Platform Magazine Volume XVI

VOLUME XVI

table of contents Bump it! Read it! The Physical Media Revival The Front Row Aero, Serve

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11 Table of Contents 13...22

Nintendo Nostalgia

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Making Cliques Click

25

The Weight of Our Volume

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Technicolor

29...36

Shedding Layers

37

You May Be Excused

39

My Outfit, My Mood

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London Fog

43...52

Sharing Feelings and Making New Things

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The Fabric of Black Culture

55

A Walk on Hillsborough Street

57

Paranoia

59...68

Love on Film: Is It Always Meant to Be?

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Wrinkled by the Sea

71

Negatives

73...78

Written by Emma Romick 9

Illustration by Ashley Skarbek

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remember the sounds vividly. The click of that little plastic case in her hands, the smooth pull of the disk into the tray of the radio, and the gentle shuffling of the CD before the music began to play.

My mom always played her favorite Michael Jackson music in the car on the way home from school. I loved those drives: the laughter, the songs, the memories. I’d taken to the lyric sheet nestled safely behind the album cover, and soon my mom and I were chanting along to Smooth Criminal nearly every day. I don’t remember much else we listened to growing up, despite the countless school pick-ups and errands, but I remember that.

Other moments throughout my childhood stick out to me too. The Barbie DVDs my mom religiously kept along the bottom shelf by the old box TV or the secondhand Harry Potter books I’d grown to love so much. These things hold memories that feel hard to explain. I don’t just remember the sounds or stories behind these stories, books, and songs, but I can picture where I was, what I was doing, or even how I felt in those moments long ago. These forms of media have created time capsules of childhood experiences, which I can revisit whenever I please.

Media, like books, music, and film, are staple forms of expression and identity. To see yourself in media is like looking into the face of someone who recognizes your soul before your body, to feel truly noticed and valued. It’s a feeling you can experience through a screen, but the passion only truly exists when you look at it head-on. To feel it, see it, touch it. Technology has given the upper hand in exposure and discovery of media, but what happens to the engrossing love of turning the pages of a book? Or the magic of knowing an album so well you can simply feel the music through the disk? When we strip something so innately human down to the bones of its creation, we’re left with yet another way to distract ourselves through a screen. The sentiment is chipped, and the escape doesn’t feel quite as encapsulating as it is to daydream off to the heart of someone’s creation.

There’s nothing quite like returning to your favorite battered, messily written margin copy of a book you love so dearly. Or the tingles that come from the eruption of a special song through the cozy scratchiness of a CD player. While yes, these are mere objects, they carry the connections we hold within ourselves, leaving imprints on our hearts and souls.

In leaning into the physicality of media, we’re giving our minds the chance to connect with genuine, hand-crafted creativity. In a world where algorithms tend to recommend and decide our taste, giving into the world of physical media offers our minds a moment to breathe It’s simply you, the piece, and the bouncing thoughts and endless creativity of the human mind.

So indulge yourself in your favorite artists. Appreciate the discography beyond a screen. Turn the pages of a book, feeling the crisply printed sheets drift from hand to hand. Allow music to enrapture you, etching gently into your heart as you dance. Bump it, read it, and appreciate the present moment and the things you truly love.

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Wrtitten by Neely Mallik

T

The Fro fashion

he front row. Haute couture. The highest of high fashion. Twice a year, the fashion industry has its most exclusive, expensive and memorable moments. Whether it be Paris or New York, there are eyes on Fashion Week from every corner of the globe. The allure of these events extends beyond the designs on the runway; it includes the faces and personalities seated in the audience. Often regarded as the heartbeat of the fashion show, the front row has become a symbol of status and influence, shaping not only the atmosphere of the event but also the narrative surrounding the collections, influencing public perception and appreciation of fashion as art.

Since the beginning of couture, the front row has been not only the best view in the house, but also a realm reserved for the industry’s elite. A front row consisting of the most powerful designers, journalists, influencers, and celebrities can impact the energy of the entire show.

The way collections are captured on the runway has changed dramatically, especially with the rise of social media. Photographers often frame their shots to include the front row, where recognizable faces can glamourize the image to represent more than just the clothing.

Iconic runway photographs frequently feature celebrities, sometimes overshadowing the collections themselves. This raises questions about the true focus of fashion photography: Is it the clothes, or is it the faces?

So, what does it take to secure a front-row seat at a high-fashion show? The criteria for invitation can be multifaceted. Fashion editors, influential bloggers, A-list celebrities, and high-profile buyers typically fill these seats. Their status and connections within the industry often dictate who gets a front-row pass.

In recent years, digital presence has also played a crucial role. A strong social media following can elevate an individual’s status, making them more attractive to designers eager for visibility.

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cou

nt Row

ture

Illustrated by Ethan Hunt

luxury

The blurred lines between showcasing new pieces and showcasing the audience raises another critical question: Do front row attendees detract from the appreciation of the collections themselves?

On one hand, the spectacle of celebrity can create distractions that pull attention away from the artistry and craftsmanship of the garments. Designers may feel pressured to cater to the tastes of their audience, prioritizing image over substance.

On the other hand, it’s essential to consider the symbiotic relationship between fashion and its audience. The presence of well-known personalities can amplify excitement and bring attention to emerging designers and collections. Their endorsement can translate into heightened visibility and sales, demonstrating that the front row does play a vital role in the fashion ecosystem.

The front row represents the complexity of the fashion industry as a whole. The nuance between appearances and actual quality, talent, and design.

