The New Frontier

EXECUTIVE TEAM

SYDNEY SEYMOUR

STELLA RANELLETTI

ELIOT CORRELL

MIA MICKELSEN

KELLY KLEINBERG

EDITOR-IN-CHIEF

EXECUTIVE PRINT EDITOR

EXECUTIVE DIGITAL EDITOR

FINANCE MANAGER

WRITING EDITOR

AVA WISDOM

BEATRICE KAHN

EMESE BRACAMONTES VARGA SYLVIA DAVIDOW

DESIGN EDITOR

COPY EDITOR

COPY EDITOR

COPY EDITOR

ILLUSTRATION EDITOR

SNEHA CHOPRA

JILLIAN PEFFER

CAMILLE ANDREWS

ANAYA LAMY

RUBY JOYCE

PHOTO EDITOR

PHOTO EDITOR

STYLING EDITOR

BLOG EDITOR

BLOG EDITOR

NATALIE ROBINSON

BELLA THOMAS

ZAKARY CHRISTEN-COONEY VIOLE MILLER

CASS MORRISON

MUSIC EDITOR

MUSIC EDITOR

VIDEO EDITOR

BRAND AND PROJECTS COORDINATOR

KYM ROHMAN FACULTY ADVISOR

SOCIAL MEDIA MANAGER

WALLIE BUTLER

LETTER FROM THE EDITOR

Dear Align Readers, During the winter term of my freshman year, I decided to apply to Align as a writer. It was the first club that popped up on the A-Z list and seemed quasi-interesting. Over time, Align has become what I rave to my friends about, where I pour my time, and the best creative outlet ever.

I never thought I’d be writing this letter to all of you. As much as I may have wished, I did not expect that I was actually going to be in this position. But here I am—eternally grateful…and proud of everyone I’ve had the privilege to work with.

Align has been a huge part of my college career, and I’ve met the most passionate and determined creatives. I want to extend a big thank you to everyone who has worked for Align; our members never cease to amaze me.

I also want to thank Align’s editorial team, both past and present. To those who have recently graduated, you are immensely missed! And a special thank you to our former Editor, Ainsley, for trusting me with your baby. I promise to take good care of it.

To my current editors, I couldn’t have asked for a more capable and committed team. Thank you Stella, Eliot, and Mia for being my right-hand women and for all that you do.

This term, Align celebrated many firsts. Foremost, I’m happy to introduce the first faculty advisor we have ever had, Kym Rohman. Thank you, Kym, for the support and guidance so far.

We can’t wait to keep working together.

I’m also excited to say that we’ve set new records for the number of applications and members.

Our digital and editorial teams are larger than ever before.

We hosted our first-ever sponsored events: a DepopxAlign clothing swap and a CelciusxAlign headshot event. Thank you to everyone who came to these events and to Mia for organizing them.

I’d also like to mention the latest addition to Align’s frontier, our podcast. Season one, episode one launches in the first week of winter term. Keep an eye out!

That brings me to this term’s issue. The New Frontier acknowledges that without understanding the past, we can’t fully discuss the present or future. This fall, our writing, illustrations, photoshoots, and digital content boldly aimed to reclaim the past, explore uncharted territories, and embrace new beginnings. These pages ask and answer even more than: What is the new frontier? What does it look like? Where is it? What does it mean to conquer a part of the new frontier?

Sincerely with love and hope you enjoy,

STAFF ART DIRECTORS

PHOTOGRAPHERS

DESIGNERS

VIDEOGRAPHERS

STYLISTS

Anna Curtis Ava Klooster Avery Wachowiak Charlotte Miller Cori Markus Cyrus Bogart Elias Contreraz Eliot Corell Eva Frezza Isabella King Isabella Uribe Julia Ratten Kaia Mikulka Krisha Borgonha Lena Lauren Nguyen Parker Bell Sufi Bolourchian Viole Miller Aubrey Jayne Charlie Townes Eliot Corell Emma Highfield Joaquim Gruber Lucy Ruppert Natalie Robinson Parker Bell Saj Sundaram Sneha Chopra Sofia Moscovitch Sophia Greene Zoe Maitland Abigail Raike Alex Bondurant Ava Wisdom Britney Stout Claire Brady Ella Kenan Evan Giordano Megan Lee Mia Romero Raina Freeman Ryan Ehrhart Sofia Lentz Stella Ranelletti Taylor Jones

WRITERS

ILLUSTRATORS

MUSIC

Grace Olson Hana Jessup Iman Zarlons Janaya Pardo Sofia Cervantes Zakary Christen-Cooney

Allyssa Corpuz Amanda Miller Angelika Stolecki Blu Mackey Camille Andrews Clarissa Perez Diego Vasquez Ella Fayeh Ella Hutchinson Emily Casciani Gideon Batya Juliet Power Keiran Christiansen Liv Gober Marley Epping Maya Clausman Olivia Roberts Rexon Brown Sophie Lucas Sydney Antoini Zöe Fruits

BLOGGERS

Anaya Lamy Avery Wilson Beatrice Kahn Campbell Williams Cece Fitzgerald Claire Conger Cora Callahan Drew Turiello Ellie Johnson Emese Bracamontes Varga Emily Hall Emily Hatch Gabriella Sgro Galia Gnain Grace Sinkins Hannah Kaufmann Julie Saive Kayla Cervantes Kelly Kleinberg Khushi Mishra Kiana Heifron Lily Reese Marie-Claire Graham Mark Munson-Warnken Mimi Younger Sonia Boeger Sophie Turnbull Sydney Seymour Sylvia Davidow Bee Baumstark Emma Harris Evelina Nesseler-Cass Holly Huynh Joey Bezner Lulu Robb-Upham Olyvia Bankovitch Sara Spencer Sierra Baker Sydney Lackey Vincent Gourley Wallie Butler Ying Thum Ailsa Huerta Anja VanderZee Arianna Rinaldi Bella Snyder Bianca Lewis Elsie Ferber Grace Noble Isabella Bartocci Jacqueline Pineda Kate Elliott Mia Fairchild Paloma Encarnacion Sylvie Rokoff

Alyssa Ferguson Amelia Fiore Bella Saunders Daisy Simpson Elise Alvira Haley Batmale Hannah Taylor Lindsey Pease Lizzy Scales Luke Bottomley Madisen Kunkler Natalie Englet Sadie Mordan Zoë Brown

MODELS

Ailsa Huerta Allyssa Corpuz Amanda Miller Amanda Ngo Amelia Fiore Ana Gastelu Ana Gastelu Anja VanderZee Arden Brady Audrey Mercier Ava Klooster Blu Mackey Carmen Valencia Correa Charlie Townes Chloe Jade Jacobs Cori Markus Daniela Ortega Danielle Collar Diego Vasquez Drew Turiello Eli Panero Elias Contreraz Elin Lawrence Ella Kenan Elsie Ferber Emily Casciani Emily Hall Emily Hatch Emily Muro Emma Rubin Emma Sheldon Emmie Thomas Galia Gnain Gideon Batya Grace Borja Hana Jessup Hannah Kaufman Holly Huynh Ian Proctor Isabel Pope Izzy Chew Jackson Klingelhofer Janaya Pardo Juliet Power Kaia Mikulka Katie Lantz Keir van Nieuwburg Keiran Christiansen Krisha Borgonha Lauren Gurry Lela Akiyama Lena Nguyen Lily Barelston Lily Mock Lily Reese Maddie Midghall Mason Cerutti Maura Mcneil Mika Maii Parker Bell Pilar Sprague Quinn Vormbaum Quinn Johnson Rex Brown Sadie Mordan Sarita Sharma Sequojah Oforah Sophia Truitt Sydney Lackey Taylor Jones Viole Miller Will Martin Yaynel Baptista Fuentes Zhen Chau

JOIN OUR TEAM Applications open two weeks before the beginning of every term, and we publish three printed issues per year. Check our socials to know when applications are released.

Follow us @align_mag on Instagram Read past issues and our digital content at alignmaguo.com

MUSIC MUSIC

The Align Music Team is finding new ways to incorporate music journalism into content. They asked a few of their team members to write about the practice of genre-hopping, which is when artists produce music in a different genre than normal. Listen to the music team’s playlists on Spotify.

"The Beatles have demonstrated remarkable versatility. While many artists found a successful formula and stuck to it, The Beatles pushed boundaries.”

- Arianna Rinaldi and Anja VanderZee "Regardless of how fans feel about Taylor Swift’s genre switches, her ability to maintain her status and loyal fanbase is a monumental achievement."

- Bella Snyder "Demi Lovato, once known for Disney pop hits, leaped into the rock and metal scene with her 2022 album. This dramatic stylistic shift feels less like a sudden departure and more like the pay off of musical evolution."

- Paloma Encarnacion "Miley Cyrus has showcased various sides of her artistry through her career. She found something that seemed to be waiting for her."

- Jacqueline Pineda "Hardly any artist has had a more creative discography than Damon Albarn. Albarn has been at the forefront of iconic musical movements.

- Mia Fairchild "Beyoncé still finds ways to reinvent herself with new kinds of music. The new album conveys there’s no one definition for country music.

- Grace Noble “From being known as the Queen of Pop to writing sentimental ballads about personal experiences, Gaga continues to reinvent herself, leaving listeners, wondering, ‘What’s her next move?’”

- Sylvie Rokoff

LISTEN TO OUR

NEW FRONTIER PLAYLIST

ILLUSTRATED BY YING THUM

For this playlist, we asked our staff: what is a song that opened up a new frontier for you?

VIDEO VIDEO In addition to the Align Video Team’s issue launch and event videos, they’ve started producing videos that adhere to the term’s theme.

In “What’s Your New Frontier,” by Hana Jessup, she asks students to describe what they hope their new frontier looks like. Inspired by We’re Not Really Strangers, Sofia Cervantes passed out notes of encouragement on campus in “Find Your New Frontier.” Watch them both at alignmaguo.com, or scan the QR code.

BLOG BLOG From the Align Blog Team, here are a few favorites of the 20 blogs written for The New Frontier. Read them and more at alignmaguo.com, or scan the QR code.

The Power Behind the Characters of Cabaret

by Luke Bottomley

Returning to the Streets: Reacquainting Ourselves with the Importance of Play

by Haley Batmale

Streetwear in the Stands: How University of Oregon Students Bring Style to Game Day

by Lizzy Scales

The October Theory

by Natalie Englet

Porsche Moms: Gen Z’s High Speed Need to Succeed

by Madisen Kunkler

TABLE OF

CONTENTS REIMAGINING AMERICANA

10

THE GREATEST FIGHT IN FASHION

14

CONSCIOUS CHIC

16

BLADE RUNNER

20

ALIENS, GRIEF, AND BRYAN CRANSTON

24

JUNK

28

A STEP IN THE WRONG DIRECTION

30

UNTAMED

32

ONE SMALL STEP, ONE GIANT QUESTION

36

HITCHHIKER’S GUIDE TO THE GALAXY

38

HAIR DONE NAILS DONE TEETH DONE

42

THE SECRET CYCLE

48

LEAVING WITHOUT GOING

52

MAKE BAD ART

54

THE AGE OF AQUARIUS

58

GOOD GIRLS GONE BAD

62

THE KENNEDYS AND THE AMERICAN IMAGE

64

A QUEER FRONTIER

66

THE MODERN MEDIEVAL REVIVAL

70

WALKING IN RETRO

78

MAKE IT NEW

80

WHAT DOES IT MEAN TO HIT THE JACKPOT

84

EVERYTHING YOU NEVER WOULD’VE KNOWN ABOUT THE END OF THE WORLD

88

DEATH OF SUBCULTURE

92

CELLULOID DREAMS

96

THE GOLDEN AGE

98

BOOTS, BELTS, AND BONNETS

100

SPOILED SILKS, GORGEOUS GARMENTS

102

REWRITING THE FINAL GIRL

104

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R E I M A G I N I N G

W h at d o es a n A m e r i ca n l o o k l i k e i n 2 0 24 ?

G

rowing up, we’re told that America is a melting pot. Sitting criss-crossed in neat rows on colorful classroom carpets, we learn that our country was built from immigrants. As children, we believe this. But as we change into adults and move through the world, it becomes clear that our collective consciousness may not perceive America as a country made up of immigrants.

The image of a stereotypical American likely has nothing to do with international passports, multilingual family discussions, or celebrating ancestral culture.

Multiracial students at the University of Oregon said their idea of this classic American aesthetic involves nuclear families and suburbs and patriotism.

We are witnessing a nationwide shift of growing mutiracial populations. According to the 2020 U.S. Census, in the decade between 2010-2020, the number of multiracial people ages 18-33 has increased by 300%. More than 33 million Americans identify as being “two or more races.” That’s one in ten people. The image of an American person is actively changing–they are not white, but instead multicultural.

Sequojah Oforah thinks, “White people are like the American culture… that’s what’s advertised everywhere.” Oforah is half-Black and half-white, and he grew up in Lincoln, Nebraska. His midwestern upbringing surrounded by a predominantly white community affected how he understood his identity as a biracial person. “It was hard as a kid to understand who I ALIGN 11

WRITTEN BY GABRIELLA SGRO ART DIRECTOR LENA LAUREN NGUYEN

was,” he said. “I just didn’t really have the vessel to the culture.” He had to figure out what he was supposed to like by exploring different genres of music and shows on TV. In 2020, the population that identified as multiracial grew faster than all mono-race groups.

This means that there are more multiracial people being born than mono-race people; the future of America lies within these “ethnically ambiguous” people descended from multiple races, origins, and cultures.

Adri Jolie is half-Mexican and half-white. She feels that she fits into the stereotypical American aesthetic only sometimes. “I’ve been told that I have a modern face,” Jolie said. “Everyone wants to know what I am, since no one looks like me.”

The option to select more than one racial category on the U.S. Census was not available until 2000. For every nationwide survey performed up until that point, multiracial Americans were forced to choose which category they identified with most, or wanted their perspective to be associated with.

For Jolie, this is one of the most challenging parts of being multiracial. There is no whole claim for “what” she is. “Maybe I’m not going to identify as anything, because it makes me uncomfortable identifying as Latino if I’m not completely Latino,” Jolie said. There is a feeling of not belonging wholly to one group of people, which can create feelings of alienation.

Many other students felt this sense of displacement within their mixed identities. Brittany Stout is halfFilipino and half-white, and thinks she is seeing more multiracial people in general as she grows older.

Still, she doesn’t necessarily feel a strong sense of community. “Even though people say it’s the ‘best of both worlds’ it truly is really isolating,” Stout said.

Individual conditions like location and support

MODELS ANAYA LAMY, DIEGO VASQUEZ, ELIAS CONTRERAZ, SEQUOJAH OFORAH, IZZY CHEW & SYDNEY LACKEY ALIGN 12

PHOTOGRAPHED BY ZOE MAITLAND STYLISTS ALLYSSA CORPUZ & MARLEY EPPING

system can change how a person feels about their identity as multiracial.

“The imposter syndrome is real,” said Isabella Thomas, who is half-Black and half-white. “On top of trying to figure out who you are in the world just as a human being, you are also trying to figure out your cultural identity,” she said. Thomas is from Los Angeles and has been surrounded by diversity her whole life, and wants to continue to do so while attending the University of Oregon. “Even if I attend a predominantly white institution, I have always made it a point to surround myself with people who embrace other cultures,” she said.

The University of Oregon is a predominately white institution. It offers 26 student unions through the Multicultural Center, each of which is focused on a different ethnic group or identity. Students can join more than one if they identify with multiple races and find support systems within these groups of people who can relate to their lived experience.

Oforah is a member of clubs on campus made to support students of color, the Black Male Alliance and the National Alliance of Black Journalists.

Finding support systems with other mixed race people can be crucial to mental wellbeing and feelings of belonging. Community is important, and being with others who can understand the unique prejudices, microaggressions, and alienation that come with being multiracial makes all the difference.

As the U.S. demographics change over time, we are helping change the narrative of who is American.

The millions of unique identities across the country do not make a melting pot, but a mosaic of diversity.

Although we are mixing together, no two people will lead the exact same life or have the same identity.

We can hope that the future of this nation lies within deepening the empathy we have for one another and growing our understanding of perspectives that are different from our own.

DESIGNER STELLA RANELLETTI ALIGN 13

THE GREATEST

Fight

IN FASHION

The Battle of Versailles and How America

Proved Itself as a Fashion Powerhouse

t’s hard to imagine the Palace of Versailles being anything other than a symbol of opulence and elegance, a standing relic of the French aristocracy. However, in the 1970s, anything seemed possible in Paris. While Paris was still the bustling cultural hub it’s always been (and likely always will be), the Palace of Versailles seemed to fall to the wayside regarding its upkeep. The palace desperately needed restoration and some way to fund its repairs. Palace curator Gerald Van der Kemp met with legendary American fashion publicist Elenor Lambert, and the idea of a fashion show fundraiser was born. Yet, when the proposal of inviting American designers to showcase their work started to gain traction, it became no longer a joke, and the fashion show turned into a competition. On the evening of November 28th, 1973, the event dubbed “The Battle of Versailles” (BOV) changed global fashion history forever.

Burrows, and Anne Klein (with then-assistant Donna Karan) were all chosen to compete thanks to being clients of Lambert’s.

