parklet to the storefront in the upcoming summer, Satmary has hopes of converting the storage room into a venue space for burlesque performances to take place, further highlighting the humanity behind the owner’s culinary medium.
“It had to be a food idea that was commonplace to everybody, it transcends socio-economic structures and social classes.”
a. Leotard
b. Oversized T-shirt
c. Patterned long-sleeve buttonup shirt
d. Sweater with a turtleneck underneath
3
What are you wearing as your bottoms?
a. A large scarf tied around your waist
b. Animal patterned leggings
c. Capris with a skirt overtop
d. Denim skirt
Create an outfit and I’ll tell you what maximalist female character you are!
5
Now, pick accessoriessome
a. Big clip-on earrings
b. Mood ring
c. Patterned tights
d. Matching jewelry
6
Finally,how would your best friend describe you?
a. Eccentric
b. Adventurous
c. Spirited
d. Dorky
Mostly A’s: Fancy Nancy!
You live life with flair! Everything's better when it’s fancy; no matter the outfit, attitude, or the way you express yourself. You have a big imagination and love to dive into your mom’s closet to search for some awesome finds. When it comes to everyday events, you make them extra magical just by being there. However, not only are you all about glamour, but you are also known to be extremely kind and creative, and love showing people the finer things in life. The world is your runway!
being exactly who you are. Whether you're trying something new or solving a problem, you never settle for being bored. You know when something is wrong and you always speak up for the people you care about. People may say you have big mood swings, but really you feel things deeply and that makes you an incredible person. You are extremely smart, determined, and always ready for another adventure. The world better watch out!
Mostly C’s: Junie B. Jones!
You are a ball of energy, whether you want to be one or not. You say what’s on your mind, and sometimes you find yourself in sticky situations. However, you always find your way out of it with a smile and a newfound sense of appreciation for life. You have a respect for rules but it never hurts to stretch them a little bit. You always mean well and you have a knack for storytelling. People love to hear about your experiences, and whenever you speak, people listen! You love to keep things interesting and make people laugh!
Mostly D’s: Nikki Maxwell from Dork Diaries!
You are honest, creative, and super artistic! You tend to dream big but can doubt yourself. Deep down you know you are special and you choose to be around people who believe in you. Whether you draw, write, or play music, you express yourself through art. Sometimes, you can be a bit awkward but you always remind yourself that makes you, you! You care deeply about the people around you, and even though life can get chaotic, you always see the light at the end of the tunnel. You’re the kind of person people write stories about and that makes you unforgettable!
Convenience & Casual
BY ALEX HOPKINS
ILLUSTRATIONS BY KENDALL WIFF
PHOTOS BY DISHA HOQUE
DESIGN BY LESIA LESKOVSKÁ
Kindred Market is a hotspot for fresh food, organics, and community. Located just outside Ohio University, Kindred Market was opened by the Kinnard family in May 2019.
According to the market’s website, the Kinnard family dreamed for years of “opening an organic and natural food grocery store with a focus on locally sourced products,” fostering their passion for food, wellness, togetherness, and the Athens community.
When a vacant location opened up in the heart of Athens, the Kinnard family kicked their plan into action.
“I’ve been in Athens since ‘96,” Kojun Hayes, Kindred’s storefront manager, said. “I remember driving through the town … and I saw there was
something going in. A week or two later I drove by, there was this mural painted on the side of it, and that caught my attention.”
The colorful mural painted on the side of Kindred, featuring abstract butterflies and a variety of fresh produce, catches the attention of drivers going westward on East State Street toward OU’s campus. When a friend sent Hayes a job posting at Kindred, he was hooked.
“I had never worked in a market before, but the job description really appealed to me,” Hayes said. “And the rest is history.”
Hayes has been working at the market for about a year and a half. He has lived in Athens since 1996 and hadn’t seen a store like Kindred until it opened.
“I think the connections that we’re creating within the workforce here, and then also the connections we’re creating to the community that we’re in the middle of, is really what sets us apart from a lot of grocery stores, especially the big box stores,” Hayes said.
Over 10,000 kinds of products are shelved, stocked, and scattered across the market. At the entrance, customers stand between shelves full of jewelry, books, ceramics, and various trinkets from local artists, as well as baskets of produce grown by OU student farmers.
“Everything is so intentionally placed in here,” Hayes said. “Everything has a story behind it, and everything is trying to align to our values of sustainability and conscious consumerism.”
OU students make up a large part of Kindred’s customer demographic. During the interview with Hayes, over a dozen students, most of whom regularly shop at the market, came into the store.
“A lot of them [students] seem to be really loving it, because maybe they’re from Cleveland, or they’re from Cincinnati, where you have so many choices of stores like this,” Hayes said. “Where down here, there’s really not. So, they always say
‘it reminds me of home.’ I hear that a lot from the students.”
Kindred’s wellness manager Ashley Eastman manages a section of the store called “The Apothecary” located at the front. Hundreds of natural, medicinal remedies take up the shelves, many of which come from local suppliers.
“One thing about being an independent store is that we get to choose the products in here,” Eastman said.
Equinox Botanicals and Wildlife Herbs are a few, among many, of the local brands that sell products through Kindred. Though, selling local brands is not the only way Kindred gives back to the Athens community.
“We get people coming in asking for donations all the time, and that is something that we love doing,” Eastman said. “I don’t see Kroger or Walmart sponsoring a lot of local things. That’s something that a local business does; when you live in the community, you tend to give back to your community. Also, when you shop at a local store, a way higher percentage of your dollar stays local.”
