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THE LEXINGTON LINE

s/s 25 • vol 11 • no 2

The Lexington Line • s/s 25 • vol 11 • no 2

Creative Direction: The Cosmetics Club Photographer: Maddie Larson Models: Rachel Rothermel & Jordan Cuevas Please Contact Callista Anctil & Rachel Rothermel

LIMCOSMETICSCLUB

where beauty meets connection

Masthead Editors’ Letter Color Pages Runway Report Beauty Buys Editors' Picks Behind the Scenes

THE USUALS 16 70

LIM #OOTD Dream Sequence

FASHION 52 48 66

Act I Lobe & Behold Beauty Trends for 2025

BEAUTY 12 19 32 46 104

Are These the Best Years? Ghosting Global Game Changers CannaCouture Rooted In Motion

LIFESTYLE 24 28 36 42

Now What Essa Noche Mystery, Fear & Desire LGBTQ?

CULTURE 98

TABLE of contents

03 04 22 40 50 108 112

Where the Dream Goes...

FICTION

The Lexington Line • s/s 25 • vol 11 • no 2

FLAGSHIP LOCATION 37 W 20th St • New York, NY Flatiron District 2

The Lexington Line • s/s 25 • vol 11 • no 2

Editor in Chief

Ellie Mooney

Managing Editor

Maddie Larson

TJ McCaffery

Lola Spring

Alexandra Adams

Krystel Vera

Kanahara Miguel

Azrielle Lowe-Gray Sofia Valencia

Tatiana Colmenares Karon Gharibian

Alexandra Cristofoli Sakshi Dalmia Gali Flores

Sol Orellana

Isabela Simona

Olivia Weilbaecher

Alexia Huang Alex Padilla

Anastasia Surkova Abby Tanenbaum

Rachel Duran

Samelly Sera

Editorial Director Fashion DIRECTOR

web Director

Social media Director

Creative Director beauty Director

Marketing Director

art Director

Colette Lowry-Kirkhus Claire Maxwell Luzaya Nayer Gabriella Pecoraro Fernanda Mannarino Rachael Maples Mikayla Numkena Cori LaVigne Brandi Hawkins Lilly Griffiths

Fashion Beauty Accessories Lifestyle Cannabis Culture Music Gender & Sexuality Sports

Yash Tripathi Layla Dickerson Beatriz Lima Vanjalic Tolbert Kira Ferguson

Fashion Beauty Lifestyle Cannabis Gender & Sexuality

Assistant Editors

marketing team

Publicist

Julia Mattos-Pereira Ansley Wexler

graphic designers Tamara King Rebecca Koppel Crystal Lake Web editors

Karon Gharibian

Assistant Web Director

Professor John Deming Professor Joseph P. Sgambati III

Faculty Advisors Editorial Dr. Kenneth Kambara Professor John Keane

Faculty Advisors Marketing Arts & sciences Department Chair

Assistant creative DIRECTOR Andrea Garrido-Torre

ASSISTANT STYLING DIRECTOR Carolina Barrenchea Cobos

Web STYLING DIRECTOR

STYLists

Social media team

Dr. Daniel Chaskes

Jenna Persaud

Chloe Respondek Roberto Rojano Beatrice Trombini

Photography assistant

marketing Manager

Styling Director

Editors

Photography Director

masthead

Violeta Romanyuk

Ayanna Boone Emma Bronsky

WEB STYLists

Amie Blumberg • Professor Dani Brand • Laura Cioffi Michael Donohue • Meredith Finnin • Professor Timothy Foran Laura Healy • Abigail Hennessey • Maranda Janky • Professor Laurel Lueders • Professor Michael Meyer • Dean Nancy Miller • Elara Montana • Jim Moore • Maurice Morency • Olga Raganelli Professor Monica Rakocy • Marvin Riggins • Daniel Skutelsky Lawrence Skutelsky • Lauren Smelker • Travis Stephens • Professor Liz Sweibel • Dr. Alex Symons • All LIM College Faculty

MANY THANKS

Ron Marshall, President of LIM College Elizabeth Marcuse, President Emeritus of LIM College Dr. Scott Carnz, Provost Michael Londrigan, Business Department Chair

Special THANKS

The Lexington Line • s/s 25 • vol 11 • no 2

We’re honored to present the 21st issue of The Lexington Line! For the last ten years, the Lex Line team has looked to hold a mirror to the world in which we live. This season, our team followed suit, creating what we would all agree to call a passion project. We took inspiration from the cinematic style of the late David Lynch, who created a language that is much like a dream on the verge of nightmare. Our fashion shoot, “Dream Sequence,” is layered, unsettling, and unpredictable. Lynch’s style proved to viewers that these nightmarish worlds we find ourselves in are possible to navigate. Life can be confounding, and that’s okay. We took inspiration from today’s fashion trends, which lean more conservative and preppy, reflecting the current political climate of our nation. But we didn’t stop there. We added a Lynchian twist to it all, making these conformist norms distorted and uneasy. Our beauty shoot, “Act I,” follows these same motifs. The uncanny and surreal look of our shoot captures the ambiguity and layered meaning of Lynch’s work. Lynch said it best himself: “I don’t think that people accept the fact that life doesn’t make sense. I think it makes people terribly uncomfortable.” We showcased Lynch’s ideas of something sinister lingering beneath the surface. Something unknown and frightening is done with intent, making viewers feel the discomfort that ignites the reform and change we need in the world. In a country that feels like it’s regressing, we thought playing on vintage motifs and indie horror aesthetics was fitting. Popular media reflects what people are most afraid of in each given era; in the current age, chronic fear complicates the façade of hope for the future.

editors' letter

Dear Dreamers,

Our collection of articles addresses the changing state of our generation and the political reality we live in. Our world might seem scary, with all the changes taking place, but we can never stop dreaming. Embracing discomfort can only fuel change. We hope you all enjoy our 21st edition of The Lexington Line as much as we loved putting it together for you. Keep Dreaming, The Editors

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VIOLETA ROMANYUK EDITOR IN CHIEF

TJ McCaffery Editorial Director

Lola Spring Creative Director

Ellie Mooney Managing Editor

The Lexington Line • s/s 25 • vol 11 • no 2

y e h t t s e e r B

e h

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years!? ? ey n oo M lie l E y B

The Lexington Line • s/s 25 • vol 11 • no 2

ith a diploma in one hand and a cap in the other, I heard a whisper in my ear: “These are going to be the best years of your life.” High school was the best and worst of times—more often the worst—so I latched onto that expectation, wishing for my entire life to be ahead of me. I got to college and completed one exciting, rewarding year, and then everything changed. I moved to an apartment, came down with a case of pessimism, and anxiously waited for the best years of my life to become the best years of my life. If you’re like me, watching other students appear to thrive and hearing stories of the “real” adults (over the age of 30) longingly reminiscing on their college experience—this one’s for you. “I think it's straight-up bull****. College is not the best years of your life,” declares Bella Trulock. “I think they're formative years in finding yourself, but I would never do it again.” Bella graduated from the University of South Carolina in 2024 with a bachelor’s degree in retail management. She grew up in Augusta, Georgia, and decided against the expected route to the University of Georgia—which she does not regret. “Academic-wise, my workload was not bad,” Bella says. “I did have a job, and that was a pretty heavy load, but I had a lot of anxiety.” Mental health is a deeply explored topic in college students and can make or break one’s experience. Fortunately for Bella, she was able to combat the anxiety

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awarded by college, but it still impacted her experience. Post-grad, Bella has moved to New York to take on a position as a teacher at a school for underprivileged kids in Harlem. She has fond memories from college and is still friends with some of her peers, but the results of our conversation were concrete: college was not the best time of Bella’s life. “College was maybe my favorite time of life,” Casey Hackney says. “Yes, I stressed about my grades. Yes, I had some usual conflicts with my roommates. There were times when I was kind of depressed or anxious, but it was such an awesome time.” Casey Hackney graduated from Brown University in 1996. She credits her college years with self-discovery and the formation of her independence, even though one of her roommates had a rabbit and her workload was extreme. “We used physical dictionaries to look up all the words,” Casey says. “Turning the pages, the struggle without anything to help you allowed things to stay in your mind better, and it was much more tactile.” Casey did not regularly go to parties but found herself intellectually enriched by art, film, literature, and her classmates— she definitely did not have time to scroll on TikTok. She looks back on her college experience fondly. In fact, she technically never left school because she went directly into a career in teaching college. “I 100% would do this again,” says Natalia Dragnea, a current sophomore at Parsons in New York. “The number

of people I have met in New York who have impacted the way I perceive the world—I could never recreate that somewhere else.” Natalia credits the setting of her college with her positive experience; attending college in New York means no campus and occasionally no community, but she says it’s all worth it. “I literally met the cast of Love Island randomly at the club,” Natalia says.“When I told my friends at other schools, they were like, ‘I want to be in college in New York; I'm so jealous,’ and it made me feel really cool.” Though she struggled mentally during freshman year, Natalia’s workload is less intense than Casey’s, and she appreciates every moment she spends in college. It is important to note, however, that Natalia finds joy in her city rather than in her school. John Keane, an LIM College professor, graduated from Georgetown University in 1979. His college experience, the way he tells it, is nostalgic of college’s representation in film. “I think there was just less social pressure to be a certain way, or perform a certain way, or fit into specific things,” Keane says. “We did not have the same kind of social pressure and social anxiety; we didn't know what everybody was doing every second of the day like we do now.” He was in a male acapella group and spent his study time in the library. On the weekends, since the drinking age was

18, dorms hosted keg parties, and the students visited a local pub. It is safe to say John Keane thoroughly enjoyed his time in college, and he does look at it as the best years of his life. He visited the campus recently and felt just as at home as he did as a student. “Even though I know I'm a lot older and I'm at a different point in my life, I felt as though I belonged there,” Keane says, “and I still feel that way visiting after all these years.” He connected with his peers in college, felt a strong sense of community, and came out with almost strictly positive memories (besides the time he fell down an elevator shaft). So, will college be the best years of your life? Results are inconclusive. No matter if you go to school in South Carolina or New York, if you are in elementary or grad school, 24 or 104, man or woman, shy or extroverted, have an iPad or a book, the only way to tell if college will be the best years of your life is not to tell. If you’re in my position, waiting for the best years to become the best years— stop. It’s okay to cry into a bag of chips while watching Good Will Hunting on a Saturday night. It’s also okay to spend your weekend at a club with 200 of your closest friends. It’s okay to feel like you don’t belong, and it’s okay to constantly sport your school colors. Your college experience, as concluded in my research, does not define the rest of your life. That is up to you.

