Summer Camp: Vol. 3 Issue 1

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Photographer: Abbi Roane Model: Acacia Wiley

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EXECUTIVE BOARD

HALEY NOBLE Editor in Chief

MADELYN OKRUHLIK Design Chief

ANNA KELLER Treasurer

MADISON BETTS Event Chief

ABBI ROANE Photography Chief

MOLLY TINKLE Assistant to Event Chief

ANNETTE GUERRA-ARMENDARIZ Assistant to Design Chief 03

GRETCHEN EVANS Online Editor

KRISTEN PHILLIPS Digital Media Chief

LINDSEY ROGERS Digital Story Content Chief

CECI VAIL Editor

SHELBY MUEHLSTEIN Videography Chief

FULL STAFF WRITING

Ashley Alvarado, Aubrey Matson, Bella Correa, Ceci Vail, Chloe Foster, Chloe Pham, Emma Ehle, Grace Kauderer, Haley Noble, Katie Clardy, Larissa Villegas, McKenna Madis, Zoey Frederick

PHOTOGRAPHY Abbi Roane, Angel Frando, Becca Cook, Cullen Powitzky, Esha Uddaraju, Kylie Dunlap, Linh Tran, Savannah Patterson, Sophia Howard

DESIGN Anna Keller, Annette Guerra-Armendariz, Jade Sung, Josh Carley, Madelyn Okruhlik, Sarah Szymeczek, Taylor Gustafson

SOCIAL MEDIA Emma McMinn, Ferrell Tugman Krisha Atreya, Kristen Phillips, Lauren Ercolani, Lindsey Rogers, London Marchman, Katie Ibanez, Marilyn Espinoza, Marlee Dockery, Mia Coppola, Sara Hartung, Sudiksha Pai

VIDEOGRAPHY Alexis Holt, Haley Cox, Shelby Muehlstein

MARY TRANTHAM President

EVENT Bethany Rogers, Cat Kim, Lynnzia Mitchell, Madison Betts, Molly Tinkle, Morgan Masso 04

LETTER FROM THE

president

Dear Reader, The transition into summer means two things in terms of this print issue: channeling one’s flamboyant side and soaking up the retro aesthetics of what we commonly think of when it comes to summer camp. This issue has pushed the boundaries of our magazine in an exciting and creative way. It will entrance you into a different world, much like summer camps have done for me.

The idea behind this pitch is to illustrate two definitions of “camp” and produce a creative overlap. Regarding the old-school side of summer camp this issue portrays, I am taken back to my childhood in which I was forced to step out of my comfort zone, whether it be through doing a zipline course, a rock-climbing activity, or even speaking in front of my fellow campers. This issue will seek to glamorize the nostalgia of summer adventures and I hope it excites you for the summer break. On the contrary, the other meaning of camp we are highlighting in this issue is that of seeking glamor in edgy, extravagant ways. A-Line Magazine, while young, has flourished in extraordinary ways much like the camp figures we feature in the following pages. From Marie Antoinette (p 41) to Wes Anderson (p 27), these icons have embodied what it means to be camp and ultimately stand out in the most outrageous way possible. Here at A-Line, our mission has always been to excel beyond social norms, so it is only fitting that we appreciate those who have paved the way for others to do the same. Each semester, we have acquired new faces, new creativity, and even new challenges. From writer’s block to lighting issues at photoshoots, our full staff has accepted these obstacles in pursuit of creative growth individually and collectively. As this semester comes to an end, we now turn our attention to the radiant summer months to come. As you read, seek inspiration in these summer articles for the long days basking in the sun in scandalous swimsuits (p 15) and navigating the summertime blues in relationships (p 49). I hope learning about camp figures provides you with the confidence to act and dress in ways that express who you are while captivating everyone around you. Regardless of whichever side of camp resonates with you the most, I hope you appreciate the effort put into this print issue by every single member of this brilliant staff. Thank you for supporting this unique idea of combining two ideas into one.

Happy camping,

Mary Trantham President ‘22

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LETTER FROM THE Dear reader,

editor in chief

It is a wonderful thing to find an outlet where one can express their creativity freely. A-Line Magazine has given myself and many others the opportunity to do so.

Blending the ideas of summer and camp seemed difficult at first, but I knew the issue we could create based off of them could be amazing. We all faced the challenge head on and I believe we were able to pull off something very special.

I hope this issue inspires you to find and get to know your inner child. The one who never entered the swimming pool by the steps. The one who looked forward to that special week in the summer that was full of friends and laughter.

The one who could stay up all night telling stories around a campfire roasting marshmallows. The one who always lived being completely and totally themselves.

I am proud of everyone who played a role in this issue.

Models, photographers, writers, and designers alike are all dear to me and I thank them all for their talent, their time and their dedication.

Enjoy the issue. I know we have enjoyed the process of creating it.

Cheers,

Haley Noble Editor in Chief ‘22

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IN THIS ISSUE

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VOL.3 ISSUE 1 Camp on Film

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Scandalous History of the Swimsuit

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Seen and Unseen

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The Fantastic Mr. Anderson

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A Barbie Girl: The Drag Queen who Brought Camp into the Drag World

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Queen of Versailles

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Summertime Sadness

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Fluid Gender Expression

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National Campthem

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writers models

EMMA ELHE DEAVEN LEE JO UNGER FERRELL TUGMAN JESSICA JAKUBIK DREW MARTIN photographer ABBI ROANE

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Camp: A term that conceptually and physically, epitomizes the idea of the immoderate in every

conceivable way. It is a love of the excessive, the grandeur, and the divergent; a way of seeing the world in terms of stylization and theatricality. It is an artform that begs to be seen by all, but only to be understood by those who know not to take it at face value. Simply put, Camp cannot be “simply put”.

While Camp is widely celebrated in the world of fashion for emphasizing extravagant styles, mock luxury, and a kitsch take on clothes, it is not as recognized for its prominence in the realm of film and cinematography. The concept of Camp in film is one that has existed for a very long time, stretching out and evolving over many eras of cinema, such as the rise of Hollywood, the Golden Era, the Avant-Garde of the 50’s, 60’s, & 70’s, the Dawn of modern film, and modern day film itself. From Victor Flemming’s 1939 masterpiece The Wizard of Oz, to the 90’s cult classic Death Becomes Her, the outrageous Camp aesthetic is one that continues to make its mark on the silver screen.

So, this begs the question: what makes a movie Camp? Is it ironically poor acting? An outmoded wardrobe? A gaudy over the top set? The answer to this is yes...and no. Films made with the intention of being Camp, in most cases, have completely and utterly missed the point.

Campy films are about the perversion of classic acting and the artifice of cinema, not about creating a film for the sole purpose of it being “Camp”. The list below explores four films that we believe, exemplify and embody what it means to be Camp. With deliciously heightened aspects of theatricality, dramatization, and flamboyance, these films are sure to leave you with a new appreciation of the comical, cringey, captivating world of Camp on film.