The front row is a versatile entity within the world of fashion shows, serving as both a symbol of status and a potential distraction from the artistry of the collections. As the lines between fashion and celebrity continue to blur, the role of front row attendees will likely evolve further. While the debate about their impact on the appreciation of fashion as art persists, one thing is clear: the front row remains an integral part of the fashion show experience, shaping the narratives that surround haute couture and luxury design.

As we look to the future of fashion shows, it will be fascinating to see how designers, brands, and audiences navigate this landscape, balancing the allure of celebrity with the timeless appreciation for the art of fashion.

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MODELS: Estrella Naumuk-Segovia, Preston Thompson, Demaree Clark, Adaline Griffin, & Sharon George STYLISTS: Justus Denizard, Nikki Miller, Mira Phillips, Dan Inman, & Olivia Masciarelli MUA: Harper Wilcox, Ella Glitzer, Tino Gwena, & Joseph Bunger

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PHOTOGRAPHERS: Pamela Ivanova, Tae Park, Meadow Pacheco, & Teresa Tomas SET: Paisly Bull, Charlotte Fullbright, Nathan Serrano, Summer VanGastle, & Hallie Jackson GRAPHIC DESIGNER: Ashley Skarbek

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ready,

set,

MODELS: Nicole Harris, Brianna Anderson, & Cora Jones STYLISTS: Samantha Roncevich, Gracie Owens, & Sophie Trew PHOTOGRAPHERS: Pamela Ivanova & Tae Park SET: Summer VanGastle & Paisly Bull

go!

game

on

vs.

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MODELS: Kota Moreland & Isabel Santana STYLISTS: Elizabeth DiFiglia & Maggie Pattyson PHOTOGRAPHERS: Teresa Tomas & Pamela Ivanova SET: Paisly Bull & Hallie Jackson

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19

choose your

character

player

two

player

one

MODEL: Arissa Acosta STYLIST: Anais Lopez-De Jesus PHOTOGRAPHERS: Pamela Ivanova & Meadow Pacheco SET: Charlotte Fullbright & Nathan Serrano

player

three

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you

win!

PHOTOGRAPHERS: Pamela Ivanova & Teresa Tomas

play again?

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Written by Kristen Hurtado Illustration by Mack Berg

I

magine your stereotypical lunch-table. Islands of different people, grouped based on who dresses and acts a certain way. These cliques do not intermingle, and tension is fostered between groups who seem to be polar opposites. At North Carolina State University, the different friend groups can seem similar to this. You rarely see an athlete and a punk sitting at a table having a conversation. This raises the question: why do friend groups often share similar aesthetics? Is it merely a matter of comfort and familiarity, or does it go deeper, tied to personal values and the need for acceptance in a new environment?

Take, for example, Jojo Wynn, a freshman here at NCSU. Wynn describes her fashion as, “alternative and a little edgy.” When looking for friends, she tends to be drawn towards people who dress in a similar manner, “I look for someone that, like, dresses really similar to me, probably just so I know that they accept my fashion style. I’m not drawn to people that look like they would judge me.”

Wynn also draws a connection between the way people dress and the beliefs they have. She says, “People dress according to their own morals or beliefs, because everyone expresses themselves differently.” Wynn chooses friends out of familiarity, believing if her friends share her fashion sense they will also be morally aligned. There is an underlying fear of not belonging when interacting with others who do not share a similar taste in fashion.

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MODELS: Estrella Naumuk-Segovia, Preston Thompson, Kelly Hernandez, & Maddison Carew STYLISTS: Maggie Pattyson, Gracie Owens, Isabella Cobb, & Ava Bruno MUA: Ella Glitzer & Joseph Bunger PHOTOGRAPHER: Teresa Tomas SET: Kai Williams & Charlotte Fullbright GRAPHIC: Mackenzie Berg

Another student who attends NCSU, Melissa Bologescu, describes her style as “basic, minimal, [I] sometimes have a little accent piece but not too much.” Bologescu sees fashion as a mirror to oneself, finding the way someone dresses to speak to who they are. “I think fashion always reflects you, your personality, what you like, interests . . . I definitely see that in myself and also my friends.”

Bologescu doesn’t intentionally only befriend people who dress similarly to her. She explains, “I don’t necessarily befriend or gravitate towards people who dress polar opposite compared to me. . . . I’ve never necessarily been in a negative situation with someone who dresses opposite . . . we just don’t gravitate towards each other.”

Both Wynn and Bologescu are in friend groups with similar aesthetics, however, the reason for both is different. They have one thing in common though, the preconceived notion that people who dress similarly will be more compatible with them.

Jeff Braden, a Professor of Psychology at NCSU, believes that the transition period between high school and college represents a time of crisis for many. “Everything that you’ve done up until now has been in the context, typically, of living with caregivers, usually of parents, and having a very prescribed set of activities, expectations, and so on.”

He then explained that college students are very abruptly given control over their entire life, which is a power they have not had before. This transition is objectively scary, and for many college students can be a challenge. Part of the difficulty of this transition is finding community, and this is why friend groups form.

“In a place like NC State, the good news is it’s huge and there’s all these people,” Braden said. ”The bad news is it’s huge and there are all these people, right? And so what you need to do is you need to begin finding people to make a community of support.” Braden then elaborates on how these friend groups are formed, “It’s typically around propinquity, which is, you are in contact with someone, you’re in the same class, you’re in the same dorm, you’re in the same club. And then common interest.” The friend groups formed around fashion tend to be a mix of both propinquity and common interest. When individuals are in spaces where there is no one who they recognize, fashion acts as a common interest. Fashion is a way to know if you have something in common with someone without saying a word.

