I want to start off by saying how proud I am of everyone in this organization, you are all so talented and hardworking. Watching TART become a gorgeous piece of work when just a few short months ago it was just an idea is something truly incredible. As you flip through these pages, you will see and feel the creative collaboration of each and every member.
Before I joined A-Line Magazine, I had never felt so lost in my life. I had no idea how college worked, what I should be doing, or how to get there. Upon completing my freshman year at Texas A&M, I was not involved, made no friends of my own, and knew I needed to make a change. I began researching different organizations and clubs to apply for, and A-Line immediately shot to the top of my list. When my sophomore year began, I was eager. I applied and interviewed for six different organizations to be a part of with the hopes of finally feeling like I belonged. I was rejected by five of them. Rejection after rejection, I was hurt, but I still clung to A-Line. Telling myself, “It’s okay, I’m still waiting to hear back from them; I hope I get it. How amazing would that be!” I really wanted to be a part of the other organizations, but I needed to be a part of this one. I was accepted.
My journey in A-Line has been one of the most fulfilling parts of my college career. I began on the event team and immediately loved it. I could not wait for Monday nights when we had meetings. I am late to almost everything in my life, but never found myself late to a meeting. Within the first month, I found my best friend, Zoey Frederick. A friendship so easy and encouraging and I owe it all to A-Line.
In my second semester, I had the opportunity to become our Event Chief, and I loved every second of those two semesters. Within these two semesters, I found two more of my best friends, Peri Shaink and Katie Collins. And finally, with my last and final semester, I am proud to have had the opportunity to serve as the President. The evolution from my first semester here to my last is great, but the greatest thing has been doing it with my friends. I am proud that I was and am surrounded by so many talented people. Thank you to the executive board, you were fantastic and I am so grateful for every single one of you.
This journey is one that I am forever grateful for. I constantly tell people that I’m more sad that I have to leave A-Line than I am about graduating. I cannot wait to see how this organization continues to grow and develop as a professional publication. I’m a firm believer that there is always room for growth and each semester proves exactly that.
Forever indebted, Sydney Ross
LETTER FROM THE Editor in Chief
Dear Reader,
Writing has been and always will be my sweet escape. The stringing of words into a flowing stream of conscious thought; transforming the intangible into a beautiful piece of work.
Writers are artists in their own way and I’ve always thought of art as something that evokes emotion. Even in the abstract, there is a form of interpretation, of selfsurrender to the provocation of a piece. Look deeper and you can hear the echoes of a voice; it has no message, just a presence. It emanates a truth, an insight of their identity.
My role as Editor in Chief of the A-Line Magazine has granted me the immense honor of insight. I feel as though I get to know my writers with every amalgamation of their thoughts. In every article, there is a vision that comes to life, and under the meticulous process of curating flow and diction, there gives rise to pearls of passion. It is because of these stories that I can say I am not the same version of myself that walked into Sweet’s with fear in her eyes and a morsel of hope.
My appreciation for every member of this magazine can merely be grasped by words, but this final product is my declaration of my devotion to all the creative souls I have met along the way. TART holds an especially pertinent part in my heart. Not only is this issue my last, but it has brought me the closest to my people. This team has witnessed me scramble around the room at article sign-up meetings with a face full of stress and, likely, confusion. Yet, their conversations always find a way to uplift my doubts and inspire me to keep my peace of mind. Those conversations will be what I miss the most. The ability to share and be in the presence of so many creative minds is an honor I realized all too late; it is bittersweet.
My desire for this to never end is proof that the work we did is capable of reaching unsurmountable bounds. I really cannot say that I have ever been more proud of anything in my life. My fellow executive board members have put their whole hearts into this magazine and it has been an incredibly beautiful process to be a part of.
I am especially thankful to my editors, Catherine and Emma, for continuously supporting and believing in my leadership. This role has been one that I have struggled to grasp, but y’all made my love for words grow with every editing discourse and shared idea. I would not feel confident enough to lead this Writing Team without you guys by my side. An even greater thank you is due to my predecessor, Gretchen Evans, who led with such graceful authority and ignited my love for this team. And to the future of A-Line, continue to pursue what sets your soul on fire.
With all my heart,
Chloe Pham
Photography: Maha Afzal
Design: Claire Thessen
Styling & Modeling: Sudiksha Pai
Writing: Emma Ehle & Julian Baker
Photography: Ezra Huang
Design: Phoebe Han
Styling: Acelyn Hudson
Models: Emma Ehle & Kate Puckett
SOUR BREATH
an ode to the kind hearted killer
Two rotten red lips
On one flushed, Chewed up cheek
I’ll bite till it bleeds
And then sing you to sleep.
A broken down ballroom
Grand swells, once sweet
Your ode to my hips
Now a haunted, Dead heat.
If there’s no place like home
Why am I still a guest
In the house that I built In the middle of your chest?
And if that house is on fire, I’m a witch of the west
Fleeing from water, towards your Sweet, Sourbreath.
While I smothered our love, I’ll pray till I’m hoarse
That you can perform
Mouth to mouth on a corpse.
There’s more things I could say
But I guess it’s been said, Because you’re all that I want
And I’m all that you dread.
the craft of culture
In1988, Florence Griffith Joyner, aka “Flo-Jo,’’ secured her spot in the Olympic Hall of Fame with a remarkable 10.54-second time in the 100-meter dash.2 However, the three-time gold-winning athlete — whose record as the world’s fastest woman has remained intact ever since — found her accomplishments overshadowed by the media’s obsession with — and covert repulsion towards — her long acrylic nails. That year, the Chicago Tribune dubbed them “dragon-lady fingernails,” claiming they were both dangerous and incapacitating.3 Unfortunately, Joyner’s penchant for long and embellished nail sets made her an outsider compared to her white competitors and, subsequently, subject to scrutiny by the media and other detractors.
While long nails are often deemed “ghetto” by those on the outside, this art form born in the Black community is not only trendy but a paramount part of a shared history and culture. Yet, it is influencers like Kylie
Jenner who are routinely credited and celebrated for the trend. Neighborhood nail salons are likely bombarded with requests for “blueberry milk” and chrome nails, thanks to Hailey Bieber. In reality, it has been and continues to be Black women at the helm of nail art’s cultural resurgence.
