WalterGropiuswasaGerman-American architect born in the late 1800's. One of his most impactful accomplishments was founding Bauhaus, a design school in Germany, and he is known as one of the greatestarchitectsofthe20thcentury.He chose to relocate his family from their previousLondonflattoLincoln,MA,after accepting a position at the Harvard Graduate School of Design. With a loan from Helen Storrow, of Storrow Dr., Gropius moved with his wife and only daughter to Storrow’s old apple orchard. Within8months,in1938,GropiusHouse wasbuilt.
Stepping into the house and through theofficeisthepinnacleoftheestate,the living room. This might be more of an opinion rather than a fact, but the living space was filled with unique German furniture and built-in features like an integrated record player and custom shelves. The most unique aspect of the house is that each room was built around hisfurniturecollectionwithintentionality andspatialreasoning.Intheoffice(shown on the right page) is his workspace desk spanningtheentirelengthofthewalltoa privateentrydoorandawindowprecisely abovethedesk’sbackboard.
Gropius’ office and dining room are adjacent to each other and this is highly purposeful.TheGropiusHouse comes to its glory at night and as the office’s spotlight shines through the glass brick wall, intricatedisplaysoflightreflect intothediningroom. Thisand hisscreenedinporchwasused especially when Gropius was hosting.
The tables and countertops used in the dining room and maid’s galley kitchen were made out of Kevlar, a highly indestructible material also making for a modern feel. Oppositetotheglassbrickwall is (almost) floor to ceiling windows. Though having been a city resident during his life before Lincoln, MA, Gropius appreciated the newfound countrysideviews
What isn’t pictured, is the previously mentioned maid’s galley kitchen where design was not nearly as prioritized considering it was not used as a common space. However, Gropius used the leverage of his architectural fame to get General Electric to gift him majorkitchenappliancesusing hishomeasanadvertisement. Additionally,thereisonesmall powder room and an area for storingcoatsandshoes.
ThoughbringinghisGerman modern influence to Lincoln, Gropius wanted to incorporate elements that were native to New England. One of these features are clapboard wood wall panels that line the entry of the home. Considering the structue, the entire framing is woodenaswell.
FURNITURE + ART HIGHLIGHT FURNITURE + ART HIGHLIGHT
Painted By: Bayer, Herbert 1954, Motencito, CA, USA
Designed By: Wilhelm Wagenfeld 1924, Germany
Curved Stools
“Stable Tools”
Table Lamp
Isokon
Bookcase
Curved Stools Designed By: Marcel Breuer 1928, Germany
Gropius House was intended to be a forever home where Walter, his wife, Ilse, and their daughter,Ati,would live. It is not knownwhether Gropius anticipated his house would become revolutionary, but since its construction, it has continued to be a hub of creativity and community.
Throughout his years as a Harvard professor, Gropius would often host his students for beginningandend-of-semestercelebrations.
During this time, he would often demonstrate different Bauhaus techniques and principles within his home to students, in place as a handsonlab.
FamilywasalsoofhugeimportancetoGropius. As one will see walking through the house, rooms and features were dedicated to his wife and daughter. Ati only lived in Gropius House from age eleven to seventeen when she went to college, yet she had an equivalently large room to the master bedroom and had the privelage of access toherownprivatebalcony.
The Second Floor
A More Intimate Level
Movingtothemasterbedroom,Gropiusdisplays his love not only for detailed architectural design but for his wife. The room is partitioned into two sections: the bed, and the vanity. One can infer that Gropius liked to watch his wife get ready from the bedside in a space literallymade just for her.
The master bedroom is full of his version of worldwidesouvenirs.Mostnotableisthewoolrug hung above their bed, made in Samawa, Iraq, giftedbyfamilyfriends.
Just off the vanity area, the couple has their private on-suite. It seems Gropius had a more simplified approach to bathroom design, but was suretoincludesignaturepopsofcolor.
*Note: Gropius used chrome dipped bulbs around the house to ensure light was not direct.
Across the hall is Gropius’ daughter Ati’s room. At first, Ati was reluctant to move from London to Lincoln.Butwithpromisesofherroomlookingthewayitdoespairedwithcustom1of1furniture,even attwelve,Atiknewthemovecouldn’tbethatbad.Ati’sroomisalsosplitintotwohalves,similarlytothe master, where in one portion is her bed and vanity, and the other is her daybed, desk, and built-in shelves. In current times, touringthe Gropius home,Ati’s bookillustrations are on display, as thiswould becomeherfull-timecareerinthemid
1940's. Though, as previously stated, she moved out of the house to college at seventeen, the room remained the same. To the right of the Gropius-designed desk is the doorway to Ati’s private balcony, as pictured below, which can lead to the frontcourtyardbywayofaspiralstaircase.
What isn’t pictured is a generously sized guest bedroom, an additional small bathroom, and an alcove workshopnearthestairs.
.Ilse Gropius, until she died in 1983, lived and tended to Gropius House. She hadpassedonthehousetoHistoricNew England to become what it is now, a museum of Gropius’ architectural legacy.
WrittenBy:NataliaMatos
PhotosBy:NataliaMatos&HistoricNewEngland
LIFE IS BETTER IN BURGUNDY COLOR OF THE SEASON
When in doubt, go burgundy!
Take a cue from fall and winter’s classiest trend by wearing and styling burgundy for an infallible, sophisticated- chic look.
WrittenBy:GarsonLeis
TheRealityBehindtheRoutine
There’s a version of getting ready that we’ve all been taught to expect.It’sclean,minimal,andperfectlylit—everyproduct
the counter instead of being lined up neatly. Jewelry sitting where it was taken off the night before,mixedinwitheverythingelse.It’sacombinationofhigh-endanddrugstore,everyday
We’re used to seeing the transformation—the before and after, the finished look, the polished versionofsomeonesteppingoutthedoor.Butthemiddle,thein-between,whereeverythingis
actuallyhappeningisalmostalwaysleftout.That’swhereroutinesstoplookinglikeroutinesand startlookinglikereallife.It’stherushedmornings,thelatenights,themomentswhereyou’re halfway through getting ready and rethinking everything, grabbing whatever works, skipping steps,andgoingback,figuringitoutasyougo.
