The Lexington Line - Fall 2021

A/W 21 • vol 8 • no 1

THE LEXINGTON LINE FRONT COVER

THE USUALS 14 20 62

Tone Deaf Communing with Clouds What We’ve Been Given

CULTURE 12 Nature-Forward Fashion 26 Expats 30 Deserted Illusions 58 Making Space 68 Forever Chic

FASHION 08 24 64

Whatever Works Six Weeks Notice Manipulate Your Mind

LIFESTYLE 70 72

BEAUTY

The Perfect Red A Little Bit Extra

TABLE of contents

03 Masthead 05 Editors’ Letter 07 Color Pages 16 Beauty Buys 18 Runway Report 86 Editors Picks 90 Student Style

The Lexington Line • a/W 21 • vol 8 • no 1 1

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The Lexington Line • A/W 21 • vol 8 • no 1

SuhaniDevang Shah Brianna Cacioppo Lara Kalajian Evelyn Peralta Megan Kaba Graphic Designers

Tessa Aldridge Managing Editor Kally Compton Editorial Director

Bianca Schwinghammer Julia “Lolo” Herrera Raquael Hines Sheayila Nickens Sohl Garibaldo Stylists

Khayla Biscoe CREATIVE DIRECTOR Francesca Gonzalez ART DIRECTOR Juliana Jimenez Marketing Director

Landon Rice Francesca Gonzalez Photography

Sofia Naranjo FASHION Director

Sam Morim Web Director

Emma DeFelice beauty Director

Victoria Villano Assistant Web Director

Jenna Filingeri Styling Director

Emily White LEAD Web Editor

Isabella Ortiz Andrea Neu Scout O’Donnell Ashanty Rivera Sabrina Stott Ian Grafvonluxburg Emily White Editors

Beauty News Music Accessories Culture Fashion Lifestyle

Lauren Smelker Raquael Hines Elara Montana Breia Crisden Assistant EditorS

Fashion News Lifestyle Culture

Ellen Gasper Sian Jackson Assistant creative DIRECTORs Kaylyn Montgomery Jennifer Felder ASSISTANT STYLING DIRECTORS Michael Londrigan, Associate Professor & Advisor to the Provost Elizabeth Marcuse, President of LIM College Lisa Springer, Provost SPECIAL THANKS

masthead

Samantha James Editor in Chief

Abigail Hennessey Web Editor Angelika Cwiklewski Assistant Marketing Director Sarah Abdelaziz Brand Manager Kash Khemlani Social Media Director Coleen Mckenzie Social Media Manager Kendra Deangelis Social Media Manager Marisa Amsler Marketing Manager Jessica Serrano Marketing Manager Maria Gaynor Event Planner Marketing Professor John Deming Professor Joseph P. Sgambati III Faculty Advisors Dr. Daniel Chaskes Arts & sciences Department Chair Lou Acierno • Sarah Albert • Caitlyn Mae Araña • Christopher Barto Amie Blumberg • Dani Brand • Laura Cioffi • Michael Donohue Meredith Finnin • Professor Timothy Foran • Erica Fouts Tiffany Fuentes • Sarah Golder • Laura Healey • Maranda Janky Dr. Kenneth Kambara • Eric Martin • Maurice Morency • Gail Nardin Kristina Ortiz • Pheanny Phen • Professor Donna Pulese-Murphy Olga Raganelli • Gilbert Stack • Travis Stephens • Professor Liz Sweibel Dr. Alex Symons • Sabrina Talbert • MT Teloki All LIM College Faculty • All contributors to The Lexington Line MANY THANKS

The Lexington Line is a registered trademark of LIM College The Lexington Line • a/W 21 • vol 8 • no 1 3

CERTIFIED

FREELANCE MAKEUP ARTIST

emma.defelice99@gmail.com 203-745-9565

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The Lexington Line • A/W 21 • vol 8 • no 1

Welcome to the 15th print issue of The Lexington Line. Now that we are able to join together with some sort of normalcy, we worked harder than ever on this broad range of photo shoots and written works.

In this issue, our fashion editorial explores deserted illusions, while our beauty shoot leans on more of the extra and whimsical side of things. The fashion imagery is deliberately dark and post-apocalyptic, and our Art Director, Francesca Gonzalez, breathes life into the photos with her original illustrations.

This is a robust issue is filled with creativity, culture, and fashion. We feature a poetry series that grapples with aging and change, an investigation into distinctly Gen Z relationships, a look at the ways we trigger our own anxiety, and an exploration of women’s rights in the post-“Heartbeat Bill” era. Fashion is our forté, so we delve into sustainable fabrics, the Americanization of the European fashion industry, and the persisting influence of Victorian accessories.

To wrap, we’d like to give a massive shoutout to our creative director, Khayla Biscoe.

Khayla leads our design team through the process of creating and laying out every page of this magazine. She also aids in creating themes for each of our editorials. Khayla would like to share, “I loved every second I spent bringing these pages to life. I am so thankful to be in this position and to have worked with such a dynamic design team. I appreciate all of the hard work they have put in to make this issue so special.” We can never thank you enough, Khayla!

editors’ Letter

Dear Readers,

We hope everyone loves this issue as much as we do.

Xoxo, The Editors

Samantha James

Editor in Chief

Tessa Aldridge

MANAGING EDITOR

Kally Compton

EDITORIAL DIRECTOR

The Lexington Line • a/W 21 • vol 8 • no 1 5

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COACH $395

BOTTEGA VENETA $1,050

SAM EDELMAN $200

AJE $1,323

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The Lexington Line • A/W 21 • vol 8 • no 1

THE ATTICO $402

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BOTTEGA VENETA

PANTONE 14-0445

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Chartreuse

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MICHELLE DIVINE $85

CIARA CHYANNE $240

The Lexington Line • a/W 21 • vol 8 • no 1 7

Whatever works IS IT POSSIBLE TO DESIGN A RELATIONSHIP THAT FITS YOU PERFECTLY?

BY TESSA ALDRIDGE

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We

all crave love and affection—it’s human nature. But it’s different for everyone. Some people care only about sex; others want to find a soulmate. There’s a wide spectrum in between, and more and more these days, people are feeling freer to engineer relationships that satisfy their very particular commitment needs.

Casual relationships, “friends with benefits” arrangements, polyamory, monogamy, the “thruple”—what all these relationships have in common is that if you don’t communicate very specific boundaries, you could end up devastated. And it’s essential to remember that no matter how perfect your arrangement is, people’s needs change as they grow.

Julia says she would prefer a traditional committed relationship, but she has had trouble making a real emotional connection.

In a “friends with benefits” relationship (FWB), the lines blur easily. Julia, a 20-year-old New Yorker, says her FWB with Julian started when they met at a bar.

Julian took her out once, but Julia now believes it was because “he needed to play the game.” After that one date, they’d only hang out at his house. It was a “Netflix and Chill” relationship, and Julia knew this, but she couldn’t help hoping for more. They didn’t set clear terms, she says, and this led to some problems down the line.

She says she hung out with Owen, a former childhood friend, a couple times a week last summer. They mutually agreed they just wanted something fun and temporary, and it worked out well for them—as far as she knows, neither secretly wished it would develop into something more. In her experience, she says, it’s a bad idea to enter this kind of arrangement if you’re just going to hope the dynamic changes.

“I thought, well, if I just have sex with him enough, maybe he will grow attached,” she recalls.

This turned out to be wishful thinking. They had been seeing each other for two months when one night, at a bar, Julian kissed a random girl in front of her. To Julia, this was a violation, and she ended the relationship.

“I pursued him for validation and attention, because I felt it was lacking at the time,” she says.

“That’s usually how it goes for me, which I know isn’t healthy.”

“I always end up just being used,” she says, “which is also partially my fault because I give it up kind of quickly.”

20-year-old Manhattanite Carly had a very different FWB experience, perhaps due to her slightly different approach.

“Don’t do it when you’re feeling lonely,” she admonishes. “Do it when you’re feeling happy with yourself but want to release sexual tension. It’ll make you feel worse if you’re desperate and lonely.”

Sarah, a 22-year-old from Brooklyn, faced a similar situation, but instead of an FWB, it was a “casual” relationship. The difference between a casual relationship and an FWB is that a typical FWB is only about sex, while a casual relationship basically means never leaving the “dating” phase.

She was with her casual partner, Nathan, for two years. Casual worked for her because she had just gotten out of a serious relationship and wasn’t ready to jump back into one. The couple would go on dates and spend a lot of time together, but they both continued to pursue other people as well. They never met each other’s families or posted about

each other on social media. As long as they kept communicating, she says, things were working out. They wound up catching feelings for each other, but they wanted and believed very different things, and they knew that going into it.

“A casual relationship for me is better than an FWB,” she shares.

