Modmuze February Issue 2026

modmuze FEBRUARY 2026

Disco Death

Generations of Denim Editorial

Money in Color

The exploration of fashion as an indicator of the state of the economy

The rise and fall of the short-lived phenomenon that took the 70’s by storm

Con tents february 26

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Disco Death The rise and fall of the short-lived phenomenon that took the 1970s by storm Outgrowing Boundaries How fashion becomes a reminder of personal growth Finding Small Joys A reflection of building resilience through reclaiming personal joy Snow Way! Disintegration A short story rooted in 80’s horror Generations of Denim How (Fake) Nails Grew Looking at the rise in Acrylic Nails Money in Color The exploration of fashion as an indicator of state of the economy Timeless

Time Capsule Celebrating. the Soul of Vintage Fashion

Editor’snote Note Editor’s Hi! Thank you soteam muchand for Iengaging with the newest The Modmuze are so excited Modmuze issue: The“If team wanted to to invite you to Time read Capsule. this issue, notand for Imy create that not only highlights vintage art, dosomething I even exist?”

A celebration of how art but also explores how through vintage isdifferent intertwined throughout history. is perceived perspectives How how time it shapes what love, and howWhen we, inthe turn, and shapes us we as individuals. preserve Thisbrought issue is up, dedicated to the ways vintage can idea wasit. first I immediately loved bebecause rediscovered, reimagined, and celebrated with love. it art truly is interpreted differently Vintage not justyou an aesthetic; it is history you can wear, by everyisperson meet. hear,isn’t and always feel. It carries memories, and moments Art found stories, in galleries; sometimes fromstitched eras thatinto helped we live in today. it’s theshape seamsthe of world our clothes, Iwritten have always lovedthe thelines vintage aesthetic from a young between of our choices, age.

From the fashionthe to the to the that expressed through waymusic, we grew up,simplicity the defined certain points in history, it has always stories we read, our political beliefs, and felt special to That love “If hasnot stayed me do throughout so me. much more. for with my art, I even my life and continues grow.

I have always felt that holds so exist?” is to not a question of vanity, but vintage of much time, and memory, andcreation there is something so being,history, a reflection of how deeply and beautiful about that. Through every feature, identity intertwine.

As generations change, so of does the meaning photograph, and thread inspiration in of vintage. Watching it evolve has been both amazing and slightly discomforting.

Discomforting because these pages, we explore what it means to it reminds me that I am growing older alongside it, and that time keeps moving forward. exist because of the art weGrowing create. older is such a blessing, but it can also feel scary when you realize that theI’ve things yourealizing cherishedjust as ahow childfast are time now considered “vintage”in tosix a new generation.

Time I’m can feel Lately, been moves. I graduate months, and while likeexcited both a blessing and a curse in that way. Seeing return 15–20 years,college watching so for the future, I’m also scared, but intrends the best way.after From starting to what now,was once lovedseen fadehow and then again, is allmuch so bittersweet.

I’ve muchcome I’ve back grown, andithow my friends and family have too. It’s made me Recently, I have had a lot on my plate, with both external internal appreciate the importance of slowing down and truly and living in thechallenges. present. One thing that has consistently brought me comfort andone peace has most been my love for vintage music, and fashion. It Running this magazine has been of the meaningful parts of thatwriting, process.

Writing grounds me. Life around mebeen can change, for these thingsand hasbe remained steady through and fashion have always my art. but My my waylove to relax, reflect, creative.

When I first every phase of my life.

That consistency eases my worries about future and I’d reminds of who I am. It has accepted this position, I doubted whether I could leadthe it well since neverme done anything also my connection mycome family My me mom is the who truly introduced like strengthened this before. But seeing thiswith issue toand lifefriends. has filled with so one much gratitude and me to vintage through her music and fashion.