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The Rocky Horror Picture Show (1975) Directed by Jim Sharman Jim Sharman’s 1975 hit The Rocky Horror Picture Show has one of the largest international cult followings to date. Based on Richard O’brien’s 1973 stage production, The Rocky Horror Show, both the film and original production have cultivated a large fan base centralized around the idea of welcoming and embracing society’s outcasts and socially deviant. The film itself follows the satirical story of Brad Majors and Janet Weisse, a comically innocent couple that seeks refuge in a castle on a hill after they find themselves stranded in the middle of a thunderstorm. Upon entering the castle, the couple is quickly greeted by Riff Raff, Magenta, and the rest of the equally strange characters in “Transexual Transylvania’’, as they promptly perform a bizarre dance number to the show’s hit song “Time Warp”. While the entire production is bursting at the seams with eccentric characters and oddball subplots, the most definitively Camp part of The Rocky Horror Picture Show is Frank-N-Furter, a transvestite mad scientist who is working to scientifically create a “dream man” for fulfilling his sexual desires. Decked out in black leather, heels, pearls, fishnets, and a full face of makeup, Frank-N-Furter appears fully in drag to perform his song “Sweet Transvestite” for a horrified Brad and Janet. The character of Frank-N-Furter himself, as well as the entire production is something that is so bizarre, we can’t help but love it. Between the cast, plotline, and outrageous musical numbers, The Rocky Horror Picture Show perfectly challenges traditionality in a way that to this day, leaves viewers aching for the unorthodox.

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The Wizard of Oz (1939) Directed by Victor Flemming Victor Flemming’s 1939 film The Wizard of Oz has been played, produced, or referenced on just about every screen and stage in America. Starring the stunning young heroine of Hollywood’s Golden Era, Judy Garland takes on the role of Dorothy Gale, an orphaned Kansas farm girl who is caught in a tornado that magically transports her into the mystical world of Oz. The second that Dorothy steps out of her crumbling home and into Oz, she is greeted by a cascade of bizarre characters, including hundreds colorfully dressed munchkins and two perfectly juxtaposed witches; both equally as camp. Glinda the Good Witch, played by silent film star Billie Burke, stuns viewers in a massive pink tool grown and silver headdress; her entire costume glimmering from top to bottom with intricately placed crystals. In stark contrast to Burke’s angelic Glinda is Margaret Hamilton’s sadistic portrayal of the Wicked Witch of the West. While Hamilton’s character is most commonly characterized by her bright green skin, this is not necessarily what makes her Camp. The Wicked Witch of the West, in idea, appearance, personality, and genuine essence, is one of the most Camp parts of The Wizard of Oz. Between her spine-chilling shrieks, flying-monkey army, and wardrobe that practically mimics that of a child’s Halloween costume, Hamilton’s wicked witch is the perfect Camp adversary to JudyGarland’s demure take on Dorothy. Other generally campy aspects of The Wizard of Oz include the Emerald City in its entirety, the angry army of talking apple trees, and the brilliant red ruby slippers that accompany Dorothy throughout her entire magical journey.

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Death Becomes Her (1992) Directed by Robert Zemeckis Robert Zemeckis’ 1992 classic Death Becomes Her follows the horrifyingly comedic love triangle of characters Madeline Ashton, Helen Sharp, and Ernest Menville. Helen, played by Goldie Hawn, works as an aspiring writer who is engaged to talented plastic surgeon, Ernest Menville (played by Bruce Willis). Their marriage however, never actually occurs as the relationship is tragically sabotaged by Helen’s former friend and current rival, Broadway star Madeline Ashton, who is played by Meryl Streep. Seven years in the future, after a severe breakdown and time spent in a psychiatric hospital, Helen returns to seek revenge on the previously married, Madeline and Ernest. The main premise of the plot of Death Becomes Her revolves around a magic youth potion that both of the women have secretly taken in a desperate attempt at counteracting their aging. It is after this that both chaos and Camp truly begins to ensue. Between catfights, seduction, and failed attempts at murder, both Hawn and Streep appear to fully embrace the cheesiness of both the plot and their characters, all while delivering a fantastic performance. One of the most well known pa rts of t he plot occurs when Madeleine appears with her neck completely contorted in a 180 degree twist after Ernest pushes her down t he sta irs. A s sc a r y a s t his sounds, it is not a n E xorcist-like attempt a t hor r or f r om Z e me c k i s , but rather a comedic commentary on Madeline’s new “ living dead ” l i fe form. Si m i la r to t h is is He le n’s hor r i f i c a l l y blo w n out s t om a c h, w h i c h i s t he re s u lt of M a de l i ne ta k ing her down with a shot g u n. T he per fec t ly round a nd incredibly unnatura l hole in t he middle of Helen’s abdomen further perpetuates the campy “so bad it’s good” element that is present throughout the entire film.

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Carrie (1976) Directed by Brian De Palma Brian De Palma’s 1976 film Carrie is one of the most well known horror movies of all time. Based on the book by Stephen King, the story of Carrie is one that immediately attracted media attention and created a mad dash for film adaptations, leaving audiences with four different versions of the film, including: Carrie (1976), The Rage: Carrie 2 (1999), Carrie (2002), and Carrie (2013). While each of these films brought something different to the table for the shy, socially awkward character of Carrie White, De Palma’s adaptation starring Sissy Spacek has remained the most widely celebrated and critically acclaimed of the mix. So, why is Spacek’s Carrie considered the queen of Campy horror? It’s simple: she is the human embodiment of “the unnatural”. Between her abnormal powers of telekinesis, awkward demeanor, and fantastic ‘breaking-point’ moment at the end of the film, Spacek’s Carrie left audiences in 1976 with their mouths wide open and doors locked tight. Another aspect of the film that is responsible for putting the “Camp” in Carrie is Piper Laurie’s incredible performance as Carrie’s mother, Margaret White. In the film, Laurie fully embodies the character of Margaret, delivering a horrifying performance as a psychotic, abusive, uncompromising evangelical that lives for the purpose of keeping her daughter from sin while inadvertently pushing her further in the opposite direction. Margaret White’s unrelenting cruelty, as well as that of Carrie’s peers, is the direct c au s e of t he f a nt a s t ic a l ly hor r ible bre a k dow n t h at occurs at t he end of t he f ilm. A s we watch Carrie calmly emerge from the f lames of her high school g ym covered in pig’s blood, it feels only correct to say that Carrie is not Camp. Camp is Carrie.

No m at ter wh ic h of t he se t i mele s s motion pictures you chose to a d d to y ou r w a t c h l i s t , e a c h one offers a uniquely fabricated plotline with the perfect a mount of painfully delicious Campy action.

From t he t hrill of Ca rrie to t he magic of The Wizard of Oz, these f ilms a re a ll just absurd enough to be captivating, a nd cheesy e nou g h to b e e nt e r t a i n i n g. S o, next time you host a movie night, ta ke a brea k f rom t he trad it iona l a nd i n ste ad, opt for t he per fec t ly unnatura l artif ice of Camp on film.

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It is finally summer: the season we have anticipated all semester. Whether you are studying abroad or have a

beach vacation planned with the intentions of no more than tanning and relaxing, the summer season will likely consist of a swimsuit at some point. Have you ever thought about the history behind this piece of clothing and everything women had to do to get us to this place in time?

There are very few pieces of clothing that have evolved or stirred up as much controversy as the swimsuit. Changes in women’s swimwear have undergone an unparalleled transformation. As the swimsuit evolved from full-body coverage to string bikinis, these garments act as a barometer of time measuring how history reflects many sociological factors of women’s rights. Understanding this history not only gives an insight into fashion trends across time and continents, but also brings to light an exploration of female liberation.