The manicure, in its various forms, is a fan favorite in the internet age. It peppers a plethora of photo albums and Pinterest boards, with countless women considering it as a form of self-care. Critics often disregard it as frivolous, given that manicures are considered and regularly derided as a female pastime. However, if art holds up a mirror to culture, then a manicure does the same – albeit on a much smaller canvas. So, for all the excessive, seemingly superficial, nail-related clickbait, dismissing manicures as mere frivolity would be naive. It is important not to disassociate it from the issues of race, culture, class, or gender. This intersection highlights how Black
culture continually transforms the salon experience –often without proper acknowledgment. However, the manicure’s origin, predating contemporary designs by millennia, cannot be attributed to a single culture alone. Ancient Egyptian mummies, adorned with gilded nails and henna-tinted fingertips, were ahead of the game by about 5,000 years.4 Similarly, it was common for Indian women to stain their nails with henna, while ancient Babylonian men typically used kohl. A few thousand years later, Chinese women would adopt the practice of soaking their nails in a mixture of egg whites, gelatine, beeswax, and flower dyes, essentially pioneering the earliest form of “nail polish.” Long-colored nails, usually accompanied by ornate nail guards inlaid with embellishments, symbolized affluence and social standing. The assertion was that those of a lower class could not possibly afford such lavish nails; fieldwork and 5-inch talons do not mix well. Despite the difference in technique, they have
a common thread of classism and poshness; polished nails set one apart from the masses. By the 1940s, most women were doing their nails at home, and a decade later, the first acrylic nails were invented. Hollywood stars made red nails all the rage; however, the invention of the French manicure in the ‘70s offered a more natural look, kickstarting the pale nail craze. On the other hand, in Black and Brown communities, bold nails were lauded over the simple nail aesthetic as a cherished form of cultural expression. What the French can be appreciated for, however, is the introduction of glossy nail polish derived from car paint in the early ‘20s.4 A decade later, Revlon launched what is now the equivalent of modern nail polish, making this aspect of manicuring accessible to the masses. Enabled by improved coloring methods, reduced physical labor, and a modern permissiveness towards artificial beauty in the mid-century, the nail care industry and salon businesses took off.
The ritual of getting one’s nails professionally sculpted was largely reserved for the wealthy until the emergence of the nail salon. In The Managed Hand: Race, Gender, and the Body in Beauty Service Work, professor Millian Kang explains that the influx of South Korean and Vietnamese immigrants from the late ‘70s to the early ‘90s fueled America’s nail industry.5 Barred from conventional employment, immigrants turned towards entrepreneurship, subsequently making beauty services more affordable and accessible. Ornate yet relatively cheap manicures were attractive alternatives to expensive clothes, offering Black women — who were historically excluded from notions of beauty — an avenue to participate. Artists began to gain traction, like Bernadette Thompson, who was renowned for crafting Lil Kim’s iconic “money nails,” which earned a place in the Museum of Modern Art alongside the works of Van Gogh and Basquiat.6 However, it was not long before lavish nails were deemed distracting and unprofessional – a racist dog whistle. The “dragon-lady fingernails” moment was a pointed insult rooted in Asian stereotypes; Flo-Jo’s penchant for long manicures clashed with the white standards of that reporter, who found bright colors to be gauche compared to the more subdued French tip design.
“Pastel colors signal white, middle-class,
This matter is also not an isolated incident. Tennis champion Serena Williams, Flo-Jo’s
has also faced criticism labeled as “rule-breaking” for her choice of nail style. In spite of these negative connotations, the art form has been appropriated, much like numerous other novelties claimed by Black women — from tanned skin to baby hair — and has seeped into mainstream culture. But is cultural appropriation an accurate term to describe the shift that happens when mainstream culture adopts these trends?
Essentially, yes. The question is not who created the nail; its origin dates back a millennia. The question is, why are Black women criticized for doing something
that only becomes mainstream when white people do it? When Sha’carri Richardson wears a wig and long, decorated nails, it is seen as “unprofessional,” but whenever a Kardashian does, it is suddenly considered high fashion.7 It is unjust that a trend so often deemed as vulgar and unrefined when worn by Black women can be confidently embraced by a white woman as if she were a visionary. It underscores, yet again, that Black culture is seldom considered acceptable unless repackaged in whiteness. The Eurocentricity of the beauty industry as a whole has led to the exclusion of black women from a conversation they started, from acrylic nails to cornrows and locs.
Nowadays, celebrities such as Billie Eilish, Dua Lipa, and the Jenner/Kardashian clan parade elaborate nail styles derived from the African-American camp, but the fate of nail art in mainstream white culture remains uncertain. Like box braids and other aesthetics deeply rooted in the Black community, it can be trendy one day and passé the next. This ensures not only that manicures will remain contentious but that they will continue to exist long after white culture grows bored with them. For Black women, who have embraced acrylic sets long before designers and editorials caught on, nail art is a living culture. It is time to change the narrative and give credit where credit is due.
Writing: Catherine White
Photography: Kenley Becker
Design: Megan Rush
Styling: Monica Ferretiz
Model: Lauren Antwi-Boasiako
Photography: Maha Afzal
Model: Apoorva Selvakumar
Styling & Concept: Sudiksha Pai
THE LEGACY OF FASHION DO’S AND DON’TS
Inan age of social media and digital marketing, celebrities often utilize the internet to spread information and market their upcoming projects. However, as people find their niches and pay less attention to the broader aspects of pop culture, celebrities have had to find new ways to garner attention for themselves and their art. A significant way many celebrities do this is by marketing through shock value. This strategy is used to evoke an adverse reaction from the viewer by violating social norms and values. In doing this, the artist can draw attention to themself.
Many celebrities utilize their fashion as a way to bring attention to themselves. From Zendaya and Janelle Monáe to Lady Gaga and Kesha, countless celebrities employ their style as a way to build their image. For example, Zendaya used her fashion to stray from her “Disney image,” while Kesha built her brand off being a “party girl.” Ultimately, however, Lady Gaga is one of the most influential women in the fashion industry when it comes to “shocking” the media. Gaga became a breakthrough artist in 2007 with her debut studio album, The Fame, which features some of her most popular songs, including “Just Dance” and “Poker Face.” Through the combination of ‘80s electropop and synth-pop in her record, Gaga was able to create huge, electrifying dance beats, many of which were even represented in her fashion at the time. Dressed in geometric suits, hair bows, and massive square sunglasses alongside David Bowie-inspired make-up, Gaga portrayed her favorite ‘80s themes while showcasing a utopian pop star fantasy. Her unique appearance was in part, thanks to the creation of the Haus of Gaga, which was formed by both the singer herself and designer Matthew Williams. The Haus was responsible for many outfits worn by Gaga and her dancers. Its outturns also proved to be largely successful, as the singer’s eccentric style
quickly created a buzz around her name. No matter where the pop star appeared, speculation and anticipation over her next outfit dominated the press. Gaga’s most jaw-dropping appearance from this era came during the 2009 MTV Video Music Awards (VMAs), where she performed a mashup of her hit songs “Poker Face” and “Paparazzi.” During the show, Gaga appeared in a pair of white bejeweled Haus of Gaga, knee-high boots with a white panty, and an asymmetrical white lace belly-baring bodysuit. The performance came to its shocking climax during “Paparazzi,” as fake blood began to pour from Gaga’s outfit. The singer then hung by a rope and paraded around by her dancers as she “died” on stage. Audiences around the world were stunned — and some even horrified — by this event. Whether seen on television or in person, this spectacle showcased the dangers of fame. In an interview, Gaga revealed to MTV News that the performance focused on a “celebrity sort [having] this inevitable demise that we love to watch.”8 Creating a display that is simultaneously striking and off-putting is precisely what shock value marketing entails. This performance was twisted and perverse, yet “Paparazzi” quickly became one of the most iconic performances of the VMAs. While in 2009, the public may not have been ready for the message and disturbing visuals of the song, over a decade later, Gaga’s performance would be a pop culture reset. It not only made her a household name but also left a lasting impact on both the music and fashion industries.