Sometimes it looks like doing your makeup while thinking about everything else you have to do that day. And none of that makes it any less valid. If anything, it makesitmore
real, because it’s not staged or curated—it’s just you showingupforyourselfinwhateverwayyoucan.
And when you really look at it, it’s never just about theproducts.
At first glance, it’s just a sink, just a routine, just a collection of thingsyouuseeveryday.Buteveryitemhasapurposeinaway
way that’s personal, not performative. The lip gloss you reach for withoutthinking.Thecurlingironthatsaveseverybadhairday.
Thejewelryyouputonwhenyouwanttofeellikeyourselfagain.It’snot about having the “right” products or the most aesthetic setup—it’s about thesmall,consistentchoicesthatbecomepartofhowyoushowup.
Because it shows the in-between. The effort. The reality of it all. It shows that routines aren’t alwaysslow,calm,orperfectlyexecuted.Sometimesthey’rerushed,sometimesthey’rechaotic, sometimesthey’rejustenoughtogetyououtthedoorfeelingalittlemorelikeyourselfthan youdidbefore.
Andmaybethat’salltheywereeversupposedtobe.
Not a performance. Not a perfectly styled moment. Just something real, something lived-in, somethingyours.
How has neutrality become the uniform of ambition?
The Tehuana dress was never designed to disappear. Its dense embroidery, lace framing, and full skirt occupies space, rather than apologizes for it. The Tehuana was not created to blend in or camouflage. Emerging from the Isthmus of Tehuantepec in Oaxaca, within a society historically associated with strong female presence and matriarchal structures, the dress had more than aesthetic value. It carried territory and autonomy. In Mexico, clothing was never purely decorative; it was a declaration of identity.
Long before globalization flattened silhouettes into something easier to export, Mexico’s style of dress reflected its internal conflicts. Under Porfirio Díaz, in the late nineteenth century, the elite adopted European tailoring to signal progress and alignment with France. To look modern was to look European. After the Revolution, the narrative shifted inward. Indigenous dress was re-contextualized as national pride. Clothing became political language.
The Tehuana, in particular, became emblematic of a Mexico that refused invisibility. It did not whisper belonging; it asserted it. Later, figures like Frida Kahlo would adopt it, transforming regional dress into a visual manifesto. What began as territory became a symbol.
When identity moves through global environments, it changes form. Mexico abroad often arrives as condensed, saturated colors, floral embroidery, and folkloric silhouettes. The commercialization of Frida Kahlo is evident in the infinite reproduction on tote bags and various other merchandise.
Does globalization erase cultural identity,
or is it merely streamlined?
Mexico has never been solely decorative. Even in moments of institutional rigidity, there is resistance. While political power often dressed itself in dark suits and restrained tailoring, Mexican culture answered differently.
In the 1980s, as Mexico navigated through economic instability and natural disasters, Juan Gabriel appeared on stage in sequins and silk. His clothing shimmered while institutions remained muted. In a society that associated authority with balance, he chose visual excess. It was performance, certainly, but also disruption. His image refused containment. While the political suit signaled control, his wardrobe signaled vulnerability and flamboyance. Both were Mexican. Only one fit comfortably within traditional power.
Professionalism, in its contemporary code, often rewards discretion over spectacle.
Today, the dominant aesthetic of global professionalism leans toward neutrality. The professional modern uniform is international. Corporate environments across cities all around the world, including Mexico City, favor minimalism, efficiency and controlled silhouettes. The uniform does not declare its origin too loudly. To be legible within global systems is to be measured.
The Tehuana occupied space unapologetically while Juan Gabriel amplifying flamboyance. The contemporary global suit, by contrast, is engineered for discretion. It smooths difference. It minimizes friction. In a world where mobility is money, neutrality becomes strategy.
Juan Gabriel
Tonas Wood Watches
What is lost through adaptation?
Has Mexico become gray? Not entirely. Across contemporary Mexican design, there are efforts to resist reduction without exaggeration. Some brands attempt to engage heritage not as costume, but as narrative. Projects like Yakampot and Tonas Wood Watches suggest that insertion, rather than imitation, is possible.
Identity survives in quieter decisions: in language left untranslated, in unshortened names, in unedited memories. The point is not to replace one “uniform” with another.
Mexico has always negotiated between visibility and aspiration, between external validation and affirmation from its own people. The Tehuana was never meant to be integrated into a global boardroom. Juan Gabriel was never meant to settle for what the mainstream dictated. The suit was never meant to declare origin. Each one belongs to a different logic of power.
The difference between them is not material, but mindset. The risk isn’t that Mexico can or cannot adapt, because it has. The risk is that Mexico grows comfortable being streamlined. The complexity becomes costume. The history becomes print.
The Tehuana has not disappeared. Juan Gabriel has not faded into neutrality. The global suit has not emerged without context. All three are chapters on how a nation sees itself and how it is seen by others.
Mexico was never a singular silhouette, and it never will be.
Born in the gritty surf-andskate scene of 1970s Venice, California, changed both how skateboarding was ridden and how skaters dressed. It wasn’t just a location; it was a brand andanattitude.
The movement centered around the legendary Zephyr CompetitionTeam,AKAthe Z-Boys, including icons like Tony Alva, Jay Adams, andStacyPeralta.
Empty swimming pools became playgrounds where Dogtown skaters rode up walls and launched aerial tricks, pushing skateboarding into a rebellious, intense competition. This evolution directly influenced today’s skate parks and vert competitions while turning their worn , sun-faded clothingintoastreetwearstatement.
The Z-Boys brought surf styletoconcrete,turning emptybackyardpoolsinto revolutionary terrain for the emergingvertskating scene.
DOGTOWN
helped shape what we now call streetwear.
No polish, just grit. Graphic tees, cutoff Dickies, tube socks, scuffed Vans, sun-bleached hair, your board and asphalt.
Street style before anyone called it street wear.
Style was functional, rooted in subculture and rebellion; raw authenticity being the backbone of modern streetwear
Dogtown’s legacy still runs deep. Modern skateboarding tricks and park designs carry its mark. Skate brands fuse art and rebellion into their designs. Streetwear thrives on the authenticity Dogtown made essential.