IMPORTANT Queer Origins In Camp
HISTORY LESSONS
BY ABBY JOYNER DESIGN & ILLUSTRATION BY CARLY HART
For many, the 2019 Met Gala has led the word “camp” to evoke images of gaudy, feathered Kardashians and Katy Perry dressed as a chandelier. But, before Karlie Kloss “looked camp right in the eye,” camp was primarily a space for queer communities to resist normative gender performance and sexuality. Camp was a revolution. Many may not realize how the most important moments in queer history were achieved through camp and how the queer community today still finds itself intrinsically tied to this sensibility.
In her seminal essay “Notes on Camp,” essayist Susan Sontag enumerated and explained the qualities that make a particular item camp. She first began by trying to define the inexplicable: What is camp?
“Indeed, the essence of Camp is its love of the unnatural: of artifice exaggeration,” she wrote. Camp is esoteric - something private code, a badge of even, among small urban This idea of belonging urban cliques is most the queer movement, of LGBTQ+ people celebrate and revel away from the eye.
According to The Conversation, “For many working class queer men in urban centres such as New York around the turn of the 20th century, camp was a tactic for the communication and affirmation of non-normative sexualities and genders.”
Practicing camp, through balls and pageants in New York or other big cities, was an outlet for expressing gender and sexual transgression. Camp was a “visible queer signifier,” according to The Conversation. Camp inspirations during the 1960s and 1970s were the glamorous Hollywood actresses who put on extravagantly feminine performances, like Elizabeth Taylor and Jayne Mansfield. Gay men emulated the mannerisms, styles, and attitudes of women through drag and other forms of self-expression. Sontag stated: “The hallmark of Camp is the spirit of extravagance,” that defined the outlets of creativity exercised by gay men and transgender women during this
go on to develop the historic ballroom culture which defined the relationship between camp and queerness.
Championed by Black and Latino transgender women and gay men in the ‘60s, ballroom culture is typified by its direct response to white pageant scenes, which excluded
people of color from participating, according Them. Through ballroom, many of the terms associated with drag and queer culture today developed, such as “kiki,” “sickening,” and “reading.” These communities were emblematic of the extravagant, esoteric nature of camp.
Camp history begins even further back than the gay communities of the urban ‘60s and “Before camp, there was dandyism,” according to The Gay and Lesbian Review. Dandyism was a style closely intertwined with gay men, their personal appearances, and social rebellion.
Irish author Oscar Wilde is one of the most famous names tied to dandyism, well-known for his flamboyance and exaggerated dress. Sontag dedicated “Notes on Camp” to Wilde, a tribute to his status as a proto-camp icon.
Sontag stated: “While it’s not true that Camp taste is homosexual taste, there is no doubt a peculiar affinity and overlap,” but there is much more correlation between the two than she realized. According to The Conversation, queer people used camp to begin the gay rights movement, with camp icons like Marsha P. Johnson, Sylvia Rivera, and Stormé DeLarverie leading the riots at Stonewall. Wearing ball gowns, tiaras, and costume jewelry, these trans women, drag queens, and sex workers subverted gendered norms through extravagance and frivolity.
Additionally, scholars in the ‘90s further insisted on the inherent queerness rooted in camp. In an essay defining “queer,” scholar Siobhan B. Somerville wrote, “to ‘queer’ becomes a way to denaturalize categories such as ‘lesbian’ and ‘gay’ (not to mention ‘straight’ and ‘heterosexual’), revealing them as socially and historically constructed identities that have often worked to establish and police the line between the ‘normal’ and the ‘abnormal.’”
Thus, by queering camp, LGBTQ+ communities reveal and subvert the concept of normalcy. By parodically emulating figures who were seen as the pinnacle of their gender performance, like Jayne Mansfield or Steve Reeves, queer people undermined normative gender and sexuality.
Sontag considered androgyny “fundamental to the camp sensibility,” and androgyny is also intrinsically tied to queerness. The subversive clothing worn
by trans people, drag queens, and other LGBTQ+ people represented defiance and a desire to escape conformity.
misogyny. During the women’s liberation movement in the 1970s, straight women and lesbians took offense to the parodic versions of themselves being portrayed by gay men through camp, according to The Gay and Lesbian Review. Women often could not participate in camp because they were the subject of camp performance.
Sontag wrote, “Camp is a vision of the world in terms of style.”
studying journalism, said, “There is never a definition for [camp], and just in many fashion trends or political issues, we can never pinpoint or categorize it.”
was to contextualize the inexplicable; camp is a sentiment more than a set of guidelines. This allowed queer people to flourish in the movement, as they could express themselves through various creative and extravagant outlets – in their speech, dress, and mannerisms.
people could perform: high camp and low camp. Low camp expressed the lower-cost, handmade work done by queer people, whereas high camp described works were perceived as more serious, according to The Gay and Lesbian Review. Compare a male Marlene Dietrich impersonator to pre-Raphaelite artwork. Acts of high camp can be categorized into the list Sontag provides in her essay, some items include: Tiffany lamps, the Swan Lake ballet, certain turn-of-the-century picture postcards, and “stag movies seen without lust.”
Today, queer people are still expressing their nonconformity of normative gender and sexuality through camp. The most poignant example of a popular figure would be Chappell Roan, who has fully embraced her lesbian identity and continuously pays homage to the queer people who paved the way for her.
“[Chappell Roan’s] whole thing is that her performances are rooted in queer history,” Simon McFawn, a junior studying production design and tech, said. “She is constantly referencing and pulling from drag queens, and she really puts respect on that community … I love that she
as a campy opponent to other current pop stars. While acknowledging “it might not be important to most people,” McFawn emphasized the necessity of understanding the ties between queer history and camp. So much of modern popular culture is grounded in both queer and camp histories, and it is important to recognize and celebrate that legacy.