“I think it can be good if you’re not where you feel like you’d like to be before being in a fullycommitted relationship.”

Jess, 21, had a little more trouble in her casual relationship. She met her partner, Lucas, on Bumble when the two lived in Brooklyn. From the beginning, both were aware that Lucas was planning to move to L.A in a month. But things started to get more serious just as he was about to leave.

“I had met someone who I truly had feelings for and didn’t want to let that go, regardless of the status of our relationship,” she says.

The two stayed in contact and maintained their casual relationship despite the distance. Still, it’s not quite what she wants.

“He treats me with kindness and respect, so it’s not like I’ve been allowing myself to be mistreated,” she says. “But I’m at a point now where I’ve been slowly talking to him less and less because I know I can’t do this anymore.”

Not all long distance arrangements are doomed. Violet (they/them), a 21-year-old from North Carolina, began dating their girlfriend, Katie, a few months ago. Since they live in different states, they agreed to keep their relationship “open.” This means that they are able to explore other physical relationships with the expectation that there will be no emotional connection with another partner.

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Violet puts it bluntly: “In all honesty, there’s a physical sex need that can’t always be fulfilled over the phone.”

This relationship structure has been successful for them. Once they live in the same city, which they hope will be next summer, the plan is to be monogamous while possibly entertaining the occasional ménage à trois.

Of course, the trouble with any “planned” relationship dynamic is the potential for jealousy. Some relationships lack this struggle, but others are consumed by it.

Alex, a 20-year-old from Manhattan, has been dating her boyfriend, Clay, for three years now. They began dating in high school and became long distance when he moved away for college. She says the distance led to a sense of possessiveness that wasn’t quite there before. For example, for Halloween one year, she wanted to dress up as a devil because her roommate was going to be an angel.

“When I showed Clay, he didn’t seem that into it. He was jealous of the fact that I would be at parties without him, and that I’d be dressed in a provocative way,” she remembers. “It didn’t help that my roommate and I did a duo costume.

All I had wanted to do was dress up with my friends and go have fun.”

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They found a way to work it out, but she never felt quite comfortable knowing how insecure the distance made him.

Jealousy is a threat to every relationship, but it can be overcome.

Dana, a 22-year-old from Columbus, Ohio (he/they), met their polyamorous partner Chase on Tinder. In a poly relationship, you can date people who don’t know each other, or you can date two people who are also dating one another (otherwise known as a “thruple”). Chase had included in his bio that he was polyamorous, and Dana was curious to test it out.

When they met, Chase had been with a different poly partner for six years and was looking for one other partner. At first Dana was very jealous, but once Dana got to meet Chase’s other partner, the jealousy went away. Chase had anxiety that was hard for Dana to handle, but they knew his other partner was better at providing support. Dana says it helped to see there were different advantages each partner could offer.

Eventually, Dana would split up their time between Chase and other potential partners. Whenever Dana would go on dates, Chase would ask about it and seemed to

genuinely care how it went. But after a few months, Dana went on a date with someone they really fell for. The new couple decided to be monogamous, and that was the end of Dana’s poly experiment.

Yes, the traditional monogamous relationship is still an option. Kylie, a 20-year-old from Missouri, has a story that seems right out of a Hallmark movie. She and Ben had been working together at a produce stand for several months. There was no real spark until Ben accidentally dented her Mustang in the parking lot with his Toyota FJ. They talked and became best friends, she says, and after two months, he officially asked her to be his girlfriend. A year later, it has matured into a serious relationship. She says what she loves about her monogamous relationship is “the assurance that he’s all mine—that all the effort and love I pour into my best friend is shared 100% back with me.”

So what can we learn from these stories? That it might be possible to get exactly what you are looking for in a relationship, but that it’s important to be direct with partners about your needs, even if it’s difficult—and to remember that eventually, those needs are liable to change.

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NaTURE-FORWARD FASHION A LT- fa b r i c s G r ow i n a p p e a l

by Sofia naranjo

There is always something new popping up in sustainable fashion.

Known fast fashion brands like Zara, Artiza and H&M have claimed to incorporate better practices.

Brands like Stella McCartney, Rag & Bone, Coclico, Eileen Fisher, and Mara Hoffman have invested in meaningful changes to production and supply chain methods.

Whether it’s the fabrics they use, their production methods, their level of transparency, or their emphasis on safe, fair labor for workers, fashion brands are emphasizing sustainability now more than ever. We’ve heard about brands using organic cotton, recycled nylon, recycled polyester, Lyocell/Tencel, and other sustainable fabrics. Can it get more eco-conscious than that?

Apparently so. Here are a few funky, attention-grabbing textiles that are being used by small apparel and accessories brands.

To make their grape leather shoes, sustainable streetwear brand Pangaia repurposes the global wine industry’s 6.5 billion liters of waste.

Production of grape leather shoes uses minimum amounts of water and vegetable tanning (a method using natural tannins which alter the protein, making it into leather).

Grape skin is used for production, and the seeds and stalks are dispensed. The part-recycled rubber soles are made from industrial waste—samples, prototypes, burrs, and products that do not meet high-quality standards. The shoes, responsibly produced in Portugal, also include natural cotton laces with 100% recycled plastic tips.

One compelling aspect of the process is that regenerating wine-industry-waste into textiles establishes a cycle between what we eat and wear.

Using Pineapple leaves as fabric is nothing new and has history in Brazil, Hawaii, and Indonesia.

However, it’s generally agreed that the practice originated in the Philippines.

This fiber has not been widely used

by American brands before because it takes a profound investment to produce, as cheap, harmful fabrics are easier to manufacture.

Pineapple fiber manufacturing is a slow and beautiful process and should be appreciated for the number of steps that it carries. The fabric is made first by detaching the leaves from the trunk of the fruit, then separating the fibers by hand using a scraping tool, and then washing the cellulosic strands and hanging them to dry. They are then waxed to release any leftover entanglements and plant tissues, and lastly, the strands are knotted one by one to create a connected thread of yarn. According to The Sustainable Fashion Collective, “A kilo of leaves can provide up to 15-18 pieces of white, creamy lustrous fibre [...] This is a hand labourintensive slow process that can often involve 30 people in total.” Next, it is left to the artisans to weave up the fabric.

The company most known for producing pineapple fabric is Pinatex. Pinatex manufactures nonwoven textiles from waste pineapple leaves as an alternative to leather and other synthetic materials.

Pinatex is also PETA-approved and registered by the Vegan Society. You can purchase Pinatex by the meter online. The company supports and works closely with rural farmers, as the pineapple fabric is sourced in the Philippines.

As such, Pinatex develops a stream of income for the farmers who keep the tradition alive.

Currently, the only cactus-based leather brand available on the market is Desserto. As you might suspect, the cactus is durable, withstands extreme conditions, and grows where other plants cannot. The cactus species naturally restores soil, which prevents overharvesting. According to Desserto’s website, it takes three leaves of cactus to create one linear meter of Desserto. They only cut mature leaves to avoid damaging the plants, which means a harvest every six to eight months. They grow their plants in “the fertile and mineral-rich region of Zacatecas, Mexico.”

Founders Adrián López Velarde and Marte Cázarez point out, pragmatically, that climate change could lead to “prolonged droughts and desertification,” seriously affecting farmers and small producers of low income.

They warn, “if people want to survive these harsh conditions, their crops must tolerate drought, high temperatures and poor soils.”

Desserto currently manufactures handbags, footwear, apparel, interiors, and sportsgear with alternative leather. They use ecoconscious practices to develop their fabric, which is “distinguished by its great softness [..] while offering a great performance for a wide variety of applications and complying with the most rigorous quality and environmental standards.”

According to Vogue, Mylo is “the future of fashion.” This brand looks like the most eco-conscious company in the fashion industry at the moment. Mylo produces leather made from mycelium, a member of the fungi kingdom that grows underground and essentially holds the planet together. Mycelium is soft and bouncy and of course non-harmful. Production is based in California by engineers and scientists at Bolt Threads. Mycelium has been growing beneath us for billions of years, providing nutrients for plants and trees. Mycelium is renewable, and also crucial, because it holds like a branch supporting the earth’s surface.

Mycelium is an alternative to leather made by simulating what usually happens under the forest floor in a controlled indoor environment.

It is kept at a strict temperature and fed sawdust and other organic substances. The harvest begins after the mycelium grows a foamy layer that is used to manufacture most mycelium products. A sheet of this foam is dyed and used to make leather-like goods. At-home kits are available to anyone who wants to try making it themselves, but Mylo is not available for sale at the moment because it is still in the testing stages. Nevertheless, impending collaborations with Stella McCartney, Adidas, and Lululemon bode well for 2022.

