The Infamous Issue

the infamous issue

issue no. 49

06 The Evolution of the Supermodel

“How did we get from the Big Six of the ‘90s to the Instagram stars of the modern day?

08 Cut the Cameras!!!

Paparazzi culture harms everybody, celebrities and fans alike

22 So You Want to be Famous

Northwestern students weigh the pros and cons of being superstars

46 Abolish Celebrity Culture

It’s time to get real: your favorite celebrity doesn’t love you back.

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Rewriting the Rules

A spotlight on the most iconic collections and designers of the '90s on the runway from Thierry Mugler to Vivienne Westwood

26 Gaga Through the Years

A celebration of Lady Gaga’s most iconic makeup transformations, from graphic liner looks to effortless glam

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EDITORS-IN-CHIEF Jude Cramer & Amina Elmasry PRINT CREATIVE DIRECTOR Sara Gronich PRINT MANAGING EDITOR Vaibhavi Hemasundar PRINT DESIGN EDITOR Quynh-Nhi Tran

DIGITAL CREATIVE DIRECTOR Yola Mzizi PRINT MANAGING EDITOR Erica Davis DIGITAL DESIGN EDITOR Ruth Ellen Berry

DIGITAL DESIGN EDITOR Isabelle Hauf

WEBSITE DESIGNER Meher Yeda

MEMBERSHIP DIRECTOR Sara Frank

DIGITAL MANAGING EDITOR Rebecca Aizin

DIGITAL MANAGING EDITOR Molly Van Gorp

ASSOCIATE EDITOR Carly Witteman

COPY EDITOR Gabi Kurzer

MULTIMEDIA EDITOR Libby Markham

SOCIAL MEDIA EDITOR Emi Silverstein

MULTIMEDIA EDITOR Tara King

FINANCE DIRECTOR Sam Albright

CORPORATE DIRECTOR Grace Shi

STYLING DIRECTOR Lisa Vicini

STYLING DIRECTOR Laila Simone Robinson

CORPORATE TEAM Catalina Castro, Olivia Corderi, Valentina Doukeris, Nicole Feldman, Aditi Ghei, Nicolas Gonzalez, Jaida Hill, Annie Ho, Hamnah Malik, Mia Rhee, Benjamin Weiss + Claire Wu DESIGN TEAM Michelle Hong, Margeaux Rocco, Lauren Schlageter, Allie Wicks, Ashley Xu, Sabrina Eicher, Wendy Zhu + Zara Hasnani EDITORIAL TEAM Abigail Abdi, Lauren Cohn, Alani Cox-Caceres, Catherine Duncan, Nyla Gilstrap, Kira Gopinath, Fatima Jalloh, Maya Krainc, Ella Kuffour, Eve Leupold, Julia Mkrtychian, Claire O'Shaughnessy, Tamara Ulalisa + Alea Wilkins MULTIMEDIA TEAM Sama Ben-Amer, Sophie D'Amato, Zai Dawodu, Chiara Dorsi, Kineyshi Fils-Esperant, Kim Jao, Maddie Morse, Ysa Quiballo + Aria Wozniak PHOTOGRAPHY TEAM Chirag Bachani, Hannah Carroll, Julia Chu, Grace Deng, Maryam Ikuforiji, Marli Katz, Anto Mufarech + Madison Smith SOCIAL MEDIA TEAM Ashley Chin, Kimberly Cruz Mendez, Rhea Dhar, McKenna Frey, Paola Hernandez, Isabella Moran, Greta Rose, Isabella Costa, Lucia Koo, Lila Shea + Olivia Stone STYLING TEAM Sandra Alrifai, Ilise Angel, Allison Arguezo, Anthony Barba-Perez, Eloise Brotzman, Kenny Davis, Leo Dulitzky Gilman, Julia Greenberg, Nia Robles, Shelly Rood, Grace Shin + Danielle Spitz June 2022 03

NIA ROBLES BUENOS AIRES, ARG SOPHOMORE STYLING "My celerity style icon as a kid was Rihanna!

Growing up I always admired her style, colorful hair and the bright colors and the variety of silhouettes in the construction of her clothing, especially as a brown woman. I loved the bright red hair she had in the early 2010s and even now, I want to dye it that color at some point."

HANNAH CARROLL FORT MYERS, FL JUNIOR PHOTO "My celebrity style icon as a kid was Hannah Montana because we have the same name, so of course I wanted to be her. I was constantly decked out in sequins."

ABIGAIL ABDI ATLANTA, GA FRESHMAN EDITORIAL "My celebrity icon as a kid was Rihanna. I used to listen to 'What’s My Name' and 'Only Girl in the World' on repeat with my cousins all the time. I loved her sense of style and the way she experimented with fashion, and that had a huge impact on my relationship with fashion today."

DANIELLE SPITZ LOS ANGELES, CA SENIOR STYLING "My celebrity style icon as a kid was Miley Cyrus because… obviously."

contributors

thoughts

F R O M

T H E

E D I T O R S

We might have reached the point Andy Warhol famously predicted in the 1960s: a time when everybody gets to be world-famous for fifteen minutes.

Celebrity is pervasive in the modern world — so we chose to theme this issue around fame itself. Inspired by the tabloid magazines that shaped the scandal and gossip of our childhoods, STITCH’s Infamous Issue paints a picture of the past, present and future of celebrity culture, all through the lens of a Y2K aesthetic.

