Moda Madison: Spring 2022 Print Issue

EDITOR IN CHIEF

Gabrielle Gronewold

DEPUTY EDITOR

Arella Warren

ART DIRECTOR

Annika Ide

ARTS CURATOR

Emma Gray

PHOTOGRAPHY DIRECTOR

Audrey O’Neill

CREATIVE DIRECTOR

Sam Starks

FASHION DIRECTOR

Corbin Woessner

FASHION EDITOR

Manon Bushong

LIFESTYLE EDITOR

Mason Braasch

CULTURE EDITOR

Rachel Hale

ARTS EDITOR

Kora Quinn

MODA IS PRODUCED WITH SUPPORT FROM THE WISCONSIN UNION AND WISCONSIN UNION DIRECTORATE PUBLICATIONS COMMITTEE.

SOCIAL MEDIA MANAGER

Rachel Van Hefty

PR AND OUTREACH DIRECTOR

Emily Fleming

ONLINE EDITOR

Jessica Katz

NEW MEMBERS DIRECTOR

Maya Greenberg

PROGRAMMING AND SPECIAL EVENTS COORDINATOR

Madeleine Olson

DIVERSITY AND INCLUSION CO-DIRECTORS

Abbey Perkins

Sonakshi Garr

MAKEUP DIRECTOR

Riley August

VIDEOGRAPHY DIRECTOR

Madelyn Vilker

WEBSITE MANAGER

Kara Conrad

EDITORIAL DIRECTION

Lindsee Kaufman • Ella McCue • Ally McNeive

MAKEUP

Riley August • Sydney David

• Nicole Escobia

WRITERS

Mason Braasch • Manon Bushong • Abby Cattapan • Noa Chamberlin • Sam Downey • Emily Fleming • Sonakshi Garr • Maya Greenberg • Gabrielle Gronewold • Rachel Hale • Jane Houseal • Jessica Katz

• Mi Levy • Clara Padgham • Kora Quinn • Madison Targum • Arella Warren • Zack Zens

ART

Riley August • Mac Gale • Nicole Glesinger • Emma Gray • Alexa Kantor • Shea Murphy • Rosie Quinlan • Riya Shah • Jessica Tenenbaum • Arella Warren • Haley Wolff

PHOTOGRAPHY

Manon Bushong • Seth DeGier

• Hannah Huber • Annika Ide • Molly Jacobs • Anna Janke • Sophia Krupka • Luc Marchessault • Audrey O’Neill

MODELS

Lara Altilar • Sabine Bushong • Edna Dawit • Lucia Frias-Wackman • Emmy Hoban • Toni Houston Elizabeth Karnowski • Jessica Katz • Hayden Ketchum • Cole Lewis • Jaylene Muñoz • Mai Nguyen • Abbey Perkins • Olivia Slapczynski

TABLE OF CONTENTS

CULTURE

14 Savvy & Sober Breaks the Status Quo

Enjoying party culture without the hangover

15 The Rest of Medusa's Story

The truth behind one of Greek mythology’s unsung heroes

16 Hedonism & Happiness

The pursuit of self-pleasure and its implications for satisfaction

ARTS

11 Curves, Corners and Commentary

How the building blocks of composition convey morality, emotion and more

12

A Burden Dressed in White

The virtuous and unjust portrayal of women in Bollywood

FASHION

05

From Plié to Runway

The influence ballet has had on fashion and vice versa

08

The Crooked Past of Coco Chanel

From fashion designer to German spy

LIFESTYLE

10 Pleasure and Healing

There is nothing bad about wanting to feel good

18

The Divine Feminine

What is it, and how can you channel it in your daily life?

FEATURED

19 Venus

CULTURE

30 The Shit We Talk

The history and stigmatization of gossip

39 Not So Glamorous

What Evelyn Hugo can teach us about sexual objectification and empowerment

ARTS

29 How an Artist Becomes an Idol

K-pop companies and the lengths they’ll go to achieve perfection

38 Dark Places Behind Bright Lights

The scandal behind the scenes of Old Hollywood

FEATURED

24 Escape

FASHION

34 Promiscuous Boy

How “slutty” menswear is the latest trend to redefine the relationship between gender and fashion

40

An Ode to Thierry Mugler

42 Rebel to Revel

Breaking fashion rules is always more fun

LIFESTYLE

33 Drinks Up!

Mocktail and Cocktail recipes sure to satisfy

37

The Fine Line of Codependency

Understanding negative attachment styles in romantic partnerships

The Duality of Morality

Dear Readers,

I have feverishly tried to put off writing this. Regrettably, in my last semester at UW, I’ve found myself a little lost in time. I feel an aptitude to put my stake in the ground and stop moving while I also feel like running fast into the notso-distant future. The reality in these juxtaposing feelings is that I can’t sat isfy either, and to stay afloat, I must find peace in the middle ground. As I’m finally submerged in the liberty to write what must come through, I sense a familiar comfort in reality and I am centered in the universal truth that this print issue tackles: duality.

When the Moda team danced around the concept of doing a dual-issue, with two juxtaposing sides, we want ed to carry out a concept that was contrasting yet intertwined. Duality, whether in mathematics, religion or beyond, achieves this seamlessly. Dark and light, good and bad, up and down; these opposing elements exist togeth er, and despite all of their differences, are wed forever. Virtue and Vice hap pens to speak to the duality of moral ity—an intriguing, delightful and un avoidable familiarity.

Vice traditionally is an immoral or wicked behavior, but can funnel down into negative traits and bad habits. Vir tue is moral excellence, or the good stuff. The middle ground is human-like. Although this issue consists of two sides, through the art of duality, they are never entirely separate. Take Emily Fleming’s “The Crooked Past of Coco Chanel.” Fleming reveals how outside the glamorous and presumably chic hues of Chanel tweed and No. 5 lies a manipulative individual who hurt many to get ahead. Or look at Arella Warren’s “Hedonism & Happiness”—a virtuous take on pleasure and enjoy ment in our fast-paced culture. Even the most virtuous aspects of this issue aren’t independent from Vice’s reach.

At times, Virtue does purely strike the heart of inner peace and joy. Mason Braasch defines and describes the Di vine Feminine, giving us a crash course on how we can all achieve inner balance and magnetic energy. Clara Padgham’s “From Plié to Runway’’ reflects on the likeness of ballet in fashion and how you can achieve the aesthetic in your own wear. There is a tender tranquility in the corners of Virtue that allow us to play and relish in light ways.

Consistently, this issue is organic. Maybe this is because despite any ef fort to change, the interconnection of virtue and vice remains inevitable. It’s relatable and poignet in our inner and exterior worlds—worlds that could never be constant, linear or one-sid ed.

I for one indulge in self-doubt. I would love to find everything wrong with myself and control it until it no longer threatens me. On the virtuous, I feel

drenched in love (I believe we all are) and I would adore nothing more than to feel and share this overflowing love every second of every day. Yet just like I can’t stop time or make it speed up, I can’t exclusively run up one side of these self-traits. I must let the pendu lum of morality settle in the middle. When I run myself so deep into anxi ety or give up too much in the name of love, I am reminded of how important duality is for letting me fall back into the space inbetween.

With that, I give you Moda’s 2022 spring print issue, Virtue & Vice—a dual issue that serves for reflection, obser vation and the duality of morality.

Warmly, GABRIELLE GRONEWOLD EDITOR IN CHIEF

Gabrielle Gronewold, Editor in Chief, photographed by Molly Jacobs, Staff Photographer

From Plié to Runway

THE INFLUENCE BALLET HAS HAD ON FASHION AND VICE VERSA

Written by Clara Padgham, Contributing Writer Photographed by Audrey O'Neill, Photography Director Modeled by Sabine Bushong and Elizabeth Karnowski

Ballet

is the quintessential symbol of grace and elegance.

Art, movement and design culminate into its profound production without uttering a word. The silent charm of ballet and many costume motifs are often transferable to everyday fashion as well. Think hues of pink, flowy tulle, ballet flats and simple yet sophisticated silhouettes.

To understand the impact of ballet on fashion, we have to briefly explore the history of fashion in ballet. Marie Tagli oni was a ballet dancer born in 1804.1 Her passion for the art propelled her to stardom at a time when it was not popular. Taglioni’s incredible stage presence captivated her fans, and as most icons do, she inspired new styles. Women began emulating her look, which was heavily influenced by her ballet experience.2

Some years after Taglioni’s time, in 1909, a new name came onto the scene: Sergei Diaghilev, famed for his ballet company, Ballets Russes. Diaghilev’s shows brought ballet to wider audiences and the art became more mainstream. The elaborate cos tumes and incredible skills Diaghilev displayed in his works kept fans en tranced.3 Christian Bérard, a designer for many of Ballets Russes’ costumes, later went on to mentor none other than Christian Dior. Dior’s early work in the 1940s showed major ties to bal let inspiration, which most likely de rived from the influence of Bérard’s leadership.

In contemporary periods, some bal lets have spotlighted successful main stream designers in their costuming, thus deeper intertwining ballet and fashion. Vivienne Westwood designed costumes for the Vienna State Ballet in 2014,4 Viktor and Rolf designed for the Dutch National Ballet in 20145 and the New York City Ballet featured Iris Van Herpen in 2013.6 Once ballet began

¹ Editors of Encyclopedia Britannica “Marie Tagli oni,” Encyclopedia Britannica, April 20, 2021.

² Ibid.

³ “Diaghilev and the Ballets Russes, 1909–1929: When art danced with music,” National Gallery of Art Exhibitions, 2013.

⁴ Cath Pound, “How ballet has inspired fashion,” BBC Culture, Oct. 22, 2019.

⁵ Ibid.

⁶ Rebecca Milzoff, “Iris van Herpen explains her

acquiring incredible pieces of cloth ing from these designers, consumers wanted a piece of the action, gener ating trends that reflect this elegant style of dance.

To the excitement of many “Gossip Girl” fans, ballet flats are making a re surgence to shoe rotations. Love them or hate them, the Maison Margiela Ta bis played a huge role in this. The splittoe look from Margiela is sought out by many high fashion connoisseurs, so it’s only fitting that they would purchase the ballerina pumps to add a unique item to their collection. Fashion of ten has a trickle-down effect from its trendsetters, meaning it’s only a mat ter of time before more ballet flats en ter the scene.

For Simone Rocha’s Spring/Summer 2021 collection, the brand debuted a strappy ballet flat and sneaker hy brid, sparking lots of conversation. The shoes feature the classic, small ballet bow while also implementing more modern details like a chunky platform and leather straps. The shoes have the elegance and motifs of classic ballet, but what truly takes them to the next level is their modernization.

From a much less abstract inspiration, ZARA recently came out with a collec tion in collaboration with The New York City Ballet. ZARA is one of the world’s leading fast-fashion retailers, evidenc ing how ballet’s influence is truly reach ing the masses. The collection consists of ballet-inspired silhouettes made from tulle and silk to make the wearer feel like a true prima ballerina.7

Fashion takes inspiration from every where—the arts included. The aesthet ics and styles of the timeless dance expression have had a rich impact on culture, trends and silhouettes. The beautiful looks of ballet are here to stay giving the perfect example of how fashion and arts intertwine to mutually inspire and influence.

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plastic costumes for the New York City Ballet,” The Cut, Sept. 16, 2013.

⁷ Rachel Douglass, “Zara partners with New York City ballet on collection,” FashionUnited, Jan. 22, 2022.

THE CROOKED PAST OF

COCO CHANEL

FROM FASHION DESIGNER TO GERMAN SPY

Written by Emily Fleming, PR & Outreach Director Graphic by Jessica Tenenbaum, Staff Graphic Artist

CocoChanel was born Gabrielle Bonheur Chanel on Aug. 19, 1883, in the small, historic town of Saumur, France. There remain many unknowns about her past, as she grew up in a time when few documentations were made about low-class individuals.1 What we do know is that her mother passed away when she was 12-years-old and that in the same year, her father left her in an orphanage, never to be seen again. It was in this orphanage that she learned how to sew, taught by strict, Catholic nuns who treated her so poorly it became her motivation to escape.

