Winter 2024 Issue

6 What We're Loving

Members of STITCH share their current favorites, from clothing and accessories to fragrance and beauty.

10

Fashion's cyclical trends seem to repeat every ten years. Here's why 2014 aesthetics are trending.

26

Read about Switzerland's influence on Bollywood films, and vice versa.

Here’s how Northwestern students across a range of spiritual identities are using fashion to represent themselves.

One STITCH staff member explores how their mother continues to serve as their style inspiration.

TKT

EDITOR-IN-CHIEF

Molly Van Gorp

PRINT MANAGING EDITOR

Abigail Abdi

PRINT MANAGING EDITOR

Gabi Kuzer

DIGITAL MANAGING EDITOR

Alea Wilkins

SOCIAL MEDIA EDITOR

Paola Hernandez

PUBLIC RELATIONS DIRECTOR

Anna Souter

PHOTO DIRECTOR

Julia Nichols

EDITOR-IN-CHIEF

Carly Witteman

PRINT CREATIVE DIRECTOR

Elias Xiwei Fan

STYLING DIRECTOR

Shelly Rood

DIGITAL MANAGING EDITOR

Lauren Cohn

DIGITAL MANAGING EDITOR

Austin Kim

MULTIMEDIA EDITOR

Anoushka Dasgupta

BUSINESS DIRECTOR

Annika Srivastava

BUSINESS TEAM

Laila-Aicha Adouim, Marlene Alanis, Tess Berkowitz, Raya Bryant-Young, Gabriella Burgos, Jillian Canning, Grace Chang, Mikayla Goldsmith, Allison Gould, Marin Holtrop, Mia Jeremiah, Rachel Kim, Ela Kopmaz, Julia Lehr, Ava Levinson, Eric Lin, Geovanni Lopez, Hamnah Malik, Ismael Perez, Mia Rhee, Emma Salem, Julianna Tia, Adam Valiji

DESIGN TEAM

Jessica Chen, Amira Dossani, Sarah Han, Ryan Murphy

EDITORIAL TEAM

Julia Benkendorf, Sarah Campbell, Divya Chandrasekaran, Audrey Clarendon, Alani Cox-Caceres, Haben Fessehazion, Justine Fisher, Jade Garcia, Nyla Gilstrap, Augustus Glick, Isa Grau, Meredith Greenberg, Jaida Hill, Shreeya Iyer, Claudia Johnson, Hyouji Joo, Marija Jovic, Ashley Kim, Allison Kim, Maya Krainc, Stephania Kontopanos, Emily Lichty, Kelly Luo, Zuzu Maltarich, Amelia Mastin, Jamie Neiberg, Anjola Olawoye, Elena Scott, Gabriella Shell, Dayeon Son, Rahib Taher, Matthew Tuhey, Jerry Wu

MULTIMEDIA TEAM

Lianna Amoruso, Sama Ben Amer, Emiliana Betancourt, Emma Brown, Colleen Charchut, Branden Chen, Chloe Coenraets, Key Fils, Alexander Hernandez Gonzalez, Rose Kanaley, Jeremy Lee, Madison Morgan, Luna Xu

PHOTOGRAPHY TEAM

Melanie Ahn, Devon Carlson, Keya Chaudhuri, Alessandra Esquivel, Divya Gupta, Joanne Haner, Jillian Moore, Julia Nichols, Libby Raymond, Winnie Wang

STYLING TEAM

Luluh Abathra, Anthony Barba-Perez, Eloise Brotzman, Stacy Caeiro, Camille Carey, Katie Chang, Leila Chavez, Olivia Heimann, Grace Jordan-Weinstein, Hyunbin Lee, Michael Mattews, Tosin Okoh, Maira Walker, Henry Winkelman

letter from the editors

Since its founding in 2006, STITCH Magazine has been at the forefront of exploring the multifaceted nature of fashion as a conduit for personal expression and cultural dialogue. With the release of our Winter 2024 Issue, we embark on a journey not taken since Winter 2016: replacing a singular thematic focus in favor of a broad spectrum of narratives that mirror the dynamic landscape of fashion today. This approach is born from our desire to offer the editorial and creative teams the utmost creative freedom to explore anything and everything. The result is a celebration of the diversity and richness of fashion as experienced during the winter of 2024, crafted to serve as a transportive time capsule of current culture.

This issue—titled simply “Winter 2024 Issue”—reflects a breadth of articles and photoshoots that traverse a wide array of topics, from the spiritual and cultural significance of fashion to personal narratives of style and identity.

“Spirituality & Style: A Tapestry of Identity” delves into how Northwestern students utilize fashion as a medium to express their spiritual beliefs by highlighting the interplay between fashion and personal identity. “Sarees in Switzerland: Cultural Threads in Unlikely Places” illustrates the global impact of Bollywood cinema on fashion, while “What Year is it Again?” offers a retrospective glance at the cyclical nature of fashion, showcasing the resurgence of early 2010s aesthetics and the anticipation of upcoming trends that redefine contemporary style.