Orange Fiber identifies itself as “the world’s first brand to produce sustainable fabrics from citrus juice byproducts.” The brand Salvatore Ferragamo, one of the biggest faces of Italian fashion, created a capsule collection in 2017 using the fiber.

According to Orange Fiber’s website, the company partnered with Lenzing Group (a global producer of wood-based fibers) to create the first TENCEL Lyocell fiber made of orange and wood pulp.

Why citrus? According to Orange Fiber’s research, about 40-60% of citrus fruit ends up being discarded, and 110-120 million tons of citrus waste are produced worldwide every year.

There is a six-step process for converting the juicy fruit into the fabric, which includes orange groves, citrus juice leftovers, cellulose extraction, fiber making, fiber spun into yarn, and then yarn woven into a fabric. The fashion industry has been very intrigued by Orange Fiber over the past few years, as the company has collaborated with H&M, Salvatore Ferragamo, and E.Marinella, and has been showcased in exhibitions in V&A Museum, Fashion For Good Exhibit, Deutsches Hygiene Museum, and the Museo Salvatore Ferragamo.

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finding a home in the hip -h o p fa n d o m by sabrina stott Anna (she/her), a 21-year-old NYU student, has loved hip-hop all her life. She’s also bisexual, which means that being a fan of the genre has not always been easy for her.

“Rap music is something I’ve always enjoyed, but it still has a long way to go,” Anna says.

The rapper DaBaby made headlines this past summer for spewing homophobic and misogynistic remarks during the Rolling Loud festival in Miami. After videos surfaced, he was dropped from multiple music festivals including Governor’s Ball, Lollapalooza, and Day N Vegas, all of which made statements saying they do not tolerate hate or discrimination.

Despite all of this, rappers such as Tory Lanez, Boosie, and T.I. backed up DaBaby. In an Instagram Live video, T.I. said the backlash against DaBaby amounted to bullying: “We all stood up on behalf of gays and lesbians and people in the gay community because we thought it was some bullsh*t for y’all to have to be bullied [...] But I don’t think any of us did that to feel like you would now 14

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have the authority to come and bully us.”

Comments like this show some in the hip-hop community still have a lot to learn. Toughness has always been part of hip-hop culture and has arguably been essential to its history of empowering oppressed communities. But a byproduct of this toughness has been a persistent toxic masculinity where lack of respect for queer people was accepted.

While creating a safe space for one marginalized group, they created a toxic space for another.

In playing the victim, T.I. is being tone deaf. Hip-hop has a long history of aggressiveness towards the queer community, and many genre-defining rappers have been homophobic in their lyrics: Jay-Z, Lil Wayne, Nas, Eminem, Snoop Dogg, and Kanye West make up only a fraction of the list.

Despite this, many queer people still love and listen to hip-hop/rap music, and openly queer artists like Lizzo, Tyler the Creator, Princess Nokia, Lil Nas X, and Frank Ocean have started to pave the way to a more inclusive

future in the rap community. An increasing number of straight artists such as Jay-Z and A$AP Rocky now consider themselves to be allies of the LGBTQIA+ community.

Anna is a fan of many of these newer artists. For her, music isn’t always about the lyrics, but the overall ambiance of a song.

“I like hip-hop music and artists like Lizzo because I can listen to them throughout the day, and it helps me to get energized without having to overthink the meaning of the songs too much,” she says.

One unique issue that Anna has faced as a bisexual woman in the rap community is fetishization.

“Bisexuality in women is often fetishized in the community because men think it’s not valid,” she says— meaning that many men think that if women are interested in other women, it’s only for the pleasure of men. Rappers also oversexualize bisexual or lesbian women in their lyrics and music videos, as recently seen in Kanye West’s “I Don’t Like” and Drake’s “Girls Want Girls,” which seem to encourage men to put themselves at the center of a queer woman’s sexuality.

It’s also sad that some artists feel the need to use homophobic lyrics and slurs in their music, Anna says,

because when a fan sings or raps along, a slur becomes normalized.

think about the weight their words have beneath the surface level.”

“There are a lot of homophobic, racist, and sexist slurs, but people are not consciously bringing these issues that we see in hip-hop music to light,” she claims. Even if they don’t sing along, they’re likely to ignore it.

Cole uses rap music to wake himself up and prepare for the day. His favorite artists include MF Doom, whose song “Batty Boyz” received criticism for its homophobic lyrics, and Mac Miller, Tyler, the Creator, and Lil Darkie, all of whom have generated controversies of their own. But hip-hop music isn’t just for one type of fan, Cole notes, because many artists’ lyrics center on personal struggles and experiences that queer fans can relate to.

Cole (he/him), a 21-year-old bisexual college student at NYU, also says these artists often just say homophobic things “for the drama it creates”—and some evidence suggests it actually gets them more attention.

According to Time, after the homophobic remarks DaBaby made on stage, his search interest on Google was higher than it had been in two years, and his songs continued playing frequently on rap radio stations like 95.1 The Beat, which has over 345,000 regular listeners.

So if and when a controversy blows over, the offending rapper might have become a household name, incentivizing others to say controversial things to gain attention.

“It feels like they do it because it will get them more views or it will help sell more of their concert tickets,” Anna says. “I guarantee you that most of these rap artists don’t really

“No matter what the vibe or situation is, hip-hop music can match it because it’s universal and versatile,” he says.

Both Cole and Anna enjoy attending hip-hop shows and generally feel safe around other fans.

“All of my experiences at rap shows have been good experiences because everyone is just there for the same reasons, to enjoy the music and have a good time,” Cole says.

Homophobic fans are not necessarily confrontational at concerts and tend to hide behind their screens, according to Anna.

Whenever Complex posts news about Lil Nas X and other queer rappers, the Twitter and Instagram comments under their posts are

flooded with homophobic messages. “They say it because it’s anonymous,” Anna claims. “They would never say it to your face.”

In some cases, the platforms may be to blame. World Star Hip Hop, a video blog that posts hip-hop news, reposted a video on Twitter where the rapper Boosie goes on a transphobic rant about Dwayne Wade’s 14-year-old trans daughter, Zaya. The video received over 13,000 likes and 4,000 retweets. Many users agreed with his disturbing views. By giving people the platform to spread their homophobic and transphobic beliefs, these accounts only make it harder for queer fans to exist in online spaces.

Nevertheless, as the hip-hop community expands, new artists and fans continue to shake things up. The rap community has already seen certain queer artists such as Lil Nas X taking charge as changemakers.

“Artists like Tyler, the Creator, who are openly gay, really allow fans to feel like they’re being heard,” Cole says.

Anna agrees: “it is getting better because of people like Lil Nas X, who aren’t afraid to be themselves in their music and performance.”

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BEAUTY BUYS

ilbur y Charlotte T etting Powder S wless Finish Airbrush Fla $45 Libre E au

YSL De Parf um Tra vel Spra $30 y

Milk Hydrogrip Fa ce Primer $34

NARS ncealer o reamy C C t n ia d Ra $30

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Dior Lip Glow Oil $35

Urban Decay 24/7 Glide On Eye Pencils $22

Lancôme h Las Idole Mascara $28

CHANEL Multi-Glow Stick SCULPTING $45

Biossance Squalane Hand Sanitizer $10

MAC Fix+ Magic Radiance $33

The Lexington Line • a/W 21 • vol 8 • no 1 17

RUNWAY REPORT

The Lexington Line • A/W 21 • vol 8 • no 1

/ Reconstructed blazers were all the rave this past spring/summer season. Usually deconstructed blazers take center stage, but this season was all about taking them apart and making them better: adding appliqués and embellishments, mixing and matching patterns, changing the traditional silhouette of a blazer, and a myriad of other ideas. Schiaparelli and Alexander McQueen both opted for fully bedazzling their blazers, sending models down the runway shimmering like stars. Brands like Coperni, Balmain, and Burberry completely opened up their blazers, giving them a more poncho-like silhouette. Trust that no matter how you decide to style your blazer, you will be on trend.

RECOns truc tion

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fringe

/ When you think of fringe, it is hard to avoid envisioning a cowboy in their nicest western jacket.

But this season, designers gave us new ways not only to envision fringe, but to create it as well.

Shying away from a classic short fringe style, the fringe trend was all about length this season, as seen with Burberry, Alaia, and Jonathan Simkhai. Givenchy, Paco Rabanne, and Proenza Schouler opted for fringe as a way to embellish a garment. Even if you can’t compete with a professional ballet dancer, there are tons of ways to use fringe this season.