Dogtown decks were rough, bold, and carried in-your-face art that fed punk fashion.
Later inspiring brands like Stüssy, Thrasher, and Supreme.
Skateboarding became dangerous, stylish, and culturally powerful. Turning street style into a global movement. Dogtown didn’t just rideconcrete,itcarvedculture.
A travel nail tech business is unique because it offers mobility, flexibility, and personalized services that salons don’t offer. By bringing nail care directly to clients, whether at home, work, or events, it provides greater accessibility for busy lifestyles and creates more opportunities and freedom. Thus, making it easier to build a loyal clientele through different communities
In terms of impact on the fashion industry, travel nail techs help show how nail trends influence consumers. Their presence is seen at fashion events, pop-ups, businesses, corporations and many more jobs. Social media platforms make nail art more visible and influential and show personal style. Mobile nail techs contribute to the democratization of beauty, making high end nail fashion more accessible and go into everyday fashion culture
WrittenBy:AngelicaMejiaMarinez
PhotosBy:AngelicaMejiaMarinez
The The Modern Modern Wedding Wedding
Written By: Karina
By
Matos
: Karina Matos
The earliest wedding I remember attending I was at least 10 years old, proudly acting as a flower girl chucking handfuls of white petals. Since my first wedding role, I have also been guest, bridesmaid, and maid of honor to a myriad of marriage ceremonies. Above all, it is incredibly special that we still perform this tradition across cultures and generations, regardless of the many ways the tradition has evolved. As time and technology have progressed, the wedding has become a product of its time and has created an entire industry around its fruition. Here are some observations of this modernity and its influence, from a lady who’s seen many a wedding.
With a major preface, that at the end of the day, your wedding is YOUR wedding. You can literally do whatever you want.
PHOTOS OF ALL KINDS
While the QR code is rumored to be falling out of fashion, it has had a thriving career being a major staple for wedding guest photographers. If you’ve also attended a wedding within the last few years, you may have seen a sign with something like “We don’t want to miss a moment! Upload any photos you take of our wedding to our website by scanning this QR code here.”
A thoughtful idea, although I will say it felt like a criminal act one wedding when I saw an ugly candid of my side profile pop up on the DJ booth screen as it flipped through uploaded photos. At another wedding I attended, the couple cleverly created an Instagram account and had guests either upload to or tag the account.
Film cameras are making their way out (according to Pinterest) and multiple digital cameras are now the new hot choice for guests to capture moments of the night. I’ve been to one with lots of disposable cameras, but the key is to remember to pass them out and pass them out to people who are outgoing enough to use them.
Instax Polaroids are also cute, although their very small size and finicky flash can prove to be a bit of a challenge when trying to capture lasting memories.
Digital Cameras
Photobooths have not budged as true wedding staples, despite becoming far less traditional. Gone are the actual booths, and now people are gravitating towards open backdrops and devices that create photobooth strips, without relying on the classic machine. I think there’s a sweet ambiance that a regular ole photobooth provides, but when it comes to cost, the machine rental and digital upload available with modern devices is clearly more persuading.
The main shots for the couple and the wedding party can sometimes become a major time pitfall for the couple of the hour. Ultimately, if the photos are a priority to the couple, then that’s totally their right to live their photoshoot dreams. But if the goal is to enjoy the party, then I think it’s worth keeping the big production for the engagement shoot and sticking to essential shots for the actual wedding day.
Photo By: Matthew Moloney
LET THEM EAT CAKE, OR CUPCAKES, OR SOMETHING SWEET
Gone are the fancy cakes of old with many layers, piping loops, and little married figures balanced at the top. Or at least, they’re not a given at every party. As the wedding industry booms and things have increased in cost, it’s not a huge surprise that lots of couples are willing to cut the cake. For the weddings that still let couples have their cake and eat it too (sorry I’ll stop with the cake phrases), usually they have a small real cake or partially real cake for the moment and then pass out some other cake for dessert. Or they go for another type of dessert. I went to one with a peach cobbler and another with ice cream sandwiches with freshbaked cookies. Personally, as someone with a major sweet tooth I don’t care what the actual sweet is so long as there is one.
PhotosBy:MatthewMoloney,GarsonLeis,&thomasjpg
SUBVERTING EXPECTATIONS, BECAUSE WHY NOT
I’m sure the first Western wedding that ever took place outside of a church probably caused a major scandal. As Western society has become less religiously monocentric, weddings have continued to push the bounds of orthodox faith subverting more “traditional” elements.
One summer, I attended two weddings that had an all-black, formal attire requirement. I respect any wedding bold enough to hone in on an aesthetic; the visual was undeniably striking.
Another wedding I went to, the couple was vegan and decided to have all their wedding food be vegan as well. For some people this might seem obvious, for other people this might seem absurd. Personally, if the food is tasty then that’s all I care about.
I have also been to weddings with taco trucks, soda bars, and coffee carts. I have been to weddings with and without dancing (I prefer dancing), with and without kids (depends on the kids), not to mention with and without alcohol (depends on the adults).
Melissa Wilson Photography
PhotosBy:GarsonLeis &AlexandraKateCreative
AlexandraKate Creative
In the end, none of the particulars will matter. What matters most is the reminder that this couple will be loved and supported by the people that show up for them. I have my moments of bitterness and skepticism. Even as an experienced wedding goer, or maybe because I am an experienced wedding goer, sometimes I find myself questioning if this is worth the stress and the money.
But if I am invited, I almost always go.
After all, out of bearing witness to this tradition, I understand how it survived the course of time. It is an occasion marked with hope and with connection. An opportunity to celebrate and experience being part of the community that loves the couple you’re celebrating. No matter how many aspects of weddings change as time marches on, those are the elements that will carry the tradition on through whatever the future may be.
Melissa Wilson Photography
ido! i do !
By:
Written
KarinaMatos
PhotoBy:MatthewMoloney
UneSoirée
Clubs Clubs
WrittenBy:GarsonLeis
PhotosBy:GarsonLeis
The Aritzia Effect
TheRiseofElevatedBasicsand
Walk through any city right now, Boston especially, and you’llstarttonoticeitwithouteventrying.Theoutfitsaren’t loud, they’re not overly styled, and they definitely aren’t random.Instead,theyfeelintentional.Clean.Puttogetherin awaythatlookseffortlessbutneveraccidental.It’sthesame formula showing up over and over again: tailored trousers, neutraltops,longcoats,matchingsets.Andatthecenterofit allisAritzia.