At the age of 18, she left the convent and moved to Moulins, France, where she worked as a seamstress and per formed as a singer on the side. She sang at clubs in central France, gaining the stage name “Coco” which she took with her into all other facets of life. Chanel herself said it was a “shortened version of cocotte, the French word for kept woman.”2 Conniving from the start, she took advantage of the lack of information on her past and was secre tive about her humble beginnings. She focused on becoming more haughty than even those born into wealth. She prioritized social climbing above all else—only selectively choosing lovers based on if they could help her achieve her personal goals.

At 20-years-old, she became involved with a French textile heir who financed her first retail store, Chanel Modes,

¹ Colin McDowell, “Gabrielle ‘Coco’ Chanel (18831971),” The Business of Fashion, Nov. 18, 2021.

² “Coco Chanel,” Biography, Dec. 10, 2021.

which opened in 1910 on 21 Rue Cam bon Street in Paris. Soon after, she left him for his wealthier peer, Boy Capel.3 Through him, she learned how to live, talk and dress like the aristocrats and the beau monde.4 He aided her in the purchase of the first flagship Chanel store in 1918—where the current House of Chanel, a six-story building, still re sides—on 31 Rue Cambon Street. It is in this location that the brand of Chanel was truly born.

In 1925, Chanel introduced the legend ary suit and fitted skirt, becoming the first Parisian couturier to create collec tions for women that were influenced by menswear. Her designs aimed to ex ude the superiority and simplicity that menswear, and men in general, held at the time, while women’s contrasting feelings of restraint were exemplified through the limiting garments that were in style. She was a major player in women saying “goodbye to the days of corsets and other confining garments,” and aided in the transformation of the attitudes of women in the roaring ‘20s.5

The following year she created the little black dress, which solidified her presence as a serious designer and trendsetter of the time. The first sketch of this design appeared in American Vogue in October of 1926 and estab lished the core of the Chanel brand: elegance in simplicity. The Chanel woman was modern, elegant and inde pendent, a woman free from men and free in her clothing.

³ Ibid.

⁴ Ibid.

⁵ Ibid.

Chanel stated “Before me, no one would have dared to dress in black.” Many have hypothesized about her fascination with the color, and the ex act reason remains unknown. Perhaps it was a reflection of her solitude, a means of grieving her childhood or the tragic losses of her mother and other important figures in her life. Perhaps she took a timely cue from “a coun try in mourning,” as during WWI, the streets of Paris were filled with moth ers and daughters grieving the losses of the men in their lives.6 In the wake of her own losses, along with the col lective grief that filled the city, she saw the potential of reclaiming the color black to reflect power as opposed to weakness and despair.

In the 1930s, caught in the midst of an economic crisis and outbreak of WWII, she closed her shop. She did, however, continue along her path of superficial relationships with high-profile men, and in 1940 she became involved with Nazi military officer Hans Gunther Von Dincklage. By using him, she was able to continue solidifying her presence among the elite, as high society was becoming largely occupied by German officials. Yet her fascination with fame was not her only motive in getting involved with the Nazi party. In 1924, the Jewish Wertheimer family had fi nanced and assisted her in launching her most profitable creation yet, the line of Chanel No. 5 fragrances. Per their initial agreement, they were to re ceive most of the profits, and Chanel resented them for it. In fact, as laws

⁶ Kay Whitfield, “Coco Chanel-the Little Black Dress,” Classic Chicago Magazine, Oct. 25, 2020.

build an empire.7 While this agreement was built on fair terms, Chanel hoped to use the villainization of Jewish peo ple as a reason to strip the Wertheimer family of their profits from a creation that would not have been possible without them.

Despite never being charged, po tentially due to her personal ties and ⁷ Tim Ott, “Coco Chanel’s Secret Life as a Nazi Agent,” Biography, June 15, 2020.

ligence.8 She was registered as Agent F-7124, carrying out several undercov er missions to obtain political informa tion, until she was outed as a German spy in 1944. After being interrogated, she fled to Switzerland, residing there for nearly 10 years before making her return to Paris. Despite the clear ad mission of guilt from fleeing the coun try, and having lied about her involve ment in a sworn testimony, she was ⁸ Ibid.

never convicted in the eyes of the law. She worked extensively to erase all ev idence of her connection to the Nazi party, even going as far as paying off the medical bills of a dying German SS officer after hearing his plans to re lease a tell-all memoir.9 She was never mentioned as an agent.

At age 70, she made her return to the fashion industry, partially because the sales of her fragrance alone were not enough to keep profits high, and she needed the allure of the runway to maintain her position at the top of haute couture. Others claimed “it was Chanel’s personal hatred of the ho mosexual designers, who, in the ‘50s, dominated Paris couture.”10 When de buting her comeback collection in 1954, she was met with criticism, as the French press and audience disap proved of her actions during the war. Yet this condemnation was short-lived, and her designs were still a hit among British and American audiences. She died on Jan. 10, 1971, at her apartment in Hotel Ritz.

While it remains true that Coco Chanel was an influential figure in women’s fashion and culture, when we reflect on those we previously revered, we must remember to observe all facets of their lives. There is virtue in her de signs—in her ability to seize the cul tural moment and trailblaze through the fashion industry. Yet her talent as a designer cannot overshadow the fa tal flaws she possessed and the hor rors she supported. Despite her deep ly anti-Semitic and homophobic past, Chanel became an incredibly commer cialized figure—with a fascination from fans rooted in unawareness. There is a difference between acknowledging the cultural value and craftsmanship of a label, and glorifying the designer behind it. As famous figures are so of ten put on a pedestal, we must make a conscious effort to acknowledge the reality that lies outside our direct line of sight. The story of Chanel is complex: one of darkness and deceit cloaked by glamour. When unveiled, we see a lone woman, consumed by grief and ego, who valued her reputation so much that she would do anything, and use anyone, to maintain it.

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⁹ Ibid.

10 Colin McDowell, “Gabrielle ‘Coco’ Chanel (18831971),” The Business of Fashion, Nov. 18, 2021.

Pleasure and Healing

THERE IS NOTHING BAD ABOUT WANTING TO FEEL GOOD

Written by Jessica Katz, Online Editor Graphic by Shea Murphy, Contributing Graphic Artist

Your

body is strong, but it’s also delicate and sensitive, and there’s power in that. You feel with your entire being.

For many, including survivors, there comes a time when you feel discon nected from your body. According to psychologist Lauren Mould this means, “we don’t really know anymore what feels good and we don’t feel connect ed or in tune with our body.”1

You may feel powerless, like you’ve lost control. You may be hypersexual. You may fear intimacy of any sort. Pleasure can seem very complex, but you are worthy and capable of reclaiming your sexual empowerment.

¹ Kellie Scott, “Using masturbation to reclaim power and pleasure after sexual trauma,” ABC, 2019.

The most important sexual relation ship you will ever have is with yourself, so it’s important to connect with your body however it feels most comfort able to you. From my own experience, here are some ways to regain control.

Exploring your body

You cannot connect with your body without exploring it first. Creating body awareness can start small, like paying attention to feelings of hunger or drowsiness. It could also mean rec ognizing what feels good, like taking a hot shower. Further, Moulds recom mends using exercise to reconnect: swimming, meditation, yoga. These practices are important in bringing awareness back to your physical incli nations and needs.2

Pleasure mapping

Everyone experiences pleasure differ ently. Get hyper-specific about where and how pleasure manifests in your physical self. It’s all about calibration and understanding what feels good for you. Pleasure mapping considers pres sure, speed, angle and pattern.3

Maybe you love getting kisses on the sides of your neck, or maybe you love getting bitten on your inner thigh. All of that is uniquely you. Reclaiming your body means getting to know exactly how you desire to experience pleasure.

Nurturing masturbation

Masturbation is more than self-plea sure. It’s an act of self-love: a powerful act we do by and for ourselves. It’s be ing present with the whole body and all its needs.

It’s important that you make this love the intention of your masturbation.4 This means setting aside time for yourself. Make it a whole night; take a long bath, light some candles and lis ² Ibid.

³ Britanny Burr, “Pleasure Mapping: Unlocking Pleasure Kenneth Play,” psychnsex, 2017 ⁴ Ibid.

ten to soothing music. Take your time, feeling different parts of your body or maybe even trying different toys. Work out what feels good, and what doesn’t. Give your body the atten tion that you give your lovers. You are in control, and there is nothing bad about feeling good.

Show your body gratitude and patience

Reclaiming your body is a long and sometimes difficult journey. According to Moulds, “intimacy can be stopped by both our body … or our mind not letting us be willing to be intimate or be close with someone and remembering those kinds of traumatic or challenging emo tions.”5

Remind yourself that you’re not doing anything wrong. It’s okay for what you want during sex to change. It’s okay to stop or adjust what you’re doing. It’s okay to orgasm—or not to orgasm. Ev eryone grows into their sexuality at dif ferent paces, and that’s okay.

Communicate with your partners

It is easy to fear intimacy: When you’ve lost control of your body, even for just one moment, how can you trust your partner or even yourself? To regain control of intimacy, communicating with your partner is better than any sex toy.

A good partner wants to know what you like and don’t like—so tell them. Checking in, taking a break, stopping or asking for consent won’t ruin the mood. You have no obligation to ex plain yourself; you deserve to feel safe.

The key reminder is that you are in control of your own body. You deserve to have an empowering and healthy re lationship with sex.

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⁵ Ibid.

CURVES, CORNERS AND COMMENTARY

HOW THE BUILDING BLOCKS OF COMPOSITION CONVEY MORALITY, EMOTION AND MORE

Written by Sam Downey, Arts Staff Writer Graphic by Haley Wolff, Staff Graphic Artist

Haveyou ever stood in front of a painting and felt like you almost understood it?

Sometimes, it may seem like you can pick up on what the artist wants you to see, but not how this is accomplished, or to what end.

One way that artists command attention and imply meaning in visual works is through the use of line and shape. It may seem obvious to state that all visual art is assembled out of lines and shapes, but these elements car ry connotations that, when read as a whole, can alter the tone of a piece. These impressions are then used to build artistic claims about morality, gender roles and beyond.

Consider the difference between curved and straight lines. In art, straight lines convey ideas such as structure, rigidity, stability and artifice; conversely, curving lines represent dynamism, natu ral-ness, emotionality and ideas of change and flow.1 If it seems like ideas within these interpre tations contradict each other, that’s because there are no hard and fast rules about what a giv en line means: straight lines can represent safety and structure in one piece and oppressive rigidi ty in another.

These ideas extend to shapes as well. Squares and rectangles feel stable, circles are emotional and dynamic and triangles imply tension.2 All of these are examples of geometric shapes, as opposed to the less easily defined category of organic shapes, though a sound composition will in clude a balance of both.

¹ “Visual Elements,” Lumen Learning, accessed Feb. 2022.

² Johnny Levanier, “The Meaning of Shapes in Design,” 99Designs, 2021.

Regardless of the line or shape used, all of these connotations come with their share of cultural stereotypes. In this way, straight lines and square cor ners have come to be seen as strong and intellectual—and thus mascu line—while curves and organic shapes, feeling at once natural and emotional, have become feminine.3

“The Kiss” by Gustav Klimt is a classic example, as this iconic painting of a couple embracing depicts sharp, rect angular blocks on the man’s robe and swirling, organic patterns on the wom an’s. The connotations of these shapes play out in the man’s dominant stance and the woman’s submissive swoon, as well as in the way these ele ments balance and complement each other.5 By analyzing an el ement as simple as shape, one can conclude what the painting is saying about gender roles and romantic partnerships.