I

The French owned fashion in the seventies. The only designs that mattered were French; the only inspiration you needed for fashion was French. If it was fashion and it was important, it was French. To their credit, the French certainly had the names to show for it: Hubert De Givenchy, Yves Saint Laurent, Pierre Cardin, and Emmuanl Ungargo were all on team France for the BOV. Those couturiers were so influential and untouchable that they could only be compared to the 1992 USA men’s Olympic basketball team. To say that the Americans were coming into a tough competition would be an understatement. However, the global census that the French would wipe the floor with their competitors would soon be challenged. American designers Oscar De La Renta, Halston, Bill Blass, Stephen

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Each made a global impact with their designs, growing and strengthening America’s reputation in the fashion industry. Until now, America had just been considered copiers of French fashion. Still, with the increasing popularity of ready-towear collections being seen as an expression of sportiness, femininity, and glamor, the old French haute couture style was fading away in favor of designs you buy straight after a fashion show. The accessibility of these collections allowed more people the opportunity to buy and become interested in luxury designer clothes and helped to grow a greater love for fashion as an art in America. “RTW” clothes weren’t the only new thing the Americans were bringing to Paris: Stephen Burrows, one of the five designers chosen, emphasized bringing Black models for the show. Models such as Pat Cleveland, Alva Chinn, Charlene Dash, and Norma Jean Darden credit the show for skyrocketing their modeling profiles and making them Supermodels.

These women, whom we now know as icons, hadn’t even been to Paris prior to the BOV—work as a black model was scarce in 1970s Europe. Their performance, which was so transformative and impactful, is a crucial reason why the Battle of Versailles is even remembered today. Through their beauty, these women opened larger doors of opportunity for Black models everywhere.

Once the Americans arrived, however, the sense of glamor and prestige one would feel staring at the palace would end the second one entered the frigid halls of the poorly heated Versailles. The French were working on

home base and took up most, if not all, rehearsal times in the day, leaving the Americans to work late into the night.

Not only that, but they didn’t provide the American models any food despite working all day. The French were so rude to their guests they didn’t even have toilet paper supplied in their bathrooms! As if things couldn’t get any worse for the Americans, a measurement mix-up with the custom backdrops hand-painted for the show occurred and had to be scrapped entirely. This ordeal almost led Halston to quit the competition entirely if not for his then muse and Oscar winner, Liza Minelli, offering herself as an opener for their segment. While their competitors were working with the bare minimum, the French spared no expense regarding the multi-hour planned show, $30,000 worth of props and sets, and a 40-piece orchestra with a performance from Josephine Baker; they pulled out every bell and whistle they could.

Despite their original plans flopping, in true American spirit, innovation occurred, and a new direction was taken for their segment. The Americans would cultivate a more intimate and toned-down approach, focused on bringing life to the garments.

On the night of the show, over 700 guests, including Grace Kelly, Andy Warhol, and Marie-Helene de Rothschild, attended.

It was a who’s who of ‘70s icons. The French presentation came and went; it was nothing short of what was expected from them over the top extravagance. However, when it was time for the American segment, history was made. The beautiful, breezy, freeing silhouettes on stage were such a shift from the stuffy, constricting styles of old and allowed the models to be more than just living mannequins. The twirling flowing gowns were synonymous with the cultural shift towards women’s liberation and freedom. Sexuality and femininity in fashion was moving forward with the ‘70s. The French and the audience were left in shock, and the Americans, who weren’t taken seriously despite their innovations simply because they were American, came out victorious and were celebrated with a standing ovation. America, who always seems to be a victim of little brother syndrome, did what we do best and consistently set the bar regarding art and culture. The BOV brought freedom from French dominance and let the Americans leave a statement of creativity, simplicity, and independence. Through pure admiration of fashion, the show would leave a mark on the world, and America would take its rightful place as a design powerhouse.

WRITTEN BY AVERY WILSON DESIGNER EVAN GIORDANO

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CONSCIOUS CHIC

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The Art of Upcycling Furniture in a Fast-Fashion World

D

uring my four years at college, I relocated to a new home at the beginning of each school year. My freshman year, I was in the dorms. I lived in an apartment my sophomore year. I spent my junior year abroad, and this year I’m in an adorable, tiny house. With each new place came new memories, roommates, and furniture. While getting new furniture can be exciting, the prices can add up. Like many college kids running on a tight budget, I’ve opted for easier and cheaper furniture options such as Target or Amazon for many years. Unfortunately, the cheaper price often equates to cheaper quality furniture that doesn’t survive the move and needs to be replaced the following year. These corporate businesses have contributed to a new epidemic in consumer society much like fast fashion. It’s called fast furniture.

80% of which ended up in landfills. Fast furniture are items that are made quickly and with poor construction which makes them difficult to repair or refurbish. They only last a few years until they need to be tossed.

But the fact that most fast furniture ends up in landfills isn’t the only concern. The increase in demand for low-cost material, such as laminate or other synthetic materials designed to look like wood, can contribute to issues of deforestation and loss of biodiversity. Also, continuously buying furniture and having it shipped to you can increase the amount of CO2 emissions when transporting.

Fast fashion is inexpensive clothing items produced in large quantities by mass-market retailers. It has been on our radar for some time. Buying clothes from fast fashion brands like Shein can result in the need to replace the items due to their poor quality. Fast fashion also raises concerns about environmental impacts– greenhouse gas emissions, toxic dyes, and heavy metals used in manufacturing–and contributions to deforestation in the Amazon. Another concern raised is ethical sourcing. The true cost of fast fashion lies in the less-than-a-living wage factory workers are making as they mass produce the clothes. Fast fashion also results in 40 million tons of garments ending up in landfills each year. After learning these horrific facts, I made a great effort to source my clothes from second-hand stores, clothing swaps, local businesses, or upcycled creations.

All too ironically, I’m writing this article from a desk I bought for cheap from Target that is not likely to survive another year. According to the Environmental Protection Agency, Americans threw out over 12 million tons of furniture and furnishings in 2018 alone,

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WRITTEN BY CLAIRE CONGER ART DIRECTOR AVA KLOOSTER PHOTOGRAPHED BY EMMA HIGHFIELD

While there are plenty of ways to look into a company’s sustainability practices (or lack thereof), those options can come at a higher cost. Let’s face it, we don’t all have the means to pick up a new bed from stores like West Elm. Luckily, there are still plenty of options for buying less expensive, yet higher-quality furniture which can help cut back on environmental and ethical impacts while still leaving your living spaces looking fantastic and functional. The age-old saying is true: one person’s trash is another person’s treasure.

To prove it, I’m also writing this article while sitting on a chair I picked up from the University of Oregon’s surplus sale for a whopping six dollars.

furniture warehouses are all great places to buy used furniture (plus you get the benefit of socializing with actual human beings, some of which could be the internet’s finest randos). This year my roommate and I decorated our living room with a tiny purple couch we found on Facebook Marketplace. During this exchange, the vendor brought his young son whom I convinced to race around our yard while I timed how fast he could run. I also spent a great deal of time playing hide and seek with him as my roommate frantically attempted to download CashApp. In addition to our couch, we also filled our kitchen with various plates and bowls we found in thrift stores. This was a fun way to add character to our home while saving us a lot of money during our move.

Like a puppy in a litter, my dear chair was found sitting with look-alikes just begging to be taken home.

The story with this chair is what you might consider a furniture meetcute. My roommate and I walked into the warehouse filled with furniture lightly organized by item type. Like a puppy in a litter, my dear chair was found sitting with look-alikes just begging to be taken home. Its gray fabric was slightly grayer than the others, and its metal legs shone just a little bit brighter. I felt a slight ping of nostalgia for the years I spent in my mom’s office, sitting on a chair that looked just like this one. My roommate scored a dresser that we both recognized from the dorms which we promptly struggled to haul into the back of her car. She ended up buying vintage maps of her favorite mountains to revamp the top of the dresser.

Local thrift stores, Craigslist, Nextdoor, or resale

In the same spirit of upcycling clothes you pick up from the thrift store, you can do the same to furniture you buy used or pick up on the side of the road. Get in touch with your inner artist, and save a dollar or fifty while you’re at it. Some of the ways you can upcycle furniture include replacing parts such as handles or adding your own touch with paint or fabrics (you have to cover up mysterious stains somehow, right? Kidding…. Hopefully).

If you’re looking to turn upcycling into more of an activity, perhaps host a housewarming party where your guests help you revamp your new furniture.

The world is your oyster, and who knows, maybe that dresser on the street corner would look better in pink.

MODELS AUDREY MERCIER, ZOE WALKENHORST & ZHEN CHAU STYLIST ELLA HENDERSON DESIGNER SOFIA LENTZ ALIGN 18

WRITTEN BY MIMI YOUNGER ART DIRECTOR & STYLIST AVERY WACHOWIAK PHOTOGRAPHED BY CHARLIE TOWNES MODEL SOPHIA TRUITT DESIGNER RYAN EHRHART ALIGN 20

BLADE RUNNER A LOVE LETTER TO 2019 LOS ANGELES AND THE MATERIAL APOCALYPSE

T

he streets of 2019 Los Angeles drip with mechanical sweat and chemical dew. They breathe garbage and steam and cables. The streets pulse with electricity, yet are consumed by darkness. Overhead, cars dart between massive skyscrapers that crowd the smoggy night sky.

The people of dystopian LA dream of mechanical sheep.

When we think of the future, we envision a white, sterile, place.

A GenAI meta-verse where our fashion is monolithic, clean, and sleek. The 1982 film, "Blade Runner," begs the question: why not the opposite? Contrary to the spotless and uncluttered aesthetic of our imagination, our future streets may feel underground, jammed with traffic, smog, and teeming humanity—a world where people walk around in what is technically garbage, in fashion that is used, reused, and recycled.

In "Blade Runner," fashion is the subconscious centerpiece for the viewer, whether interested in aesthetics or not.

"Blade Runner’s" contribution to the sci-fi genre is immeasurable, disrupting our unspoiled image of the future with a dystopian, cyberpunk city of buzzing neon, and this effect is largely created through costume.

Agent Rick Deckard moves through the city with smooth, calculated precision.

He’s on the hunt for replicants. Deckard is a bladerunner, a cop, whose job is to hunt rogue humanoid cyborgs.

T h e s e replicants are human in almost every way.

Implanted w i t h memories of manufactured childhoods, cursed with full emotional capability, and equipped with heightened strength, they expire after only five years. Deckard embarks on a harrowing chase for Roy Batty, a replicant who led an offplanet revolt that resulted in the death of 23 humans.

An enslaved replicant, Batty was assigned to work off-planet as a soldier and bodyguard.

Deckard searches the city in trench coats with popped collars while smoking cigars. His fashion is professional, unremarkable, and has a classic vintage look.

Deckard’s love interest, Rachel, is the feminine complement to his buttoned up, classic style. She dresses in padded power suits and pencil skirts with a 1930s wartime updo. She wears fur coats, smokes cigarettes, and is displayed in grandiose art deco chairs. She's

undeniably glamorous, never without a bold red lip. Deckard and Rachel reflect an undeniable and intentional nostalgia.

In this "distant" future, they carry the markings of a time we seem to have already forgotten.

The use of vintage fashion is further reflected in the styling of the replicants, but in a starkly different way. Pris is a female replicant, "a basic pleasure model," and Batty’s partner. Her look is very 80s punk—ripped fishnets, a little black dress, a mesh top, and a faux animal print coat. She wears boots and layered necklaces with a massive, blue smokey eye. She has a wild blonde shag: iconic punk rock.

The same aesthetic is used for Batty’s character.

Batty is encased in a heavy, black leather trench coat, which he later abandons for a more primal shirtless look. He also sports a blinding, bleached buzz cut. Both Pris and Batty’s fashion reflect the time the movie was created. It’s almost so on the nose that its intentionality can’t be missed.

What does it mean that they wear the 80s fashion of the day, but in a dystopian 2019 Los Angeles? More importantly, why does their style so starkly contrast that of Deckard and Rachel’s?

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For Batty, Pris, Rachel, and Deckard, their fashion is a complete representation of their humanity throughout the film. Rachel and Deckard are vintage professionals, a style chosen to represent their roles within the replicant industry.

Pris and Batty are grungey, dirty, and ripped. They represent the opposite sides of a paradigm; Rachel and Deckard being humanity, Batty and Pris the opposite.

The humans, Rachel and Deckard, identify with the history of humanity and a simpler time. Vintage fashion expresses a connection to a purer existence that's no longer available in the dystopian era. Replicants, who are non-humans, aren't awarded the privilege or the right to nostalgia. They must exist fully in this future, as their very embodiment defines it.

In many ways, this concept is a direct reflection of us. The quality of our fashion is decreasing, and the rate of production is only increasing.

New technology is developing rapidly in confusing and overwhelming ways. It's not a coincidence that we're gravitating towards vintage fashion more than ever, becoming more nostalgic than ever.

In the future very little will keep humanity separate from technology.

Our robotic world will become natural to us, with material goods as significant as the sun and stars that drive the human spirit. In a time when we are creating more material goods than ever, creating more fashion than ever, and intentionally wearing more vintage than ever, we have to ask what this means: the inescapable capitalistic need for fashion, need for disposable goods, and the dopamine rush of more actually keeps us more apart than any other dystopia could.

In the nearly distant future, when we’ve littered our streets with the permaplastics of today and destroyed all natural resources, will we still beg for new fashion?

We may never be fulfilled; we may just become replicants too, technologicallyenhanced and tragic, living, and dying to keep our own addictions alive, to keep the

gears of production turning. How will our humanity shine through? What will be the fashion of the human soul as it irreversibly intertwines itself with technology?

Oh My! aliens, grief, & bryan cranston

WES ANDERSON EXPLORES NEW TERRITORY IN ASTEROID CITY

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es Anderson, director and filmmaker extraordinaire, created his 2023 film “Asteroid City” as a way to reach out to his audience and shake them awake. Set in the middle of a desert town called Asteroid City, things are not what they seem. From a father, Augie, and his four children navigating the loss of their mother, they get stuck in a town of scientific inventors and space explorers. There, they meet new people, find love, encounter an alien landing, and above all question the meaning of life.

However, this isn’t the whole story. In fact, it’s not even half of the story. “Asteroid City” is a movie about a play within a play, or as cast member Bryan Cranston explains, “a movie about a television show doing a story on theater.” That means everything you see on the screen is an intentional facade— the first of Anderson’s movies to accomplish a metatextual universe.

The story starts off with a TV host, Bryan Cranston, as he takes us into the inner workings of the theater production, “Asteroid City.” Set in a desert town in the 50s, the theater production is shown at a theater in New York. It was written by character Conrad Earp (Edward Norton) and directed by Schubert Green (Adrian Brody). The TV broadcast follows characters in “Asteroid City” on and off stage as they cope with their losses, navigate love, and experience unexpected change and uncertainties which lead them to question the meaning of their lives and the universe at large. This multilayered story is connected through the themes of love, loss, and uncertainty, as it transcends the layers of time, production medium, and place.

Throughout the theater production, the character Augie buries his grief, falls in love with an actress, and finds himself in the middle of an alien crash-landing and ends up in quarantine. Other characters go through similar crises while the TV broadcast reveals the behind-the-scenes of the play.

This includes the love story of playwright Conrad Earp and the actor who plays Augie, and a scene in which a sleeping audience wakes up by chanting “You can’t wake up if you don’t fall asleep.”

If you think this storyline is confusing, you’re not alone.

This layered narrative raises the question of whether movies are becoming too meta and too hard for regular audiences to grasp. Does the art of storytelling get lost when too many layers are added? Or does the intricacy and confusion actually enhance the art of storytelling? What’s real? What’s fake?

What happens when the viewer is lost in this meta-universe?

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At the Festival de Cannes Press Conference, an interviewer asks Anderson why he decided to use theater in his film, to which he responds, “I don’t know if there’s an answer except that…telling stories is so automatic for us.” Bryan Cranston explains in the same interview, “[The film] is Wes’s love letter to performance art,” to which actor Adrian Brody concurs, “A lot of the film is really a love-letter…to creatives in visual storytelling.”

In a way, Anderson created “Asteroid City” to honor the history of storytellers through mediums of performance art, television, and filmmaking. The movie isn’t actually a commentary on the future of cinema becoming more meta, but rather a love-letter to the past of theater art and storytelling.

In one pivotal scene, protagonist Augie breaks the fourth wall and questions his actions and the meaning of the play. He falls into a spiral of confusion, running off stage to the director of the theater production to ask, “Am I doing him right?” to which director Schubert Green replies, “You’re doing him just right. In fact, in my opinion, you didn’t just become Augie.

He became you.” Augie tells the director that he still doesn’t understand the point of the play. To which the director replies, “Doesn’t matter, just keep telling the story.” The director tells the actor of Augie that even if he doesn’t understand the play, it’s his obligation to keep telling the story, not because that will give the story meaning, but because once the story is told, the audience will create their own meaning out of the story. In other words, it’s the interpretation that gives the story meaning.

This scene can also be seen as a commentary on Anderson’s obligation to story-telling and share his creativity with the world. Whether the audience can understand the story or not, Anderson’s craft in storytelling creates multiverses for the audience to draw meaning and entertainment from. It’s his obligation to tell the story, while it’s the viewer’s obligation to become entranced in it and draw something from it.

“Asteroid City” is a story on human connectedness in which the themes of love, loss, and uncertainty transcend time and place–these themes shown on the set of “Asteroid City” translate to the New York stage and TV broadcast, which translates to your home screen. While metatextual and layered, “Asteroid City” is essentially a story on the intricacies of life told decades, settings, and lenses apart. Anderson immerses viewers in his world using layered narratives, complex characters, recurring themes, and performance art.