Aritzia hasn’t just become popular, it’s become a blueprint. Over the past few years, the brand has completely tapped into what people want their everyday style to feel like. Not overdone,notchaotic,butelevated.Andthatshiftspeaksto somethingbiggerhappeninginfashionrightnow:theriseof elevatedbasics.
Basics used to mean boring. A plain tee, a pair of sweats, something you wore when you didn’t care. Now, the basics are the outfit. But the difference is in how they’re designed and how they’re styled. A simple tank isn’t just a tank anymore—it’s structured, fitted in the right places, and pairedwithtrousersthatinstantlymakeitfeelintentional.A sweatsuit isn’t just for staying in, it’s monochrome, coordinated,andstyledwithacoatthatmakesitlooklikea fulllook.
This is where Aritzia thrives. The brand has mastered the idea that less can actually say more, if it’s done right. Their pieces aren’t about standing out individually; they’re about workingtogethertocreateacohesive,polishedlook.You’re not buying one statement piece, you’re building a uniform. Andrightnow,thatuniformisexactlywhatpeoplewant.
Part of this shift comes from how we live now. Everything is visual. Whether it’s Instagram, TikTok, or just walking into a room, there’s this constant awareness of how we’re being perceived.Peopledon’twanttolooklikethey’retryingtoohard, but they also don’t want to look like they didn’t try at all. Elevatedbasicssitperfectlyinthatmiddlespace.Theygivethe impressionofeffortwithoutthechaosoftrends.
There’salsoalevelofcontrolthatcomeswithdressingthisway. Neutral tones, clean lines, repeatable outfits, it creates consistency.Andinaworldwheretrendsmovefasterthanever, that consistency feels grounding. Instead of chasing every micro-trend, people are investing in pieces they can wear on repeatandstillfeelcurrent.
But what’s interesting is that while this look is built on simplicity, it’s not accidental. The “effortless” aesthetic is actuallyverycalculated.Thefitofthepantsmatters.Theexact shadeoftheneutralmatters.Thelayeringmatters.It’sminimal, but it’s precise. And that precision is what separates elevated basicsfromjustbasicbasics.
Aritziaunderstandsthisbetterthanalmostanybrandrightnow. It sits in that perfect space between accessible and aspirational. It’s not luxury, but it gives you the feeling of dressing like it is. Andthat’swhatpeoplearereallybuying,thefeelingoflooking put together, expensive, and current without needing to overcomplicateit.
Atthesametime,thisriseinelevatedbasicsbringsupabigger question: if everyone is dressing in the same neutral, polished way,whathappenstopersonalstyle?Wheneveryoutfitfollows the same formula, individuality can start to blur. But maybe that’snotthepointanymore.Maybethegoalisn’ttostandoutin a loud way, but to stand out through subtlety, through fit, throughstyling,throughthewayeverythingcomestogether.
Kanye West, Veneda Carter is an underdog pioneer in the fashion industry. She was first a model, moving from Copenhagen to New York, and transitioned to her career in styling.
about colors, proportions, tailoring”.
Currently, Carter has her own brand, selftitled, where she specializes in innovative jewelry pieces and has recently branched into clothing and other accessories.
WrittenBy:NataliaMatos PhotosSourced
Instagram
Waku Waku Ramen x Sake
Highly recommend the Signature Ramen pared with the sparkling peach sake + gyoza (if you’re really hungry). 强
Golden Gate Seafood
Go-to late night Chinese food spot. I got introduced to Golden Gate one night at 3am and have been hooked ever since.
这是我最常去的深夜中餐馆。有 天凌晨 三点，我第 次去了⾦⻔餐厅，从此就爱 上了它。
MonkeyChickenWings-猴⼦鸡翅
Shojo
Any dish you get will be delicious, but the wings are top tier. Pictured is the mai-tai; be prepared for its strength!
这⾥的每道菜都很美味，但
Bubble Waffle Lady
After some tasty food, the perfect treat is a bubble waffle. Tucked in the corner of a mini food court, you’ll find the Bubble Waffle Lady.
A Guide To Boston’s Chinatown
Chinatown’s best offerings from food & drinks to beauty and health care, fabrics + more!
唐⼈街的精彩之处尽在于此，从美⻝饮品到美容 保健、纺织品等等，应有尽有！
Van’s Fabrics
The most unique fabrics you will find around! Amazing quality and great prices.
Visit a doctor who specializes in Chinese medicine and receive a prescription for herbal tea or supplements tailored to your needs.
Tao’s
The ultimate shop for Asian beauty goods especially Korean products. Tao’s also carries lifestyle items and home goods. Tao's 是购买亚
Jin Min Massage Therapy
Body aches and pains? Jin Min has got you covered. I recommend the cupping therapy; it promotes blood circulation!
Nam Bac Hong Chinese Herbs
Chinatowninthe70's
MAKEITYOURS with Seljan 2026
Fashion in 2026 is all about individuality. From hand-stitched details to made-to- order silhouettes, consumers are turning toward personalized and handmade pieces that tell their story. Among these creative movements, knit and crochet stand out —blendingcomfort,craftsmanship,and self-expression.
Fashion trends today are shifting from fast fashion to slow, handmade creations.
MyProject
Knitting and crochet focus on craftsmanship and personal expression,valuingtime,skill, and uniqueness. This shift also aligns with the rise of thrifting culture, where consumers seek one-of-akind, sustainable pieces instead of mass-produced items. Whether you are making your own piece or designing for a brand, personalized garments stand outthemost.
Forthisproject,Icreatedahand-crocheted two-piece set using soft beige cotton yarn. I wanted something minimal yet textured , comfortable for daily wear but detailed enough to feel special. I began with a quick sketch planning the proportions and shape before starting the first stitches, just like I suggested inmynotesaboutdesigningwithintention.The cottonfibergavetheoutfitalightstructureand breathable finish, perfect for transitional weather.