Furthermore, lines and shapes can represent a tension be tween the ideas of reason and passion. This becomes an issue of morality in certain cultural contexts. Classical art, for exam ple, emphasized the beauty of geometric shapes with mathe matically-perfect proportions, which later inspired Renaissance artists as well.6 In Classical and Renaissance art, geometrici ty represented rationality and balance, relegating non-perfect organic shapes to depictions of untameable wilderness and pas sion-driven figures.

The gendering of lines grows more obvious when looking at almost any animated character. Notice what kind of lines and shapes make up the tra ditionally male versus female designs, especially when the characters are non-human and lack traditional gen der markers.4

³ Cece Evans, “What is the Meaning of a Curved Line in the Arts?” Our Pastimes, 2017.

⁴ James Chiang, “Straights and Curves,” Animat

Nowadays, structural shapes and lines might be associated less with ideal forms and ra tionality, and more with rigid confinement. Curving, flow ing shapes and lines, as well as their connotative meanings, have come to be valued dif ferently too. This has less to do with the shapes themselves and more to do with shifting values of structural and natural forces in society and the world.

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ed Spirit, 2021.

⁵ Artincontext, “An Analysis of Klimt’s Painting, ‘The Kiss’,” artincontext.org, 2021.

⁶ Christopher Muscato, “The Ideal of the Circle in Renaissance Art,” Study.com, 2015.

A Burden Dressed in White

THE VIRTUOUS AND UNJUST PORTRAYAL OF WOMEN IN BOLLYWOOD

Written by Sonakshi Garr, Diversity and Inclusion Co-Director Graphic by Nicole Glesinger, Contributing Graphic Artist

The women I saw on the Bollywood screen had dark, almond eyes—this is what I remember most. These eyes were lined with inky kohl, almost always turned towards the floor, their heads shyly bowed. Inside these women rested a haunting, fierce kind of hunger which I could only understand when I looked at their lips. The edges of their pout were tucked upwards, rarely parting to let out a sentence.

These women were angelic. They were elegant. They were patient. They em bodied relentless, alluring femininity. Their virtue dressed their desires as bizarre and their burdens as necessary.

India is a country made up of 1.3 bil lion people.1 The Indian film industry has a net worth of 183 billion rupees, producing close to 2,000 movies a year in over 20 languages.2 Cinema is rooted deep in Indian culture. For me, the world of Bollywood provided the sense of connection and representa tion I never received in mainstream television. For my parents, Bollywood is a sense of comfort, a curated version of the home they left.

The movies themselves are the epit ome of melodrama. A typical Bolly wood narrative clings to a clear hero and a clearer villain. They are de signed to grip audiences with a threehour Cinderella-like plot—a slow exposition, some ups and downs, a climax which usually involves a fight and a happy ending.3

India’s longest-running movie, “Dilwale Dulhania Le Jayenge,” translates into ¹ “India,” Data Commons, accessed Feb. 2022.

² Elena Nicolaou, “What Makes Bollywood Movies so Special,” Oprah Daily, Nov. 2, 2021.

³ Joe Bunting, “Story Arcs: Definitions and Examples of the 6 Shapes of Stories,” The Write Practice, Jan. 21, 2022.

English as “The Big-Hearted Will Take The Bride.”4 The movie follows Sim ran—a woman steadfast in all her reso lutions—and the story of how she must be a good daughter, a good friend and a good wife. She has intensity, dry wit and a general yearning for a life bigger than herself, which all boils down to her identity as a bride.

meets Raj, a man who is the perfect contrast to her persona of order. They fall in forbidden, riveting love.

For 30 years, India has loved Raj. They have reincarnated versions of the char acter to star in every box office hit since. That’s why, at the end of “Dil wale Dulhania Le Jayenge,” I found

Upon the discovery of her engagement to someone her father knows, Simran takes a girls’ trip to Europe where she

⁴ Aiswarya Anil, “In Pics: Check out These Prob lematic Scenes and Dialogues in DDLJ on Its 25th Anniversary,” ED Times, Oct. 21, 2020

myself rooting for him, even through his harmful doings to Simran. At the climax of the film, a fight breaks out as Raj attempts to run away with Sim ran. Blood-soaked fists are thrown left and right and Simran is a piece of clay,

When we portray women as virtuous, we portray them as subhuman. The real issue with virtue lies in its ambiguity. When we expect a woman’s patience, we demand her tolerance. And in India—along with many other parts of the world, including the U.S.—that tolerance may come at the cost of her life.

molding to the sweaty palms of the pa triarchy around her.

Simran’s poisoned virtue is not just a product of her time. “Sultan,” a hit re leased in 2016, tells the story of a re tired, washed-up wrestler reflecting on his past. Sultan is a stubborn, smart wrestler who marries Aafra, a wom an rooted in her determination to win the wrestling state championship—an achievement Sultan has yet to have himself. Discovering she’s pregnant with his baby, Aafra gives up her wres tling career for Sultan, who ends up not being present for Aafra during their son’s premature birth. Their newborn son later ends up passing away due to complications, and Sultan falls into a depressive spiral, hence his retirement.

The plot, by itself, is nothing special. Both Eastern and Western audiences have a permanent appetite for a tragic love sto ry. But in this case, one of the only female characters in the movie drops her poten tial as a wrestling champion to fulfill the role as a romantic interest to a man. Even at the end of the movie, Aafra only ap pears to provide Sultan with words of en couragement for his last fight. Her role in this movie was to remain virtuous and immobile in her anger with her hus band and her grief over her son.

Despite this, people loved “Sultan.”

Aatish Taseer, a New York Times oped writer, found himself “bawling [his] guts out in a Times Square theater” af ter seeing the movie for the first time. Taseer commended the movie for its critique of India’s cultural movement towards modernity.5 It was a beauti ful review about the story of Sultan, a wrestler trying to become relevant again—but it lacked any mention of Aafra. Sure, she was not the protago nist, but she was the quiet force be hind the message Taseer raved about.

The same bias that stains the plots of these Bollywood movies also exists within the industry as a whole. Men are allowed to embody a sort of constant juxtaposition—their anger is accorded a certain softness and their warmth is yielded a certain edge—that women are never granted. In the lens of Indian cinema, men are limitless. Shah Rukh Khan, the star of “Dilwale Dulhania Le Jayenge” and the most famous actor in South Asia, has been intoxicating fans with his charm since 1992. How ever, the actresses he co-stars with are only getting younger as women are shifted in and out of the spotlight.

When we portray wom en as virtuous, we por tray them as subhu man. The real issue with virtue lies in its ambigu ity. When we expect a wom an’s patience, we demand her tolerance. And in India—along with many oth er parts of the world, including the U.S.—that tol erance may come at the cost of her life.

India has consistently been rated one of the most dangerous coun tries in the world for wom en.6 Every hour, 14 cases of “cruelty by husband” are registered there.7 Women

⁵ Aatish Taseer, “Why Do I Love Bollywood?” The New York Times, Aug. 24, 2016.

⁶ Neha. Chauhan, “How Gender-Based Violence in India Continues to Rise.” YourStory, Sept. 17, 2019.

⁷ Sachin Agarwal la, “The Growing Concern around Violence against Women in India –

being treated as second-class citizens is a common, global theme, but in In dia—a country dusted with millions of dynamics—poor treatment of women has surpassed politics and morphed into its very culture. Culture births emotion. Culture births morals. Culture births tra dition. According to Tina Kubrak, a be havioral scientist for the National Center for Biotechnology Information, movies directly influence “the assimilation of commonly accepted values, norms and forms of behavior.”8

Are Bollywood movies the main force behind the patriarchy in India? No. But all movies project the values of the society they are made for at the time. The entertainment industry is made to serve.

Multidimensionality is not an easy sto ry to tell or hear. Yet it is a story that must be told and heard if we are to shift the cultural dynamic in India and begin to appreciate women past their surface-level beauty, their surface-lev el sweetness and their sur- face-level virtue. Women are so much more than their reactions to men, but Indian me dia refuses to listen.

Despite everything, I still do not hate Bollywood. I do not have it in me. Any child of immigrants can understand this chokehold of duality. Isn’t to cri tique something to love it? To pay enough attention to something that I understand its flaws, and celebrate it anyway? Indian movies have a dedica tion to emotion, color and music that Western cinema will simply never un derstand. You can get lost in purga tory trying to claim a consistent iden tity, and I do not have it in me to try and forget another part of mine. As I tear my childhood movies apart into cream-colored shards, I still see Indi an cinema as an impeccable work of art—it’s reliable, it’s entertaining, it’s consumable. The only tradeoff is that women in real-time, globally, are seen the same way: reliable, entertaining, consumable.

Art imitates life. The media we con sume matters. ■

Where Do We Stand?” IGC, Nov. 25, 2020.

⁸ Tina Kubrak, “Impact of Films: Changes in Young People’s Attitudes after Watching a Mov ie,” National Center for Biotechnology Informa tion, May 2, 2020.

Itis no secret that State Street transforms into an amusement park after dark. “Thirsty Thursdays” and the inevitable Saturday night plans can quickly shape any weekend into a spring break bender if you choose to participate. Whether it be wine nights with mugs or red solo cups to accompany beer pong, the post-party cans that line the streets can make you feel like you’re on a walk-of-shame or a stride-of-pride depending on how you view your weekend endeavors.

However one chooses to spend the weekend, alcohol seems to be the driv ing force behind campus party culture. Out of 80% of college students that have at least one drink per week, over 40% indulge in binge drinking.1 Many are under the impression that going out means blacking out and sober means staying in. However, for some students, there appears to be a middle ground: a damp lifestyle that incorpo rates drinking in moderation.

University of Wisconsin-Madison Sophomore Gabbi Unitan is one who enjoys the ambiance of drinking with out the morning hangover. Choos ing to stop after one beverage or to go completely non-alcoholic for the night, Unitan says limiting her alcohol intake enables her to embrace college experiences without the anxiety or ¹

Josephine M. Palmeri, “Peer Pressure and Alcohol Use Amongst College Students,” Applied Psychology Opus, accessed Feb. 2022.

Savvy & Sober Breaks the Status Quo

ENJOYING PARTY CULTURE WITHOUT THE HANGOVER

Written by Madison Targum, Contributing Writer Graphic by Emma Gray, Arts Curator

paranoia of losing a sense of autono my while drunk.

For those trying out a damp lifestyle, Unitan suggests bringing a non-alco holic drink, like bubbler or Coke, to maintain the social comfort of having a drink in hand. That way, even while out to dinner or with a group of friends at the bar, she is able to glamorize her night. Unitan shares, “It is super easy to talk to a bartender and still get gor geous, adorable drinks that change colors and have bubbles without a single drop of alcohol, just so you still feel a part of the group."

“[Someone once said] ‘Hey, I see you’ve been holding sodas all night.’ I was immediately defensive because the typical follow-up is ‘Let me buy you a real drink.’ But instead, they said ‘Hey, I’ve been holding Mountain Dew.’”

Often, Unitan finds that partygoers feel more comfortable confiding to her about their drunken state—and, at times, admit that they’ve overindulged more than they intended to. Through her damp lifestyle, Unitan embraces being an open ear for these individu als, acknowledging their vulnerability and sometimes kindly inviting them to try a sober night with her the follow ing weekend.

“You may feel the cold more than your friends in the bar lines without the vodka blanket, but just surround your self with a supportive group,” Unitan exclaims, “It may be hard to be drunk around sober people, but if you can be sober around drunk people you hear some of the best nuggets of conversa tion and people really open up to you.”

When approached by others about her decision not to drink, people typically have one of three reactions: they try to convince her to drink, they sober up to have a deep conversation or they be friend her because they’re also sober at the party. Unitan has gained quite a community of friends from the third scenario, suggesting that sober par tygoers are more common than most people realize.