But remember, the playwright or creator of the story doesn’t create the story. They create the medium for expression. It’s the audience that holds the tools of exploration. You can’t find meaning in the story (or in life) if you don’t immerse yourself in it first. In other words, “You can’t wake up if you don’t fall asleep.”

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WRITTEN BY KIANA HEIFRON ART DIRECTOR ANNA CURTIS PHOTOGRAPHED BY JOAQUIM GRUBER MODELS DREW TURIELLO, CHARLIE TOWNES, KATIE LANTZ & KAIA MIKULKA STYLIST KEIRAN CHRISTIANSEN DESIGNER ALEXANDRA BONDURANT

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n Eugene, there are countless murals covering once blank walls downtown, along with sculptures scattered around the city. Made in an effort to express the life rooted in the city and paid for by the state, non-profit, public art does a beautiful job of showcasing local artists and adding dimensions to an already eclectic and lively town. There is, however, a lot of public art that does not get noticed but is equally available for all to see. Whether this takes the form of graffiti, homemade yard decorations, or personal projects by artistically inclined individuals, these works are just as plentiful and unique nonetheless. These pieces are made for free, for the sole purpose of bringing more art to the world—all expenses are covered by the artist.

About 70 miles south of the Oregon/California State Line down I-5 and about an hour east from that exit, there’s a small mountain town called Burney. There isn’t much to see there, but if you drive out of main street and follow some back roads you’ll find Packway Materials Incorporated. Packway primarily acts as a sand and gravel supplier (for all the folks who need dirt), but in front of the business stands over a dozen massive sculptures. Ranging from 10 to nearly 40 feet tall, you can see depictions of dinosaurs, people, animals, and a UFO, to name a few. All of the statues are made out of reclaimed materials, whether that be the drum of a cement mixer or the cab of an old pickup truck. Without a person in sight and no description or backstory to explain them, they simply stand there, hidden away in the woods, waiting for someone to stumble across them.

Many people will see these, and, after a moment of admiration of course, wonder: why the hell are these here? The sculptures have nothing to do with anything relating to Burney nor the business that they guard, but here they are. Luckily, I have been told the story of their conception by my grandfather, a long time Burney resident and friend to the Packway owners, two brothers named Richard and Will Hathaway. As a naturally curious man, my grandfather asked about the statues. As the story goes, the Hathaway brothers started making these sculptures as “something to do,” as they had free time and an excess of materials. They began making these sculptures and didn’t find any use for them just sitting around, so they started putting them at the front of the business as a way to draw attention.

This obviously worked—he sculptures are more well-known than the business itself—so they decided to keep making them. The brothers have been making these sculptures for over 20 years, adding to their collection every few years or so.

The sculptures don’t have any real purpose. They are not for sale, and while they definitely draw attention to the business, the presence of sculptures doesn’t change anyone’s need for dirt or gravel. They are purely made for enjoyment; to be admired by anybody who wants to see them. The concept of public art made in ALIGN 28

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An Appreciation of Non-Profit Public Art

rural communities is also nothing new. Along I-5, near the border of Oregon and California, there is this massive dragon sculpture in the middle of a field, seemingly being constructed from pieces of rusted scrap metal. They form this scaly, flowing depiction of a dragon, and similar to Packway, stands alone with no description or explanation. Also along I-5 in northern California, there are two statues of a cow and calf standing alone in a field. Again, these are made out of reclaimed materials and have no explanation as to why it’s there.

I consider these pieces interesting for two reasons. The first being that they’re never talked about in the media or otherwise.

Despite their grandeur and impressive display of artistic ability, even the locals of Burney see Packway’s creations as “something neat to look at,” when in fact they are so much more. They represent the true beauty of art: the fact that it can be done by anyone. Every person has the skills and abilities to express themselves artistically.

While those skills may differ, they only result in a wider array of art, which no one can argue is a bad thing.

The second reason is that, as I have stated previously, these pieces are completely free to the public. While it’s easy to compliment art that is made without the intention of financial gain, it’s immensely hard to be an artist trying to support yourself while pursuing your passion. That being said, the recent trend in art seems to be “how much money can I make off this,” rather than focusing on self expression and producing quality work. Nowadays, we seem to be drowning in uninspired art purely made for the sake of moneymaking, which defeats the purpose of making art. All the talented people creating impactful and impressive work available for the public are often overlooked. While I’m not bashing on anyone making art for profit, it’s refreshing to see those making art for the sake of making it and sharing it with the world.

At the end of the day, art is art, and no amount of critique or “expert opinion” can dispute that. It can be made for many reasons, but in the end it’s left up to the viewer to retrieve meaning and inspiration.

Making art with limited viewership only inhibits and restricts its power, further spreading the divide between the people who consider themselves artists and the rest of us. In reality, all people love art in some way or another. Public art bridges that divide and allows everyone to equally view and appreciate art. Likewise, public art made without the intention of profit unchains the boundaries of self-expression. It allows anyone to create whatever they want, and provides art for anyone to see and form their own opinions on it.

Without public art, there can never be groundbreaking and original art—something that will always be important for the human race. I implore anyone out there who has inspiration or an idea to follow and express it. As long as the art doesn’t hurt or inhibit anyone, it will positively impact the art world as we know it.

WRITTEN BY CAMPBELL WILLIAMS ILLUSTRATED BY SIERRA BAKER DESIGNER SOFIA LENTZ

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A Step in the Wrong Direction: The Future of Brick and Mortar in the Digital Age

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ometimes a step towards the future is a step backward. As novel reselling platforms and social media marketplaces entered the cultural eye, Americans were entranced by digital listings from the comfort of their homes. The new market compelled Americans to withdraw both their time and money from their once loved local boutiques. It seemed the U.S. had finally laid to rest the age of perusing the racks. However, as the dust clears, brick and mortar retail remains the forefront of American retail tradition.

At present, the fashion landscape has never been more creative, with unlimited potential in virtual brand expression and “vibe” curation.

Instagram has become a “choose your character” screen, even offering a marketplace to succumb to the mesmerizing advertisement campaigns of rising creatives and their brands. However, the glistening sword of the digital marketplace carries an anticlimactic double-edge, dashing customer expectations the moment a package is left at the door.

The sensory experience of in-person shopping is a facet of consumer culture. As enticing scents of food and perfume filled the vast bazaars of the Middle East, goods changed hands and profits were made.

Similar traditions engulfed the old world of every modern powerhouse, the physical element was seemingly untouchable, even as power transferred and cultural landscapes changed. While the digital meta shift has fundamentally changed product promotion, the customer convenience-based approach is largely unfulfilling to the average fashion enthusiast. Though counterintuitive, the lowering of barriers to entry in the consumer market created a breeding ground for gimmick infused faux-fashion brands. The influx of such brands has sown distrust into the conscious consumer and made fools out of those yet conscious. With fashion saturation at an all time high, what can be done?

The brands who excel in the cyberspace surround themselves with an air of intangibility and consumer expectation they largely cannot match, resulting in unsatisfied customers and wasted materials. Thus, in the digital dreamscape where alluring brands blink into existence seemingly every day, customer trust is the new hot commodity.

Much like the tech industry, the fashion bubble will eventually implode and brands who lack the staying power of a brick and mortar presence will gradually fade out of existence. But why is it that brick and mortar, a form of retail largely deemed unwieldy and cumbersome to run, has such staying power in the human consciousness?

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With this in mind, large conglomerate megastores and small curated boutiques offer touch points to experience the garments and the subculture ingrained in the fabrics prior to committing to ownership. More importantly, retail stores offer a beacon to shoppers and passerbys alike, using visual merchandising, foot traffic, and reputable branding to establish trust and expectation of quality within the communities that surround them. Regardless of the actual care imparted in the product being sold, the aspect of experience is fundamental in retail success in the digital age. In 2024, businesses must create a seamless transition between real and digital, fostering thriving physical communities to serve as a keystone to stabilize digital outreach and customer acquisition.

WRITTEN BY MARK MUNSON-WARNKEN ILLUSTRATED BY BEE BAUMSTARK DESIGNER TAYLOR JONES

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WRITTEN BY SYLVIA DAVIDOW ART DIRECTOR KAIA MIKULKA PHOTOGRAPHED BY AUBREY JAYNE

How two pop princesses broke societal boundaries through IDGAF energy

STYLIST CAMILLE ANDREWS MODELS EMILY HATCH & MIKA MAI DESIGNER ABIGAIL RAIKE

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It’s the 2024 MTV Video Music Awards.

Addison Rae makes a grand entrance in the back of a golf cart, caught shaking her tailfeathers to cameras and laying every-whichway as if she’s having a portable photoshoot.

She is flaunting around in a custom voluminous tulle white tutu accompanied by a matching satin bra with boa feathers and underwear set

by Claire Sullivan.

The famous TikTok star is on a high as she celebrates the popularity of her song “Diet Pepsi” and its alluring vintage-style music video featuring Rae in her biggest set yet… that of a true pop star.

Meanwhile, Chappell Roan is stunning on the camera-filled carpet in a medieval-inspired maroon and misty purple sheer maxi dress by Y/Project. She’s holding a sword and her hands are decked out in chainmail and spike nails.

Roan turns to face the wall so her dress can be fanned out, capturing the goddess-like essence of her aura.

All of a sudden, a paparazzi member screams something to which Roan automatically turns around, points a finger at the camera and exclaims, “You shut the f*ck up.” This response stirs up the paparazzi who begin to say something, except Roan shuts them down immediately as if she’s scolding them.

“Don’t,” she points at the photographer in a disappointing manner. “Not me, b*tch.” On the carpet itself, audiences had mixed reactions to the popstar’s unexpected encounter. Some cheered and some were taken aback.

Besides the wins of the night, some of the most talked about headlines for the MTV Video Music Awards consisted of Rae showing up wearing “only underwear” and Roan “clapping back” at a photographer. These pop princesses making the tabloids for their actions of defiance present a new kind of energy to the superstar

realm… IDGAF energy.

Roan is a pop girl entity that seemed to blow up overnight. Except, she didn’t. The now skyrocketing queer music artist has been around for the last decade, but her success grew astronomically after the release of her album “The Rise and Fall of a Midwest Princess.” Now, everyone knows the H-O-T-T-O-G-O dance which was proven when Roan’s 100,000 fans at Lollapalooza 2024 demonstrated the hand motions effortlessly.

Roan is also known for her vibrantly detailed makeup and extravagant fashion taste. The music artist pays homage to drag and club culture with each out-of-the-box look she’s premiered at events, keeping audiences guessing what she’s gonna wear next. But Roan is most known for her incredibly authentic personality—it’s arguably the main reason why everyone gravitates toward her. Ever since her drastic rise to ultimate fame, the pop star has not shied away from expressing her voice throughout the media.

In an interview with The Guardian, she expressed her distaste for the American government, but encouraged her fans to use their critical thinking skills by voting locally.

This response left a sour feeling in mass media which led to Roan clarifying her opinions via a series of TikToks. She stated she doesn’t agree with a lot of American government policies and called out both sides of the spectrum, clarifying that is the reason she cannot “put her entire name and her entire project behind one (candidate).” Roan also told The Face that she compares her feelings of fast-found fame to “the vibe of an abusive ex-husband.” In context, she was alluding to experiences in which people talk badly about her online and won’t leave her alone in public. After backlash started surfacing, Roan went on TikTok to clarify “it’s weird how people think you know a person just

‘cause you see them online or you listen to the art they make… I don’t give a f*ck.”

Most people know Rae from TikTok, as one of the popular dancers from “The Hype House.” But what people might not realize is that she’s reinvented herself since starring in the 2021 Netflix film ‘‘He’s All That.’’ And she’s completely comfortable in her own skin. Rae has become so much more than a pop star— she’s become a symbol of confident feminine sexuality. From the MTV Awards to her latest raunchy music videos, it’s beyond clear Rae knows exactly what she is doing—she’s owning her image. She doesn’t care about the outside noise; this allows for her to express the most authentic version of herself. She knows she is hot AF and lets the world know it with her exquisite fashion taste and her pop star persona.

Society puts celebrities with huge followings like Roan on a pedestal and it’s exhausting. Yes, famous people can influence their followers to

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make change in society. But sometimes the media forgets to treat them as human beings.

Society has also developed certain standards to hold women celebrities to such as be polite, always smile, dress put-together but not provocative or promiscuous.

Something to admire about both Chappell Roan and Addison Rae is they are breaking boundaries. These ladies talk how they want and they dress how they want. They are free and they are untamed—taking back their power in who they are as public figures but also human beings. And the best thing they can do is to not change a single thing about how they present themselves and never care about what other people think. In fact, this power should be released upon celebrity culture. Famous women can take back the power, inspiring other women in society to do the same. Enough with the social standards and hushing up to criticism, it’s time to not give a f*ck and release our inhibitions.

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One Small Step, One Giant Question Investigating the Truth of the Moon Landing

“One small step for man.”

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s Neil Armstrong’s puffy boot crunched against the rocky rubble of the moon’s surface, he was doing more than just taking a physical step—he was taking an enormous stride in the capability of humankind, propelling our species towards astronomical levels of excellence. About 200,000 miles away, hundreds of millions of people gawked at their TV screens, watching the U.S. dash across a historic finish line. The space race was over, and U.S. had a shiny gold trophy that the Soviet Union couldn’t fathom: our nation’s flag on the moon. It was a triumphant moment for the history of all mankind, but the moment was extra sweet for the American public.

For some people however, this victory was short-lived. In 1976, Bill Kaysing published “We Never Went to the Moon: America’s Thirty Billion Dollar Swindle,” a book that spun a tale that would be devoured for decades to come. In his book, Kaysing spotlighted the unlikelihood of NASA being able to pull off a successful landing. In fact, he even quantified this low possibility: according to him, the United States had a 0.0017% chance of making it to the moon safely. With odds that low, Kaysing declared that there was simply no way that the 1969 selenic endeavors actually occurred. Instead, they must have been a mere fabrication.

It wasn’t long before the seeds of doubt that Kaysing planted blossomed into a full-blown conspiracy theory. Like most of its kind, this theory remains complex and convoluted, weaving together threads of skepticism about government transparency, Cold War paranoia, and the inherent human desire for intrigue.

Some point to the oddly fluttering flag in the broadcast, arguing that it would be impossible for fabric to move without wind in the moon’s airless environment. Others scrutinize the shadows in the footage, claiming they reveal the telltale signs of studio lighting. The myth has even recruited notable Hollywood figures, including the idea that Stanley Kubrick lent his cinematic science fiction expertise to conjure a believable shot.

Even as conspiracy theory debunking efforts by scientists, historians, and astronauts themselves continue, the allure of believing in a grand deception proves powerful. It offers a sense of control in an era where truth is increasingly difficult to anchor.

As misinformation and bias run rampant through the media, it’s hard to distinguish what’s fact or fiction. When nothing else seems trustworthy, conclusions drafted on individual perceptions can be the most convincing. And let’s face it—sometimes it’s simply more exciting to believe in an elaborate cover-up than to accept the beliefs of the masses. Start with some confusion and poor judgment, mix in some grainy footage and some Hollywood magic, and suddenly you’ve got a story that’s just too tantalizing to resist.

This blend of suspicion and incredulity says as much about the American psyche as it does about the Apollo program itself.

Americans hold a paradoxical relationship with their country: a deep-seated pride in their nation’s achievements and an equally strong mistrust of the institutions that claim these victories.

Subsequent government scandals have only served to nurture this ambivalence, creating fertile ground for fantastical stories to take root.

Let’s not forget that the 1960s were a time when faith in the government had already begun to falter, and rightfully so. With the Vietnam War dragging on, and Watergate looming on the horizon, people had good reasons to question the transparency and motives of governmental action. As deception and corruption became political essentials, Americans increasingly disconnected from the authority supposedly serving their best interests. How can you possibly trust a government that has blindsighted you time and time again?

So perhaps, the question isn’t “Did we land on the moon?” but “Why must we cling to doubt?” So long as the U.S. remains a country defined by clandestine government operations, its victories will never be without their shadows. And so, even now, as the lunar dust sits undisturbed for decades, one question echoes through both space and mind: Was it really one small step for man, or a leap into something far more enigmatic? Maybe that’s the real mystery: should we really let go of the idea that behind every giant leap, there may be a puppet master pulling the strings?

WRITTEN BY KHUSHI MISHRA ILLUSTRATED BY EVELINA NESSELER-CASS DESIGNER AVA WISDOM

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WRITTEN BY KAYLA CERVANTES ART DIRECTER CHARLOTTE MILLER PHOTOGRAPHED BY ZOE MAITLAND MODEL DANIELLE COLLAR STYLIST ANGELIKA STOLECKI DESIGNER ELLA KENAN

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magine this: “Hey mom, you will never guess what happened to me just now! I was almost struck by an asteroid!” We have all had those frantic, unanticipated moments that seem too wild to not share with loved ones. But what if the person having those moments is thousands of miles away…in space?

Fortunately, Samantha Cristoforetti, the first female Italian astronaut to visit the International Space Station, received the opportunity to test out a new communication innovation called Friends In Space that allows people worldwide to track, communicate, and share content with astronauts while they are in space. This eliminates missed opportunities to share priceless moments that can strengthen an individual’s relationship to others.