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RESS TO EXPRES 16

LIM #OOTD A Look Inside Student Closets By Krystel Vera A college campus is a perfect testing ground for style identity, resulting in a cool mix of creativity, culture, and self-expression. You see everything—thrifted Y2K looks, oversized streetwear, minimalist fits, and bold colors that turn heads. Every outfit tells a story, showing off the wearer’s inspiration and personality. But what really influences these choices? Why do students dress the way they do? Campus style isn’t just about personal taste—it also corresponds to bigger fashion trends. Thrifting and secondhand shopping are in vogue, with students looking for affordable, eco-friendly fashion. At the same time, the comeback of Y2K and ‘90s aesthetics means baggy jeans, crop tops, and chunky sneakers. The campus fashion scene constantly evolves, reflecting personal creativity and broader trends. Students also consider sustainability and ethics when curating their wardrobes. Many make conscious choices to support small businesses, buy from ethical brands, or upcycle clothing to give old pieces new life. Thrift markets and clothing swaps have become increasingly popular for their affordability and for the sense of community they foster. No matter the trend, the most exciting thing about campus style is that it’s always evolving with the person who wears it. Take for example Taina Muhammad, pictured here playing with layering and exaggerated silhouettes.

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I’m still defining my style, so I mainly just try new things. I’m drawn to texture, prints, and wide or long silhouettes. I incorporate these choices with inspirational looks I’ve curated on my Pinterest— that's where I best express myself.

Taina Muhammad, Junior

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Note: Some sources’ names have been changed at their request to maintain anonymity. The Lexington Line • s/s 25 • vol 11 • no 2

“You get used to someone—start to like them, even—and they leave. In the end, everyone leaves.” —Rachel Ward, Numbers Things seemed to be going well for Jane, an LIM College student, and Justin, a guy she met on Hinge. They had been talking and seeing each other daily for almost two months. He got sick one Friday and stopped answering, so she assumed it was because he wasn’t feeling well. But she realized something was off when he ignored her calls and viewed her Instagram story without responding to her messages. “I called him twice, and he never picked up, which was weird because he was a big caller,” she remembers. “At that point, I saw the Instagram view, so I knew he was not sick —he was avoiding me.”

In a final attempt to understand what was happening, she sent a message giving him the space to end things respectfully. His eventual response confirmed her suspicions: he wasn’t interested in continuing the relationship but was avoiding saying so. “He said he was sorry for going dark, that he didn’t think it would work out, and that there was a lot going on with work and family,” Jane shares. “He told me not to take it personally.” Have you ever felt an out-of-this-world connection with someone one day, and the next, found that they had vanished into thin air? If so, I am sorry. You have been ghosted. Ghosting—cutting off all communication without explanation—has become common 20

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for Gen Z in friendships, relationships, and even the workplace. While it seems like an easy way to avoid awkward situations, ghosting has real emotional consequences for both the victim and perpetrator, according to experts. “Being ghosted can lead to a range of emotional effects, including depression, feelings of worthlessness, and anxiety about future relationships,” says Jazmin Torres, a New Jersey mental health counselor. “It can take a toll on self-esteem and cause self-doubt. People who are ghosted may also worry about the other person's well-being and become hesitant or avoidant about dating in the future.” Many factors contribute to ghosting, but social media and digital communication play a significant role. We feel more comfortable behind screens than in person, making it easier to disregard someone by simply ignoring them. “People think it is equivalent to face-to-face communication, but human interactions cannot be replaced by digital communication in a meaningful relationship because sex, physical touch, and intimacy, ‘the good things,’ are always going to be there,” she says. “So inperson communication, body language and discomfort, ‘the bad things,’ also must be present. You cannot have just the good and not the bad.” According to the Newport Institute, a nationwide series of behavioral health treatment centers, ghosting serves as a mechanism for evading emotional engagement by disregarding and repressing feelings. Those who are ghosted frequently endure anxiety, depression, mistrust, and isolation.

On the other hand, the “ghost” might encounter emotional unavailability, a fear of confrontation, disconnection from their emotions, and anxiety about forming close bonds.

“Gen Z grew up texting, so ghosting isn't as drastic for them as it might be for older generations,” she says. “They’ve always had distance in communication, and ghosting is just an extension of that.”

Being ghosted can trigger a storm of emotions.

But can ghosting ever be healthy?

“I was stressed, but I kept giving myself reasons to believe it was okay. Deep down, I knew what was happening— I just didn’t want to believe it,” Jane admits. The lack of closure left her overanalyzing the situation and second-guessing herself.

“No,” Torres insists. “It leaves no room for growth or understanding, both for the person being ghosted and the one doing it. Avoiding confrontation only reinforces poor coping skills.”

“It made me really reluctant to get to know new people because I didn’t want to be hurt again,” she says. Her experience is not unique. Many people report feeling hesitant to open up to new relationships after being ghosted, fearing they’ll be left with unresolved emotions again. So why do people ghost? Jane suspects they know there’s a more empathetic solution— confronting someone and breaking things off—but that at any given moment, this can feel overwhelming. “They don’t want to face it,” she says. “They don’t have enough courage to have a difficult conversation.” Jazmin Torres calls it a “negative coping mechanism.” “Those who ghost often struggle with confrontation and lack communication skills, opting for silence instead of difficult conversations,” she says. Yet, for some in Gen Z, it’s not unusual to see ghosting as a form of closure.

Although being ghosted can be painful, Torres says, it’s important to remember that “it likely stems from the other person's fear or inability to handle confrontation, not a reflection of your worth.” “Everyone has flaws, but we all deserve basic respect and closure,” she says. “If ghosting is a recurring pattern in your relationships, it may help to reflect on your approach and consider therapy to better understand your relationship dynamics and choices in partners.” In an era when it is easy to connect online, the real challenge is learning to communicate honestly and respectfully. Ghosting may seem easy, but true closure comes from difficult conversations, not silence. And if they opt for silence, remember, as J.M. Darhower once wrote, “the way they leave tells you everything.”

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The Lexington Line • s/s 25 • vol 11 • no 2

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Coach Outlet Eliza Shoulder Bag $159 The Lexington Line • s/s 25 • vol 11 • no 2

The Lexington Line • s/s 25 • vol 11 • no 2

WHER

E DOE

By C ori L

S MUS

IC GO

FROM

HERE

avig n

The Lexington Line • s/s 25 • vol 11 • no 2

I ca n st i l l p ict u re i t:

windows down, radio blasting, and my dad drumming frantically on the steering wheel. “This. This is music,” he’d shout, while I sat in my car seat absorbing “Stairway to Heaven.” At five years old, I knew the song like it was my own, and at ten, I recognized Zeppelin’s hit for what it was—a movement. A captivating, powerful movement that challenged all social norms. In only eight minutes, an entire generation was defined. It was the ‘70s, and it was sex, drugs and rock and roll. By the time the ‘80s rolled around, the entire landscape of music had changed. It was the golden era of pop, with Madonna, Michael Jackson, and the MTV revolution. Music and fashion went hand-in-hand in new ways. It was fun, loud, futuristic, and completely over the top. Ten years later, Madonna's lace gloves and neon tutus were traded in for ripped jeans and flannel shirts. Pop was out; hip-hop and grunge were in. Nirvana, Soundgarden, and Alice in Chains introduced a new era of music, one where heavy melodies masked painful and often introspective lyrics. Tupac, Biggie, and other rappers of the era took a leap of faith rapping about a range of personal hardships and social injustices.

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By the late ‘90s, grunge had lost its charm, and a new form of pop propelled us into the 21st century, introducing elements of hip-hop and electronic music. For the first time in a while, people stopped banging their heads and started moving their feet. No matter who you listened to—Britney Spears, Nelly Furtado or Destiny’s Child, you were bound to be dancing. Fast forward to today—we are halfway through the 2020s, and it seems as if that sense of generational identity has been lost. Dylan said it best—the times they are a-changin’. The days of waiting—for what had seemed like a lifetime—to download new songs on your MP3 player are behind us, and the days of flipping through vinyls in a record store are long gone. What prompted that change? Technology. In 2018, TikTok became one of the most downloaded apps in the country. Less than two years later, it became the most popular app in the world. As listeners, our jobs were easier than ever. A new world of music was quite literally at our fingertips. We no longer had to search for music, or for that sense of generational identity—TikTok could do it all for us. Less than a year after its surge in popularity, TikTok released a statement casually

mentioning that “over 176 different songs surpassed 1 billion video views as TikTok sounds,” and “nearly 90 songs that trended on the platform in 2020 climbed onto the Top 100 charts in the U.S., with 15 of those reaching #1 on a Billboard chart.”

So if we continue on this path of reviving old hits, what will be our generational identity? Perhaps not the era of rock and roll, pop, G-funk, trap or grunge, but repeats sprinkled with new songs of every genre.