“I think camp is really important because it makes light out of serious situations or issues,” Anderson said. “I think it’s really important to use camp to express what’s going on in a healthy way, and to acknowledge it because it does address so many issues.”
Issues and injustices directed at the queer community have not disappeared since the ‘60s and ‘70s, so embracing and honoring the progress camp enabled for queer selfexpression is paramount for preserving their history.
Fortune Favors the
BY LAUREN STIDHAM
ILLUSTRATION BY EMMA HENRY
DESIGN BY GRETCHEN STONER
A sweeping minimalist movement has taken over interior design and fashion fads — monochromatic home decor, sleek architecture, and “clean girl aesthetics” reign over more exuberant styles.
Contrasting this heavily polished style is maximalism, a design approach that embraces a surplus of decorations, colors, and patterns. Mia Raussen, a sophomore studying interior architecture, described it as “taking different colors and patterns and layers to a different level of organization … not what you’d think about modern-day style, but also not getting it mixed up with clutter.”
Maximalism has taken many forms in the history of interior design and it currently infiltrates numerous subcultures. Its affinity for an abundance of self-expression has made it malleable to almost any aesthetic.
Erin Winchell, a senior studying Spanish, labels her personal style as a “cottage core” maximalist, though her idea of maximalism heavily embraces the variety within her own personal style and interests.
“To maintain my individuality, instead of only sticking to cottage core things, I decorate and dress with what I truly like,” Winchell said. “... I really like rock music and it’s something I have incorporated into the whole general ‘cottage core’ aesthetic … with color schemes I’m really able to tie it all together. I just love whatever I like, I don’t care about fitting into one aesthetic.”
Winchell described maximalism as “filling your walls and filling your space with a bunch of different things that make you really happy.”
Often there is no methodology behind the maximalist design approach, but there is certainly a sense of organized chaos within the branch of design. Winchell uses color schemes to maintain a sense of order in her personal spaces.
Rausen described the sense of organization from an interior design standpoint.
“It’s not just one thing, so many different colors can go into one space and it’s a lot of random little things put together, but it all adds up,” Raussen said.
Sophia Kavensky, a sophomore studying interior architecture, described maximalism as “being able to create and put things together that don’t necessarily go together.”
It is not uncommon that these stylistic preferences are drawn from various sources of inspiration. For example, Kavensky collects records that were gifted by her grandmother. She also takes inspiration from her friends and celebrities.
“One of my close friends … I love her style and I love seeing what she wears,” Kavensky said. “... I love Y2K-kind of outfits.”
Winchell described her aunt as one source of her interest in the “cottage core” subgenre.
“My aunt is super into Anthropologie and a lot of my decorations that are cottage core-esque are from her,” Winchell said. “… She is a maximalist and … definitely
Winchell highlighted the role of sources of inspiration in her self-expression and remarked that often using others as a guide can help those struggling to find their personal style.
“Copying is not a bad thing, and I think a lot of people think it is,” Winchell said. “... A lot of my ideas are from things that I have seen and it’s not a bad thing to be able to copy and get inspiration from other people.”
Maximalism in its essence is not meant to appease. Its bold and eccentric presentation invites a variety of stylistic choices. Kavensky doesn’t put
“Whatever I like and feel like looks good together, I’ll put it together,” Kavensky
To some, this style presents as chaotic and unorganized, but to others, it is the way they organize
their miscellaneous interests and express them freely. It is a designation for those unafraid to show what they love.
“There is definitely a reasoning behind all of the madness,” Kavensky said. “... I definitely still match colors and there’s definitely a reason behind everything. It can also sometimes still be just throwing s--- on, and it’s just crazy.”
While many understand the minimalist style, they can’t help but recognize flaws in the design choice.
“For some people, minimalism works,” Winchell said. “I think the whole idea of minimalism loses charm. I understand not everybody wants to max out their walls or fill up their space … and the ‘clean’ aesthetic I do appreciate for certain things … but it really just depends on who you are as a person.”
Kavensky also sees the defects of minimalism.
“I am an architecture major, so I definitely see a lot of the minimalistic, modernized architecture, and I kind of hate it,” Kavensky said. “The ‘clean girl look’ is beautiful and it’s fabulous … but I also think it takes away from being personable … houses used to be so cool with conversation pits and all the tiles, it was so beautiful. Now, architecture has become so modernized and minimalist and it’s sad … why wouldn’t you want to fill your home with all of your
stuff and all of your belongings?”
The journey of finding a unique set of interests that represents one’s personal style is not an easy one. Kavensky noted how thrifting has played a part in finding ways to express herself and she urges others to do the same.
“Just go thrifting one day, try on a bunch of clothes, and see how you feel about things,” Kavensky said. “... It’s cheap and a great way to start out if you’re wanting to find new clothes or change your style or find who you are as a person.”
Winchell persuaded anyone searching for their style to start at the beginning.
“If you really are struggling to find your own personal style, I would recommend … asking yourself what are your personal interests … and figuring out how you want to represent that in your space,” Winchell said. The process of self-discovery is often long-winded and ever-changing.
“My junior year of high school I started really experimenting with my outfits and trying new things,” Kavensky said. “... Since then, it’s all changed, and my style progresses every day.”
Evolution is part of the process, and Kavensky noted how rewarding the journey has been for her.
“I don’t feel myself without my style,” Kavensky said. “Putting together clothes and making outfits and putting on all my jewelry … makes me feel like myself.”