It built a strong foundation between us and has shaped so confidence. much of who I am today. Vintage feels like a universal language, much like love. You can almost always find If I could offer one piece of advice to anyone who’s in a similar place. The feeling of common ground with someone through shared nostalgia, music, fashion, or memories from another time. It being uncertain, nervous, or hesitant it would be this: go for it anyway. Even when you’re builds bridges you didn’t even know existed, not only between people, but within yourself. uncomfortable, even when you’re scared. You’ll never know what you’re capable of until Though this is my first year as Editor-in-Chief and my second year overall at Modmuze, it has become you try. I was terrified of failing or disappointing people, but standing here now, I couldn’t a creative outlet for me, something at times hard to find. I feel like I can be fully authentic here, while be more proud of myself and of my amazing team. Don’t let fear stop you from creating or watching others embrace their authenticity with each issue as well. It hasn’t always been easy, but pushing chasing what you want. through the challenges and growing from them has been such a blessing. The past few months have been To my team and our executives, thank you. I could not have done this without you. You difficult, and having my team’s support and a space to express myself has meant more to me than I can put poured so much love and energy into this issue, and it shows on every page. I’m endlessly into words. I am so incredibly thankful for my team and for what Modmuze has given me. proud and grateful to share your passion with the world.

I hope you all enjoy this beautiful issue. Embrace vintage. Embrace history. We never truly know when Finally,moments, this issuestyles, is a love letter theinto creators, the dreamers, those blur the line certain or eras willto fade memory.

They shape usand more thanwho we realize, and in many between living and creating.

It’s for anyone who finds meaning in movement, in culture, and ways, they define who we become.

in the art of simply being themselves.

Here’s to the art that saves us, defines us, Love, and dares us to be seen and heard.

Love,

Karli Clemons, MKTG

CREATIVE DIRECTOR & Vice President

Erin Kistler, DM

PRODUCTION DIRECTOR

Madison McMaster, GD

MARKETING DIRECTOR

Hannah Cozens, SM, SC

PHOTOGRAPHY DIRECTOR Loren Rogers, DM STYLING & MODEL DIRECTOR TREASURER

Reese Ehrhart , DM

Riley Kirkman, DM

modmuze is a fashion and lifestyle magazine produced by students, for students. Our magazine provides a unique platform for students to freely express themselves creatively -in any and all ways imaginable.

WRITERS Aliyah Young Margot Munson Brooklyn Taylor-Talbert

Our Mantra Empowering self-expression

STYLISTS Lisabriela Calleros Sarah Evan Mitchell Madelyn Campbell Emily Bass Zoe Hoffman Aubrey Wagner

MARKETING Kamryn Major Sarah Miller Rylee Day Georgia Matthews

PHOTOGRAPHY Reagan Downs Mathai Jones

PRODUCTION Triere Nikel Kayla Gross

FACULTY ADVISOR Stephanie Choi

CREATIVE ADVISOR

Associate Professor

Kelly Kerr

English

Multimedia Producer

205 Morrill Ave.

106 Nancy Randolph Davis

(405) 744-2803

918-691-1813

stephanie.choi@okstate.edu

kelly.kerr@okstate.edu

modmuzemag.com

modmuzemag@okstate.edu

@modmuzemag

modmuze editorial team

EDITOR-IN-CHIEF & President

@modmuzemag

Meet The

Directors

Erin Kistler

Karli Clemons

VP & Creative

Editor in Chief & Writing

As the Vice President, Erin ensures that the creative direction is cohesive across the magazine process while supporting the final production.

As the President, Karli keeps the whole magazine running by making executive decisions and managing all the fine details while supporting her team and the writers.

Madison McMaster Production

In charge of Production, Madison oversees the team that makes the magazine come to life.

Riley Kirkman Treasurer

As Treasurer, Riley works hard to keep the finances organized and maximized for members to have more oportunities.

Hannah Cozens

Marketing & Secretary In charge of Marketing, Hannah creates innovative projects for her team and turns their content into postable content.