“Like Mother, Like Daughter: The Bonds of Fashion” presents a heartfelt narrative on the influence of maternal relationships on fashion choices. “The Evolution of Corporate Couture” examines the shifting norms of workplace attire—from formal dress codes to the contemporary embrace of casual, expressive fashion in the corporate sphere. Finally, “Why Does Pink Have So Much Baggage?” navigates the complex cultural and emotional associations tied to, what is arguably the color of ‘23/24, pink. Why and how did pink transition from a symbol of masculinity to one of feminine empowerment and dissent, the latter of which is perfectly encapsulated by the Barbie movie?

On the creative side of this issue are two photoshoots. The first is inspired by the audacious spirit of Mugler and Balenciaga, think sharp silhouettes and futuristic aesthetics. The second captures the preppy ruggedness that transpires when sports meet vintage fashion, and more specifically, when they meet at North Beach and the Deering Gardens. As we present this issue, we eagerly anticipate sharing this exploratory journey with our readers, celebrating the stories, trends, and cultural moments that shape our understanding of fashion today. Here’s to the Winter 2024 Issue—a testament to the creativity, diversity, and dynamism that fashion continues to embody.

Members of STITCH staff share their current favorites.

Fragrance! I cycle between three perfumes at the moment, and Nightclubbing by Celine is one of them. It's important to smell nice, but I also love the scents that don't make sense. Nightclubbing smells like burnt cigarettes in a sweaty European nightclub, which is honestly so disgusting, but I can't get enough of it. I really wonder what it smells like to people who don't know the co exciting to be mysterious, right?

Austin Kim, Digital Managing Editor

Summer Fridays

Lip Butter Balm! It's super moisturizing, smells fantastic, and all of the colors look so good on every skin tone! I'm obsessed with mine and use it every day!

Gabi Kurzer, Print Managing Editor

Alexander Hernandez Gonzalez, Multimedia Team

My loafers. I’ve been wearing them nonstop, and they’ve become such a staple in my wardrobe. They’re functional, cute and slightly dressier than my Uggs and Birkenstocks that I’m known for wearing.

Julia Nichols, Photo Director

“Masters of The Air,” a series on Apple TV. Callum Turner! Austin Butler! Shearling jackets and classic menswear!

Grace Jordan-Weinstein, Styling Team

Baseball caps (specifically paired with over the ear headphones and/or a hoodie). They are masculine and feminine at the same time and are so flattering, they just complete an outfit! Very nonchalant, casual cool vibe. A pair of over the ear headphones on top of a cap seals the deal. I also love the way they look with short hair and they’re super convenient for bad hair days.

Keya Chaudhuri, Photography Team

"Dang" by Caroline Polachek. I can't lie and say that I completely understood this song the day it dropped, but since its release last October, my third-eye has opened to the lusciously chaotic neural stimuli that is "Dang." And the single cover art, a high-contrast shot of Polachek dipping her hand—painted as a swan—into a wine glass, is an artist's wet dream.

Alea Wilkins, Digital Managing Editor

Glasses! They are so cute, and not just for the visually impaired! They are such a nice way to accessorize!

Tosin Okoh, Styling Team

The Evolution of Corporate Couture

By Sarah Campbell

The world of corporate fashion, excluding situations where employees interact with clients, has transitioned from entirely professional to more casual over the years. This is mainly because of both the change in female stereotypes and the pandemic. In the past women had to wear dresses, nylons, skirts with a suit jacket and, of course, heels.

Women in the workplace had to be fully professional during all hours of the workday. Now, everyone in the corporate world can be casual. Sneakers, jeans and nice sweaters are the primary dress codes of today. I spoke with the secretaries of a local law firm who have experienced these changes first-hand. Gina Wilkinson has worked as a secretary in the same law firm for over 45 years. “You know, you had to be very professional,” she says. “And then we shifted a little where we were able to wear pants.”

But one thing in corporate fashion that has always stayed the same is the right shoe, especially in a city like Chicago where the weather is not always kind. People don’t want to wear heels in the snow! So, whether it was a drawer of heels or, in more current times, a drawer of sneakers, flats, heels, boots, and even sandals, the secretaries of the law firm are prepared to match any outfit and conquer any weather. Which shoes to wear has always been something that people think about in the office, but what about the rest of the outfit?

Cindy Crawford for Ralph Lauren, 1991

When the dress codes of the corporate world were stricter, it was easy to know what to wear to work because there were many fewer options. But now with such a casual dress code it can be really easy to lose your desire to dress up for the day and sense of fashion, especially if no one is going to be in the office that day. Also, after working in a place with such a strict dress code, it can feel strange to dress casually. “I wore one sweatshirt one day because I knew when nobody was here,” said Patricia Sanchez, also known as Pat to her friends in the office.