Despite this, fashion is not the only way celebrities utilize shock factor to market themselves. Notably known as “rebranding,” this tactic is all about how someone wants to be viewed by the public. It is an intentional way of crafting a person’s persona so that the public will view them in a certain light. When a celebrity rebrands, they are attempting to step away from how they were previously seen in order to create a new public image that they feel better reflects them. One of the most notable celebrity “rebrands” came in 2013 when Miley Cyrus released her hit single “Wrecking Ball.” Prior to this song, the popular singer-songwriter was most famous for her role as Hannah Montana on the well-known Disney show of the same name. Due to Cyrus’ image in the show, she was seen as a wholesome role model for kids and a symbol of “pure” fun. However, she could not stay a thirteen-year-old girl forever. At age twenty, Cyrus went through a total branding makeover, stepping away from her Disney image and entering a new stage of her career as both a fearless woman and a sex symbol.9 Cyrus solidified her new image at the 2015 VMAs, where she performed wearing a flesh-toned latex bodysuit while dancing suggestively on stage. The rebrand sparked countless conversations, becoming one of the most talked about performances at an award show that is already known for its often outrageous productions. While Cyrus’ performance accomplished her goal of shedding the squeaky-clean image that Hannah Montana had given her, this performance was still quite controversial. “Wrecking Ball” was seen by many as too explicit, as audiences were stunned to see the young singer strip naked and straddle an actual wrecking ball in the video. Since, at the time, a large majority of Cyrus’ fan base consisted of young girls and teenagers, many viewers criticized her choices, deeming them inappropriate for her audience. Cyrus’ name took over the tabloids as everyone provided their two cents on the singer’s new style and branding. Even people who had not listened to her music nor watched the MTV performance were voicing opinions about the artist. This rebrand was, ultimately, a complete success, with the shocking
Writing: Lauren Carmona
Photography: Mary Le
Design: Maitri Modi
Styling: Mia Still
Models: Elizabeth Kemsley & Natalie Vu
LE OM DE N A
BEYONCÉ CHARTS A PATH OF FEMININE RAGE AND REDEMPTION
GOD IS GOD. I AM NOT. GOD IS GOD. I AM NOT.
GOD IS GOD. I AM NOT. GOD IS GOD. I AM NOT. GOD IS GOD. I AM NOT.
Theline flashes across the screen at the blazing climax of “Don’t Hurt Yourself,” a song whose deadly swagger is laced with the jagged rage of a woman scorned. Drenched in distortion, Beyoncé roars.
A lion’s roar is not borne of pain – it is a sign of unquestionable dominance. Beyoncé’s evisceration of an unfaithful husband is most cutting in its apathy: “You just gotta let it be.” She is perfectly content, raining hellfire upon him, for he will find no mercy in the lioness that viciously hunts down her prey. She is no God because she is not chained to benevolence. Let God judge him for his sins because she cannot be bothered.
Yet in these moments, devoid of her mercy and humanity, Beyoncé’s vulnerability reveals itself. Every song is a rejection of survival. “Pray You Catch Me” finds her pleading for blissful ignorance, with every whimper bearing the weight of knowing what her husband did. As her life crumbles, scarred by secrets and side chicks, she does not wish to keep living. In “6 Inch,” inhumanity crystallizes into armor. Beyoncé dismisses human connection in favor of materialistic ambition until she is left kneeling, begging for someone to just “come back.” It is a testament to the nature of this world-altering grief; life itself has become the bane of her existence.
In the wake of such a deeply personal tragedy, it seems almost antithetical to ground it in universal experience. However, in history and legacy, Beyoncé finds absolution. Historically, identity and humanity have held a crucial distinction. These concepts, ripped from the same cloth, have been hastily stitched back together in the pursuit of a post-racist American utopia. By exploring her Southern roots, Beyoncé rips this fantasy apart at the seams. Although she unapologetically embraces her identity as a Black Southern woman, her rejection of humanity becomes more nuanced as she delves into the sociocultural narrative of Black American identity.
Part of that narrative’s origins lie in loss. In the visual album for Lemonade, Beyoncé places herself at the site of a mass suicide in Georgia known as the Igbo Landing, where 75 captive West African slaves marched into the water, drowning themselves rather than facing life in chains.10 The Atlantic Slave Trade is perhaps one of the most egregious instances of identity contradicting humanity, as Blackness became a justification for the deprivation of basic human rights.
This reference is soundtracked to Beyoncé’s “Love Drought,” alluding to both water and love as the basis of humanity. As she leads her dancers into the water, she recognizes the tragic martyrs of Igbo Landing, for whom water was a reclamation of humanity. As Beyoncé fades into those watery depths, she is born again. Given this chance to reclaim her humanity, “Love Drought” signifies a turning point in the album, representing a desperate attempt to reach the surface as Beyoncé’s dogged pursuit of this inhuman apathy becomes constricting. It is as if she is asphyxiating underwater – deprived of the love or lifeblood that forms the wellspring of her humanity. As she later sings, “True love breathes salvation back into me.” The visual for “Sandcastles,” then, is her kneeling on the shore, coughing up the water in her lungs as a raw outpouring of emotion. A dam breaks. Beyoncé expels the very humanity she tried to suppress. Against a lone piano, her voice scratches like sandpaper. As it cracks and breaks, her melody becomes technicolor, finding new life in the grittiness of her pain.
That is the vibrancy that makes Lemonade so striking. Charting the journey from betrayal to redemption, Beyoncé’s breathtaking authenticity lies in her refusal to dull these visceral experiences. Razoredged distortion, gravelly voice cracks, and shaky breaths are not the usual hallmarks of Beyoncé’s vocal tour de force, yet they are the reality of her fractured psyche. As a pop star, it is refreshingly subversive.
Popular culture is notoriously strict in its criteria for women who gain mainstream attention. They are expected to be the epitome of ideal femininity, a constantly shifting standard that is meant to set an example for impressionable young girls. As one of the most prominent Black women in popular culture, Beyoncé has assumed this role for millions of young Black girls.
Conversely, societal conditioning can indoctrinate young Black girls, perpetuating dangerous stereotypes that are meant to dictate their appearance and behavior, forcing them to conform to the status quo. This translates to beauty standards that deem natural Black 4C hairstyles inappropriate and, most notably, behavioral conditioning that inculcates a deep self-consciousness that their anger will often be perceived as dangerous aggression.11 This constant emphasis on diminutive maturity minimizes the emotional depth and range that society allows these children to experience.
As a highly visible figure in public media, Beyoncé’s humanity transcends her struggle for self or a broader historical narrative of subjugation. Her emotions become her legacy – a symbol of authenticity to young Black girls who are taught that their humanity, the full scope of their experience, is inherently harmful. Beyoncé destigmatizes these sour, “imperfect” emotions, embracing the bitterness of her rage and the loneliness of her despair. Though they are not positive feelings, they are a vital and undeniable part of being human.
Lemonade is Beyoncé’s imperative message that the humanity of young Black girls is worth celebrating. Though it may seem a basic human right, the album chronicles how harrowing self-acceptance can be. It is fitting that “Formation” concludes this narrative of becoming, with Beyoncé singing, “I like my baby heir with baby hair and afros.” It is her love letter to her children and their children – a message of unconditional acceptance. She does not expect or demand conformity in hair or humanity.