There are so many benefits to these cliques, such as the sense of community. However, in the building of the cliques there becomes a sort of isolation between other groups. Though it may not be true, it feels as if others who do not share our taste in clothing will not share any similar interests. Next time you are in a dining hall, consider sitting with someone dressed completely different than you. Perhaps you will find you have more in common than what you previously thought.

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Illustration by Elle Campbell

Written by Lauren Ramos

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t’s true that the words we use–the things we say–are reflections of how we feel about ourselves. Recently, I’ve realized that the negative things said about me were reflections of how society judges, mislabels, and hurts women. Since my adolescence, I’ve been deemed “intimidating,” “threatening,” or simply just “too much.” I’ve heard it from women around me who are supposed to support me and cheer me on, from classmates to team members to sorority sisters.

I’ve done a lot of reflecting and thinking about my experiences being as loud and strong as I am, and I realized the problem wasn’t me, just like it is no other woman’s fault. The negative feelings other women are experiencing aren’t their fault–it’s the pressures and expectations society has created for women. In the workplace, in social groups, and just in general, women are constantly pitted against each other, especially the bold and confident ones. Women who may be made insecure are threatened by the confidence of other women. We constantly compare ourselves because we were made to. It’s a shame, really, because we should all be in one another’s corners and cheering each other on instead of being pitted and pitting ourselves against each other.

I spoke to a few of the boldest, loudest women I know about this concept. I wanted to hear their experiences and input on what it means to be confident and how often we find ourselves in a position where we are being torn down. I heard stories from jobs they’ve worked, past relationships, and much more. In each conversation, time after time, it came down to this comparison and insecurity forced upon us women.

One claim from these conversations really stuck out to me; “I don’t think you’ll find a lot of strong women hanging out together.”

I’m still trying to figure this one out, because to me, strong women should cling to one another, and I know some of my best friends are just as loud as I am, so why wouldn’t all confident women stick together? It goes back to that socially crafted insecurity, whether it creates fear or intimidation or jealousy, but as long as you aren’t giving a real reason for others to be scared of you, we should all unite ourselves.

Another thing I had been told was this: “if you’re the loudest one in the room, maybe find another room.”

Wow, right?

I wrestled with this one in my head, trying to decide my feelings. In high school I tended to be the loudest one in the room, and when I got to college I slowly began to understand there are many more women just like me. It was simultaneously relieving and terrifying, because is this what I’ve sounded like my whole life? Is this what people are scared of? I learned that I don’t always have to be the one in control or be the loudest. It doesn’t mean I shouldn’t be confident in myself or bold, it just means I’ve finally met the ones who I can share the same space with.

I had a discussion about this in the workplace, and one of my teachers had an experience with her boss who was insecure and jealous of her successes. My teacher told me that if someone is jealous or threatened, they must not see how working with you can help them or a shared goal. As bold women, all we can do is try to show other women that to the best of our ability.

The true root to all of this, all the fear, insecurity, and shakiness is society and the pressure it puts on women. We must be kind but not pushovers, confident but not cocky, strong but not unable to welcome help, determined but not bitches. If we as women understood the importance of sticking together, we’d get so much farther in every aspect.

It’s taken me a long time to learn that I was never too much, some were just made to believe they were not enough. There have been many times when I thought I needed to make myself smaller for others, but I now know that my confidence is a gift that allows me to lift other women up alongside me.

If you are a loud and confident woman, just know that you deserve to take up the space you are in, and you have all the resources to pull up others alongside you. Your confidence does not equate to arrogance. Your loudness does not equate to aggression. If you feel like you must lower your voice or alter your personality, you are not in the right environment. The right people will know you are not too much, and they will be enough too.

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MODELS: Jadyn McLean, Emily Jackson, Abigail Harris, Eleanor Slyman STYLISTS: Olivia Masciarelli, Samantha Roncevich, Henry Tran, Anais Lopez-De Jesus MUA: Joseph Bunger, Emma Langschwager, Ashley Busch, Natalie Arndt

PHOTOGRAPHERS: Lizzy Novelli, Rachel Laminack SET: Nathan Serrano, Izzy McGowan GRAPHIC DESIGNER: Gabrielle Campbell

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MODELS: Jayda Murray, Zoee Bishop-Bridges, Brynn Rogers STYLISTS: Nikki Miller, Maddy Moore, Grace Chen MUA: Harper Wilcox

PHOTOGRAPHERS: Tae Park, Lizzy Novelli SET: Olivia Ribando, Mae Williams

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MODELS: Nimet Betul Karatas, Emma Bridges, Samantha Shue STYLISTS: Elizabeth DiFiglia, Isabella Cobb MUA: Rachel Kim PHOTOGRAPHERS: Peyton Moore, Lizzy Novelli

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MODELS: Isa Verna STYLISTS: Clio Berney PHOTOGRAPHERS: Lizzy Novelli, Rachel Laminack, Peyton Moore

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SL

hedding ayers

Written by Chandler Lamm

T

here’s something so deeply personal about the journey that follows a major surgery. It’s easy to focus on the physical aspects – staying well rested, eating right, not over exerting yourself. These are important, of course, but they are only half of the journey. The mental and emotional effects of surgery are often just as, if not more, profound. One of the most unexpected shifts that comes with healing is how it affects your sense of self and, by extension, your sense of style.