However, I believe that the casual dress code should be seen as something that unlocks your sense of fashion in the corporate world. It allows you to experiment more and express yourself in the office in ways you haven’t been able to before. I also believe that clothes have an enormous impact on your mood and performance throughout the day. When you feel your best, you perform your best. You are more confident and will be more open to suggestions and ideas. So, now that you can wear (almost) whatever you want, accessorize more, find new ways to layer what you already have in your closet, find new ways to do your hair, find different shapes in your clothes, different textures, different colors. Let your imagination run wild. Corporate wear can be comfortable, fashionable and a way to express your sense of style. And always remember to keep a drawer full of your favorite shoes, so no matter what you decide to wear or what the weather turns into, you’ll be prepared.

Pictured left to right: Katherine Campbell, Patricia Sanchez, Gina Wilkinson, Natasha Johnson

What Year is it Again?

By Jade Garcia

Imagine you’re back in 2014–even if you don’t want to be. Tumblr is peaking in popularity, Beyoncé and Jay-Z are performing their On the Run Tour, 5 Seconds of Summer just released their first album and boxy, bright, cropped tees fill the racks at every store. When people think of the fashion of the early 2010s, they cringe a bit. But no matter how much we try to deny it, fashion is cyclical, and all once-trendy clothes are destined to come back into style eventually.

The trend cycle is a phenomenon that was originally thought to occur every 20 to 30 years, but sources like Vogue and Harper’s Bazaar say it’s now closer to 10 years.

The rise of social media, especially TikTok, are likely responsible for trends cycling through more quickly than before. The promotion of trends on social media has influenced the rise of fast fashion companies.

The style of the mid-2010s was deemed the resurgence of 90s style due to its emphasis on basics, and, according to Refinery 29, its prioritization of comfort and practicality instead of an eye-catching design. Even some of the grunge styles of 2014 Tumblr reflected the simple, yet well-assembled ensembles of the 90s.

”Tumblr Aesthetic of 2014”

”Grunge girls of the 90s”

The latter half of 2023 popularized “quiet luxury,” a movement focused on elevated elegance and a lack of visible branding. This minimalistic trend called back to the style of the 90s–which was so 2014. Neutral-colored workwear and trenchcoats flooded designer shelves. Jeans, a turtleneck and a blazer became the outfit of choice, similar to the 90s model-off-duty look. Mary Kate and Ashley Olsen’s clothing brand, The Row, gained popularity and is often referred to as best epitomizing the trend. But quiet luxury and the “clean girl” trend may be moving on and paving the way for something else entirely.

One of the most anticipated trends of 2024 is the “mob wife” aesthetic, even mentioned in a post on Bratz’s Instagram. The trend is characterized by giant faux fur coats, big hair, long nails, chunky gold jewelry, animal print, black leather, overthe-top eye makeup and slinky, silky gowns. While this trend is only projected to last the winter, it has taken social media by storm. Fur, both faux and real, hasn’t been this popular in years; many luxury brands announced their intention to phase out fur products in the late 2010s. However, faux fur peaked in popularity in the fall of 2014. Bold, bright fur coats were juxtaposed by shaggy black and neutral coats on runways in an effort to convince consumers faux fur was fresh.

Dua Lipa

Paul Smith Fall/Winter 2014

Another trend that has risen in popularity since late 2023 is the coquette aesthetic. This trend has only one rule: put a bow on everything. And I mean, everything. Delicate tights lined with bows, hair ribbons, ballet flats and Mary Janes with ruffleedged socks, florals and puffy dresses define this trend. For a while, coquette was so popular that it was impossible to find a pair of Sandy Liang’s iconic satin Mary Jane pointe shoes. Liang’s Fall/Winter 2023 collection was called a mix between “balletcore” and“pageantcore.” Her Spring/Summer 2024 collection had a similar hyper-femininity to it, playing with bows, tulle, rosettes and ruffles. While vastly popular now thanks to TikTok and designers like Liang, the coquette style played a more subtle role in the early 2010s. Tumblr users obsessed with Lana Del Rey, Marie Antoinette, antique furniture, floral bedding and pink walls took their coquette inspiration from the Japanese lolita aesthetic and rebranded into a new form of feminine fashion. This trend is perfect for anyone hoping to embrace their delicate side.

Sandy Liang Spring/Summer 2024 Collection

Tumblr was the original trend-defining platform, and 2010 Tumblr showcased a grunge aesthetic that would remain in the back of people’s minds for years to come. Tights under shorts (bonus points if they’re fishnets), studded boots, and multiple layers of jackets set this hipster trend apart from the other variations of Tumblr style. Guys rocked fedoras and deep v-neck tees.When I think of indie sleaze, I picture Effy from Skins and a messy, smudged eye look.

Celine’s Spring/Summer

2023 Menswear Collection perfectly encapsulated the messy, rockstar-infused, hippie look that indie sleaze so desperately pleaded to be. Although indie sleaze has been teasing its way back into the mainstream since 2022, 2024 is the year it’s expected to come back. It just may be the year of maximalism in fashion (again).

DSQUARED2 Fall/Winter 2023

In 2014, I had just turned 10 years old and began picking out my own clothes. I fell victim to the more quirky trends of that year, like fake mustaches and dogs-withglasses graphic tees, rather than the more high fashion ones. Is Gen Z too young to have experienced the trends of the early 2010s? Even so, I guess now we can say it’s better late than never.