Like it or not, celebrity culture has shaped fashion trends for decades, which this issue’s photoshoots examine from three distinct angles. The paparazzi consistently (and often invasively) capture the celebrity street style the public craves, even when our favorite celebs would rather we look away. In contrast, the iconic red carpet is the stage on which celebrities perform, presenting curated ensembles and inviting our scrutinizing gaze. Meanwhile, some artists stand the test of time, as we honor Lady Gaga’s consistently revolutionary and boundary-pushing makeup through the years.

This exploration of celebrity culture continues in our editorial pieces. Deep dives into the history of supermodels, controversial designers and boundarybreaking collections show where our modern ideas of fashion and fame came from. Critiques of paparazzi and Northwestern students’ own desires for fame question the modern state of stardom. And our Last Word imagines a future without celebrity, pointing to the dangerous nature of our parasocial culture.

On a personal note, we’re thrilled to be putting out our first issue as STITCH’s editors-in-chief. We can’t wait to bring you bold, exciting and creative takes on Northwestern’s premier fashion magazine that will continue to inspire and thrill our readers. We hope you walk away from this issue with a more profound understanding and appreciation of celebrity culture, in all its messy, glamorous, ugly beauty.

jude cramer & amina elmasry

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What comes to mind when you think of the word “supermodel”?

Maybe you picture the Big Six, the figureheads of the supermodel craze of the ’90s. Or maybe you see the social media mavens of the current decade, juggling online followings with runway bookings. But what exactly is it that elevates a model to “super” status?

The idea of the supermodel has undergone a major metamorphosis over the past few centuries. Modeling as a profession began in the mid-1800s, when English designer Charles Frederick Worth asked live models to showcase his pieces. For nearly a century, models remained underpaid and unnamed, receiving very little recognition for their work. At the time, the notion of a “supermodel” was entirely unrealistic. But as technology advanced, models got more and more opportunities to step into the limelight, popularizing the profession and eventually including the coveted “super” status as a way to honor the industry’s most influential players. But with the public’s ideas of fame growing increasingly complex, how do we define a “supermodel” in 2022? Looking back on the industry’s greats can provide some answers.

Initially, photographers were the main controllers of model demand — they requested which models they wanted to work with, and models gained notoriety from their association with a well-known photographer.

Swedish model Lisa Fonssagrives, who is widely regarded as the first supermodel, rose to prominence in 1936 after taking test shots with Vogue photographer Horst P. Horst. Her fame quickly increased, and shortly after her move to the United States in 1939, she appeared on the covers of 11 issues of Vogue.

In the mid-’40s, two other models began their rise to supermodel status. Simone Micheline Bodin, who went by the professional moniker Bettina, dominated the fashion scene in France, becoming a muse to Hubert de Givenchy. In the United Kingdom, Barbara Goalen gained recognition not only from photographers, but from the general public –– her 1954 wedding (which also marked her retirement) was swarmed with fans.

By the ’60s, modeling was no longer just an artistic relationship between a photographer or designer and their muse. Models were tapping into the business opportunities of the industry, signing highly lucrative contracts and marketing their names and likenesses as brands in and of themselves. After being named the “Face of ’66” by the Daily Express, British model Twiggy launched her own range of tights in 1969, aptly named Twiggy Tights. The same year, Lauren Hutton signed an exclusive contract with Revlon, becoming the first model to act as the face of a brand. Brand exclusives became the mark of a supermodel well into the ’70s. Margaux Hemingway signed a $1 million contract to become the face of Babe Perfume in 1975. Christie Brinkley became the face of Covergirl in 1976, a role she would hold for the next 20 years.

Over the next two decades, supermodels’ celebrity status reached a new high. Naomi Campbell, Christy Turlington and Linda Evangelista were known as “The Trinity,” with the three women ruling runways around the world and raking in record amounts of money in the process. Evangelista infamously joked in the October 1990 issue of Vogue that “we don’t

wake up for less than $10,000 a day.” The Trinity then became the “Big Six” when Cindy Crawford, Claudia Schiffer and Kate Moss rose through the ranks in the ’90s. The end of that decade and the early 2000s saw modeling get even more mainstream: the first Victoria’s Secret Angels were granted their wings in 1997, and the first episode of Tyra Banks’ “America’s Next Top Model” aired in 2003.

But in the 2010s, the concept of the supermodel crumbled before our very eyes.

Being discovered by a scout or signed to an agency was no longer the only major path to fashion stardom. Social media offered aspiring models a new way to gain popularity and gave established models a platform of unprecedented size. Sponsored posts changed the way models act as the face of a brand or product. Whereas the primary qualifications for a 20th-century supermodel were magazine covers and exclusive contracts, now a model’s popularity can be easily measured by their follower count or number of likes.

But even with the clearer metrics that social media provides, many argue about who is a true supermodel in 2022. Kendall Jenner topped Forbes’ list of the highest paid models in 2018, and she currently has over 235 million Instagram followers. But despite these numbers, some don’t recognize Jenner as a supermodel because of how few shows she walks each year.

Jenner was quoted by Love Magazine saying she “was never one of those girls who would do like 30 shows a season,” a statement that angered many working models at the time.

Nepotism is also a common criticism of Jenner and many other current supermodel contenders, like Gigi and Bella Hadid and Cara Delevingne, whose rise to fame coincided with their rise in Instagram followers.