When my mom was diagnosed with cancer, she did what anyone would do. She thought about her recovery: how she would manage treatments, how to balance life, and kids, and work with trips to the hospital. Time was spent figuring out how to take care of herself and her family. But one thing that also weighed heavily on her mind was her hair. Would she need to get a wig? What would that mean for her identity? Her hair wasn’t just hair; it was a part of her, a defining feature, and the thought of losing it felt like she was losing part of herself.

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Illustration by Kevin Foster

In the end, she was one of the lucky ones. She was able to forgo chemotherapy, allowing her to keep her hair through such a mentally and physically tolling process.

However, this wasn’t the case for my grandmother.

After a breast cancer diagnosis – one that she only received after the first doctor missed the lump in her breast completely – my grandmother’s cancer had progressed to an advanced stage, and she was given a zero percent chance of survival. Against all odds, she overcame her cancer, receiving her last chemo treatment the day I was born. She had conquered the physical, yet the emotional battle had only just begun.

After her double mastectomy, she was told that she wasn’t a candidate for reconstructive surgery. She was given a pair of prosthetic breasts, but the sense of loss was strong. She didn’t feel comfortable going out in public without covering up in loose clothing, afraid of revealing the loss she had experienced.

She couldn’t shake the feeling that people could tell what she had been through. The constant fear of judgment – the idea that strangers might notice or stare – lived with her. The headscarves and wigs added to the pressure, and “I’m so sorry” comments from well-meaning friends and family only deepened the insecurity. The cheerful holiday outfits and the vibrant pastel skirts and sets she once wore felt like a muted memory. Her wardrobe, once a symbol of who she was, became a way of covering up and hiding.

It wasn’t until one day, on a drive to the coast, that she found a turning point. She realized halfway through the drive that she had left her prosthetics at home.

What would people think when she went into public without them? And more importantly, how would she feel without them? She turned to her husband for reassurance, asking what she should do. His answer, “If it doesn’t bother you, it doesn’t bother me,” changed her perspective forever. She stepped into the world without the worry of covering up or wondering what strangers would think. She began looking at her style in the sense of who she was now, not who she was trying to be.

In the months that followed, her style slowly shifted back to her own authentic sense of self. She realized that fashion isn’t about hiding or pretending – it was about expression. It is an act of self-love and personal strength, and most importantly, celebrating the growth she had experienced throughout the process.

When I went through my own medical procedures, I had to wear a heart monitor. At first, I spent days trying to cover it up, feeling self-conscious of how I looked and the fact that people could tell something was wrong. I was soon able to remind myself of the incredibly strong women in my life – my mom and my grandmother – who helped me see the faults in hiding behind clothing.

What I learned from them during my own journey is that physical transformation isn’t just about changes in the body. It is about how we see ourselves, how we carry ourselves, and how we express who we are. After going through something that alters your appearance, it is easy to feel disconnected, as though you’ve lost a part of yourself or shed a layer of your personality.

The truth is, nothing is lost – it’s simply transformed.

Fashion and style become tools for expressing that transformation. They allow you to reclaim who you are, dressing for the person you’ve become, not the person you were. The way we choose to dress – how we show off both our bodies and our scars – is a reflection of all the work done to accept, love and grow from difficult experiences. Ultimately, the way we dress post-procedure becomes a testament to our resilience and a visual celebration of how far we’ve come.

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D

Written by Lexi Amedio Illustration by Mack Berg

ear reader,

You’re invited to my dinner party at 7! Attendance is mandatory as well as a hearty appetite and great conversation. Bring yourself, your best outfit, and an appetizer wouldn’t hurt. There’s only one rule: What happens at the dinner table stays at the dinner table.

With utmost excitement, Your host Now that we have the formalities out of the way, let’s set the table. The lights are dim and the music is a subtle hint of jazz. Not too loud as to overtake the purpose of the evening, but just loud enough so that you can follow the rhythmic hum. The wax from long-stem candles melts down the sides of colorful glass candlesticks. There are eclectic vases with bright floral arrangements scattered throughout the length of the wooden table.

MODELS: Carrie McLawhorn, Jayden Robbins, & Claire Nunemacher STYLISTS: Mira Phillips, Nikki Miller, & Sophie Trew MUA: Ella Glitzer & Emma Langschwager PHOTOGRAPHER: Pamela Ivanova SET: Paisley Bull, Rachael Beasley, & Hallie Jackson GRAPHIC: Mackenzie Berg

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Hydrangeas, roses, and peonies cast a light aroma that welcomes you in. Plates clink gently as they find their home on the white lace tablecloth. The air smells like freshly baked bread, garlic, and creamy pasta. The energy is palpable. Drinks are poured in preparation for what will surely be an effervescent evening. It is five past seven, and people begin to arrive. Everyone is dressed to the nines. Colorful gowns and suits, patterned ties, skirts made of tulle, sequins, and lace, and that is just the beginning.

You

Excused May Be

The accessories flood in with an array of purses, kitten heels and structured boots, and hair adorned with elaborate beaded pins and scarves. Coats are hung on wooden racks, and a sudden chill rushes in with the open door. It is freshly December and snow has thinly coated the ground for the first time this season. Cocktails are assembled and rimmed with simple syrup and basil-infused sugar. The guests warmly embrace and catch up.

As they make their way to the table, the first course is bubbling on the stove, ready to be served. Hand- painted place cards are located at each table setting, and the guests find their chairs and proceed to seat themselves as “Dreams” by Fleetwood Mac begins to play. The first course is served: A butternut squash soup with a perfectly toasted piece of rosemary sourdough bread. The conversation begins: “How is your job?” “Are you enjoying your new neighborhood?” “How is your family doing?” Simple questions but important nonetheless. The answers are filled with cheer and enthusiasm: “My mother is doing well!” “The new job is tiring but I love my coworkers.” “My roommate and I are obsessed with our new neighborhood, and we even have a favorite coffee shop now.” Perceptions are established and soft smiles accompany gentle nods of acknowledgement.