Staying sober doesn’t have to mean being outcasted to the couch of your apartment. On your next outing, you can become the ultimate fly on the wall or the sounding board for the en tire party—all without the headache that follows. Whether you want to in corporate drinks after dinner or keep it alcohol-free, don’t feel ashamed to bring your authentic self to the party. ■

The Rest of Medusa's Story

THE TRUTH BEHIND ONE OF GREEK MYTHOLOGY'S UNSUNG HEROES

TW: Discussions of mythological depictions of rape.

Written by Maya Greenberg, New Members Director Illustrated by Riley August, Makeup Director and Staff Graphic Artist

Depicting

perhaps the most infamous woman in Greek mythology, the story of Medusa has served as a timeless cautionary tale on the evils of vanity. As the fable goes, the goddess Athena takes vengeance on Medusa for her self-centered and impure ways and turns her into a snake-headed monster, cursed to transform anyone who gazes upon her into stone.1 The male star of the myth, Perseus, then slays the monster and uses her decapitated head as a weapon for future battles.2 This interpretation of the tale, although generally understood to be complete, largely ignores the victim-blaming and sexism that plague Medusa’s legacy.

Born as one of the three Gorgons to Phorcys and Ceto, Medusa was the sole beautiful daughter in a family of monstrous immortals.3 As a priestess to Athena, Medusa made a vow to hon or the goddess and remain a virgin for all of her life.4 The sea god, Poseidon, took notice of the priestess and, in an attempt to humiliate Athena, he raped Medusa in the goddess’ temple. Direct ing her anger at the victim instead of the perpetrator, Athena cursed Medu sa to a life of solitude.

¹ Hastings Christobel, “The Timeless Myth of Medusa, a Rape Victim Turned Into a Monster,” Vice, April 9, 2018.

² Ibid.

³ “Medusa: The Real Story of the Snake-Haired Gorgon,” Greek Mythology, July 9, 2021.

⁴ Oates Ryan, “The Horrible Tale of Medusa,” Odyssey Online, July 6, 2016.

Still, rather than become the monster that she was made out to be, Medusa became something much more power ful. Whether it was Athena’s intention or not, she gave Medusa a weapon: the power to turn any man who gave her unwanted stares into cold stone. Reading translations of the myth, it is clear that “Medusa was a mighty force endowed with the power to both kill and redeem.”5 Despite her strength,

⁵

Hastings Christobel, “The Timeless Myth of Medusa, a Rape Victim Turned Into a Monster,” Vice, April 9, 2018.

however, she is made out by historical counts as a hideous seductress.

The common recantation of the myth of Medusa has implications for women far beyond the Gorgon herself. Medu sa is one of countless women who was victimized twice: once when she was at tacked, and again in the way her story was stolen from her. She is a symbol for those everywhere who overcome adver sity by taking back their power—only to then be labeled as a woman scorned.

Another overlooked element of Me dusa’s story is one many can relate to: turning our backs on our fellow wom en. Medusa is attacked by a powerful god, and instead of retaliating against him, Athena, a symbol of strength and female independence, decides to shame the other woman involved. Sound familiar? It’s a classic case of victim-blaming, with the bulk of the fault falling on the helpless.

Medusa was not just a woman scorned, but a force with which to be reckoned. The Gorgon sister who was betrayed by the goddess is not a cautionary tale, but a symbol for self-empower ment. Medusa was unapologetic, brave and fierce. She lives on as a hero, not a villain, for those who still make the ground tremble beneath them despite all that has stood in their way.

■

HEDONISM & HAPPINESS

THE PURSUIT OF SELF-PLEASURE AND ITS IMPLICATIONS FOR SATISFACTION

Writing and Graphic by Arella Warren, Deputy Editor

TheUnited States was founded in part on the belief that every person has the right to “life, liberty, and the pursuit of happiness.”1 With images and advertisements showcasing the luxury of material goods, consumerism has never before been as closely linked with this pursuit of well-being and satisfaction. However, this culture of hedonism may actually inhibit our psychological ability to find happiness in our lives.

Happiness Ethics

Hedonism is a school of ethics from the 4th-century B.C.E which states that the highest good in the world is maximizing pleasure.2 Hedonic hap piness prioritizes momentary, sensual comforts and places the ego’s desire at the center of morality. While it’s im portant to respect our desires, the he donic approach suggests that our de sires should take priority over all else, feeding into a self-centered mindset of over-indulgence.

Eudaimonia, on the other hand, refers to the idea of living for the greatest good. Aristotle proposed eudaimonic ethics in direct contrast to hedonism. He critiqued the idea that we should live “happily,” since it is not a sustainable or long-term state.3 Instead, wisdom holds that the ultimate goal should be lead ing a good life, tailoring our actions to

¹ “Declaration of Independence,” U.S. National Archives, accessed Feb. 2022.

² “Hedonism,” Philosophy Basics, accessed Feb. 2022.

³ Nat Rutherford, “Why our pursuit of happiness may be flawed,” BBC, Jan. 2021.

do what is best for our spirit and hu man flourishing.4 Eudaimonia provides a ground between individual gains and virtuous responsibilities.

From Eudaimonia to Hedonism

Suffering and hardships were viewed as largely inevitable for the majority of history.5 Without access to mod ern-day resources, people had little time for pursuing pleasures, and happi ness was mainly a product of chance.6 In such a world, the best people could do was live with virtue and utility.7

As Western society progressed, and we entered the 18th century age of roman ticism, hedonism came to the forefront. Suddenly, the focus shifted away from philosophical reflection and religious observation toward simply enjoying the sensations of the moment.8 This coin cided with the rise of aestheticism, a movement that rejects virtue in favor of beauty, personal fulfillment and living without concern for consequence.

Oscar Wilde, one of the best-known writers of the aesthetic movement, ex plores both the highs and perils of the aesthetic lifestyle in his famous novel, “The Picture of Dorian Gray.” Through the self-indulgent protagonist, Wilde illustrates how pure aestheticism, or the unmoderated pursuit of desire, is not only superficial—it actually leads

⁴ Ibid.

⁵ John Lanchester, “Pursuing Happiness,” The New Yorker, Feb. 19, 2006.

⁶ Ibid.

⁷ Ibid.

⁸ Steven Cahn & Christine Vitrano, “Happiness: Classic & Contemporary Readings,” New York: Oxford University Press, 2008.

us to embrace immoral behaviors with grave ramifications.9

The Pleasure Paradox

We would be wise to honor Wilde’s critique of aesthetic philosophy, as the culture of hedonism we’ve fallen victim to has not improved our over all net happiness—especially as it co incides with the rise of digital media.10

By framing happiness as a sensation, hedonism implies that we must draw dopamine from every moment in order to “be a happy person.”

Modern scholars and ancient philos ophers have voiced concern over a critical paradox here: desiring nothing other than pleasure prevents us from actually experiencing pleasure.11 By hyper focusing on the pursuit, we get stuck on a hedonic treadmill: always searching, yet never satisfied.

Ending the Pursuit

In order to advance toward a more suc cessful social model, we have to recog nize that immediacy isn’t the same as satisfaction. It’s an unrealistic view that drives people to endlessly seek out the “better.” The further we move from the desperate chase and the closer we get to cultivating a sense of balance, the better off we will all be.

⁹ Patrick Duggan, “The Conflict Between Aesthet icism and Morality in Oscar Wilde’s The Picture of Dorian Gray,” Boston University, accessed Feb. 2022.

10 Jean Twenge, “The Sad State of Happiness in the United States and the Role of Digital Media,” The World Happiness Report, March 20, 2019.

11 “Hedonism,” Philosophy Basics, accessed Feb. 2022.

This requires taking a step back from social ideals. Western institutions op erate along a scarcity-minded ap proach that encourages competition and social comparisons, and in turn, makes us feel inadequate about our selves. We should instead opt for an abundance-oriented approach, assert ing that there’s room for everybody in society to advance their self-worth and happiness.12 Once we remove our self-worth from our perceived social standing—which, in America, is so of ten based on material comforts, riches and luxury goods—we will find more satisfaction in the things we value.13

It isn’t enough to just identify our val ues, though; satisfaction only comes when we actively make time for them. As Vanderkam points out, when some one says they don’t have time for something, they’re often saying it’s not a priority.14 Modern technology and social media pull us into an addic tive dopamine loop,15 prompting us to endlessly seek out momentary grati fication. If we can start targeting and boxing in the “feel good” distractions, we can live more purposefully and bet ter prioritize our tasks, making time for both the life goals and personal plea sures that matter most to us.

Knapp and Zeratsky offer a great list of techniques for using time mindfully in their book “Make Time.” Their four-

12 Joe Pinsker, “Why So Many Smart People Aren’t Happy,” The Atlantic, April 26, 2016.

13 Ibid.

14 Laura Vanderkam, “How to gain control of your free time,” TEDWomen, Oct. 2016.

15 Trevor Haynes, “Dopamine, Smartphones & You: A battle for your time,” Science in the NewsHarvard University, accessed Feb. 2022.

step model includes identifying a high light activity that you want to achieve by the end of each day; removing dis tractions to get into laser focus mode; taking care of your wellbeing by do ing things to create more energy; and systematically tracking the process through journaling or scheduling.16 By blocking out your calendar hour-byhour, you can see how you’re actually using your time, and where you can implement changes to make space for your desires.

Some scholars are even turning to an cient wisdom to propose that meditat ing on our depression and impending demise actually emphasizes happi ness. That is, being aware and present to moments of suffering can prompt us to let go of some of our attachments to the material world and influence us to live more purposely in the present.17 In fact, Buddha, master of Zen, taught that we can release ourselves from hu man suffering by releasing our material desires and attachments, simply being at one with ourselves.18

Happiness shouldn’t be this grand, luxurious pursuit that society makes it out as. Not every moment has to be flooded with pleasure for us to feel content with our accomplish ments and experiences. Fostering the Zen mentality and meeting ourselves where we are at allows us to appre ciate the smaller moments for what

16 John Zeratsky & Jake Knapp, “Make Time,” New York, 2018.

17 Arthur Brooks, “To Be Happier, Start Thinking More About Your Death,” The New York Times, Jan. 9, 2016.

18 “What did the Buddha mean by suffering?” Tricycle, accessed Feb. 2022.

they are, even the seemingly mun dane ones.

Finding Purpose

Whether one chooses to physically consume happiness through sex, drugs or food, purchases it through material goods, seeks it in self-help and well ness, or looks to external forces, mod ern research offers an old solution: The best way to consume and create a happier life is to live with a proso cial purpose.19 That is, living in a way that promotes social welfare and eu daimonic values.

Hedonic happiness is not inherently bad, but it can’t be the end goal. Stud ies demonstrate that life satisfaction isn’t really about feeling happy but doing things that align with our val ues and virtues.20 By taking the time to do things for others and adjust our own behavior to be more altruistic, we create better outcomes for our rela tionships, our communities, our world and ourselves.

Doing something little every day for the greater good—be it picking up a piece of trash, giving a dollar to charity or expressing gratitude for someone you love–may just be the key to broad ening your happiness and making the world a better place. ■

19 Christine Whelan, “The Big Picture: A Guide to Finding Your Purpose in Life,” West Conshohock en: Templeton Press, 2016.

20 Min-Ah Lee, “The keys to happiness: Associ ations between personal values regarding core life domains and happiness in South Korea,” Plos One, Jan. 9, 2019.

The Divine Feminine

WHAT IS IT, AND HOW CAN YOU CHANNEL IT IN YOUR DAILY LIFE?

Written by Mason Braasch, Lifestyle Editor Graphic by Rosie Quinlan, Contributing Graphic Artist

Atthe beginning of the year, I noticed a new term flooding New Year’s resolution lists. From bloggers and influencers to people that I went to high school with, many vowed that in 2022, they would be getting in touch with their Divine Feminine.

When I first came across the term, I found it intriguing and beautiful— definitely something to add to my own list of resolutions. There was only one problem: I had no idea what it meant.