It’s much harder to identify the “supers” of today. The job itself is significantly more complex than it was at its start; models in 2022 have to juggle runway and commercial jobs, public appearances, endorsements and brand deals, all while engaging an online audience. The expansion of what being a model entails makes the job more difficult than it was at the beginning; even today's lesser-known models would be a "supermodel" by the original standards. The modeling industry has come a long way, surpassing any expectation of the profession at its inception. That alone seems pretty super to me.

CUT THE CAMERAS! HOW PAPARAZZI NEGATIVELY IMPACTS C E L E B R I T I E S AND FANS ALIKE Written by Gabi Kurzer

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t’s 2015, and you’re scrolling through Twitter when you come across a zoomed-in paparazzi photo of Selena Gomez in a strappy, fuschia bikini while on vacation with her friends in Mexico. As you scroll down, you see comments like “she’s fat," “she's a mess” and “she's gone off the deep end.” You even find a TMZ article writing, “Things are getting thick down in Mexico.”

Gomez gracefully and professionally responded to internet trolls by posting a photo of herself on Instagram with a body-positive caption reading, “I love being happy with me yall #theresmoretolove.”

But nobody adequately discussed how hurtful those words were, and how harmful they must have been for her fans.

Most of us who glance at Snapchat News or the Twitter trending page have seen the pictures of Tom Holland and Zendaya making out, or of Princess Diana’s street style, or of Cara Delevingne and Ashley Benson carrying a sex bench into their then-home. Paparazzi pictures air celebrities’ dirty laundry with 08

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Designed by Sabrina Eicher

unflattering angles and overexposed lighting. They infiltrate the personal lives of actors, singers, models and influencers to get these photos and then leave them to fend off the critics themselves. And despite the calm facade they put on social media, these hurtful words are internalized to a certain degree, and fans who look up to these celebrities can get caught in the crossfire.

Since their quick rise to fame, TikTok stars Charli and Dixie D’Amelio have been constantly followed by paparazzi.

Cameras follow the sisters to and from their home, snapping pictures of them in cars and restaurants. Although the sisters initially befriended the paparazzi, they said on their podcast "2 Chix" that tabloid photographers and videographers like The Hollywood Fix, Pap Galore and Kevin Wong crossed a line when they began waiting outside the D'Amelio's' homes.

They said they felt extremely selfconscious about doing normal teenage things, like playing loud music in the car, because they knew they were being followed.

Not only do the paparazzi invade the

physical space of stars, but they worm their way into their heads as well. Just this April, Camila Cabello took to her Instagram to talk about how the paparazzi ruined yet another beach vacation for her when they showed up to snap photos of her in Miami. Cabello said that instead of relaxing and enjoying herself on the beach, she spent the entire time holding her breath and keeping her core tight because she was feeling so self-conscious.

She “felt super vulnerable and unprepared" because she knew that no matter how cute her bikini was or how much she sucked in her stomach, her body was going to be judged against unrealistic beauty standards. She knew she was going to get hurt.

Even reality stars can’t hide from the effect of the paparazzi, as Kylie Jenner proved in April, 2020. Twitter went crazy after photos surfaced of Jenner running errands makeupfree during the pandemic, claiming the star looked unrecognizable without her spray tan, makeup and flattering clothes. While some found it refreshing to see that the star is a human like the rest of us, others were quick to take the opportunity to make fun of her for regularly manipulating her appearance. Some even believe that the internet bullied Jenner into staging questionably candid paparazzi pictures in full glam in order to rehabilitate her image.

When young, impressionable fans see malicious comments on photos of celebrities they admire, calling their bikini photos fat and their makeup-free photos ugly, they very well might internalize those words themselves.

They may think, “If people think she looks ugly, what does that make me?” The impact of trolls reaches far past the comment section.

They make their way into the psyche of celebrities and of their impressionable fans, creating a culture of negativity across the internet.

A study conducted at McGill University affirmed this idea that instances of celebrity fat-shaming have ripple effects on women consuming the media.

They showed women 20 examples of celebrity fat-shaming that took place between 2007 and 2015. The researchers analyzed their negative weightrelated implicit attitudes, otherwise known as

Images via Page Six and The Independent

gut reactions, two weeks before and two weeks after showing them the event. These researchers found that despite what people consciously believe and say, celebrity fatshaming is linked to people subconsciously thinking that "fat" is bad and "thin" is good.

In fact, many researchers have taken an interest in the role celebrity photos play in regard to body image. One 2016 study found that social network sites were related to body image dissatisfaction and a drive to be thin in teenage girls, both when comparing themselves to their friends and to celebrities.

Especially today, with social media and reality shows churning out stars left and right, everyone feels as if they are expected to look like a celebrity because they actually have the potential to be one.

Unfortunately, celebrities inadvertently sign up for the paparazzi chase. And maybe paparazzi serve their function in society by helping us normal folk realize that celebrities are people, just like us. They don't always wear perfect outfits or a full face of makeup, and they enjoy hanging out with friends and spending time with significant others, just like the rest of us. In a world where social media allows millions of people to comment on celebrities' personal lives, stars have started to reclaim the narrative by showing their fans their real lives — on their own terms. Now, it's up to everyone, celebrities and fans alike, to support one another and make sure that social media is a positive space where people can feel comfortable and good about themselves.