Some of those songs that exceeded 1 billion video views included The Black Eyed Peas hit “Where Is the Love?” and “Say I Yi Yi” by Ying Yang Twins, both of which were originally recorded in 2002. Around the same time, Fleetwood Mac’s “Dreams” found its way back to the Billboard Charts after 43 years, peaking at number 21. That being said, “Where Is the Love?” and “Dreams” were not the only musical masterpieces to make a comeback. That same year, ELO’s “Mr. Blue Sky” went viral on TikTok, as did Avril Lavigne’s “Girlfriend” and “It’s Tricky” by Run DMC. While our parents may be thrilled to find out we are listening to “real” music, I cannot help but wonder, is this change for better or for worse? Everyone loves a good throwback—those nostalgic songs that make you feel like you are playing in the yard at your childhood home or still in high school going for a late-night drive.

Some argue that TikTok has actually increased our exposure to new music and new artists, all while fostering an appreciation for the past. Megan Thee Stallion, Lil Nas X, and Olivia Rodrigo are just a few of the musicians whose songs gained overnight traction on the app. It almost sounds silly; how could a 15-second clip of a song make an artist? Well, while “Dreams” was climbing the charts, “Savage” by Megan Thee Stallion was being used in over 30 million TikTok videos. So, maybe we are not encouraging an era of repeats, but inclusivity. It is possible to like both Fleetwood Mac and Meghan Thee Stallion, just as it is possible to like The Black Eyed Peas and Olivia Rodrigo. The 2020s may lack a definitive musical identity, but that does not necessarily mean we are a lost generation. Music knows no boundaries, and neither does taste. Whether we are watching MTV, buying a CD for a boombox, or scrolling through TikTok, the songs that are meant to find us will find us.

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THE BODY BEAUTIFUL OF NYC

ESSA NOCHE By TJ McCaffery 28

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alling into a trashcan might be just a bit humbling with a crowd watching. For Essa Noche, it was an opportunity to stand out and do what she does best: entertain.

“I think it's funny. For me it's all about still carrying the show. A drag queen falling in the trash can. I'm pretty sure the people love seeing that,” she says. “The Body Beautiful of NYC”—as her instagram bio states—is one the biggest names in the nightlife scene. She was honored for her achievements this year, winning the award for Best Show Host at the GLAM Awards, which celebrates and honors all things drag and nightlife. It wasn’t always easy, though. Noche made her debut in drag at her high school in Las Vegas, but it wasn’t until 2018— after establishing a comfortable life in New York City—that Essa Noche was truly born. At first, Noche was reluctant to dip her toes into the art. “I said no to drag because I was just a little gay boy. I only wanted to hook up,” she continues. “I really said no to it because I was like, ‘that's fem.’ I didn’t really plan to do this. Then once I tapped into it, I was like, ‘oh my god, I was always doing this.’” Noche's career started out slow, performing in some dive bars and simply just going out in drag. Then she began to climb the ropes. She admits it’s hard to get involved in the nightlife scene, with bookings being sparse, and competition so high. “When I wasn't getting featured even by my friends, I just started creating my own things,” she remembers. She began to create her own shows and make a name for herself, which she takes great pride in.

“I always did it by myself,” Noche goes on. “I always was on my own. I don't even have a drag family.” Her career has grown, and she has shown that you don’t always need a family to build your platform; with the right drive and passion, you can achieve anything. Building her own brand is hard, but it hasn’t stopped her from developing meaningful relationships that help her in her career. “The girls that I'm friends with now—Venus Mystique and Lana Ja’Rae—it's because we cultivated being close together early on.” The pair that Noche mentions are a part of a weekly show at Playhouse Bar called BBL (Beauty, Body, and Legs). After Ja’Rae made her Rupaul’s Drag Race cast announcement, the “Legs” of BBL were recast with Noche’s other close friend, Mo’Riah. Noche explains how she and her close friends became the group that they are. “We've always related on just loving drag, you know?” Once she started to rise and began to know the true potential of her talent, she wanted to remain humble yet uplifted by her sisters, and when she found herself in a group of equally experienced performers, she was able to blossom. She says it’s important to be able to relate to her friends, and the queen admits she likes everybody, but if she can’t relate to her friends on a talent and experience-based level, she finds it “hard to relate in general.” “You don't want to ever feel like you're better than someone or they're better than you,” Noche elaborates. “You kind of want to hang out with people in your experience.”

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Though she relates to her friends on such a level, she admits “people will always be different.”

audiences. Noche admits that shows she has created such as Open Set Ovah come from a place of love.

It’s important, Noche asserts, to stand out and be different. She has found her sense of self through years of experimentation and performing. Now, she is fully realized and secure in who she is as a person.

“I'm so happy to see anybody do it more.”

It’s not always easy being a drag queen out in public, especially during such turbulent political times, but that never stops Noche. “I could be cringy as f*** on the train, and I still say ‘you can never,’” Noche says. “I understand sometimes if don’t you wanna deal with it mentally. Because you're just like ‘ugh, I'm not in the mood.’” Embracing the strength and courage that it takes to be a drag artist can help to give you a greater sense of self. “If you're not so sure of yourself, then you're definitely insecure about how you stand out, you know?” Noche admits she has had her fair share of stunts and falls—most notably, falling into a trashcan at a brunch she hosted last year, a moment that became viral on social media. She took it with security and openness. “I’m a cross dressing clown, what do people expect,” she shares. Moments like this are what has led Essa Noche to stand out in a crowd of queens, but in a modern post-Drag Race era, new artists are popping up left and right, making it harder to stand out. Because of this, Essa saw an opportunity to showcase new members of the scene in a fun and stress free light. Enter: the Open Set Ovah. Open Set Ovah is one of the many shows Noche hosts monthly at 3 Dollar Bill in Brooklyn. It is a place for new and upcoming queens to showcase their talents for new

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Noche explains that in such divisive and hard times for the queer community, “it's just nice to see more of it, especially now. Jesus, we need people more now than ever.” At these shows, Noche showcases her goofy, yet sexy style of performance and woos the crowds with her charm. With these successes, come great rewards, the most important of which are bookings. During each season of Drag Race, Noche, along with her friend Janelle No. 5, host one of New York’s largest viewing parties, The Werk Room, featuring a rotating cast of past and current contestants of the beloved franchise. Here, she continues to spread her name, her brand, and her personality to the hundreds who attend, as well as the many now celebrity-status artists whom she has bonded with. Her 2025 GLAM Awards win was a particular highlight. “I still don't believe it.” Noche struggles to accept the accolades she is given for her hard work, but reluctantly acknowledges, “it's okay to be happy with the work you've done. It's not taking away from anyone's experience telling yourself that you're good, you did good, and you're doing good.” She says she knows that something humbling could always be around the corner. Still, she accepts and appreciates her career achievements. She continues to inspire and uplift new and seasoned drag artists alike—bringing joy and laughter to a community facing uncertain and worrying times.

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Global Game Changers•

The International Influence on America’s Pastime By Lilly Griffiths 32

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All Stars

№1 Think of the United States in 1902. The Bureau of the Census was established, the first modern air conditioner was invented, and the American public experienced its first public radio broadcast. This was also the first year an international athlete played on an American sports team. Born in Colombia, Luis Castro was scouted to play in the MLB for the Philadelphia Athletics. He was the first Colombia-born player in the league and the first Latin American to play in a recognized Major League game. In 2024, 264 players represented 19 different countries and territories outside of the United States on Opening Day rosters and inactive player lists. From the Dominican Republic to Japan, international talent now plays a central role in shaping the league’s competitive landscape. International Signing Day started on January 15th, 2025, lasting until December 15th, 2025. However, most talent is signed within the first few months. Any amateur player who resides outside of the United States and Canada can sign with the MLB as long as they’re at least 16 and haven’t attended a high school in a drafteligible country within the last year. With the urge to play in the MLB as soon as possible, most players signed are 16 and 17-year-olds. The signed players aren’t guaranteed a spot on the 40-man roster, and typically spend years in the minor leagues before they debut. Although there aren’t many exceptions when it comes to a player being 40-man roster-ready after signing, there are oddities. This year, 23-year-old Roki Sasaki is ready to enter the line up due to his pitching experience with the Chiba Lotte Marines in Japan.

Sasaki has been a hot topic in the league. He broke Shohei Ohtani’s Japanese high school record at age 17, throwing a 101-mileper-hour fastball. At 19, Sasaki had a 1.84 ERA over 16 starts. A year later, he pitched a perfect game with 13 consecutive strikeouts, setting a Nippon Professional Baseball record. In 2023, Sasaki played in the World Baseball Classic alongside Ohtani and Yoshinobu Yamamoto, two current Japanese MLB players on the Dodgers. He sat at 100.5 mph with his pitches, keeping scouts curious. When he became available to the MLB, all 30 teams jumped at the opportunity to sign him. However, he committed to the Dodgers on a six-year contract with a $6.5 million bonus. “I spent the past month both embracing and reflecting on this once-in-a-lifetime opportunity to choose a place purely based on where I can grow as a player the most,” Sasaki said to ESPN through team interpreter Will Ireton. “Every organization helped me in its own way, and it was an incredibly difficult decision to choose just one.” Each team has an “international signing bonus pool” to make offers for international talent. There is a hard cap on how much they can spend, which is determined caseby-case. Smaller teams have the highest budgets so they can compete with the larger clubs. In recent years, organizations manage some leniency with their funds. MLB draft order, organization size, and the number of players traded can impact their international spending.

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№2 Teams can also spend beyond their bonus pool allotment if they sign players for $10,000 or less and acquire in trades up to 60% additional allotment above their initial figure.