That is the legacy Beyoncé has to offer future generations. She does not wish to be remembered as a benevolent God who expects and espouses virtue. God is God.
She is Beyoncé.
1. PRAY YOU CATCH ME
Writing: Athul Mohanram
Photography: Carolina Flores
Design: Megan Rush
Styling: Isabella Garcia
Model: Phoebe Asamoah
Photography:
Kenley Becker
Styling: Monica Ferretiz
Model: Lauren
Antwi-Boasiako
THE FLING WITH AN AFTERTASTE
Theidea of being loved and in love is magnetic, with picturesque couples online painting love to be surreal. Coming-of-age films, Disney fairytales, and Hallmark Christmas movies alike all convey the universal theme: sparks fly and then they live happily ever after. However, many can agree that in real life, love is like a chrysanthemum: delicate, intricate, and consisting of many layers. Beckoning a whole array of emotions, relationships tug on the heartstrings. Anxious butterflies when a new crush develops; jealousy when they show attention to someone else; triumph when they are finally ours; grief when a good thing has come to an end. However, while relationships consist of an earnest commitment and fidelity to the other half, a new circumstance has sprung up in the past decade: “situationships.” These can be considered a romantic or sexual connection that has not been properly established.
To clarify, “situationships” are not synonymous with talking stages that occur at a relationship’s start. Within a talking stage, there tends to be progression and consistency, but “situationships” solely show inconsistency. One moment, there is an emotional high of intimacy and connection, but in the next, there is no attention or care. This pattern of instability tends to continue for weeks and possibly several months. Furthermore, “situationships” tend to lack labels and communication about where the connection is heading. Repeated feelings of ambiguity foster a lack of security despite the rollercoaster of feelings. While these connections are typically not serious, this wobbly gray area still invokes heartbreak and despair.
Break-ups are messy. But situationship break-ups should not be. Though a minuscule voice in our heads proclaims that it is for the best, it is easy to pine over what could have been. After all, they put their best foot forward in the beginning. Nevertheless, how artificial a facade they could have made to grasp our attention is unknown. In friendships, there is less pressure to impress, making it easier to see someone’s authentic self, and in long-term relationships, enough time has passed to understand one’s flaws, which may perhaps make a traditional break-up less turbulent. For this reason, many find terminating a “situationship” to cause equal agony, as they fall for the idealized version of the person, neglecting flaws that have not shown through yet.
As humans, the mind grasps memories tied to strong emotions. For this reason, archetypes such as “bad boys” and “toxic girls” come about. People are often vexed about how they find certain individuals irresistible despite recognizing their blatant flaws and past trauma; thus, falling for someone they know is not suitable for them. Because the mind thinks for itself, people are roped into a “situationship” with someone that may foster negative traits but make them happy at the moment. The intimacy and affection that a toxic situation temporarily offers can release dopamine and oxytocin. Dopamine specifically triggers the reward circuit, while oxytocin promotes pair bonding and attachment feelings, both of which will ensue in feelings of contentment with one another. Thus, these individuals tend to leave a lasting impression and yearn for more. It is human nature to delight in pursuing someone they deem “hard to get,” thus cementing the age-old notion that “we want what we can’t have.”
In what appears to be a murky middle-ground between single status and monogamous commitment, it is unsure why these “mutually exclusive situationships’’ exist. Many times, there are feelings of unsureness and doubt. Some may be uncertain if they are emotionally ready to be in a relationship, perhaps due to a recent break-up or other emotionally draining stressors in their life. Therefore, they are more comfortable remaining in a middle ground that lacks labels or exclusivity. In an age where more people are pursuing higher education and careers take priority, an unofficial relationship status may offer more opportunities to navigate their future. Likewise, much of the Gen-Z community prioritizes side hustles and personal projects rather than outwardly finding their true love. Others are fearful of being tied down if they find someone better on the market. The abundance of dating apps makes it easy to compare a current romantic interest with someone else. Further, the fairytale relationships on social media could prompt the belief that there is better to be found. Possibly, some engage in a low-commitment connection as a barricade from becoming emotionally invested and perhaps getting hurt.
The opportunity to navigate sexuality comes with the responsibility of being mature and communicative when the emotions of others are at stake. While autonomy is a gift, it is essential to be honest about intentions when establishing something new to mutually protect feelings. Though love is written in the stars for everyone, the virtues of patience and self-love are critical when navigating tumultuous “situationships” and relationships alike.
Writing: Hannah Toy
Photography: Atithi Shrestha
Design: Maitri Modi
Styling: Carlee Dillion
Models: Camila Ponce & Aden Sanchez
The expiration date of connection
We laid on the nude mattress, an island in the ocean of my browning apartment, watching the shadows of passersby dance across my walls. I let my face fall on its side and traced the curve of her cheek with my finger. Words wrestled, caged in my chest; desperately trying to claw their way to the surface. So many thoughts raced through my mind, I wanted so terribly to let it all out, letting the facade of what we had crumble with it. But I couldn’t. She already told me everything I needed to hear. Despite how gravely I wanted this to work, it was helpless.
Summer act one
Days spent with Summer felt like bright streaks on an open canvas, painting a picture of blissful chaos and excitement. Their relationship was picture perfect: playing house in IKEA, dates to the record store, covert kisses at work, hideaways under the covers, and sharing pieces of themselves the world could never grace. The love they had for each other was real, but the paint by which they stained each other failed to permeate the surface of their relationship.
Tom’s life is a blurry haze, working a job he hates, living day to day with nothing truly motivating him, believing he could never genuinely be happy without meeting “the one” - the girl of his dreams. His discontentment with life continued until the fateful day he met Summer, a bubbly girl working as his manager’s secretary. It was then that his eyes opened, and the color of the world came into frame. As their eyes locked, he felt a surge - an infatuation that he had never felt before.
From the start, Summer told Tom she was not looking for anything serious, reinforcing this sentiment multiple times. Tom fails to heed these warnings, believing that with his dedication, eventually, everything will fall into place. His actions lead him to idealize every aspect of their relationship and ignore the whispering signs that indicate that Summer does not fully love him. This culminates in the dual-screen party, where Tom is simultaneously faced with a life with and without his love.
Summer is a blank canvas on which Tom can imprint his desires. Physically, this is represented by her wardrobe in the movie. Primarily consisting of light blues, blacks, and whites, she wears a collection of extremely inoffensive outfits. Although these outfits are extremely put together, they still maintain a level of simplicity that avoids physically manifesting Summer’s personality. Her wardrobe screams sophistication but seldom features accessories or
touches that feel personal to her. The movie features a collection of turtle necks, dress shirts, blazers, and long, flowy dresses, all of which adhere to the muted and minimal color palette established from the start. When Tom first meets Summer, she is wearing a simple white shirt and gray pants, symbolizing her lack of individuality, as Tom has not interacted with her yet. As the story develops and they start to form a relationship, Summer indulges in more intricate outfits, wearing blues, blacks, and whites. The colors she dons remain gauzy, indicative of their relationship’s light-hearted, fun nature. As their relationship progresses, Summer’s closet shifts to darker browns, dark blues, blacks, and deep greens. The shift parallels the start of the end of their relationship, where Tom starts to develop deeper feelings, which pushes Summer away. Ultimately, the demise of the relationship was wrapped in dull hues of brown and black.