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CELEBRITIES ARE PEOPLE,

JUST LIKE US.

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VOYEURISM O VER PRIVACY ,

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Constant photos of celebrities are ingrained into our consumerist culture. It’s hard not to get caught up in the voyeurist spectacle of paparazzi photos. As a result, however, the privacy of public figures gets disrespected. Even though some celebrities have turned paparazzi into a means for pushing their personal projects or agendas, paparazzi culture has still had an overall destructive effect on the private lives of those on the receiving end.

Photoshoot Directors: Sara Gronich, Lisa Vicini Photographer: Madison Smith Stylists: Danielle Spitz, Ilise Angel, Julia Greenberg, Jude Cramer Models: Yarmis Cruz, Freedom Gobel, Olatunji Osho-Williams Model Relations: Laila Simone Robinson Spread Designer: Ruth Ellen Berry

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JOHN

By Abigail Abdi Designed by Zara Hasnani Daring. Innovative.

Controversial. Those few words sum up John Galliano’s profound legacy in the fashion world. Few have gone from the exhilarating peaks to the devastating lows the British-born designer has experienced through his long and iconic career. But who is the man behind some of the most memorable fashion shows in history, and how did he fall from grace?

John Galliano was born in 1960 to a British father and Spanish mother in Gibraltar, a small island in the Mediterranean under British rule.

When he was 6, the family moved to South London.

Galliano was captivated by fashion design and historical costuming, which inspired him to attend Central Saint Martins, a prestigious college for art and design in London that has produced many wellknown designers such as Alexander McQueen, Stella McCartney and Christopher Kane.

His graduation collection Les Incroyables put his limitless creativity on display. The show was inspired by a group of young aristocrats who lived during the French Revolution and was put together with the cheapest materials Galliano could find as a money-conscious college student.

His show was so well received that the owner of Browns, an exclusive London fashion boutique, purchased the entire collection straight off the catwalk.

However, Galliano’s initial success 20 June 2022

GALLIANO: UNCONTROLLABLE, UNCONTAINABLE, IRREDEEMABLE

Image via John Galliano Fashion Project

Image via Vogue

did not last. His designs were viewed as too extravagant and therefore did not continue to sell. Destitute and homeless, Galliano left the U.K. for Paris where he continued designing clothes.

His designs eventually caught the attention of Anna Wintour, the editorImage via Vogue

e via

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Image via Vogue

themselves as characters in the clothes rather than mannequins, adding to the theatrical style of his shows.

One of Galliano’s greatest Dior shows is his 2003 Spring Haute Couture. It was heavily inspired by 18th-century fashion and a three-week trip he took to China and Japan before the show. Models strutted down the runway engulfed in huge dresses made from East Asian and Western fabrics, everything from taffeta to silk to vinyl. Silhouettes incorporated tilting hoop skirts, large hats covered in feathers and massive wagasa, or Japanese umbrellas.

Galliano bridged the East and the West in a colorful display of ancient traditions mixed with modern twists — the show was another triumph.

But, like all good things, Galliano’s whirlwind success came to an abrupt end when a video went viral in 2011. It showed him drunk, throwing racist and antisemitic slurs at a Jewish couple at a Parisian café. Dior fired and fined the designer a month later, and he was even booted from his own brand. He was also taken to French court and found guilty of public insults. He later went to rehab for a drug and alcohol addiction and apologized for his antisemitic tirade.

While Galliano was shunned from the fashion industry for a few years after this, his career was not completely destroyed. Kate Moss asked him to design her wedding dress the same year he was fired, and in 2013, Galliano collaborated on Oscar de la Renta’s fall collection. A year later, Maison Margiela, a Belgian fashion house, appointed him as creative director, a position he still holds today.

Scandals like Galliano’s aren’t unusual in the fashion world.

Imag

in-chief of Vogue. She approved of his vision so much that she collaborated with influential figures in the industry at the time to secure Galliano his first runway show in Paris. Galliano struggled to scrape together enough money, but his finances couldn’t stave off his uncontrollable passion for fashion and his eye for design.

Saõ Schlumberger, a Portuguese and German socialite who collected and supported art and fashion, lent Galliano her Parisian mansion for the show, and many supermodels such as Naomi Campbell, Kate Moss, Christy Turlington and Linda Evangelista walked for free. The show is now viewed as one of the biggest fashion moments and put Galliano on the map as a powerful force in the fashion industry.

In 1996, Galliano replaced the founder of Givenchy as creative director, making him the first British-born designer to take over a French fashion house in over a century. While his stay at Givenchy was shortlived, he completely elevated the house’s styling by telling seamstresses to tailor dresses to accent a woman’s figure. A year later, Galliano was appointed creative director of Dior (even more shocking to the French), a position he kept for 15 years until a shocking scandal cost him the position.

During Galliano’s time at Dior, he worked seemingly without the constraints of money, time or lack of creativity.

Galliano’s designs were monumental, campy and extravagant, and he encouraged his models to view

Alexander Wang, an American designer, was accused of sexual assault by 11 men in 2019 — claims he vehemently denies. Domenico Dolce and Stefano Gabbana, creative directors and founders of Dolce & Gabbana, have a long history of controversy ranging from making racist comments about China to calling children conceived via in vitro fertilization “children of chemicals” and “synthetic children” to being indicted for tax fraud.

