In Relation To: F/W 2023 by SEASON Magazine

SEASON

IN RELATION TO

F/W 2023 VOL. 06 ISSUE 1

SEASON

MAGAZINE

F/W 2023 • VOL. 06 ISSUE 1

EDITOR IN CHIEF Alisha Ahmed

PHOTOGRAPHY Directors : Klaire Rasche, Aanya Jain

PHOTO Mohena Gupta Alison Irace Lydia Norton Emma Potter Liona Russell Ellie Woytek

CREATIVE DESIGN Director : Olivia Childress

LAYOUT DESIGN Tristan Caudil Caterina DeSantis Mabel Dow Riley Laferriere Melanie Roberts Nitya Shah

SOCIAL MEDIA DESIGN Victoria Freitas Mollie Habig Kinsey Temple

special thanks to Backspace Gallery, Cherry Canary, Nails by Cristal Q, White Rabbit Print & Design cover photo by Emma Potter

MARKETING & COMMUNICATIONS

MERCH & STYLING

Director of Marketing : Luke Hamilton

Ava Basile Lily Buchta Natalia Diaz Natalia Kwak Katie Kinsella Elizabeth Lopez-Ruiz Sophia Newman Jullian Pullen Mikey Roselle Ava Schnurer Emily Skiefker Taylor Stine Grace Suiaung Calvin Sung Caroline Vegter Owen Wright

Director of Communications : Shilpi Jena

PR Caitlyn Kulczycki Graydon Moore Vy Nguyen Isabelle Wu

PODCAST Vivienne Armstrong Maxine Cain Alanna Herrey Max Holman

SOCIAL MEDIA Kylie Chan Natalie Long Brooklyn Shively

CONTENT CREATION Colton Fauquher Chloe Foster-Storch Sanjana Iyer Maya Trivunovic Aliya Utz Website Manager : Thaja Thangjam

Director : Ava Mikola

EDITORIAL Director : Mansi Mamidi Tory Basile Nicole Blevins Bridget Faul Mia Galante Kate Kainz Lainee Kirk Eliza McCord Dylan Meyers Kayla Pallotto Katherina Pietrangelo Natalie Scholz Jake Spiegel

LETTER FROM THE EDITOR

IN RELATION TO O

ur relationship with fashion in our late teens and early twenties mirrors the unpredictable journey of this tumultuous age. It’s a time when those hand-me-down jeans, the ones that never quite fit right, become a happy memory of our childhood rather than an insecurity from our past. The cherished vintage coat found hidden in a hometown thrift store becomes more than just a piece of clothing; it’s a treasure trove of memories from a life that seems so long ago. In our twenties, our wardrobes become a tangible expression of our innermost thoughts and feelings, embodying our aspirations, insecurities, and the collection of moments that compose our lives. In this semester’s edition of SEASON Magazine, we’ve brought our readers refreshing vulnerability, sharing the realities of finding love in university, journeys of self-discovery, and the forgotten connections we share with others. The beauty of life is in relation to our capacity to connect, share, and enrich the lives of others.

On the note of relationships, I want to extend my heartfelt gratitude to the incredible team that has come together to bring the pages of this issue to life. Our gifted writers and photographers, our dedicated stylists, layout designers, and our marketing and communications teams – you are the heartbeat of SEASON Magazine. Just as we navigate the unpredictable terrain of our college experience, you’ve made us feel seen; understanding that unapologetic exploration and the awkwardness of new experiences is something that defines this exhilarating phase of life.

ALISHA AHMED 03

CONTENTS

TABLE OF 04

IN BLOOM photographed by Lydia Norton story by Nicole Blevins, Katie Kainz

SAFE HAVEN photographed by Mohena Gupta story by Kayla Pallotto

TOURIST VS. PURIST

WHAT MEETS THE EYE

photographed by Allison Irace story by Jake Spiegel

photographed by Emma Potter story by Eliza McCord, Natalie Scholz

INTIMATED LOVERS photographed by Liona Russell story by Dylan Meyers

by Kate Kainz, Nicole Blevins

n average, an annual flower takes about ninety-five days to blossom. The petunia, for example, can take anywhere from six to eighteen weeks to evolve from a seed into a burst of brightly hued petals. Though the result is beautiful, it is a process filled with much uncertainty. Will it receive the right elements it needs to push its way out of the dark underground and unfurl its beautiful colors to the world? The maturation of a flower closely mirrors the journey of a human being’s