Since then, the Dodgers have had many talented Japanese pitchers come and go. Kenta Maeda, Kazushi Ishii, Hiroki Kuroki, Yu Darvish, and Takashi Saito are just a few who have worn the Dodgers jersey.

Not only do these players have skills that scouts want, but once they’re implemented on the 40-man roster, they bring in a larger audience and cultural richness to their organization.

With the ever-growing popularity of Major League Baseball in Japan, the league started hosting a series of games in countries outside of the USA and Canada. In 2024, the Dodgers and Padres played at Gocheok Sky Dome in Seoul, South Korea, on Opening Day. South Korea joined Mexico, Japan, and Australia on the list of host countries for Opening Day MLB games.

The Texas Rangers have “Mexican Heritage Night” and “Hispanic Heritage Month” with exclusive merch and food stands. It didn’t originally stem from the players, though many have been honored and highlighted during these games. “One of the important things, when I came on board, was to be better at [creating] things like Heritage Night,” senior vice president of marketing for the Rangers, Travis Dillon, said in an AOL article, noting the team has also added a Multicultural Marketing Coordinator. Ohtani created an opening for players in Japan after his first contract in 2017 with the Los Angeles Angels. Since signing with the Dodgers before the 2024 season, the franchise has brought in large, undisclosed numbers of new fans, merch items, and revenue from Ohtani. Hideo Nomo, a five-time All-Star in Japan’s Pacific League, was the first Japanese-born player for the Dodgers on May 2, 1995. This started a long legacy that Ohtani continues today.

All Stars

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To kick off the 2025 season, there was another series in Tokyo, Japan. The Chicago Cubs and Dodgers played two Nippon Professional Baseball teams, the Yomiuri Giants and the Hanshin Tigers. After those games, they stayed in Tokyo to start the Major League season. As Major League Baseball continues to break international barriers, the game is no longer just America's pastime. With talent flowing from all corners of the globe, Major League Baseball’s international footprint is expanding, weaving a global tapestry that blends cultures, showcases diverse talent, and attracts new fans worldwide. Here is a quick breakdown of the teams that have had the most international signees in the past few years and their 2025 international bonus pool before trades. ***

Dodgers ($5,146,200)

Padres ($6,261,600)

In 2024, 7 out of 40 players on the active roster were international athletes.

In 2024, 15 out of 40 players on the active roster were international athletes.

The Dodgers signed 29 athletes from 7 countries into their international class at the beginning of 2025. These countries include Japan (1), Venezuela (12), Panama (1), Colombia (2), the Dominican Republic (8), Mexico (4), and South Sudan (1). Their international signees included the MLB’s number one prospect, Sasaki, and the first-ever player from South Sudan to sign with the MLB, 17-year-old Joseph Deng Thon.

The Padres signed 12 international athletes into their international class in January. The countries are the Dominican Republic (6), Venezuela (2), Mexico (2), Colombia (1), and Aruba (1). San Diego signed 3 top-40 international players, their top recruit being a shortstop from the Dominican Republic, Jhoan De La Cruz. De La Cruz was the 21st top prospect due to his ability to switch hit. Red Sox ($6,261,600)

Astros ($5,646,200) In 2024, 15 out of 40 players on the active roster were international athletes. The Astros signed 20 international athletes into their international class in January. The countries are Venezuela (8), the Dominican Republic (6), Mexico (4), Cuba (1), and Colombia (1). Houston managed to sign 17-year-old Cuban outfielder Kevin Alvarez, who was the seventh overall prospect in the 2025 international signing class. Alvarez received a $2 million signing bonus.

In 2024, 12 out of 40 players on the active roster were international athletes. The Red Sox signed 22 athletes into their international class in January. These countries are Venezuela (13), the Dominican Republic (7), and Colombia (2). Boston signed a 16-year-old shortstop from the Dominican Republic, Dorion Soto, the eighth overall prospect in the 2025 international signing class. Soto received a $1.4 million signing bonus.

Check The Stats

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Mystery, Fear & Desire The Enduring Influence of Gothic Literature & Film

By Tatiana Colmenares

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hree words embody our favorite gothic folklore: mystery, fear, and desire, all of which are reborn whenever a new take on a goth classic hits the screen.

Robert Eggers’s 2024 remake of Nosferatu, along with Guillermo Del Toro’s upcoming iteration of Frankenstein, have coincided with a resurgence of fascination with gothic aesthetics—and the genre’s trademark longing and terror. “Goth pulls from that aspect of Romanticism that embraced the slightly uncivilized and the sublime,” Lynne Zacek Bassett told The New York Times in 2016. “The things that would scare you.” Bassett guest curated a 2016 exhibition at the Wadsworth Antheneum Museum, “Gothic to Goth: Romantic Era Fashion and Its Legacy,” showcasing dozens of garments by designers such as Jean Paul Gaultier, Valentino, and Alexander McQueen. Gothic fashion blends medieval and Victorian themes, expressing melancholic beauty and tragic femininity in silhouettes formed by lacy skirts, corseted dresses, and empire waists. Lately, gothic fashion on the big screen has inspired content creators to share their own adaptations, experimenting with layers and hoop skirts as well as medieval hairstyles and makeup looks. The appeal of last year’s Nosferatu lies heavily in its aesthetics: its four Academy Award nominations included Best Costume Design, Best Makeup & Hairstyling, Best Cinematography, and Best Production Design. Ellen Hutter, the film’s protagonist, is particularly popular, reminiscent of seminal genre characters like Christine Daaé from The Phantom of the Opera. The craftsmanship of the corseted gowns that Hutter and Daaé wear, as well as the delicate and romantic nightgowns seen throughout romantic goth film history, continue to influence a wide variety of fashion choices. The original 1922 film, Nosferatu: A Symphony of Horror, is considered an unauthorized adaptation of Bram Stoker’s 1897 novel Dracula. The first instance of vampires in gothic

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literature, however, comes from The Vampyre, written by John William Polidori in 1819, which provided the foundation for thousands of stories like Nosferatu. Count Orlok, the film’s villain, conveys a vampire’s defining characteristics: their mysterious nature, their sharp, sensual fangs, perfect for sinking into someone’s neck, and their fear-inducing eyes, all hints of something inhumane and menacing, yet captivating. Inspired by Ellen Hutter, numerous content creators are fantasizing about a supernatural entity that yearns for them. Young women are posting Reels and TikToks recreating hair and makeup looks from Nosferatu and including tantalizing voiceovers from scenes in the film. All express a unique fascination with the film’s clothing and aesthetics. The dark romantic themes in gothic fashion bring the rich elegance of corseted tops, lacey gowns, theatrical ornate jewelry, and soft, pale makeup, all a tribute to the cultural history of the Victorian era. It will be interesting to see social media’s response to Frankenstein, due in theatres this November. The story conveys an entirely different, but no less impassioned, form of desire: the need to find love, acceptance, and community, and the devastating consequences of rejection. Infatuation and longing characterized in gothic media bring romance to its highest form and reveal why period fashions are so consistently captivating. The never-tiring genre has stories, romances, and styles that resemble each other yet feel effortlessly new all at once. Gothic media offers escapism in its highest form, taking elements of thrill, terror, and hunger to extremes and allowing fans to live out the fantasy in their own aesthetic choices and social media worlds. If you’re at all drawn to these dark, grandiose moods, consider developing your own take on a gothic look. ~ fin ~

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Runway Sporty Minimalism Athletic elements are reclaiming their dominance in ready-to-wear. These sporty styles result in versatile pieces that exude both comfort and sophistication. By integrating functional fabrics and athletic silhouettes into non-athleisure garments, designers are creating movable pieces suitable for casual and formal settings.

Birds of a Feather We’ve been streaming Billie Eilish’s hit single on repeat, and designers have too. This season, runways were filled with feathered fantasies, from Chanel’s intricately embroidered feather jeans and statement feather belts to Daniel Roseberry’s Schiaparelli, where models took flight in full-on gold couture wings. Feathers have long been a designer favorite, but Loewe’s ethereal approach—covering entire garments in cascading plumes— offered a surreal yet refreshing twist on the trend.

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Report Indie Sleaze Revival The early 2010s “Indie Sleaze” aesthetic has made a striking comeback, characterized by gritty, carefree style that embraces a DIY ethos. The bohemian-meets-grunge style was initially popularized on Tumblr, where girls showed off layered textures, bold fabric choices, and maximalist accessories of charms and fringe. This revival reflects a nostalgia for the early days of Coachella and social media, where the rebellious, eclectic style of the indie music scene was cooler than any curated look.

FREE FLOW Boho girls, it’s time to bring out your flowy tops and dresses—the wind is on your side this season! Whether it’s a high-low dress, a shirt-skirt set, or a billowing maxi gown, your wardrobe should be filled with airy, well-draped silhouettes. Find comfort in earthy tones or go bold with a pop of color, like Christopher Esber’s turquoise drapey dream. Picture yourself as a princess in the Sahara or a chic Parisienne strolling the cobblestones. This summer, lightweight silks are your best friend!

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What does Trump’s presidency look like for the Community?