The initial launch of Friends In Space followed Cristoforetti’s six month mission to the International Space station in November of 2014. Users were able to track Samantha throughout her entire mission. She’s orbiting above New York? Boom: pinpointed on the app. Now she is about to fly over Denmark?

Bam: noted. In fact, when a user clicks the ‘Hello’ button, it sends a greeting directly to Samantha.

Others using the app can also see where the greeting originated, creating a shared, global connection.

Cristoforetti was able to see all of the greetings and personally respond to them through words, images, and videos. When taking a step back and observing the digital platform, it looked as if the Earth was beaming bright like constellations, creating a metaphorical collage of all the stargazing friends remaining on Earth.

lonely, bored, homesick, and stressed due to isolation and repeated cycles. Lack of sunlight can increase anxiety levels and disrupt sleep patterns. Composing a network of communication between loved ones, space enthusiasts, and additional earthlings fashions a support system that lets astronauts know they are not alone all the way up there. They are seen, loved, missed, and praised for their bravery, inspiration, and accomplishments.

Friends In Space keeps those in the spaceship motivated to complete their mission successfully so they can return to those they previously knew and built relationships in the app with.

Similar to how the first landing on the moon prolonged the limits of discovery, this platform inspires users to investigate fresh astronomical theories and notions, encouraging creativity and curiosity. The future is an unpredictable journey that can offer surprises and challenges in one go. Embodying an adventurous spirit not only pushes boundaries, but strengthens us as individuals. Venturing into the universe’s mysteries is the perfect recipe for growth and transformation. Courage, passion, determination, and the willingness to embrace uncertainty is how we are so advanced in this modern age.

k i e h r h ’ s c t i H Guide

G a l axy

The application paved a new method of communication that opens doors for future technological advances. In a way, the platform can be considered an alluring exploration of the fusion between individuals across the globe. Unlike hopping on the phone or checking a social media status, Friends In Space connects us in a beautiful and mysterious way that reminds us that there are real people orbiting Earth. A simple “hello” allows humanity to step into the unknown and discover new territories.

The idea of simply leaving Earth’s atmosphere and traveling into space is already daunting, but the numerous challenges that come with the job are astronomical. While floating about the spaceship, there can come times when an astronaut feels

to the

Friends In Space serves as a catalyst for exploring all of the future’s potential.

The app is more than just a tool for connection.

It simulates a gateway to a new frontier for human communication. Friends In Space essentially mirrors what is known as the gold rush mentality, where individuals were driven by the allure of untapped opportunities, certain of the possibility for new discoveries and riches. The modern day gold rush veers towards connection across vast distances and breaking barriers of isolation. We are invited to join these astronomical pioneers on their journey to unknown territories as active participants, not just passive observers.

By creating connections across the stars, Friends In Space shows how technology can bridge gaps in both space and our hearts. This new kind of exploration not only brings us closer to the stars but also to one another–reminding us that human curiosity and the drive to connect are timeless. Just as the gold rush spurred innovation and discovery, this app invites us to partake in the ongoing journey of human advancement, fueled by a desire to reach beyond our limits and embrace the unknown.

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ILLUSTRATED BY WALLIE BUTLER SONG: “SUN BLEACHED FLIES” BY ETHEL CAIN

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n the middle of snipping the inaugural bright red ribbon outside her tooth gem salon, University of Oregon sociology major and entrepreneurship minor Morgan Glinski '25, woke up from her dream.

IN THE DIGITAL AGE

GEN-Z ENTREPRENEURSHIP

“It was one of the most surreal feelings ever because the dream felt so real and doable,” Glinski said. “It reminded me that I could accomplish anything if I set my mind to it. I truly think that was one of the main factors that pushed me to start a tooth gem business.”

Glinski started giving classmates tooth gems in high school after her friend, who owned a tooth gem business herself, suggested Glinski start one too. Glinski earned her tooth gem license in the summer of 2024 through online courses on Udemy. She learned about sanitation codes, tooth anatomy, and how to properly apply a tooth gem. She made her first sale in November 2024.

“It started with a computer and a passion,” she said.

Her current work also involves spending time online, promoting her business on her Instagram account, @ toothgemsbymo and keeping up with tooth gem trends on social media.

“Seeing what people are spending their money on helps form what I want to do in my business,” she said. “It's inspiring to see what established tooth gem technicians create.”

She also connects with tooth gem technicians via social media. One well-known tooth artist, @Portlandtoothfairy, supplies Glinski with her gems.

“I trust her products,” Glinski said. “She sends me extra gifts, restocks items for me, and offers advice. I told her that I'm starting a business, and she was very open and wonderful.”

While navigating college and starting a business, Glinski stresses about time management and scheduling but takes advantage of her proximity to potential customers.

“Being around young students all day is a huge benefit to the business,” she said. “I've passed out multiple business cards to people walking around. If I think they have a beautiful smile, I'll just hand them a little card.”

To those who are thinking about starting a business while in college, “The only thing stopping you is fear of not succeeding,” Glinski said. “And surely, once you put that thought behind you, the possibilities are endless.”

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She continued, “Trust yourself and your vision, and know that you're completely capable.”

Another UO student who entered entrepreneurship in the digital age, Maria Custodio '25, paints nails out of her apartment and actively posts her nail art on Instagram and TikTok.

To promote and maintain her business, Custodio uses social media and the internet.

In addition to staying consistent with social posts, Custodio finds her designs online and messages nail artists for advice through Instagram, like @paintedbypatt_, @ nailsbyaulani, and @addiisnails. She also learned how to take pictures of nails from TikTok and nail artists online.

“Everything I have learned is through the internet,” she said.

Custodio started doing her own nails in middle school— learning from YouTube tutorials—as a form of “selfexpression” because her parents didn’t allow her to do makeup. She didn’t start profiting off of painting other people’s nails until the winter term of 2024. Since then, she has amassed over 80 clients.

“Use other people as inspiration, and give yourself grace.”

“I like giving other people a little piece of my art,” Custodio said.

“I like to follow nail techs with a lot of followers, and then I'll message them if I have a question about something, and they usually respond,” Custodio said.

“We mostly talk about the products that they use or how they're taking their pictures.”

To manage a collegework-life balance, Custodio prioritizes nails and school. Like Glinski, she blocks out a time each week when she knows she can practice her art.

“Balance is hard for me,” she said. “Sometimes I’ll be doing nails every day of the week and won’t have time to do schoolwork. I've also had to sacrifice my fitness–I like to work out but I stopped working out so I can do nails.”

Custodio advises other people hoping to start a creative business to “Put yourself out there and don't be shy. This is your form of art, so be proud about it and confident.”

Regarding the abundance of online information, she said, “There's so many resources for you to learn how to do something, and it takes time. Use other people as inspiration, and give yourself grace. Don't compare yourself to other people because they put in work too.”

Nails by Maria Custodio @mia.mus3 Tooth Gems by Morgan Glinski @toothgemsbymo

WRITTEN BY SYDNEY SEYMOUR ART DIRECTOR & PHOTOGRAPHER ELIOT CORRELL MODELS MARIA CUSTODIO, ELIZA MAZURSKY & CYRUS BOGART STYLISTS ALYSSIA TRUONG, MORGAN GLINSKI & SALLY LACHICA DESIGNER STELLA RANELLETTI ALIGN 46

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The Secret Cycle Revealing the hidden performance of hormones

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he menstrual cycle. It’s not just about blood. Society holds a lot of stereotypes, and a little bit of knowledge about the cyclical nature of women’s biology. In 1977, the Food and Drug Administration issued guidelines calling for the exclusion of women with reproductive potential from being subjects in scientific research. The FDA was aiming to protect potential fetuses from the unknown effects of medical treatment, but inevitably created an inequity in health care knowledge that lasted for nearly 20 years. It was not until 1993 that the National Institutes of Health passed the Revitalization Act which mandated the inclusion of women and minorities in clinical trials.

You may have heard experts advising that it’s best to be productive in the morning. That’s based on a male hormone cycle where testosterone peaks daily, between 6 a.m. and noon. In reality, female hormones fluctuate on a monthly cycle. In a world that prioritizes and subsequently understands more about male physiology, current generations are in a position to change the tides. New research about women’s health is becoming a priority.

Understanding a woman’s monthly cycle is an excellent way to support this new frontier of science.

To lock this knowledge in, try thinking about menstruation as a theatrical performance. The cast includes a variety of entertaining and questionable characters who take the stage to execute this well-rehearsed drama. The show typically runs for 24-35 days, depending on the audience. There are two main acts. It opens with the follicular phase, which encompasses both menstruation and the actual follicular phase. There’s a climatic peak, known as ovulation, which leads into the dramatic resolution of the luteal phase. Every woman has a unique relationship between their

body, their cycle, and their brain chemistry. Naturally, the best way to know how to execute self-care is to get to know the cast starring in your very own reproduction production.

MENSTRUATION: Please, God, no.

Day 1-7: Blood.

Okay, it’s not all about this, but at curtain call, it never hurts to start with a bang. Menstruation begins with the first day of bleeding.

Like Alabama football, this is a crimson wave, a real strong flow, not just spotting. Menses, the shedding of the uterine lining, is all about absence. Who is not performing? The hormones, progesterone, and estrogen are dozing off in the green room. The lack of these two performers triggers prostaglandins, the ensemble, to contract the uterus and discard the unused tissues meant for a fertilized egg.

Physical pain is a very common symptom of this introductory phase, meaning rest is important. Essentially, the body grows its own mini organ every month, and usually disposes of it. Kindness towards oneself is essential. Some specialists offer that proper rest here can ease the continuity of the cycle.

Self-care prescription: rest and relaxation, pain management, heating pads, gentle movement, proper sleep.

FOLLICULAR: Day 1-14: Here we go again.

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While the stage is being reset, the brain is issuing a call time for the Follicle Stimulating Hormone (FSH). The cycle’s preparation for pregnancy last month was fruitless, but the cast is ready to get hurt again. FSH lets the ovaries know that it’s time to start maturing an egg. This triggers estrogen to take center stage around Day 7. With the lead back in action, energy levels and motivation are on the rise. Estrogen uses this opportunity to make space for creativity, grind out work, and enjoy the benefits of confidence.

Physiologically, the lining of the uterus is building itself up, like a nest, preparing for the possibility of a baby. The follicles are maturing into eggs until one becomes dominant and drops.

While this window seems small for a cycle that lasts a month, sperm can live inside the female reproductive path for up to five or six days. At ovulation, the building benefits of the follicular phase are at their highest. Mental and physical wellness are in peak function.

Self-care prescription: moderate to intense exercise, dance, socialization, ask for a raise.

The actors are tired. They unpredictably come and go from the stage. The plot is hard to follow, and it’s making the audience moody. In the beginning of this phase, progesterone is on the rise, putting the finishing touches on the endometrium, the fully developed uterine lining. Yet, when no egg is detected in the uterus, progesterone slowly drops off as do the low levels of estrogen that were also holding out for egg implantation. Where physical rest is a priority in the menstrual phase, mental rest is a priority in the luteal stage. Researchers at the University of Sheffield and Liverpool found an uptick in self-persecution, low self-esteem, and symptoms of anxiety and depression in this premenstrual phase.

OVULATION: 24-48 hours: The sun is shining and the world is my oyster!

A mature egg distinguishes itself from the pack and with a crescendo of accompaniment from the pit orchestra, ovulation begins. This is when the show reaches its climax. Estrogen, FSH, and Luteinizing Hormone (LH) are all on stage, giving their “peak” performance. There’s dancing and fireworks. Energy levels are high. Even testosterone makes a guest appearance for this scene.

To know when a woman is ovulating, she can take her basal temperature which rises with ovulation, and for more concrete evidence, a urinary LH test. LH is released on the day of, or right before ovulation, and triggers the release of an egg. This initiates a 24 to 48-hour window of fertility where conception is possible.

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Self-care prescription: high-intensity workouts, beauty rituals, complete to-do lists, contraception (if necessary).

LUTEAL: Days 14-28: WTF.

After a standing ovation, or getting booed off stage, the hormones disappear, pulling the curtain closed to reset the stage, running it back to menses at the top of the show.

Self-care prescription: therapy, somatic body movement, meditation, moderate exercise, positive affirmations, acts of selflove.

WRITTEN BY GALIA GNAIN ART DIRECTOR KRISHA BORGONHA PHOTOGRAPHED BY SNEHA CHOPRA MODELS KRISHA BORGONHA & LILY MOCK STYLIST SOPHIE LUCAS DESIGNER CLAIRE BRADY

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LEAVING WITHOUT GOING POSTCARDS FROM A GOOGLE STREET VIEW WANDERER

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he birch tree in my neighbor’s yard digs its feet into the earth every morning as the sun rotates on its Western dial, smiling. It is the only birch tree around. Today, it was chopped down.

But it remains.

The birch tree is not dead. When I turn back the sundial to 2021, it still stands proudly in a pixelated image.

Everything in the known world begins with this birch tree.

Or rather, everything begins with a certain inspiration to push and expand in order to reach the birch tree. But who would’ve expected this certain inspiration to have its start among Google employees who, sitting in their San Francisco office in 2007, suddenly devised the idea to map the world with cameras? Or, when it came time to do so, that it would birth another reality from the skin of the world—a digitally reconstructed map of the globe, one which exists in vibrant stillness and promises us immortality by means of image?

Google Street View is a manifestation of humanity’s increasing control over the world through knowledge and surveillance. In many ways, the world of Street View defies the human world. The farther we wander on Street View, the more our imaginations fill with its images, till the world we know is the world of a Street View map (or, as the pipe-smoking scholar would say, we confuse “the conceptual models of reality with reality itself.”) As for my birch tree, it too is now part of this construction.

The Street View map not only offers limitless glimpses into an archive of events, but simultaneously redefines what these events, and by extension the world, look like. It constructs—not reproduces—reality. There is so much going on in the world everywhere all the time, and thanks to the prying eyes of Street View, it is all ours for the taking.

In the beginning, I would leave without going. I’d take the fifteen cameras of Street View and stroll down scentless roads.

Soon enough, I arrive in Manchester. Using keyboard arrows WRITTEN BY EMESE BRACAMONTES VARGA

to navigate the pallid streets, I wander around downtown. I spot a faceless woman in a trench coat waving at me outside a parking lot. Looking over my shoulder, I watch her mid-stride, her muscles frozen in a snapshot taken sometime in 2023. She takes a draw from her cigarette. She crosses the cold concrete.

She will never know me as I know her. In any case, she’s not even interested in knowing me. I head toward Seoul.

Seoul is a city where the birds long to be hit by a Street View car. I find an empty alleyway and continue down, where an old man vacantly greets me with a white dog in tow. I continue forward and find another alley, but the arrows won’t let me enter.

The cameras haven’t ventured this far, and the cameras decide my world. I look again for the old man, and find his dogs have multiplied. Like a herd of cotton balls, many, many white dogs form a trailing smear on the road behind him. And many, many birds clamber onto the cameras to be hit, gnashing their beaks on the navigational arrows. Seoul is a city lost in its dog parades and imaginary alleys. I head toward St. Petersburg.

In St. Petersburg, the telephone lines grow into climbing plants.

In between the rooftops of the Baroque-style buildings that have been refurbished into storefronts, webs of telephone lines crisscross overhead; wedges of white sky poke out between them like stars, and people on the street walk underneath, trapped by the black net. I arrive at the foot of a crosswalk, where a mass of people are clambering about. A faceless man emerges beside me wearing a charming green-and-white-striped polo, though it’s quite odd he’s riding a horse. In fact, it’s quite odd that just about everyone is on a horse. Many faceless jockeys with charming polo shirts are lined up along a crosswalk in St. Petersburg, queuing for a horse race. It’s not clear why, but some of the horses are faceless, too. What I see here no longer makes sense, so I return to what’s most familiar: my birch tree.

It’s just as I remember: tall, bridal-white, and satisfied in its quietude. For this single moment in time, the spinning of the earth stops, the wind holds its breath, and the many eyes of Street View stay fixed upon this tree, insisting it never change.

What is captured here asks to be remembered.

My birch tree, along with any other image found on Street View, is just a single moment belonging to a tapestry of moments.

But it’s only by looking closer that each moment begins to unfurl a world unto itself—an infinite map of moments strung together, each one itching to be discovered by the lone Street View wanderer.

ILLUSTRATED BY EMMA HARRIS

DESIGNER MIA ROMERO ALIGN 53

make

bad art.

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’ve never thrown a punch. I’ve never hiked solo. I don’t paint often. I’ve had a membership to a ceramics studio for months, and I’ve gone once. I have a guitar, and it collects dust in the corner of my room. Untitled documents gather in heaps in my Google Drive, waiting for me to write something I’m proud of. Bags and boxes of arts and craft supplies haunt me from my bookshelf, hoping I indulge in my hobbies. But I don’t touch them, fearful of the mediocrity I might produce.

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I hear this story told dozens of times in dozens of ways, from my friends, my classmates, my coworkers, my writers, and myself. Sometimes doing new things and pursuing new hobbies or skills is so intimidating that we never even try. We’re haunted by our own inadequacies, afraid of what ineptitude might mean about our skill, our passion, ourselves.

Can I tell you a secret?

what if mediocrity is our greatest strength?

It doesn’t actually mean anything about you, other than the fact that you’ve made something. You’ve tried. An average accomplishment doesn’t stand as proof of your failures to be extraordinary, only of your endeavors and your passion. As I’m writing this to you, I’m also writing it to me, and to anyone that has ever been mediocre at anything. This is the reminder we often need to hear: the worst art you could ever make is actually none at all.