The air is buzzing with the energy of connection. How wonderful it is to be seen.

Hours that feel like minutes have passed, and all that remains of the first course are crumbs of sourdough bread and the lingering smell of butternut squash. It’s time for the entreé: A Rigatoni Bolognese accompanied by a seasonal kale salad. The fragrant smell drifts throughout the home as plates are optimistically filled to the brim.

With the second course comes more substantial conversation.

As the guests devour the spectacular meal in front of them, new questions arise: “How are you recovering from your surgery?” “Have you been taking time for yourself recently?” “When was the last time your eyes lit up from joy?” Kind sentiments are met with vulnerability and appreciation. How special it is to be understood.

Despite an emotional and physical fullness, there is one final course to be served. You can’t have a meal without dessert! An apple crumble, fresh out of the oven, topped with vanilla ice cream and caramel drizzle graces the table, earning audible praise from the guests. The dessert serves as a warm embrace during the colder months, and the conversation follows suit. By now, the guests feel at home with one another, having divulged secrets and plans for the future. Logically, what follows is nothing short of spectacular: “How are you doing, really?” “Do you feel adequately supported through this phase of your life” “How can I help?” True unbridled care and love personified. What a privilege it is to be known.

The art of sharing a meal, the intentionality of setting a table, and the intimacy of learning about the people around you are something to be cherished. There is a certain energy, humanness, and effervescence about gathering with loved ones, beautifully consumed with the ritual that is one of the oldest acts of human compassion and shared experience: a dinner party.

Thank you for coming. I hope you had a wonderful time.

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My Outfit,, Outfit My Mood Written by Ashley Bedikian

Who knew something as little as your morning outfit could shape your mood for the entire day? It goes beyond a simple outfit; it is how we express ourselves and our personalities.

Your clothes can influence your ideas, emotions, and behaviors. Every morning I choose an outfit, foreshadowing how my day will play out. Sure, one day I will select a comfy aesthetic, throw on some sweatpants and slippers, and walk to class. Or I’ll choose to be more particular with my outfit and throw on a stylish pair of jeans and a chic blouse to instill a sense of accomplishment. When I make a decision, it shows how I’m feeling and sets the tone for the rest of the day.

Sometimes comfy clothes are non-negotiable, but other days I need to dress to feel my best. I find myself the most unhappy or unproductive when wearing an outfit that doesn’t represent my mood at that moment or time.

For instance, if I wanted to spend my day being motivated, I would never reach for my favorite sweatpants.

Miuccia Prada once wisely stated, “What you wear is how you present yourself to the world, especially today, when human contacts areso quick. Fashion is instant language.” It is important thtat we wear what makes us the happiest and feel the most confident in ourselves. Oftentimes People overlook the power an outfit has over our moods or even productivity levels during the day.

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Illustration by Julia Smith

Something that should also be considered is the power of accessories. I believe accessories can make an outfit go from not to hot instantly. I find my gold jewelry to compliment my outfits very well and add a touch of elegance. I’ve recently discovered my new obsession with rings and believe they can bring more to the aesthetic of your outfit than you think. I also find that a specific purse or pair of shoes can make an outfit come together. A colorful purse or even your favorite pair of sneakers can bring a pop of color to your outfit and give it that “wow” factor it was missing.

Thoughtfully choosing accessories is an important step that I find to be the missing piece in many outfits.

Ultimately, it is most important to find an outfit that you feel your best in. I’ve discovered that how you feel in an outfit is more important than how you look. Next time when you’re sifting through your closet, pick something that you feel is going to make you a better person during that day or time. Believe it or not, your outfit can determine if your day can go from boring to containing an incredible amount of possibility.

Have you ever been rummaging through your closet before a fun night out, but you chose an outfit that you don’t feel your best in? Because I have been there too, and it’s not fun! For so many of us, our outfit has the power to ruin your whole night. I vividly remember the night I went out with my friends for dinner and chose a dress that did not feel right. It was too tight and stuck to my body, and I worried about how I looked in the outfit the entire night.

The thoughts running through my head were “I don’t look good,” “Why did I buy this dress” and “What is everyone thinking about me?”. I realized from then on I needed to start caring more about what I put on my body because it so clearly affects the way I present myself. I didn’t want to be consumed with thoughts about what I was wearing but rather focused on the dinner with people I love.

On a bad day, I tend to look for something comforting to wear. This outfit could range from my activewear to a simple dress. I have even found that the colors of my outfit could help change my mood. I tend to find that brighter hues tend to uplift my spirits. Darker, more neutral colors, can evoke an array of feelings from somberness to confidence depending on the occasion. Typically, I find that darker colors inspire a sense of empowerment, especially on a night out, but they can also drain my energy.