Understanding Upcycling
BY OLIVIA LEGGANS ILLUSTRATION BY SOPHIA CIANCIOLA DESIGN BY GRETCHEN STONER
Upcycling, defined as the repurposing of discarded clothing in a way that makes it of higher quality than the original, does not solely exist within environmental activism. Upcycling can be high art, upcycling can be low art, and upcycling can be camp. Most importantly, upcycling can be accessible.
Sustainability practices within the clothing production industry have made strides in promoting ethical brands and products. Nevertheless, this constant influx of new products remains a worrying reality. Critiquing the contradictions and complications within the sustainable fashion movement is a welltrodden path. Corporate green-washers gloss over their continued ethical and environmental massacres. Corners of the internet house thrift flips and sustainable brand lists. Vintage collectors and secondhand resellers flock to Goodwill stores and garage sales for profit.
This is where upcycling comes into play. Considering capitalism’s framework, using fewer consumption-based practices is a central piece to reducing waste and unethical labor in the fashion industry. Upcycling may be a popular buzzword for brands and thrifters, but it is far from being understood as an unnegotiable and necessary practice for all, let alone being appreciated as a true art form rather than a hodgepodge of fabrics.
The sustainable fashion sensibilities that Black, queer, and punk cultures birthed out of necessity are deeply linked to upcycling’s constant fight for acceptance in the fashion world.
Minority communities who operated in the peripheries laid the groundwork for the sustainable fashion movement. Creativity often emerges from a lack of resources and
while this should not be glamorized, it must be acknowledged.
At Ohio University, upcycling is abundant, but not necessarily the norm, likely because the practice is often lumped into the artistic and environmentally conscious camps, leaving little encouragement for upcycling in daily life. Celia Hawk, a junior studying environmental studies, champions that existing encouragement. After hearing stories about her mother’s beloved upcycled skirt, Hawk undertook the recreation process herself.
“My mom and my grandma were both very much into sewing and upcycling, and my mom would always talk about this tie skirt that she wore when she was in college, which was basically just like a bunch of ties that she sewed together to make a skirt,” Hawk said.
Hawk made her Halloween costume in 2024 and felt that efforts that stray from the blueprint are generally accepted in Athens.
“Especially in Athens because there are so many unique dance nights, there’s the Y2K nights, ‘90s nights, and all this stuff, there are so many occasions to wear really unique clothing,” Hawk said. “I always find that it’s relatively celebrated when I’m wearing something that’s a little bit out of the norm.”
While Hawk certainly has environmental motivations for upcycling, the tie skirt leans into the sometimes subversive, sometimes kooky side of clothing.
“When I thrift something and then upcycle it, it’s for relatively pretty practical purposes,” Hawk said. “It’s just a little bit big or something and I want to make it work, and I’d say for the most part, that’s very sustainability-based.”
People use upcycling as a way to not only subvert expectations of supporting fast fashion and unethical labor practices, but also to add
humor and interest to an everyday wardrobe. Hawk’s casual yet animated approach to upcycling is an admirable example of how upcycling can be integrated into one’s closet, politics, and identity.
Not all upcycling is camp. Neither are all ironic and outrageously colorful items camp, but many glamorously subversive and selfaware things are. Belle Lormeau, a sophomore studying integrated healthcare science, said the repurposed dresses she has made combine the spirit of upcycling with the experience of feeling like an outsider, all while calling out the rigidity of traditional femininity. If anyone at OU is teetering on the edge of camp upcycling, it’s Lormeau.
In 2023, Lormeau created a collection of dresses constructed out of old records, cassettes, books, vinyl records, and clothing scraps. Her first sizable 3D piece was a ball gown constructed of feminist books and manifestos.
“I didn’t want to advertise something that I didn’t agree with,” Lormeau said. “So it was really hard because the whole theme was intersectionality within feminism. So, I need things from transgender women, I need things from Black women, I need things from immigrant women, I need things from disabled women.”
Lormeau extinguishes the expectation that camp is solely equivalent to extravagance.
“I don’t have the craziest style, but sometimes I feel a little bit out there and every time I catch myself trying to dress like other people, I force myself to do something way funkier,” Lormeau said. “I just don’t want to minimize myself.”
Lormeau’s dedication to herself and the art of upcycling is a true representation of the ways sustainable practices can be joyous, serious, and camp all at once.
Spaces like UpCycle Thrift Store or the Athens Ohio Makerspace are resources that make the potential for everyday upcycling alive and well. Even stores like Athens Underground and Shop CGI are ripe with opportunity. Shop CGI is a vintage and secondhand clothing store owned and run by Cole Gilbert, a 2024 graduate of OU’s fashion retail management program. He sources everything from Carhartt jackets to basketball jerseys.
Her experience in high school and determining art’s role in her life outside of school informed her upcycling pursuit.
“I just felt like an outsider in the sense that I was kind of scared to take any kind of political stance in the school that I went to,” Lormeau said. “I’ve always been the art kid, I hung out with the art crowd. So, I guess it was kind of like a weird loss of identity when I got to school and [met] all these people who had just been involved in such different things than me. … I guess I have kind of realized that you don’t have to confine yourself to being one specific person.”
The ability to be more than one thing, to convince people of one truth only to turn around and be contradictory, is a function of camp.
“I’ve been doing this for about 10 years now, actually,” he said. “I started doing events. I’ve always liked thrifting, yard sales, flea markets, that kind of thing.”