But there’s a common thread among these designers: people still wear their clothes and they still have a large influence in the fashion world. While Galliano hasn’t returned to his previous status, Alexander Wang and Dolce & Gabbana haven’t really dropped from theirs. Consumers, designers, celebrities and many other influential people have shown immense outrage against these designers; however, both, especially D&G, are still being worn on red carpets.

This raises the question of being able to separate the art from the artists. Can we truly hold people accountable for the disgusting things they say, but also enjoy their creativity and wear their clothes?

What is the difference between boycotting D&G, but continuing to wear Alexander Wang or vice versa? How is the consumption of art created by controversial figures justified if that consumption continues to support those figures?

Where do we draw the line?

Galliano’s fall from grace but unmistakable influence on the fashion industry is a sobering reminder that a person’s genius should never excuse their wrongdoings. We shouldn't ignore their history in order to take in their art; we all have the responsibility to show that their creations do not exempt them from taking responsibility for the pain they cause people.

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so you want To be Northwestern is rife with bright young students brimming with anticipation for the future, wondering how their lives will unfold. Students dream both big and small, hoping to win that free Starbucks gift card from a Northwestern survey blast or aspiring to change the world. Will any of them join Northwestern’s list of celebrity alumni? I asked 10 Northwestern students if they want to be famous.

Meet the next generation of A-listers — and of perfectly happy nobodies.

FAMOUS?

By Kira Gopinath Designed by Wendy Zhu

“I want to be fa mous, but I do n’t think that’s gonna happen . If the paparazz i were followin I would like it an g me, d I would pose . You know, like, up some peac put e signs. I would try to seem like living my best I’m life and smile.”

Aguilar clarifies that she’d pref er to be a famous CEO th an an influence r or a pop star.

Fitting, I suppos e, for a McCor mick celeb.

R OND-YEA C E S , R R ILA G MAJO EL AGU MARISAB ER ENGINEERINITY) COMPUTPIRING CELEBR (AND AS

JACK LIN, THIRD-YEAR ECON MAJOR:

“It is a certain reward to have your name cast in the history book, whether it is of world history, art history, et cetera, to know that you’re alive beyond your earthly body. I want to be famous for inspiration or changing the world, and for that I look up to people like John F. Kennedy or Selena Gomez,” Lin says. Quite the unlikely pair. But there is a wide range of things people can be famous for: campaigning politically, singing, dancing on TikTok, becoming a meme, wrestling alligators — the list goes on.

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REAGAN DENNISON, SECOND-YEAR COMPUTER SCIENCE MAJOR:

Dennison also has a desire for fame, but only “with certain conditions.”

“I don’t want to constantly have paparazzi following me, but I would like to be famous for something positive,” Dennison says. “Ideally a C-list celebrity kind of famous.”

She tells me that “The Vampire Diaries” actress Nina Dobrev represents her ideal level of fame. “I see her on Instagram looking happy with her Olympian boyfriend,” Dennison says.

Just enough fame to date an Olympian, but without the media attention. Now that does sound nice.

Dennison says one of the best parts of being famous is being able to interact with anybody, so I asked her who her celebrity friend group would be. “I’m thinking Zendaya,” she says. “I had a dream where I was best friends with Zendaya and Tom Holland and I remember waking up and feeling like I lost a good friendship.”

ELIZABETH SAVIN, FIRSTYEAR MANUFACTURING + DESIGN ENGINEERING MAJOR:

Unlike the first three students, Savin is straightforward in her desire not to be famous, at least not in the superstar sense.

“I don’t want to be famous,” she says. “I don’t think that level of public recognition would lead me to have an enjoyable life. I don’t like the constant criticism, photography, the analysis of every move I make. I just want to be able to live my own life and the money that comes along with being famous is not worth

anything because at the end of the day, you're still tied to what other people are expecting from you. It’s not your own life to live.”

I asked her if she ever fantasized about the idea of fame, as all the glamor and money it entails can sometimes be hard to resist. “I’ve never been like, ‘I want to be a Kardashian or something like that,’” she says. “Instead, I’d want to be like Elon Musk.

Something where you're famous for something you created.” Yet another aspiring McCormick CEO.

MADDIE SOUTHWELL, SECONDYEAR JOURNALISM MAJOR:

“Being famous is my worst nightmare.” Southwell leaves it at that.

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JEFF MURICHU, SECOND-YEAR LEARNING AND ORGANIZATIONAL CHANGE MAJOR:

Being famous comes with its fair share of dangers, and Murichu fears what fame could mean for his safety.

“When everyone knows you, they get this kind of entitlement toward you and they feel like you owe them something,” he says. “I don’t want to constantly feel a threat. I like how if I walked out right now and went to Target I don’t have to call my entourage and my security detail and try to wear sunglasses and a cap to hide my face.”

However, he did desire fame as a child. “I guess when I was younger, I wanted to be Beyoncé — I wanted to be famous famous. But then, when I was in high school and I was school president, I didn't deal well with the social pressure. Being in the public limelight is like being in the public court. And if you wear something it’s tea, if you say something it’s tea, if you do something it’s tea.” Far too much tea.

RUFINA EVERETT, SECOND-YEAR ENGINEERING MAJOR:

“Being famous would be a vibe. But I don’t want want to be famous, because I would be scared of people trying to murder me,” Everett says. She adds that if she had to be famous, she would want to be famous in the same sort of way as “Sound of Music” star Julie Andrews. “She’s well-respected and talented. Therefore, I would be Julie Andrews.” Will desire for esteem win out against fear of violence?