Upon further research, I learned that the Divine Feminine is not a new concept. In fact, it has been around for as long as humans have existed, and different versions of it can be found within almost every culture in the world.1 Historical ly, the Divine Feminine has taken shape as goddesses and female deities. However, it also refers to the feminine instinct apparent in side each individual, which sug gests that “complementary ener gies exist within each being.”2

Regardless of how we identify, we all have the power to harness our Divine Feminine. Simply put, the Divine Feminine is the intuitive, nurturing, gentle and grounded side of oneself.3 Learning to con nect with this spiritual energy can be beneficial in embracing the softer qualities of your personality, and can empower you in a way that is uncon ventional in a society that overvalues strength and analytical thinking.

The sacred and spiritual concept of the Divine Feminine can be intimidating to incorporate into your daily life, but you

¹ Nina Kahn, “Witches & Healers Explain What ‘Divine Feminine’ Really Means,” Bustle, June 25, 2021.

² Emily Torres, “What Is the Divine Feminine?” The Good Trade, Feb. 11, 2022.

³ Nina Kahn, “Witches & Healers Explain What ‘Divine Feminine’ Really Means.” Bustle, June 25, 2021.

don’t need to associate the process with religion or make big life changes to channel your inner radiance. These simple, daily habits can help you har ness your own inner power, allowing you to get in tune with your intuition and nurture those delicate qualities within yourself.

grounded, connected to your deeper desires and ready to be your highest self for the day.5

Practice compassion with yourself

Embracing your Divine Feminine means embracing compassion, kind ness and acceptance—and the easiest way to make these standard prac tices in your life is to practice them with yourself. Standing in front of the mirror and learning to appre ciate and connect with your body will not only make you feel more confident but will allow you to feel more grounded, nurturing and compassionate.6

Explore your sensuality

Sensuality can take a variety of forms in your life. Although it can include sexual pleasures, it is not limited to them. Igniting your senses by taking a warm bubble bath, lighting your favorite can dle or surrounding yourself with your favorite color allows you to explore your sensuality, and is an easy and rewarding way to get in touch with your Divine Feminine.7

Make rest intentional

Keep your mornings quiet

Establishing a morning routine that al lows you to engage with intuitive pro cesses can be beneficial in harnessing your Divine Feminine energy.4 Your morning routine should be unique to you, based on the needs of your body and subconscious intuition. Wheth er you start your day with a phonefree meditation, go on a long run or yoga practice to ground your body or simply enjoy a cup of tea, make sure that your routine leaves you feeling

⁴ “Divine Feminine Energy & Daily Rituals to Cul tivate It,” Goop, June 15, 2021.

In a society that is driven by suc cess and productivity, our rest time is often spent curating to-do lists and preparing ourselves for our next task. Setting aside time for intentional rest through med itation, journaling or listening to mu sic can help you calibrate, and in turn, make you feel more ready for the tasks at hand.8 Putting your phone away and tuning in to your inner thoughts and intuition even for 15 minutes a day can help you harness your Divine Feminine energy, and leave you better equipped to face the world.

■

⁵ Ibid.

⁶ Sarah Regan.“What the ‘Divine Feminine’ Is All About & 9 Ways Anyone Can Embody It,” mind bodygreen, March 22, 2021.

⁷ Ibid.

⁸ Ibid.

venus

Directed by Gabrielle Gronewold, Editor in Chief, Emily Fleming, PR & Outreach Director, and Jane Houseal, Fashion Editorial Assistant

Photographed by Seth DeGier, Assistant Photography Director, and Molly Jacobs, Staff Photographer Filmed by Ethan Risch, Staff Videographer Makeup by Sydney David, Makeup Staff Member, and Nicole Escobia, Makeup Staff Member Modeled by Lucia Frias-Wackman and Toni Houston Special thanks to @alexkiander

ESCAPE

ESCA

Special thanks to Lucille; Joshua Berkson, President, Angie Booth, Events Coordinator, and Ana Bazan, Director of Marketing & Events

E S EPAC E CSEEPAC E CSE A P E

Directed by Samantha Starks, Creative Director Assisted by Lindsee Kaufman, Ella McCue and Ally McNeive, Creative Staff Members

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LUCILLE — 101 KING ST. MADISON, WI

With its globally-influenced menu of fresh cocktails, craft beer, wood-fired pizza and shared platters, Lucille is the ultimate escape here in Madison. A short trip down the stairs opens up to a beautiful and intimate space. What began as a 1920s bank vault now features warm wraparound velvet seating, warehouse flooring, and a reclaimed cocktail bar.

How an Artist Becomes an Idol

K-POP COMPANIES AND THE LENGTHS THEY'LL GO TO ACHIEVE PERFECTION

Written by Kora Quinn, Arts Editor Graphic by Riya Shah, Contributing Graphic Artist

TheK-pop industry has its own culture within the world of entertainment. While there are a range of factors that attract people to the genre, management sets K-pop groups apart by creating a special type of relationship between the artists, known as “idols,” and the audiences. Companies aim to build the idols’ physical and social attraction, feeding into feelings of love and relatability that usually lead to obsessive parasocial relationships among fans. In turn, these companies capitalize on exalting K-pop stars—and their methods aren’t always pretty.1

Like in Western music, there are three dominating record companies that house and manage artists in South Korea and a plethora of smaller ones.2

Unlike in Western music, once aspiring idols sign with a company, they become a “trainee” and enter into a period of in tense preparation in dance, voice, rap and acting that can last anywhere from one to 10 years—like college, but to become a pop artist.3 After years bal

¹ Espinal Veronica, “Parasocial Relationships in K-pop: Emotional Support Capitalism,” EnVi Media, Feb. 21, 2021.

² “Top 7 of the biggest Korean entertainment companies,” WE, March 21, 2020.

³ Jang Seob Yoon, “Distribution of trainees in the

ancing school, lessons and sometimes a part-time job, these trainees “debut” in groups with anywhere between four and nine members, each with dedicat ed positions such as leader, main vocal ist, main dancer and main rapper.

During the training period, companies mold their artists into the ideal enter tainers, starting with appearance. To achieve the aforementioned physical attraction, companies often pressure trainees into getting plastic surgery be fore they debut to narrow their jaw into a V-shape, add double eyelids, straight en their nose and more.4 Many compa nies also promote intense dieting both prior to and after debut.5 While fans ex press criticism over companies who en force dieting, the online hate that idols receive for putting on weight reigns louder due to industry standards.

In making an idol, companies are con stantly working on the most important component: social attraction. While an entertainment industry in South Korea in 2018, by age,” Statista, Aug. 31, 2020.

⁴ “Impossible Beauty Standards with Ashley Choi,” DIVE Studios, Aug. 14, 2020.

⁵ Soheili Komeil, “Grueling gym routines, re strictive diets, and no dating: K-pop stars tell us about the dark side of their industry,” Insider, Dec. 1, 2019.

artist is still a trainee, they are often kept completely out of the spotlight. They aren’t allowed to have public so cial media accounts, sometimes for long after they debut. Even BTS, the most famous K-pop group to date, didn’t have public Instagrams until December of 2021.6 Companies en force these restrictions to keep idols’ images as pristine as possible; if they don’t have as many ways to speak to the public without company oversight, they don’t have as many ways to spark controversy that could negatively im pact their social reputation.

Further, in many of the artists’ con tracts, there is a dating ban that pre vents them from entering romantic relationships—at least not publicly.7 Artists have been exiled from the in dustry for dating because companies want to sell the image that this idol is available and dedicated to their fans, and thus more appealing.

Because of the heavy restrictions on what idols can say and do, anything outside of this image becomes a scan dal, forcing members to endure heavy ridicule for minor faults. Dating, drink ing, being “lazy” on stage—all things that have been warped into “controver sies” due to the industry-curated im age of perfection. Even the term “idol” reinforces this perception. By molding artists to look and act a certain way, companies perpetuate social standards for beauty and good behavior, creat ing false and unattainable expectations that border on dehumanizing.

Being encouraged to alter your ap pearance, lose weight and hide facets of your life to avoid controversy are as common in the West as in the East. But in Western entertainment, it’s of ten covered up until a celebrity publi cizes their experiences. While fans of K-pop may be aware of the treatment idols face, much of it goes unchal lenged since it has been a part of the industry culture for so long. When it is criticized, it feels like there is little the public can do to change the practices of such large and powerful companies. In the end, the people who profit off of this structure aren’t just the company, but the fans who perceive these ce lebrities not as people, not as singers, dancers and rappers, not even as art ists—but as actual idols. ■

⁶ Kim D., “BTS Members Launch Personal Insta gram Accounts,” Soompi, Dec. 6, 2021.

⁷ Soheili Komeil, “Grueling gym routines, re strictive diets, and no dating: K-pop stars tell us about the dark side of their industry,” Insider, Dec. 1, 2019.

THE SHIT WE TALK

THE HISTORY & STIGMATIZATION OF GOSSIP

Written by Gabrielle Gronewold, Editor in Chief

Photographed by Anna Janke, Staff Photographer Modeled by Edna Dawit and Emmy Hoban

Ihave

sat with the moral and ethical arguments against gossiping for a long time, debating my stance and attempting to cut out this vice that I hate to admit I do enjoy. At times I’ll make goals and affirmations to drop the chit chat, even calling others out on their remarks. Socially speaking, I have surrounded myself with others who are critical of their gossiping habits, and I have digested plenty of media about the roots of these desires. Over time, I have finally come to terms with the fact there is something innate, relatable and empowering about gossip that I can’t seem to shake, despite feverishly trying. And to be honest, sometimes I just have shit to talk.

To better understand gossip, I think we should first look at the role anti-gossip rhetoric plays in our culture. Growing up we are taught to mind our business, be agreeable, not participate in drama and behave in ways that grant favor able outcomes. Gossip is said to hurt others, create a poor reputation and increase divisiveness. When it comes to religious teachings, the Bible says that gossip divides,1 the Torah speaks of slander’s harmful impacts on vic tims2 and the Quran urges individuals to walk away from gossip when it is near.3 Now, do I think there is value in these recommendations, lessons and prophecies? Yes. But I also think we have been spoon-fed a self-optimizing approach to gossip that doesn’t ac count for instinctual human curiosity or human emotion.

Today, research shows the average person gossips around 52 minutes a day.4 Whether you identify as a “gos ¹ Open Bible, “Gossip and Lies,” accessed March 5, 2022.

² Chabad, “Gossip and Slander,” accessed March 5, 2022.

³ Deana Nassar, “How Muslim Should Deal With Gossip,” About Islam, April 7, 2018.

⁴ Megan Robbins et al, “Who Gossips and How in Everyday Life?” Social Psychological and Person ality Science, May 2, 2019.

siper” or not, there is a large presence of it in our culture. From tabloids to Yelp reviews, discourse around oth er humans and their behavior are in grained and prevalent. In short, even if you think you are an enlightened one, I know you gossip.

Anthropologist Robin Dunbar argues gossiping is an evolutionary human de vice used for social grooming. Taking research from primates, Dunbar argues that when we gossip we can create and maintain social bonds.5 This form of social interaction has served to signal warning, create intimacy and connec tion and build social norms. According to Dunbar, our ability to communicate effectively and efficiently in this way has contributed to our evolution and survival.6 There is a prosocial element to gossip that benefits us all.

The evolutionary role of gossip has nothing to do with gender, but over the course of history, misogyny and patriarchal norms have contributed to a shift in how we perceive the act. The word gossip originates from ear ly cultural norms of childbirth. Giving birth was a significant social event where female-only attendees would gather, discuss and bond. Eventually, gossip became synonymous with daily conversing, but in premodern English culture, it signified deep and strong bonds between women.7

Humorously, gossip is said to have symbolized connections stronger than marriage, which resulted in women up setting their husbands. This was often depicted by plays, an important art and cultural force in the Middle Ages. Take one of the Chester Cycle Mystery plays, whose plot surrounds a man

⁵ Robin Dunbar, “Coevolution and Neocortical Size, Group Size and Language in Humans,” Cam bridge University Press, Feb. 4, 2010.