The light colors of her wardrobe at the start of the movie represent both the light and frivolous nature of their relationship and the idealized version of Summer that Tom falls in love with. This version of Summer is receptive to Tom’s advances, shares in his humor, and resembles the saccharine image of “Summer” he falls for. The lightness and lack of detail in her wardrobe allow Tom to imprint his own feelings on her, essentially making her a reflection of what Tom wants from a relationship rather than another person with whom to develop a relationship. As her wardrobe slowly darkens, so does their relationship. The sweetness that once defined their connection quickly sours as Summer does not live up to the idealized version of her Tom built up in his head. The dark greens and browns give way for her individuality to come out and clash with how Tom wants her to act. The film portrays a constant struggle between Tom’s idealized version of Summer and the real version of Summer, which is bolstered by the movie’s wardrobe and styling choices.
BUMMER act two
It is not uncommon to place your partner on a pedestal. You start to build up every aspect of their personality based on the moments you share with them, to the point you have mounted a shining idol on a pillar so high you can only dream of one day being able to reach it. A false god that is the representation of everything you want, holding a glimmering key to the type of sickeningly sweet happiness you could only find in those cheesy, early 2000s romantic comedies you based your entire adolescent personality on. A romantic sculpture of white makrana marble you adorn with fine silks and delicate golden jewels in the hopes of being able to do right by it, a form of repentance for intruding on its domain.
This romanticization is an almost human instinct, tinting the world in a rose-colored shade that drowns out the red flags and candies of every interaction with an intoxicating glaze that pulls you in, making you become more and more attached. Suddenly, every minute expression becomes a grand gesture of love. Every wrinkle in their smile, every curl of their hair becomes a work of fine art that only you can stare at. In this process, though, you start to ascribe parts of yourself to them, placing crushing expectations for how you think they will act, wanting so desperately to keep up with their streaks of excitement and color, but in the process, clipping their wings, tethering them to the ground. And when they inevitably fail to meet the impositions of your infatuation, the pillar you placed them on crumbles - and the illusion you convinced yourself was real crumbles with it.
This eventually leads to a relationship that burns out almost as fast as it started, a brief moment of fiery passion that quickly gets stomped out by the boot of reality. The sweet Honeycrisp of your shared intimacy quickly rots and sours, leaving its bare core to rest in the palm of your hand. Its sticky juices force you to cling onto it, preventing you from letting the remnants of everything you once had go, leaving you with one option: tear it all outoff, take with it the steel-plated armor you built up after years of cynicism with the rotting core of your time together.
Unfortunately, the Baptism you desperately pray for never arrives. The sins and regrets are never washed off your body, as their molasses have already made their way into every crevice of you, seeping into your skin, immortalizing themselves as part of you. But you attempt to tear it out regardless. Desperately scratching the tenacious syrup from your skin, you engage in your most self-destructive tendencies in an attempt to cleanse yourself of everything you once had. Looking down at your raw hands, though, you realize you have undergone a rebirth, embracing the once hidden, hideous features that were illuminated by the light of your connection with them. A version of yourself that is much more whole, a version of yourself that is much more You.
Her words pierced my ears, but she was right. I had fallen in love with what she had done for me. Her indulgent patience for my continual shortcomings. Her cloying, obnoxious honey that transformed my moody burgundy into a fiery carmine. I loved the intimacy, the feeling of conquest; the excitement that comes with being the only kid on the playground to have a shiny new toy. I loved everything about her, intoxicated by everything she meant, but did I really love her?
Artists live for their art. Their minds are always racing, always searching for their next muse. Subconsciously or not, they are so consumed by their art that they will go to the furthest extents for it. The average person cannot comprehend these minds. They mock and invalidate them, dismissing the artist’s actions as crazy or extreme. Behind the surface, there is beauty hidden beneath even the most horrible ones. That is what the artist sees.
In the annals of fashion history, particular designers stand out not only for their groundbreaking contributions to the industry but also for the unconventional sources of inspiration that fueled their creative genius. Among them are Alexander McQueen and John Galliano, two visionary designers whose work continues to reverberate through the world of fashion long after their untimely departures. Central to their artistic processes was a candid acknowledgment of the influence of drugs on their creativity—a theme that both intrigued and unsettled audiences.
Alexander McQueen’s meteoric rise to fashion stardom was marked by a relentless pursuit of innovation and boundarypushing design. Renowned for his avant-garde aesthetic and theatrical runway presentations, McQueen shattered conventions and redefined the possibilities of fashion as an art form. Yet, behind the scenes, a darker reality lurked— one fueled by the designer’s candid admission of drug experimentation and its profound impact on his creative process. McQueen’s collections served as visual feasts, each a narrative journey through the recesses of his imagination. His fascination with the macabre and the sublime found expression in collections like “Highland Rape” (Autumn/Winter 1995), where raw emotion collided with exquisite craftsmanship to provoke visceral reactions from audiences. For McQueen, drugs were not merely a means of escape but a gateway to realms of inspiration inaccessible to the sober mind. The designer’s runway spectacles were legendary in their ambition and audacity, blurring the lines between fashion and performance art. From the haunting beauty of “VOSS” (Spring/Summer 2001) to the surreal enchantment of “Plato’s Atlantis” (Spring/Summer 2010), McQueen’s shows transported viewers to worlds both sublime and unsettling, leaving an indelible mark on the collective consciousness of the fashion elite.
In the hallowed halls of Dior, John Galliano reigned supreme as the master of fantasy and extravagance. His tenure at the iconic fashion house was marked by a series of tour-de-force collections that captivated audiences with their opulence and theatricality. Yet, again, behind this facade of glamour lay a personal journey fraught with demons and substance abuse. Galliano openly admitted that his creative process was fueled by a cocktail of drugs, including cocaine and alcohol, which also became sources of inspiration for his designs. In his mind, fashion was a canvas for storytelling - an escape from reality into the realms of fantasy. His shows for Dior were made out to be grand spectacles, each meticulously choreographed to express the allure of excess. From the opulent extravagance of the “Diorient Express” (Fall/Winter 1998) to the whimsical enchantment of “Diorama” (Spring/Summer 2001), Galliano brought the audience into his world, where they too were able to experience his complex relationship between creativity and self-destruction.
Intricate, overlaying patterns coming forth from every surface.”
Bright, bold colors swirling all over the place. Intricate, overlaying patterns coming forth from every surface. The warping and melding of reality into a world of hypnotic vivid entanglements. This was the birth of tie-dye in America. In the 1960s, the counterculture movement was fervent, and from it, an unexpected swell of artistic expression rose. Drawing inspiration from folk and tribal fabrics, hippies brought their acid visions to life through their clothes. Tie-dye patterns symbolize the journey their minds went through while on these drugs. These were the days that people were starting to indulge in the weird. They were embracing their individuality, and drugs were one way to do that. They broke the norms, and their tie-dyed clothes were proof of that. Over the years, the patterns went on their own journey, becoming commercialized and sold to the masses. This capitalization submerged the true roots of these clothes and changed their meaning; now, it is simply seen as a fun, innocent pattern appealing to the youth.