Loren Rogers Photography

In charge of Photography, Loren directs and manages her team while contributing to the visual artform itself.

Reese Ehrhart Styling

In charge of Styling, Reese inspires her teams creativity with wordrobes and settings while managing their extensive process.

DISCO DEATH Author: Aliyah Young

The rise and fall of the short-lived phenomenon that took the 1970s by storm

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Disco died at the young age of ten years old. The short-lived phenomenon took the 1970s by storm. The genre was more than a melody; disco was a culture. The disco wave was known for a steady four-beat rhythm, funky synths, DJs, dance, and a vibrant nightlife that transformed sound forever.

It was so impactful that disco became polarizing and induced an anti-disco division.

Movements like “Disco Sucks” erupted, growing loud and angry. They attacked the overwhelming support of disco, claiming it took supremacy over the generation and suffocated other genres that wanted to be heard. The culture clash between disco and rock fueled the fire. Rock icons like Steve Dahl, a former rock radio host in Chicago, were major anti-disco instigators of the late 1970s. He became a catalyst for the death of disco and pushed the Disco Sucks movement to its peak by leading “Disco Demolition Night” on July 12, 1979. Crates of disco records were blown up in protest.

This notorious stunt ended in a riot. Though Dahl claims his motives were driven by a deep, humorous dislike of disco, overcommercialization, and a strong love for rock & roll, others took a different message from the event.

The movement targeted Black, Brown, and LGBTQIA+ communities, who felt specifically liberated by the freedom disco represented.

The combination of hostility toward the people responsible for the innovative formation of disco and disdain for disco’s persistent rise in pop culture effectively killed the genre.

Photographer: Reagan Downs Model: Arranton Thomas Styling: Aliyah Young Production: Madison McMaster

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Though disco died, its legacy did not. The electronic, rhythmic, synth-heavy sound disco leaned into did not disappear in the debris of Disco Demolition Night.

It lived through the songs of the 1980s, influencing genres like electro, house, and hip-hop. It is fair to say that disco did not die from natural causes. The inferno that burned it can be traced to a night in history, but maybe the true criminal has been walking among us, living with the evidence. The genres that succeeded disco had every motive to kill it. They took the place of disco’s mainstream domination by evolving from disco’s discoveries. If this is the case, then it is necessary to investigate which genre did it.

Suspect #1: Electronic Music Electronic music hit the charts hot amidst the rise of synth-pop in the early 1980s, conveniently following the death of disco. Accompanied by futuristic aesthetics armed with neon lasers and airbrushed art, electronic music became its own subculture. Its sound consisted of fun, fast-paced tracks, and the fashion was as loud as the music—often inspired by synth-pop and alternative bands like Duran Duran and New Order. The genre of electro is wide, encompassing both pop and punk. It is only right to mention the King of Pop, Michael Jackson, and his reign over the 1980s. Jackson took synth-driven electronic pop and fused it with R&B, creating a revolutionary worldwide obsession. The success of electro should raise some eyebrows. Could it be the genre that swallowed and replaced disco, blasting it with futuristic lasers? Or is it just a coincidence that a genre so heavily influenced by disco rose as soon as disco fell?

It is possible that electro was an accomplice to disco’s demise, but it cannot be pinned without further inspection.

Suspect #2: House Music House music was also present at the scene of the crime.

It can be traced back to Chicago, a very familiar place to disco. House music took disco’s rhythmic, dance-oriented sound and fused it with soul, creating funky, soulful hits like Your Love by DJ Frankie Knuckles. The infectious beats of house music were adored by those grieving the loss of disco. Knuckles even referred to the house as

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“Disco’s Revenge,” filling the hole disco left on July 12, 1979. The deep admiration for disco held by the pillars of house music makes murder seem improbable. The genre was created through an aching loss of disco.

Suspect #3: Hip-Hop Hip-hop presents a complex alibi. The genre evolved from disco, inheriting its dance culture and fast pace.