coming-of-age, as both require the embrace of certain elements to reach their full potential. The journey of selfdiscovery as one grows up is shaped by an interplay of various elements. Life experiences, the communities we surround ourselves with, and the media we consume are all determinant factors contributing to who we become when we’re finally secure in our image. The timing of this transformation varies greatly between each person, and it can be difficult to know when it has actually happened. I, personally, have

been through a lot of evolving in the past few years, with my physical appearance being a reflection of who I feel I am at that time. “I’m never going back,” I told everyone during my senior year of high school once my bathtub was stained blood-red with the box dye I had soaked my hair in. This was at a time coinciding with the beginning of college and going through the subsequent changes, so I wanted to change myself. I wanted to feel empowered and to carve a unique self before moving to a different state and living a different life. A year later,

I’m still trying to get the red out, but it felt so true to my eighteen-year-old self. We’ve all gone through phases that we feel are permanent, only to find ourselves in awkward in-between periods as we shed that layer and continue searching for identity. College, in particular, is an environment that seems to accelerate the growing process, intentionally or not. Personally, I feel I’ve been through more changes in the past year that I’ve been at IU than any other year in my life. The girl I was when I first stepped foot into my freshman year dorm feels like someone I haven’t known in a decade. Every person you

meet, every class you take, and every challenge you face is like every ray of sunlight, every drop of rain, and every gust of wind stimulating growth and change for a flower. They may hinder or help your growth, and their true impact on you may only become clear with the passage of time. I’m twenty now and still feel I have a lot more growing to do even though I’ve already entered adulthood. I’m a constant work in progress, and the end result of who I want to be is unclear. I often find there to be discrepancies between who I feel I should be and who I actually want to be. And everyone’s timeline is different. Some

people around me look like they have everything figured out, with consistently put-together looks and a radiating confidence that only seems to occur when you know exactly what your goals are. Others, including myself, are more like an amalgamation of whatever seems to be inspiring them at the time, which is constantly subject to change. I can feel myself growing closer to who I am as time goes by, but I know there’s more key experiences to be had, more people to meet, and more risks to take before I know my genuine desires and the image I wish to project. Changes can be uncomfortable, but ultimately necessary to foster growth and self-discovery.

- Kate Kainz

photographed by Lydia Norton head stylist Sophia Newman stylists Lilly Buchta, Jillian Pullen nails by Cristal Quintero modeled by Mahima Duvvur layout by Caterina DeSantis, Melanie Roberts

In the course of time, and with the right conditions, we all

tyle is ultimately an inherent part of the growing process for an individual. It is the most tangible, implicit form of expression of how a person views themselves and how they want others to see them. Style evolves alongside a person’s maturity and self-worth in a way to evoke confidence. In the same way a flower blooms, a person’s presence of mind becomes fulfilled when they find who they are within their style. During the change of seasons, flowers wilt and rebloom over and over again. Just like in the different

phases in our lives, we are reborn. Mahima Duvvur, now a Junior in college, was planting herself in the wrong garden. As a product of her environment, Mahima went through an emo phase in middle school. She listened to Fall Out Boy and Panic! At The Disco — classic music for the cultural scene which she was attracted to. She followed trends in high school that she didn’t like just to fit in. When she joined a sorority her freshman year of college, athleisure became her safety net. “I thought I knew what I liked,

but really I was just following what other people did,” she said. The first time she remembers buying a piece to put towards her style bank was at Hoosier A1 Vintage her freshman year. She spotted an Ed Hardy shirt and thought Wow that’s so cool, but I would never wear that. But then, she thought Why not? Why couldn’t I wear it? Her style now resembles more of a masculine vibe, with hints of car culture and baggier silhouettes. Track pants and statement jackets are essential to her everyday wardrobe. She finds that the pieces will stay authentic to who she is and remain consistent to how she styles herself in the future. Her mindset changed from wanting to blend in to being comfortable with standing out. The more she found her sense of style, the more confident she felt with not only what she was wearing but who she was becoming. “At the end of the day it was really about self-image and body image and confidence,” she said. “There’s a lot of underlying emotions tied to my style that not a lot of people see, but it represents a lot of growth for me.” Even though everyone’s own experiences in finding themselves differ, the end goals remain the same: feeling confident in the way we present ourselves and how we feel about ourselves. There are over 400,000 different flowering plant species, and there are over eight billion people around the world. One thing we have in common is the multitude of identities we can take. In the course of time, and with the right conditions, we all bloom.