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MODELS: Reem Abdaym, Jayden Robbins, & Anthony Harper STYLISTS: Mira Phillips, Olivia Kollin, & Elizabeth DiFiglia MUA: Joseph Bunger, & Ella Glitzer PHOTOGRAPHERS: Pamela Ivanova, & Lizzy Novelli SET: Summer VanGastle, Olivia Ribando, Hallie Jackson, Rachael Beasley, Kai Williams & Olivia Jurney GRAPHIC: Julia Smith

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MODELS: Carrie McLawhorn, Imanuel Jackson, & Samantha Schoppe STYLISTS: Samantha Roncevich, Henry Tran, & Ava Bruno MUA: Tino Gwena PHOTOGRAPHER: Sophie Dickerson, Lizzy Novelli

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MODELS: Sania Musti & Kayla Hillman STYLISTS: Gracie Owens & Olivia MAsciarelli MUA: Emma Langschwager & Lauren Tran PHOTOGRAPHER: Sophie Dickerson & Pamela Ivanova

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MODELS: Maddison Carew & Juan Lopez Flores STYLISTS: Isabella Cobb & Dan Inman PHOTOGRAPHER: Lizzy Novelli & Teresa Tomas

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MODELS: Abby Schwebke STYLISTS: Maggie Pattyson PHOTOGRAPHER: Pamela Ivanova & Teresa Tomas

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Written by Lauren Slattery

Illustrated by Ethan Hunt

O O

n October 29th 1970, Joni Mitchell stood on stage before a crowd in London and told the simple story that led to the creation of her iconic song “The Circle Game.”

It all started on Neil Young’s nineteenth birthday, as he reeled in the realization that his teenage years were quickly fleeting, he sat down to write. The song “Sugar Mountain” came to fruition from the sickening feeling that follows us around each birthday. So Joni Mitchell wrote “The Circle Game” for her friend Neil, but for all of us really.

Time is ever fleeting. It is always chasing you and if you think too much about it, it’s debilitating. I find a lot of comfort in knowing that this feeling and experience is one I share with others. That as each minute passes we are all both equally as young as we'll ever be, and the oldest we have ever been. Though, Joni Mitchell turns the coin. Flipping our perspectives and pointing us to the joy that is aging. She remarks that it would be a shame if our life ended before we escaped our teenage years. With the feelings that Neil Young etched into his song she pulled inspiration and made it her own. Creating a masterpiece that would be played for generations to come.

I have spent countless hours listening to “The Circle Game” by Joni Mitchell. I know the colors that trace the song and each word she wrote into it. It has followed me through each new season of life. However, in all of my many listens, never once did I stop and question what inspired her to write it.

This makes me think, what if Mitchell had thought "There's already a song about growing up, why would I write my own?” There is a small voice in the back of our heads that says the things we create are not good enough, not original, or do not begin to express our true feelings. In a time where media is coming at us faster than we can think, the pressure to make something new and authentic is at its height.

Creating is not about having the next best idea or even doing it first, but about making our experiences mean something and sharing them with others. I can spend the rest of my life upset that I will never create something entirely new, or I can focus on the privilege it is to experience things as a collective.

We will all forever relate to the feelings of Neil Young and Joni Mitchell. Their creations, both about the coming and going of time and yet each so unique in themselves, showcase the need for both of their creations. As we age, there is a melancholy that looms over, and “Sugar Mountain” paints those feelings flawlessly. Young sings, “You can’t be twenty on Sugar Mountain” and all of us understand the sentiment to his youth as he sings about wishing to be somewhere he cannot because he has simply outgrown phases of his life . However, Mitchell graciously reminds him, and us, that the same kid who is missing his youth once looked forward to the current moment as she sings, “promises of someday make his dream.”

Aging is not unique to any of us, but the way we experience it is. The deepest pieces of ourselves are entirely our own, but it is these shared feelings that drive us to create meaningful and inspired things to be shared with many. Because it doesn’t always have to be new or exciting if it means something to you.

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MODELS: Emma Bridges, Jaydn McLean, Demaree Clark, Abigail Harris, & Emily Jackson STYLISTS: Justus Denizard, Grace Chen, & Maddy Moore MUA: Joseph Bunger PHOTOGRAPHER: Rachel Laminack SET: Izzy McGowan & Olivia Ribando

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A Walkon Hillsborough Written by Sophia Robertson

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street

here’s a certain unmatched charm that lies in the area of Hillsborough Street just past Dixie Trail. Here, some of Raleigh’s hidden gems can be found, from coffee shops to vintage bookstores. Cup a Joe, Nice Price Books & Records, and Reader’s Corner are a few of these spots. Whether you are looking for a vinyl, novel, or an afternoon pick-me-up, a walk through this section of Hillsborough will inevitably leave you feeling fulfilled.

Illustration by Ashley Skarbek

Cup a Joe, founded in 1991, is self-described as a “funky coffeehouse.” The menu consists of everything from specialty coffees and juices to bagels and cookies. Their beans are roasted in-house, creating a comforting aroma that can be smelled from the street outside. The shop is divided into three main rooms, decorated with mismatched tables and chairs and abstract paintings. I frequently run into an acquaintance when I visit Cup a Joe, maybe someone from my class, or maybe a good friend, and my day is instantly brighter.

The relaxing atmosphere and proximity to NC State’s campus allow Cup a Joe to foster a remarkable sense of community.

“a familiar sense of comfort”

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I often spend my afternoons seated at the counter by the window, sipping their seasonal pumpkin cream cold brew with cinnamon sprinkled over top as I watch the hustle and bustle outside. With my headphones on, I’m in my own world. It’s this time alone, sitting in a coffee shop, that I find a true sense of peace. Peering at the cars and sidewalk outside, I catch glimpses of the students, locals and people just passing through town, everyone headed in a different direction. In a heartwarming way, it makes me feel small. There’s an entire community of people around me; some of them I’ll meet and others I’ll never have the opportunity to know. Even looking at the outside world through a glass window, I feel comforted by everything around me, comforted by the drink in my hand and by the way I feel so at home in a place that only one year ago was foreign to me.