The hippies were not the only ones deviating from the norm in the psychedelic 60s and 70s. Designers like Emilio Pucci in the 1960s and 1970s were heavily influenced by the psychedelic culture that emerged. Pucci’s designs mirrored the psychedelic experience, characterized by bold and electrifying colors, intricate swirling patterns, and mesmerizing kaleidoscopic motifs. These elements captured the essence of the counterculture movement, reflecting a desire to break free from societal norms and embrace a more liberated and experimental approach to fashion. One of Pucci’s signature styles was the use of geometric patterns, often inspired by the natural world and abstract art movements such as optical art. His designs featured bold juxtapositions of color and form, creating a sense of movement and dynamism that resonated with the psychedelic aesthetic. Furthermore, Pucci’s innovative use of fabric and construction techniques allowed him to create garments that were both visually striking and incredibly comfortable to wear. His stretch fabrics, in particular, became iconic staples of the era, perfectly suited to the free-spirited lifestyle embraced by the youth culture of the time. Emilio Pucci’s designs were the epitome of the convergence of conventional fashion and psychedelic culture in the 1960s and 70s.
In the 1970s, Vivienne Westwood put her own twist on fashion by infusing it with the spirit of rebellion and experimentation prevalent due to the psychedelic culture at the time. Her iconic designs, such as the “Sex” and “Seditionaries” collections, featured bondage-inspired elements such as safety pins and chains, echoing the raw energy of punk fueled by the drug-fueled counterculture. Additionally, Westwood’s innovative use of unconventional materials and vibrant colors, as seen in collections like “Pirate” in 1981, reflected the kaleidoscopic visuals of LSD trips, challenging societal norms and celebrating individuality. Today, her legacy as a pioneer of psychedelic rebellion continues to influence fashion’s ever-evolving landscape.
Drugs have left a persisting mark on fashion, influencing designers to push boundaries and challenge conventions. While overt references may have diminished, the legacy of psychedelic culture persists in contemporary fashion’s vibrant colors, bold patterns, and rebellious spirit. As the industry continues to evolve, the influence of drugs serves as a reminder of the enduring power of creativity and subversion in shaping our collective style.
Writing: Isana Mehta
Photography: Chioma Chukwuemeka
Design: Phoebe Han
Styling: Sophia Villarreal
Models: Sophia Villarreal & Ruby Joy
Photography: Maha Afzal
Styling & Modeling: Sudiksha Pai
THE FRENCH REVOLUTION OF FASHION
ForJean Paul Gaultier, growing up in 1960s France as a queer boy interested in fashion was both a blessing and a curse. With designers such as Karl Lagerfeld and Yves Saint Laurent paving the way, one could look to them as idols – a fashion blueprint to follow. At the time, it was taboo to be openly gay, and the French fashion scene had a unique, traditional aesthetic that was extremely adverse to change. However, at twelve years old, a young Gaultier was taken to a museum by his grandmother, where he set eyes on an intricate corset for the first time. The lace was delicate but the boning was strong – a tight contrast to create a perfect harmony. Gaultier saw the possibilities for self-expression within fashion – to express the dichotomy of his own life.
Gaultier transformed street style, embraced the feminine form, and brought humor to the runway. He broke down barriers as a French designer who had never stepped foot into a fashion school while still managing to show collections during Paris Fashion Week for half a century. During high school, Gaultier sent his sketches and ideas to designers all over France, and after turning eighteen in 1970, he received an apprenticeship with Pierre Cardin. Cardin, a French-Italian designer, is accredited for using geometric shapes to create avant-garde designs that completely ignored the traditional hourglass silhouette. For the next five years, Gaultier would work as a floating apprentice for many notable brands before establishing his own. He worked at Jean Patou for a period of time — the same house responsible for catapulting the careers of fashion giants such as Karl Lagerfeld and Christian Lacroix — and, in 1976, debuted his first solo collection. This collection, however, did not make Gaultier
an overnight success. Many viewers could not look past his provocatively dressed models — well, provocative for 1970s France — to appreciate the unique patterns and exceptional tailoring of his pieces. Over the next few years, Gauliter would receive more attention and critical praise as many editors, such as Hamish Bolton, Vogue’s 2024 global editor, saw promise in his vision. He worked to nail his technical craftsmanship and grow a dedicated clientele that, ultimately, would produce a steady enough income for Gaultier to invest in wild experimentation. This allowed his brand to flourish throughout the ‘80s and ‘90s and for his most authentic personality to shine through.
If the French were shocked by Gaultier’s provocative models from the ‘70s, they would most likely have a heart attack at the sight of his models from the ‘80s and ‘90s. His signature garish looks from this era include his iconic tattoo shirts, the “cyber” bodysuit, Madonna’s iconic cone bra, and countless others.
The following year, 1995, Gaultier presented “The Cyber Show,” which Laird Persson, the archive editor at Vogue,
claimed to be one of the greatest shows ever. As technology became more accessible in the ‘90s, it became apparent that computers were destined to be a driving force in the new millennia. Gaultier, having observed this, created his vision of the 21st-century girl: a girl who did not fit the mold – an independent girl who expressed herself in every sense of the word. In this collection, he most notably fashioned skin-tight bodysuits out of a mesh polka-dot-printed fabric, producing an updated version of the tattoo bodysuits he released several years prior. The suits were particularly controversial as they displayed the outlines of bras and panties. While it was never explicitly stated why this was done, no one has stopped talking about it since. Perhaps it was a display of the 21st-century woman unabashedly claiming her body, hence the highlighting of the female form on Gaultier’s bodysuit. Whether this was an intentional or subconscious decision, Gaultier’s genius is on display either way. With his clever integration of technology into textiles, he defined what it meant to be inspired by society’s latest trends rather than creating something trendy yet forgetful.
A lesson many children learn early in life is that not everyone can be a winner… unless your name is Jean Paul Gaultier. In 1977, Gaultier would show his first haute couture collection in Paris, titled “The Atmosphere of a Couture Salon.” Every single look surmounted the last. There was attitude. There was drama. There was glamor! Gaultier took reference from the traditional ateliers he had interned at in his youth and expertly paid homage to the craft while showcasing his personal innovations. Both male and female models done up to the nines in Cabaret-style makeup graced the runway in drop-waisted gowns, sheer tulle drapings, and plunging necklines – yet it was all tasteful. Gaultier brought camp back to the runway, even going as far as to name each individual gown. His debut in couture is still a highly revered show, with nods to his iconic looks still found on the runways today. From that point on, a Gaultier show was one of the most coveted shows to attend at Couture Fashion Week.
As the years went on, Gaultier’s couture collections continued pushing boundaries and redefining the feminine form in corsetry. Having taken inspiration from his time with Pierre Carnin, Gaultier became known for his geometrically exaggerated corsets. However, his creative utilization of an hourglass figure is not the only reason he is praised in this area. It is the fact that he does
not shy away from the hourglass figure that has earned him so much respect. Centuries ago, the corset existed to uphold a certain beauty standard, with women’s internal organs being rearranged due to the sheer abnormality of the tight garment. Yet, in 2024, corsets are still being worn daily. Why? It is because designers like Gaultier have found strength and beauty in allowing women to reclaim what it means to dress in a feminine way. A corset is no longer worn for the male gaze but rather utilized to highlight a woman’s curves, thus heightening her self-confidence. Gaultier used the corset as a tool in his mission to show the utmost respect to the feminine form, all while staying true to his creative spirit.