- Nicole Blevins

Safe Haven The bond between women is fortified in many capacities, sometimes good, sometimes bad.

Sometimes, in the bathroom.

by Kayla Pollotto

he bond between women is fortified in many capacities, sometimes good, sometimes bad. Sometimes, in the bathroom. The girls’ bathroom offers privacy - a moment of respite in bars, clubs, and places that are the antithesis of clean air. The putrid smell of B.O. from dancing bodies is traded for heady perfumes and toilet bowl cleaner. Yet, when that door swings open to a smattering of stalls, a fogged up mirror reflecting girls carefully painting on their lip liner, and the potential for scathing gossip, a fight, tears, or a combination of all the above, women feel at peace. The girl in line looks like she’s going to vomit up her vodka-cran. She can barely hold it together, but still compliments the girl next to her’s skirt. Thrifted? No way, she says. The two friends huddled in the corner are going through one of their exboyfriend’s “following” on Instagram -- tensions are high. No one knows the story, but everyone is on their side, of course. The girl next in line doesn’t know if she can hold it any longer, and finally, another girl exits the stall. I love your lip combo, she says.

It’s a venue for social support from strangers or a best friend. If someone is in need of an escape from unwanted advances or just a bad DJ set, the bathroom provides an environment for what seems like hushed conversations in spaces that are screaming. But do women need alcohol and support from their friends to befriend other women they don’t know? Why is it that we pick and choose spaces to be champions of our sex, yet the moment that we exit them, we lose the sense of community? There is massive cognitive dissonance in the way women treat each other that lies dormant beneath the surface. Women haphazardly patch up the ignorance by posting tweets and TikToks about “girlhood”, “Barbie”, and “my new-found bestie in the girls’ bathroom” to over compensate an ugly truth: women fall victim to internalized misogyny. A lot. After all, women are conditioned to internalize gendered norms and engage in harmful behavior. The girls’ bathroom is a special space where women from various backgrounds come together, partly

due to its unique function and privacy. Girls’ bathrooms don’t function as strictly utilitarian spaces, with girls often clustered together in front of just one or two mirrors, or in corners easily accessible to the rest of the room. Forced proximity among strangers and friends provides a closeness that allows us to interact with people we otherwise wouldn’t. This brings them closer and helps break down barriers, despite societal pressures to conform to certain ideals of femininity. This is crucial to understanding the dynamics in such spaces. Amidst the natural tendency for people to seek comfort in the familiar, women, just like everyone else, often find themselves inadvertently trapped within social echo chambers. Despite their deep awareness of the vast potential for forming close friendships with women of diverse backgrounds, they may hold back, hindered by the shadow of internalized misogyny and an unrelenting emphasis on visual facade and perception – the urge to conform, to find those who mirror their own identity. >

“The girls’ bathroom is chaotic, humid, overwhelming yet extremely familiar, and most importantly, it’s a safe space for women to be women among other women.”

photographed by Mohena Gupta head stylist Elizabeth Lopez-Ruiz stylists Ava Basile, Natalia Diaz, Ava Schnurer modeled by Alleson Gao, Kenzie Lewis, Gabrielle Rodriguez, Mary Schaeffer, Rita Stein, Angela Thomas layout by Riley Laferriere, Nitya Shah

Media often portrays exclusion as a celebrated phenomenon, highlighting the ways in which certain spaces, such as the girl’s bathroom, operate with gendered distinctions. In TV and film, you often see cliques and exclusionary behavior among groups of girls portrayed as glamorous and aspirational. In Mean Girls, the movie showcases how the Plastics maintain their ‘Queen Bee’ status in school, often in bathroom scenes where they perfect their effeminate appearance. This representation of the girls’ bathroom is emblematic of societal dynamics, reflecting and sometimes perpetuating exclusivity, despite the definitional inclusion; all girls need to go to the bathroom and cannot escape it or each other. As such, within the sanctum of thewomen come face to face with a profound realization. Although intrinsically gendered, the girls’ bathroom allows women to confront not just their own mirrored reflections but the personhood and shared struggles that unite them, transcending superficial differences. It is a non-utilitarian space that allows women to surpass perceptions of gender and femininity over a

commonality of craving connection as much as answering nature’s calls. The girls’ bathroom is chaotic, humid, overwhelming yet extremely familiar, and most importantly, it’s a safe space for women to be women among other women. Women on social media have flocked to all platforms to express their desire for more places to

be a “Barbieland”-esque utopia, but we may well have it right in front of us, nestled in dingy corners of dive bars and clubs.