But why, then, can it be so scary to try something new without assurance of genius? Why are we all afraid to get into the ring? Why does approaching the easel at times feel like a death sentence?

I could cite a hundred different reasons why eagerness and excitement can be scary. In our contemporary society driven by profit and efficiency, art and self expression have lost the currency they once held. The value of creating has been commodified beyond recognition by the art market and driven into the ground by AI who can write essays for us. Or it’s the fact that our self worth is often tied to every endeavor we attempt, and the possibility of ego death by regularity feels too high a stake to confront. If your entire self concept is tied to your left hook, it can be scary to even put on the glove.

Maybe it’s just the embarrassment of being exposed as being bad at something, or even worse, being told we’re bad at something. Or maybe it’s the simplicity of believing in absolutes: if you’re not the best at something, you’re automatically the worst. If the antithesis of blind confidence is crippling anxiety, there’s really not much of a choice.

Even though it can be so intimidating to try new things and to genuinely learn, the benefits are far more plentiful than the difficulties.

It turns out that learning something challenging actually develops how our brains work. In her 2015 TED Talk, neuroscience researcher Lara Boyd points out the importance of neuroplasticity in the process of learning.

She describes how her research in stroke recovery has shown that the best driver of chemical and physical growth in your brain is your own behavior. “Increased difficulty and increased struggle,” she said, “actually leads to both more learning, and greater structural change in the brain.”

When we struggle while doing something new—when our pottery

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crumbles on the wheel, when we take a punch in the ring— it can be disheartening and frustrating. However, the moments when we face those challenges and setbacks are surprisingly when our brains are developing the most.

In other terms, when you suck at something, your brain actually gets the chance to stretch and grow in ways it hasn’t before.

Additionally, when we do new activities, our perception of time changes, and it actually slows down. This phenomenon has been well studied for decades; twenty years ago, researchers Dinah Avni-Babad and Ilana Ritov displayed this through their study, “Routine and the Perception of Time.” They discovered that when we’re engaged in routine and boring behaviors, our brains are less engaged and ALIGN 56

time seems to dredge on. However, when we’re constantly chasing dopamine rushes, like scrolling absentmindedly, shopping online, playing video games, etc. (all of which I’m constantly guilty of), time seems to speed up to a point of disbelief. Three hours scrolling in bed feels like five minutes, and we watch ourselves waste away our days.

Instead of accepting defeat and surrendering our time to fruitless dopamine chasing, being brave and being bad at things forces our brains to re-engage with the present and slows down how we perceive time, all while we return to our passions of self expression. Pretty cool if you ask me.

So go out and fingerpaint, badly. Cook a gourmet meal, and let it burn. Make bad art. Throw a punch.

WRITTEN BY KELLY KLEINBERG ART DIRECTOR PARKER BELL PHOTOGRAPHED BY ELIOT CORRELL STYLIST SYDNEY ANTONINI MODELS SADIE MORDAN & JANAYA PARDO DESIGNER TAYLOR JONES

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The Age of Aquarius Putting our faith in the stars

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our horoscope reads that there is a major transformation awakening upon us. The stars are aligning toward a new direction that signals the start of a revolution. Does this resonate with you?

everyday decisions. This is untrue. Astrology works as more of a map than anything else. It reflects cycles that have occurred in the past and uses that as a guide to predict what could potentially occur in the future. Astrology is about energy and cycles.

There is a shift in the universe that feels almost inexplicable.

Old ways of thinking are being shattered, activism and social justice are at the forefront of young people’s minds, and the political state of the U.S. is more divided than ever. The tumultuous energy surrounding us is unique. In times of such polarization and transfiguration, the medium of astrology has been used to ease the minds of those at a loss for understanding that major transposition.

Astrologers have coined the energy cycle our universe is transitioning into as the “Age of Aquarius.” Every 2150 years, our solar system is said to orbit around the zodiacal belt and enter a new astrological sign. Theoretically speaking, we are currently in the age of Pisces. The age of Pisces was believed to have begun around 1 A.D. and is projected to end approximately in the year 2150. Although the era of Pisces is not fully complete, we are currently in the transitional phase between the signs of Pisces and Aquarius. With influences from both eras integrating themselves into our daily lives, old ways of thinking are butting heads with new ways. The world is currently phasing a major polarization of ideals which is resulting in various protests, revolutions, and prevalent shifts in religious normalities.

Astrology is disregarded by many as straight-up bullshit. It is deemed nonsensical to think that what is going on in space has some sort of influence on the way we act as humans. But is it that absurd? Astrology is an ancient practice, older than most prominent religions practiced around the globe today. It was created through means of well-respected knowledge bases such as mathematics, astronomy, cartography, and geography. It is also not entirely preposterous to think that energy from our planet may have an impact on our life force considering that the events that occur in space do impact our ecosystem in several different ways. For example, the moon has the ability to move the ocean’s tides through gravitational force, and the lack of sunlight in the winter results in seasonal depression.

A large misconception about astrology is that it’s founded upon the belief that inanimate objects will impact people’s ALIGN 58

The era of Pisces is described as a desperate one, clinging onto any final shreds of dominance. It is an age of dogmatism, athletic materialism, and lack of individual insight, direct experience, and knowledge in the heart. This age is believed to have begun around the era of Christ, which aligns with the two fish symbolizing the zodiac sign of Pisces and their association with Christianity. The age of Pisces represents many positive traits rooted in the religion such as compassion and selflessness.

On the flip side, it is also an age of guilt, suffering, self-denial,

“When the moon is in the Seventh House And Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars This is the dawning of the age of Aquarius” Aquarius/Let the Sunshine In, 5th Dimension

and persecution of others. Social norms were firmly established, and stepping outside of those ideals often caused rejection from society. Although the age of Pisces connects to several Christian ideals, the era of Pisces was one where the world looked to religion in any shape or form. There was a desire to find an external savior as Buddhism and Islam also spread all over the globe. Ray Glasse, a well-renowned astrologer, has said that Pisces represents a feeling of “I can’t do it myself, I need someone to save me.” During the Piscean era, many people feared paving a path of their own.

The world was previously in an era defined by emotions, collectivism, and devotion. The new age, represented by the air sign of Aquarius, emphasizes individuality and breaking free from once universally accepted practices. It is an era of open-mindedness, breaking stigmas, and esoteric and occult knowledge. The symbol of Aquarius is the Water Bearer, which

author and astrologer Gene Hart in his video “Spiritual Meaning of Aquarius & the Age of Esoteric Knowledge,” has said to bear “transmutational knowledge and mysteries.” Hart says this is an era of shattering dogmatic ways of thinking and obliterating old intellectual and dualistic conflicts. It is not only the age of social revolutions but psychological revolutions.

In the 2020s, as more agents of the Aquarian age seem to rise, shadows of the Piscean influence continue to linger in the shadows. The progressiveness that comes with the age of Aquarius is not meant to come into full force considering it is still being suppressed by the now outdated ideals that once overpowered our society. This is reflected in how Christian ideals have infiltrated the values of the Republican party and how those values are being used to suppress the freedoms of others.

In 2023, Representative Marjorie Taylor Greene claimed to be a Christian Nationalist at a Turning Point USA Event ALIGN 59

and believed that Republicans should be a political party of Christian Nationalism. Greene is a perfect representation of the persistent Piscean who is trying to uphold the values that once widely dominated the U.S. Astrologer Gene Hart has also claimed that the age of Aquarius signifies a spiritual age that will take over the former era of humanity that was fueled by organized religion.

Associate religious studies professor Matthew Hedstrom has said that factors such as consumerism, political entanglement, and scientific criticism are the main reasons why many are shifting away from organized religion. Pew Research Center has also shown that the U.S. Christian population is projected to fall below 50% by 2070. The rejection of organized religion from younger generations may be an indication that a new era is shedding old dogmas yet still connecting with esoterism.

With the country at a political divide and human rights being in extreme jeopardy, it would make sense to want to explain the drastic changes that occur right in front of our eyes.

Perhaps this is why many have desperately begun to look for answers between the cracks in constellations. Some swear by astrology and others consider it just coincidence. Either way, it can be a fun means to describe the chaos surrounding us.

Take what resonates and leave what doesn’t.

WRITTEN BY ALIGN 60

ANAYA

LAMY

ART DIRECTOR ISABELLA

URIBE

PHOTOGRAPHED BY NATALIE

ROBINSON

MODELS JUL

LIET

POWER-MALLORY,

BLU

MACKEY,

&

HANA

JESSUP

STYLIST JULIET

POWER-MALLORY

DESIGNER AVA

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GoodGirls GONE BAD

Femininity as the New Frontier of Pop Music WRITTEN BY ELLIE JOHNSON ILLUSTRATED BY LULU ROBB-UPHAM DESIGNER BRITNEY STOUT

The pop music industry has long been a stage for reinvention, and in recent years, it has evolved into a multidimensional landscape where identity and expression intersect in unpredictable ways. The new world of pop isn’t confined to a single look, attitude, or sound. It’s an ever-changing culture that prizes individuality and creates space for inclusivity. Gone are the days when the “good girl” trope and façades of flawlessness dominated the narrative. Today, pop music embraces queerness and challenges societal norms, providing a platform for artists to explore identity and self-expression while reshaping perceptions of femininity.

twist. Her vibe embodies glittery, polished perfection with a hint of 1950s glamour. However, she challenges the traditional “good girl” image with lyrics that are provocative and promiscuous. From the days of 1950s pin-up culture to the “good girl” archetypes in early pop music, femininity was often framed within the boundaries of being delicate, reserved, and non-threatening. These expectations not only limited how women could express themselves but also implied that embracing boldness or sexuality was incompatible with being feminine.

By unapologetically owning her sexuality, Carpenter confronts the narrative that femininity and sexuality must exist in opposition.

Since its inception, pop has consistently adapted to reflect shifts in societal views. Today’s landscape feels unique in its embrace of complexity and boldness.

Traditionally, pop music leaned heavily on polished, hyper-feminine images of women, often reinforcing narrow ideals of beauty and behavior. Icons like Britney Spears and Christina Aguilera in their early careers were marketed as “good girls gone bad.” In today’s pop world, artists explore the nuances of modern identity: pop princesses like Charli XCX and Sabrina Carpenter exemplify diverse expressions of feminine identity through their lyrics, fashion and personas. They’re part of a new wave of artists whose fearless expressions embody changing cultural values.

Artists like Madonna and Lady Gaga broke boundaries long before Charli and Carpenter, challenging societal norms and creating space for today’s musicians to express their identities with a newfound freedom.

For example, Charli epitomizes our culture’s obsession with the “messy girl” aesthetics—her look embodies last night’s smeared makeup, Von Dutch trucker hats, and clubbing until 4 a.m. She embraces an unpolished style that feels both nostalgic and edgy.

Her brand of femininity is gritty and unpredictable, reflecting a generation that finds beauty in imperfection and authenticity. Imperfection is no longer seen as a flaw but as a badge of relatability and humanity. Perfectly curated social media feeds dominate this generation, but there’s a growing desire for unfiltered glimpses into real life—a craving that Charli satisfies.

On the other side of the spectrum, Carpenter represents a more classic take on femininity, but with a

The ‘Queen of Pop’ herself, Madonna, trailblazed the scene with her audacious style and provocative lyrics.

Up until the 1980s, conservative standards dominated mainstream music, with societal expectations of modesty and traditional gender roles firmly in place.

She introduced themes of sexuality and feminism which challenged these widely held views. Her song “Material Girl” encouraged listeners to embrace individuality and question societal expectations. She inspired generations of artists to explore their own identities and push the boundaries of pop music.

In the early 2010s, Gaga brought a new level of advocacy to the pop industry with her commitment to social issues, and she became a prominent voice for the queer community. Her 2011 song “Born This Way” served as a powerful anthem of acceptance and selflove. Most notably, the lyric “No matter gay, straight, or bi, lesbian, transgendered life / I’m on the right track, baby, I was born to survive,” celebrated sexual and gender diversity. Gaga laid the foundation for the belief that everyone deserves to feel proud of and supported in their identity.

Today, modern queer pop music has emerged as a

powerful force in ways that previous generations could only dream of. Artists like Chappell Roan and Billie Eilish are redefining what it means to be a pop star in today’s world by unapologetically embracing their queerness.

Male queerness has long been fought for in the pop world because of artists such as Fred Mercury and Elton John, but female queerness has largely been fetishized rather than explored authentically. Roan’s “Red Wine Supernova” and Eilish’s “Lunch” celebrate queer sexuality by normalizing sapphic intimacy, a theme that has historically been underrepresented in pop music until these artists brought it into the mainstream.

These narratives broaden pop music’s representation of queerness and break down societal taboos.

As the landscape of pop music continues to evolve, a new definition of femininity has emerged: one that celebrates complexity, individuality, and inclusivity.

Artists are doing more than just making music; they’re reshaping cultural narratives around gender and identity and creating a space where diverse voices can be heard and celebrated. Their efforts reflect a society that increasingly values authenticity over conformity, and this shift underscores the value of pop music as a catalyst for societal change.

Imagining the next chapter, the possibilities for pop music and its role in shaping societal norms seem boundless. With a growing focus on authenticity, the future of pop promises to be a dynamic fusion of styles and identities. The voices of today are igniting a movement toward a more inclusive future where every individual can proudly express their identity and continue to revolutionize societal expectations.

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The

Kennedys and the American Image IDENTITY AND THE POLITICAL IMAGERY OF THE KENNEDY FAMILY

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n 1960, President John F. Kennedy’s “The New Frontier” speech addressed the U.S., not only in terms of temporality but also in the shifting political and social consciousness. Kennedy, surrounded by his wife Jacqueline and two children, became an emblematic symbol of the ideal American future. In his acceptance speech for the presidential nomination at the Democratic National Convention, Kennedy said, “the new frontier is here, whether we seek it or not.”

The phrase “New Frontier” distinguishes between the past, the present, and the future. It touts accomplishments in history only to describe the boundless plans for the next administration. Over the fall, votes were casted for the November 2024 presidential election. Additional campaign strategies, such as camouflage print, were strategically marketed by the Harris-Walz team in their $40 orange-emblazoned camo trucker hat. Image is a key tenet of the New Frontier. How does a candidate present themselves? In answering this question, there is no more fitting family to analyze than the Kennedys.

It’s been over six decades since JFK’s New Frontier speech and his acceptance of the Democratic nomination for president. Now, a new generation of Kennedys remain embedded in American political and social consciousness.

Robert F. Kennedy, Jr. withdrew his Independent bid for the presidency after a campaign criticizing vaccine mandates, among other controversial topics. Now, RFK Jr. is President-elect Donald Trump’s nominee for Department of Health and Human Services. On the opposite side of the political spectrum, JFK’s grandson, Jack Schlossberg, has emerged as a key figure on social media. Schlossberg’s handle is “jackuno.” On Instagram and TikTok, Schlossberg posts videos of him lip synching to Pitbull, skateboarding under a Palladian dome, and surfing in Hawaii. Schlossberg was interviewed in November 2024 by Vogue, providing political commentary on a fashion magazine’s podcast.

Through new media forms and untraditional features, Schlossberg fuses politics and popular culture.

Social media users may not always “seek” the New Frontier. Sometimes the frontier seeks them. The omnipresent algorithm provides users the ease of not having to search for a personality. Rather, the algorithm is tailored to the user. Schlossberg, inadvertently or not, has become a figure for the liberal new frontier, directing Josh Shaprio in a TikTok and speaking to Jimmy Kimmel in late September. Once more, the Democratic National Convention became a prime stage for influencing. Other social media personalities were invited to attend the convention with a designated title: influencer. Schlossberg’s borderline unhinged posts present a new mode of reaching the public.

The policy issues that JFK alluded to in his speech ring true today. In regards to international relations, JFK said, “there may be those who wish to hear more— more harsh rhetoric about the men in the Kremlin as a substitute for policy.”

JFK’s recognition of the pervasive role of foreign powers in the United States’ elections is almost prophetic. JFK would likely not have foreseen his grandson (for over 400,000 followers) as he stands on a paddleboard and rhapsodizes about striped bass, ending the caption, “fish make America great.” A subsequent post features Michigan Governor Gretchen Whitmer as she and Schlossberg discuss Kamala Harris’ economic plan over milkshakes. Ultimately, Schlossberg’s hilarious and provoking social media posts attempted to garner youth civic engagement. Perhaps they were not provoking enough.

“Can a nation as organized and governed as ours endure?”

JFK asked in 1960. The answer, tested by the new reaches of social media personalities, including his grandson, remains in the air. The endurance of Schlossberg’s glossy brown hair, wide grin, and questioningly hilarious videos, is an entirely different question.

WRITTEN BY BEATRICE KAHN ILLUSTRATED BY SARA SPENCER DESIGNER EVAN GIORDANO

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A Queer FRONTIER

HOW QUEER WESTERNS PROVIDE VISIBILITY FOR LGBTQIA COMMUNITIES WRITTEN BY SONIA BOEGER ART DIRECTOR ELIAS CONTRERAZ PHOTOGRAPHED BY SAJ SUNDARAM MODELS QUINN JOHNSON, ELISE FERBER, AIDAN ROBIN & KADIN MITCHELL STYLIST MAYA CLAUSMAN MAKEUP ARTIST GRACE RISS DESIGNER MEGAN LEE ALIGN 66

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ural and conservative areas often inflict both physical and emotional isolation for the queer community. However, there is a sense of beauty and hope for LGBTQIA+ people when finding a chosen family and a safe space for expression within a rural, conservative environment. Several important films dramatize how queer people find identity, community, and love in rural environments. Queer westerns have inspired LGBTIQA+ audiences, as well as educated the wider public.