During ancient civilizations, bathing and swimming were done privately. Modesty took hold in the 18th century and we got our first swimsuits. These were known as “bathing costumes” and were large wool coverings with the intention of not showing the shape of a body in the slightest. The main goal of this clothing was to not turn transparent when wet. “Bathing gowns” didn’t last too long due to uncomfortability, and in the mid-1800s, bloomer swimsuits grew in popularity. This new fashion invention consisted of full skirts and would be considered ridiculously impractical today. Named after the activist Amelia Bloomer, bloomers didn’t stray far from the original heavy bathing gowns, but these suits were controversial nonetheless because they were technically pants, which were only worn by men. The modesty for women at this time was so extreme that pants were considered inappropriate.

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Coverage was the main priority over practicality until sports took hold across Europe and America in the early 1900s. This led to the shocking one-piece. This invention was so appalling that some women even had to face police charges for wearing the modest swimsuit. In 1914, Vogue first published an editorial on bathing suits.

Shortly after, the one-piece was introduced in 1918, but it still resulted in great disputes.

Bikinis got their name from an unexpected origin. During the Cold War, the United States tested nuclear bombs on a small island in the Pacific named Bikini which means “Coconut Island.” During this first test of bombs on the island, fashion designer, Louis Réard, created the highly scandelous two piece

This daring two-piece took a while to catch on, but when it did, it was worn by women everywhere despite the surrounding controversy. swimsuit that revealed a woman’s belly button for the first time in fashion. He decided to name it the bikini since the Bikini Islands were already in the press all across America. Réard’s design was so revealing that no runway model would wear it. This daring two-piece took a while to catch on, but when it did, it was worn by women everywhere despite the surrounding controversy. Hollywood and the media had a huge role to play in normalizing the outrageous, and people began to grow more accustomed to this new piece of women’s fashion.

Women have been fighting for equality since the suffrage movement began in 1848. They were blatantly ignored until their participation in World War I proved that many women were deserving of equal representation. During this time, many women took on men’s jobs in factories while men were fighting in the war. Shortly after this, women began wearing flapper dresses which were seen as progressive and crazy fashion statements. These dresses were mid-thigh and were considered the most revealing attire up until that point. This controversy forced them into underground speakeasies where they could have the freedom to dance, drink, and flaunt their fashion.

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The bikini is not just a staple part of your summer wardrobe, but a symbol of the empowering sexual revolution that finally emerged into our global society.

A few years after the bikini began to take hold, many feminist groups were demanding more women’s rights. With the publication of The Feminine Mystique, Betty Friedan argued that women were forced into unfulfilling roles which confined them to their homes. She later co-founded the National Organization for Women to promote feminist ideals, lead societal change, eliminate discrimination, and achieve and protect the equal rights of all women and girls in all aspects of social, political, and economic life. The Equal Rights Amendment, which sought equality for women, was passed a decade later in 1972. These events were started by powerful women seeking something more and were groundbreaking in the fight for women’s rights.

The parallels between women’s rights and their clothing is remarkable. The bikini had a hard time gaining acceptance, just like the idea for women to vote or to have laws ensuring their equality, but over time it has become widely accepted. The bikini is not just a staple part of your summer wardrobe, but a symbol of the empowering sexual revolution that finally emerged into our global society.

Writer: Mckenna Madis Photographer: Savannah Patterson Designer: Taylor Gustafson Models: Alexis Holt and Alexa Toribio

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Photographer: Abbi Roane Designer: Madelyn Okruhlik Model: Acacia Wiley

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&

What is it Like Being LGBTQ+ in College Station?

Writer: Aubrey Matson

SEEN UNSEEN Photographer: Esha Uddaraju Designer: Madelyn Okruhlik

While some may identify as a part of the

LGBTQ+ community, and some may ally themselves with the LGBTQ+ community, there are still those who are adamantly against this community. Concerning only the first two, there is something to admire about each of these groups, but one key discernment is understanding the difference between them, and what that means in terms of experience. The main difference is that one lives within a certain experience and the other lives outside it. And to note, there is nothing wrong with this. We as humans attempt to fathom what someone in a certain group may experience or feel, which is the beauty of empathy and understanding. However, the reality is that living something outside of this life is a completely different matter than living within it.

This is the thing: living as a person within the body of an LGBTQ+ person is an experience and is not one you may simply choose to leave. You cannot help but be a part of it; it is a part of who you are. But, unlike other experiences that could be comparable, there is some intense malice you face just for being a member of 21

Models: Ramyani Roy, Aden Sanchez, Ricardo Sanoja

it; this is where the third group mentioned above comes in. College Station and Texas A&M University, while these two entities certainly hold a variety of people with a variety of beliefs, have a reputation of being home to a deal of people who for one reason or another, choose to be discriminatory or in the worst case tremendously aggressive towards people that identify as something besides straight. It is undeniable that being a part of the LGBTQ+ circle in College Station looks much different than it might in many other cities in the country.

Because of this reason, it can be easily understood that being LGBTQ+ in College Station is not easy. While there are certainly high volumes of accepting people here, there is that consistent risk of having an encounter with someone who may not only treat you differently but lash out as well. This is a big factor in understanding why this community may seem to vanish off the map or slip under the radar. For these people, keeping a lower profile might be the easiest way to ensure the best experience possible. Although, when something seems so unseen, it begs the question of what the experience is truly like for the people that live it.

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I’m going to be myself, but at what cost?

Who is going to look at me differently?

N Who is going to not want to approach me, or who is going to approach me in a different light?

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As discussed, these questions on what it is like to be in the LGBTQ+ community in College Station and at Texas A&M are ones that can only be answered by those within the midst of it. Thus, this piece contains testimonies from two people within this group that have given witness to what it’s like, and how it’s been.

After listening to and digesting these responses, what was hypothesized in an earlier paragraph is confirmed without a doubt: it’s difficult, to say the very least, and for a number of reasons. One question asked was how safe these people felt being LGBTQ+ in College Station. And, while these people have quite the optimistic mindset, the responses ranged from basic fear of who they may encounter in a day to physical violence. One explained that they had been on a balcony at a party and had a person try to shove them off of it, stating they did

The problem is that you never know when someone is going to communicate that they have a problem with who you are, when, or how. not, “want any (insert extremely offensive slur here) near him,”. The respondent went on to explain that while they felt severely attacked, they felt protected at the same time by the people they knew were able to keep the violent person from continuing their actions.

After hearing of encounters like this, it is completely understandable why everyday general safety is of concern.

But this does not just involve physical safety. One interviewee made the point that you just never know who you will encounter that day that might treat you differently, rudely, or in a derogatory manner. One respondee commented on this concept of everyday existence within this group at Texas A&M that, “It feels like a balancing act, like, I’m going to be myself, but at what cost? Who is going to look at me differently? Who is going to not want to approach me, or who is going to approach me in a different light?”

The problem is that you never know when someone is going to communicate that they have a problem with who you are, when, or how.