The final result is a cropped top with a subtle scalloped hem and matching highwaisted shorts with hand-stitched details. I paired it with black boots to contrast the neutraltone—keepingthelookmodernand bold. This set reflects exactly what I love about crochet: the ability to turn a simple idea into a personal statement piece, designedandmadebyhand,uniquelymine.
My Favorites
TopFibersForAutumnandWinter
My favorite fiber to use during the autumn and winter seasons is wool. I espeically love working with merino wool andmohair;bothfeelluxuriousandperformbeautiullyincold weather. Merino wool is soft, smooth and naturally warm, while mohair adds a light, fuzzy texture that catches the light wonderfully.Whenyouknitwiththesefibers,theresultlooks asrefinedassomethingstorebought,yetitisuniquelyyours, designed by you, for you. I love how much mohair reflects sunlight,givingeverystitchasoftglowthatmakeshandmade piecesfeelbothcozyandelegant.
HowBrandsareAffectedbyThisTrend
Luxurybrandshavealso embracedtheriseofknitand crochet aesthetics. Miu Miu incorporates handmade inspired details such as knit and crochet charms. By adding these playful, curated elements to luxury bags the brand blends high fashion withasenseofnostalgiaand individuality.Thisshowshow handmade techniques are influencing luxury fashion, making pieces feel more personal, expressive and unique rather than purely polishedormassproduced.
MIUMIU
MyFavoriteCreator
Loupy Studio is one of my favorite creators because she mainly focuses on knitting and creates incredibly detailed and intricate designs. I love how she uses bold colorwork and striped patterns to turn knitwear into statement pieces. Her designs feel playful yet thoughtfully constructed, showing how knitting can be both artistic and fashion forward. Her work inspires me to experiment more with color,textureandstructureinmyownhandmadedesigns.
LOUPYSTUDIOS (EVVIA)
WHERECANYOUSTART?
Pick your inspiration: use Pinterest or runway knitwear for reference. Choose your fiber palette: select sustainable or luxury yarns based on your style.
Sketch or plan your pattern: visualize silhouettes, colors, and textures. Start small: begin with an accessory, such as a scarf, bag, or hat. Document the process: photograph swatches, write notes, and share on your blog or portfolio.
Choose your fiber story
Startbyasking: WhatdoIwantthispiecetoexpress?
Sustainability:Tryhemp,bamboo, orrecycledblends.
Luxury:Goforsilk,cashmere,or mohair.
EverydaySoftness:Usecottonor merinowool.
Your yarn choice defines the mood of the piece: eco, elegant, orplayful.Treatitasadesigner wouldtreatfabricselectionina coutureatelier.
Boston isn’t just what you see—it’s what you stumble into. The back
alleys of Back Bay feel hidden and raw, all brick and quiet movement; the side of the city that isn’t polished. And then it shifts. You turn a corner, and everything softens: gardens in full bloom, light, calm, almost unreal. It’s that contrast that stays with you; the in-between version of Boston you only notice when you slow down.
WrittenBy:MollyTapper
PhotosBy:MollyTapper
Designed for Discomfort
By: Madison Chambless
There is something unsettling about watchingastoryunravelthroughclothing.
Before anything is said, before you even understand who belongs to whom, you can feel it in your stomach. Something is off. In Emerald Fennell’s 2026 adaptation of Wuthering Heights, the costumes do not behave the way period clothing is supposed to. They are sharper, heavier, and more deliberate. Nothing blends in. Nothing feels easy.
It does not feel like you are watching a period drama, something historical. It feels like you are watching emotion, too much of it,allatonce.
And that is exactly why people cannot agree onit.
Before getting into the clothes, you have to understandthestory.
Wuthering Heights is often called a love story, but that label is misleading. It is a story about obsession, control, class, and the kind of emotional intensity that does not stay contained. It spreads, ruining anything and anyone that comes into the same environmentasit.
Catherine Earnshaw grows up wild and restlessatWutheringHeights,aremoteestate situated on the stormy Yorkshire moors of NorthernEngland.Sheistiedtothelandand to Heathcliff, a boy taken into her family but never fully accepted. Their connection is immediate and intense, but it is not stable or healthy. It feels less like love and more like something the two cannot separate themselvesfrom.
As they grow older, Catherine chooses to marry Edgar Linton, who represents everything Heathcliff does not: stability, wealth, and structure. It should bring her security. Instead, it splits her in two. Heathcliff leaves, then returns with money and power, but nothing about his return brings resolution. It only deepens what was alreadybroken.
And it does not stay between Catherine and Heathcliff.
Isabella, Edgar Linton’s sister, is drawn into Heathcliff’s world and quickly realizes she misunderstood it completely. Nelly, Catherine’s caretaker and moral observer, watches everything unfold, unable to stop the damage as it spreads from one person to the next.
No one is safe from it. And no one comes out unchanged.
There is nothing soft about Catherine and Heathcliff. They do not build something together. They wither each other to shreds. What they share is rooted in obsession, pride, and control, and it affects everyone around them.
Catherine tries to reshape herself into someone who fits into Edgar’s world, but it never sits right.Themoresheforcesherselfintothatrole, the more unstable she becomes. There is a constant tension between who she is and who sheistryingtobe.
Heathcliff’s return is not about love in any gentle sense. It is about power. He does not just come back. He takes control, often in ways that are cold and deliberate. His relationships are not about connection. They are about possession.
Their dynamic does not create anything. It consumes everything around it.ou can feel it watchingthem.Itisheavy.Itstayswithyou.
Andthatisexactlywhatthecostumescapture.
When people first saw the looks from this film, a lot of the reaction focused on how inaccurate theyare.Andthatistrue.Theshapes,thefabrics, and the styling do not match what you would expectfromatraditionalperiodfilm.
The glossy fabrics, the oversized silhouettes, and the heavy jewelry are not accidental. They are meant to standoutandfeelslightlyoff.Ifeverythinglookedperfectlyaccurate,itwouldmakethestoryfeeldistant, likesomethingsafelyinthepast.Instead,theclotheskeepyouinit.Theymakeeverythingfeelcloserand hardertoignore.