Early pioneers like Grandmaster Flash and the Furious Five dominated the scene in the early 1980s. Hip-hop was dangerously cool. Breakdancers, MCs, and DJs had their time to shine in what many describe as the Golden Era of hip-hop. The genre was sample-heavy, often pulling from disco-era tracks and earlier music. Lyricism and imagery played a major role, frequently used for political activism and social awareness. The two genres coexisted with a relationship more like friends than rivals.

Having examined the suspects, the verdict is clear.

Hip-hop is not the killer of disco. Though it may be an accomplice, as it rose in popularity after disco’s death, there is not enough evidence to call it guilty.

House music is completely exonerated. Although its rise looks suspicious, its ascension was rooted in pure love and respect for disco. That leaves the final suspect: electronic music, red-handed. Electronic music and its diverse subgenres murdered disco by taking over the charts while using the same techniques disco once did.

Electronic is a smooth criminal, sneakily replacing disco while distracting the world with generational hits.

Disco’s death did not kill disco fever. Today, a wide range of genres sample disco tracks and take inspiration from the disco era. Disco is dead, but its spirit lives on through today’s artists. The genres that grew alongside disco, like hip-hop and rock, evolved and continue to flourish. In honor of disco, it is fair to wonder: if disco never died, what would it have evolved to sound like today?

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OUTGROWING BOUNDRIES Outgrowing your old self doesn’t always happen suddenly. Sometimes it’s subtle. It can appear in small ways, like when you notice the clothes you used to wear no longer feel like they fit you. Fashion is one of the most obvious indicators of growth because it shows how you view yourself and how confident you are in showcasing that version of you.

Initially, my style lacked a distinct identity, just regular shirts, maybe ones with an occasional design, and regular jeans. I wore whatever was available, comfortable, or blended in.

There was no purpose behind it—no true sense of self being expressed. As I matured and became more aware of who I am, my fashion began to change as well. I leaned towards a more punk and alternative style, more graphic T-shirts. My pants normally had some design on them, were wide-legged, or baggy.

Author: Brooklyn Talbert Taylor

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As my style evolved, the way my clothes fit me changed too, both physically and emotionally. They began to feel like they were meant for me, and it made me more confident because it felt like I was in my own skin instead of just throwing something together.

Discovering your personal style is a process of experimentation. It requires trial and error, confidence, and even discomfort.

Support from others can help us find our style. Sometimes hearing the words “oh that looks really good on you,” or “that fits you well,” can push you further.

Photographer: Reagan Downs Model: Madelyn Campbell Styling: Emily Bass Production: Loren Rogers Marketing: Sarah Miller

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Over time, I also realized that personal style isn’t confined to one environment. With intention, you can adapt it to any setting, school, work, or social gatherings without losing what makes it uniquely yours. Sometimes when I was at work, I would try to find similar stuff, like a plain shirt, while also still having on my baggy jeans or ripped jeans. I still felt like I was dressing for myself and my job because we were allowed to keep things casual at the time, and that was my casual. It’s also about finding balance because you can keep your style while remaining professional. Now, my clothing communicates for me. People can identify me by my outfits before they recognize my face. During high school, when I first started dressing this wayhere would be times when my best friend would come looking for me in the bathroom and could tell which stall from my shoes alone. And her reply would always be, “Not hard to find you, I know how you dress.” That’s when I realized my fashion had transformed into more than just clothing; it became a signature. A visual reminder that I’ve grown, evolved, and outgrown the version of myself that was afraid to be seen.

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Finding Small Joys

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Photographer: Cosette Branstetter Models: Presley McFarland, Ava Poos, and Sydnie Schaudt Styling: Aubrey Wagner and Madelyn Campbell Production: Triere Nikel Marketing: Kamryn Major

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e all strive to do our best in life, yet we frequently forget to support ourselves. It’s simpler to focus on what we lack than to appreciate how much we’ve achieved. Amidst the many things we balance expectations and responsibilities, we overlook that simply moving forward is an accomplishment in itself.