The Balance Between Authenticity and Commercialization 26

VSS. V

by Jake Spiegal 27

ashion, an ever-evolving landscape of style, trends, and aesthetics, is not just an industry of apparels and accessories, but an expressive medium that chronicles culture, societal norms, and individuality. At the heart of this dynamic world lies a constant tug-of-war between two prevailing perspectives: the Tourist and the Purist. Understanding this dichotomy is crucial to comprehend the broader debates about authenticity, commercialism, and the direction in which the fashion industry is headed. The term ‘Tourist’ in the fashion context doesn’t necessarily refer to someone traveling from one place to another, but rather describes a consumer who engages with fashion from a more transient, surface-level viewpoint. They are typically attracted to the allure of popular trends, the charm of seasonal collections, and the appeal of mass-market brands. Their buying habits might be influenced

by what’s currently ‘in’, celebrity endorsements, or the sheer novelty of an item. Tourists don’t delve deep into the history or the ethos of a brand; for them, fashion serves a functional purpose, as well as a means to be a part of a larger, popular narrative. The Purist, on the other hand, engages with fashion from a place of profound reverence. They value the heritage, craftsmanship, and the narrative behind each piece or collection. A purist is likely to invest in timeless pieces, appreciate niche brands with a distinct identity, and often holds brands accountable for their ethos and integrity. For them, fashion isn’t just about wearing clothes; it’s an articulation of art, history, and personal values. It can even become its own language between purists: a symbol to others who understand and appreciate fashion in the same way, likely sharing the same

interests for anything ranging from philosophies and ideologies to cinema, music, and film. The fashion industry’s heartbeat is driven by this tension. On one hand, there’s the undeniable appeal of the mass market, with its vast consumer base and impressive sales volumes. This often leads brands, even those with a legacy, to create collections that cater to popular demands, sometimes at the risk of diluting their unique identity. On the other hand, brand purity and authenticity are invaluable. They create a unique selling proposition and appeal to a dedicated segment that values originality and integrity. By maintaining their core values, brands can foster a loyal clientele and ensure longevity in an otherwise fickle market. The challenge lies in balancing the two. Can a brand retain its authentic voice and still appeal to

the broader audience? This question has led to diverse strategies: limited edition collections, collaborations with niche designers, or creating subbrands catering to different segments. The age of digitalization and social media has intensified the Tourist vs. Purist debate. With Instagram influencers, fast fashion, and online shopping, trends are born and die at an unprecedented rate. This has, in many ways, empowered the ‘Tourist’—with global trends being just a click away. However, the same digital era has given voice to purists, artisans, and advocates of sustainable and ethical fashion. Platforms allow niche brands to showcase their craft, tell their stories, and reach audiences who value the narrative behind each piece. As the lines blur and overlap, the challenge for brands is to find their unique space in this spectrum and for consumers to decide which side—or perhaps middle ground— they choose to stand on. “A tourist is someone who’s eager to learn... The purist is the person who knows everything about everything.” These words, spoken by Virgil Abloh, founder of Off White, encapsulate a dichotomy evident not just in the fashion world, but across

varied realms of life. Historically, skateparks epitomize third spaces, zones neither work nor home, where communities organically foster and culture thrives. These spaces become fertile grounds for innovation, nurturing the curious tourists eager to master the next trick or those just keen on watching. Simultaneously, they also are a haven for purists, those steeped in the ethos and history of skate culture, protective of its authenticity. This juxtaposition highlights the delicate balance we aim for at SEASON. While the photoshoot might have leaned into the ‘tourist’ aesthetic as our models don’t skate, our magazine continuously strives to bridge the two worlds, ensuring every narrative is both inclusive and authentic. Many iconic brands, from historical stalwarts to modern trendsetters, have grappled with this dichotomy. Take Maison Margiela, whose brand’s evolution reads like an engrossing tale of a brand’s journey from the enigmatic shadows to the luminous mainstream spotlight. Founded by the elusive Martin Margiela, the brand was rooted in a celebration of anonymity and the art of deconstruction. Shows in unconventional spaces