Far away from the city I grew up in, this street and NC State’s campus have become my new home.

My journey through Hillsborough Street does not always end after my coffee. Other shops on my way home tempt me to go inside, and I almost always give in. Neighboring Cup a Joe is Nice Price Books & Records, which buys and sells books, CDs, DVDs, cassettes, records, and an array of other treasures. With a quaint interior that mirrors the energy of Cup a Joe, posters and signs adorning each wall add character to the store. One of the most eye-catching selections is their constantly-changing display of unique sunglasses, carrying anything from artsy purple frames to star-shaped lenses.

Even without owning a CD or record player, it’s easy to get lost in the hundreds of album covers delicately organized throughout the store. My first time visiting the store was during one of my first weeks at NC State. I was in a completely new college environment, knowing very few people, but entering such an attractive, unique bookstore helped clear my mind from the things I was struggling with. Within Nice Price, I felt like I could temporarily put real life on pause.

Reader’s Corner, a bit further down the street, brings a similar sense of comfort.

Reader’s Corner is filled to the brim with books that draw in Raleigh visitors, the walls lined with different genres. Even

“something about the simplicity”

open 6am-7pm!

on the outside of the building, there are shelves carrying everything from comic books to Bibles. Although both bookstores are relatively small, I could spend hours inside each, glazing over covers while fully immersed in the soothing environment. Taking a peek at the first few pages of a story, my mind is transported into a fictional world, all within the confines of a beautifully decorated, perfectly messy bookstore.

It’s an unparalleled experience that you can’t get anywhere else.

“raleigh’s hidden gems”

Like many other college students, I frequently find my mind racing and worrying about everything from classes to my social life. My few years in college have taught me to actively seek out little things that remind me of the many good things around me. A coffee and leisurely walk on Hillsborough isn’t anything too sophisticated, but that’s exactly what makes it special. There’s something about the simplicity of these places that brings me a sense of calmness. Life is hard, school is stressful and things will go wrong, so one of the most important things each of us can do is find joy in the small things and take time to look around. For some people that may look like watching a show in their apartment or going for a spontaneous drive, but for me, I’ve found it in my pumpkin iced coffee, my used books, and my walks on Hillsborough Street.

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MODELS: Colin Tran, Grier Love, & Jonathan Felix STYLISTS: Maggie Pattyson, Henry Tran, & Clio Berney MUA: Joseph Bunger, Rachel Kim, & Natalie Arndt PHOTOGRAPHERS: Rachel Laminack & Peyton Moore SET: Paisly Bull, Rachael Beasley, Mae Williams & Olivia Jurney GRAPHIC: Kevin Foster

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MODELS: Katelyn Harris, Kelly Hernandez, & Raina Markulis STYLISTS: Isabella Cobb, Maddy Moore, & Nikki Miller MUA: Emma Langschwager & Lauren Tran PHOTOGRAPHERS: Peyton Moore, Pamela Ivanova, & Sophie Dickerson SET: Kai Williams & Izzy McGowan

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MODELS: Laura Roman-Rantz, Moe Gamez, & Shaniya Woolridge STYLISTS: Olivia Kollin, Gracie Owens, & Mira Phillips MUA: Ashley Busch PHOTOGRAPHERS: Rachel Laminack & Sophie Dickerson

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MODELS: Claire Nunemacher STYLISTS: Grace Chen PHOTOGRAPHERS: Rachel Laminack & Peyton Moore 65

MODEL: Arria Jones STYLIST: Ava Bruno PHOTOGRAPHERS: Pamela Ivanova & Peyton Moore

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Is it Always Meant to Be?

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don’t know if soulmates exist in this world, but at least in the movies they do. The promise of someone loving you just because. They remember that you like your tea hot, not iced or that your favorite color has changed from cerulean to a lively lilac. All of those peripheral details are worth remembering. However, like all things, relationships can sour. Love is complicated.

It’s like the grating sound of nails on a chalkboard.

There’s an ugliness to it that can bring out the worst.

Like a sore, if you pick at something long enough it’ll be left raw and exposed. It’s what you choose to do with all the pieces, how to put them together, and what to remember from the shared experience that matters.

Perhaps memory is the backbone of a soulmate. That’s what I’ve been led to believe by films such as Eternal Sunshine of the Spotless Mind (Michel Gondry) and In The Mood for Love (Wong Kar-Wai). These films explore this complicated relationship between memory and love and expose the painful reality that love can bring. They also pose a valuable question regarding our assumptions of love and soulmates: is it always meant to be?

For context, Eternal Sunshine of the Spotless Mind centers around Clementine and Joel who have recently broken up. In this world, memories can be erased- and Joel decides to undergo this procedure after discovering Clementine already has soon after their break up.

A large majority of this film takes place in his mind, moving in reverse chronological order of their relationship. At first it’s pettiness and anger. They make cruel remarks and resent each other for small things.

However, as the layers of time are peeled back it reveals something else: a reminder that they loved each other once. Joel is faced with all the forgotten beauty and realizes how badly he wants to keep these memories. He watches as all their time together begins to disappear, literally falling apart all around him, but he can’t escape the plea to just stay a little longer.

In The Mood for Love is a quieter movie. Filled with isolating frames and enclosed spaces. The love story of Chow Mo-Wan and Su Li-Zhen begins to unfold in 1960’s Hong Kong. After learning their spouses have cheated on them with the others’, they begin to spend more time together. An intimacy of quick brushes on

stairs, hands that almost touch, or knowing glances eventually lead to intentional meetings. Love sprouts from their loneliness and shared betrayal. Yet, despite their affection for one another, neither never act on it. They can never bring themselves to do what their partners did. They’ve become trapped in the realization that to accept their feelings means losing themselves, to become someone they aren’t. It’s stifling.