Resilience isn’t always loud or dramatic. Often, it means getting up on days when you feel exhausted and trying to push through even when your motivation is low, and remembering to be kind to yourself when things don’t go as planned. Resilience is developed quietly using self-kindness and self-awareness. Because you’re focusing on your own tolerance rather than someone else’s and measuring yourself against them. It shouldn’t look like “oh well, they can do this, then I should too.” Your tolerance level is yours for a reason.

Being present in your daily life is crucial for building that resilience. When you take the time to truly experience your life, small routines and everyday victories, whether big or small, you create space to breathe. These moments serve as emotional anchors. They stabilize you when things feel overwhelming and remind you of who you are when you feel lost. An emotional anchor could be a morning routine, a favorite song, a comforting outfit, a familiar place, or even a deep breath taken at the right moment. These anchors don’t eliminate struggle, but they help you endure it. Joy is personal. It’s what makes you feel like yourself again. It’s what rejuvenates you, steadies you, and gives purpose to the effort you invest in living. Defining what joy means to you on your own terms. And like resilience, it’s something you are entitled to claim, nurture, and protect. By choosing to be present, to acknowledge your resilience, and to define your own joy, you become your own cheerleader. Sometimes, that support is precisely what propels you forward.

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SNOW WAY !

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Photographer: Loren Rogers Model: Riley Kirkman Styling: Riley Kirkman Production: Loren Rogers Marketing: Erin Kistler

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disintegration disintegration disintegration disintegration disintegration Disintegration Disintegration Disintegration By: Aliyah Young

B

ang. Bang. Bang.

A heavy, loud thump shook the door in its frame. Bang. Bang. More urgent now. I opened my eyes in panic. The dark room swallowed my sight.

“What?” I yelled, my voice cracked and groggy.

“Get up. We’re gonna be late,” Nia’s voice permeated through the wood. “I’m not leaving until you open this door.”

“Okay, okay, I’m coming,” I mumbled. Begrudgingly, I pushed myself up. A faint, muted hum spilled from the tangle of my disheveled sheets. A distant, melodic whisper: “Softly through the shadow of the evening sun… Stealing past the windows of the blissfully dead…” My Walkman. I fumbled through the comforter until my fingers hit the hard plastic shell.

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“Yes,” I exhaled. In a rushed haze, I turned on the light, grabbed my purse, and yanked the door open.

Nia greeted me with an eye roll. “Our one day off and you spend it locked in your room, asleep.”

“I was not asleep. I was listening to music.”

“What, in your dreams?” she snarked.

Her eyes lowered and landed on the Walkman in my hand, and a familiar, teasing smirk crept onto her face. I braced myself. “And why are you still using this thing? Jade, you literally have an iPhone.”

“Nia, you literally have a boyfriend.

Why are you still texting Drew?”

“I told you, he’s a work friend. It’s different. We wouldn’t have these tickets without him, so be grateful.”

“Okay,” I sighed, reaching for my Walkman. “I’m grateful.”

“Are you wearing that?”

I looked down at my jeans. “Um, yeah?

What’s wrong with this?”

“It’s not the eighties anymore. Normal jeans exist.”

“These are normal. Sorry, I’m not—” Ding. Her phone lit up, cutting me off.

“Is that Drew?” I quipped.

“No,” she said through a stifled smile.

“Our Uber’s here.”

The night was dark and cold. So dark that I checked the time.

“How is it pitch black at 7 PM?” I questioned.

“Right?” Nia agreed, shivering. “And why did he park so far?” The car idled at the far end of our street, alone, shadowed by the roof. We hurried toward it, our staggered breaths revealing themselves in the crisp air.

Nia leaned toward the rolled-down window.

“Are you Mark?” The driver was pale, with deep-set dark eyes and a scruffy, patchy beard. His smile was wide.