Another prevalent issue is the dating climate; both respondents were in agreement that regardless of how many people are really out there to meet in College Station, it appears to be a massive void. “It can be joked about, but a true factor is that the dating scene in College Station is very much not present,” one remarked. Another said, “It can be really hard to meet people if you’re not on a [dating] app,” and proceeded to articulate that there is a lack of community presence. To contrast, one made the point that since there seems to be lower numbers of these people here, the bonds made are much tighter. “It’s what you got,” one said, alluding that since the presence is so small, these people have one another’s backs.

Additionally, if you are a student at Texas A&M, it is difficult to not notice the anti-LGBTQ+ protests that have happened on campus, specifically on academic plaza.

And to note, they are not the respectful protests that you may think of; think posters with flame covered edges that declare gay people are going to hell. After seeing things like this on campus, do these students feel protected by their university? An interviewee commented, “It’s honestly so disheartening seeing that you’re at your own campus and people are protesting your existence, protesting things that you can’t change,”. It’s an important question that A&M should take with a heavy heart: what message are we depicting to our student body from what we allow to take place on campus? Who are we choosing to protect?

For their final remarks, the two were asked what they would like the greater population of College Station and Texas A&M to hear and understand regarding this topic. Across the board, there is an overarching theme of maintaining respect for everyone, regardless of what you may think. One wanted people to understand that being in the LGBTQ+ community is not something one does by choice; the other requested that they think of the other side if they disagree. The moral in question is how we treat other people, not just some of them, but all of them. So, perhaps reflect on this question: how will we treat the people we encounter, and how can we be considerate of them? In this town, for some it’s clearly not so easy to be under the spotlight. But, one thing is clear: we could work to make being seen a little easier.

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Photographer: Linh Tran Designer: Madelyn Okruhlik Model: Upneet Kaur Aujla

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Writer: Bella Correa Graphic Designer: Annette Guerra-Armendariz Photographer: Cullen Powitzky

Models: Maggie Winston, Gage Cornett, Lauren Ercolani Credit to: Fraziers Concrete

THE MAN BEHIND THE MOVIES

Few film directors have had such a distinct

artistic flair, transcending far beyond the silver screen and Hollywood as Wes Anderson. The 52-year-old director (a Houston native might I add!) has 10 feature film directorial credits under his belt, and he manages to craft a unique ambiance in each film while somehow weaving the telltale signs of his style into each of them.

His films transcend time by incorporating both vintage and modern elements to create truly timeless masterpieces. His settings span everywhere from a train in India, to a European hotel, to a fox borough and beyond, yet he still manages to make these locations feel like home. He is known for creating character-driven storylines, and for frequently collaborating with Hollywood A-listers like Ralph Fiennes, Bill Murray, and Tilda Swinton. Each film he creates sticks almost exclusively to its selected color palette, he incorporates instrumental score (often with his frequent collaborator, French composer Alexandre Desplat), and he is especially famous for his “perfectly centered” parallel shots. Suffice it to say, Wes is a visionary who manages to add his inimitable “je ne sais quoi” to every piece of art, because his films truly are works of art.

THE FILMS The Grand Budapest Hotel, 2014 – The titular hotel’s concierge, Monsieur Gustave H (Ralph Fiennes), takes a young lobby boy under his wing after he is accused of theft and must recover a priceless painting – the key to a massive family fortune. Featuring an allstar ensemble cast, Grand Budapest is Wes’s greatest commercial success thus far, gathering nine Oscar nominations (and four wins) in a heavily competitive year.

Rushmore, 1998 – Oddball high-schooler Max Fischer (Jason Schwartzman) vies with his newfound friend, a businessman named Herman Blume (Bill Murray) for the affections of a charming first grade teacher. This unique coming-of-age film is exactly what you would expect from a Wes Anderson film in the genre: full of dry wit, absurdity, and heart.

The Fantastic Mr. Fox, 2009 – Based on the Roald Dahl book, this film follows the charismatic Mr. Fox and his efforts to complete a heist against three local farmers, much to the chagrin (and eventual approval) of his friends and family. In his first stop-motion film, Wes managed to create a charmingly delightful tale for audiences of all ages that still features all his stylistic habits.

Moonrise Kingdom, 2012 – In the New England summer of 1965, two twelve-yearolds, orphaned khaki scout Sam and eccentric artist Suzy fall in love and run away, leaving Sam’s scoutmaster and the town’s police captain in their wake to try to find the missing kids. This film is the definition of “summer camp” both in the literal sense, and in the way this ode to summertime encompasses all the eccentricities of the camp movement. It remains one of Wes’s most popular films… and rightly so!

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ADD SOME ANDERSON TO YOUR LIFE In recent years, Anderson’s work has gained even more acclaim for its artistic aspects. The Instagram account “Accidentally Wes Anderson”, released a book of the same name in 2017, featuring photos reminiscent of the filmmaker’s style. The account “explores the unique, the symmetrical, the atypical, the distinctive design and amazing architecture” featuring colorful sites across the globe. This account, and other forms of media that pay homage to Anderson and his work, prove that his impact really does stretch beyond the world of cinema.

His work is impactful because it simultaneously is familiar and depicts places we want to visit one day.

It feels like home yet far away, it makes us feel special and unique when we indulge in watching it. Because Anderson’s work is meant for more than just the movies, why let it stop there? Here are some ways that you can incorporate his distinct style in your own life – from clothing to décor and everything in between!

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A WES WARDROBE Obviously, one of Wes’s most distinctive film elements is the unique color schemes he features in each film. An easy way to incorporate the director’s style into your wardrobe is to do the same – develop a unique color scheme! This can be a seasonal thing like sticking to

neutrals in the winter and pastels in the spring. Find the colors that best suit you, that make you feel most confident and happy to wear, and try sticking to that color scheme to add some Anderson influence to what you wear. Other specific items and styles to try include: Bright and bold colors: from the distinctive yellow of Bottle Rocket to the pale pink hues of Grand Budapest, Wes never shies away from a pop of color – so why should you? Try monochromatic looks in strong colors or opt for a bold item as a statement piece.

Vintage pieces are a staple in many Anderson films. These could be older looks like Gwyneth Paltrow’s baby doll dress, smokey eye look and oversized fur coat in Royal Tenenbaums, reminiscent of the 1960’s. An easy way to follow Wes’s lead fashion-wise is to bring back these trends of the past in your current wardrobe.

Patterns really are everything in many Anderson films: these range from the more subtle florals and ginghams of Fantastic Mr. Fox to the stripes and plaids across almost all of his works. Incorporating patterned pieces into your looks is another way to pay homage to Wes in a distinctive way.

BRINGING IT HOME The Wes look can have a place beyond clothing and accessories – his style can provide inspiration for décor. Try to incorporate unique fabrics – velvets, leathers, and corduroys for example – into bigger furniture pieces like couches and chairs. The midcentury modern look is one reminiscent of the vintage elements of Wes Anderson’s style, and it’s become increasingly popular in recent years. The “eclectic modernism” and “maximalism” styles are also directly tied with Wes’s look, so try displaying art, photos and knickknacks on a statement wall, especially in unique frames. Estate sales, thrift stores, and vintage shops are a great place to find unique, older pieces that will also add to the distinctly Anderson look in your home. And, of course, make sure to perfectly center everything. It’s what Wes would want!