and the transformation of vintage garments into avant-garde pieces marked its early ethos. However, with the acquisition by Diesel in 2002 and Martin Margiela’s eventual exit in 2009, the brand began a transformative journey. Under the aegis of John Galliano since 2014, the brand has opened up to a more transparent, digitallyfriendly identity, further cementing its place in the mainstream through collaborations with brands like H&M, Reebok, and Samsung. While this pivot resulted in undeniable commercial success, it opened the floodgates to debates about the brand’s perceived drift from its original ethos. On the other end of the spectrum exist brands like Carol Christian Poell (CCP). A luminous example of unwavering commitment to purity in fashion, Poell’s work is a fusion of age-old leather crafting techniques with a daring aesthetic vision. His collections, like the SS 2004 “MainstreamDownstream” serve as a profound commentary on the homogenizing tendencies of mainstream fashion. Models presented as lifeless forms epitomized the numbing uniformity prevalent in contemporary fashion.

Despite Poell’s steadfast allegiance to his niche and a pointed avoidance of the mainstream, his brand continues to flourish, albeit in its specialized alcove, undistracted by the transient winds of broader industry trends. As illustrated by the journeys of Maison Margiela and Carol Christian Poell, the perennial challenge in the fashion industry is the dance between maintaining brand purity and achieving widespread appeal. It’s a nuanced choreography, not about choosing one path over another but about understanding when to lead and when to follow, ensuring both the integrity of artistic vision and the

promise of commercial success. As the boundaries between niche and mainstream blur, sustainability becomes a pressing concern, especially in a world driven by the “new” and “now.” The path from niche to mass market, while economically lucrative, has a shadow side that demands our attention: the environmental and ethical cost of fast fashion. As brands shift to cater to broader audiences, there’s an undeniable pressure to produce more. This surge often results in increased waste, resource consumption, and a strain on already precarious supply chains. Mass-market appeal often

necessitates compromises in quality. This not only leads to reduced product longevity but also encourages the throwaway culture, which is the antithesis to sustainability. In a rapidly evolving world, the lines between the tourist and the purist blur. It becomes imperative to nurture third spaces that celebrate both the novelty-seeking tourist and the knowledge-rich purist. After all, it’s in these intersections that culture truly thrives.The future, then, belongs to those who can artfully balance the scales, ensuring that in the dance between the tourist and the purist, our planet doesn’t pay the ultimate price.

photographed by Alison Irace head stylist Taylor Stine stylists Jullian Pullen, Mikey Roselle, Owen Wright modeled by DeAndre Christian, Xander Wilson, Sang Lee, Katherine Pietrangelo designed by Mabel Dow, Tristan Caudill

Intimated Lovers by Dylan Meyers

unday morning. You’re sitting at the edge of their bed. You pull out your phone’s camera to see your hair’s a mess and your face is as swollen as it feels. You catch a glimpse of them in the background, mouth open sleeping on their stomach. You call an Uber, grab your shoes from the corner of the room, and leave as quietly as you possibly can. After all, your transactional relationship has been completed. It was a successful Saturday night with a successful hook up. Maybe you met on Hinge or Tinder, or you found them at the bar — doesn’t particularly matter. It’s not a night you’ll look back on with much affection. It’s college, after all. Hooking up is just what you’re supposed to do. Have fun, be liberated, go wild.

On every college campus, in every town, in every city, hookup culture is becoming the primary way we connect sexually. Everyone has been told that college is the time for having fun, exploring what is out there, and learning what you enjoy. It’s become so commonplace, especially in recent years, that many don’t ever question it. There’s not that curiosity of, “Why am I doing this?”, or “Is this a healthy mindset to have?”; we just do. This attitude has seen an acceleration in recent years due to the prominence of dating apps, as well as a desire for people, specifically women, to feel the modern renaissance of sexual liberation and empowerment. Sex positivity is great, but it’s important to understand whether partaking in hookup culture is something you desire.

In theory, modern hookup culture is meant for women to erase any sexual stigmas and reclaim their sexualities, and any resentment towards that is often deemed sex negative. It seems as though hookup culture gives people the power of choice, but it actually just creates a culture of pretending. For many, they pretend to want to engage in these sexual exploits. The all or nothing approach of sexuality with hookup culture is a problem; hookups have the validity of being a type of sexual exploration, but shouldn’t be considered the only way to achieve sexual liberation. This lends itself to the inherent objectification that comes along with hookup culture, as well as the perpetuation of harmful gender roles and social conformity.