This commitment to promoting alternative routes of clothing consumption is, again, both environmentally important, but also creatively, artistically, and culturally essential. The shop also sells an array of upcycled pieces from local artists like Micah Saltzman and his brand, Live2Love. Most of the shop’s pieces hover just below $30, but with the additional 10% discount for students, Shop CGI is bound to inspire upcycled pieces that will actually get some wear.
This smattering of upcycling case studies highlights camp’s presence in everyday life at OU.
Camp is often subjective, but it is not always the loudest, flashiest person in the room. More likely than not, camp lies in the shadows, in the margins, and in the trash.
BACK OF THE CLOSET
An in-depth look at today’s most buzz-worthy topics.
Almost So They’re BAD GOOD
BY AVERY ST GEORGE ILLUSTRATION BY MARIS CORDIAL DESIGN BY MEREDITH VIOX
What is the recipe for a bad movie? Confusing plot? One-dimensional characters? Horrible CGI editing? Is being considered “good” as important as enjoyability and the feelings a movie provokes?
For example, movies like “Twilight” (2008) have a 48% critic score on Rotten Tomatoes, but a 72% audience score. So, do critics have the final say in what is good and bad, or does audience enjoyment play a larger role in the category?
“Mamma Mia!” (2008) earned a cult following upon its release, but the film only has a 55% favorability with critics. In contrast, critics have loved the recent Oscar nominee “Emilia Pérez” (2024) which has had the opposite reaction from the general public.
Clara Leder, a junior studying integrated language arts education, thinks enjoyment has more of a lasting impact on audiences.
“I think the quality of a movie is important,” Leder said, “however, I think the enjoyment is more important. The way a movie makes you feel is ultimately going to get you to rewatch it or recommend it to people.”
Leder said her favorite “bad” movie is “Clueless” (1995), which has fun moments and incredibly iconic outfits, but when you dig a little deeper, Leder said, the plot of the movie is not
great.
Some of the criticisms of the movie are the romantic relationship between the main character, Cher, and her former step-brother, as well as the makeover she gives another character, Ty, to make her more popular.
“She changes Ty’s character to be a completely different person,” Leder said. “There’s a lot of messages that aren’t great.”
Despite these shortcomings, Leder said the movie still holds a special nostalgic place in her heart that reminds her of girls nights and watching it for the first time with her mom. The nostalgia factor is also what keeps fans of the “Twilight” franchise watching, even though the
movies have become a joke on the internet.
Hayley Mitchell, a sophomore studying journalism, said she originally watched the first “Twilight” movie with her sister after a very dramatic high school breakup.
“She was like, ‘Come here, sit and watch this movie with me,’” Mitchell said. “... it cured me of my emotional turmoil and I was like, ‘This is fantastic.’”
Mitchell said it’s better to go into “Twilight” expecting to laugh, rather than going in assuming the movie is a serious dramatic romance.
“It’s so perfectly funny and it makes it even better when you consider the fact that it’s not meant to be funny,” Mitchell said.
Andersen Beck, a freshman studying journalism, said sometimes movies are better when they completely subvert expectations.
Beck said the first time he watched the movie “Paint” (2023), in which Owen Wilson plays a Bob Ross-type character, he was actually surprised at how unfunny the movie was, even with a big-name actor.
“I think the use of Owen Wilson is funny
because he’s so good in a handful of things,” Beck said. “... the whole time you’re watching him and you’re like, ‘How did they get him? Who did he owe?’”
Beck was on a first date when he watched the movie and said “Paint” was probably the worst thing he could have put on the TV.
“I was on a date and it was so awkward,” Beck said. “We just tried so hard to laugh at anything and it was the worst experience of my life.”
Even after that date, Beck still finds himself going back to rewatch the movie. He said it doesn’t matter how bad it is because he finds entertainment in the absurdity of the movie.
“Enjoyment can definitely come out of anything,” Beck said. “... I think as long as people enjoy it … and it’s personal, then it doesn’t matter what other people think.”
KILLING IT WITH COLOR
BY ALEXANDRA HOPKINS
ILLUSTRATION BY EMMA HENRY
DESIGN BY MORGAN CLARK
While some people choose to express themselves with a colorful wardrobe, others demonstrate selfexpression by dressing monochromatically, or only wearing one color in their day-to-day lives.
Those familiar with the concept might think of Elizabeth Sweetheart, better known as the “Green Lady of Brooklyn” who became famous for her bright online presence. Athens natives may be more familiar with Ohio University professor Eddith Dashiell and her love of purple.
Dashiell, the director of the E.W. Scripps School of Journalism, can typically be seen hanging around Schoonover Center sporting an entirely purple outfit. Her clothes are typically eggplant-hued — no lilac, violet, orchid, plum or purpureus.
The deep, dark color has been a favorite of the professor for as long as she can remember, in part because it was her grandmother’s favorite color who she was close with during her upbringing.
“All my life I’ve gravitated toward purple,” Dashiell said. “It wasn’t a conscious decision, it just happened.”
Dashiell’s office is covered in purple memorabilia. From the rug to the plant potters to the space heater, there is purple at every glance. At night, a purple light gleams from her office overlooking College Green.
Though purple has always been her favorite color, Dashiell didn’t become a monochromatic dresser until around 20 years ago.
“I don’t know who the secret people are who decide what the fall color is,” Dashiell said. “This particular year, the theme color was this eggplant purple.”
When the next year rolled around, Dashiell was still buying and seeking out purple clothing and housewares to add to her collection. Since then, purple has become her “brand.”
“That’s how I’m described to other people,” Dashiell said. “If someone sees someone wearing all purple from the back, they’ll assume it’s me.”