“Yes,” he replied. Nia and I exchanged a glance. My hand found the pepper spray in my pocket.

“Can you show me your phone?” I asked sternly, my voice tighter than I expected.

“Oh—yes. Sorry,” he stuttered, then held up his Uber app. My shoulders slumped.

“Thank you,” I said, forcing a chuckle, hoping I didn’t offend him. We slid into the backseat. The interior was black—sleek but worn. The ride was silent. I stared out the window, watching the trees blur past, climbing them with my gaze from the trunk to the leaves. I tilted my head back. “The stars,” I whispered. “There’s so—there’s so many.”

Nia looked up. “It’s beautiful.”

I turned warmly toward Mark, about to comment on the stars, and met his eyes in the rearview mirror. I jumped. He was staring directly at me. I stared back, waiting for him to break, but he didn’t. Worried, I bobbed my head to see if the reflection was somehow wrong.

In a panic, I texted Nia. Can you see his eyes in the mirror? A second later: No. Chills shot up my spine. A skewed reflection, I told myself, and tried to avoid looking at it—but I couldn’t. My eyes were drawn to his unblinking gaze.

“Um, sir?” My voice trembled.

“Yes?” he replied. In the mirror, his eyes flickered, like a film catching up to itself. The sensation of being watched intensified, as if something else was peering out from behind them.

Nia, sensing my hesitation, swooped in. “Do you know why so many stars are out tonight?” she asked overly sweetly. She nudged my leg. Get it together.

“Probably because it’s so dark,” Mark replied pleasantly. “I prefer it this way.”

“Why is it so dark?” she asked.

“I stared back, waiting for him to break, but he didn’t.”

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“The winter solstice. The darkest day “What are you doing?!” I screamed, of the year.” A pause. “Why, are you scared of swinging my purse at his head. It connected the dark?” He smiled, but his eyes didn’t. with a thump, but he didn’t flinch. “Stop the “No,” Nia said, offended. car!” I shrieked. I clawed at him—jabbing, “You in the corner back there?” he pulling, scratching. Nothing. asked. “Are you?” I couldn’t speak. All I In a final, desperate move, I lunged between could muster was a weak, breathy exhale as the seats and aimed a stream of pepper spray I forced my face to smile. The rest of the ride into his eyes. He didn’t twitch. I battered the passed in eerie silence. Slow and silent, the windows and kicked the door. The glass felt car rolled forward as if it were being pushed. unnaturally solid. He accelerated; the world Finally, we arrived. The cinema parking lot outside blurred into a messy slop of gray. I was filled. fumbled for my phone. The screen was dark.

“Thank God we Ubered,” Nia said.

Dead.

“Parking would’ve been a nightmare.”

“No power,” he said flatly. Trembling, I Mark pulled to the curb. “Is here slowly lifted my gaze to the rearview mirror. okay?”

His beady, black eyes were fixed on me.

“Perfect,” Nia said.

“What are you?” I pleaded. “What is “Thank you,” I murmured, scrambling this?” We barreled down an empty, treeout. lined road at an impossible speed. “Where “You girls have a good night!” he are we going? Answer me!” He chuckled, called after us, too cheerfully. “Don’t let still glaring at me. I looked away, searching the bedbugs bite!” The theatre was packed, the dark interior for anything, and my vision a hive of muffled whispers and rustling landed on his arm draped over the console. snacks. By the time the credits rolled, a deep It was… wrong. Disgustingly long. Covered exhaustion had settled in. in sparse, rodent-like black fur, dispersed in “Have you ordered the Uber yet?” I candy-cane-like stripes, revealing patches asked as we poured into the lobby. of scaly, pale skin beneath. It was not like “Obviously,” Nia said, checking her that before. A wave of nausea hit me. This is phone. “It’ll be here any second.” not real. This is not real. I squeezed my eyes Outside, a familiar dark car waited at the shut. curb. The window slid down, revealing Mark’s same wide grin.