CAITLIN RILEY, SECOND-YEAR:

When I spoke with Riley, she said she didn’t want to be pushed into the spotlight, but she’s open to being known for her achievements.

“I’d love to be famous for being an author if I could write a book that people liked,” she says. “But I definitely would not want to be famous in the way that movie stars or the Kardashians are famous. I don’t need the whole world talking about my life.”

She asked when this feature with her interview would be released. “Maybe I do want to be famous,” she realizes, “if I wanna see myself in this magazine.”

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BEN DRYSDALE, FIRST-YEAR:

One of the many Bens at Northwestern, Drysdale is open to minor fame. “I like the idea of being famous for being good at something but not to the point where everybody would know who I was,” he says. “I wouldn’t want to go to a restaurant and everybody would be coming up to me.” It would be hard to enjoy a good meal that way. On the upside, it could make reservations a whole lot easier.

SAI THIRUNAGARI, FIRST-YEAR PSYCHOLOGY MAJOR:

Thirunagari also wants the type of fame that’s more limited in scope. “I would want to be famous for recognition but not as much as a celebrity. I would want to be famous within my field,” he says. Are we looking at the next Freud?

Many students thought being famous in a particular field had some of the benefits of fame, without all of the drawbacks — especially those relating to invasions of privacy. It’s fitting too, for people working in specific majors, looking to make an impact in the world they care about. But the world of celebrities isn’t for everyone. I can’t help but wonder which of my lovely classmates will one day be pushed into the limelight. Could you handle the fame?

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Photoshoot Director: Sara Gronich Photographer: Grace Deng Stylists, Makeup Artists: Allison Arguezo, Julia Greenberg, Jude Cramer, Amina Elmasry, Anthony Barba-Perez, Eloise Brotzman Models: Matheus Barbee, Mia Isabel Dominguez Hodges, Ben Lankfer, Yaelle Pierre, Damilola Olabanji, Mandy Zhu Model Relations: Laila Simone Robinson Designer: Margeaux Rocco

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There’s not many stars from the 2000s as iconic as Lady Gaga. From her graphic liner to her Met Gala lashes, Gaga created a variety of looks all from her hair and makeup. Yes, her outfits are legendary, but it’s just as fun to celebrate her makeup transformations.

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The Story Betwee Black Love, Fashion, and

By Abigail Abdi Designed by Lauren Schlageter Academy Award-winning costume designer Ruth Carter perfectly encapsulates costuming’s storytelling ability in “Black Panther.” In the Netflix series “Abstract,” she says, “People think I sew, but that’s not really what I do. What I do is tell stories.” Her use of color and African prints tells the story of African and African American culture coming together, and how their interactions, both voluntary and circumstantial, reflect Black identity.

“Black Panther” was so impactful for Black people because of the lack of Black representation in Hollywood. Luckily, in recent years, the film industry has begun to show more Black stories and highlight the work of Black creatives.

However, much of the representation we see is rooted in the portrayal of Black trauma. Films like “Django Unchained” tell stories of Black love that usually intersperse the narrative with traumatic or violent scenes. The costume choices in these films differ substantially from those in films about authentic Black experiences. Two movies, one about Black trauma, “Queen and Slim,” and one about everyday Black life, “Soul Food,” use fashion in disparate ways with distinct intentions.

“Queen and Slim” is about a couple, Queen and Slim, who end up on the run during their first date after a traffic stop goes horribly wrong and Slim shoots a

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police officer in self-defense. This beautifully shot film features equally stunning stylistic choices by costume designer Shiona Turini, also known for costuming Beyoncé’s “Formation” music video.

For the majority of the film, Slim wears a lavish burgundy velour tracksuit with a gold chain, while Queen sports a zebra print dress and snakeskin boots. In an interview with The Cut, Turini says that she chose clothes that the characters would be able to “go to war” in. However, she did not sacrifice fashion for practicality.

Her interpretation of Queen and Slim’s story and its translation into her costuming choices contradict respectability politics. In clothing, respectability politics becomes a way of presenting oneself in a way that is acceptable in the mainstream. For Black people, attempting to stick to respectability politics often falls short.

Dressing to appear respectable to the police officer would not have changed Queen and Slim’s situation. “So why not look good while they’re at it?”

Turini seems to ask.

Fashion’s storytelling role in “Queen and Slim” extends beyond the titular characters. Queen’s uncle, Earl, is the most fashion-forward in the film. In one of my favorite shots, he sits on a leather sofa sagging and creasing from old age in front of fading, turquoise-

en the Seams: Metaphor

painted walls. In the middle of this rundown scene, Earl is dressed in a Gucci tracksuit with gold rings and a matching chain around his neck. The intentional aesthetic contrast of this scene shows that despite being dressed head-to-toe in high fashion, Uncle Earl cannot escape the trauma associated with poverty and police brutality.

“Queen and Slim”’s costume design is focused on providing social commentary, but “Soul Food”’s does the opposite. It’s a movie about a Black family struggling to keep their tradition of Sunday family dinners alive when their grandmother falls into a coma. This film, while built on a devastating plot, is not composed of collective Black trauma like “Queen and Slim.” It is an authentic and raw portrayal of the role of the matriarch in Black families, and it shows how food is a key part of Black culture and togetherness. The costume design in the film, done

by Salvador Perez, is much more understated than that of “Queen and Slim.” The characters wear casual Sunday dinner outfits: jeans and a nice top, for the most part. The relaxed costuming for this film reflects its lack of social commentary and simulates the warmth of communing with family over dinner.