Even Dashiell’s home isn’t safe from the purple invasion. Her house is scattered with eggplant-purple kitchenware, decor, and furniture. She even owned a purple Chevrolet Cavalier at one point. Yet, she doesn’t allow herself to look tacky, in either houseware or wardrobe.
“You can look right crazy if you mix up shades of purple,” Dashiell said. “Not all purple shades are the same, just like not all shades of black are the same.”
Purple isn’t just her favorite color; it holds a deeper meaning.
“It makes me feel calm,” Dashiell said. “I look at it and it has a sense of purpose. I feel like I have a sense of purpose.”
“Even though it’s not a unique color and I’m not the only one who likes purple, I think the way I’ve used it gives me a uniqueness that people notice. Then when they’re trying to show respect or honor, or [give] a gift, it’s purple.”
back of the closet
When Dashiell’s father died in 2008, her aunt called to ask what color to wear. Dashiell, of course, responded that she would be wearing purple. When she arrived, Dashiell was shocked to see her entire immediate family sporting their best purple outfits.
“They had purple all over them and I didn’t tell them to do it,” Dashiell said. “My nephew, who by then was in his early 20s, stepped up with his eggplant purple shirt and matching tie.”
James Casebolt, an associate professor of psychology at OU’s Eastern Campus, sees Dashiell’s monochromatic dressing as an individual idiosyncrasy.
“[Monochromatic dressers] may wear lots of different styles of clothes, and they actually put a lot of thought and time into their wardrobe, but their whole wardrobe is built around a color because they just like it,” Casebolt said.
There are also cultural instances of monochromatic dress, Casebolt said, such as those who wear only black as part of gothic culture. When he’s not teaching psychology, Casebolt is a Buddhist priest affiliated with a Korean lineage and wears only gray outside of the lecture hall.
“There’s a tradition in Korean Buddhism which it inherited from China of clergy wearing gray,” Casebolt said. “It makes them identifiable … it has an interpretation of representing the Buddhist notion of impermanence in symbolizing cremation remains.”
Casebolt is slowly culling color out of his work wardrobe through “natural deterioration.”
“I look down at my arm and I see my gray sleeve, and
In Good Fashion:
Mr Jones Watches
BY AIDEN COX ILLUSTRATION BY KENDALL WIFF DESIGN BY TANNER VANCE
Aman floats placidly in a swimming pool, the light blue water lapping at his inflatable as a little yellow duck splashes by. He is reading a book with a round, orange hat obscuring his face. This scene isn’t a photograph, painting, or print — it’s a watch. “A perfectly useless afternoon” by Kristof Devos is accessible, wearable art. The man serves as a modified hour hand and the little duck circles around the pool minute by minute. When all your time is commodified, when you are never “off the clock,” and are constantly bombarded by emails, advertisements, and news, when can you relax? This is the question Mr. Jones Watches is primarily concerned with. Their website banner states: “These unusual watch designs will encourage you to think differently about your time,” and the various scenes they depict deliver on that promise. In “Beam me up!,” the hour hand is the seeking light of a UFO as the minutes tick by in the form of a pig on the farm. In “Number Cruncher,” a monster with a belly full of numbers holds the digital clock in its hand, and in “The Accurate,” the hour hand reads “remember” as the minute hand states “you will die” on a mirrored clock face.
People often view time as linear and objective. The purpose of a normal clock is to tell exactly when to move from one thing to the next. In these typical designs, viewers are faced with the fact that time is constantly marching on and in control of society at large. As people age, a smaller percentage of their lives are contained within a year. That is why childhood memories feel so vivid and full of life, and as people fill their brains with information overload, there is less learning and experiencing taking place, but more spiraling hours of channeling attention into the 24-hour news cycle, social media, and repetitive work. Time builds upon itself, and, as “A perfectly
useless afternoon” reminds us, society rarely gets a break.
Gloria Mark, who has been studying attention spans since 2004, came to an uncomfortable conclusion. She began by using a stopwatch and shadowing workers, stopping and starting the time when they would move from one task to another. In the beginning, attention spans were measuring 2.5 minutes on average. Over time, as the experiment evolved, the time lowered to 75 seconds in 2012, finally landing at around 47 seconds in 2022. Workers are trying to keep up with the multitude of tasks and options they are given, and when people experience choice overload, the brain simply cannot keep up. Stress and blood pressure measurably go up the more a person switches from task to task. Whether it’s during work hours or leisure time, we are always engaged with and attuned to our fast-paced world. People are always working, maximizing productivity, experiences, or knowledge in some way. Mr. Jones Watches calls attention instead to the time that is passing by with every cognitive pivot, asking people to think critically about how quickly they are moving through the world and to consider taking a perfectly useless afternoon to detach from technology and float around for a moment.
BY OLIVIA LEGGANS ILLUSTRATIONS BY CARLY HART DESIGN BY SOPHIA CIANCIOLA
Both Theory & Play
Before camp was packaged as a Pride month ploy or whispered in the wind of failed Met Gala discussions, it was a sensibility, a style, and a lens intimately tied to queer folks and their response to oppression and exclusion. For some, camp may not seem a paramount descriptor of Ohio University, yet it runs rampant inside and outside the classroom. In spring 2024, OU offered its very own course on camp, more specifically on the tools camp can provide in social justice efforts.
Professor Edmond Chang taught the English Literature and Social Justice course titled “Books, Balls, and Barbie: Camp as Everyday Theory.” Chang’s primary scholarly focus lands
in the intersection of video game studies, English literature, and queer studies, and he brought that same affinity for play to the wacky, yet serious camp classroom.