/ One shoulder tops were all the rage this past fashion season, but that’s just skimming the surface. LaQuan Smith didn’t disappoint with a plunging offset V-neck mini dress. Salvatore Ferragamo showed us an oversized, one-shoulder cut out dress. If that’s too much asymmetry for one look, Atlein gave us a classic formfitting, one-shoulder dress. Nicole Miller kept it simple as well, with one-shoulder dresses in warmtoned patterns and colors. Stella McCartney, on the other hand, showed us her use of asymmetry through busy patterns and mismatched, longtrailing fringe. No matter what form your asymmetry takes this season— make it your own.

asy mme try

PROPORTIONS

/ Proportions are key to any designer’s process, and this season they threw out all the rules. Miu Miu took us back to the 2000’s by showing the shortest mini-skirts we’ve seen in about a decade.

Round is apparently going to be very in, given that both Commes Des Garcons and Halpern showed spherical looks that completely engulfed the models. Shows like Louis Vuitton and Loewe offered a new silhouette, one that is more organic and random than we have ever seen before, with protrusions emerging from the sides of their garments. This trend might seem intimidating, but there is no wrong or right way to do it. Take risks!

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Communing with Clouds A conversation with singer-songwriter Trevor Hall on settling into adulthood and creative maturity.

By Scout O’Donnell

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It’s

1997, and an 11-year-old boy steps on stage for the first time. He’s at The Quarterdeck restaurant in his hometown of Hilton Head Island, South Carolina, and his father, a locally-known drummer, sits behind him in anticipation. The boy steps to the mic, stares into the crowd, lifts up his harmonica, and plays the first note of “Sweet Home Alabama.”

Cut to 2020. Trevor Hall, now with nine studio albums and 20 years of touring under his belt, kisses his wife and newborn son seconds before greeting a sold-out crowd at Red Rocks Amphitheatre.

In those 23 years, Trevor Hall became more than a great artist.

For me, he became the older brother I never knew I needed. As his sisterin-law, I witnessed many changes in his life and accumulated memories of my own, but I felt compelled to hear the other parts of his life story.

Things settled down eventually. I vividly remember Trevor when he woke up on his thirtieth birthday, ran down the stairs, and exclaimed how happy he was to be out of his twenties. For Trevor, his thirties symbolized permission to relax into his life.

As a teenager attending Idyllwild Arts Academy, a boarding school in Idyllwild, California, Trevor became obsessed with art and music. He majored in classical guitar and began writing songs, but he was also inspired by a friend’s picture of the Hindu saint Neem Karoli Baba led to an interest in Hinduism that would guide the rest of his life.

“When you’re growing up, you’re so intense about everything; I still have that intensity, but to a much lesser degree,” he says. “When I hit 30, and as I’ve grown more into my thirties, there’s been a ridding of what’s not important. Things got a little simpler in my focus, my direction, and I think it was the letting go of that unhealthy intensity of my twenties.”

In his senior year, Trevor was briefly signed to Geffen Records, and after graduating, he began a relentless touring schedule that would persist for years. He released several albums, and his song “Other Ways” was included on the soundtrack for Shrek the Third. He briefly lived in India, and eventually moved to a Hindu temple in southern California and lived there for roughly a decade. As both a wellestablished musician and devoted acolyte in an ashram, Trevor would proceed to live a double life for most of his career.

He ultimately left the ashram but acknowledges how the years he spent there greatly influenced the person he is today.

“When I left the ashram, suddenly I had to create that devotional energy for myself. It’s almost like I was a baby bird being set up to fly for the first time—I needed to learn how to fly on my own,” Trevor explains.

“During my formative years, I

“One moment I was traveling everywhere: music, late nights, bars, living this vagabond lifestyle,” he remembers. “Then I had to switch to a completely devotional life.”

Seamlessly switching between singing bhajans (Hindu devotional songs) to singing his own hits was a little complicated.

“Those transitions were very tough for me. Once I settled into being on the road or in the ashram, I was fine, but those transitional periods spurred so many questions of ‘Who am I?’ or ‘Am I this or am I that?’”

Trevor at an ashram/orphanage in Allahabad, India Emory Hall Photography / @emoryhall

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was so affected by my external environment. Now I feel as though my spirituality is inside of me, so I can relax. I’m not so concerned with what’s going on around me anymore, which I think gives me a sense of freedom as an artist.”

Aside from his commercial music, Trevor has released a myriad of devotional songs throughout his career. At first, his change in environment made it harder for Trevor to find inspiration for devotional music, but now, he feels that moving out of the ashram only deepened his devotion.

“It’s seeing the fullness of all our different emotions and states, but seeing it from a space of neutrality.”

Apart from being a creative milestone for Trevor, In and Through the Body was also a significant career achievement. Back when Trevor and I lived under the same roof several years ago, I woke up every morning to Trevor playing Bon Iver’s record, 22, A Million. So when Brad Cook, the producer of that record, asked to produce Trevor’s next album, he hopped on a plane to Raleigh almost immediately.

Trevor’s latest album, In and Through the Body, is influenced by his spirituality. He uses poetic imagery to reflect his ideas about consciousness. On many songs, you can find images of clouds forming and disappearing, which connects to a common theme in Hindu spirituality.

“Our consciousness is compared to the sky,” he says. “[People] may identify with a sunny sky or a dark sky, but as a whole, these clouds moving through the sky are essentially the thoughts and emotions that control our minds and mental state.”

To this day, he is still learning how to be less affected by the clouds of emotion that move through his consciousness—how to witness them, honor them, and watch cycles change in his own mind.

“Great storm clouds holding rain / It’s part of nature to hold a bit of pain,” he sings in “Great Storm Clouds.” “All in all, that rain falls / and then we watch a new thing grow.” For Trevor, clouds in the sky remind him to contextualize his negative thoughts—to honor them as they pass.

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Trevor’s original album art for In and Through the Body

“It was definitely a huge step for me personally and creatively.

I have doubts just like everybody else, but it’s all just my ego.

The ego can be really puffed up or the worst negative self talk, but both are harmful,” Trevor says.

“There was an acknowledgment of maturity that came with this step in my career.”

between being on and off the road, which is always a little stressful.

“Coming off tour is hard. When you’re touring, it’s very clear what your purpose is: you get up, travel to a city, play a show, and repeat,” he says. “Even when you’re tired, at least you have a solid purpose when you’re on the road. Then, when you come home, that’s what we call ‘post-tour depression’—it’s quiet, and suddenly there’s nobody around. It makes you almost doubt your purpose.”

But stress and hard work are part of the deal for any serious artist.

“No matter who you are, what kind of artist you are, what kind of art you engage in, you’re going to face so much pressure [...] and that can really distract you,” he says. “The craft itself is the ultimate teacher.

The craft is the question and the answer, it’s all in one, one in all. You are going to get distracted, you are going to get pulled away, but you can always find your craft again.”

In a world of social media and social disconnect, it’s easier than ever to lose yourself, Trevor attests. Young people are under more pressure than somebody like Trevor, he says, because he didn’t have to grow up in the social media era.

“Sure, it may be easier to get your art out there, but you’re also up against a lot.”

Brad brought in his brother, the folk artist Phil Cook, to contribute musically, and the resulting collaboration landed In and Through the Body on the Billboard Hot 100.

As an artist, it is more important than ever to remain authentic.

The best advice Trevor can give artists looking to start their creative careers in the twenty-first century?

Trevor has made good on his opportunities over the years and developed tremendous insight in the process. He loves touring and still finds himself dividing his time

“​​Protect your energy. Protect your craft. Trust it and let it guide you, wherever it takes you.”

CUT

AND

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IG: @cutandcropped

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six weeks notice c h a n g i n g a b o r t i o n l aw s c r e at e a c l i m at e o f f e a r and suspicion

by Andrea neu

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hen Jane was a 16-year-old high school student, she discovered she was pregnant seven weeks after conception. At her cousin’s insistence, she went to her local Planned Parenthood in Hackensack, New Jersey. They discussed her options, which included family services counseling, adoption, and abortion.

They reviewed the possible outcomes in each scenario, and she considered each option. Without parental support, she knew she could not safely engage in a fullterm pregnancy. Although it was “painful, mentally and physically,” Jane says, “I was relieved to have had the sources and opportunity to choose for myself as well as the emotional support.” Ultimately, she decided to schedule an abortion.

While a traumatic experience in its own right, Jane’s abortion story is shared by many other women who find themselves in a position where they cannot support or raise a child. But if she lived in present-day Texas, things would’ve been considerably more complicated.

Last May, Texas lawmakers passed Senate Bill 8, “The Heartbeat Bill,” banning any abortion in which there is a detection of cardiac activity, specifically at the sixweek mark—incidentally, when most women discover their pregnancies according to AmericanPregnancy. org. No exceptions will be made for incidents of incest or rape.

The Guttmacher Institute calculates that nearly 18% of early pregnancies end in abortion. There is a wide contrast in laws and beliefs surrounding the issue depending on the state in which a woman resides, and 58% of women of reproductive age currently live in states considered “hostile” towards abortion rights.