Celine Spring/Summer 2023Courtesy of @dear.mathilda on Instagram

Future:

technological, liquid, desire, danger, transcendence

Creative Director: Elias Xiwei Fan

Styling Director: Shelly Rood

Kelner

Photographer: Alessandra Esquivel

Stylist: Grace JordanWeinstein

Makeup Artist: Tiger Lee

Models: Jade Garcia, Keya Soni Chaudhuri, & Michael Hernandez-Thomas

Sarees in Switzerland

AND WHAT WE CAN LEARN FROM THEM

By Shreeya Iyer

Somewhere along the two-hour ride on the Swiss Golden Pass Railway from Lucerne to Interlaken, the sun disappeared behind the clouds and raindrops began pelting the windows. They complemented the crash of the waterfalls surrounding us as my dad insisted that Lonavala during the monsoon season looked exactly like Switzerland.

My mother, peering out through the window, yearned for the samosa-chai comfort meal of Mumbai rains (I say my mother, but rest assured I was thinking it too) and lo and behold, it was almost like she spoke it into existence: engulfed by the crisp chill of the mountainous air as we deboarded the train, the first thing within eyesight was an advertisement written in Hinglish, for a certain Sharma ji’s samosas, sold at the train station. So good, apparently, that eating them would make you orgasm (their words, not mine).

Sharma-ji’s samosas – something that would be an uninteresting and commonplace sighting in India – made for a certainly unusual first sight in Switzerland, and perhaps serves as a testament to the sheer degree of influence the Hindi film industry exerts worldwide. The blend of cultures is an interesting thing to observe, but even more so in the typically homogenous places you wouldn’t expect to observe this syncretism.

The Swiss scene is actually a universal hallmark of traditional Bollywood cinema. Something about a heroine twirling around in a striking monochrome saree amidst the backdrop of the Alps is a cultural stronghold that unites generations of South Asians – be it Kajol expressing her love in a state of inebriation to Shah Rukh Khan in Dilwale Dulhania Le Jayenge, or Sridevi falling in love with Rishi Kapoor in Chandni. Bollywood Swiss scenes are guided only by a vague template; aside from a heroine frolicking in the lush greenery (or snow), no other detail must strictly repeat through different films (aside from being in Switzerland, of course). Oftentimes, however, these scenes are dance sequences that don’t particularly make chronological or geographic sense to the film they’re in, but they serve as a brief Eden-like escape from the norm and thus are intrinsic to popular cinema culture in India. And so, if you ask almost any South Asian, they’ll be able to tell you that the color of Kajol’s dress in this song is red and that Sridevi’s iconic chiffon saree is a sunshine shade of yellow – outfits that both heroines don in Gstaad, Lake Lauenen and Jungfraujoch, the iconic alpine towns of Switzerland.

Hindi cinema has such a strong hold on Indian tourists that thousands flock to Switzerland’s Mount Titlis to recreate their own Raj and Simran moments from Dilwale Dulhania Le Jayenge while sipping garam masala chai with vada pav to sustain their extensive photo-ops amidst the mountainous chill, and in response to their enthusiasm, the city of Interlaken awarded filmmaker Yash Chopra with a statue along with the title of Ambassador. A symbiotic relationship, then, that cannot be mistaken for otherwise.

Aside from the beauty of this cultural diffusion, the Swiss scene holds several lessons we can apply in our own lives –especially those of us gearing up for a Chicago winter. Just hear me out.

For the target audience of these films, the sudden shift in atmosphere can be chalked up to a director’s decision to create a fascination with the foreign; to glamorize all that’s not quotidian in an effort to allow viewers to escape their reality of monsoons, humidity, and egregiously hot temperatures. For members of the Western diaspora (or anyone living in the West, really) who are far more accustomed to beds of snow and ice lurking in the shadows, the magic of these musical sequences juxtaposed with what is often considered as “bad” weather is representative of a grass-is-greener syndrome that must be consciously challenged. Both parties fall victim to it; just as India has a fascination with the cold and fair, there’s a Western draw to warmth and tans.

But, viewing the Swiss sequence as a member of the non-target audience can serve as a reminder to find the beauty in what we are quick to write off. Wherein several Western audience members see desolation in snow and frigid temperatures, South Asian audience members perceive allure, entranced by the beauty of the unfamiliar environment. Especially now, as midwesterners prepare for the notorious Chicago winter, it’s almost a constant struggle to balance warmth and aesthetics (of course it comes back to wardrobe –this is a fashion magazine after all), and I find myself unable to shirk the unease at surrendering style for an unlikable forecast. Shattering this mentality is crucial.