Few directors incorporate the camp movement into film like Wes Anderson does. His look is eccentric, it’s unabashed and it’s proud. It says a lot to look at the works of a film director and be able to develop an entire subculture from them, but that’s exactly what has happened with the films of Wes Anderson.

His unique exploration of basic elements like color and light and setting and story make him, though not even three decades into the industry, already a director for the history books. That’s what makes him, truly, the Fantastic Mr. Anderson.

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Photographer: Kylie Dunlap Designer: Madelyn Okruhlik

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The icon that brought “camp” into the limelight long before the 2019 Met Gala

Camp is all about being too much–

about exaggerating to the fullest potential. Camp is about towing the line between fashion and tackiness. The reality of this fashion is that camp would not exist in the manner that we know it today, in the absence of queer individuals. It evolved from the LGBTQ community many years ago. Critical theory professor Allan Pero of the University of Western Ontario asserts that “There is no ‘camp’ without ‘queer’… It is a crucial, constitutive part of it.” Originating from the queer community, camp fashion really found its niche in the drag community and we still see drag stars

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today that embody the ideals of camp. One of these drag queens, and perhaps the most well-known one, is Trixie Mattel. Trixie’s look portrays a cartoonish representation of extreme femininity. With outlandish curves, sky-high blonde hair, and an overwhelming amount of pink clothing, she looks almost doll-like.

Her makeup is done in a way that gives the illusion of massive eyes, perfectly full lips, and cheekbones that could cut whatever it touches. . When describing her aesthetics, Trixie said “I don't want to look like a woman or a man. I want to look like a wind-up toy, a plaything manufactured in a factory.'”

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Trixie Mattel’s journey to stardom began on RuPaul’s Drag Race. She was first seen in season 7, where she placed 6th overall and quickly became a fan favorite. This led to her invitation back on the show in RuPaul’s Drag Race All Stars season 3, where she placed first, sweeping the competition with her campy drag. Now, Brian Firkus’ journey began much earlier.

Brian Michael Firkus was born in rural Wisconsin in 1989. Growing up as a queer individual in a rural town was hard for him, especially returning home every night to an abusive step father who detested him for his femininity. Brian’s step father came up with the nickname “Trixie” for him at a young age, a nickname rooted in malice. His stepfather only used the name “Trixie” when he felt that Firkus was acting “too feminine”. Little did he know Firkus would reclaim this name in the future, using it to become an icon, a star, and a recognized “Skinny Legend”. Growing up, Firkus dreamed of stardom, leading to him attending the University of Wisconsin-Milwaukee where he received a Bachelor’s of Fine Arts in Musical Theatre.

In college, he participated in his first drag performance as a part of The Rocky Horror Picture Show and the rest, as RuPaul would say, is Herstory.

Jack of all trades and master of all

From there, Trixie Mattel went on to become one of the most well-recognizable and accomplished drag queens of all time. Currently, Trixie has 1.52 million YouTube subscribers, 2.6 million Instagram followers, one million Twitter followers, and one million TikTok followers. Jack of all trades and master of none is a phrase that we often hear; however,.

Trixie would only fall into this category if it missed the second half. It seems that she really does master all

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that she does. Bestselling author, comedian, business owner, entertainer, and musician; it seems like there’s truly nothing that she can’t do. On her own, Trixie was the subject of a bio- documentary Trixie Mattel: Moving Parts. In the first season of Ru Paul’s Drag Race that she appeared on, Trixie met her best friend Katya Zamolodchikova, known out of drag as Brian Joseph McCook. Since meeting, Katya and Trixie have accomplished many things together. In 2020, the dynamic duo published Trixie and Katya’s Guide to Modern Womanhood, a parody of a self-help book that landed them on the New York Times bestseller list.

They were actually the first drag queens to make it onto this list! They have a show together on Viceland titled “The Trixie and Katya Show,” as well as a YouTube show titled “UNHhhh”. The two “Brian’s” also have a podcast together, The Bald and the Beautiful which has gained more than 30 million total downloads.

Trixie Cosmetics

Oh, honey, if you thought that was where the accomplishments ended, you would be dead wrong.

Trixie Mattel launched her own makeup brand, Trixie Cosmetics, in 2019, not only for drag queens, but for everyone. Trixie Cosmetics strives to have a large shade range so that everyone can enjoy their pro-level cosmetics. The packaging of these cosmetics intends to give you a feeling of nostalgia. They are bright, feminine, and reminiscent of your favorite childhood toys. Who said high-end cosmetics need to be boring? If all of these reasons aren’t enough for you to invest in, these cosmetics are also cruelty free and a portion of all of their sales are donated to The Honeybee Conservancy. Not only would buying from Trixie Cosmetics help you take your makeup from bland to glam, but you would also be helping a nonprofit to protect bees and secure food justice.

A savvy singer and songwriter

Trixie Mattel currently has 376,020 monthly Spotify listeners;but that number is steadily increasing.

Trixie was the number one charting artist for Billboard’s Heatseekers in 2019 with her second studio album One Stone. This album also hit the top 20 list on the charts for Independent Albums, Americana/Folks Albums, and Digital Albums. In 2020, she released her album Barbara which also appeared on the Billboard charts.

And you definitely don’t have to be a fan of drag to enjoy Trixie’s music-it’s meant for everyone. We are currently waiting on Trixie to finalize her fourth studio album. In the meantime, you can find her music on Spotify, Apple Music, and pretty much any other major streaming service that you can think of.

Although she was by no means the first campy drag queen, Trixie Mattel has brought camp fashion into the light and reworked it in a way that makes her life remarkable and unforgettable. She has created a legacy for herself that will undoubtedly impact fashion, drag queens, and queer individuals in more ways than we could begin to quantify. If only the young, scared, and closeted Brian Firkus could see all of the things that he Writer: Chloe Foster Graphic Designer: Annette Guerra-Armendariz Photographer: Sophia Howard Model: Madison Corley

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Photographer: Sophia Howard Designer: Madelyn Orkuhlik

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Marie Antoinette’s Fashion Still Reigns

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M

aking its voyage across the Atlantic, the fabulous influence of Marie Antoinette quickly trickled into American runways and closets.

While her expressive fashion has undoubtedly impacted the world of fashion, her confidence and flamboyant attitude has made its way to the big screen in multiple retellings of her life as the Queen of Versailles. Shocking the world with her extravagant looks, to her passion for various luxury items, it is no surprise that she is still an icon today. Known for her dominance in pastels and hair so high she could be seen everywhere, the imagery in this figure is timeless. Her role paved the way for future members of society seeking to express their camp identity from head to toe.

Thrown into a very powerful position at the young age of 19, Marie was forced to either create a name for herself, or simply get lost in a crowd of politicians. Though there might still be speculation of her questionable actions as queen in terms of politics, nobody can deny that she is the reigning queen of camp expression through clothing. The fashion choices she made symbolized the rebellious, yet groundbreaking perspective she took in terms of her nation. Ultimately, she sparked the motivations of the French Revolution, going hand in hand with her death at age 37.

While it was not particularly easy for her to make her mark on not only French politics, but French culture as well, she found a means to do so. The leading lady of Versailles began curating specific outfits that she knew would impress and ultimately gain popularity, especially within French couture. At first, she was criticized for how extraordinary she was dressed, and even how she acted on an everyday basis. Yet in staying true to being unique and standing out, she eventually became the ultimate trendsetter of the 1700s, majorly influencing not only haute couture, but what we see in department stores today.