“Soul Food” showcases the daily aspects of Black life and the importance of keeping family together during tough times. It also provides an escape from stories of Black trauma and struggle which can be emotionally and mentally taxing for Black people to watch. Films about Black trauma are never truly fiction because they constantly remind Black viewers of the world we live in and struggle to navigate through.

While it’s important to tell stories about the effects of racism in Black people’s lives in an unflinching way, it is equally important, if not more important, to show that Black joy does exist. All aspects of Black culture are so richly cultivated and should be celebrated more in the film industry, and the use of fashion in costume design is a great place to start this celebration. I hope that in the future, we focus on showing the beauty of being Black and why we live in our Blackness boldly and unapologetically.

Amid the rapid technological advancements of the ’80s and ’90s and the resulting increase in pop culture’s prevalence, fashion entered a new, unforgettable age.

Boundary-breaking collections of the ’90s reached a status of iconography: they outfitted a new generation of stars, faced the public eye as they never had before, set trends that live on in our favorite television shows and movies, and celebrated

t he

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i n g i t r s e l u r

The '90s on the Runway

By Maya Krainc Designed by Isabelle Hauf-Pisoni

non-conformity.

Following the bold styles of the ’80s, known for power dressing and prep, fashion took a hard turn toward casual in the ’90s.

Grunge and punk were in style, minimalism was on the rise, and a new generation of supermodels popularized the unkemptmeets-chic aesthetic. These changes were largely spurred by the following legendary collections.

Vivienne Westwood FW 1993 Vivienne Westwood’s 1993 collection showcased her taste for the intersection of punk and femininity: plaid evening gowns, tailored pantsuits, flamboyant fur coats, and eccentric spins on menswear. Titled Anglomania, the collection debuted an aesthetic that was characteristic of Westwood’s designs for the rest of the decade — a combination of English tailoring and French fashion’s flair for exaggerated proportions. While the reference is apparent in the feathered top hats, ruffled button-downs and monarch-esque hairstyles, Westwood’s infusion of punk and grunge left a new mark of its own on the fashion world.

Images via Vogue — Condé Nast Archive

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Perry Ellis SS 1993 This grunge collection, famously known for getting Marc Jacobs fired from Perry Ellis, was inspired by Seattle streetwear and the thrifted fashion worn in the city’s thriving music scene. The collection shocked and even disappointed some in the fashion world with its lack of convention — grunge was not “high fashion,” but it was undeniably cool.

Jacobs quickly became acclaimed for the cultural relevance of his collections, a staple in his designs ever since this memorable debut. In 2011, Jacobs said the collection “was about a sensibility and also about a dismissal of everything that one was told was beautiful, correct, glamorous, sexy.”

Nearly 30 years later, the collection is still visible in the trend cycle. Long plaid skirts with chunky black boots, dresses and tees layered over striped long sleeve shirts, flannels and beanies — they’re some of the most trendy pieces of the past couple years.

Images via Vogue — Condé Nast Archive

Calvin Klein SS 1994 Calvin Klein’s 1994 spring collection showcased a signature style of the decade: minimalism.This monochromatic collection featured silk slip dresses, widestrap tank tops with trousers, dresses over T-shirts and matching skirt suits.

Suit jackets with shoulder pads brought in oversized, casual and masculine elements, contrasting with the feminine and delicate maxi dresses and mini skirts.

The collection resembles the model-offduty look of the decade, making it seem as if the models could go straight from the runway to the afterparty.

Images via Vogue — Condé Nast Archive

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Miss S&M — Versace 1992

Images via Vogue — Condé Nast Archive

Christian Dior 1998 The Opéra Garnier in Paris looked even more opulent than usual as models wore John Galliano’s designs down its steps. The elaborately draped gowns, gilded fabrics, oversized headwear and fur-trimmed opera coats made for a spectacle that embodied luxury. Every ensemble glittered and shone, down to the slicked hair of the models in 1920s finger waves fashion.

Famed for his theatricality, this collection is trademark Galliano. Closing by showering the audience with tiny paper butterflies, the sensational nature of the show has solidified its place among the ranks of iconic collections of the decade.

Images via Vogue — Condé Nast Archive

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No ’90s collection shocked and delighted the fashion world quite like Gianni Versace’s 1992 BDSM-inspired collection. Models sported military and utility wear with leather, chains and straps intricately wrapping around their bodies. Gold accents shone against the black leather, the predominant textile in the collection.

The sexually explicit nature of the collection was polarizing to some critics, but the collection has lived on in infamy. Decades later, pieces are still being pulled from the archives for celebrities including Naomi Campbell, Kim Kardashian, and Kaia Gerber to wear on the red carpet. Christy Turlington modeled one of the most famous looks — an evening gown featuring bondage-inspired straps and adorned with layered gold necklaces –– which met the public eye again when Dua Lipa wore it to the Grammy Awards this year.