By BRandi Hawkins

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Unfortunately, he’s back. Donald Trump's first term left a complex and detrimental mark on the LGBTQ+ community, and he has returned for more, prompting concerns about what his leadership could mean for queer rights in America. “I think there’s definitely a part of me that feels less safe with him in office,” says Acacia Brunell, a senior undergraduate student at LIM. “Just knowing that the political divide keeps getting larger and larger—at some point it becomes not even borderline. Just straight up oppressive.” From rolling back protections to appointing conservative judges, the Trump administration has shaped a landscape that will have lasting effects on the queer community. His policies signal a shift toward more restrictive definitions of gender and fewer protections for LGBTQ+ individuals. This precedent could make future progress even harder to achieve. Lex Line recently asked Instagram for perspectives on how Trump II affects them. “It's overwhelming, stressful, and surreal. Our history is being erased. As a gay man in my 50s, I have seen the strides made

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over recent decades,” read one response. “I have seen the HIV epidemic go from a death sentence to a manageable condition where people can live a full life. Gay rights are at risk. Trans rights are already eroding by the minute. I really hope the judicial branch can do what Congress is not willing to do.” In January, Trump issued an executive order mandating all federal agencies to recognize only two sexes. This decision fosters consequences particularly for transgender individuals navigating legal identification and travel. “In March of last year, I went to the courthouse, paid the fee, got my name changed, sent off my first document, which was the birth certificate, and got nothing back—they paused everything,” recalls Kira Ferguson, Lex Line’s Assistant Gender & Sexuality Editor. Trump's order also made traveling and obtaining passports for trans individuals especially difficult. “I had to publicly out myself to get through TSA because they wouldn't just let me through,” Ferguson says.

Transgender individuals face increased questioning and additional screenings, infringing on their legal rights and making travel difficult. We are also seeing Trump and his administration take away protections for LGBTQ+ community as a whole, with some referring to it as a “domino effect.” “It's really important that queer people have the backs of trans people right now,” Ferguson says. “Trans rights go, then LGBT rights go, then women's rights go. If we let one domino fall, the rest come right with it.” “The potential lack of access to things like hormones is a really scary thing,” Brunell adds. “If we lose access to hormones, we are going to really, in a way, kind of cease to exist.” “Hormone therapy is life-changing for people and is critical for day-to-day life,” Ferguson emphasizes. As Trump makes his return to the White House, LGBTQ+ activists emphasize the need for collective action. The history of queer activism, from Stonewall to marriage

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equality, proves that progress is possible with communities standing together. “It seems as though we’re all aware of what is going on and what is to come,” reads another survey response. “However, I can’t help but feel as though we’re waiting for something worse, something more tangible, to react, protect, and fight for our rights. Social media is a great outlet, but it can’t stop at an Instagram story repost.” “The best thing you can do to help is show up,” Brunell says. “I definitely think it's important that we all remain vigilant and not fall victim to the idea that we are completely safe because we live in NYC.” Now more than ever, it is crucial that we stand together as a community and protect the most vulnerable. The threats to the LGBTQ+ community and their protections are stronger than ever and continue to emerge across the country. As a community, we have faced challenges in the past, but solidarity remains key to fighting these ongoing battles. Together, we can push back against discrimination and work towards a future where everyone, regardless of their identity, can live equally.

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CannaCouture The High-end evolution of Cannabis By Vanjalic Tolbert To many who partake, cannabis has always been more than just a plant—it’s a lifestyle, a movement, and now, a symbol of luxury. From music and activism to tourism and fine dining, cannabis culture has influenced nearly every industry. Today, it’s making waves in the realm of fashion, redefining the way we think about both high fashion and streetwear. “We look for that sense of meaning you’d get from looking at art or hearing a good song. It takes you outside the moment,” says Imelda Walavalker, CEO of Pure Beauty, an independent Los Angeles-based cannabis brand. Once considered a symbol of a disruptive counterculture, cannabis is now embraced by high-end designers, billion-dollar brands, and tastemakers who see it as more than something to smoke—it’s something to wear, showcase, and elevate. Like the fashion industry, not all cannabis brands are created equal. Elevated brands set themselves apart from the mainstream by focusing on exclusivity, craftsmanship, and branding, making cannabis feel as aspirational as any luxury purchase. “Branding actually really matters,” says Berner, rapper and founder of the cannabis brand Cookies. “That’s what broke Cookies hard. The limited supply created a hype around it just like Jordans.”

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Fashion and cannabis have always shared a rebellious spirit, but now they’re coming together to redefine both industries. Luxury cannabis brands are finding their place by selling an experience as well as the product. The best luxury cannabis brands sell a lifestyle that blends art, culture, and exclusivity. Many celebrity-backed brands fail because they rely too much on name recognition but fail to maintain exclusivity, craftsmanship, or lasting appeal. Meanwhile, brands like Wiz Khalifa’s Khalifa Kush and Mike Tyson’s Tyson 2.0 manufacture quality but widely available products. In contrast, luxury cannabis brands focus on rarity and high-end design, much like couture fashion labels. “Now, when people think of cannabis, they don’t associate it with crime. No one got the term ‘designer cannabis,’ but they’re getting it now,” says Mario Guzman, owner of the cannabis brand Sherbinskis. Cannabis has emerged onto the runways of major fashion houses, with designers like Stella McCartney and Vivienne Westwood and brands such as H&M and Levi’s integrating hemp textiles, cannabis motifs, and weed culture into their collections. Some have embraced sustainable fabrics, while others use cannabis as a rebellious, countercultural statement.

Edie Parker is a perfect example. Best known for its fun and playful yet elegant handbags and home goods, the brand expanded into cannabis in 2019 with chic smoking accessories that blur the line between interior design, fashion, and cannabis culture. Flower by Edie Parker, the brainchild of Brett Heyman, has been affectionately called “the stoner equivalent of Dior” by Vogue. “I thought that a handbag brand from New York with a shop on Madison Avenue could aid in the mainstream-ification of cannabis,” Heyman says. “We have a lot of people—especially women who are of my parents’ generation—who are coming back to cannabis, and they don’t know what they want. I thought, ‘wow, we’re a brand they know and trust. We’re a brand that they’ve been buying for 10 years now.’” “At its best, fashion is a reflection of the time,” according to Heyman, and cannabis is no different. “In my opinion, cannabis is what is happening now,” he says. Today, high-end fashion houses are embracing cannabis culture, weaving weed motifs into couture and ready-to-wear collections. Designers from Rick Owens to Dior to Balenciaga half placed weed at the forefront of fashion weeks all over the world.

cannabis and high-end streetwear, drawing inspiration from icons like Virgil Abloh, who translated streetwear into high fashion with Louis Vuitton. Brands rooted in hip-hop, skate culture, and underground movements have long used cannabis imagery in their designs. Cookies, Stiiizy, and Sherbinskis have helped build the bridge between cannabis culture and fashion, proving that they go hand in hand. Luxury cannabis brands are following couture fashion’s blueprint to the tee, leveraging the old principles of exclusivity, branding, and high-end design to create a new status symbol. “From high-tech hemp fabrics to luxury collaborations, the potential for expansion is vast,” says Matthew Reveles of GreenPharms, an Arizona-based cannabis dispensary. “As more markets embrace legalization, cannabis-inspired fashion is poised to become a staple of the broader industry.”

While high fashion is catching up, streetwear has long lived “the plant life.”

Heyman added that the cannabis industry “will be a huge job creator, an important tax and revenue generator, and extremely critical for social justice reform. Creative people will be drawn to the movement and put their stamp on cannabis culture and everything that surrounds it.”

“It’s been a long time since the ‘60s and ‘70s, and it’s time to put a lot of those stereotypes to bed. What’s interesting and fun for me now is moving into streetwear and high fashion,” says Guzman, who has successfully merged

We are just as excited to see what the future holds. Having access to quality cannabis shouldn’t be a luxury, but there is definitely space in both worlds for luxury cannabis.

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LOBE & BEHOLD Entering Your Pierced Era By Claire Maxwell

HELIX PIERCING Helix piercings are a popular style done on the upper edge of the ear cartilage. This piercing can be accessorized with a stud and a hugger hoop once healed at six months. It's a far more painful piercing compared to the lobe, but not nearly as harsh as the daith or conch. Lexington Line Editor in Chief Violeta Romanyuk shares that the healing process is long and rather extensive: “I couldn’t wear headphones or hats without it prolonging the healing process. Constantly messing with the studs led to irritation bumps. I even tore the cartilage a bit.” Despite this struggle, “it's worth the hassle—makes me feel badass.”

It’s become the norm to break rules of minimalism and symmetry. It’s common to see a constellation of piercings on one ear, with a mix of lobe and cartilage placements, contrasted by a completely different arrangement on the other ear. The options are endless. Getting piercings has become as casual as going to work out or grabbing lunch. Elevate your stack with these piercing ideas. 48

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CONCH PIERCING The Conch piercing is located in the center of the inner cartilage. The piercing is typically done with a stud until healed, though conches are frequently accessorized with a skinny hoop that wraps the edge of the ear. “I get so many compliments on it!” says Holly Browning, a college student. This piercing is not for the faint of heart. Though a conch is a chic and eye-catching earring, its thick cartilage location makes for extremely painful piercing spots, commonly taking six to nine months to heal.

DAITH PIERCING Daith piercings are located through the inner ear right above the canal. This is one of the more painful piercings and takes about six months to heal. Unlike other piercings, though, it can be accessorized with a hoop from day one. It creates a bold centerpiece to any ear stack. “My daith piercing makes me feel like a cool girl,” says Nicole Baron, a law student. It may be stylish, but that is not the only reason some chose to get this piercing. Some claim that daith piercings even help with migraines because the nerves at the piercing point are connected to an acupuncture pressure point for pain relief—but The American Migraine Foundation believes this to be a placebo effect. Migraine relief aside, a daith piercing is a gorgeous option for those looking to embellish their inner ear.

TRAGUS PIERCING STAGGERED LOBE ARRANGEMENTS A stylistic, organizational technique for several lobe piercings is placing the holes at staggering heights to distinctly arrange the earrings. Lobe piercings are the easiest to heal, taking only six to eight weeks. The piercing doesn’t tend to hurt unless agitated or provoked while sleeping or touching it, according to Piercings by Jenny. This style is perfect for people who want several earrings but don’t want to pierce their cartilage. You could also choose this option if you are looking to balance out a cartilage arrangement by drawing attention back to the lobe.