You can see that in how each character is dressed. Catherine’s looks become more structured and controlled as she tries to fit into a life that does not suit her. Heathcliff’s clothing shows his rise in status but never fully settles into it, which reflects how he never truly belongs. Isabella’s dresses push softness andfemininitytothepointwhereitfeelsfragile,likeitcouldfallapartatanymoment.
Noneofitissubtle,andthatisthepoint.
The costumes are not there to disappear into the story. They are there to show you exactly what is happeningunderneathit.
The night Catherine prepares to consummate her marriage, she wears a high gloss, almost plastic looking dress that makes her look less human and more like something carefully presented. It should be her most perfect, romantic moment in her relationship with Edgar. Instead, it feels unsettling. It is too polished and too controlled. Itdoesnotmovewithher.Itholdsherinplace.
She does not look like herself. She looks like a gift being presented to her husband, Edgar. And that is what makes it uncomfortable to watch.
At that time, weddings were tied to ideas of purity, value, and being proper. Women were expectedtoarriveuntouched,somethingtobe admired and claimed. This dress does not romanticizethatidea.Instead,itexposesit.
She looks like something being given away, something to be unwrapped. It is beautiful, but it does not feel personal to her. It feels controlled.
As she moves into the Linton household, that feeling only gets stronger. In one scene, she sits at a dinner table surrounded by pearls and delicate details, wearing tiny red sunglasses that feel almost ridiculous. It should feel elegant, but it feels staged, like sheispartofthedecoration.
In another scene, she wears a dark, glossy dress that reflects the light like glass. It is stiff and controlled, shaping her into something sharp and distant. She looks powerful, but alsocompletelycontained.
Even in quieter moments, like when she sits by the window in a red corset, the tension is still there. The color is too intense to be soft. The structure pulls her body inward. She looks like she is waiting for something she willneverbeabletoreach.
Nothing about Catherine’s wardrobe ever relaxes,muchlikeherself.
Isabella’s wardrobe reflects something else entirely. Her dresses are filled with bows, lace, and delicate details that make her look overly soft. It is pretty, but in a way that feels naive, much like herself. She looks like she still believes in something gentle, and that is exactly what makes her vulnerable. Not only in the sense of the character trait, but to the cruelty that Catherine and Heathcliff push upon her andeveryonesurroundingthem.
Some of the costuming in this film can feel like too much. It can feel intense, uncomfortable, and even overwhelmingattimes.Butthatfeelingmatchesthe story.
Nothing in Wuthering Heights is calm or balanced. The emotions are extreme. The relationships are possessive, selfish, and destructive. Everything in the film feels like it is building toward something thatcannotbecontrolled.
Thecostumesreflectthat.
They are not meant to be subtle or easy to look at. They are meant to make you feel something, even if thatfeelingisdiscomfort.
At the center of all the criticism is one question. Whatiscostumedesignsupposedtodo?
Heathcliff’s transformation feels different, but just as intentional. When he returns, his clothing immediately shows his new status. The tailoring is sharp, the pieces are refined, and small details like his ringssignalcontrolandpower.
Butheneverfullyblendsin.
His shirts stay slightly undone, his lookisstillalittlerough,andthereis always something about him that feels unresolved. He looks like he belongs and does not belong at the sametime.
He has changed his position, but not whoheis.
If it is supposed to recreate history perfectly, then thisfilmisnottryingtodothat.
But if it is supposed to tell a story, then it does somethingmuchmoreinteresting.
Itmakesemotionvisible.
It lets you feel what the characters are going throughbeforedialogueisevenspoken.
Andthatiswhyitworks.
BecauseWutheringHeightshasneverbeensoft,and it has never been easy. It is intense, uncomfortable, andsometimesdifficulttositthrough.
Tryingtomakeitlookperfectwouldtakeawayfrom that. These costumes do not try to hide anything. They lean into every part of the story that feels like toomuch.
Andwhetheryoulikethemornot,youfeelthem.
Andthatfeelingstayswithyou.
And that is why I believe that the costume design in Wuthering Heights was not just a good creative decision,buttherightone.
WrittenBy:MadisonChamblesse
PhotosBy:WarnerBros.HomeEntertainment
and give back what you a nd give b a ck wh a t you take t a ke
ArtworkBy:CoraLane
Written By: Dainah Camille Larose
Jewelry, like clothing, remains an important part of life. It’s how we display marital status, religion, express ourselves, culture, and heritage. Jewelry serves as a way for us to showcase a number of things about ourselves, our beliefs, and our background. In some cases, jewelry serves as a visual marker for age and social rank. Wearing jewelry like a maximalist is following the philosophy of “more is more”. It is the art of organizing a range of elements into a cohesive piece that tells a story.
Often, wearing jewelry comes down to whether we like it or if it expresses something about ourselves. When wearing jewelry as a maximalist, you have to think about the story you are telling and how to display it to reflect this narrative. Think about the fact that when we wear jewelry, it is often for sentimental reasons, aesthetic purposes, or as social markers. So, when wearing your jewelry, think about the story you are telling and take into account design elements such as shape, color, balance, emphasis, texture, and contrast. With this design knowledge in mind, you can then choose how you tell your story. Will you choose to put it on display? Or break away and choose a new identity.
Ebb and Flow is inspired by the rhythmic movement of waves and the dynamic motion of water. In this collection, I explored the rising and falling patterns of the ocean, as well as the bubbles formed on the surface. Pearls and mineral stones served as inspiration for the accessories, reflecting the textures and elements found underwater.
The collection features unique designs created using mixed media. I worked with waterbased mediums such as watercolor and gouache to capture the fluidity and transparency of water. I also incorporated glass paint to create pearl-like textures and dimensional effects. My goal was to reflect the essence of water through materials that naturally move and blend, allowing the designs to feel alive and in motion.
One of the dresses from the collection uses blue satin and organza to emphasize shine, depth, and lightness. Pearls were added to mimic the appearance of bubbles, symbolizing the ripples created by waves. This piece represents how movement in water can transform into texture, structure, and form within fashion. Overall, Ebb and Flow express the beauty of change, the balance between calm and movement, and the emotional connection between nature and design.