Emotion and Connection in the Modern Sexual Landscape

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The rules of hookup culture dictate that sex itself is not taboo, but the emotional investment in a partner is. The sex becomes dissociated from the person to the point where they become little more than a number. It not only devalues the person but devalues the intimacy, casual or not. It’s why ‘rosters’, or having multiple different sexual partners in rotation with one another, can be more comfortable for people to have. Never focusing on one relationship can help eliminate genuine feelings from developing, as well as take away any obligation of something more to any given partner. It also feeds into the idea that people have a superficial value when it comes to casual sex. Rather than humans, they’re seen as conquests, and whoever has the most conquests has the highest social standing. This is where the inherent objectification of hookup culture shows through; to focus on beauty and physical features is more important than compatibility and

personality. The rating of the partner matters more than who they are as a person or the intimacy you shared with them. These elements can all cause harm not only to the psyche of a relationship, but also by putting women into uncomfortable situations unfairly skewed towards patriarchal standards. Women have to walk the fine line between playing the game of hookup culture to keep social face and not be labeled a prude, but not participating too much in order to avoid the slut label. This happens while men learn their promiscuity is seen as praise worthy. As a result, the chase intensifies for men and that status becomes important. The chase sets a certain directive for situations with the preferred gender. It creates a tension which isn’t the most comfortable for everyone and adds to the already vulnerable position women find themselves in on a night out. Especially because women are embracing their sexual tendencies,

it gets difficult for people to realize just because someone is sexually active doesn’t mean they are sexually available for you. Additionally, the situationships that come about as a result of hookup culture present a tricky dynamic for most people. Partners inevitably want different things due to the ambiguity of the relationship. In order to protect themselves from getting hurt by these situationships, people tend to diminish the relationship and any emotions attached to it. The phrases “it’s just a fling” or “it’s not serious” have become common practice. That nonchalance acts as a protectant in the case the other party doesn’t want anything more than sex. It makes it difficult to gain the complete trust and honesty that should be present in any type of intimate interaction, commitment notwithstanding, due to that lack of understanding and fear about what the other wants. It reinforces this cycle of meaningless relationship after meaningless relationship.

“We are what we repeatedly do.” Written by Will Durant in 1926, this seems to apply perfectly to our current situation. The more we fall into hookup culture, the more distorted our view on relationships become. The lack of emotional connection and intimacy when physically connecting with another person, and the constant action of doing so creates the idea that this is all we’ll be able to have. Our culture continually accepts the love we think we deserve or should have rather than the love we actually desire. Most

people long for some form of stability and love in their romantic and sexual relationships. However, continual casual hookups can alter perceptions on what sex is and means, especially in the context with someone you actually care about. It creates the perception that a healthy, loving relationship is unachievable for many. It reinforces thoughts many have of being unworthy of genuine physical intimacy and unworthy of love. People are more than their bodies. People deserve the right to open conversations and healthy

conceptions about what their relationships mean to them. Sexual liberation and sex positivity doesn’t just have to come from casual hookups, the definition is specific to the individual. Hookup culture offers only the perception of freedom. We reserve the right to do whatever we want with whoever we want, whether that be physically or emotionally, free of the societal pressure and sexual narratives we see on social media and in our daily surroundings. Intimacy and authenticity are allowed to occur simultaneously.

Hookups photographed by Liona Russell head stylist Calvin Sung stylists Emily Siefker, Caroline Vegter, Grace Suiaung modeled by Elena Ooi, Nav Zalpuri layout by Caterina DeSantis, Melanie Roberts

by Natalie Scholz, Eliza McCord

WHAT

EYE

MEETS THE

How we choose to express ourselves is a tool to manifest the nuances of our personalities and our humanity.