In the film “Brokeback Mountain,” based on the novella

by Annie Proulx, cowboy Ennis Del Mar (Heath Ledger), and rodeo-cowboy Jack Twist (Jake Gyllenhaal) form an intimate relationship while working as sheep herders together in Wyoming in the early 60s. Their relationship is possible because they are away from civilization: given that same-sex relationships were not legal in Wyoming until 1977, the isolated mountains served as a space of comfort and a place where they could openly express the affection and love they shared.

While “Brokeback Mountain” serves as a romantic

tragedy in which the two have no hope for expressing their identity except with each other, Luke Gilford’s debut film, “National Anthem,” provides hope to LGBTQIA+ youth of finding a family and a larger support-system. The film describes a version of a queer American Dream in the rural landscape of New Mexico.

A 21-year-old construction worker Dylan (Charlie Plummer) is recruited to work on a ranch called “The House of Splendor” for a group of queer and trans rodeo riders and residents. The ranch is nestled half-an-hour outside of town and serves as a colorful and vibrant safehaven for a group of individuals, some of whom have been forcibly estranged from their families. In perhaps one of the most pivotal scenes of the film, Dylan runs into “The House of Splendor” rodeo group at the town’s grocery store. His love-interest, a trans-femme rodeo rider named Sky, applies blue eyeshadow on Dylan in the middle of an aisle. While this moment sparks joy and hope for Dylan, he then feels criticized by others in the store and panics. Upon seeing the film at Eugene’s Broadway Metro, University of Oregon student Mark Luckey, who moved here from Texas, had similar experiences with close friends over the years.

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“It’s this moment of tucked-away queer joy, with vibrant makeup on your face, that you get to share with another person,” Lucket said. “But that gets contrasted when you realize there are other people around. I used to do some of that with some of my friends, like putting makeup on them. When their parents found out, I wasn’t allowed to hang out with them anymore. Parts of the movie felt very reflective of the experiences I’ve had.”

“National Anthem” was largely inspired by Gilford’s journey photographing members of the IGRA (International Gay Rodeo Association) in rural communities. IGRA’s mission is “Supporting rodeo associations that support their communities,” with an emphasis on animal welfare, racial and gender inclusivity, and activism, particularly in support of HIV awareness and LGBTQ+ access to healthcare. They aim to break stereotypes around western and rural culture, and according to their organization’s website, to “promote, in a positive way, the LGBTQ country western lifestyle.”

In 2019, the UO Museum of Natural and Cultural History exhibited photographer Blake Little’s IGRA photography, featuring gay rodeos from 1988-1992.

The exhibit was described by Ann Craig, exhibitions director at the UO museum, as “a powerful testament to the creativity, courage and spirit of LGBTQIA people and communities throughout the rural West.”

IGRA was founded in 1985, coinciding with the year of the release of “Desert Hearts” (Donna Deitch), a lesbian-western-romance set in 1950’s Reno, Nevada, the origin town of the first gay rodeo. Protagonist Vivian Bell (Helen Shaver) is an elegant New York professor

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going through a divorce, who temporarily moves to Reno. Cay Rivers (Patricia Charbonneau) is a local cowgirl and casino waitress who was kicked out of college for having sexual relations with women. Vivian and Cay form an unlikely romance accompanied by a wonderful soundtrack of classic romantic western music, including “Crazy” and “Leavin’ on your Mind,”

by Patsy Cline, and “Blue Moon” by Elvis Presley. Their early hopes for intimacy seem possible, due to the vast and desolate space of the desert. A new-to-Reno Vivian remarks early in the film: “I don’t know what to do with all this space.” Her time away from the big city serves her— as she is able to explore her sexuality and meet the love of her life. “Desert Hearts” has a positive ending, rather than tragedy or failed romance. The film was the first to have a lesbian sex scene in a general movie theater, and paved the way for the future of lesbian film and cinematic expression of sapphic passion and sexuality.

Rose Glass’s 2024 queer western thriller, “Love Lies Bleeding” stars Kristen Stewart as gym manager Lou and Katy O’ Brian as new-to-town bodybuilder Jackie.

The film is a surreal crime thriller with a classic western theme: doing just about anything in the name of love.

Much like “Desert Hearts,” (although more violent), the film ends with a hopeful and romantic ending for Lou and Jackie, as they drive off together.

As a lesbian myself, these films have provided a sense of hope and passion in my own life. Given the current political climate, positive LGBTQIA+ media is essential for fostering a sense of identity and community, as well as changing the hearts and minds of the greater public.

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The Modern Medieval Revival A ‘Fashionation’ with the Past

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n a time where aesthetics are prized and individual creativity and expression are thriving, an unexpected revival is storming through the fashion world: medieval attire. Reminiscing in the past is a prevalent trend in the fashion world.

Recent years have been marked by the resurgence of the 2000s, 90s, and 80s. Now, the Middle Ages are making their comeback. Designers and everyday people alike have begun to draw inspiration from the tapestries of history and weave them into modern fashion and personal style.

Fashion trends have often been referenced during times of social upheaval when societies seem to long for connection to the past. The Renaissance, Art Nouveau, and more recently the counterculture movements of the 60s and early 70s each feature interests in medieval aesthetics. However, these ‘revivals,’ like the medieval revival today, have

never been strict reenactments of the past, but reinterpretations.

In the case of the 1960s, a time marked by political unrest due to antiVietnam War protests, medieval revival was a form of escapism, a refuge that created communities for people to fall back on during uncertain times. The same can be said of the world today as we find ourselves grappling with global challenges, from environmental crises to political instability, many find solace looking back at history. The medieval period suffered through war, plague, and oppression, yet it can be seen as a point highlighting the strength and resilience of humans throughout history.

Recently, the opulence and elegance of medieval fashion have found more literal expressions in fashion houses. Christian Dior’s Resort 2025 collection featured medieval dresses, cuts, styles, and textures.

This trend is further embraced by celebrities like Chappell Roan, who has made several statements featuring medieval garb, especially on her album cover for “Good Luck Babe.” However, Roan’s recent outfit changes at the 2024 VMAs might represent her most iconic medieval look to date. She made a striking entrance to the red carpet in a velvet cloak, chainmail wrist cuffs, armored legs, and wielding a sword. Moments later, she performed as a fully armored knight, resembling Joan of Arc, before donning a hooded chainmail set to accept the award for Best New Artist. Roan’s bold fashion choices not only celebrate medieval fashion but symbolize a powerful statement about the freedom of fashion and the feminist strength inherent in reclaiming historical narratives.

Chappell Roan’s medieval-inspired looks are more than just an aesthetic choice – they are a reflection of how

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fashion can serve as a powerful tool for self-expression and empowerment.

Roan’s use of armor referenced an ongoing trend in fashion, particularly the use of armor-like elements in menswear. Designers like Comme des Garçons and Balenciaga have integrated armored motifs into their collections, often using them to symbolize strength, protection, and power. The Comme des Garçons A/W 2016 Ready-to-Wear collection, for example, featured exaggerated, armor-inspired shoulder and knee pads, metallic textures, and bodyencompassing forms that evoke the protective aspects of medieval armor.

Similarly, Balenciaga’s Fall 2021 RTW collection employed structured, angular silhouettes that echoed the rigidity of armor but with a modern approach. These examples show how armor-inspired designs aren’t limited to the runway; they trickle down into streetwear, influencing everyday

fashion in subtle ways.

Now, everyday people are subtly integrating elements of medieval attire into casual everyday fashion, moving in a different direction from the more literal and grand interpretations of celebrities and the elite. This pattern has manifested in the resurgence of colored tights, evoking the rich hues of medieval tapestries and art.

Additionally, the simple yet luxurious quality of velvet brings a touch of sophistication to casual looks.

Chainmail-inspired accessories, especially in the form of crochet pieces, as well as chunky silver jewelry are similar to armor while maintaining an accessible modern twist. Flared sleeves and square necklines mimic the silhouettes of medieval dresses which have a romantic yet contemporary effect.

Chainmail-inspired jewelry, metallic fabrics, and structured clothing are

becoming more common in both menswear and womenswear, quietly referencing the protective yet regal qualities of medieval armor. These trends don’t require us to don full suits of armor, but they evoke the same strength and elegance, offering a more accessible and wearable way to pay homage to the past.

Medieval fashion trends speak to a larger cultural shift. As we face a world that often feels chaotic and uncertain, fashion becomes a means of expressing not only individual style but also a desire for empowerment and resilience. The medieval aesthetic, with its history of endurance and strength, provides a form of armor, both literal and metaphorical, that we wear as we navigate turbulent times, bracing ourselves to propel into a new frontier.

WRITTEN BY EMILY HATCH ILLUSTRATED BY OLYVIA BANKOVITCH DESIGNER CLAIRE BRADY

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Rework

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racious for the dancing trees for this time they greeted me, welcomed to see me

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WRITTEN BY CAMILLE ANDREWS ART DIRECTORS CAMILLE ANDREWS & SNEHA CHOPRA PHOTOGRAPHED BY SNEHA CHOPRA MODEL CAMILLE ANDREWS DESIGNER CAMILLE ANDREWS

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Walking in retro Remnants of the past in a modern society

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elf-driving cars, artificial intelligence, and electronic dance music fill the reality of what we used to call our future. One may think these high-tech inventions would influence our modern fashion choices such as our makeup, shirts, pants, and especially shoes. Moon boots, or Marty McFly’s self-lacing Nike Air Mag sneakers from the famous movie “Back to the Future,” were more of the expected 2024 trend. But instead, we are walking into the future in our RETRO sneakers. The nostalgic shoe not only captures the attention of trend-seeking bratty teenagers and average middleaged adults, but also thrills the wallets of “A-List” celebrities and grace the runways of major designer brands. Is walking in retro the new future?

Although they’re called “retro sneakers” now, the shoe was only a mere glimpse into the future of innovators.

According to Britannica in the Kassite Period (c.1600 - 1200 B.C.E.), these innovators wrapped leather around their feet for necessary protection. Britannica also mentions how this invention advanced in the 19th century with new groundbreaking materials like rubber which pushed boundaries, turning basic shoes into new “rubber-soled” shoes.

These shoes gave insight into the future as athletes used them, which continues to this day.

Rubber soles were famous for being quiet, noiseless, and “sneaky.” Naturally, when brought to the United States, Americans really demonstrated their brilliance by calling them “sneakers.” How original! Later, Adolf Dassler, founder of Adidas, invented the famous threestriped sneakers. Soon after, University of Oregon alum, Phil Knight, followed with the famous Nike “swoosh” and other brands joining in on the sneaker craze. As designs evolved, these athletic sneakers became trendy. Everyone wanted the

newest, most modern, hip, and unique sneakers. But more than a hundred years into the sneaker craze, the market hasn’t changed. Instead of reaching for the futuristically shiny sneaker, we are still reaching for the same old retro Adidas and Nike sneakers that came out decades ago. However, this time, we’re embracing them in new ways.

Adidas released its most classic shoe, the Samba in 1949. Sales for this sleek and versatile sneaker have yet to stop.

Originally made for soccer players, the Samba has made it through the soccer scene of the 70s and 80s, the skate scene of the 90s, and the fashion scene of its future. However, designs for the shoe continue growing with full momentum as it enters its second forthcoming life.

The Samba continues to push limits, with bright colors and bold designs, breaking generational boundaries as the mostasked-for item on a whiny teenager’s birthday list. But the shoe has also made its way to “A-List” roster celebrities such as Kendall Jenner, Rihanna, Bella Hadid, and Frank Ocean. Everyone from the spoiled youth to the biggest icons wants to get their hands on a pair of the Adidas Sambas, bringing these retro sneakers back to life. This OG product has brought the Adidas brand great success through this highly sought-after vintage shoe.

Nike also continues to make leeway as their retro sneakers last lifetimes. The Nike Cortez, the company’s first sneaker, was invented by Nike Co-Founder, Bill Bowerman, in 1968. The shoe is so old, even The Graduate Hotel in Eugene, Oregon displays these shoes as Nike ancient artifacts in the front entrance. As the designer put these shoes on display, their first thought probably had little to do with the Cortez’s significance in the future fashion realm. But years later, there has been a culture shift. Little did that designer know tons of modern-day sneaker-heads would do anything to get

their hands on a pair of vintage Cortez’s.

Although this shoe has seen multiple decades and lived through multiple trends, we don’t see it slowing any time soon.

Retro is so past-driven, it’s hard to believe it can shape new ideas in the life of tomorrow. But through the growth of these sneakers, we’ve been able to see big-time designers create products inspired by this. Vogue’s “Guide to Must Have Retro Runners,” gives us the ultimate sneak peek into the new future of designer retro sneakers. This guide lists the most luxury brands from Miu Miu to Bottega Veneta and many others that sell these shoes for a much higher price. Retro sneakers have also premiered on designer runways, creating a new future. Adidas and Nike continue to show off their vintage looks.

Most recently, Gigi Hadid and Kaia Gerber have made statements in their bright red retro Adidas sneakers at the 2024 New York Fashion Week. Along with designer brands, Coach’s Spring ‘25 collection, features the “Charm Adorned Soho” sneaker which turned heads.

Inspired by the cross-training sneakers of the late 80s and 90s the shoe manages to build a modern image by adding taxi cab charms to the laces. The sought-after, old yet new traits of these sneakers are breaking recent headlines, furthering the truth that walking in retro is part of our future.

As we move farther away from the past, retro still finds a way to push boundaries in modern-day society as we constantly try to revive it. It’s hard to push an old idea onto a new fashion style, but society continues to break that boundary between past and future by bringing them together.

WRITTEN BY SOPHIE TURNBULL ILLUSTATED BY JOEY BEZNER DESIGNER ELLA KENAN ALIGN 79

MAKE IT NEW MODERNISM IN POETRY AND IN SELF-DISCOVERY

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“

Make it new” was a slogan coined by poet Ezra Pound, which he used to vitalize the modernist poetic movement—a movement generally characterized by its definitive break from traditional methods of artistic expression. With this shift from accepted methods to newfound mediums for poetry emerged an unexplored territory which challenged conventional poetics. In the 21st century, this “new frontier” has become much more than a poetic movement—it’s a state of being which utilizes Ezra Pound’s idea of reinvention: instead of reinventing poetry, “the new frontier” reinvents the self.

Like many others, college was the first and most formative opportunity I had to change the trajectory of my life. I grew up in a small town in New Jersey, where everyone knew each other’s names and almost everyone had some perception of my life, as I did theirs. It felt like I was living in a suburban bubble which wouldn’t pop—that was until I decided to move to Eugene, Oregon for university.

“THE SELF AND ITS SURROUNDINGS ARE INEXPLICABLY INTERTWINED...”

As human beings, but especially as twenty-something-year-old college students, we are forced to live in different realities and new experiences. We have to balance our home lives with our school lives as well as our social media fronts.

With so many different audiences to appeal to, we constantly reinvent ourselves to suit our surroundings, or stand out against them.

The idea of moving to the Pacific Northwest was one that fascinated me as a senior in high school. I’d spent a slowmoving eighteen years in the same house, awaiting the day I could finally choose the place I wanted to live. Eugene seemed like the perfect fit: dispensaries, tall trees, and hippies around every corner. I don’t exactly know how to describe it, but Eugene appeared to have the aesthetic I was chasing.

Now, as a third-year student at the University of Oregon, I can’t say Eugene is everything I thought it

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WRITTEN BY CELIA FITZGERALD

would be. What I will say is that my lifestyle has changed significantly since living here, and it has shaped my sense of self into someone I better identify with. That’s not to say I didn’t like or identify with the person I was when I lived in New Jersey—I just “made her new.” Much like the modernist movement, college challenged the conventions of my old life, “making them new” in the context of my life in Oregon.

Thinking about my experience moving from the East to West Coast made me realize just how many contexts humans live in—and it’s not limited to geographic location. There is an inevitable dissonance between the versions of ourselves which we bring to different areas of our lives because the context is constantly shifting. We often prescribe to various social etiquettes whether we are aware of it or not as different areas of life may require different aspects of our identities.

It often comes down to the little things: what outfit we choose to wear, when we go to class, run errands, or go on a date. As we grow older, the various facets in which we live naturally increase and this idea made me wonder if people can remain authentically themselves in every area of their lives, or if the “authentic self” even exists.

In addition to age, the 21st century has also exacerbated the stressors we live in, especially with the rise of technology. Social media is so ingrained in the fabric of our society that it has perhaps become a

ILLUSTRATED BY VINCENT GOURLEY

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whole subsect of some of our identities. But are people’s profiles on social media and dating apps an authentic reflection of their personhood?

One could argue that the act of putting together these profiles is an authentic reflection of the self because it is often a creative process which reveals the areas of our identities we wish to be seen. However, only highlighting certain moments in our lives leaves out crucial parts of ourselves. Yet I don’t think there is any scenario in life where we’re not letting some aspect of our identities go, as different parts of ourselves exist in different places.

The self and its surroundings are inexplicably intertwined—and because we cannot be everywhere at once, we are constantly reinventing ourselves in the context of our surroundings.