You know that little bump of cartilage that pokes out in front of the ear canal? That is where the tragus piercing goes. A tragus can be done with a stud or a hoop, though healing with a hoop will likely create a curve, making it difficult to switch to a stud later on. A tragus is about the same pain level as a helix and takes up to six months to heal. “I love my tragus; it looks so good. It’s just a small stud,” college student Julianne Verwys shares. “The healing process was annoying, though.”

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BEAUTY BUYS Redken ABC Leave-In Treatment for Damaged Hair $34 50

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Isntree Hyaluronic Acid Watery Sun Gel $18 Topicals Faded Serum $38 Charlotte Tilbury Airbrush Flawless Finish Setting Powder $48

LYS Beauty Triple Fix Blurring and Hydrating Skin Tint Foundation Stick $25

e.l.f. Lash XTNDR Mascara $7

HAUS LABS BY LADY GAGA Triclone Skin Tech Hydrating + De-puffing Concealer $32 REFY Lip Blur Lip Liner $24

Kylie Jenner Fragrance Cosmic Kylie Jenner Eau de Parfum $80

Eva nyc Freshen Up Invisible Dry Shampoo $15 The Lexington Line • s/s 25 • vol 11 • no 2

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Act I Lola Spring

Maddie Larson

CREATIVE DIRECTOR

PHOTOGRAPHER

Jenna Persaud

Mia Castro Jazeerah Robison Yichen Huang Chloe Respondek

ASST CREATIVE DIRECTOR Kanahara Miguel Callista Anctil Patrick Clesen Sofia Valencia Liza Cocozziello

HAIR & MAKEUP Colette Lowry-Kirkhus

STYLING DIRECTOR Andrea Garrido-Torre

ASST STYLING DIRECTOR Beatrice Trombini Roberto Rojano Chloe Respondek

MODELS Tatum Andreetta Lucas Becce Ava Buckwald Crystal Fells Andrea Garrido Torre Jade Morales William Neer Katerina Ohanyan Chela Owuor Benjamin Schott Samon Turner Naomi Urban

SET DESIGN

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Protecting New York City Since 2020 nyhls.com

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By Luzaya Nayer It appears this will be “the year of the fragrance,” says Angela Trakoshis, Shopping Market Editor for Allure. And that’s just one of the trends emerging in this constantly changing market. Whether it's new makeup, hair products, fragrances, or skincare, there is bound to be something new for everyone. Here are five of the hottest trends of the year. The Lexington Line • s/s 25 • vol 11 • no 2

The Fragrance Craze Innovative scents and packaging are creating huge buzz this year. PerfumeTok influencers are a big reason for the rising popularity of fragrance—hundreds of them can be found on TikTok building broad and varied fragrance collections. But ordinary consumers are also increasingly looking for hybrid fragrances that are blended with skincare ingredients. Brands are incorporating skin-loving ingredients into their fragrances, which could help with hydration, anti-aging, sun protection, and adding glow to the skin. Fragrance formulations such as body mists and sprays allow just that. With the added benefit of a continuous spray nozzle, users can spray their fragrance everywhere without interruption. “Subtle, second-skin scents—those effortlessly wearable notes that feel more like an extension of you than a statement— that’s what 2025 is giving,” Trakoshis says. “Soft musks, milky woods, and airy florals are taking center stage, enhancing your natural scent rather than masking it. These fragrances are intimate, lingering close to the skin for a personal, almost whisper-like effect. It’s a shift towards fragrance as self-care— something comforting, familiar, and uniquely yours.” Perfume oils created with rosehip, argan, or jojoba are also gaining popularity. Another major trend is layering, which allows you to use different scents together to create a variety of notes and effects. Bella Hadid’s fragrance brand Orebella consists of skin-loving, alcohol-free ingredients.

Body Care That’s More Than Just Fragrances Many body lotions only moisturize, but what if they could do more? “In 2025, body care is no longer an afterthought—it’s an extension of your skincare routine,” Trakoshis says. Skincare technology has improved drastically in the past couple of years, and body care lines are predicted to become more advanced and ingredient-focused. Many people struggle with issues like eczema, backne, and rough skin. In 2025, more brands are expected to create body

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care products with powerhouse active ingredients such as AHAs (Alpha Hydroxy Acids), BHAs (Beta Hydroxy Acids), retinol, niacinamide, and more. According to skincare brand Paula’s Choice, these active ingredients help with rough bumps, uneven textures, signs of aging, improved hydration, exfoliation, and much more. Professional body treatments such as body peels, masks, and wraps are also gaining popularity. “We’re seeing clinically proven facial skin-care ingredients like peptides, ceramides, and exfoliating acids redefining body care, making it more results-driven than ever,” Trakoshis notes. “Brands are innovating with advanced formulations that target concerns like hyperpigmentation, crepey skin, and body acne, proving that the same level of care we give our faces now applies from head to toe.” With the spotlight on self-care, body care is about to be a part of the daily regimen. If you’re interested, consider Naturium’s The Smoother Glycolic Acid Body Lotion, retailing $17, a body lotion with 10% glycolic acid, which exfoliates and resurfaces to reveal softer skin.

The Overnight Shed The overnight shed is an ongoing beauty trend where people include additional steps in their nighttime routine in order to simplify their morning routines. These include heatless curls, lip stains, lip masks, and the viral overnight face masks. “The overnight shed is redefining beauty sleep, with products designed to work while you rest,” Trakoshis says. “From enzyme-infused body treatments to gentle acid peels for the scalp, these formulas reveal softer, fresher skin overnight. It’s the ultimate low-effort, high-reward ritual: apply, sleep, and wake up glowing.” Brands have created overnight face masks packed with serum. Collagen is a popular ingredient found in these masks, as it helps provide deep hydration, luminosity, and bounce to the skin. Due to these benefits, people are now wearing the masks to bed so they can wake up with glowy, ready-to-go skin. Many people suffer from severely dry skin while flying, so these masks have become popular in the sky as they are easy

to carry and use. Originally, the masks came in sheet form for one-time use. This creates excessive environmental waste, but Korean brands are coming out with tube versions of the mask that can be used more than once. As consumers want convenience and instantly effective products, the overnight face masks add an extra step to your nighttime routines but make the mornings low maintenance. Medicube’s Collagen Overnight Wrapping Peel Off, which retails for $19, is a great product that can be left on overnight and is not a sheet mask.

Something for the Gen Alpha Are Gen Alpha kids too young to worry about skincare? Some dermatologists and many netizens argue that children shouldn’t be using products made for adults. According to The Los Angeles Times, it’s becoming dangerously popular for kids under 13 to apply and post their skincare routines on TikTok, often featuring products formulated for mature skin. This has raised major concerns among viewers and skincare specialists, as these products contain ingredients that could compromise their delicate skin barrier. However, there may be a solution. New brands are emerging that cater specifically to younger skin with minimal products and gentler formulations. According to Business of Fashion, studies show that families with children often spend more on beauty products than those without, making Gen Alpha a growing consumer base. “Gen Alpha’s interest in skincare is valid, especially with platforms like Instagram and TikTok shaping beauty trends,” says Catherine Dunn, publicist for MP-IMC, a PR firm that represents a variety of beauty brands. “With the right products being promoted to the right audiences, skincare for this generation can be a great thing.” Many pre-teens love brands like Drunk Elephant and Byoma due to their bright colors and innovative packaging, but these products weren’t designed for young skin. As the conversation around age-appropriate skincare continues, the industry is beginning to recognize the importance of safer alternatives, ensuring that skincare remains a healthy habit rather than a risky trend.

The newly launched skincare brand ERLY was founded by dermatologists to address the growing concern about the influence the skincare industry has on young children. Their product line consists of cleansers, moisturizers, and serums made with simple ingredients that cater to younger skin.

It's What’s on the Inside that Matters People are growing more conscious of the ingredients they apply to their skin daily. If we are eating clean, why shouldn’t the products we wear also be made with clean ingredients? More and more brands are releasing sustainable products made with clean ingredients that are entirely vegan. “Clean beauty is less about fear-based marketing and more about transparency between the brand and the consumer—at least that’s what I’m hoping for this year,” Trakoshis says. “Beyond the buzzwords, readers want responsibly-sourced ingredients that are safe but also deliver.” According to Exploding Topics, the average person applies nine personal care products daily, with a quarter of women using more than 15. That adds up to hundreds of ingredients on your face—many of which we don’t fully understand. With the growing emphasis on sustainability, consumers are now questioning what chemicals they put on their bodies and how those ingredients impact the environment. As a result, we are bound to see new brand launches and collections focused on sustainable, skin-friendly formulations. This shift also includes more skincare-infused beauty products. Brands incorporate ingredients like hyaluronic acid, niacinamide, and SPF into makeup for added benefits. While dermatologists note that such low concentrations may not deliver dramatic results, consumers still appreciate the extra nourishment these products provide. As the beauty industry evolves, the demand for transparency, efficacy, and sustainability will continue to shape the future of skincare and cosmetics. Haus Labs by Lady Gaga focuses on creating products without harmful ingredients. Their Color Fuse Glassy Blush Balm stick is a serum-based blush with 70%+ skincare and proprietary complexes that hydrate and plump the skin.