Now, the corset has become a symbol of female empowerment. With fifty years to cover and an average of two collections released each year, there simply would not be enough words or paper sufficient to cover every facet of this renowned designer’s inspiration. However, every design, pattern, stitch, and hem can be traced back to the corset a twelve-year-old Jean Paul Gaultier first laid eyes on. While some of his designs may still leave a sour after-taste in the mouths of some viewers, his intentions could not be any sweeter. An “Enfant Terrible” he might have been, but a legend he will remain.
Writing: Parker Elkins
Photography: Mackenzie Ortiz
Design: Claire Thessen
Styling: Cindy Chen & Monica Ferretiz
Model: Anya Mohammed
Why do we fixate on rising stars one minute just to turn on them the next?
Writing: Logan Hansen
Photography: Alyssa Moore
Design: Macie Landon
Styling: Mia Still Model: Emma Koehn
While overexposure leads to a lack of demand, there is no justification for praising and then discarding celebrities at the drop of a hat, as if they are an industry toy that has been played with enough to be labeled as a “weird Barbie.”
Photographer: Mackenzie Ortiz
Styling: Cindy Chen & Monica Ferretiz Model: Anya Mohammed
IT’S OUT HERE
There’s nothing more sour than a breakup album
OliviaRodrigo’s debut album, Sour, stands as a testament to the complexities of modern love and heartbreak. With its raw vulnerability and unapologetic honesty, Sour offers listeners a cathartic journey through the tangled web of emotions that accompany the end of a relationship. From the unbridled anger of “good 4 u” to the tender ache of “enough for you,” each track on the album is a window into the tumultuous landscape of the modern breakup, exploring the various layers of tartness that linger long after the sweetness has faded.
Rodrigo’s career began as a Disney actress, starring in Bizaardvark and later High School Musical: The Musical: The Series. Through the latter show, Olivia fostered not only her vocals but also a speculated relationship. Though never explicitly stated, many fans believe Rodrigo was in a relationship with on-screen love interest and co-star Joshua Bassett before he supposedly started seeing fellow Disney star Sabrina Carpenter. Many fans connected lyrics from Sour to the rumored love triangle, including references to a “blonde
girl” who is “so much older” in a fanfavorite track, “driver’s license.”
Despite rumors about a certain celebrity love triangle, Sour’s fame can be credited to its ability to relate to the experience of the modern first love. At its core, Sour is a deeply personal and introspective exploration of love, loss, and everything in between. Rodrigo’s songwriting prowess shines brightly throughout the album as she deftly navigates the myriad of conflicting emotions that come with the dissolution of a relationship. Through her soulful vocals and evocative lyrics, Rodrigo captures the raw intensity of emotions such as anger, sadness, and longing, impacting listeners worldwide.
One of the album’s standout tracks, “driver’s license,” acts as an anecdote about the pain of unrequited love and the ache of seeing someone you once loved move on with someone new. In “driver’s license,” Rodrigo captures the bittersweet sensation of watching a former flame find happiness and grapple with the lingering echoes of what could have been. It is a sentiment that resonates deeply with anyone who has experienced the sharp sting of jealousy and the crushing weight of unfulfilled longing. This track is especially moving in the modern day as relationships are paraded around social media, adding to the difficulty of avoiding unwanted reminders of the past.
Meanwhile, track two, “traitor,” delves into the depths of betrayal and the struggle to find closure in the aftermath of a breakup. In “traitor,” Rodrigo lays bare her innermost insecurities and vulnerabilities, confronting the painful realization that someone she once trusted has betrayed her. The track also produces a layer of bitterness that is exemplified through the repetition of the lyric “Ain’t it funny?” Straying slightly from the heartache of Sour’s other tracks, “traitor” explores the angst and anger that can accompany a breakup. The motif of blame is scattered throughout the song as Rodrigo places most of the weight of the relationship on her partner even though they “didn’t cheat.” Resonating with listeners worldwide, this track is a reminder that heartbreak is not solely about lost love, but also about grappling with shattered illusions of trust, the desire to place blame, and the struggle to reclaim one’s sense of self-worth.
Similarly, “happier” explores the duality of acceptance and closure as Rodrigo struggles with the painful reality that someone she once loved has moved on to find happiness with someone new. The track captures the delicate balance between holding onto the past and embracing the promise of a brighter future, with Rodrigo belting a bittersweet chorus of “I hope you’re happy, but don’t be happier.” While “happier” lacks the angst and pure pain found throughout the rest of the album, it carries a more pensive and accepting atmosphere. In the song, Rodrigo comes to terms with the end of her relationship, wishing her partner the best despite the fact that she is not completely detached from what once was.
I
hope you’re hapPY
(but don’t be happier)
Writer:
Photographer: Kaliegh Mazy
Graphic Designer: Alyssa Lazarchik
Social Media: Divya Nair
Styling: Chloé Golden
Videography: Antonio Gutierrez
Rachna Edalur
Perhaps the most compelling aspect of Sour, however, is its ability to capture the nuances of modern relationships and the unique challenges that they present. In an era where social media plays an increasingly prominent role in our lives, navigating the aftermath of a breakup can feel like an exercise in emotional warfare. Songs like “deja vu” and “jealousy, jealousy” delve into the complexities of jealousy and insecurity in the age of Instagram, where every post, like, and comment can act as an inescapable reminder of the past.
Ultimately, Sour stands as a testament to the enduring power of music to heal, inspire, and unite. Through her unabashed honesty and emotive lyricism, Olivia Rodrigo invites listeners to join her on a journey through the tangled landscape of modern love and heartbreak, offering catharsis in the midst of the chaos. In a society where emotions are often brushed aside or buried beneath layers of artifice, Sour serves as a touching reminder that it is okay to feel, to hurt, and to heal – one tart emotion at a time.
Thereis nothing like a warm, fuzzy reminder of the good ol’ days to cure sadness and anxiety. Most people view nostalgia as an antidote of sorts; however, historically, it has been considered a disease. Up until the late 1900s, nostalgia was considered a mental disorder similar to depression. The Odyssey, written in 800 BCE, features the first person to exhibit this “disorder” in modern literature. This person would be none other than Odysseus himself, who was described in the Greek epic as often reflecting on memories of his family while away from home.18 Nostalgia was not identified as a feeling or sensation until 1688 when Johannes Hofer used the term to describe the acute homesickness felt by Swiss soldiers fighting in foreign lands. Hofer derived the word from the Greek words nostos, meaning to “return home,” and algos, meaning “pain.” Nostalgia’s strictly negative connotation faded with its acceptance as a feeling rather
than a disorder when research on the topic increased in the last century.