his morning, your premade personality could be anything – you are coquette (you listen to Lana Del Rey, worship soft femininity, prefer older men), you are dark academia (you’re obsessed with The Secret History, academic validation, and are probably pretentious), you are retro (you listen to 70s rock bands, idolize Paul McCartney, and think you were born in the wrong era). It’s all so clear – until it’s not. Clothing has become one of the world’s most universal languages, where people can communicate without having the barriers of spoken language, a visual consistently worth 1000 words. Fashion is an expansion of self expression, as if they were communicating inside a silent film. In the silent film industry, actors used fashion as a tool for expressing themselves without the resources of noise, voice, communication, or known opinions. Fashion is commonly utilized as a form of self expression. One’s status and political affiliation is subconsciously woven between layers of flounces, feathers, and ruffles. Take, for instance, the 1920’s: flapper dresses were a staple of significance. The shorter hems and new fit was a way to project

celebration of new lives as they called themselves professionally, it is for a more modernized world and assumed that they are also proficiently advocated for change within the put together in terms of their political climate. financial situation and interpersonal Women were enticed to showcase relationships. Consider how Anna their glamor, glitter, and glitz. Their Delvey used this presumption to her prosperity allowed them to dress advantage. Delvey claimed to be a in revolutionary and creative ways. wealthy heiress when she truly was Individuality is closely knit with a con artist. She portrayed riches by economic prosperity; as people her consumption. She deceived the could afford to live, they could snobbish New York City art scene by afford to express themselves. During giving the world an illusion that she times when the world struggled was rich; she sold this lie through economically, consumption. fashion was one Amongst her of the things that collection, a people held on to black lace dress. as a way to grasp Appearing simple self preservation. to the affluent In times when artists and fashion the world was connoisseurs, it visually darker and would represent a dirtier, take the - Scholz and McCord link to a luxurious Great Depression, couture collection people held onto their pride in joy founded by Azzedine Alaïa. People put of consumption. Consumption is thought into what they wish to convey, controllable – national economic and within the constraints of privilege, despair isn’t. people can create any impression they Consumption leads to assumption desire of themselves for increased via perception. Power is asserted gratification. through the way you are viewed, In 1980, Lisa Birnbach published therefore how you dress. Business the infamous “Preppy Handbook”, attire suggests affluence and the ultimate guide for any person intelligence. When someone presents regardless of class to be a “preppy.”

Fashion is an expansion of self expression, as if they were communicating inside a silent film

photographed by Emma Potter head stylist Natalia Kwak stylists Lilly Buchta, Katie Kinsella, Taylor Stine modeled by Violetta Cunningham, Julianne McClean layout by Olivia Childress, Riley Laferriere

A preppy was the ‘ideal’ – wealthy but not flashy, sophisticated but effortless. The handbook took off, selling over 1 million copies. The subculture dominated the decade, with brands like Ralph Lauren and Lacoste becoming incredibly popular. Those affluent enough to afford Ralph Lauren and Lacoste were typically white and wealthy. They were financially secure, safe, and institutionally protected. As the AIDS epidemic swept across the nation in the 80s, WASPS remained safe–but gay people did not. As the target of political and physical attacks, gay people knew they needed to find methods to be safe. For many gay people, protection came in the form of conformity. Those who were white could get by through disguising themselves as a preppy, becoming systemically and institutionally protected WASP or WASP-adjacent. They could allay their fears of targeted attacks and focus on living as “normal” a life

– going to a well-paying job and returning to a house they owned. Of course, a side of them would constantly be suppressed, hidden, afraid of getting out. But that was just the price to pay for some safety, wasn’t it? And fashion could give that to them. In the 90s, Kurt Cobain’s style of dressing was nicknamed “grunge” and had thousands of the Nirvanafaithful co-opting it. For Cobain, the worn and baggy flannels, jeans, and t-shirts were entirely thrifted. Cobain dropped out of high school and worked minimum-wage jobs, even living out of his car for some time. For Nirvana fans, mimicking the frontman’s style represented their affinity for Nirvana’s music and ideology, while for Cobain it was a style formed out of necessity. People still dress to mirror a reflection of their motives and beliefs. Many times, this is closely related to political standing. This was extremely prominent during

the midst of COVID-19 pandemic. Clothing and styling holds significance. Individuals would wear their masks correctly, or incorrectly, and due to their personal choices another could tell their political affiliation without them having to say a word. People weaponize fashion as a way to make a statement and therefore, they’re harshly judged on that statement even if it isn’t representative of their complete character. While it may seem that aesthetics can be reductive, we consume certain styles for a reason. We have developed a deeper meaning and understanding behind our styles, and examine the flaws and sensitivities of each aesthetic. Understanding the nuance of aesthetics continues to draw us in and form communities that accept even the socially unacceptable aspects. How we choose to express ourselves is a tool to manifest the nuances of our personalities and our humanity.