WrittenBy:SeljanKhalilzade
OriginalArtworkandDesignsbySeljanKhalilzade
in the Life of a Day in the Life of a Fashion Merchandising Student Fashion Merchandising Student
By: Paige Johnston By: Paige Johnston
I am Paige Johnston, a Fashion Merchandising studentatFisherCollege.
I started here as a first-generation college student. I have a passion for fashion and love learning by listening to new ideas and experts’opinions.
As a commuter, I enroll in five classes per semester
Mydaysstartat4a.m.tomakesure I get to school by 9:45 a.m. and leave by 5 p.m.
Monday - Thursday, I begin by taking the Fall River New Bedford train from South Station! From there, I either walk or take the Red Line to Park Street and transfer over to the Green Line and take a beautiful strolldownArlington.
During both semesters, I like to enjoy the beautiful scenery Boston has to offer, although during the spring, the weather canmakeitdifficult!
At Fisher College, I am working towards a bachelor's degree in Business Management. After graduation, I plan to get my master’s degree in textiles to gain more experience in the field. After college, I want to open up myownbrand.
The identity of my brand will be based on working with gothicandalternativestyles.Thiswillbeawaytogivea selectionforthosewhohaveorwanttodresssimilarly.
Throughout my years in college, two major learning goals will help me succeed in my futureinfashion:
I’m currently looking at internships that align with my after college plans!
During this process I hope to experiment with various positions to gain experience in multiple environments or potentialaida in my futurecareer.
WrittenBy:PaigeJohnston
PhotosBy:PaigeJohnston
EASTRIDGE CERAMICS
WATERBURY,VERMONT
Written By: Garson Leis
In Collaboration With: Audrey
Eastridge
ABOUT THE ARTIST AUDREYEASTRIDGE
Audrey
is a Vermont-based artist who strives to connect beauty to everyday life through functional pottery. She crafts each piece with attention to detail and with a joy for making handmade objects.
From large serving bowls to pitchers and mugs, Audrey enjoys making a variety of forms and combining them with a range of glazes. Aside from working as a potter, Audrey teaches pottery and provides tours at a local arts center called Burlington City Arts. She documents her work on Instagram, and posts videos of her at work on the pottery wheel. Audrey sells her finished pieces on Etsy.
Lilly was making hundreds of micro cakes and cookiesadaytokeepupwiththedemandofthe marketwhilealsoconstructingherdreambakery. Withdecisionafterdecision,Lillyworkedclosely withcontractorstomakeherdreamareality.She took inspiration from cafes in London she had visitedinthepastforherpastrydisplay.Lillyhada vision.Sheknewexactlywhatshewantedeverything tolooklike;shewantedminimalisticandclean.Lilly wantedherbakerytobeaneyecatcher,adestination forpeopletovisit.Andshedidjustthat.
Three Hundred Fifty sells an assortmentofpastriesdaily,including cookies,scones,muffins,andcinnamon rolls,aswellaslattes,coldbrews,chai, andmatchawithhomemadeflavors.
Lillywillforeverbethebestexampleto allthatifyouhaveadream,youcan make it a reality with hard work, passion, and focus. With her drive, education, and immense hard work, Lillymadeherdreamarealityatthe earlyageof25.
WrittenBy:MollyTapper
PhotosBy:MollyTapperandLillyTapper
Almost everyone has that one drawer filled with T-shirts from childhood: old team jerseys, school shirts, or uniforms that no longer fit but feel impossible to throw away. They sit there collecting dust, servingnopurposeotherthanholdingmemories.
But what if those pieces didn’t have to stay tucked away in a drawer? What if they could become something both meaningful and functional? In my family, we transform those sentimental items into “memory” or uniform quilts. This semester, I decided to take on that project myself, repurposing 21 of my own sports jerseys into a single quilt;notonlytofreeupspace,buttopreservethememoriesinanew, lastingway.
Repurposing clothing holds real power in a culture driven by constant consumption. Many consumers have developed the habit of continuously buying new clothes while discarding older items, often without a second thought. This pattern has created a significant environmental issue. In the United States alone, the average person throws away roughly 81.5 pounds of clothing each year. When multiplied across the nation, this individual behavior contributes to a massive 17 million tons of textile waste annually. Once discarded, clothing does not simply disappear. As textiles decompose in landfills, they release methane and other greenhouse gases into the atmosphere. Synthetic fabrics, such as polyester, can take more than 200 years to break down. During this long decomposition process, harmful chemicals can seep into thesoilandpollutegroundwater,furtherdamagingecosystems.
HOW TO: HOW TO:
Select Your Fabric – Gather the shirts, jerseys, or other fabrics you want to use. Plan Your Layout – Decide on the arrangement, colors, and overall design of the quilt.
Prepare the Fabric – Cut pieces to size. Sew the Pieces Together – Stitch the squares or rectangles into rows, then combine the rows.
Add Backing and Batting – Layer the quilt top with batting and backing fabric for warmth and structure. Finish the Edges – Bind or hem the edges for a clean, durable finish. Enjoy Your Quilt – Use it! Now It’s a functional piece full of memories!
Repurposing doesn’t have to be limited to fabric or clothing. While my quilt transformed old jerseys into something meaningful and functional, the idea of giving materials a second life can apply to almost anything.
I experienced this in another way when I repurposed old mahogany wood into a surfboard-shaped coffee table with my papa. What was once unused wood became a handcrafted piece of furniture filled with character and personal meaning. Instead of discarding the material, we reshaped it into something new; something that now serves a purpose in my home.
My papa had leftover oak from the baseboards of his home, and his neighbor had discarded pieces of mahogany that had been painted over and seen as worthless. What some viewed as garbage, we saw as potential. By planing down the wood and stripping away the layers of paint, I was able torevealthenaturalbeautyhiddenbeneaththesurface.
Instead of allowing those materials to end up in a landfill, I transformed them into something meaningful and functional. That experience taught me that repurposing is often about perspective; you may recognize value where others may not. If you take a look around your own home, you might discover hidden treasures waiting to have their beautybroughtbacktolife.
I started this semester looking at a drawer full of jerseys that no longer serve a purpose, and pieces of wood that others considered scrap. What I found instead were stories, memories, andhiddenbeautywaitingtoberevealed.