“Jade?” he asked. A knot of dread tightened in my stomach.

“Yes,” I said, swiftly sliding in, hoping to get this ride over with.

Before Nia could follow, the doors slammed shut, locking with a soul-crushing click.

“Hey!” Nia screamed “He smiled, but his eyes didn’t.” outside the car. The car lunged forward, throwing me against the seat.

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When I opened them, his head was twisted fully around, facing me. The wide grin was now a vicious slash filled with needle-sharp, stained teeth. The beady eyes had multiplied—a cluster of eight glistening black holes on the upper half of his grotesque, enlarged face. “NO!” I blurted, covering my eyes. I shook uncontrollably. I heard the wet, clicking sound of his mouth opening and closing. Hungry. The thought was a brick in my chest. He’s hungry.

The Spiderman is always hungry…

The song. The lullaby on my Walkman.

“On candy-striped legs the Spiderman comes, softly through the shadow of the evening sun…”

Candy-striped legs. Like his arms.

If this is real… this thing is from The Cure.

I racked my brain, scrabbling for the next lyric. But I couldn’t remember. I couldn’t think at all.

A cool breeze touched my cheek. He had turned back to the front. This was my chance. Slowly, I reached into my purse, my fingers closing around my Walkman. Shakily, I put on my headphones. A click, a whirr, and the soft melody filled my ears. “…Looking for a victim, shivering in bed, searching out fear in the gathering gloom…”

Click. I hit pause, my heart hammering against my ribs. Searching out fear. Did it pick me? Had it smelled my fear in the car?

Click.

“And there is nothing I can do when I realize with fright, that the Spiderman is having me for dinner tonight.”

In the mirror, all eight of his eyes were glued to me. The car sped on into the darkness as I listened to the lullaby.

Photographer: Mathai Jones Model: Sarah Evan Mitchell Styling: Zoe Hoffman & Aliyah Young Production: Kayla Gross Marketing: Hannah Cozens

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Photographer: Loren Rogers Models: Jordy Secrest, Karli Clemons, Madison McMaster, Lisabriela Calleros Styling: Reese Ehrhart Production: Madison McMaster Marketing: Hannah Cozens

Generations of Denim

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How (Fake) Nails Grew By: Margaret Munson

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f you feel like you’ve been seeing more and more sets of acrylics around lately, you aren’t crazy, and this isn’t the first time in history people have felt this way.

Acrylics were first invented in 1954 by a dentist by the name of Dr. Fred Slack, who had broken his nail and tried to fix it using a resin in his office. This was eventually innovated and put into regular nail salons; however, at first, the general public did not trust the technology.

The initial boost in popularity came through the 1960s to the mid 1970s.

Many factors contributed to the newfound popularity of unnatural nails and brighter colors being applied to them.

These are mostly social factors like a departure from the conservatism America saw in the 50s and a more trusting public coming out of the massive economic boom at the end of 1959. The other part of acrylics' meteoric rise to becoming the most popular manicure in the country was celebrity endorsement. People like Cher, Donna Summers, and Diana Ross had their nails enhanced for every performance, and the public quickly took notice. When these celebrities would wear acrylic nails throughout their live performance and variety shows, people then started to ask for longer and more colorful nails at their own hometown manicurist rather than a plain French tip or solid coat.

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“-many were trying new things in the beauty sector that they wouldn't have before.”

Photography by: Hannah Cozens Models: Brooklyn Brigham and Yasmin Castellanos Styling by: Lisabriella Calleros Production: Kayla Gross Marketing: Georgia Matthews

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In the 1980s, they soared in popularity, finally being the most popular thing to ask for when going to any salon for a manicure. They hit their peak in the eighties, with one iconic moment being when Olympian Florence Griffith-Joyner wore approximately six-inch-long square tip acrylics to become the fastest woman in the world. In the 1990s, when grunge and punk styles took over the popular culture, the popularity of long and feminine acrylic nails dropped off because it was seen as something of the past. With a few notable exceptions, such as large French tips

and glittered flared or duck nails.