According to HealthLine, fetal heartbeats usually begin within five to six weeks of conception. This

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time frame overlaps with most 28-day menstruation cycles. Women can also experience irregular periods due to, but not limited to, diabetes, eating disorders, hyperprolactinemia, medication, and stress, according to Penn State.

The New York Times cites Senate Bill 8 as one of the most time restrictive abortion laws in the country. It not only villainizes the women involved, but also institutes the precedent of deputizing citizens as abortion vigilantes for financial gain. This is because Senate Bill 8 allows private citizens of Texas to sue not only those undergoing an abortion procedure, but also those that “aid and abet” these individuals. NPR reveals this extends to intended and unintended third-parties like Uber drivers, as well as anyone who plans to aid with future abortions.

According to Planned Parenthood, third party individuals can include, but are not limited to clinic workers, doctors, nurses, counselors, parents, significant others, friends, and drivers.

pregnancy is confirmed, Kleinfeld states, “the clock is really ticking.” Women in this postion have less than a week to schedule a clinic checkup and an abortion appointment, adding to the already stressful experience. Jane herself recalls feeling “embarrassed and overwhelmed” by her situation.”

Texas Senate Bill 8 has created an atmosphere of guilt, suspicion, and fear by “establishing a completely unsafe and scary environment for women,” according to Sierra Escobedo, a 21-year old resident from Austin, Texas.

She and her friends were “disgusted” upon learning of the impending law, citing it as “a complete violation of human rights.” Sierra vocalized her female peers’ opinions, reaffirming Kleinfeld’s financial and safety concerns. “Not every woman is able to go to another state and get a safe abortion because [of] finances, jobs, [and] childcare.”

They’re trying to find a way to ban abortions without actually banning abortions

“I interacted with four people at the time,” Jane remembers. “My closest friends at the time and my older cousin.” All of them could’ve been sued under Senate Bill 8, and any state citizen would have earned $10,000 for bringing in the case. Various appeals and lawsuits have already been filed in Texas, according to Associated Press.

Fox News believes the law itself upholds Roe v Wade because it is enforceable by “judge and jury” citizens, not the state. During an interview with the network, Richard Rosen, a law professor at Texas Tech, stated, “I believe the authors of the laws used citizen enforcement as means of precluding preemptive attacks on the law.”

As such, the legal framework of Senate Bill 8 is difficult to undermine.

Due to the staggering limitations placed on Texas women in need of abortions, Bloomberg estimates many are traveling up to 250 miles from Texas to receive treatment. During her interview with NPR, Kathy Kleinfeld, an administrator with Houston Women’s Rights Reproductive Services, explained that this issue creates two significant problems: traveling for abortions introduces a financial burden, and there is greater opportunity for risk at unsafe or undocumented abortion sites. Once that six weeks notice is up and a

This bill has led to further discourse between the Pro-Life and Pro-Choice communities across the country and expanded the social and political conversation surrounding abortion and women’s reproductive rights.

“They’re trying to find a way to ban abortions without actually banning abortions,” Sierra says. “It’s a war on Women’s Rights.”

Most standard college semesters range from 15 to 17 weeks, with weeks six to eight usually serving as midsemester check points; sometimes, the span of six weeks can fly by in an instant.

Minimizing a woman’s support system and shrinking her timeframe to six weeks establishes an environment of worry, shame, and suspicion.

Instead of providing contraceptives and proper sex education, the Texas government is potentially invoking unsafe, even dangerous conditions for young women and their supporters. It would be difficult for anyone in any position to have a contingency plan in place within six weeks, let alone a woman in the process of making such a life-altering decision. The law sets a terrifying precedent.

*Some names have been changed to respect anonymity of interviewees.

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EXPATS american designers ta k e o v e r e u r o p e a n fa s h i o n h o u s e s by ian grafvonluxburg

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or quite some time, London, Milan, and Paris have been hesitant to listen to Western influence.

For the most part, Europe has always had a tight grip on the fashion industry, with conglomerates such as The Kering Group and LVMH monopolizing the scene. Fashion designers always seemed to be from one of the major, or adjacent, cities on the European fashion calendar. But in recent times, these houses and brands have undergone an Americanization of sorts.

It is becoming more common to hear the name of an American designer behind a major European house.

Kim Jones is an English fashion designer who, as head of Louis Vuitton menswear from 2011 to 2018, completely reshaped concepts like street style. After an incredible run, Louis Vuitton decided to part ways with the designer, and in March of 2018, the brand named Virgil Abloh the new Creative Director for its Menswear line. The new gig was major for Abloh, making him the first Black person to hold the post and one of few Black designers at the helm of a major French fashion house.

Another major fashion switcheroo was the departure of Riccardo Tisci from Givenchy. Although Tisci is of Italian descent, he was at the helm of a major French fashion house for 13 years, overseeing both its womens- and menswear lines, and even producing Givenchy couture. In June of 2020, Matthew Williams, an American fashion designer, was appointed creative director of the house.

It’s become a trend. Another example is Daniel Roseberry, an American designer from Texas, who was named creative director of Schiaparelli after the house’s 2014 revival. He quickly solidified his name at the legendary house and is now making couture under its name.

With all of these American names being thrown around, one can only ask: who haven’t we heard of yet?

For a long time now, the American fashion industry has

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been more or less identified by a familiar slate of names: Halston, Bill Blas, Oscar de la Renta, Carolina Herrera, Ralph Lauren, Marc Jacobs, Tom Ford, and so on. The classics. OG’s, if you will—but in the last decade or so, these names have become predictable, and New York Fashion Week has lost some ground to its counterparts in London, Milan and Paris. But up-and-coming American designers are beginning to make their voices heard, and the industry is definitely paying attention.

Christopher John Rogers is one of the most captivating.

He was named American Womenswear Designer of the Year at the 2021 CFDA Fashion Awards, two years after winning the CFDA/Vogue fashion fund, which is given to on-the-rise designers so they can fund their collections and projects. Since then, he has been worn by celebrities like Lady Gaga and Beyoncé.

Anifa Mvuemba, another star on the rise, is a Nigerian fashion designer who immigrated to the United States when she was 3 years old to escape war and civil unrest.

She revolutionized the industry when she presented a collection using completely digital and life-like models at the start of the COVID-19 pandemic.

New York fashion brand Area is also making huge moves. Half of the team is composed of Becket Fogg, a Kentucky-born fashion designer, while her counterpart is of Polish descent. They recently announced to the world that they would now be creating couture collections, a feat that is only technically possible if you have the approval of the Chambre Syndicale de la Haute Couture, a notoriously difficult club to get into.

Another American to break through the haute couture glass ceiling was Kerby Jean-Raymond of Pyer Moss. Jean-Raymond is one of the fashion industry’s leading American names, with his designs being worn by Zendaya and even Vice President Kamala Harris. He recently debuted his first haute couture collection at the Madam CJ Walker estate in upstate New York, highlighting inventions through history that were created by Black inventors, engineers, and entrepreneurs.

The American infiltration of fashion has become so prevalent that it is now being presented to the world at the Met. It is also being studied and celebrated to the same degree as its European counterparts, a shift that was long overdue and heavily contested.

Last September, the Anna Wintour Costume Institute at the Met debuted part one of a two part exhibit series, the first of its kind, entitled In America: A Lexicon of Fashion. Andrew Bolton, British museum curator and The Lexington Line • a/W 21 • vol 8 • no 1 27

current Head Curator of the Metropolitan Museum of Art's Costume Institute, spearheaded the project and aimed to redefine the vocabulary used to describe American fashion. Bolton explains that “American fashion has traditionally been defined through the language of sportswear and RTW,” also stating that it is often “denied the emotional rhetoric applied to European fashion.” Through the use of sectionalized groups of garments representing umbrella concepts found within American fashion, Bolton hopes to create the opportunity to celebrate the “creativity and ingenuity of designers working within the U.S.” The exhibit takes inspiration from, and has its roots firmly placed in, the work of artist Jesse Jackson, who used a patchwork quilt as a metaphor for the United States. Jackson says that America is less like a blanket and “more like a quilt—many patches, many pieces, many colors, many sizes, all woven and held together by a common thread.”

If indeed a glass ceiling of fashion has been shattered, American designers are using the shards to recreate the mosaics of fashion, in their own American vision.

One that is as diverse, up-to-date, and progressive as they are.