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ROYALS OF THE 1700S WERE SOONN SEEKING STYLE GUIDANCE FROM NONE OTHER THAN THE QUEEN HERSELF. She executed various looks that would quickly make up the core of Parisian, royal fashion of the time period. Her known outfits consisted of the robe à la française, the chemise à la reine, and the corset and full skirt. From day to night she executed signature styles that reflected her bold personality.

While varying in occasion & grand effect, all three looks have developed a timeless influence. The robe à la française, also referred to as the sack-back gown, was deemed appropriate for the most extravagant outings & events.

This specific piece is very well recognized in terms of Antoinette’s legacy. It has been recreated in several different movie adaptations, photoshoots, and catalogs over time. The unrestricted ruffles along the edges and every so often having a bow centered on the very low U-shaped neckline are some of the notable images of this particular gown. The sleeves on this gown often had ruffles that trailed down to the elbow. With the shape of the skirt being so wide, it is not shocking that this is one of Marie’s signature pieces given her desire to be seen in every room she entered. Not only was this specific dress important to Marie, but it was a popular trend for aristocrats throughout the 18th century, and can be found within period dramas set in all of Europe. Dressing it down, the chemise à la reine was her outfit of choice for more casual settings. For example, one could have seen Marie wearing this roaming through her gardens or her hen house she occupied. This dress is less over the top than the previous, yet still makes a mark. This dress was very common, even in more rural areas in Europe. There was less structure in the dress, not as many ruffles, and overall less pizzazz. The colors on this gown were less likely to be striking and captivating, but rather neutral and soft-toned. This was perhaps tied together with a simple, classic bow around the waist. By the end of a glamorous day of luxurious pastries, gambling, and making public appearances, Marie often would wind down in the corset and full skirt. This minimalist form of bedtime clothing was consistent in the 18th century. No matter what look Marie was attempting to flaunt, she exhibited glamour, poise, and lavishness. In addition to her stellar clothing, she never let accessorizing to the maximum trickle out of her thoughts.

From excessive jewelry to having her hair reach the highest point in the room, head to toe she would prevail. As Marie’s intention behind her styling decisions was to ultimately charm, she instilled a drive in future stars to exceed expectations in what they are wearing, how to wear it, and how to own it.

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While the 18th century actively took notes on Versailles’ leading lady’s killer ensembles, who knew that they would still be relevant today? According to Cosmopolitan, some current Spring 2022 trends include bras as tops, fringe, and pleats. The designer brand, Fendi, exhibited all three of these in the recent runway shows.

Referencing Marie’s looks in which she sought romance, glitz, and attention, all three of these current trends would align with her everlasting presence in the fashion world. A bra as a top represents the fearlessness of Marie in her pursuit for public attention, a political voice, and feminine appreciation. This trend would put an emphasis on powerful womanhood. Fringe pertains to the distractions Marie loved to create in her social settings, especially through her outfit choices. And with pleats, the shimmer provided on these various fabrics illustrates the grasp Marie had on the attention of an event. She was ultimately a chandelier in not only every room she was in, but the entirety of couture in Europe. Perfect for Spring, Antoinette’s longlasting impression finds its way into trends ranging from florals to giant hairstyles. Overall, everywhere you look you are able to see her direct influence through hot trends and styles even today.

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Writer: Mary Trantham Photographer: Becca Cook Designer: Madelyn Okruhlik Models: Monet Guilbeau, Matthew Kyle, Lance Torno, Andrew Tijerina

While there are several fashion icons across the years, there are few that have this evident of a presence. Year after year, her legacy remains strong, especially in terms of self-expression. Many have followed in her footsteps in terms of seeking the extravagant, breaking barriers, and always desiring the public eye. The Queen of Versailles is a perfect example of a prominent camp figure. Antoinette’s infamous words, “more is more”, have proven to be true time after time.

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Photographer: Esha Uddaraju Designer: Madelyn Okruhlik

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sadnes s

Summ e go “Kiss m

e ha rd

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e s t” at ba b y yo u t he b w Th

be

ey r o f

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me i t r

to k

t wanted you s u Ij

These lyrics are the break up anthem from the queen of alternative herself.

Lizzy Grant, better known as Lana Del Rey, rose to fame in the early 2010s and explored the nostalgic feeling of summertime in her album, Born to Die. An Americana icon, Lana Del Rey explores bittersweet feelings of past relationships in a somber, yet mystical tone in tracks like “Summertime Sadness,” “Blue Jeans,” and the album’s namesake, “Born to Die.” Lana often likes to set her songwriting in the season that is full of sunshine, laughs, and happiness – a perfect recipe for love. What is it about summer that encourages us to find or think about a lover? Is the rumored relationship known as a summer fling only seen in movies, or do we all get a little swept away with our summer tans and feelings of freedom?

What’s a summer fling?

There is naive and intimate love in the air by the time June rolls around. Blame it on the extreme heat getting to our heads, but a “summer fling”, “hot girl summer hook-up”, or whatever you wanna call it can seem inevitable. You’re on your seasonal break, feeling inspired by Emily Henry’s Beach Read, and ready for your own summer romance! What does this even entail? Essentially, a summer fling is a short term relationship with no strings attached. The persons involved in this type of relationship are engulfed in a wanderlust much stronger than one’s common sense. Is there anyone to blame? Maybe it’s the lack of boundary setting, but that is unraveling a whole other layer of the intricate workings of infatuation.

There is a lot to be learned when being in this situation, and a lot left unsaid. Will this romance continue after your tan fades? The mystery is not in how it ends, but in what makes this so appealing in the first place.

You find yourself in this type of relationship!

Now what?

Enjoy it! Every fleeting moment, every dream date, every stroll down the beach. Let this person you’re velcroed to help you discover your spontaneous, wild side! Who says you can’t have a fun time discovering your entire self?

Pursue your passions, go on that weekend trip you’ve been making a pinterest board for with this significant other you stumbled upon. Like any grandparent’s advice, you’ll look back on these moments and regret this opportunity if not taken. Who cares if this person doesn’t make six figures, who cares if they wear socks to bed (unacceptable by the way) – the temporary happiness and the thrill of unlearning dating prejudices trumps it all.

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ay... th k eg O Lana Del Rey certainly expresses how deeply she feels about her past relationships.

There is nothing wrong with getting your feelings out!

Maybe Miss Grant has the right idea of a summer fling, or maybe it’s One Direction that perfectly captures the healthy way to move on. The boy band reminisces back to a time in“Summer Love” of a sweet, passing relationship. While the song is not Edgar Allen Poe poetry level deep, the lyrics can still resonate with the idea of moving on from a summer fling.

So just suck it up, block them, and move on?

Not exactly. We got you covered on some more healthy alternatives. Transparency is key.

’ ov t s r a er p d oo

Do you want to continue this

relationship?

Tell them and make sure to be open and honest.

Are you ready to go back to your hometown and end the relationship?

Express this, or let the distance happen naturally.

Will this relationship benefit you in the future, or was it great for temporary self discovery? Whatever the case, be strong and stick with your decision. We don’t need a wishy-washy, toxic romance in 2022! Most importantly, if you feel a certain way regarding your relationship, make sure the other person is on the same page. Communicate with them, because blocking what once was a source of happiness is simply not necessary.