⁶ Robin Dunbar et al, “Human Conversational Behavior,” Human Nature, Sept. 1997.

⁷ Wikipedia, “Gossip.”

calling for his wife: the wife, too busy participating in her own social life and preoccupied in gossiping, ignores him, and the story ultimately ends with the man beating the woman.8

As the unification of gossip began to threaten the body of marriage, male producers sought to take down the act. Soon, women in plays were de picted “as quarrelsome, aggressive, and ready to give battle to their hus bands,” weaponizing female dynamics of the time.9 In reality, women were socially self-asserting and indepen dent—they were not reliant on men for survival. They had their own work, social lives and established coopera tion with other women. As this nar rative shifted into a more patriarchal one, the narrative around gossip fol lowed. No longer was it a sacred prac tice of unification, but rather an idle and frivolous interaction.10

And this narrative stuck. According to author Silvia Federici, in today’s world, “women who ‘gossip’ presumably have nothing better to do and have a struc tural inability to construct factually based, rational discourses. Thus, gos sip is an integral part of the devalua tion of women’s personality and work, especially domestic work.”11

At this point of my argument, I am start ing to feel the gossip shame rain upon me. Am I really going to print my stance as pro-gossip? Does that make me a ⁸ Silvia Federici, “How the Demonization of ‘Gossip’ Is Used to Break Women’s Solidarity,” In These Times, Jan. 31, 2019.

⁹ Ibid.

10 Ibid.

11 Ibid.

bad person? Enter my current read: “All About Love” by bell hooks. As I felt doubts over my lived experience of ban tering, hooks shed light on gender and gossip in modern circumstances.

hooks shares, “Gossip has been a social interaction wherein women have felt comfortable stating what they really think and feel. Often rather than assert ing what they think at the appropriate moment, women say what they think will please the listener. Later, they gos sip, stating at that moment their true thoughts. This division between a false self invented to please others and a more authentic self need not exist when we cultivate positive self-esteem.”12

In these terms, gossip isn’t an un wise, ill-intended escapade, but rath er a socially acceptable self-defense mechanism. hooks acknowledges the often-ignored social reality of the dis missal erasure of female feelings—yet she’s not celebrating the act. Rather, there is a call for self responsibility and self respect to show up authentically. What is interesting to me about this ar gument is that it’s not pro-gossip but it is pro-women—something we don’t see in other teachings that push away drama or being “un-agreeable.”

When I first read this book, I started to think about gossiping not as a nasty fault I needed to rapidly eradicate, but rather as a human experience much larger than myself. The social condi tions I have been surrounded by have positioned gossip as a tacky act with out acknowledging the safe place it 12 bell hooks, “All About Love,” William Morrow Paperbacks, Jan. 9, 2001.

might provide for me to feel, reason, heal and rationalize my world. In the same way that old-English women bonded through shit-talking, some of my most coveted bonds are with the people I can be unapologetic and raw with—gossip, at times, is included in this process.

Now, if we are going to gossip, let’s gossip well. Recently in my own chat ting endeavors, I have coined the con cept “gossip is for giggles only.” And it is. Let’s eradicate the true faults of gossiping, in which we ruin reputa tions, slander, shame and put down. Gossiping should not be a power dy namic vice that you use to put your self ahead while positioning others be neath you. If you are gossiping out of spite or because you don’t feel good about yourself, you are no longer gig gling and you should take some time to look within.

Let the shame you feel for gossip ing dissipate. Let the shame you feel for gendered experiences follow. The act of gossiping comes with an entire portfolio of social expectations and misogyny. There is good reason why we would want to work on our vices, be better people, and find more com passion for ourselves and others, but seldom are self-optimizing approaches to life straightforward. Gossip is a nu anced human behavior that is neither righteous nor demonic. Sometimes the tea is just piping hot and we have shit to talk.

■

Drinks Up!

MOCKTAIL AND COCKTAIL RECIPES SURE TO SATISFY

Written by Abby Cattapan, Lifestyle Editorial Assistant Graphics by Emma Gray, Arts Curator

Naughty, or vice? For your next happy hour, get creative and embrace your wild side while avoiding that evil hangover. You’ve probably heard of the classic, non-alcoholic “Shirley Temple,” but here are some more refreshing and unique recipes to spice up your mocktail (or cocktail) night!

*Optional alcoholic alternative

APPLE MARGARITA

Ingredients:

• 1 lime, halved

• 3 cups fresh sparkling ap

ple juice

• 2 teaspoons finely grated lime rind

• 2 tablespoons lime juice

• 4 cups ice cubes

• 4 slices of green apple

• Lime zest, to serve

• Salt, to serve

Instructions:

1. Place salt on a plate. Run the edge of the lime against the rim of a glass. Dip in salt to create a salted rim.

2. Add sparkling apple juice, lime rind, lime juice and ice into a blender. Blend until smooth.

3. Pour among four small glasses.

4. Garnish with apple slices and lime zest.

*Add 3 ounces of your favorite tequila for extra fun

Recipe from Coles Magazine

CUCUMBER GIMLET

Ingredients:

• 1.5 ounces club soda

• 4-5 slices of cucumber

• 1-ounce fresh lime juice

• 1-ounce simple syrup

Instructions:

1. Muddle cucumber in a glass.

2. Combine all ingredients and shake with ice.

3. Strain over a glass filled with crushed iced.

4. Garnish with a rolled cucumber slice.

*Go from mocktail to cocktail by adding 1.5 ounces of gin

Recipe from Ocean Prime

MANGO MULE

Ingredients:

• 4-5 slices of cucumber

• 1-ounce honey syrup

• 1.5 ounces mango puree

• 1.5 ounces fresh lime juice

• 1.5 ounces ginger beer

• Ice

Instructions:

1. Muddle cucumber and honey syrup.

2. Add mango puree and lime juice and shake with ice vigorously.

3. Strain into a glass (or a mule mug if you have access to one!).

4. Pour over ginger beer and stir.

*Consider making things more interesting by adding 1.5 ounces mango New Amsterdam

Recipe from Danielle Walker of Against Grain

SPICY WATERMELON ZINGER

Ingredients:

• 2 cups diced watermelon

• 2 teaspoons diced jalapeno (seeds removed)

• 1 teaspoon simple syrup (agave works as a substi tute, use ½ teaspoon instead)

• 1 can sparkling water

• Mint (optional)

Instructions:

1. Blend watermelon, jalapeno and simple syrup with a dash of salt until smooth.

2. Pour into glasses filled with ice.

3. Top off with sparkling water and garnish with mint leaves.

*For extra ‘spice,’ consider adding 3 ounces of water melon New Amsterdam

Recipe from Amiee at FoodBanjo

Promiscuous Boy

Written and photographed by Manon Bushong, Fashion Editor

Modeled by Hayden Ketchum

Ihavea hard time with the adjective “slutty.” I have an especially hard time when it is attached to an article of clothing or used to describe an outfit, mostly because the word holds a strong feminine connotation. Society frequently pushes this label onto young women, equating them with sleaziness or promiscuity, especially when it comes to nighttime attire. Until recently, there has not been much of an industry dedicated to, for lack of a better term, slutty menswear. If a male-identifying person wants to go out and achieve a less modest look, they may choose to leave half of their shirt unbuttoned, or perhaps don a tee a size or two too small. Regardless of the route they take, their options have traditionally been limited to a minimal variety of silhouettes, many of which enforce a firm narrative of how masculinity should be presented.

In recent years, the distinct line be tween feminine and masculine fash ion has begun to blur and a desire for gender-defying garments has surged in popularity. This has manifested

through commercial menswear ex panding to offer sultry silhouettes to the general public. An aesthetic that was once seen as only acceptable for male pop-culture stars, such as David Bowie and Prince, is now becoming normalized. This new fashion move ment allows men to easily access a broader wardrobe and sport looks that make them feel good. It also distances us from the phenomenon of shaming women based on their clothing, creat ing a genderless way to pursue flirty and alluring styles.

Slutty men’s looks have found them selves on many recent, high-end de signer runways, and then quickly trickled down to more affordable and attainable collections. Dion Lee carries a vast assortment of skimpy tank tops modeled on different gender identities, ultimately bridging the stark societal distinctions between “menswear” and “womenswear.”1 Palomo Spain is anoth er brand at the forefront of the slutty menswear movement. The brand seeks to “fuse men’s tailoring techniques and ¹ “Dion Lee,” Vogue Runway, 2022.

HOW "SLUTTY" MENSWEAR IS THE LATEST TREND TO REDEFINE THE RELATIONSHIP BETWEEN GENDER AND FASHION

who matched the trendy, androgynous passing aesthetic. Although this move ment is leading us in a positive direc tion by softening the harsh emphasis that was once placed on masculinity and femininity within fashion, it is also damaging in terms of size representa tion and needs to be adjusted to en courage all identities to participate in this form of fashion expression.

feminine

es

Palomo Spain’s Spring 2022 Menswear line

of asymmetrical and revealing necklines, tight and loose silhouettes and a few skimpy bodysuits.3

This gender-distancing fashion move ment is not without shortcomings. The men who are praised for their skimpy and stereotypically feminine outfits often have a monotonous body type. Saint Laurent’s Men’s Springwear 2022 certainly embodied the “slut ty,” non-gendered restricting ideals it aimed to achieve. Yet for the models, the brand only showcased thin men

Slutty menswear may seem like a fun and frivolous concept, but the implica tions are powerful. Feeling hot in your outfit on a night out should be possible regardless of gender identity. Even more crucially, we should not still be making judgments about the sexual nature of a person based on their attire. Slutty menswear is a new way to unlearn ideas of toxic masculinity within fashion. It is also a means of redefining and reclaim ing a nasty word frequently leveraged against young women by diffusing its feminine connotation.

The Fine Line of Codependency

UNDERSTANDING NEGATIVE ATTACHMENT STYLES IN ROMANTIC PARTNERSHIPS

Written by Mi Chuinda Levy, Lifestyle Staff Writer Photographed by Sophia Krupka, Contributing Photographer Modeled by Lara Altilar and Olivia Slapczynski

Youcan never love too much— or can you? When we enter into relationships, we are investing time, effort and frequently, money with the hope that we may receive the same things in return. However, everyone knows that this reciprocity is not a guarantee—and it is important that you do not fall down the slippery slope of codependency trying to be the white knight for someone who doesn’t necessarily need your saving.

In relationships, people tend to gravi tate toward the qualities of one of the four attachment styles: anxious-pre occupied, avoidant-dismissive, fear ful-avoidant or secure.

Anxious-preoccupied attachment best describes those who are highly anxious and cling to the attention and approval of their partners.1 This is nearly the an ¹ “Attachment Styles and Their Role in Adult Re lationships,” Attachment Project, Jan. 25, 2022.

tithesis of avoidant-dismissive attach ment, which is characterized by emo tional unavailability due to excessive independence and high self-esteem.2 Similarly, people with fearful-avoidant attachment styles tend to avoid inti macy and withhold their trust, but it is done out of fear of being hurt.3 Last is secure attachment, which is thought of as the ideal. People with this attach ment style are self-confident, emotion ally open and independent, while also trusting that they can depend on their partners.4

Codependency, or the need to con stantly be with a partner so that one is not alone or without a sense of val idation, is associated with anxious at tachment in relationships. Without the presence of their partner, those with anxious attachment are left with high levels of anxiety, feelings of abandon ment and self-loathing tendencies.

² Ibid. ³ Ibid.

⁴ Ibid.

According to Mental Health America, codependency is “an emotional and behavioral condition that affects an in dividual’s ability to have a healthy, mu tually satisfying relationship.”5

One of the most prevalent ways code pendency is expressed is through the savior complex, or the need to save others from their own problems.6 Even when it is to their own detriment, many people with anxious attachment styles find themselves still looking to save others by making themselves the sav ior, enabler or fixator of the relationship.