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IG: @itsmassiel

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Landon Rice Francesca Gonzalez

PHOTOGRAPHY Jenna Filingeri

Khayla Biscoe

styling director

Creative Director

Jennifer Felder Julia “Lolo” Herrera Kaylyn Montgomery

Sofia Naranjo

stylists Gabriela Martinez Steloni Mason Alexa Samuel Poheng Lee Lilly Nielsen Jordyn Ramsay

Models

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Fashion director The Confessional Showroom

Wardrobe

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MODEL ABOVE WEARS: Free People—Top MODEL LEFT WEARS: Free People—Knit Dress Markarian—Vest Steve Madden—Boots ASOS—Gloves

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MODEL ABOVE WEARS: Urban Outfitters—Dress Hardcore Fashion—Top MODEL LEFT WEARS: Free People—Knit Dress Markarian—Vest Steve Madden—Boots ASOS—Gloves

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MODEL LEFT WEARS:

by Wen—Suit ASOS—Hat Doc Marten—Boots MODEL RIGHT WEARS: mirimari—Dress Doc Marten—Boots ASOS—Gloves

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MODEL RIGHT WEARS: Cristobal Eoll—Bodysuit Doc Martens—Boots MODEL LEFT WEARS: Free People—Knit Dress Markarian—Vest Doc Martens—Boots ASOS—Gloves The Lexington Line • a/W 21 • vol 8 • no 1 39

MODEL RIGHT WEARS: Cristobal Eoll—Bodysuit Doc Martens—Boots 40

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MODEL RIGHT WEARS: Cristobal Eoll—Bodysuit MODEL LEFT WEARS: Free People—Top Urban Outfitters—Pants

MODEL WEARS:

by Wen—Suit ASOS—Hat Doc Marten—Boots

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MODEL WEARS: Free People—Top Urban Outfitters—Pants LLESSUR—Jacket

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MODEL WEARS: Free People—Top Urban Outfitters—Pants LLESSUR—Jacket PrettyLittleThing—Shoes

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MODEL CENTER WEARS: Free People—Top; Urban Outfitters—Pants LLESSUR—Jacket; PrettyLittleThing—Shoes

MODEL LEFT WEARS: MANAHI—Dress; Jeffrey Campbell—Dress

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MODEL WEARS: HEIKI NY—Dress

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MODEL RIGHT/MIDDLE WEARS: ASOS—Top & Shorts; Nike—Sneakers

MODEL LEFT WEARS: Free People—Top, Vest,& Pants

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MODEL WEARS: Social Tourist—Vest; Free People—Pants PrettyLittleThing—Shoes The Lexington Line • a/W 21 • vol 8 • no 1 57

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Making Space A n e m pat h y- f o r wa r d a p p r o a c h t o s o c i a l m e d i a i n fa s h i o n

by Samantha James "If people can become brands, brands can become people," Steff Yotka wrote in Vogue in 2019.

These days, fashion brands have a symbiotic relationship with social media. Without a vibrant presence on Instagram or Tiktok, many would cease to exist. Social media can project a brand into the limelight, collect valuable data, close the gap with a customer, and allow a brand to cultivate its image.

But increasingly research concludes that social media is dangerous for users, leading to mental health issues and even eating disorders.

The fashion industry has long been criticized for promoting unhealthy and unattainable body types and for embodying a culture of exclusivity—both themes that contribute to what The Wall Street Journal calls the “perceived isolation” of social media users.

WSJ also found that “32 percent of teen girls said that when they felt bad about their bodies, Instagram made them feel worse.”

The New York Times reported this year that within 24 hours of creating a social media account, children as young as 13 are targeted with “harmful content, including material related to eating disorders, extreme diets, sexualized imagery, body shaming, self-harm, and suicide.”

More and more fashion brands are pivoting to sustainable and ethical business practices; developing empathetic social media marketing tactics might prove to be a critical extension of this. That is, brands can use empathy to avoid contributing to social media loneliness, a strategy that will likely benefit the brands as much as the consumers.

fashion brands have an opportunity to walk back the idea of exclusivity and move towards inclusivity People today want authentic experiences with the brands they purchase from. According to Social Media Today, 86% of users say that authenticity matters to them when they are choosing which brands to support. With “perceived isolation” on the rise, fashion brands have an opportunity to walk back the idea of exclusivity and move towards inclusivity: letting “average” consumers experience something that is not merely shown to them, but that includes them. In this way, the brand becomes more real, the experience more authentic.

Some brands achaieve this with “behind the scenes” content.

Pierpaolo Piccioli, Creative Director for Valentino, has been documenting the making of his collections on Instagram since 2018.

And in 2019, all the ateliers who hand-crafted the clothing were invited on stage to do the closing walk with Pierpaolo for his haute couture A/W ‘20. These photos and videos created transparency between the consumers and the brand.

Balenciaga showed similar instincts last September, bypassing the runway and showcasing their Summer ‘22 collection directly on Instagram. Every Instagram follower was suddenly included in something historically exclusive.

Other brands, like Aerie, are using their social media accounts to directly combat body dysmorphia and promote inclusivity.

It’s time for fashion brands to brainstorm further about how to be more transparent, inclusive, and authentic. For example, they might consider identifying their most devoted followers—those who tend to like and share their content—and from that group, prioritizing those who have the fewest followers of their own. If they like and comment on the posts of those who aren’t "famous," other followers are incentivized to interact with the brand.

But this is just one idea. In recent years, Prada, Gucci, Valentino, and numerous others have found innovative uses for social media.

No doubt, this is a priority for all fashion brands, more important now than any runway show. It seems likely that using social media accounts to break down walls will in effect give consumers what they want: to feel seen, included, and accepted.

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the digital assistant that makes shopping seamless and safe

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IG: @99angels

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WHAT WE'VE BEEN GIVEN

poems and illustrations

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by kally compton

Ephemera So as cement, poured canvas for hopscotch, squares cherishing your chalk, cures and cracks.

So as a dollar bill, lines our pockets or someone else’s, exchanged sour candies, bittersweet coffees, frays and shreds.

So as cameras, capturing fractals of feeling, fashioning yearbooks, nudes and christmas cards, corrodes and crumbles.

So as cars, fixed by your father, the vessel to long lines, soft kisses and laughter, stalls and rusts.

So as flyposting, lines the walls of streets we roamed, stripped by strangers, elemental reform, splits and rives.

So as lightbulbs, soft glow on the city, glare on our skin, lovers, leavers, burns and snaps.

So as faces, masks we wear for each other, crooked candids, shimmering orbs, wrinkles and fades.

So as minds, ubiquitous and imperceptible, molds of what they said, withers and dissolves.

So as rivers, run past us to kiss their mother, carries our splashes and lost sunglasses, departs and parches.

ON GETTING LOST I’m a time traveler. Floating through space. Innerverse.

Journey through billions of places collected in DNA that lies beneath, between, and inside my head. I see screens, universes of their own, yet I’m tied to only a few planets. No freedom. Exploration, only determination to finish what gets started, to do what is asked.

Each humdrum, tedious task, so that I may arrive at my future—ready. Elated to travel forward, not straight zig-zag maybe side to side—but forward. It is human to be lost. Feeling the sharp tickle of butterfly wings, the laughter echoing. Screams of silence in between. Sometimes getting gone makes the destination more serene.

You find things again when you’re lost.

SWEATSHIRT swallowing ME Your sweatshirt smells like pink chiffon, makes you dream. You dripped ketchup on the sleeve from fries you wished you didn’t eat.

Scrubbed away with stain stick and bleach.

The faded red stays stuck on your sleeve.

You chew the strings when each lover leaves.

Shards of plastic between your teeth.

So as rain, seeds of space, nourishes us for sorrow or dancing, fails and dries.

So as stars, slip through somber to stare at you, azure embers ignite our everything, collapses and shatters.

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How To Outwit “The Halo Effect” And Be Skeptical Of Your Own Assumptions

By Emily White

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A

nxiety rules my world.

No matter what I’m doing, it emerges from nowhere and suddenly feels so present it’s coming out of my pores, causing my mind to spiral out of control.

“Do I look okay? Can everyone see the pimple on my forehead? Do I seem anxious?” and the obvious, “What do others think of me?”

All of these questions play on a constant loop. “It’s just my anxiety” is the excuse I give myself every time I ponder what others think of my appearance.

But in all honesty, who doesn’t wonder what others think of them?

We are all hardwired to make judgments about people based on how they appear. I cannot fathom why this happens.

So I thought, “What better way to learn about something than Google?” Boy was I wrong. If anything, Google left me with more questions than I thought possible.

During my “research,” I stumbled upon something called “The Halo Effect,” which is “the tendency for an impression created in one area to influence opinion in another area.” For example, if you see someone on the street in a tailored suit and polished shoes, you may assume that they are wealthy or intelligent even if you know nothing about them.

This idea intrigued me. I thought, “maybe it could explain why I am such a hypocrite.” Yes, I say I’m a hypocrite because I am. You might be too. We all preach the idea that it is not good to judge others, but we all do it intuitively.