“I’m always talking about play as serious or play as important, and so in a lot of ways, this makes a natural progression to camp, because camp is play in very different ways,” Chang said.
Those unfamiliar or confused by the word itself may not understand the value of camp’s study at an academic level. Intellectualizing media, film, literature, and people who imbue camp’s sometimes lawless spirit can be a tricky line to walk.
“The best camp is also serious, just like the best
anything – music, joke, theater, political speech, whatever – the best of those things are both really entertaining, but also really serious in some way,” Chang said. “Serious doesn’t have to mean grim or sad or gritty or whatever. Serious just basically means there is something behind all of it that is telling us something, driving something, arguing something.”
If the merit of camp is still not crystal clear, that is precisely the point. The word “camp” is often debated, slapped on things, and ripped off again to preserve the label’s interpreted honor. Chang said this push and pull is an intrinsic quality of camp, which qualifies its academic attention.
“It is a term that I think we should be wrestling over, never trying to pin down totally,” he said. “We should stabilize it enough so that we can talk about it and do something with it, but then let it go and be its own weird little animal somewhere … if no one cared, or if no one thought it was important or serious, then we wouldn’t fight about its definition.”
While taking the class, Ella Publicover, a junior studying English and history, was excited by the idea of making serious things fun and making fun of serious things. Publicover recalled her experience with camp leading up to the course.
“I kind of knew that camp was hard to define,” Publicover said. “In his opening statements, [Chang] was like, ‘We’re not necessarily trying to find an answer to that, because it’s one of those things that’s so complex, you can’t really do that.’”
Outside of Chang’s classroom, Tyler Everett Adams, a fourth-year doctoral student at OU, is diving headfirst into all things camp concerning popular and queer culture. Adams looks at camp as the space between the many kernels of popular culture and an audience, rather than a static tag on an object.
“I think about [camp] as a relationship between a spectator and an object,” Adams said. “ ... like when we think about the Met Gala being this big swing and a miss, with the exception of the people that were totally in on the bit.”
Adams also finds the relationship within camp between criticism and affirmation to be one of the most interesting facets of the concept.
“[Camp] knows what it’s doing, and it’s critiquing while at the same time drawing a sense of pleasure,” Adams said. “To me, it stimulates different points of the brain or the consciousness
… or the spirit.”
With camp’s enigmatic, curious nature and insoluble ties to queer history, some mainstream culture may think the celebration of and engagement in camp is inaccessible or intimidating. Yet, these feelings of exclusionary oppression are precisely what led queer communities to respond with wit, strength, and campiness.
“Camp doesn’t always have to be queer; I think the best camp is queer,” Chang said.
Together, Chang and Adams recently published “That’s Because They’re Dream Houses, Mother******!: Barbie, Utopian Camp, and a Conversation Between Two Allans.” Chang is slated to teach future literature and social justice courses, yet without confirmation of his chosen concentration, students may have to encounter and inhabit camp in their everyday lives.
REBEL RUNWAY REBEL RUNWAY
A Glimpse Into Harajuku Tokyo
BY ABBY JOYNER ILLUSTRATION BY KENDALL WIFF DESIGN BY CARLY HART
Today, a trip to Tokyo would not be complete without walking down Takeshita Street in the Harajuku neighborhood of Shibuya. Sugary crepe stands, small storefronts offering stylized Western apparel, and swarms of people line this centuries-old neighborhood in the heart of the city. Yet, the history and cultural significance of this candy-colored tourist destination runs much deeper than an overpriced souvenir.
During Japan’s Edo period, from 16031868, Harajuku was a trading post along the route that connected Kyoto to Edo (now Tokyo). However, today’s Harajuku people began developing post-World War II. In the ‘40s and ‘50s, the area around Harajuku was westernized by swarms of American military families settling in the neighborhood. Inspired by Western styles, Japanese youth adopted a rock ’n’ roll-inspired look, designating Harajuku as the physical, beating heart of rebellion and experimental fashion in Japan.
Japanese culture is often associated with
tradition and rigid conservative values. Youth are expected to wear school uniforms, cut straight black hair, and involve themselves extensively in after-school activities. However, as Christopher Thompson, a professor of Japanese language and culture, discussed how Japanse youth break these norms.
“Japanese youth have always been looking for ways to distinguish themselves. Tokyo youth, and especially Harajuku youth, think of themselves as cutting-edge, so they want to do things differently.”
Thus, in the late ‘90s, youth living near the Harajuku station in Tokyo began to experiment with their fashion in unprecedented ways. Taking inspiration from colorful styles, cuts, and patterns, Japanese high schoolers started rejecting their traditional sartorial expectations.
“It’s not just a 10 or 20 or 30 or even 100year trend”
CHRISTOPHER THOMPSON
Thompson talked about how the focus of this Western-inspired style was to heavily stylize Western characters, like a cowboy or a Victorian noble. They wore dyed wigs, platform shoes, short skirts, and accessorized to the max.
During this time, Harajuku birthed a myriad of subcultures from these experimental styles, including Lolita, Goth, Decora, and Gyaru. Perhaps most emblematic of the rebellious nature of the cultural movement was the Decora style. Think every color of the rainbow, hair clips covering every inch of hair, bracelets up the arm, a cute band-aid covering the nose, mismatched socks and tights – this barely scratches the surface of the creative minds strutting through the neighborhood.
Takeshita-dori Street, just outside of Harajuku station, is the physical locus bringing eclectic styles together. Boutiques along the street sell everything from stylized Rococo dresses to Kawaii sweatshirts to 10-inch platform Goth spiked boots.