For many, codependency and savior complexes reveal an underlying mo tive for wanting to save others: in real ity, it is to save oneself. Unfortunately, no matter how many people someone tries to save, it will never replace the attention, care and validation that they truly crave.

If you find yourself trapped in the vi cious cycle of anxious attachment and codependency, there are methods to break the cycle, potentially leading to healthier and more beneficial relation ships down the line.

According to licensed psychologist Dr. Menije, healing codependent ten dencies begins with having uncom fortable conversations. Professionals encourage people with codependent tendencies to answer questions such as “Why are you truly attempting to save this person?” and “Are you doing this for them or for yourself?” By ask ing these things, those with anxious attachment styles will be able to fur ther explore their feelings, reevaluate their boundaries and become better equipped to deal with and regulate emotions without the need for a part ner.7 At the end of the day, the best way to avoid entering codependent relationships is to start truly healing through introspection.

■

⁵ “Co-Dependency,” Mental Health America, accessed Feb. 12, 2022.

⁶ Anastasia Summersault, “The Savior Complex: An Honest Look at Your Toxic Codependence,” Medium, Oct. 26, 2020.

⁷ Menije, “Lose You to Love Me: 3 Steps to Over coming Codependency in California,” Embracing You Therapy, Oct. 11, 2021.

Betweenthe 1920s and 1960s, enchantment and mystery overwhelmed the “golden age of Hollywood.”1 Yet the true nature of this period was masked by the illusion of magical simplicity and alluring innocence. Tinseltown, as it was called, was known for this glitz and glamor, but beyond the eyes of its audience, scandal reigned.

Today, every big Hollywood scandal seems to live in full display across the internet for unlimited viewing. But ac cording to Laura Martisiute, a writer for Ah That’s Interesting Magazine, there was once a time when “Tinseltown’s darkest episodes were successful ly swept under the rug—at least for a while.”2 Of the scandals that went un seen until after the stars had passed their peak of fame, there are three that stand out: Charlie Chaplin’s grooming and pursuit of younger girls, Holly wood Studios’ pressure on actresses to get abortions and Judy Garland’s enforced diet.

Once he became a worldwide icon, socalled comedy genius Charlie Chaplin developed a reputation for pursuing younger women.3 When Chaplin was 25, he entered a relationship with his

¹ Charlotte Chilton, “35 Rules You Probably Didn’t Know Old Hollywood Stars Had to Follow,” Harp er’s Bazaar, April 17, 2020.

² Laura Martisiute, “9 Vintage Hollywood Scan dals That Reveal Tinseltown’s Ugly Side,” All That’s Interesting, May 11, 2011.

³ Ibid.

Dark Places Behind Bright Lights

THE SCANDAL BEHIND THE SCENES OF OLD HOLLYWOOD

TW: Discussion of eating disorders and predatory behaviors.

Written by Noa Chamberlin, Arts Staff Writer Photographed by Molly Jacobs, Staff Photographer Modeled by Jessica Katz, Online Editor

19-year-old co-star, Edna Purviance. Only four years later, at 29, Chaplin was involved with 16-year-old child actress Mildred Harris. This continued into his mid-50s when he dated 18-year-old Oona O’Neill.4 While these women endured the brunt of Chaplin’s actual personality—which was domineering and cruel—Chaplin himself was never exiled from the Hollywood communi ty.5 Even today, Chaplin is recognized for his impact on the entertainment in dustry, not for his perverse treatment of his female co-stars.6

According to Daisy Webb, a writer for Film Daily, many scandals similar to Chaplin’s took place during the dark days of the all-powerful Old Hollywood system “before political correctness and legitimate workplace practices had been put into place.”7 During this time, studios were able to maintain a vice-like grip over every aspect of an actor’s life. Unsurprisingly, women had it harder than men. Actresses were seen as sex symbols, so it was large ly frowned upon to get married, let alone pregnant. Due to this, studios pressured—and practically forced—ac

⁴ Ibid.

⁵ Lauren Oyler, “Charlie Chaplin Was a Sadistic Tyrant,” Vice, April 15, 2016.

⁶ Peter Ackroyd, “2,000 lovers of the comedy genius who didn’t like women: New book reveals Charlie Chaplin’s obsession with young girls,” Daily Mail, April 4, 2014

⁷ Daisy Webb, “‘Hollywood Babylon’: The most salacious Old Hollywood scandals,” Film Daily, Feb. 1, 2021.

tresses to have abortions.8 Bette Davis, Joan Crawford, Judy Garland and Lana Turner are just a few of the ones who maintained their Hollywood status by involuntarily remaining barren.

Not only were these women confined by the bounds of their sex appeal, but strict diets were put in place to main tain the image of perfection. When Garland entered the entertainment world at the age of 13, what seemed like a lucky break quickly turned into a nightmare. According to Herbert Kretzmer, famous lyricist and au thor of “Snapshots,” Louis Mayer, the co-founder of Metro-Goldwyn-Mayer Studios, instructed that Garland be put on a diet of “soup and coffee, which she later supplemented with cigarettes and diet pills.” Garland was one of the most beloved actresses of her time, and it came as quite a shock when she died of a drug overdose at 47 in 1969 as a result of the trauma she suffered at the hands of Hollywood.9

The cinema has always been a dark place behind its bright lights. Although it may seem like all the current scan dals of Hollywood are swarming social media today, many remain hidden from view, just as they were in the past. Old Hollywood often comes off as all glitz and innocence, but many misdeeds occurred beyond what those in power allowed us to see. ■

⁸ Ibid.

⁹ Ibid.

Not So Glamorous

WHAT EVELYN HUGO CAN TEACH US ABOUT SEXUAL OBJECTIFICATION AND EMPOWERMENT

TW: Discussion of sexual exploitation

Written by Rachel Hale, Culture Editor Graphic by Mac Gale, Staff Graphic Artist

With her sun-kissed legs, bleach-blonde locks and sumptuous curves, Evelyn Hugo, the protagonist of Taylor Jenkins Reid’s “The Seven Husbands of Evelyn Hugo,” is a bombshell. Throughout Reid’s bestselling novel, the actress capitalizes on her good looks and charisma to climb from poverty to Hollywood success, stopping at nothing to accomplish her goals—even when that means relying on her sexual appeal. Hugo isn’t the only prominent depiction of the use of sex as a means of gaining something.

From Lana Del Rey’s “Fucked My Way Up To The Top” to Diana Payne of “Gossip Girl” sleeping with Nate Archibald to gain scoop for her blog, the level of truth to Reid’s fictional realm begs the question: is exploiting our sexuality worth it?

Let’s be clear. Sex—or the idea of sex— sells. Think of Marilyn Monroe’s help ful marketing when she told a 1952 interviewer that she wore “five drops of Chanel No. 5”1 and nothing else to bed, or the double entendre of Calvin Klein’s 1980 campaign, where 15-yearold Brooke Shields told the camera, “You want to know what comes be tween me and my Calvins? Nothing.”2 These campaigns might be advertising a product, but what they’re really sell ing is sex.

Viewing the female stars of these cam paigns, one can’t help but wonder if there’s some gain to be had in taking advantage of gender constructs when women are punished by the paradox ical nature of sexism one way or an other. As Andrea Bartz said in her 2019 “Sometimes I Exploit My Sexuality and I’m Not Sorry” piece for Marie Claire, “We live in a sexist world where sexi

¹ Libby Banks, “Marilyn Monroe Chanel No. 5 Per fume Advert,” Refinery29, Oct. 17, 2013.

² Emily Kirkpatrick, “Brooke Shields Says She Was ‘Naive’ Not to Think Her ‘80s Calvin Klein Commercial ‘Was Sexual in Nature,’” Vanity Fair, Oct. 29, 2021.

ness can be an asset, and it’s fine for women to wield it to get what they want.”3 But when it comes to profiting off of one’s body, it’s not a fair bargain for women. A 2018 analysis of 1,100 popular films found that over 25% of women involved in filming had nude scenes, in contrast to under 10% of men,4 and a 2019 study found female characters in leadership roles were four times as likely to be shown nude in movies as their male counterparts.5

In the novel, Hugo’s filming of a sex scene kickstarts a second wind into her career, but at the cost of causing personal turmoil with her partner.

The fame female stars experience as a result of these scenes or advertise ments is contingent on their nudity, not necessarily on their acting or mod eling abilities, and often puts them in a box for the rest of their careers. Re flecting on the aforementioned Calvin Klein campaign, Shields said she was too young to realize the connotation of what she was saying, and was shocked when critics berated her for doing the ad. Years after dancing naked in the 2013 “Blurred Lines” music video that skyrocketed her to fame, Emily Rata jkowski wrote in her book “My Body” that Robin Thicke groped her without consent during filming. Discussing the contradictions of a career that made her feel empowered one moment and frustrated for not being taken seriously beyond her body the next,6 she writes that she “so desperately craved men’s validation” that she accepted it “even when it came wrapped in disrespect.”7

³ Andrea Bartz, “Sometimes I Exploit My Sexuali ty and I’m Not Sorry,” Marie Claire Magazine, Feb. 26, 2019.

⁴ Stacy L. Smith et al., “Inequality in 1100 Popular Films,” USC Annenberg, July 2018.

⁵ Liesl Goecker, “On Screen, Women in Leader ship Roles Are Four Times as Likely as Men to Be Shown Nude, Finds New Report,” The Swaddle, Oct. 4, 2019

⁶ Carrie Battan, “Emily Ratajkowski and the Bur den of Being Perfect-Looking,” The New Yorker, Nov. 9, 2021.

⁷ Ibid.

In an increasingly pornified culture, the line between sexual objectification and empowerment is often blurred, but ed itors at Everyday Feminism bring up a simple mechanism for distinguish ing between the two: asking who has power in the situation, the person be ing viewed (such as a model, actress or saleswoman) or the person overseeing the situation (a director, casting agent or upper-level boss)?8

Women have their own agency to choose which jobs to accept and how they earn an interview in the first place, but the unequal level of female and male nudity in media suggests a lot about the underlying gender roles that dictate opportunity. We can fight the stigma against women who use their bodies for work while also acknowl edging that the industries in which they do so are exploitative by design.

Reid writes Hugo’s character to help readers recognize these boxes and to realize that while Hugo isn’t always moral, she likely wouldn’t have made the same choices if she had the same opportunities as her male counterparts in the first place.

■

⁸ Ronnie Ritchie, “How Can You Tell If You’re Being Sexually Empowered or Objectified? Ask Yourself This Simple Question,” Everyday Femi nism, Aug. 13, 2020.

An Ode to Thierry Mugler

Written by Zack Zens, Fashion Staff Writer Graphic by Alexa Kantor, Staff Graphic Artist

DesignerThierry Mugler, legendary for his daring and avant-garde collections, passed away on Jan. 23, 2022 at the age of 73. Mugler pushed the bounds of haute couture and women’s fashion in directions unimagined.

Born in 1948 in Strasbourg, France, Mugler had an early passion for the atrics and showmanship, beginning ballet at the tender age of nine and joining the National Rhine Opera by 14.1 In 1973 Mugler launched his first brand, Café de Paris, to wide acclaim. Just a year later, Mugler chose to start from scratch once more, launching his esteemed brand, Thierry Mugler, and radically changed fashion forever.2

Mugler, spurred on by his desire to cre ate, often employed the theme of vice as a guiding principle for his design ethos. His work communicates vice in the sense of raw desire, passion and flair for the sex and liberality of fash ion in its highest form. Examining the tenure of Mugler’s work illuminates his true talents, which lie in his trans formative and unique approach to cut and composition—seeking to empow er women to tackle a turbulent world.

Dubbed by many as a “man of the future,” Mugler’s radical approach to garment cut revolutionized the fashion industry. Mugler’s garments supported

¹ Phoebe Shardlow, “Thierry Mugler’s Everlasting Impact On Fashion: His Life And Designs,” Elle, Jan. 24, 2022.