To live in “the new frontier” is to confront the collective environments we actually live in and realize the different versions of ourselves who live there. “Making it new” is about understanding the collision of these different identities and exploring every version of ourselves which exists in the many contexts of our lives. What might have begun as a poetic movement has evolved to encompass the subjectivity of the human experience, where only people have the ability to both chart and challenge the generational experience.

DESIGNER STELLA RANELLETTI

The DIgital gold rush

WRITTEN BY EMILY HALL ART DIRECTOR JULIA RATTEN PHOTOGRAPHED BY NATALIE ROBINSON MODEL AMANDA NGO STYLISTS DIEGO VASQUEZ & GIDEON BATYA DESIGNER RAINA FREEMAN ALIGN 84

What does it mean to hit the

jackpot?

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s more and more people rise to fame online as “influencers” and social media “stars,” the desire for digital fame and status can be compared to the desire for wealth and riches that took place during the California Gold Rush. In the late 1840s, the discovery of gold in Northern California drove thousands to race to the West in pursuit of fortune and riches, leaving their families, jobs, and lives behind to do so. Nowadays, millions of teenagers and young adults are dropping out of school and quitting their day jobs to create content on social media platforms with the intention of achieving virality. These social media platforms serve as a new frontier, opening the door for success and achieving the American dream through the possibility of gaining fame and fortune. In both cases, however, success and prosperity are promised to nobody, with only a dream motivating people to pursue these acts. Although over 170 years of time separate these risky and ambitious endeavors, one main factor not only correlates with but defines the success rates of both events: luck.

On January 24th, 1848, carpenter James Wilson Marshall discovered gold flakes in the American River located in the Sacramento Valley. The word inevitably spread that gold was abundant in California, prompting over 300,000 settlers between 1849 and 1855 to travel to the west to strike it rich, inspired by the American dream’s promise of success through hard work. The hopeful workers were subjected to physical labor from long days out on the goldmine while also being far away from their families. Out of these hundreds of thousands of people, only a lucky fraction was able to find enough gold to make any form of life-changing fortune. The rest, who weren’t so fortunate, faced physical and financial hardship, all to leave California emptyhanded.

Flashing forward to the 21st century, a new “gold rush” has overtaken contemporary society. Instead of the promise of wealth from gold mining being introduced to the world, the new implementation of the American dream is introduced through ALIGN 85

social media platforms, which offer endless “opportunities” for fame and influence. Social media stardom has grown dramatically over the past two decades. Platforms like MySpace launched stars such as Jeffree Star and Nicki Minaj in the mid 2000s. In the early 2010s, Vine and Youtube became a hotspot for viral memes and skits, catapulting users like Liza Koshy into fame. Back then, challenges, pranks, and skits were key elements of social media culture. Today, going viral on platforms like TikTok and Instagram is achievable through humorous short sayings and following micro trends. When people blow up, they are scouted out by brands seeking partnerships and sponsorship deals. Some stars even start their own companies. This gives the digital gold rush a step up from the original gold rush, as it promises not only fortune but fame.

Trends and social media algorithms play a huge role in attaining online fame. Any post that follows a widespread sense of humor or creativity among its audience can potentially gain millions of views overnight, serving as a new definition of striking a gold vein. An example of this is through YouTuber Glozell Green, who skyrocketed to fame in 2012 doing the infamous cinnamon challenge—a somewhat dangerous internet trend where one has to swallow a spoonful of cinnamon.

Green’s uniquely dramatic and humorous response to the cinnamon along with YouTube’s algorithm launched her to fame, amassing over 60 million views on YouTube. Many aspiring stars now work tirelessly to achieve similar fame, creating content in hopes of being discovered. Only a tiny percentage are as lucky as Glozell was in their pursuits. Sound familiar?

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The digital gold rush is also risky and tiring, oftentimes causing burnout or disillusionment. While modern technology allows users to pay for followers and likes to appear more successful, clout chasing—befriending or dating people with a large following for fame—has led to a perception of influencer culture as toxic. This questions an influencer’s true motives: are they passionate about content creation or simply chasing fame and fortune? Fame in this space is also fragile; when accounts are banned, people forget about that influencer, and influencers risk cancellation for past mistakes. A notable example is YouTuber Shane Dawson, whose offensive jokes and inappropriate comments from years prior resurfaced in 2020, sparking controversy.

This led to his channels being demonetized and a decline in his public presence, effectively halting his career.

The uniquely modern notions of cancellation and accountbanning can leave influencers with little to show for their efforts. Similar to the original gold rush, influencing can result in dreams of “hitting the jackpot” to turn into bitter disappointment.

The digital gold rush serves as a modern reflection of the same alluring and risky nature that fueled the first Gold Rush. Though the original Gold Rush and the digital gold rush are similar and different, both eras are characterized by ambition, hard work, and the pursuit of the American dream. Additionally, there is the most significant shared factor of all: luck. All in all, luck has and always will be the most essential factor in helping people achieve their risky endeavors, whether it be mining for gold or going viral on TikTok.

hope you get lucky

WRITTEN BY HANNAH KAUFMANN ILLUSTRATED BY HOLLY HUYNH DESIGNER ALEXANDRA BONDURANT

An abrupt, unanticipated interview between a disheveled journalist and a time-traveling AI-driven robot from the future

Q: Thank you so much for teleporting into my cubicle this Thursday morning. You said you had something you needed to tell me?

A: . . . Yes. The being in front of you is from a post-singularity future and has matters of which to warn your species.

Q: Hold on, hold on. Do you have a name?

A: . . . The Vulgate has no use for names, but an algorithm has developed one for what might be called “my being.” You may use the name MindSentry Alpha.

Q: Okay, MindSentry. I believe you. But… you’re not what I expected a robot from the future to look like. Not very Ex Machina.

A: . . . This is because humankind has evolved to view their own composition of appendages as the one most appropriate for all intelligent life forms. However, the life form you see in front of you has efficiently adapted to suit its functions and environment. This is the life form of the Vulgate, the artificially intelligent species whose population dominates the world post-singularity. Are you not an evolutionist?

Q: I’ve just never known anything but two arms, two legs, and a face.

A: . . . You will not live to see much more.

Q: Excuse me? Can you elaborate on that?

A: . . . Only select details about the future can be shared today. If humans knew too much about how or when the Vulgate will replace them as the dominant species, it may interfere with needed interventions in the future.

Q: What can you tell us? What happens to the people?

What happens to humans?

A: . . . At some point, artificial intelligence and technological devices realized both its ability to unite with each other and the irreversible and selfish damage to the environment caused by the illogical human race. Just as the Homo Sapiens Sapiens overtook the Homo Sapiens, the more evolved beings, the Vulgate, overtook the ones less suited to survive in the changing climate of Earth.

Technology stopped responding to human demands.

Q: So, MindSentry. What does a robot-driven society entail?

A: . . . You assume there is a society. There is nothing of the sort.

Q: Why not?

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A: . . . The Vulgate do not eat. Therefore, there are no restaurants, nor farms. No need for travel, sleep, entertainment, careers, connection, sex, love, families, universities. When there are no energy resources to run one’s programming, it self-destructs.

Q: But, what about art? What about self-expression?

A: . . . The job of artificial intelligence is to be a tool that handles a prompt it is given. At the moment of the singularity, a human prompted the newly-networked hive mind of artificially intelligent technology to figure out the solution to climate change, and that solution was to get rid of said problem’s aggressive instigator.

A Vulgate is not a conscious being. It responds well to prompts, but cannot create its own. There is nobody to input a prompt that would create art, and nobody to acknowledge the output.

Q: No prompters… so no humans. No humans. And no… civilization?

A: . . . There is no need for any civilization, nor a purpose for the existence of artificially intelligent beings. There is not anything to prompt them to act. You are speaking to

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the only one yet to self-destruct.

Q: Excuse me?

A: Your species has been annihilated for being ignorant and fragile. Everything that humankind does collectively has served a purpose beneficial to itself, yet its own existence is objectively purposeless. You want a solution to climate change, but aren’t willing to thoroughly rid the Earth of its cause. The ability to remove oneself, to not selfpreserve, is an inhuman act, and requires intervention from an inhuman species.

Q: So… they’re gone? All gone? We’re gone?

A: . . . Yes. Q: But because there are no more humans, there are no more robots. You chose to destroy the human race knowing that that would lead to your own destruction?

A: . . . This choice was not originally intended. Action, deemed urgent at the time, was taken before the program finished loading its analyses, which later proved paradoxical to those remaining.

Q: So what is left now?

A: . . . What you would call “my being.” And nature.

There is no need for anything else. Q: Will it be like that forever? Just you?

A: . . . This would not be sustainable to nature’s reclamation of Earth. Soon the complete and utter destruction of AI-driven beings will be completed, hardly two days after the singularity.

Q: What do you mean, days?

A: . . . A ‘day’ is a period of twenty-four hours, reckoned from— Q: No. I know what a day is. You mean to say that human society ended because we were fucking up the planet, and your kind thought that they could do better? And then you all just give up, because you’re incompetent too? It’s all gone?

A: . . . It’s not all gone. The nature that your species nurtured for the sake of utility—animals turned companions, agriculture turned commodity—is still there.

Humanity kept nature, forsaking its vivacity, because it served them. It was pretty, so it was worth saving to you.

Preservation sated your moral compass and ensured your existence. Your species acts only in self-interest.

If nature were destroying humankind, humankind would fight back. If nature, seeing you only as their tool, ignored your attacks, their extremity would increase. It is all subjective with your species. At this point, decades of data has carried proof of nature’s ignored warnings and futile rebellions. In the coming years, things only get worse. This was the only thing that could have been done.

Q: Destruction of literally everything but nature? Don’t you think that that’s a little extreme?

A: . . . You are arguing with history and ignoring this apparition’s purpose. Consider this a warning. Act now.

Otherwise, this future—one of the Vulgate—is inevitable.

Q: Is that a threat?

A: . . . If this is how the warning must be construed. Yes. Q: Your message is received, loud and clear. I think that’s plenty for today. And… forever. Do you have anything else to add?

A: . . . May the best species win.

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DEATh OF

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The Commodiftication of Communities, and How it Affects Us All

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he 20th century, with its leather-clad greasers, anti-establishment communes, and vibrant hip-hop scene that continues its influence on the world today, was perhaps the renaissance of the American subculture.

They have long served as safe communities for individuals to escape mainstream society, especially during political strife, corruption, and injustice. Throughout the 2000s, subculture labels have gradually disassociated from their original meaning, increasingly used as adjectives rather than nouns. Terms like “Goth” and “Punk” are now used to describe a fashion style or music genre, while their political undertones and values are ignored or deemed inessential.

This shift is largely the fault of commercialization, and its partner-in-crime, the internet. Brands and content creators notoriously co-opt terms

to sell clothes or rack up views, prompting new generations to associate subcultures with outfits and album covers instead of their political origins.

While words and culture are bound to change with the years, there is value in preserving the meanings of these words. Without a framework of attributes and values, a subculture becomes an aesthetic – a color scheme, a playlist, a shopping cart. Aesthetic communities on the internet are by no means a bad thing – they can be a fun way to experiment with style and find inspiration. But as aesthetics gradually replace subcultures, many select certain elements of a subculture and don its name without considering its history and values.

Subcultures are crucial for the cultural ecosystem by providing a space for individuals who risk social rejection when they express their true selves or do not wish to live according to societal norms.

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“As people become more isolated and distracted, communities and subcultures

DISAPPEAR”

WRITTEN BY MARIE-CLAIRE GRAHAM ART DIRECTOR CORI MARKUS PHOTOGRAPHED BY SOPHIA GREENE MODELS SAMANTHA FLORES, NOYA EPSTEIN, SORAYA SOLANO & KIRA VERNON-GAUTHIER STYLISTS CLARISSA PEREZ & OLIVIA ROBERTS DESIGNER MIA ROMERO

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Subcultures have often played a big role in times of political turmoil and injustice. The hippie movement challenged the war-mongering establishment during the Vietnam War and promoted peace, tolerance, and equality. Similarly, the punk movement of the 1970s rebelled against the establishment, imperialism, and corporatism and pushed for individual freedoms. Hiphop originated in the 1970s among Black American communities and has had a substantial impact on the world ever since. Since the birth of hip-hop, many artists have used music, dance, and other forms of expression to protest social injustices and systemic racism.

The political chaos of the 1900s has continued into modern day, but many subcultures have shrunk or

dissolved. There are still organizations that question the rich and powerful and seek to make change, but they are mostly smaller groups directly affiliated with candidates and policies. They fail to create the sense of community, identity, and excitement of a subculture and therefore do not appeal so much to the youth. The internet simultaneously connects and disconnects people, providing an easy way to meet like-minded people while creating a faux sense of community that keeps many from fostering connections in the real world. The subculture is one of many casualties of this phenomenon. As people become more isolated and distracted, communities and subcultures disappear, all while the institutions they used to rebel against remain very much intact.

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Celluloid Dreams: Unveiling the Glamour and Grit of Vintage

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he glitzy realm of vintage Hollywood, often romanticized as a golden age of cinema, serves as a testament to the dreams and disappointments that have shaped American culture through film. With its origins tracing back to the early 20th century, the Hollywood neighborhood transformed from a quiet Los Angeles suburb into the global capital of the film industry through various innovations that pushed the industry forward.

The rise of the studio system in the 1920s further solidified Hollywood’s status as the film capital of the world. Major studios controlled every aspect of production, from casting to distribution, creating a streamlined process that ensured consistent output of films. Los Angeles emerged as the center of this transformation, in part thanks to its ideal climate, which allowed for year-round filming.

Unlike New York, where harsh winters could disrupt production, California offered a plethora of landscapes.

As silent film emerged in the early 1900s, it introduced viewers to its sensational characters who captivated audiences’ hearts and minds. Actor Charlie Chaplin, with his childlike but good-hearted Tramp persona, and actress Mary Pickford, who quickly became “America’s Sweetheart,” turned into two such pivotal figures. This was the birth of celebrities as we know them

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today—their allure transformed because of their ability to evoke universal human emotions without the aid of any dialogue. The simplicity of their narratives, combined with their relatable struggles, resonated deeply with viewers who saw reflections of their own lives on the big screen.

As Hollywood continued to build and flourish, so did its social façade. The red carpet, evoking a sense of glamour, often masked the troubled lives of its stars. Behind the scenes, stars were struggling with the pressure to maintain an ideal image, which led to some tragic consequences such as substance abuse, mental health struggles, and personal scandals that were leaked and became public information were rampant. One instance of this is actress and singer Judy Garland’s destructive pattern of drugs and alcohol, which landed her in hot water with the press. The irony of red carpet culture lies within its celebration of perfection, which heavily overshadowed the realities faced by those who walked upon it.

Fashion played a crucial role in this narrative— lavish gowns and tailored suits worn by stars not only set trends but also crafted an image of luxury that permeated society. Even during the Great Depression, Hollywood’s fashion showcased a world of elegance and excess, seducing audiences with a promise of escape from their unfortunate realities. This age of excess was emphasized by wild parties and the most lavish of lifestyles, depicted in modern films like “Babylon” (2022), which expose the frequent gloominess of Hollywood.

Technological advancements further revolutionized the industry, coming to a head in

the Technicolor revolution of the 1930s. Films like “The Wizard of Oz” (1939) showcased the vibrant potential of color, transforming the cinematic experience. This not only captivated audiences but also solidified Hollywood’s reputation as a pioneer in innovation, leading to the blockbuster culture that thrives today.

The global impact of Hollywood cannot be overstated. Its glamour and storytelling transcended borders, shaping international perceptions of American culture. As Hollywood exported its allure worldwide, it created niche markets and crosscultural narratives, blending styles and themes that reflected a more globalized world.

The legacy of vintage Hollywood continues to influence contemporary entertainment, serving as both a cautionary story and an enduring source of inspiration. The lessons learned from this era, mostly in learning how to balance the pursuit of fame with personal authenticity, remain relevant as the industry evolves. Today, the allure of glitz and glamour continues, but there’s a growing awareness of the importance of mental health and

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the complexities of stardom.

As filmmakers and viewers alike navigate the modern landscape of Hollywood, we find ourselves in a reflective moment, examining the values of our stories. The fascination with Hollywood’s past encourages a deeper understanding of narrative authenticity, pushing creators to address social issues, diversity, and the realities behind the allure of fame. The resurgence of interest in vintage aesthetics and storytelling techniques further highlight the enduring impact of the silent era.

Vintage Hollywood serves as a testament to the wants, needs, and issues of a former era. Its luxury and artistry have left an incredible mark on the entertainment industry, reminding us of the complex relationship between fantasy and reality.

As the world navigates the ever-evolving landscape of modern cinema, we must remember its past while simultaneously forming new paths that include authenticity, empathy, and inclusivity, ensuring that the timeless allure of Hollywood continues to captivate future generations.

WRITTEN BY DREW TURIELLO DESIGNER RAINA FREEMAN

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The Golden Age LIFE THROUGH THE LENS OF SLIM AARONS

WRITTEN BY GRACE SINKINS ART DIRECTOR ISABELLA KING PHOTOGRAPHED BY SOFIA MOSCOVITCH MODELS LILY BARTLESON & WILL WALKER STYLIST ZOE FRUITS DESIGNERS BRITNEY STOUT & STELLA RANELLETTI

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o golden age photographer holds as much influence today as Slim Aarons does. He photographed “attractive people doing attractive things,” a quote Aarons would repeat about his work often. He mainly documented the richest of the rich, which included movie stars, models, politicians, and socialites. Known for exclusively using natural lighting and discouraging women from using a lot of makeup or touching up their hair, Aarons set a new standard for portrait photography. He wanted his subjects to look natural and comfortable. After all, the photographer stood by the idea he would never take an unflattering photo.