I catch myself people watching a lot, and I realize that I make all kinds of assumptions about what

their lives are like. This makes me a part of the “problem,” even if it is an unconscious instinct.

I decided to ditch my old friend Google and go straight to the source.

I needed to know more about this “Halo Effect.”

So I called Dr. Heather O’Leary, a Counseling Psychologist. I was extremely nervous going into this conversation. My skin was crawling with anxiety.

“Am I nervous that she’s going to say we are all the same? I hate people that judge others. We all do it though. Is she going to tell me I am one of those people that I hate? Was it simply the fact that I was about to leave my own psychic bubble and talk to a stranger?”

She told me that the Halo Effect is a cognitive bias that causes us to make assumptions before we have the time to think about these assumptions—that “what is beautiful is good,” and that making assumptions is a part of how we function. But “we can learn to change the hardware,” she said.

The Halo Effect results from the Schema Theory, she told me.

This Theory justifies our brains’ odd way of operating. Schemas are “like a script,” O’Leary said.

“They fill in the blanks and work automatically when you see someone or something.”

An example of this would be going to a restaurant for the first time.

Your brain will unconsciously create an idea of what the food or service will be like. These automatic assumptions, schemas, are not chosen—they simply happen.

She shouldn’t have told me this. I am now going to blame everything

on my schemas. “Are everyone’s schemas the same?” I asked her.

No, everyone’s schemas are different. They reflect on our unique pasts: family, home life, social life, education and exposure to media.

“When we see someone for the first time, we only see one trait,” Dr. O’Leary said. Then, unconsciously, “we generalize who they are based on that one trait.”

I wanted to put this to the test.

At first, I planned to show people photographs of strangers and ask people to make assumptions based on their appearance. Then I thought better of it because sometimes, people are the worst.

So I decided to use books to test the Halo Effect instead.

I’m sure you’ve heard the expression “don’t judge a book by its cover,” but that is exactly what I wanted to do. In order to test the Halo Effect, I chose three books with, let’s just say, “interesting” covers. I wanted to ask people what they thought the book was about at first glance.

I sent out a book survey via Instagram, and anxiety invaded my mind once again: “Will I get enough responses?

The first book I selected was Piercing by Ryu Murakami, which is the story of a man who feels the impulse to stab his child with an ice pick. The novel explores themes of child abuse and domestic violence, but the front cover of one edition displays a baby chick being punctured with a large needle.

The responses I received mostly assumed the book was about animal testing and cruelty. However, there were definitely some honorable mentions.

“Probably killing bunnies.”

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“A young girl who gets a nose piercing and instantly regrets it.”

Thank you for that one, Dad. And last but not least: “Fear.”

This one interested me. What schemas led them to believe that Piercing is about fear? Dr. O’Leary told me that we cannot understand other people's schemas because they’re personal to them.

However, we can learn to accept that there are opinions that differ from our own, even if that is something we all fear.

The second book I selected is Verge by Lidia Yunkavitch.

National Public Radio says, “Verge is inhabited by people at the limits of society.” This story is about people deciding whether to give up on themselves or hold on a little longer.

The cover of this edition depicts a large wolf who appears to be stepping out from a swirl of rainbows.

To my surprise, many people responded that this looked like a Dr. Seuss cover. “Oh the places you’ll go,” they said.

But the response that stuck out to me this round was, “Maybe this is about someone who is considered a ‘lone wolf’ trying to break out of their shell.”

This made me think back to O’Leary’s idea that our schemas are individual to us: “Our histories make us who we are and how we behave.” Doesn’t this make us all lone wolves?

The last book in the survey was The Years by Virginia Woolf. The 1937 novel spans 50 years in its depiction of the lives of a British family, the Pargiter family, and emphasizes the small details of their days. But the cover of the edition I chose does not reflect that. Instead, a computergenerated-looking girl is the focal point of the design. If I didn’t know what it was about, my first thought would be something science fiction.

However, I was the only one that thought that. Many believed it was likely a “coming of age’” or “period biography” story.

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Someone else responded that “this looks like a sappy romance my Great Aunt Elma would read.”

That’s ok Aunt Elma, I am a sucker for sappy romances too.

At the conclusion of this experiment, I felt like I started to understand people more merely by experiencing and contemplating the wide variety of our schemas. We have uncontrollable, unconscious reactions to things, but “we can learn to change the hardwire.”

When Dr. O’Leary first told me this, I wasn’t so convinced that we could manipulate our own schemas.

I thought maybe we couldn’t control our instincts to judge, but I was wrong.

The first step towards breaking this hardwire, she said, is “knowing and accepting that the Halo Effect exists.” However, that is not enough.

She told me that we can only change when we become aware: “You must be willing to be open to new opinions.” As a society, we spend so much time judging others for the way they look or act, but why don’t we hold ourselves equally accountable, knowing we didn’t necessarily choose our own schemas either?

Instead of questioning others, we can begin by questioning ourselves: Does my own compulsion to judge lead to assumptions others are doing the same? Is this the real trigger of my own anxiety? When I first began this journey, I thought that no one could just change, that this is not how our minds work. In fact, you can learn to control your mind, you just have to be willing to challenge it.

IG: @Isleofmonday

He a t h e r Ho r ro r

Th e E n d u r i n g I n f l u e n ce O f V i c to r i a n Acce s s o r i e s

by Ashanty Rivera

Heather Horror is a fashion designer who specializes in latex couture. She has an impressive resume, having worked with celebrities like Beyoncé and Lil Nas X. Horror emulates the dark and stylish aspects of Victorian goth with her luxury latex and oddities brand, Deathstetics.

She strives to achieve the aesthetic of “necrophiliac at a funeral” and designs her pieces for any occasion.

She says, “our decadent drapings can be worn anywhere: from the vampire ball to the club to your music video shoot and more.”

Why does the Victorian era appeal to you when creating your signature latex pieces?

Everything just feels so luxurious. The more extravagant the clothing, the higher the class. Deathstetics is a luxury latex line, so that adds to our cohesive branding.

Everything from the architecture, fashion, literature— it's all so sophisticated and inspiring. All of the shapes, silhouettes, textures—aesthetically pleasing and well made. A time before mass production, which relates specifically to my brand as well, as each garment is made 100% custom by hand. Victorian fashion has such a variety of styles and attributes, so it's so easy to integrate into a lot of things. And then, of course, our line correlates with the mourning traditions.

Do you have a favorite accessory from the era?

The Victorian era has been the inspiration for some of the most coveted designer pieces, such as Vivienne Westwood’s pearl choker, Alexander McQueen’s corsets, and some of Betsey Johnson’s vintage jewelry and handbags.

Fashion is forever, and the accessories from the Victorian era are undoubtedly timeless.

Here are two up-and-coming fashion business personalities on how Victorian accessories influence their work.

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I love all of it, but I have to say I have always been partial to corsets! They give you an incredible shape, and they are beneficial for keeping proper posture to prevent back problems... sexy and sensible? Yes, please!

My favorite piece from your brand is the Entombed - Latex Dress. I love the coffin shape cutout and the puffy sleeves!

Thank you! I have to say that is my favorite piece from my line as well! That design was the first one I came up with and it was what got me most excited about creating my brand and seeing what I could do with it.

I see on your website you have done freelance fabricating outfits for personalities such as Cardi B, Lil Nas X, Megan Thee Stallion, Miley Cyrus, Nicki Minaj, and Beyoncé.

Tell me about these experiences.

Those experiences were always insanely hectic, but these very fun pieces to make. Those projects all had a harsh deadline, so it doesn’t leave a lot of time to get the garments made. But seeing the result always made it worth it and leaves you feeling very proud of the work you put out there. The most notable experience for me was working with Lil Nas X. I had the opportunity to be on set for the “Rodeo” music video. He was such a fun and pleasant personality to be around. He was very charismatic and made the set feel like everyone was just hanging out and having fun.

What is your favorite period accessory?

Are you able to share any new pieces you have coming out? What would you like to create in the future?

Is there an outfit you would wear again that has a piece inspired by the Victorian era?

I have a custom piece I made for a client that I am about to release, and I’m very excited about that—I think it is my best piece yet. I also have my next collection in the works, which I am equally as excited about! Some of my next designs will be available very soon. The weekend of October 23-24 I was invited to the Oddities Flea Market as a vendor, and for this event, I debuted our newest gown and a collar. The pieces in my next collection will involve more accessories, for those who aren’t ready to make the full commitment to latex yet, or just want to accentuate their existing wardrobe.

Chloë Fe l o p u l o s Chloë Felopulos is a fashion influencer who continuously provides inspo for how to wear whatever you want and whatever you like. In only a few months, she has gained over 20,000 followers on Instagram and over 7,000 subscribers on YouTube. At the age of 22, this more-is-more type of style icon has already worked with brands such as Nasty Gal and Skims. Chloë has created some outrageous-yet-fashion forward looks, with the help of secondhand pieces as well has an eye for “what goes.”