Thierry Mugler FW 1995 It’s impossible to talk about boundary-breaking collections without mentioning Thierry Mugler's 1995 Haute Couture show. Dubbed “the Woodstock of Fashion,” Mugler’s legendary collection can only be described as otherworldly. Each of the 300 pieces was extravagant: dramatic silhouettes, exaggerated bodily proportions, hats of all sizes at sharp angles, and feathers, jewels and patent leather. The show opened with a series of skirt suits in black and white, but things quickly took a turn for the flamboyant. Models paraded in large fur capes with brightly colored linings, swaths of leopard print fabric that fanned out like peacock feathers, and ensembles dripping with pearls. One model wore a gargantuan wreath of ruby

red feathers around her jeweled evening gown. Another sported a bodysuit resembling a cyborg.

Picking the most memorable look out of the lineup is a formidable challenge, but one in particular stands out: The Birth of Venus Ensemble. It’s a black and pink satin skirt that fans out to look like a clamshell, revealing a model outfitted in a pearlescent bodysuit and gloves. It recently got a second showing on the red carpet when Cardi B wore it to the Grammys in 2019.

Images via Vogue — Condé Nast Archive June 2022 41

The

tors: Lisa Vicini, Photoshoot Direc Wyatt Morris yatt Morris Photographer: W

Red Carpet Comeback

Remember when Ashley Tisdale wore a skirt over jeans on the red carpet? How abo ut Britney’s denim gown? We decided to reimagine the classic Y2K red carpet look s and bring them back in a new light.

Designed by: Meher Yeda

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Models: Colin Brennan, Josely n Council, Sarika Rao, Yamini Ulaganathan Model Relatio ns: Laila Simon e Robinson

Stylists: Ilise Angel, z, Anthony Barba-Pere Amina Elmasry

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Doja Cat doesn’t know how to “celebritate.”

In a TikTok video for her 23.4 million followers, the pop sensation mentioned that her fans often forget she’s a celebrity, commenting “you’re so unapologetically you, queen.” At the end of the video, Doja Cat jokingly asks what she can do to be a better celebrity.

“I’m concerned,” she chuckles. “I feel like I’m doing my job wrong.”

She may really be doing it best.

The lifeblood of celebrity culture are parasocial relationships: onesided connections with media personalities in which the consumer expends all of the emotional energy, time and care. These “relationships” often form subconsciously, a product of the celebrity’s hypervisibility. Often, they are stimulated by a fictional connection, like something about the celebrity that reminds the user of themself or the influence that a particular role, speech or song has on their everyday life.

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The vast majority of Doja Cat’s TikTok videos are completely candid, often shot from the celebrity’s bed or couch sans makeup. She does goofy dances, tells jokes and participates in popular TikTok trends.

By straddling the line between glamor and mundanity, mystique and familiarity, stars like Doja Cat keep fans not only close, but

adoring. Supermodel Bella Hadid sometimes wears Zara, and it-boy Timothee Chalamet can be spotted riding his bike through New York City’s West Village like any average NYU student.

Doja Cat herself may be adorned in a diamond-clad, custom Versace gown at the 2022 Grammys, but her comments before accepting the award for “Best Pop Duo

Performance” proved she still has to pee like the rest of us.

These celebrities know you, it feels, almost as well as you know them. After all, they thank you for your support, love you for your loyalty and recommend a cool, new product that’s going to be perfect for you. This misconceived recognition and hyper-emphasis on relatability adds another dimension to the parasocial relationship: the attachment between celebrities and their followers is thought to operate within the same guidelines of mutual respect and genuine connection that reallife relationships do.

Take the Jordyn Woods and Tristan Thompson scandal.

Thompson was in a relationship with Khloe Kardashian at the time, and the couple had a baby together the year prior.

Woods was best friends with Kylie Jenner, Khloe’s younger sister.

Woods and Thompson’s kiss at a nightclub in 2019 propagated a fervor among Jenner-Jordyn bestie fanatics, who felt all the betrayal, sadness and regret elicited by the situation as if directly involved themselves. As the public hurled hate comments like rotten tomatoes with a

readiness recognizable as misogynoir, Wood’s image transformed into that of the backstabbing, jealous friend. She had not only wronged Kylie, but the duo’s millions of fans, too. Jenner and Woods, once lauded by the media as emblems of true friendship, found themselves at the center of the public’s personal negotiations with loyalty, forgiveness and treachery, judged by the masses as the moral authorities they never claimed to be.

The nature of these parasocial ties can have serious ramifications. In the wake of the Astroworld tragedy, many critics of celebrity culture recognized the disaster as a direct product of the parasocial zeitgeist. Travis Scott has a history of sparking concert chaos, making callous commands from the stage like a despotic puppeteer

with indifference towards the safety of his devotees.

Despite numerous chants from the audience to stop the show at Astrofest 2021, Scott continued to perform as the swarms of people gave way under the pressure of their own bodies. Meanwhile, Houston City Officials decided not to immediately halt the show

for concern that a riot would ensue, a fear legitimized by several concert-safety consultants knowing the extremes fans will go to for their heroes.

In reaction to the Astroworld news, TikTok user @kingsnacks posted a video saying,

“

I don’t know who needs to hear this, but your favorite rapper, favorite actor, favorite singer, favorite TikToker, favorite Instagram influencer does not love you.

"

At their most alarming level, parasocial relationships breed celebrity worship and idolatry. “The sooner you realize that,” @kingsnacks continues, “the sooner you will also realize that you do not love them.”

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