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So, your summer fling has flung.

As always, changing your perspective in life can do wonders. So you called off the summer romance, it’s okay to embrace your bittersweet feelings. You have more places, people and opportunities to discover!

Even though it can be hard to admit at times, you know what’s best, and who is best for your lifestyle.

Dare to continue this journey of happiness and love elsewhere.

Now, maybe you weren’t the one who ended the brief, but impactful relationship, and now your heart is broken in pieces. Think about it this way: in such little time, you connected with someone and cared about them so much. How wonderful it is to fall in love, to crush on someone, or share memories with another person in this world. Those fond memories are always there for you to cherish. So without further adieu, make this summer yours to embrace all the love, heartbreak, and learning experiences-so you can make the most of those tan lines.

Writer: Gretchen Evans Photographer: Linh Tran Designer: Jade Sung Models: Grant Bybee & Mukta Valluru 54

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Photographer: Abbi Roane Model: Everett Bailey

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Authentically you in everything you do

Clothing and Style Choices Affect Perception

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he way we dress is a reflection of who we are. Stylistic choices give us a quick way to categorize ourselves and others. The reality is that the structure of clothing, accessories, undergarments, and everything in between is gendered. Feminine clothing is aimed at hiding flaws, and strives to make women look attractive all the time. Women are expected to be new, exciting, and inviting; the female fashion industry is targeted towards the male gaze in most categories. Men must accent what they already have, and aren’t encouraged to have a meticulous routine. We are drawn to the things we find attractive and while a lot of us dress to what society currently finds attractive, others choose to dress to their personal taste.

Masculinity, Femininity, and the Gender Binary The gender binary is a social construct that separates us into two categories: Male and Female. There are several concepts associated with both sides but the general consensus is that if you are sorted male then you will be masculine and like traditionally “masculine” hobbies such as sports, hunting, and fishing. The complete “opposite” would be female, where you will be feminine and enjoy feminine things such as the color pink, makeup, and dresses. The issue with this system is that it is black and white, failing to include or even consider those who do not fit into one of the two categories. It falls short when it comes to sexuality, gender identity, and gender expression, because these categories don’t follow the straight path down the binary all of the time. The only rule gender has is to appear as a recognizable gender, or we become culturally unintelligible. We use gender as a communication tool, a method for determining our behavior in social settings and without clear guidelines, people struggle with this communication.

Breaking Down Expectations for Gender

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Masculinity is tied to status beliefs, but no man can truly live up to the ideal hegemonic male ideal. Masculinity creates a belief that if you are not “manly enough,” you will find yourself at the bottom of the hierarchy. In stark contrast to fragile masculinity, positive Masculinity embraces the low-status social blows. Men who embrace this side of themselves identify closely with their parts that don’t meet the standards. Femininity is centered around the male gaze, or what heterosexual men find attractive. The process of breaking down these ideals is choosing to do femininity in the way that suits you, regardless of what is seen as “attractive” at the time. Pariah femininities are expressions that don’t seek the validation of men and can empower those who embrace them.

Women tend to work more and win less when it comes to societal expectations. Femininity is inherently devalued due to the assumptions attached. It is all one big double standard, “be feminine” but you can’t be too feminine, “be masculine” to earn respect, but if you are too masculine that doesn’t work in your favor either. You can’t win in either case, so you might as well express yourself however you want.

What is gender non-conformity and can it be done successfully?

The natural solution to all this would just be to not participate in the gender game at all, right? Just be yourself and nothing else matters.

But the truth is society will categorize us whether we want to or not. Gender isn't a choice we make when picking out our clothes in the morning, or when we get a haircut, we do it constantly, every day. This is due to our culturally shared status beliefs about gender and implemented roles that create such a great divide between gender identities. So how do people who don't follow the rules approach this issue:

Find a way to “legitimize” your identity. If not for others, for yourself.

Accept people challenging your identity.

Use your experiences to explore different aspects of gender.

Gender Policing and its Impacts on Expression and Self-esteem We follow the rules because we have practiced them our whole lives and seek validation or fear policing. Gender policing is the enforcement of normative gender expressions on someone who is seen to not be adequately performing their assumed gender. Our associative memory to gender creates an image of what to expect of people. Professor Vickers, Gender and Society instructor at Texas A&M University explains, “Our flaws remain after removing makeup and other attempts at ‘fixing’ our appearance, so policing can really add to the effect on our self-esteem”. Those who are policed for not following binary rules can feel invalidated, pressured to conform, or guilty for choosing not to. When those who identify as non-binary or transgender are policed it goes beyond the aspect of appearance, policing calls into question their entire identity. We are constantly discouraged from authentic performance because most of us don’t see ourselves as a perfect fit for the societal ideal, and are constantly reminded we aren’t.

Non-conformists' Effect on the Fashion Industry and Society Expression is a reflection of who you are. It is knowing yourself better than anyone else, being confident in that identity, and how you choose to represent it. Gender expression is important to the fashion industry because it forces people to reflect on their learned beliefs. People in the industry who break the mold become role models for everyone, especially youth. These models, actors, or musicians change the way society views gender expression because they are unafraid to be who they are. Harry Styles is a current musician who is changing the fashion industry by embracing his identity and choosing what aspects of gender he wants to apply to himself. Styles wears dresses, skirts, traditionally feminine fabrics such as silks fashioned into suits, leathers, and sometimes makeup. By being authentically himself, other men who may not have thought they could explore different facets of gender may realize that it's okay to do so, even at the risk of jeopardizing their “masculinity”. Men can feel validated in their expression, regardless of the masculine or feminine labels society stamps them with. Another example of fluidity is Hollywood’s Lachlan Watson, who explains their relationship with gender in an interview with Insider, “... I call it 'gender freedom' as opposed to gender fluidity because instead of fluctuating between two options…you're just sort of free…I've found it a really beautiful thing to just not limit myself as much as I used to”. The view of freedom with expression is extremely important, it gives people a sense of ownership over who they are. Lachlan refuses to be put in a box, and that's part of what makes them so influential in the industry, they are a role model for others who look to the media for guidance in their own experiences.

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Androgyny, or the mixing of gendered expression, is an important movement in the fashion industry. By choosing models, or designing clothes that do not have an obvious gender affiliation, we are taking gender stereotypes out of the conversation.

Showing us that clothing and selfexpression don’t need to be gendered to be appreciated.

Writer: Zoey Frederick Photographer: Angel Frando Designer: Sarah Szymeczek Models: Laura Duncan & Luke Hill

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Photographer: Abbi Roane Model: Everett Bailey

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he retro summer aesthetic of decades past cyclically emerges in our minds as a definition of a perfectly romanticized summer. Often referred to as “Vintage Americana,” this era is stamped by women in modest bikinis, perfect housewives, curated beauty images, and a societal desire to achieve “femininity.” We often classify this era as a suburban dream decorated with the idea of a classic American woman. Imagine the taste of fresh-squeezed lemonade, ocean waves lapping at your ankles, and blades of grass nipping your skin as you sit down with your picture-perfect family for a summertime picnic. Allow yourself to be enthralled in a warm August breeze and bittersweet impression of a time when life was simple, when life was easy. At least, we could say it was easy on the outside looking in. Behind the sparkling smiles and tight updos women presented to the public,

Born and raised into a generation ruled by pretentious rules, the women of the 1960s found themselves in a transformational age. Coming off the tail-end of the 50s where girls were expected to sit still and flash a smile as they shined their pearls and prepared a hearty meal, females found themselves entering a rebellious era.