How does the era influence how you style an outfit?

I love the juxtaposition between wearing an outfit or statement piece reminiscent of the Victorian era and then going about my life on, say, a normal Tuesday.

It’s so fun to take on a decade, maybe even a different persona, and intermingle them with who you are and the life you lead. The Victorian era X everyday life is a collab I will always support.

I love my string of pearls that are so cute to wrap and layer with, knot, or load on with other accessories! I also JUST bought this fur collar with little drop jewels that I cannot wait to style. Don’t know if it is technically Victorian, but I think it will look cool styled with the era in mind.

Not to be too literal... but I would wear my Marie Antoinette wig with... anything.

Vivienne Westwood is one designer that comes to mind when I think of Victorian fashion, gothic romance, and of course, punk fashion. Is there a Vivienne Westwood piece on your wish list?

I am completely obsessed with Vivienne Westwood. I’d like to say anything and everything Vivienne Westwood is technically on my wish list. BUT to name a few, starting with a custom wedding dress, I would also love anything from her RTW Fall 1995 collection, the British flag gown showcased in her capsule collection in celebration of the Queen’s Diamond Jubilee OR the heel/sock combo shown on her Spring 2012 runway in Paris (any and ALL).

Can you give me your opinion on why and how accessories are important to elevating an outfit?

I truly believe accessories make or break a look. They often determine if a moment becomes a MOMENT or not. Whether it’s on the runway, the red carpet, or within the streets of New York, a look is not a look without its accompanying accessories. It doesn’t have to be much. Keeping things minimal is sometimes key, but I believe accessories are the key to balance and making sure you’re not getting lost in or “worn by” your outfit. They are also a great way to personalize an outfit and add your spin onto things—I am obsessed!

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how to find your shade t h i s h o l i d ay s e a s o n by emma defelice As Audrey Hepburn once said, “there is a shade of red for every woman.” But finding the perfect red—that can be hard. Rest assured, somewhere between the deepest crimson and the brightest cherry, there is a shade for you. A common mistake when trying to choose a shade of red is confusing your skin undertone with your skin color. You want to match the shade of lipstick to your cool, warm, neutral, or live undertone rather than the lightness or darkness of your complexion.

If you don’t know your undertone, Google it—you’ll figure it out pretty quickly. Here’s how to select reds based on skin undertones.

Warm Undertones If you have more warm-toned skin, that means your undertone is either golden or peachy. Reds with these two undertones tend to look the best—perhaps a shade like fire engine red. One of my personal favorite warm-toned reds by Gucci Beauty is their Rouge à Lèvres Satin Lipstick in “Goldie Red.” Cool Undertones If you have cool skin tones, that means your undertone will be pink and/or blue. Blue-based reds are the best complement to cool skin tones.

MAC’s “Ruby Woo” shade is among the most popular blue-based red lipsticks.

Neutral Undertones Neutral undertones can be tricky because you will have a little bit of both, but this also allows for more color options. Neutral undertones can pull off blue-based or peachbased reds, so a classic red lip will offer a common ground. A current top seller for a classic red lip is Fenty Beauty’s Stunna Lip Paint in the shade “Uncensored.”

Olive Undertones And finally, the olive undertone.

Olive undertones require more green-based reds but can have a slight range of blue and gold. The best shades of red for someone with an olive skin undertone are coral-based reds. This red will be slightly more orange but will pop against someone with an olive complexion. Try to avoid blue-toned reds, because they will appear more fuchsia against an olive skin tone.

Pivotal Red Moments

Elizabeth Arden would hand out tubes of red lipstick to the women marching past her salon during the Women’s Rights Movement circa 1912. This is when a red lip started to become a symbol of power and freedom to women globally. The “promiscuous pout” was seen as rebellious and liberating.

The red lip was hated by many men, most notably Adolf Hitler, who saw it as a statement against facism. Because of this, taxes were raised on red lipstick all across Europe, so women started to get creative and tint their lips with beets.

During the war, there was an influx of women in the workforce. The red lip was very commonly worn by the working woman because it demonstrated resilience in the face of conflict.

The red lip became a mandatory part of the United States Army Uniform in 1941 after Elizabeth Arden released her iconic shade called “Victory Red.” The United States Government then asked her to create a lip and nail shade for the serving women who had enlisted in the Army.

The red lip became very popular in old Hollywood, most notably worn by Marilyn Monroe. The infamous Hollywood sex symbol wore a red lip both on and off screen, making it a part of her signature look. She achieved the flirtatious cherry pout by using Guerlain’s Lipstick in “Rouge Diabolique.”

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A Little bit extra Emma DeFelice

Asia Marshall Carolina Rodrίguez Jessica Serrano Adam “Juni” Finkler

Beauty Director & MUA

models

Emily White Alyson Ligus

Jenna Filingeri Kaylyn Montgomery

hair stylists

styling

Francesca Gonzalez

Photographer

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Prada Re-nylon Re-Edition 2000 mini bag I love how minimalistic and chic this shoulder bag is, and the style matches with any outfit I want to wear for the day! It’s become a huge statement piece in my wardrobe and has the ability to elevate any look.

“The Rose That Grew From Concrete” by Tupac Shakur

Khayla Biscoe Creative Director

Editors’ Picks

L’Oreal Paris Colour Riche “Never Fail” Lip Liner

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I literally cannot leave the house without this lip liner! It’s a perfect mauve shade that gives a nice definition to the shape of the lip and it’s so long lasting.

My “Stay Emo” Playlist

I have a whole playlist with mainly early 2000s - now alternative artists that I listen to everyday.

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Tupac includes both a poem and short story that is about reaching our desired goals in life despite hardships and conflicts we face along the way. This book is a mirror reflection of his life: how he faced many struggles growing up and was able to achieve his dreams in the music industry.

House of Sunny Cypress Peggy Knitwear

This cardigan has been on my Wishlist all year! I love the use of color in this piece, and they all work well together and make the fur color and sleeves pop. Besides, a little color never hurt anybody.

Game of Thrones

I really can’t think of a better medieval series that checks off all the boxes for superb writing, exceptional acting, and intense action scenes. Let’s not talk about Season 8 though…

It Ends With Us

This book is totally worth the hype. This novel was life-changing, and it needs to be on everyone’s must-read list.

Tweed Sets

Tell Me About Tomorrow has been my favorite album ever since it was released in July. It has the perfect mix between pop punk and soft tunes to jam out to while also voicing the importance of societal issues such as mental health.

Reworked Designer Bracelets

This look is timeless and elegant, and anyone can look good in it!

I was never a big bracelet person until I got my reworked Chanel bracelet. These pieces are unique and original, and a great way to support sustainability.

Editors’ Picks

Tell Me About Tomorrow

by Jxdn

Clueless

Does this movie ever get old?

As if! Nothing will ever beat this ‘90s classic.

TA Cosmetics Lip Gloss

I know I’m biased since I’m the one making these, but I absolutely love them. The TA Cosmetics lip gloss is the perfect universal gloss. Whether you’re going for a more glam or more natural look, this is a must have!

Tessa Aldridge Managing Editor

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ASOS Design Archer Chunky Chelsea Boots

These have been my go-to. It’s versatile and can go with anything.

They’re chic with a little bit of edge.

Sarah Abdelaziz Brand Manager

Editors’ Picks

Little Book of Gucci

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My favorite read at the moment. I can take this little book anywhere; it’s the perfect size to fit in my bag. This book is filled with history, iconic looks, and so much inspo.

In The Heights

This movie resonates with me because of my multicultural background and my love for theater.

Gold Chunky Dome Rings Charlotte Tilbury

“The super nudes, Matte revolution supermodel”

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I’m always wearing rings to dress up my fits. If there’s anything I wear most, it’s these rings.

The Four Agreements

This book changed the way I saw life. I was going through a hard time and needed direction.

The wisdom I received from this book was so valuable and changed my life forever.

Marc Jacobs 2017 Ready-toWear Platform Boots The dreamiest boots to ever exist. I swear I see these boots in my dreams. It is a goal of mine to own these boots one day. They will be the most valued possession in my closet.

Editors’ Picks

Fenty GlossBomb HEAT

I’ve always been an all-natural kind of girl. I love makeup but really try to keep as natural as possible. I use makeup to enhance my features and this lip gloss really makes my lips look fuller and juicier.

Ophelia by The Lumineers

This song makes me happy and sad at the same time. I share beautiful moments with the song, and those memories will stay with me forever.

Juliana Jimenez Marketing Director

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zachary klingler Class of 2025 90

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luana dasilva Class of 2025

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bailee zi Class of 2022

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magali zoanetti Class of 2022

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