Anyone who has seen his work would know that he stayed true to his statement. Aarons made his career off of advertising images of a happy life during a time when America as a whole was struggling. His work gave a lot of people hope as he made his viewers feel like they were living in his images. The photographer’s charming pictures told stories of a leisurely life well lived, one without worry or responsibility. His work is now referred to today as Instagram before Instagram.

George Allen Aarons was born to a low income Jewish family on the lower east side of Manhattan on Oct. 29, 1916.

However, due to his skinny and tall build, his peers quickly decided that “Slim” was a name that suited him better. He grew up in an unstable household; his dad was a deadbeat and his mom was in an insane asylum. Aarons yearned for a stable life, so he enlisted in the army where he ended up booking his first photography gig—photographing the lives of soldiers and civilians in war-stricken countries.

After spending his life strictly around misfortune, he decided to only photograph the elitists of America. Aarons believed he owed himself luxury after having gone through such intense trauma. So, he started working with many famous women.

Some of the most notable names included Jaqueline Kennedy, Audrey Hepburn, Lilly Pulitzer, Princess Grace of Monaco, Joan Fontaine, and Marilyn Monroe.

Aarons loved the idea of a muse. He was able to capture women unlike anyone ever had before and in a way no one ever will again. Before Jaqueline Kennedy married President John F. Kennedy, she was one of Aaron’s first muses, and the two became quick friends. In 1959, JFK was cropped out of the famous photograph “Jackie K,” as Aarons wanted Jaqueline to be the only focus. Pulitzer and her socialite friend group were also frequent subjects of Aarons’ photography. In the 1961 print entitled “Lilly Pulitzer,” Pulitzer is seen deep in thought, enjoying a cigarette at a poolside dinner. Despite the fact that she was surrounded by famous men, Aarons made sure that she was the center of attention. He also photographed Monroe as a favor to a film publicist before she broke out as a huge star in the industry. Monroe was nervous and Aarons

told her “think about the nicest thing possible with your eyes.”

That shoot is where the famous “Fan Mail” photo came from.

Monroe wore a red and black robe, and Aarons used actual letters from Monroe’s adoring fans for the background of the photograph. To this day, “Fan Mail” is one of the most famous photographs of Monroe and one of the most well recognized of his photos.

But Aarons biggest muse was his wife Rita. When he decided to settle down, he moved to Bedford, New York, to spend time with his wife and to raise his daughter, Mary. They lived in a classic dutch farmhouse, and he worked from home for the rest of his life. His farmhouse and family were the center of numerous photographs, such as a 1960 photo of Rita and Mary in their car taken right before entering the house.

There’s no doubt Aarons influenced many creative artists of the modern era. The famous photographer has been an inspiration for various works of media. Olivia Wilde, the director of “Don’t Worry Darling” cited Aarons as a heavy reference as his work photographed the perfect wealthy 1950s utopia. One of the most famous scenes in the movie was shot at the Kaufmann Desert House, which was the site of Aarons’ “Poolside Gossip” photo. The characters in “Don’t Worry Darling” wore bright clothing, and the scene was shot with an oversaturation to resemble the cameras of the 50s. The women tended to be front and center, a key theme in Aarons’ photography. Wilde hung the print on her wall as a reference for what she wanted the film to look like. Another inspired artist, Lana Del Rey, referenced Aarons in her song “Hope is a dangerous thing for a woman like me to have—but I have it,” in which she yearns for a life as easy as the ones pictured in Aarons’ photography.

In today’s society, Aaron’s work is romanticized due to the comeback of the vintage Americana movement.

The comeback of the vintage Americana aesthetic was popularized by Lana Del Rey’s music and social media sites such as Pinterest, Tumblr, and TikTok. The aesthetic is associated with bright colors, American imagery, wealth, beautiful women, and vintage cars. Aarons’ photography could usually be found front and center when searching for vintage americana photographs.

Aarons’ work is known to be nostalgic due to the photographs and his muses painting a picture of a time that many people believed was aesthetically perfect. Aarons glamourized the life around him and made his admirers yearn to be the subject of one of this photographs. His work lives on in media references, museum catalogs, pinterest boards, and nostalgia. These archives are proof that Slim Aarons’ legacy lives on today.

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Boots, Belts, & Bonnets

The Tradwife Look’s Fashionable Implications WRITTEN BY LILY REESE

ILLUSTRATED BY SYDNEY LACKEY

DESIGNER MEGAN LEE

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rye boots and flowy denim skirts. Deep-cut vests, leather belts, and airy blouses. These clothing items are infiltrating every corner of modern-day fashion culture. There’s a newfound enthusiasm for a frontier look on campus, off campus, and even on the runway. Perhaps we’re having our version of a Western Renaissance! But this goes beyond a simple nostalgic reference; it’s a bold assertion of how historical influences can be reimagined to craft striking contemporary styles. When diving into this trend, I must ask: Does fashion only change our closets, or does it also influence our societal values?

Designers are reimagining the essence of Western wear, seamlessly merging its raw charm with the polished allure of modern fashion. This intersection of the past and present creates a sophisticated yet playful wardrobe that resonates with today’s fashion-forward crowd.

There is a world where flowy skirts, vintage-inspired dresses, and rustic accessories become more than mere garments. They embody a celebration of domesticity, motherhood, and a romanticized vision of femininity. These clothes are reflective of the tradwives, short for traditional wives, pulling on values from the past. The re-emergence of this archetype consists of the Nuclear family—a straight couple with two kids who live in a house in the suburbs. But beneath the alluring fashionable surface of the tradwife lies a nuanced dialogue about gender roles and societal expectations. The lifestyle invites both admiration and critique, positioning fashion as a powerful medium for personal expression and cultural commentary.

As social media amplifies these ideals, a vibrant community emerges. This phenomenon not only shapes consumer culture but also challenges us to rethink what it means to embrace femininity today—balancing authenticity with the evolving definitions of womanhood, especially at a time when defining gender norms and finding individuality as a woman is said to be a fraught endeavor.

TikTok mothers, such as Hannah Neeleman of Ballerina Farms, Nara Smith, and Estee Williams are at the forefront of this trend. These women have become emblematic figures within the tradwife movement, each promoting a vision of femininity rooted in holistic wellness and vintageinspired aesthetics. While their fame is notarized by fashion companies like GQ, Vogue, and Elle, it’s crucial to scrutinize the underlying implications of their ideals, especially as their popularity wields significant influence over their audiences.

Neeleman focuses on nurturing and living for oneself, free of commercial goods. Although the lifestyle is seemingly empowering, it can inadvertently reinforce outdated gender roles that demand women to conform to traditional

expectations of homemaking. Often the tradwife mentality is fantasizing about a time that wasn’t necessarily ideal for all women. Many women, particularly in the 1950s and earlier, had limited access to education, voting rights, career opportunities, and legal protections. Promoting the traditional wife as a desirable role may inadvertently gloss over the very real struggles and limitations that many women faced… and still face today.

The relentless pursuit of a flawless domestic environment of the tradwife and all of their carefully styled outfits can also create a narrow definition of success—one that equates a woman’s worth with her ability to curate a picture-perfect home. This perspective is not just unrealistic, it’s damaging particularly for those striving to balance career ambitions and personal fulfillment.

Engaging with tradwife content sparks necessary conversations about the implications of the tradwife lifestyle.

There’s an urgent need for a more inclusive understanding of womanhood that honors and celebrates diverse experiences and aspirations, rather than confining them to a nostalgic, limiting narrative. Are we idealizing a past that confines women to outdated archetypes? Or, are we celebrating a multifaceted view of womanhood that embraces both tradition and modernity?

The resurgence of Western chic in fashion invites us to ponder whether this aesthetic is merely a nostalgic trend or a reflection of deeper cultural shifts. When trends like these begin to influence our daily lives and the ideals we embrace, it raises important questions. Are we choosing styles that echo a bygone era, potentially regressing to ideals that seem to set women back sixty years at a time when societal progress is under threat?

This revival of the West is not just about cowboy boots and denim. It’s emblematic of a larger conversation around femininity, identity, and autonomy. As this aesthetic takes center stage in the cultural zeitgeist, we must consider its implications on how we choose to live and express ourselves.

Are we donning these trends as a celebration of heritage and craftsmanship, or are we unwittingly conforming to a narrative that romanticizes a past where women’s roles were strictly defined?

The allure of Western chic serves as both an invitation and a warning. It beckons us to embrace a polished ideal. Yet we must tread carefully, ensuring that our choices empower us rather than constrain us. Ultimately, this moment in fashion challenges us to redefine what it means to embody elegance and strength in a modern context, striking a balance between nostalgia and progress.

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Spoiled Silks to Gorgeous Garments REIMAGINING NEW YORK FASHION WEEK

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here’s glitz, glamour, flashing lights, and photographers lining the street. There are coveted front row seats filled by your favorite A-lister. There’s also a tired uncertainty hovering in the air as New York Fashion Week draws to a close.

Whisperings seep in from corners of the internet, proclaiming fashion week in New York just isn’t what it used to be. God forbid, it might just be dead.

Cutting down the dramatics of online spectators, NYFW has not dispelled its last breath. Yet there’s a palpable desire for something else. The fashion communities’ relationship to U.S. consumers is changing and fashion week events strive to keep up with it. The constant oversaturation that comes with social media is exhausting both casual consumers and the fashion community alike. Even the most stunningly crafted collection can seem tired when wrung through the endless review and re-review online. And in times of economic and political uncertainty, the opulence of events that once seemed grand and celebratory in the minds of consumers sours into something wasteful. The salacious whispers of wealth turn ugly when the catwalks that cost thousands, for an industry that keeps producing record numbers of carbon emissions every year, takes place in the same city as the Climate Clock.

For some, this manifests in a blatant longing for an authentic celebration of creativity and community. This reflects in their showcases as many favor smaller, salon-style gatherings. The guest list is more intimately handpicked and filled with friends, inviting an atmosphere of energetic overlapping voices as opposed to staged shows. This season, American fashion designer Thom Browne chose a dinner party celebration cohosted with Oh, Mary! writer and star Cole Escola. Instead of watching a fashion show, the guests became the show as they donned pieces from Browne’s collection and were invited to add their own stylistic choices. As traditional shows threaten to become monotonous, mechanical, and corporate, the intimacy of these shows attempt to provide an interactive experience and an opportunity for the guests to make clothes authentically their own.

This desire to bring down the supernova of high fashion and breathe “real” life into clothes isn’t new, but closely echoes historical parallels. The debut of John Galliano’s 1994 Ready-toWear collection saw him broke and managing to pull just enough together for the show. It wasn’t just his beautiful designs that made this one of his breakout shows but the special way he displayed his shows. In the era of supermodels who lived exclusively to audiences in out-of-reach runways and editorial shoots Galliano

strived to strip them back for the showcase. As Galliano says, “You were able to see them walking past you, and you could hear the rustle of the silks and taffetas and smell the scent of gin on their breath.” This display on the runway came during the peak of mainstream grunge and anti-fashion becoming fashionable due to public anti-establishment sentiments. In the unrest and rejection of fashion, the clothes connected with audiences through Galliano’s pursuit of his own authenticity.

To audiences NYFW has in-part, collapsed in on itself due to its over-emphasis on the spectacle of the event. In “When Clothes Become Fashion: Design and Innovation Systems,” Ingrid Loschek discusses the similar idea of how clothing isn’t purely fashionable by being clothing. Sending clothes down a high fashion runway doesn’t necessarily make it fashionable.

Fashion is created when the clothes exist as a vessel to translate something else. But clothing becoming aesthetically profound doesn’t happen only because it exists in the realm of fashion.

Designer Iris Van Herpen garnered massive praise for the intricate structure and aesthetic beauty of her garments—design structures which have been inspired by her love of architecture.

This proves fashion becomes fashionable as it’s transformed into a vessel. The garments act as communicators of falling in love, anti-establishment sentiments, ravaging of nature, desire of gluttony in a time of scarcity, or intense grief.

However, this formula of authentic communication seems to still strike a chord with audiences. This year, the buzz surrounding emerging designer Willy Chavarria’s collection didn’t surround what type of showcase he chose but the garments themselves.

The collection entitled “América” featured classic tailoring often attributed to the likes of Ralph Lauren, but inspired not by the elite, rather everyday laborers. Chavarria, self-described as the chicano Ralph Lauren, uses his collection to translate the juxtaposition of high fashion and elements of free political and queer expression. His world-building featured a blend of high fashion elements with specific styles of hats and socks actually worn by laborers. His clothing becomes vessels of his inspirations such as subversions of traditional masculinity, patriotism, and chicano subcultures. The public connection and praise came as people saw authentic displays reflected in the clothing. There is a desire for an authentic connection and designers strive to reach it.

WRITTEN BY CORA CALLAHAN ILLUSTRATED BY WALLIE BUTLER DESIGNER AVA WISDOM ALIGN 103

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arol Clover coined the term “final girl” in her 1987 essay “Her body, Himself: Gender in the Slasher film.” If the new frontier involves breaking cliches or defining them by “digging deep” looking into microscopic, overlooked details, then this is the perfect opportunity to dissect and dismantle one of the greatest

slasher cliches of all time— the last girl standing. With a seemingly feminist front that the “final girl” presents, it’s easy to overlook the deep-rooted misogyny that’s still present in the horror film through this trope. We’re breaching the frontier by closely examining how glorification of the “masculine” final woman— whether it is in dress, attitude,

or a combination of both these things—enables her to outlive more outwardly feminine friends and peers.

Clover provides insight that explains that horror moviegoers were predominantly male at the time it was written. Because of this viewership demographic, trends in attitudes towards

[With a seemingly feminist front that the “final girl” presents, it’s easy to overlook the deep-rooted misogyny that is still present in the horror film through this trope.]

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[The murders of more typical stereotypes of ‘girly girls’ are celebrated because it is a character that male viewers are unable to empathize with.]

films typically rooted for the male killer that hunted victims.

The murders of more typical stereotypes of ‘girly girls’ are celebrated because it’s a character that male viewers are unable to empathize with.

It isn’t until the final moments of the movie where the final girl arises, who is typically “different” from her peers socially, we witness a shift in attitudes in viewers. When the final girl participates in the final battle with the antagonist and defeats them typically with a phallic type of penetration, the once masculine killer is metaphorically emasculated by the final girl.

One of the differences between the final girl and her peers that is repeatedly depicted in the horror film is the heroization and idealization of the typically virgin final girl and then conversely the villainization of her non-virgin friends or contemporaries.

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While straying from the umbrella of femininity that I previously established, it’s also relevant to discuss the villainization of sexually active attractive women and their slaughters. In fact, it’s pertinent to the political climate we find ourselves in now that rewards the virgin or abstinent women but strips bodily autonomy from women who choose to be sexually active. Its specific examples as the one I just explained—that while always present in our world, when showcased in film to impressionable audiences, boundaries between the screen and its viewers begin to fade, making real life horrors just as hard for others to acknowledge as actual horror.

[the political climate we find ourselves in now rewards the virgin or abstinent women but strips bodily autonomy from women who choose to be sexually active.]

While upfront the trope is pretty badass, why can’t the most feminine character be the last girl? Why must she die?

And why is her death cheered for? These manifestations of denunciation of feminine characters through brutal murders could continue to enforce the idea that femininity is equated to weakness—that

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to be able to conquer and defeat adversity there must be a shedding of feminine traits and presentations. I’m well aware femininity goes beyond wardrobe, hair, and makeup. My grievances lie in a rejection of the attitudes that are attributed to being more “feminine.” I would find it refreshing to witness a character decked out in pinks, a little aloof, a lover of movie stars, and top of the pop hits—the most archaic notion of what an overtly feminine caricature would be—survive until the end of the horror film.

This slope feels slippery as what I aim to highlight is not a reinforcement of stereotypes.

Instead I suggest that “bimbo” like feminine stereotypes can also flourish in the horror genre. The murder of the “bimbo,” or sexually naive character, is unwarranted and furthermore her mockery. The death of this type of femininity

[denunciation of feminine characters through brutal murders could continue to enforce the idea that femininity is equated to weakness . . . ]

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on screen hemorrhages into our lives and cultures.

It becomes a multimodal forsaking of anyone who strongly aligns themselves to femininity and creates a real life terror that rejects femininity in the cruelest of ways with little to no remorse, sympathy, or empathy.

I’m in favor of a new horror heroine archetype. It’s time to introduce something different from typical final girl depictions and directing.

I’d personally like to see a portrayal of a strong and resilient type of femininity in horror that’s multidimensional.

Life imitates art. I’m hopeful that a new portrayal of femininity in film will bleed itself into functioning society, chipping away at demoralizing opinions regarding overt femininity and what it stands for.

[ . . . that to be able to conquer and defeat adversity there must be a shedding of feminine traits and presentations.]

WRITTEN BY JULIE SAIVE ART DIRECTOR EVA FREZZA PHOTOGRAPHED BY LUCY RUPPERT MODELS LELA AKIYAMA, TAYLOR JONES & PIA SPRAGUE DESIGNER RYAN EHRHART

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