² “Mugler History,” Mugler, Jan. 13, 2022.

women in reclaiming female sexuali ty. In doing so, Mugler has highlighted the power and worth of female sexu ality in what was then—and now—a male-dominated workplace.3 A lead er in the design of the padded suit, Mugler’s pieces reigned over the pages of fashion publications throughout the 1980s and beyond.

In addition to futuristic suit designs, Mugler pioneered the use of unique materials such as latex and spandex in both haute couture and ready-to-wear garments, harnessing vice as art.4 With these materials in hand, Mugler aimed to shock and awe with surpris ing effectiveness. This desire for stu pefaction earned him another moni ker: enfant terrible.5 Phoebe Shardlow, noted fashion journalist, reminisces that “Thierry Mugler transformed or dinary women and supermodels alike into otherworldly and astonishing creatures with the help of PVC and a penchant for showmanship.”6

Throughout the 1980s and ‘90s, Mugler’s imaginative, form-fitting cut-away gowns were met with wide praise and continue to define the modern rules of fashion. Just two years ago, Kim Kardashian stunned

³ Phoebe Shardlow, “Thierry Mugler’s Everlasting Impact On Fashion: His Life And Designs,” Elle, Jan. 24, 2022.

⁴ Jennifer Sauer, “Thierry Mugler Designs the Sublime,” CR Fashion Book, March 4, 2019.

⁵ Phoebe Shardlow, “Thierry Mugler’s Everlasting Impact On Fashion: His Life And Designs,” Elle, Jan. 24, 2022.

⁶ Ibid.

⁸

the fashion world while attending the 2019 Hollywood Beauty Awards in a vintage Mugler cut-away gown from the Spring/Summer 1998 collection.7 More recently, Megan Fox donned a modern Mugler cut-away gown from the Spring/Summer 2021 collection to the 2021 Billboard Music Awards.8 Mugler’s work fundamentally changed garment cut and silhouette, paving the way for feminine fashion that em powers modern women. This message of empowerment resonates to this day amid lasting misogynistic and pa triarchal structures.9

Mugler not only reinvented cut but also composition, drawing inspiration from all over the world. Even in retirement, Mugler personally styled and designed for the likes of Lady Gaga, Beyoncé, Cardi B and even Céline Dion, consti tuting a resume few designers can live up to.10 The unique, layered garments Mugler constructed surprised the viewer; indeed, some still do, but the balance of Mugler’s signature design revolutions has become a hallmark of fashion’s vice-laden modernity.

Furthering his hunt for new forms in fashion composition, Mugler drew ⁷ MelissaMinton, “Kim Kardashian wears dress with barely there top,” Page Six Style, Feb. 19, 2019.

Nikita Charuza, “If Megan Fox’s Cutout Mugler Dress Looks Familiar, It’s Because Kim K Wore It in 2019,” Popsugar Fashion, May 25, 2021.

⁹

Jennifer Sauer, “Thierry Mugler Designs the Sublime,” CR Fashion Book, March 4, 2019.

10 Phoebe Shardlow, “Thierry Mugler’s Everlasting Impact On Fashion: His Life And Designs,” Elle, Jan. 24, 2022.

eclectically from robots for his Fall/ Winter 1995 collection and from the world of insects for his Spring/Summer 1997 collection, aiding and abetting a growing movement for fashion as both fantasy and art.11 Drawing inspiration from traditional art, Mugler’s Venus Oyster dress from his Fall 1995 couture collection paid homage to Botticelli’s acclaimed painting “Birth of Venus”; understandably, the dress sent shock waves upon its debut and again when Cardi B donned it to the 61st Grammy Awards in 2019.12

Mugler’s unique designs helped make household names of the likes of Cindy Crawford and Naomi Campbell. In sup porting the art of drag and queer rep resentation, Mugler worked with the self-anointed “Queen of Drag,” RuPaul, throughout the 1990s.13 Unequivocally, the composition of fashion garments today intrinsically changed under Mugler’s guidance and stewardship.

Few people have impacted fashion with the same force and longevity as Thierry Mugler, and indeed, few oth ers likely will. Mugler’s constant and ever-searching curiosity to create and change the world fueled his career. For over five decades, Mugler has built a new ideal for fashion—his vision of fashion as a vice, seeking to uplift and empower us to tackle life.

Even more importantly, Mugler’s work to empower women, people of col or and the queer community at large is a testament to his character. The outpouring of support for Mugler pro vides just a glimpse of the loss felt from his passing throughout the fash ion world—which has so recently lost many great designers and innovators, from Virgil Abdol and Andre Talley to Karl Lagerfeld and Ciro Paone. In the end, though, Mugler’s vision lives on: curiosity unencumbered. ■

11 Jennifer Sauer, “Thierry Mugler Designs the Sublime,” CR Fashion Book, March 4, 2019.

12 Lauren Fisher, “Cardi B Showed Up to the Grammys in an Oyster Shell,” Harper’s Bazaar, Feb. 10, 2019.

13 Phoebe Shardlow, “Thierry Mugler’s Everlasting Impact On Fashion: His Life And Designs,” Elle, Jan. 24, 2022.

REBEL TO REVEL

RULES IS ALWAYS MORE FUN

Written by Jane Houseal, Fashion Editorial Assistant

Modeled by Jaylene Muñoz

It’sno secret that the most influential people are the ones who aren’t afraid to break the rules. This is especially true in the fashion industry; iconic designers are renowned for their ability to innovate and rebel against convention. Take Virgil Abloh, who will forever be remembered for his ability to marry streetwear and luxury despite it never being done before.1 Or Vivienne Westwood, who constantly created controversial collections and put on shows that shocked the audience.2

Unorthodox designers create clothes that make fashion less predictable, yet more exciting. Despite this, rigid fashion rules are everywhere, and the pressure to conform prevails.

The rules sometimes appear as strict guidelines, such as “don’t mix metals” or “stick to one print.”3 These ideas are a bit outdated now, and fashion influencers and stylists are starting to encourage audiences to ignore them. Combining patterns and wear ing stacks of multicolored jewelry are

¹ Irina Grechko, “Virgil Abloh Is A Reminder That Fashion’s Most Prolific Designers Are Outsiders,” Refinery29, Nov. 29, 2021.

² Alexander Fury, “Vivienne Westwood: 40 years of punk, politics and innovation,” The Face, June 25, 2021.

³ Naomi Pike, “The Fashion Rules You Should Never Follow,” Vogue, Aug. 17, 2020.

popular stylistic choices that were once heavily criticized. Fashion do’s and dont’s like these are fleeting and meant to be broken, otherwise style would never evolve.

Today’s rules are often hard to discern, but the unspoken expectation to fol low them is ubiquitous. The current, fast-paced trend cycle creates an ev er-changing standard of what is con sidered fashionable.4 The pressure to remain trendy often influences overcon sumption and leaves you with clothes fruitlessly considered “cheugy.”5

Experimenting with trends is a useful tool for further developing your own style, but feeling the pressure to ad here to them could ultimately limit you. Breakaway from the trend cycle to liberate yourself from the main stream fashion narrative, whether that means wearing a garment you’ve nev er seen worn before, something from last season or a timeless piece you’ll always love.

Another insidious way fashion rules manifest is through guides on how in ⁴ Grace Gordon, “Understanding the (Surprisingly Short) Life Cycle of a Fashion Trend,” Savoir Flair, Sept. 19, 2017.

⁵ Abigail Reynolds, “Why the term ‘cheugy’ is damaging,” Shift, Oct. 8, 2021.

dividuals should dress for their body type. The idea behind flattering cloth ing prioritizes harmful beauty stan dards over loving what you wear and feel good in. Tips to avoid horizontal stripes if you have a wide ribcage or to only wear high-rise if you don’t have a flat stomach are just as outdated as the advice to never mix prints.

Women and feminine-presenting peo ple are often encouraged to minimize themselves in both their aspirations and appearance. They are supposed to wear clothing that makes them look smaller and create outfits that help them blend in. In order to do so, they are expected to curate outfits that ar en’t too basic but aren’t too out-ofthe-box. However, fashion should not become a tool used to minimize the space you take up or to meet beau ty standards, but a way to express yourself and to experience joy. Taking up space in all aspects of your life is something to be celebrated.

To powerfully reject the harm that fashion rules inflict, wear what you tru ly want. There is no right way to break the rules. No matter how the act of re bellion looks for you, it is a step in the right direction to a healthier, more ful filling relationship with fashion.

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Photographed by Luc Marchessault, Staff Photographer, and Hannah Huber, Staff Photographer Makeup by Nicole Escobia, Makeup Staff Member

Indulgence in Moderation

Arella Warren, Deputy Editor, photographed by Hannah Huber, Staff Photographer

Dear Readers,

There are manifold sides to everything in life—but all too often, society places these at odds with one another, form ing binaries that define what choices are and are not acceptable. Through the opposing tensions, it can be chal lenging to find the truth. In my last year of college, I’ve reflected on these things I considered unspeakable com ing into adulthood. I marvel at how many of these so-called vices have shifted, overtime, into things that I’ve reckoned with, even embraced, as I’ve willingly and at times involuntarily had to confront and work through my sor rows, shames and shadows.

Now I wonder: Where does vice end, and virtue begin? This is the question Moda wanted to explore with our own dual-issue this Spring. As you’ll notice, there are two sides to this issue: Virtue is elegant and dainty, while Vice is con trasting, lavish and heavy. But there’s another duality, and it lives within Vice itself—because what may be slandered as a “vice” or “unthinkable” to one could be reimagined as a truth, even a lifestyle, for another.

Conventionally, a vice is defined as an immoral act. For serious wrongdoings, our vices should not be excused. Un fortunately, modern society will excuse almost anything for entertainment, which is what Kora Quinn examines in “How an Artist Becomes an Idol.” By underscoring the exploitation rampant in the K-pop industry, Kora outlines the harms of our tolerance for socie tal wrongs. Similarly, Mi speaks to the harms of bad habits in her piece, “The Fine Line of Codependency,” laying out how insecure attachment styles feed into toxic relationship patterns and victim-savior loops. In bringing our personal and collective pitfalls into the limelight, Vice offers us a path to begin to heal and liberate.

While Vice delves into our darkest temptations, it also uncovers our deep

er desires—including those that aren’t always bad. In “Savvy & sober Breaks the Status Quo,” Madison Targum in terviewed a student who leads a damp lifestyle, actively choosing to limit alco hol consumption at parties. Here, she highlights the positive juxtaposition of indulgence in moderation. Zack Zen’s also looks at a traditional vice, sexuality, in “An Ode to Thierry Mugler,” analyzing how this designer used “vices” to em power women and marginalized voic es. Sure, some vices are harmful, and there’s no doubt we could use more virtue in our reigning institutions—but some vices are only vicious because it’s what society wants us to believe. Through Vice, we challenge this stigma and illustrate both sides of the story, finding a middle-ground.

Where there is virtue, there will always be vice. Historically, we think of the vir tuous as the good, the pleasant, the jus tified; and so, vice becomes wicked, in dulgent, unheard of. In some cases, this is warranted—society, after all, is prone to its shortcomings and self-gratifying behaviors. Yet our dual-issue shows us that the line between right and wrong is never that clear, is it?

This is especially prevalent for those of us preparing for our careers. We’re at the age when we’re supposed to fig ure out our lives and jump into the real world. And I truly advocate for growing into our most virtuous, most altruistic, most empathetic and kindest selves in the process. But I’ve learned em pathy and virtue require honesty and open-mindedness. They require seeing things from more than one or two rigid perspectives and openly embracing all of our joys and all of our faults in order to succeed.

And Vice—well, sometimes, she has a lot to teach us.

Stay golden,

ARELLA WARREN DEPUTY EDITOR