The simplicity of these outfits adds a deeper layer to this lesson. Oftentimes, the chiffon sarees (or dresses) these actresses don are just one color with a simple blouse– no patterning or adventurous, decollete necklines. The energy that exudes from the garment is highlighted through this simplicity - think of the joy that accompanies a sunny winter’s day. It doesn’t take much to romanticize what you’re not currently experiencing – hence our desperate calls for the summer heat (albeit just as excruciating) amidst sub-zero temperatures, or vice versa. The simplicity of these outfits speaks to how little it takes for us to glamorize what we don’t experience. So why can’t we draw inspiration from Yash Chopra films and create our very own personal dream sequence? The monochrome sarees and simple blouses should inspire our own simple endeavors to foster optimism during dreary periods; it doesn’t need to be elaborate or flamboyant. Now, I refuse to say that blah days aren’t inevitable (I’ve donned sweatpants far more times that I’m willing to admit – this is a quarter system school after all), but a conscious effort to bring out the cheerier pieces infuses an energy that often ceases to exist amidst the perceived dreariness of our surroundings.

On a personal level, I can say that the brighter pieces in my closet make their most appearances during the winter (perhaps in an effort to tap into my inner Sridevi or Kajol), and I’ve absolutely observed the positive effect this has not only on my mood, but my productivity as well.

Although my teeth chattered as I trekked Interlaken’s uphill, undulating, alpine pathways, not a complaint escaped me about the arduousness of the climb. I was imagining myself running up the hill as Simran (Raj on the other side, ideally) and if I did it in Switzerland, I should do it in Evanston as well (and so should you).

SPIRITUALITY & STYLE

B Y S T

E P

H

A

N I E K O N T O P A N O S

F r o m g o o d - l u c k c h a r m s t o h i j a b s t o c r y s t a l s , t h e c l o t h i n g a n d

a c c e s s o r i e s w e w e a r c a n r e f l e c t o u r r e l i g i o u s a n d s p i r i t u a l i d e n t i t i e s

a n d e x p e r i e n c e s . H e r e ’ s h o w N o r t h w e s t e r n s t u d e n t s a c r o s s a r a n g e o f s p i r i t u a l i d e n t i t i e s a r e u s i n g f a s h i o n t o r e p r e s e n t t h e m s e l v e s .

ALIYAH MOAD

H I J A B

D u r i n g h e r f r e s h m a n y e a r o f c o l l e g e , s o p h o m o r e A l i y a h M o a d d e c i d e d t o s t a r t w e a r i n g a h i j a b . H i j a b s a r e a t y p e o f h e a d c o v e r i n g t h a t M u s l i m w o m e n m a y c h o o s e t o w e a r . I t ’ s r e l i g i o u s s i g n i f i c a n c e i n I s l a m i s o u t l i n e d i n t h e Q u r a n “ I t d e r i v e s f r o m a v e r s e t h a t t e l l s w o m e n t o d r a w t h e i r v e i l s o v e r t h e i r c h e s t s a n d t h e i r h a i r , i m p l i c i t l y , ” s h e s a i d . “ I t ’ s r e l a t e d t o m o d e s t y . ” F o r M o a d , i t ’ s a w a y o f r e m i n d i n g h e r o f h e r r e l a t i o n s h i p w i t h G o d a n d I s l a m i c v a l u e s . “ I s l a m i s a b o u t s u b m i s s i o n t o G o d . T h a t ’ s w h a t t h e w o r d m e a n s i n A r a b i c . ” M o a d s a i d . “ A n y f o r m o f p r a c t i c e w e a r i n g a h i j a b i s a t y p e o f s u b m i s s i o n t o G o d . I t h e l p s m e b e a b e t t e r p e r s o n . I ’ m m o r e c o n s c i o u s o f h o w I a c t , a n d I ’ m a b l e t o b e m o r e o f t h e p e r s o n I w a n t t o b e . ”

M o a d ’ s m o t h e r d e c i d e d t o w e a r a h i j a b w h e n s h e c a m e t o t h e U n i t e d S t a t e s t o g e t h e r M a s t e r ’ s a s a n a d u l t , a n d f a c e d s o m e j u d g m e n t f r o m p e e r s . “ A f t e r s h e s t a r t e d w e a r i n g a h i j a b , a l o t o f t h e o t h e r s t u d e n t s w o u l d l o o k d o w n o n h e r a s t h o u g h s h e w a s l e s s i n t e l l i g e n t . T h e p e r c e p t i o n i s o f a d o c i l e , d o o r m a t w o m a n s o m e o n e w h o h a s i n t e r n a l i z e d m i s o g y n y o n a d e e p l e v e l , ” s h e s a i d . “ W o m e n m a k i n g a c h o i c e w i l l a l w a y s l o o k a c e r t a i n w a y . ”

M o a d h a s r e c e i v e d r e l a t i v e l y m o r e a c c e p t a n c e a r o u n d w e a r i n g a h i j a b b u t s t i l l e x p e r i e n c e s s o m e i g n o r a n c e .

“ S o m e o n e w a s e x p r e s s i n g c o n c e r n a b o u t m e b e i n g t r a p p e d i n s o m e w a y . I k n o w t h e y ’ r e c o m i n g f r o m a g o o d p l a c e . F o r t h e r e c o r d , I ’ m n o t t r a p p e d . ”

U l t i m a t e l y , h o w e v e r , M o a d ’ s c h o i c e t o w e a r a h i j a b i s u n i q u e l y h e r s .