Radicalism began to slowly bleed through the wallpaper of these dollhouse-style homes with women steadily entering the workforce and pulling at the threads of their long skirts and perfectly ironed blouses. Yet society, men and women alike, urged women to be simply a “pretty face.” How dare a woman ask for a raise in pay? It was audacious for her to not submit her own dreams and aspirations in exchange for a man and the responsibility to raise a family. It was beyond scandalous for a girl to let a bit of extra skin peek out if it was not on a man’s terms. Women were culturally mandated to preserve an innocent persona, a pleasing image embellished with gleaming doe eyes and ribbons knotted around intricate curls. Not a hair left out of place, not an opposing opinion whispered from their lips, not a dare step to express themselves as anything but idolized virtue.

Behind the old-school American vision of what women were supposed to look and act like, there was an overarching darkness of oppressive gender roles, purity culture, and the threat that if a woman were to act out, she would essentially be worthless. Yet brewing underneath this culture of entrancing summer days, easy home lives, and American dreams, a fire was burning.

Being celebrated for romance and homestead pleasure was no longer sufficient for many American women.

They begged to be celebrated as sexual beings, not shunned for it. They were itching to be freed from the shackles of sitting by the pool, cherry painted lips, and accessories in a summer dream. Slowly, women rose up against the cultural oppression they faced, through no longer solely charging their sexuality towards marriage and procreation.

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The methods that women used to fight against the patriarchy and expectations of society would be viewed as “camp” for their time. Camp is defined as “an aesthetic style and sensibility that regards something as appealing because of its bad taste and ironic value.”

That is exactly what these women pursued–to be seen as beautiful despite their “bad taste” and “ironic value.”

They took leaps to liberate themselves with what can be classified as unconventional clothing choices and provocative discussions in a vintage americana. Women began experimenting with shorter skirts, slowly taking off inches from the ankle-length fabrics that ruled female fashion in previous decades. The miniskirt transfigured the female wardrobe, originally being accredited to the daring designs of Mary Quant and the Parisian André Courrèges. This piece of clothing was bold and innovative for its time, a silently loud statement that women were taking back ownership of their own bodies for themselves and themselves only.

Yet this was met with controversy as culture classified the miniskirt as “immodest” and an insulting example of what society defined womanhood as. The display of legs was offensive to the masses, yet women pursued it anyway, pushing against the expectations men had placed on them. It was distasteful. Subsequently, the

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adoption of pants as a popular fashion choice rooted itself in a dress-reform movement that erased the dainty aesthetic that women were constantly painted with. However, by women taking a piece of clothing originally designed for men, they were deemed radical and disrespectful of their own femininity. The masculinization of female fashion was ironic in value and indecent, but this simply fired women up more.

They took these unorthodox fashion choices and ran with it, exploring the world of two-piece swimsuits and less conservative evening wear. They celebrated the visibility of their skin as an ode to the individual femininity each woman had within her, taking back the power they held as women. The vintage camp revolution didn’t stop at clothing, rather it brought a shift in culture as well. Women became more comfortable with discussing their sexuality, learning to embrace it as a beautiful sentiment to their natural human nature. The use of substances was no longer kept a secret as women began mixing their whiskey and bottled Coca-Cola under a beating summer sun, and shared a cigarette with their feet in the pool.

These daring beauty endeavors and outlandish cultural achievements were some of the means they used to try and achieve a liberalized femininity, all ironic to the role that retro americana had placed on them, and so

Vintage female camp introduced the contemporary vision of a woman, provocative in nature and audaciously disruptive of old-order gender roles in the Americana era. A glamorized aesthetic of sun kissed skin and carefree spirits unveiled a desire for women to be liberated. What was seen as distasteful and obscure for women back then is widely accepted and pursued in the modern age, indicating that the feminine exploration of camp has made strides as decades have progressed. These women broke down gender roles and memorialized feminism, boldly pursuing and crafting a culture that celebrates the salvation of female sexuality and independence. The romanticized yet oppressive 1960s summer became unmasked as women rose up and boldly defiled the patriarchy with their brave

WRITER: KATIE CLARDY PHOTOGRAPER: KYLIE DUNLAP DESIGNER: ANNA KELLER MODELS: ALYSSA DULOCK, EMMA EHLE, RACHEL NG, MILA ARMSTRONG, RUBY BACH, CIARA LARD 66

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Photographer: Kylie Dunlap

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LETTER FROM THE

design chief

Dear reader, This semester has been nothing short of a fearless creative pursuit in advancing the boundaries of graphic design in this love letter to all extraordinary subjects filed under an undefinable word, camp. As design chief, when the concept of a print issue themed around an enigmatic subject was proposed, it felt intimidating. Consistency amongst vastly different article topics in a theme that exemplifies an escape from uniformity was something I had to quickly accept as impossible. However, the freedom in accepting imperfection and harmonized disorganization not only improved my approach to design, but my perspective on life. It was a freedom paralleled by that remembered in childhood days spent in summer camp.

Since graduating from days spent climbing trees, we are propelled into a world completely random in what is thrown upon people. It feels improper to approach life in any manner of consistency; embracing the imperfections, ironies, and amusements of life with an outlook of beauty is something well embodied by this print issue.

It is my hope that anyone holding Summer Camp feels the spirit of the unordinary aesthetic, but also the nostalgia of the indescribable freedom felt at camp alongside friends on summer days. The design team has put in an immense amount of effort to convey a challenging feeling to capture through layout, and I will forever be proud of them and this print issue. It is also my hope to all reading that you feel inspired to release yourself from a culture of conformity and face the world in true camp fashion: intentionally extravagant.

To embracing imperfection,

Madelyn Okruhlik Design Chief ‘22

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Photographer: Linh Tran

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Photographer: Abbi Roane

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WHO WE ARE

Photographer: Cullen Powitzky

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In dreaming up the mission behind our organization, the intention was twofold: recognize the creative talent of the individual and fuel their capacity for greatness. Voila - enkindle the human spirit through self-expression and embolden all to excel beyond their social norms. Allow us to explain: We envisioned each written work, curated photo, and skillfully crafted graphic to be a bold platform for our community of creators to shine. Our members are the newgeneration artists that grace our digital day and age with contributions of modern relevance, leaving positive imprints on our college community. Our unique trait is the A-Line print issue, a tangible representation of us that defines online standards and relights the magic behind the magazines we cherished growing up. We understand the reality we live in: those brief, quiet moments amid our busy lives are priceless. Through an effortless scroll on your device, we hope to open the door to the relatable article you didn’t know you needed, advice on being productive dujring a pandemic, and, of course, style inspiration to bring out your inner trendsetter. A breath of fresh air in an ambiguoug world, we are unified through the common interest of passion - a free kindling of the crafts that set our soul on fire.

Let’s get to creating, together.

Sincerely,

Dasom Lee Co-Founder

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