“Usually it’s not just one or two people walking down the street, it’s groups of people that look the same way walking in mass, which is unique and very cool,” Professor Thompson said.
before Internet blogs or social media, a Japanese photographer by the name of Shoichi Aoki brought the prolific genius of Harajuku street style to all corners of the globe through his fashion magazine FRUiTS. In 1996, Aoki noticed the new fashion trends in Harajuku, and in an interview with BBC he said, “I believed that was the fashion revolution in Japan, and I decided to make FRUiTS.”
Since 1997, Aoki has captured the clear, vibrant sense of cultural rebellion walking along the streets of Harajuku. He wanted the emphasis to be on the distinct coolness of the youths’ outfits and only included photos and outfit breakdowns in the magazine. Through the popularity of FRUiTS, Aoki preserved the inspirational legacy of the many subcultures and innovative minds championing the movement.
While the colorful, experimental style of Harajuku’s peak popularity may not be as common anymore, the area surrounding Harajuku station lives on as a site of youthful community. Myu Murata, a second-year graduate student studying linguistics, discussed how more young people are turning to muted colors and simple silhouettes, and prefer thrifting to buying new, fast-fashion pieces.
“It is rare to see such fashion nowadays,” Murata said.
Through the various moments of style revolution in Harajuku, one thing has remained clear: the neighborhood will always be the center of sartorial innovation in Japan. First inspired by the West, the rebellious teens wandering Takeshita Street then influenced European and American trends in the 2000s. Gwen Stefani, Lady Gaga, and Avril Lavigne all took stylistic influences from Harajuku in their music and fashion.
“It’s not just a 10 or 20 or 30 or even 100year trend,” Thompson said. “It’s something that's a very deep culture … Harajuku is a geographical space which Japanese natives have assigned to this role of being cutting edge fashion, and this has continued for all this time, and that in itself distinguishes it even from other places in Japan.”
The MET GALA Rant/Rave
Rant
The 2019 Met Gala promised to be the most spectacular, audacious, and ridiculous fashion event in history. The theme was “Camp: Notes on Fashion,” inspired by Susan Sontag’s essay. It was supposed to be an explosion of irony, theatricality, and over-the-top fabulousness. Instead, it turned into an exercise in misinterpretation and missed opportunities.
Camp isn’t just excess. It is about subverting norms, from exaggeration to absurdity, and self-aware humor. It is political, queer, and rebellious. It is about knowingness, an intentional embrace of the artificial, the exaggerated, and the theatrical. It thrives on a playful mix of high and low culture, where sincerity and parody blend seamlessly. Camp is drag queens performing as Hollywood divas and the gaudy, excessive charm of something so bad it becomes genius. Yet, most attendees treated it as a Pinterest board of “fun outfits.” A giant pink dress isn’t camp unless it knows it’s ridiculous.
Camp was built by drag queens and ballroom culture. It was a language of survival and self-expression for LGBTQ+ people. And still, the guest list was mostly straight and cisgender. Where were the drag queens? The ballroom legends? Billy Porter, Ezra Miller, and Lady Gaga got it, but for every Gaga, there was a Kardashian in a skintight dress thinking they nailed the theme but didn’t.
Was the 2019 Met Gala fun to look at? Sure. But was it camp? Absolutely not. It was a reminder that true camp lives in underground queer spaces, drag shows, and artists who don’t need million-dollar gowns to make a statement. The Met Gala may have tried to serve camp, but in the end, it felt more like an overpriced costume party with no punchline.
Six years after the 2019 Met Gala, the “Camp: Notes on Fashion” the theme remains divisive. While many attendees misunderstood the theme, those who were able to grasp the concept gave it an entirely new meaning. Originally described as exaggerated and theatrical, camp has evolved into broader elements, ones that embrace the outlandish, eccentric, and avant-garde.
The event included a range of interpretations from across an extensive guest list, but none handled the theme as brilliantly as the co-chairs: Lady Gaga, Alessandro Michele, Harry Styles, Serena Williams, and Anna Wintour. Known globally for their influence and innovation both in fashion and their professions, each of these celebrities set the standard for doing camp right.
Lady Gaga has long embodied the spirit of camp. Her four-act red carpet transformation — peeling away layers from a billowing pink Brandon Maxwell gown to reveal a lingerie set — was a masterclass in performance. She didn’t just wear the theme, she became it.
Alessandro Michele, the creative director of Gucci at the time, channeled maximalism with his ruffled, embellished pink ensemble, proving that camp thrives in clashes of textures and patterns.
Harry Styles, known for challenging gender norms in fashion, embraced camp with a refined yet effective look: a sheer, ruffled Gucci blouse and a set of pearl earrings, expressing that flam boyance isn’t always about excess, but more about purpose.
Serena Williams took a bolder approach, fusing her athleticism and high fashion taste into a bright neon yellow Versace gown paired with matching Nike sneakers.
Finally, Anna Wintour, the reigning queen of Condé Nast and lead chairperson of the Met Gala since 1995 (with the exception of 1996 and 1998), added her own signature touch of elegance to the pink carpet with a pastel pink feathered Chanel cape. This was a subtle nod to the extravagance of camp, but without all the overindulgence.
Although the 2019 Met Gala has remained debated in the fashion industry since its incep tion, it proved that camp is more than just a flashy ensemble. It’s all about the attitude, the atricality, and playful absurdity of fashion. While some missed the mark, there is no doubt that the co-chairs led by example, cementing this gala as one of the most unforgettable in Met history.
BY MACKENZIE CARR & EMILIE DEOREO
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