“ I c a n o n l y s p e a k f o r m y s e l f b e c a u s e i t ’ s d i f f e r e n t f o r a l o t o f p e o p l e , ” s h e s a i d . “ B e i n g a m i n o r i t y r e l i g i o n i n t h e

U S , I w a n t p e o p l e t o k n o w t h a t I ’ m M u s l i m . ”

KATIE MUMFORD

K A N D I B R A C E L E T S

T h e E D M e l e c t r o n i c d a n c e m u s i c s c e n e m a y n o t s e e m l i k e t h e e p i t o m e o f s p i r i t u a l i t y , b u t i t i s f o r s e n i o r K a t i e M u m f o r d .

“ I g o t o c o n c e r t s t h a t a r e g e a r e d t o w a r d s t h e s p i r i t u a l s i d e a p l a c e w h e r e I ’ m l i s t e n i n g t o m u s i c a n d d a n c i n g r e a l l y f r e e l y . ”

T h e s p i r i t u a l i t y o f t h e r a v e s c e n e c a n b e s u m m a r i z e d i n o n e p h r a s e : P L U R , w h i c h s t a n d s f o r p e a c e , l o v e , u n i t y , a n d r e s p e c t . “ P e o p l e g o t o t h e s e t h i n g s w i t h t h e i n t e n t i o n o f m a k i n g s a f e s p a c e s , e x p r e s s i n g g r a t i t u d e a n d b e i n g p r e s e n t , ” M u m f o r d s a i d . “ I t l e a n s i n t o a l o t o f g e n e r a l s p i r i t u a l p r a c t i c e s . ” T h e v a l u e s o f P L U R c r o s s i n t o t h e E D M s c e n e t h r o u g h t h e t r a d i t i o n o f t r a d i n g K a n d i b r a c e l e t s a t c o n c e r t s , w h i c h a r e t y p i c a l l y h a n d m a d e w i t h l e t t e r e d b e a d s t h a t s p e l l o u t a p h r a s e r e l a t e d t o t h e c o n c e r t . M u m f o r d h a s b e e n a b l e t o p a r t a k e i n t h e t r a d i n g o f b r a c e l e t s , w h i c h i s a l w a y s o p t i o n a l . “ I t ' s a b o u t b e i n g c o n n e c t e d w i t h o n e a n o t h e r P r a c t i c i n g g r a t i t u d e , ” M u m f o r d s a i d . “ I t b e c a m e a r e a l l y b e a u t i f u l l i t t l e e x p e r i e n c e w i t h a s t r a n g e r t h a t I h a v e n ' t b e e n a b l e t o f i n d a n y w h e r e e l s e i n m y l i f e . I n r a v e c u l t u r e , t h e f i r s t K a n d i b r a c e l e t a p e r s o n r e c e i v e s t e n d s t o b e t h e m o s t s p e c i a l . O f t e n , i f s o m e o n e a t t e n d s a n e v e n t w i t h o u t a n y b r a c e l e t s , s o m e o n e w i l l g i v e t h e m o n e t o w e a r w i t h o u t t r a d i n g . M u m f o r d v i v i d l y r e m e m b e r s r e c e i v i n g h e r f i r s t b r a c e l e t a t t h e f i r s t E D M c o n c e r t s h e w e n t t o .

“ T h e s e r a n d o m s t r a n g e r s s a w t h a t I w a s r e a l l y v i b i n g t o t h e m u s i c . W e a l l s t a r t e d j u s t d a n c i n g t o g e t h e r , ” M u m f o r d s a i d . “ T h e y w e r e g i v i n g m e a b r a c e l e t a n d I w a s l i k e , ‘ n o , I d o n ’ t h a v e a n y . ’ T h e y w e r e j u s t s a y i n g

P L U R . ”

W h i l e K a n d i b r a c e l e t s h a v e b e e n a r o u n d s i n c e t h e 9 0 s , a s i m i l a r t r e n d e m e r g e d d u r i n g T a y l o r S w i f t ’ s E r a s t o u r i n w h i c h c o n c e r t g o e r s t r a d e d b e a d e d b r a c e l e t s w i t h s o n g t i t l e s o r r e f e r e n c e s o n t h e m . M u m f o r d b e l i e v e s t h a t t h e w a y b r a c e l e t t r a d i n g s p r e a d t o S w i f t i e s r e f l e c t s i t s s p i r i t u a l i t y .

“ I ' m g l a d t h a t t h e y ' r e a b l e t o g e t a t a s t e o f h o w b e a u t i f u l i t c a n b e t o g a t h e r w i t h s t r a n g e r s a n d e x c h a n g e a c c e s s o r i e s j u s t f o r t h e s a k e o f d o i n g i t , ” M u m f o r d s a i d . “ T h e r e ’ s s o m e t h i n g t o t h e t h e m e s o f k i n d n e s s t o s t r a n g e r s a n d h o w i t g o e s b e y o n d w h a t b e l i e f s s o m e o n e h a s ”

MARY ARMOSKA CRYSTAL JEWELRY

If you see junior Mary Armoska walking around campu s, you’ll likely also see her wearing a necklace wi th a tiny vial containing over 20 herbs, spices, flowers and crystals.