My quilt preserved 21 seasons of my life in one piece. My surfboard coffee table gave forgotten wood a second chance andlastingmemoriesbuildingitalongsidemypapa. Before something becomes waste, it has potential. All it takes is a shift in how we see it. Whether it’s fabric, wood, or another material entirely, repurposing challenges us to see the possibilities of its new life before its timetotrulydiscardit.
MY FINISHED TABLE!
WrittenBy:MakaylaBourne
PhotosbyMakaylaBourne
By: Zoe Rodrigues
MY EXPERIENCE AT THE RUNWAY BALL
PhotosBy:AaronJames&AndrewDunne
When I began to work with Stephanie, she trusted me with a huge role of Lead of Operations, where I would be the main point of communication with the models. I got to coordinate fittings times, answer any of the questions models might have had, send out detailed timelines, and create mood boards for each garment's hair and makeup look.
Through this experience, I was able to connect with Muñoz’s assistant, Sophia Henderson, who is a retail buyer for TJX Companies. She was able to share her experience within the industry during New York Fashion Week, as well as sharing details of her work in retail buying.
The day of the fashion show, I was able to see the industry fully at work, which was incredible. Walking into the room filled with models getting their hair and makeup done, photographers preparing all their equipment, and designers and assistants running through the room so quickly. I truly felt inside the fashion industry. The whole day, Stephanie and Sophia guided me through every step. How to properly greet and assist the models and make sure they were comfortable and all set, how to properly steam the garments, and how to stay organized in such a high energy environment.
In December, I had the incredible opportunity to work with designer Stephanie Muñoz at The Runway Ball located at the Park Plaza hotel in Boston. It was my first step into the fashion industry. I got to completely immerse myself in this fast-paced industry.
Stephanie, an incredible designer, was able to share her work with me and introduce me to the fashion scene here in Boston. Muñoz is the founder of her own brand, Mpoze Fashion. Which is a women led brand. Mpoze fashion provides a luxury and personalized experience for all its clients. Mpoze fashion expertise is in creating high-quality suits and coats, which shows Munoz's true creativity, attention to detail, and the passion she has for designing. In addition to her work in the fashion industry, she is also the founder of Suited for Fashion, a non-profit organization which is dedicated to disadvantaged and underprivileged youth. Muñoz’s goal is to create a meaningful transformation in these young kids' lives. Stephanie also teaches part time at Fisher College, in Boston.
PhotosBy:ZoeRodrigues
One of the best parts of this experience was seeing the designs come to life. I was able to watch Stephanie’s work transform from sketches on paper into full garments on the runway. I was able to analyze each garment when steaming them and see all the details she added to each garment. Each garment had its own special added feature, whether it be a bow, a long train, or an embellishment added. Each design was incredible and unique. Watching Stephanie design on stage was a beautiful moment. I had watched everyone's hard work through the ups and downs finally come together. This made working with her that much better.
I enjoyed every part of this internship. It taught me what to expect with a fashion show and what to expect with the industry itself. I am incredibly grateful for this experience and look forward to the possibility of working with Stephanie Muñoz again in the future.
There’s this idea that getting ahead is supposed to make life easier.That ifyou graduate early, stayfocused, keep pushing, everything will fall into place just a little faster, a little smoother. But no one really talks about what happenswhen everythingspeeds up at once.
Because that’swhere I am right now.
I graduated early, which on paper sounds like I’m ahead. Like I’m doing everything right. But in reality, it feels less like I’ve arrived somewhere and more like I’ve been dropped into the middle of everythingall at once.
I’m stepping into my master’s program while working full-time, trying to figure out what my actual career looks like, not just the ideaof one.At the same time, life doesn’t pause. There are personal things, health things, financial pressures, and friendships that needyou, moments you’re supposed to showup for. It all overlaps.
GettingDressedintheMiddleofChaos
There’s no clean transition. No moment where one chapter ends and another clearly begins. It’s just everything—happeningtogether.
And still, life keeps moving.
And the hardest part isn’t even the schedule or the workload. It’s the pressure. The quiet, constant pressure to keep moving forward like you’re supposed to have it figured out.Whenyou graduate early, it feels likeyou’re expected to already know your next step, your five-year plan, your direction. But the truth is, I’m still figuring it out in real time. I’m building something while I’m inside of it, not after.
Some days, it feels empowering. Like I’m creating momentum, like I’m doing something meaningful, like I’m becoming the person I’ve been working toward. But other days, it’s overwhelming in a way that’s harder to explain. It’s the kind of exhaustion that isn’t just
physical—it’s mental. It’s trying to balance being ambitious and driven while also just being a person who needs rest, clarity, and space to breathe.
Everything
By:MollyTapper
Some days, it feels empowering. Like I’m creating momentum, like I’m doing something meaningful, like I’m becoming the person I’ve been working toward. But other days, it’s overwhelming in a way that’s harder to explain. It’s the kind of exhaustion that isn’t just physical—it’s mental. It’s trying to balance being ambitious and driven while also just being a person who needs rest, clarity, and space to breathe.
There are moments where I’m helping plan one of the most important experiences in my best friend’s life, trying to be present, supportive, and excited. There are moments where I’m thinking about finances, about stability, about what comes next. There are moments where my health forces me to slow down, even when everything around me is telling me to keep going. And then there are the everyday moments—getting dressed, going to work, showing up—where everything feels normal, even if it’s not.
That’s the reality of this phase. It’s not one thing—it’s everything. But somewhere in the middle of all of it, I’m startingto understand somethingI didn’t before.There isn’t aperfect momentwhere everythingaligns.There isn’t apointwhere you suddenlyfeel completelyreadyfeel
completely ready. Growth doesn’t happen after everything settles—it happens in the middle of the chaos, in the overlap, in the uncertainty.
Right now, I’m not at a final destination. I’m not fully established, not fully certain, not fully anything. I’m in between who I was and who I’m becoming. And maybe that’s not something to rush past or fix. Maybe that’s the point.
Because even in the stress, even in the pressure, there’s something real about this moment. It’s honest. It’s unpolished. It’s not curated or perfect—it’s just where I am.
And for the first time, I’m starting to realize that being “in between everything”doesn’t mean I’m behind. It just means I’m in it.