Both films depict love as something meant to be experienced.

Eternal Sunshine of the Spotless Mind ends with Joel’s memories being erased, despite his attempts; however, as his last memory with Clementine is taken she whispers to meet her in Montauk. He does meet her in Montauk, on the train, as familiar strangers.

This encounter is supernatural as that moment only existed in his mind, the same mind that was then made to forget her. Yet, somehow, they knew to find each other. He remembered. He did get to keep one memory, though his mind forgot, it was etched in his soul. They ultimately decide to give their relationship another try, knowing it’ll end badly due to tapes, recorded before their procedures, being released back to them.

In The Mood for Love does not offer an ending where they are together. Instead, it ends with them just missing each other. Chow returns to the building where they first met, not knowing she still lives there.

Perhaps if he had gotten there earlier, or just a little later, they would’ve crossed paths. Instead they are both left with all that will never be.

In these stories, love is lost, or love is found again.

Both of these doomed relationships share a sweet sentiment about how they love each other. They’d do it all over again, knowing their future, because sometimes it’s about finding someone who makes it worth repeating. Hoping this time it’ll work. It’s not alway meant to be, but I wonder if we’re looking at things too simply. Too focused on how it ends. Perhaps it’s always meant to be in the fact that we had it at all.

Maybe the idea of a soulmate is reserved for the movies. Maybe it’s creeping around the corner. Or maybe we need soulmates to exist to tell ourselves that we’ll be loved the way we want. The way we deserve. I won’t ever know, but I think I’m okay with that.

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WRINKL

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BY THE D E

SEA

Illustration by Kevin Foster

I

was born a long time ago, in between the waves of the ocean, fresh scales that reflected rainbow prisms after thunderstorms rocked the human ships to sleep.

We used to be able to swim so fast; the skin on our arms was tight and smooth, shooting straight like sailfish under the highest peak of the moon. We would crash into the sand floor with our long, blonde hair tangled up against the bright coral. I wore my shells mismatched and skimpy, posing like the statues they put on the front of the boats. Those sailors would blush, nearly jumping off of safe land the moment we smiled and waved our fingers. When we sang to them with our shaky voices, they covered their ears, scrunching up their faces with their noses turned to the sky. I remember flushing with embarrassment and sinking down under the water while my friends laughed in that way that young mermaids did, holding their chest like they couldn’t get it all out.

I​ was clumsy, swimming with my tail side to side through the tall sand structures that were older than my grandmother’s grandmother. I made so many cracks in the side of my mother’s house, trying to swim straight through the front arch like the cool girls did. She had me repatch the cracks myself, floating by me with a face that I couldn’t quite place, holding a big basket of sand. I would roll my eyes, and she would crack a smile, the wrinkles deepening by the sides of her face. She hated those wrinkles, pressing seaweed to her cheeks to try to make her face young again. I never understood, because when she danced for the summer solstice, dressed head to toe in pink pearls, hair pinned up, and her smile cutting through stars like the moon, she took the stage.

S​ till, I was young, painting my lips with crushed red algae, pretending like I didn’t care when I got caught by currents and nipped in the back by sea turtles.

I couldn’t catch my own fish, find the right color of shells, or shed the scales on my tail. I thought I never wanted to know about being alive without those things, those things that made me young.

Written by Zoe Simpson

That was until my hands began to prune, turning purple and blue, painted like the streaks of sunset through water’s cerulean. My hair turned white like sand dollars, and I suddenly began to see myself in everything. The sand, the foam, the underbellies of the great whites, the jellyfish, translucent and elegant; They never needed to know where to go.

My hands never stopped, weaving seaweed into beautiful braided baskets, carving out shells until they blew melodies that made every tail sway. I loved the way the water began to shape my skin, pulling it in whatever way I chose, and the sun sprinkled me with kisses and good days that never faded. I danced the way my mother did, the precision in her twirls and the bubbles that surrounded every wave of her hand. I never felt more beautiful than when I performed on the first day of summer, my hair pinned up and my wrinkles full of life. ​ f course, there were times when I watched the O young mermaids, soft and giddy, swim up to the surface and scream and laugh until the morning came. Their faces would be smushed up against their pink clam pillows, snoring without care. I sometimes wished I was them, fresh and sweet with no hint of salt yet stuck permanently to their skin.

Of course, that was until morning came, and they would miss the schools of rainbow fish swirling by with the elderly tucked in the middle. They were protected and surrounded by everything. I had the knowledge of the intricate patterns of the mandarinfish, the horrible faces to avoid under shiny rocks, and the way the tide pushed and pulled. Things I could only know by getting old. ​ ow, I sit above the shore, resting my head against a N rocky sea stack, watching the morning come into full bloom. It looks different every day with the clouds always gliding forward, puffing with rain or sprinkled sporadically across the sky. I hear the distant chatter of little ones waking up, the young girls jumping as high as they can, and the old women singing their hymns that harmonize with the waves. The water laps at my waist as the breeze tries to brush my hair, and I know I am filled with everything that I have ever seen and touched.

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MODEL: Nimet Betul Karatas STYLISTS: Sophie Trew & Justus Denizard MUA: Joseph Bunger PHOTOGRAPHER: Taylor Wittig SET: Olivia Jurney GRAPHIC DESIGNER: Kloe Tucker

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Volume XVI