She bought it from TikTok creator @codythesoundheal er who intuitively curates the contents for each cu stomer. The one she has now, designed specifically for prot ection, is the third one she’s purchased.

“I had two before this and they each broke,” she sa id. “Some people believe that when a crystal breaks after you’ve been carrying it around for a long time, it’ s absorbed all the energy, or it means you’re growi ng rapidly.

Each item in the vial typically correlates to speci fic purposes. Fire agate is said to have a “groundi ng energy” and amazonite represents courage. Chamomile and lavende r are both associated with relaxation, while mugwor t helps “protect against harmful influences.”

Lately, however, Armoska tends to use her intuition more in choosing other crystals and jewelry, as op posed to their assigned associations. To her, they each have “their own vibe.”

“I used to keep track of what they are and what the y’re supposed to do,” she said. “Now, I don't care as much to research. If I choose you, that probably means you’ ll do something for me.”

Wearing crystal jewelry keeps Armoska aware of hers elf and in line with her spiritual values.

“It's about reminding myself about the energy that I'm trying to cultivate,” she said. “If I put it on , I'm in my spiritual baddie era. It makes me more conscious of myself, my thoughts, how I act in treating other p eople .”

Armoska’s understanding of the necklace’s spiritual properties relates to the butterfly effect: the id ea that small changes have the potential to shape larger life eve nts. The necklace’s energy guides small moments in her life that keep her protected.

“I consider it a reminder that I’m already protecte d,” she said. “I know things are working out the wa y they're supposed to, even if I can't see it.”

PAST :

aristocratic, nostalgic, sporty, mysterious, hereditary

Creative Director: Elias Xiwei Fan // Styling Director: Shelly Rood Kelner // Photographer: Keya Soni Chaudhuri // Stylists: Grace Jordan-Weinstein, Anthony Barba-Perez //

Makeup Artist: Mark Park // Models: James Baer, Helaina Harris, Olatunji Osho-Williams

How My Mom Shaped My Style

By Jamie Neiberg

The smell of freshly baked cookies wafts through ou r house every day during the summer. But even compared to her chocolate chip banana bread that me lts in my mouth every morning over breakfast, my mom tells me I am her sweetest concoction.

Like mother, like daughter: we do the New York Time s Crossword Puzzle together every evening and know the answers to all the same clues and we zone out a t the same time during TV shows and can’t remember how far to rewind. We laugh so hard we pee, and we pee so much our hands are often dry from having washed them too many times.

Her doe-eyes and her perfect lips are striking but soft. And her demeanor is quite the opposite. With a sharp brain and a raunchy spirit, she banters and c harms without even trying. And whenever someone meets the two of us together, my nickname instantly becomes Mini-Jill. We are the same, except for our style.

My mom grew up in Florida, so drop-off and pick-up at my progressive private school in downtown Manhattan wa s akin to school on Mars. Rather than rocking stilettos at 8am, my mom dripped herself in, not pearls, but sweatsuits. We had to write a sentence about our parents in kindergart en, mine, infused with shame, read, “sme moms war fanse clos but my mom wars swetpahnts.”

Despite her casual signature look, I’ve always been her American Girl Doll. From the Burberry bikini she ti ed onto me as a toddler to the hot pink cowboy boots she’d slip on my feet as though they were Cinderella’s slippers, she’d help me channel my funky, my fabulous and my fearless.

I’ve spent years compulsively wearing tutus and yea rs in blazers over Grateful Dead tees. Because, though my mom doesn’t dress up every day, her taste is impeccable . When she puts an outfit together, it is effortless, inte resting and original in a timeless way. And as a Jewish mother, her love language is caring for others. With me, that has ma nifested as indulging my shopping addiction.

At the beginning of high school, I began pulling aw ay from the bold garb I had so confidently sported my whole life. I stopped expressing myself and began t rying to impress other people. I began to emulate t he girls with boyfriends who wore Brandy Melville tees and Lululemon leggings; the girls I thought were magnetic who wore Pretties tank tops and baggy jean s. When I started drifting away from the polka dot collared shirts my mom would buy me, she never expr essed disdain. Instead, I came home from school one day to a pile of Brandy Melville clothing she bough t me, giving me permission to try assimilating.

She let me buy slip-style dresses I had seen on Pin terest and although she said they looked like nightgowns, she supported me. She stood by me throu gh my too-much-eyeliner 10th grade phase, and my dabbling in the Y2K craze. And when I was 12, we we re in Paris and she saw a Maje bomber jacket. She was years ahead of the trend and bought it, so I co uld wear it when I was in college. In high school, I didn’t wear it to school a single time. I was nervo us that it was too bold, too crazy.