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dream sequence Lola Spring

Maddie Larson

CREATIVE DIRECTOR

PHOTOGRAPHER

Jenna Persaud

Kate Ande Isaac Guzman Kala Heu Analesea Sims Kaela Stephenson Aja Vargas

ASST CREATIVE DIRECTOR Kanahara Miguel Callista Anctil Patrick Clesen Sofia Valencia Liza Cocozziello

HAIR & MAKEUP Colette Lowry-Kirkhus

STYLING DIRECTOR Andrea Garrido-Torre

ASST STYLING DIRECTOR Beatrice Trombini Roberto Rojano Chloe Respondek

STYLING

MODELS Tatum Andreetta Lucas Becce Ava Buckwald Crystal Fells Andrea Garrido Torre Jade Morales William Neer Katerina Ohanyan Chela Owuor Benjamin Schott Samon Turner Naomi Urban

SET DESIGN FALKE (Stockings & Tights)

GARMENTS

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where

the dream the nightmare goes,

lola spring

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follows

be five years old is to live in a perpetual state of fantastical and existential hope. Hope that the story will always end happily ever after, and that the trials will be immediately gratifying, worth the reward. Nothing feels meaningless, because you haven’t yet been conditioned to attach meaning to your experiences. Products of your imagination are beautiful, real, and lasting, and, if everything has gone well for you thus far, you believe evil is something imaginary, presenting itself as wicked witches on broomsticks or the troll under the bridge. Five-year-olds can find magic in places like the DMV or the eye doctor’s office. For me, the magic was within reach in the depressing playpen housed in my local grocery store. It was a total scene all the time, complete with crayons that had surely been in someone’s mouth before, with misprinted paperwork they let you draw on the back of, with a jungle-themed wall mural containing religious innuendos I couldn’t yet understand, and with a cranberry juice-stained carpet. I made it my own princess castle once per week while my mother shopped. I’d sit and scribble my favorite things on the blank sides of W2s and try to face away from this kid who was always there, who used to sit and peel the painted eyes off the animals on the walls. It was there that I had my first iteration of the nightmare that would return to my subconscious over the course of my childhood, one that I’ve spent much of my life trying to decipher. I was using the least gnawed-on pink crayon to color and watching Disney’s Snow White and the Seven Dwarves from the old television in the top corner of the room. The supervisor would take requests for what we wanted to watch from the small selection of VHS tapes in a drawer by her station, and today it was my pick. I had seen Snow White thousands of times (to the chagrin of my parents), and the story was the same each time, but that was what I loved so much about it. It was perfect and predictable and the Good conquered, every single time. I was never left without the happy ending the world promises five-year-old girls. My mother had just dropped me off in the play area. It must have been nearing my naptime, because I remember laying my cheek down on the paper and smelling crayon wax and the printer and letting Snow White’s coos lull me to sleep. I never liked taking naps at home, but places that made me feel institutionalized provided episodes of extreme exhaustion and the inclination to sleep through the duration of depressing situations. The dream goes like this: I’m sucked into my subconscious and suddenly spawned at the base of the steps in my best friend Grace’s home. I can smell the smell of their old Columbia City house. Grace is right behind me; she races past me and up the stairs at an alarming pace, scaling them on

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all fours like a sun bear. I am still frozen at the bottom, but she peeks her head around the banister from the top floor and beckons me to meet her. My feet dislodge from the hardwood floor and I float up the stairs, grazing each step. I’m dropped from my hover as I reach the top of the stairs, and I find I’m now able to move and walk like normal. The whir of a disc being inserted into a DVD player lures me towards the flat-screen TV on the wall to my left, where Grace is perched on the edge of an antique couch upholstered in a stuffy floral woven. The room is bare, save for the TV, the TV console, and the couch. Grace opens one of the doors on the front of the console and reveals a snap case with a sleeve depicting a warped and uncanny image of Snow White and the Seven Dwarves. Snow White’s chin is oblong, her deep, black hair lacks its trademark blue tint, and the background she poses in front of blooms blood red around her frame. She grins a disgusting grin, and her eyes glow amber; she does not look like a princess, or even a person. Grace presses the case down to pop the disc out, and she waves it around, launching herself up off the couch and towards the DVD player. Each of her miniscule movements amplify the overwhelming sense of impending doom that has begun to trickle through my soul. It is like seconds of my memory have been snipped off the film reel, and I am now sitting on the couch next to Grace, my neck and head frozen in line with the TV. The title screen for the film bleeds into focus on the television and Grace turns to face me. I can see her in my peripheral vision but do not look at her. “Let’s watch the deleted scenes,” she says. “No, Gracie. No, I think that’s evil.” “My mom says they’re really good. She says you’ll like the special song.” The screen jolts to black and so do my surroundings. The black fades, and I’m planted in front of a handmade wooden door engraved with hearts and swirls and other whimsical adornments. It’s the door to a small cottage surrounded by overgrown foliage and singing birds of all colors, cumulus clouds spattered across the sky and the sporadic twinkle of fireflies. I look down at the ground and discover my legs are the metal legs of some kind of rolling tripod, set with wheels attached to the bottom for mobility. I accept my fate as a dolly, and the wooden door creaks open, unprompted, to welcome me inside the cottage. My wheels guide me apprehensively

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towards a rumble of dance and song. I roll down the entry hallway toward the sounds. The place feels intensely familiar, almost like déjà vu. As I near the living room, I’m able to decipher the words of a song being sung by a shrill and strident voice frosted with a tone seemingly imitating joy, and supported by an off-key male chorus. The song is made up of real English words and familiar melodies, but the moment I begin trying to make some sense of what is being sung, each previous thought is forgotten. I realize I’m not just a dolly, but also a camera, and my lens gains focus and closes in on the scene unraveling before me. Striking in a purple and black replica of Snow White’s famous primary-colored gown is the Evil Queen, whose illustrated face appears radiant and benign for the first time ever. She and the Seven Dwarves join hands in a cult-like circle dancing around what looks to be a small red ball, about the size of a blueberry muffin. The ball has a shiny lacquer on its exterior, and it must have some meaning for them to be performing this ritualistic dance around it. It’s unfamiliar, and it’s weird, and I want to leave. I want to leave, but I am the camera, and the forces that operate me must want me to focus on whatever this is for a bit longer. I zoom in on the ball, and the witch picks it up, digging her jagged yellow nails into the glossy material. She flings it underhand through an opening in the dwarf circle, and it teeters across the raw wood floors, disappearing into a room with the lights off and the door cracked just a shade. The red ball has become my subject, so I swivel from the witch and dwarves and over towards the story it’s urging me to pursue. The sound of the wheels on the ground shifts from hardwood to slick tile, and fluorescent lights flicker on. I’m in a bathroom positioned in front of a translucent shower curtain, and all that’s visible behind it is what looks like a lot of red, and a messed up human form. Long, blue, rotting fingers covered in blood grab the edge of the curtain and drag it open, but the arm’s not connected to a body, so it slams down into the ceramic tub. The opening of the curtain reveals a mess of limbs and strings and one eyeball hanging from the ceiling. The eyeball is facing away from me, tailed by ripped knots of tendon and connective tissue. Slowly, it rotates around to look at me. Its iris is pale blue, and I am horrified. I realize that the mangled corpse scrambled in the shallow grave of the bathtub is the princess I idolize. The eye is still glaring at me, stripped of the lids it would need to convey any expression other than terror. It strains on the string to look down at the red ball nestled propositionally at my wheel-feet. The ball bounces mischievously, in a way that feels like an invitation to follow where it’s headed next.

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Folding my metal frame unnaturally at the midsection, I bend towards the ground to retrieve the red ball. I’m so close to it that I can see the reflection of my lens mirrored in its glazed finish. I’m just about to pick the ball up (how I’ll be able to pick it up without arms is beyond my conscious self) when a gust of energy yanks it forward, plunging it into the dark corner of this bathroom, and it’s gone. I roll some inches closer to peer into the abyss of that corner, which has grown deeper and darker and is expanding rapidly. The edges climb outward, like when you put a lit match to the back of a sheet of paper and the flame chews a caterpillar hole through the middle. I zoom into the darkness with the lens and see nothing but what an echo might look like; reverberating, faint grey rings, maybe the size of the Gateway Arch in St. Louis, which were spaced about 20 feet apart and in constant rotation, flowing forward from the opening of the abyss and through an expansive, vantablack tunnel. With force, and so quickly that I barely have time to process it, the black hole regurgitates the red ball and slams it firmly into my lens. It’s still the nightmare, I think. I wake up in a space where there is no up or down, and whatever is around me is all white. Being lost in a snowstorm may look like this. In the perceived center of the space, there are three connected cubes, decorated on all sides with different colors and patterns. There is a circle in the center of each cube face. I look down at myself to see a human body, and it looks like me. I am 4 foot something and wearing pink Chuck Taylors with my play jeans, and the red ball I’ve been chasing lies close in front of me. It begins to roll swiftly in the direction of the cubes, and comes to a stop when it hits them. The cubes begin to rumble in a way that I cannot necessarily see, but I can feel. The rumbling intensifies until I hear an allencompassing pop, and they begin to flip and rotate on themselves, almost like the controlled undulations of a Rubix cube. The surface beneath me starts to pull me on what feels like an invisible rug towards the shifting multicolor cubes, and I grip around where I can, but it's just ambiguous white and my fingertips on wispy nothing. The shifting of the cubes makes a mechanical sound, like a printer digesting and expelling sheets of warm, tattooed paper. I’m so close to the cubes now that I can feel hot air emanating off of them and blowing my hair behind me. The cube on the end stops shifting, and a pink circle pasted on the side facing me pops off. A felted jack-in-the-box springs out from inside. “You’re finally going home. Did you learn anything?” asks the jack. I say something to the effect of “I just want my red ball.”