However, they have recently come back stronger than ever. Many people believe this was indirectly caused by the effects of the COVID-19 pandemic. Since people were inside and some pieces of culture were steadily coming back, With this, many young people began to do their own nails and discover designs they could enjoy and have for a longer amount of time than typical polish. Coming out of the pandemic, their popularity rose as the accessibility to artificial nails became more and more prevalent.

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MONEY IN COLOR

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ashion gives many indicators of the time and place you live in, including what’s trening, reserve levels, and even what the temperature outside is. However, fashion is also one of the lesser-known indicators of the state of the economy. Many examples support the idea that the amount of color in a wardrobe can indicate whether or not the economy is doing well.

There are many reasons for the shifts in vibrancy seen in everyday wardrobes when the economy goes through ups and downs. Most of these reasons are financial, but some are psychological. When the economy is declining, consumers seek pieces they feel will last longer. These items are often black, grey, or cream-colored.

When the economy is thriving, lower-income consumers feel more able to branch out and buy items they may only wear a few times, whether they are outside their comfort zone or for a onetime occasion. When necessary expenses like groceries or bills feel lower due to slower inflation, society tends to spend more on clothing.

At the same time, financial data shows more direct reasons for darker or more muted clothing becoming popular during recessions. These clothes are cheaper to produce. White or undyed fabrics cost less throughout the entire supply chain, whereas fabrics with patterns tend to increase production costs by about fifty percent compared to plain-colored fabrics.

This trend has existed for centuries, but this timeline begins just before the Great Depression and ends just before Y2K. The reason flapper Halloween costumes are often black and white is not because of the limitations of film at the time.

While the 1920s experienced sharp economic highs and lows, a steep decline just before the Great Depression caused even the most fringe-filled and shiny flapper outfits to become muted.

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hroughout the Great Depression and the entirety of the 1930s, people were barely surviving, if they survived at all. Most clothing was plain white because production was almost entirely U.S.based; manufacturers could not afford colored fabrics, and consumers could not afford them either.

After years of economic struggle, World War II ended, and the economy soared. From 1945 to 1960, the consumer was king, and it was visible in everyday life. Pastels ruled the 1950s, from the dresses women wore to the suits worn by their husbands. Everything was colorful and light-toned, and even lighter hair colors became more popular.

This shifted in the 1960s. The economy was extremely strong, marking one of the largest expansions in U.S. history next to the Gilded Age. Clothing trends expanded as well. Pastels and hoop skirts faded, and bright, bold colors in shorter dresses became popular. Mod fashion emphasized geometric designs paired with vibrant colors.

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Photographer: Hannah Cozens Models: Keaton Mitchell Styling: Sarah Evan Mitchell Production: Triere Nikel Marketing: Rylee Day

There are exceptions to any rule, and the 1970s serve as one for this discussion. Despite the economy struggling due to multiple gas crises and stagflation, so much so that the term was coined during this decade, bright colors such as orange, yellow, and tie-dye remained popular. This may be attributed to the sense of freedom people felt due to expansive government policies during this time, even without strong economic growth.

Following this, the 1980s began with a recession from 1981 to 1982, influenced by Reagan’s supply-side policies. Early 1980s fashion leaned preppy, featuring white and denim. After economic expansion later in the decade, trends shifted toward neon colors like pink and yellow.

Finally, in the 1990s, the country experienced significant economic growth, largely driven by the rise of computers in households. This boom was reflected in fashion through the popularity of metallic fabrics and colorful leggings. Later in the decade, supermodels became household names, and more Americans began purchasing designer brands.

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Photographer: Loren Rogers Models: Zoe Hoffman and Sarah Evan Mitchell Styling: Emily Bass Production: Madison McMaster Marketing: Georgia Matthews

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With love, Modmuze executive staff