Before high school, fashion was something fun that my mom and I would play with together. I would explore and experiment and always come back to her effortless style: sweatpants or jeans and a white t ee shirt (to her, the ultimate rizzing outfit).

Throughout high school, fashion became intertwined with status. And I thought if I dressed like other people, maybe people would think I was like them. I thought wearing the same brands as influencer-in-the-makin gRuby would make us seem interchangeable and showing got-this-on-depop-Ana that I knew the brand of her skirt could signal that I was worthy of being her f riend. And slowly, I began scouting friends concern ed with finding like-looking people rather than like-minded people.

When it came time for prom, my mom and I returned t o our roots and scoured vintage stores. We found a dress that looked like a Jackson Pollock in graysca le– it felt like me. But Ruby and Ana spent Spanish classes with me scouring TheRealReal searching for the perf ect vintage designer heels to match their moms’ des igner dresses from the 90s they would be donning. And as they doom scrolled, I felt doomed. I thought everyo ne would notice my not-gussied-up feet. And so, my mom found black and white Valentino heels on The Outne t, so I could dance the night away with logos on my fe et. I showed up, embellished. And as Journey played , I recognized so acutely that while the shoes I was wa lking in were mine, they weren’t me.

My mom has always given me all the tools to help me succeed. And I’m disappointed in myself that together we came to the conclusion that if she coul d help me look good, it would make me feel better t oo. That isn’t the type of person I want to be.

But, I haven’t been able to change overnight. In co llege now, I wear the Maje bomber jacket whenever t he weather permits. I have adopted more of her effortl ess vibe, in what I’ve coined as my personal aesthe tic for now: Snowboarder’s Girlfriend. And if a week is especially hard or I’m feeling extra down, I get a pitney notification. Sometimes it’s her mouth-water ing sweets, but most of the time it’s a red sheer sweater she dug out of her closet or a cheetah prin t slip she found on the internet.

My mom’s style is my pinnacle, she is my definition of beauty. And as we both grow up together, I hear her talking more and more about clothing not fittin g right, or not feeling confident wearing her favor ite tee shirts anymore because of how they hang. And to her, I say: I’ll always give you a bandaid, I’ll a lways find you a new white tee if it’ll help you get thro ugh the day with some extra pep in your step. But t he way a tee shirt fits or your choice of tee shirt is n’t why you’re beautiful or why you’re special– you ’re so much more than your clothes.

PINK WHY DOES HAVE SO MUCH BAGGAGE?

By Justine Fisher

No one has a neutral opinion on pink. Whether you think it symbolizes ditzy femininity or bold empowerment, the color doesn’t fail to bring up a variety of emotions and stereotypes.

While today it is most commonly seen as a “girl color,” this was not always the case. According to Brittanica, it represented masculinity and was marketed to little boys in the 1920s. However, in the 1940s, baby boomers became the first generation to instinctively wrap newborn baby girls in pink blankets, when blue became the boy color and pink became the girl color. Since then, the color has persisted in popular culture as a symbol of girlhood.

Chicago-based costume designer and educator Raquel Adorno says she loves using pink in her work because “it has so much baggage.” From its range from blush to neon, Adorno says, “It's a complex color that brings up so many emotions, associations, and even trauma.”

Northwestern junior Adrienne Scheide, who is known around campus as “pink beret girl,” works the lively color into her outfits every day. She says it represents joy in her life. “It's happy,” she added. “It makes me feel better.” Whether it’s used in personal style or costume design, pink is an impactful color with lots of potential. The recent blockbuster hits Barbie and Mean Girls showcase the power of pink, as their female leads embrace the bright color. From the iconic “On Wednesdays, we wear pink” line to Barbie World, filled with pink dream houses, fitted dresses, and high heels, they each represent pink in their own ways.

Though she loves both movies, Scheide says they used the color and extremely feminine aesthetics to represent two different messages. She recalls “the whole world celebrating femininity” when the Barbie movie came out. In a personal sense, Scheide also felt that as a really feminine person, she was seeing herself wellrepresented in a movie for the first time.

Similarly, Adorno said she sees a positive shift in how people view pink in the mainstream. “Pink has become a powerful color once again,” she said. “It has become a color of empowerment and dissent.”

On the other hand, Mean Girls had a slightly more mixed message. Scheide compared it to Wicked, where the Good Witch is always wearing pink, but she’s the bad guy. To Scheide, this shows the negative association in pop culture with the color pink. She viewed Mean Girls with a similar association, where the mean girls are the ones wearing pink. She said, “In a lot of ways, it's associated with not being intelligent or girl-bullying.”

Nonetheless, Scheide acknowledges that everyone reacts differently to the color and messages of both movies. Though she thought Barbie was an important film and Mean Girls offered an honest look into girlhood, she also thinks, “People will hate on women for anything.” The color pink included.

Pink is such a useful color in storytelling because it has a way of eliciting visceral responses from audiences. “People love or hate pink,” Adorno said. “And even if they don't think they love or hate it, the minute it comes into the conversation, people have very strong opinions.”