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The jack looks at me with his plastic eyes. Slowly, he extends his toy arm down to grab the red ball. He grips it, and with massive gusto, throws the ball into the white abyss. It disappears, and my soul shrivels. He turns back to meet my eyes again. “Keep looking.” I turn back. I see myself, sitting at the table in the grocery store playpen, asleep on my drawing. The red ball sits with glory in my lap. I freeze. I want to go and retrieve the ball, but I feel as though I am not allowed to leave. With the same parental yank, the jack grabs me by the head and pitches me, my soul, and the nightmare into the blank space. I wake in a jolt. My cheek is numb from its time on the desk and the rambles of a new DVD fill my ears. Butterflies rise in my stomach when I remember my souvenir from the dream… I must still have it, right? I unstick my face from the page and scramble to check my lap for the red ball. I look down, and there’s nothing but Gap denim. My hands fumble across the crinkled paper and crayons, but the ball is gone. I blink several times, rubbing my eyes to try and shake the dream out of my vision, but it’s gone. As I sit up and look around the playpen, rationalizing such a vivid, lucid experience as something birthed in my imagination, I notice a blotch of red in the corner of my vision. For a split second, I see it—an object, small and red, rolling gently across the floor towards me, but just out of reach. The red ball. I freeze, and my breath halts in my throat. I run to finally hold it, and to treasure it as my own. It was my prize for survival. As quickly as it appeared, though, it vanishes. The space blurs back into the Fred Meyer’s playpen, and I glance around to see the same dreary surroundings: the crime carpet, the disinterested babysitter filing her fingernails at the counter, the sound of my mother’s voice somewhere in the store. A quiet chill runs through me as I stand in silence, feeling years more mature than when I had been dropped off. It was only a nightmare, but it felt unfinished. Is there ever an end when you’re chasing a dream that was never meant to be reality in the first place? ***

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ROOTED IN MOTION How home shifts, grows, & follows us.

By Violeta Romanyuk 104

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When I was four, my family endured the hardship of moving to America with the hopes of giving their children a better life than they could've ever cultivated for themselves. We left Ukraine with five bags brimming with all we could carry. We left behind a house haunted by the memories of my family's history, abandoned with relics, photos, books, music, and childhood keepsakes that would one day be forgotten. We settled in Washington state and inevitably assimilated to make America our new home. Moving homes has always been a norm in my life. As a kid, I grew accustomed to the frustration of relocating and changing schools. I felt like I was referred to as “the new girl” at every school for far longer than it ever took anyone to learn my name. We made a home in every house we lived in, but none ever felt quite right. I kept wanting to decipher where the ache and disconnect were coming from. I was convinced it was because we moved so frequently, or maybe because we really were outsiders in this country. After high school, I decided to move again—this time alone, and to the east coast. And I can't help but ask an age-old question: what defines home? In an ideal world, home is the place we instinctively return to as children—the safe haven after a long day of playing with neighbors. It's where meals are not only delicious but deeply comforting, where laughter is unfiltered and music brings out our most authentic selves. Birthday celebrations warm our hearts, and holiday

traditions linger in every moment. Home is where we allow ourselves to feel everything— where comfort, familiarity, and synchronicity exist without question. At home, there is an effortless rhythm between you and your surroundings. You know the shortcuts, the routines, the way the place breathes. You move through it with ease, molding it to your needs without thinking. You recognize the faces that greet you warmly and those that don't. Nature, time, and people all seem to move in harmony. But with time, I've come to wonder if home is less about a fixed geographical place and more about a feeling that moves, adapts, and takes root wherever life leads us. In his book, Belonging, author and psychology Professor Geoffrey L. Cohen explains that home is “a psychological experience—not just a place.” He calls home a portable and adaptable psychological state that fundamentally shapes our identity. Everyone has their own definition based on the memories, people, cultures, traditions, and emotional connections we formed where we grew up. This idea suggests that home can exist in temporary places or even in objects and people. Home is directly tied to the fluidity of our emotions, which evolve as we grow. What one needs from home can vary based on how their values, needs, and relationships develop. It turns out that no matter how important our homes seem as children, in reality, people carry their sense of home within themselves.

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We regularly look to the external world to provide for us the things we can only provide for ourselves. Home is not just a structure but a deeply personal experience—a truth that becomes even more evident for those who move often. Home is a fluid feeling and state of mind, shaped by routines, relationships, and small moments of familiarity. Beyond just the physical spaces, home is reflected in how we create comfort and meaning wherever we go. The way we decorate, the traditions we hold onto, and the people we surround ourselves with all contribute to our evolving sense of home and who we are. Having lived in over ten countries, psychologist Dr. Laura Gallagher defines home as the “comfort of familiarity, a sense of belonging, and the warmth of feeling loved.” Ultimately, she believes that home is a choice we make within ourselves. Rather than getting caught up in finding comfort and belonging in a new place, we should shift our

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mindset to cultivate the same sense of ease that home brings. When we gain confidence in ourselves and recognize our ability to learn and adapt to any circumstance, we equip ourselves with the tools to feel at home—anywhere, anytime. Becoming comfortable with the unknown and accepting our reality is, in itself, a source of comfort. Self-acceptance allows room to find new things we love, embrace new places that become familiar, and let our authentic selves shine without fear of judgment. It fosters a sense of love and belonging. Home isn't defined by anything other than our one ability to cope with the world. Gallagher says it best: "when you believe you can cope with the world, anyplace can feel like home." ***

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American Classics Colebrook Leather Jacket One of my favorite thrift finds is an old leather jacket, faded, scratched, capable of elevating any outfit. It's oversized enough for layering and keeps me warm through every season. Its story continues with me.

Editors’ Picks

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How I Met Your Mother It's been my comfort show ever since I was little, playing on repeat whenever I need the familiar ease of these characters' love for one another. I've watched it in sickness and in health, in good times and in bad.

Dr. Martens Jadon Boots I am as loyal to my boots as they are to me. My oldest pair has been with me for over five years, walking with me through high school, college, work, and unforgettable moments like prom and graduation. They are worn-in and weathered in the best ways.

Paula's Choice Youth-Extending Daily Hydrating Fluid with SPF 50 I thrive on the simplicity of clean, consistent routines. The Paula's Choice moisturizer with sunscreen is killer and keeps my skin soft, hydrated, and protected from the sun. I never leave the house without applying it.

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Wish You Were Here by Pink Floyd There's nothing that ignites me the way music does—especially rock. Wish You Were Here will always tug at my heart. It has helped me through many complicated moments, and the lyrics are permanently engraved on my life.

Vintage Nightgowns Why did women ever stop wearing extravagant nightgowns? You’ll wake up feeling like a princess with these pajamas. My nightly routine turns into a luxurious pampering session when I’m donning lace pastels and ruffles from the 1950s.

Editors’ Picks

The M14D-SBS The M14D-SBS—my steadfast love. Her wheels take me exactly where I need to go, and she is throned the most reliable MTA vehicle (closely followed by the 6 train). This is your sign to learn how to take the bus. It’s life changing.

Trader Joe’s Olive Oil Potato Chips I spend my days longing for the divine crinkling of a bag’s new seal. Once I start, I cannot stop. It feels so wrong yet tastes so right.

"At Last" by Etta James This is my current favorite song. My Etta James playlist provides the soundtrack to my weeknight routine, doing homework in my vintage nightgowns next to a rosescented candle.

YSL Libre This perfume smells exactly how it looks—chic, sophisticated, light, and feminine. Its notes of lavender, orange blossom, and musk never fail to earn a compliment. A scent like this is timeless and warrants a special place in my collection.

Elli Ma e Moo nag ing ney Ed i tor

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Editors’ Picks

Merit Bronze Balm Sheer Sculpting Bronzer Once I tried this bronzer stick, it became my holy grail beauty product. The cream formula is light but buildable, making it easy to create the perfect sculpt and natural glow every time.

Plastic Hearts I love any Miley Cyrus era, but this album is her masterpiece. The rock-meets-pop record came out at a very formative time for me and became the soundtrack of my life. Every time I revisit these songs, it feels like a hug from the past.

The Iron Claw When I first watched this movie, I thought about it the entire next day. Zac Efron gives a deeply moving performance as the only surviving brother of the Von Erich family, professional wrestlers in the 1980s who were pressured to be the best.

The Woman in Me by Britney Spears I know I’m late to the hype, but I finally read Britney’s memoir. It's fascinating to hear her point of view on her career, the truth about her conservatorship, and the reality of life as a pop star and commodity.

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My Funky Dunks I got these sneakers for Christmas in 2023, and they have since become my goto shoes. They go with everything since they have so many colors, and I swear I get compliments on them almost every time I wear them.

My Bag I’ve never been much of a purse or bag person, but this one goes everywhere with me. It’s the perfect size, fitting both my camera and laptop comfortably. I got it my sophomore year at LIM, and I haven’t switched it out.

Liv We i Art Dir lbaecher ector

Aquaphor Healing Balm Stick I’m the kind of person who always keeps chapstick on hand. I recently switched to this giant stick, and it has completely changed my life. It goes everywhere with me, and because of its size, I jokingly call it my glue stick. It’s impossible to lose!

Hairspray This is one of my all-time favorite movies—the songs, the cast, the outfits, and the set design are all 10/10. My mom and I used to watch it together, so it will always be a comfort movie that puts a smile on my face.

Editors’ Picks

Frank by Amy Winehouse Who doesn’t love her? My friend Mark introduced me to this album a few years ago, and I’ve listened to it almost every day since. “F*** Me Pumps” will always be a standout track for me. When I was studying abroad in London last summer, I picked up the vinyl.

Nan Goldin, Twisting at my birthday party, NYC, 1980 Nan Goldin is one of my favorite photographers. Her photographs of NYC life from the ‘70s to the ‘80s feel like pages from her diary—raw, intimate, and emotional. This image is one of many I admire.

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BEHIND THE

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PHOTOGRAPHERS: Colette Lowry-Kirkhus, Lola Spring & Jenna Persaud

SCENES S/S '25

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