Nostalgia can be direct or indirect and individual or collective. The four different types of nostalgia are characterized by their combination of these subcategories. For instance, personal nostalgia is direct and individual. An example of this is a subject experiencing personal nostalgia when they look back on a fun day spent with a relative that has since passed.19 Cultural nostalgia is similar to personal nostalgia in that it is direct, but it is also collective. Silly Bandz found in an old box in the attic can trigger cultural nostalgia. Academics at the City University of New York describe interpersonal nostalgia as “nostalgia once removed”19 as it is both indirect and individual. When Duncan recalls the events in a story his aunt told him about her childhood, he experiences interpersonal nostalgia.19 The last type of nostalgia, which is indirect and collective, is virtual nostalgia. Someone who enjoys participating in Civil War reenactments might experience virtual nostalgia by placing themself in a historical battle. While nostalgia can be experienced in a variety of ways, with all the forms comes a multitude of stimuli.
According to marketing professor Lan Xia and her team at Bentley University, the most common triggers of nostalgia include “negative moods such as loneliness, distress, and negative sensory inputs such
as adverse weather.” Xia explains that this is why the COVID-19 pandemic may have brought about a new wave of nostalgia-based advertising and entertainment.20 Social distancing, drastic changes in daily routines, and the constant threat of infection drove people to reflect on what life was like before the outbreak. Many scholars believe this provided the perfect environment for advertising campaigns like McDonald’s reintroduction of Grimace and films like Greta Gerwig’s Barbie to achieve massive success.
Besides providing an opportunity for those who experience nostalgia to reflect on better days, nostalgia has also been proven to have several other side effects. National Geographic reports nostalgia can improve perceptions of well-being and encourage creativity. It also makes people feel young, vigilant, hopeful, energized, and more courageous in achieving goals. Ziyan Yang, a professor at the Chinese Academy of Sciences’ Institute of Psychology, and her team of academics have made significant contributions to research regarding nostalgia. �� Yang’s studies have suggested nostalgia can lower participants’ perception of pain and enhance participants’ ability to identify threats.22 Yang has also discovered that nostalgia activates several parts of the brain, which “suggests the potential for applications of
nostalgia-based therapy and treatment to emotional and memory dysfunctions.”23 In other words, nostalgia goes beyond simple recollection. It has the ability to resolve issues in the brain, which means it could one day be used as a mode of therapeutic treatment.
Despite these benefits, research on nostalgia suggests it can still have negative impacts on those who experience it. As a feeling that is often bittersweet, it is not uncommon for nostalgists to live in the past. These people often long to be where they once were and forget they can make life better for themselves now. If a person allows nostalgia to influence them to that extent, they are, in a way, dealing with an antiquated version of nostalgia – one where it is a disease. Nostalgia should be used as a medication that reminds users where they have been so they know where they will go.
Writing: Abbie Billingsley
Photography: Nicole Hinojosa
Design: Aranza Carreno
Styling: Nadia Moore & Julissa Diaz
Model: Amy Kingston
Photography: Ezra Huang
Styling: Acelyn Hudson
Model: Emma Ehle
Photography: Ezra Huang
Styling: Acelyn Hudson Model: Kate Puckett
LETTER FROM THE Videography Chief
Dear Reader,
Writing this letter feels premature. It feels like just yesterday that I was a nervous freshman shaking the hand of Shelby for the first time, my future mentor that I would look up to for years to come. I write this in disbelief, thinking about how time is a thief and remembering all that A-Line has offered me throughout my time at A&M.
In the spring of 2022, I had been going through one of the lowest points in my life. Though I had been in A-Line for a semester already, and I truly enjoyed it, I questioned if I should leave. Despite these emotions, I decided to attend our first social of the semester. I entered the room and was greeted by a familiar face. I had never spoken to her before, but after striking up a conversation, it was clear that she was about to become my best friend. From that moment on, I knew I was exactly where I was supposed to be.
A-Line has given me a voice and a creative outlet that I could never have established without it. I have met so many strong, smart, and successful people who have pushed me to succeed, and I am thankful for the connections and friendships I have made throughout my time in A-Line.
I also can not be more proud of my team. Watching A-Line grow over the years has been incredible, but watching the videography team grow has been a special experience. Having such a small and tight-knit team allows for a bond like no other, and I am so grateful for the fun times and laughs we have shared together. I am in awe of the progress we have made over the years, and I am excited to see what the future holds for videography.
I came into A-Line as a nervous freshman, but I leave as a confident woman who is ready for the challenges of life ahead. This magazine offered me a safe space throughout my time at A&M and gave me my best friends. Words will never amount to my feelings about A-Line or the place that it holds in my heart. I truly do not know where I would be today without the love and support of the amazing people of this magazine.
Here’s to silly meeting themes, palo alto dip orders, late-night editing sessions, and lasting friendships.
With gratitude, Haley Cox
LETTER FROM THE Photography Chief
Dear Reader,
I was once told that photography has nothing to do with cameras. I was told this as an amateur photographer many years ago, but the quote has stuck with me ever since. When I first heard of A-Line Magazine four semesters ago, I knew I needed to join and thought back to that quote. Looking back, I know now that God was guiding me in the direction of where I needed to be.
Being a part of A-Line Magazine has been nothing short of amazing. From starting as a full staff member to being the Assistant to the Chief Photographer and now the Chief Photographer, I feel blessed to have seen so many aspects of this magazine. I have truly grown so much as a person and as a photographer, and God has put me in the path of so many wonderful people who have allowed me to fully embrace who I am and feel welcomed in a place where I’m able to help create something truly special. One thing I know for sure is that A-Line Magazine has left an indelible mark on my heart and has been incredibly special to me.
Creating TART this past semester was so much fun, and I’m so proud of every photographer who has had a part in helping make this print issue come to life. I’m so blessed to have been the Chief Photographer this past semester and have the privilege to see the photographers grow within this organization, just as I have. I’m so lucky to have been a part of the Exec Team filled with so many amazing people and I’ll deeply miss the friendships I’ve made. I will forever look back on my time here with fondness and I’m sad my time here has come to an end. But I know that the memories I’ve made within this magazine and the people within it are something I will be looking back on for many years to come.
So, when thinking back to the quote I first heard many years ago, I’d have to agree. Photography has nothing to do with cameras but everything to do with the people who make those photos possible. I’ve never looked back at the photos I’ve taken, thanking my camera for the picture it took. Rather, I look back at the photos I’ve taken, thanking God for the models that I met on photoshoots who became new friends, the fellow photographers on my team who gave me tips on photoshoots, the writers who came up with articles that sparked my creative interest, and so much more. I am so thankful to this organization and everyone in it for giving me something to be truly passionate about these past couple of years. I’d also like to thank my wonderful family for supporting all of my endeavors and for being the biggest reason I strive to accomplish everything that I have.
Eternally Grateful, Peri Shaink
LETTER FROM THE Editor
Dear Reader,
I have always held an infinite appreciation for the written word. Its formula and form, its intricacy and nuance – its insurmountable ability to inspire and foster feeling.
This print issue, TART, is all about the evocation of feeling in its rawest, most visceral form. It is not about distinguishing between the sweet and the sour, or about drawing a line in the sand. It is about feeling – feeling wholly and feeling completely.
As I previously stated, I’ve always considered myself a “words person.” Numbers have never made sense to me and they probably never will. While to me, words are clear, coherent, and formulaic, numbers are abstract. They twist and turn and knot in a manner that, unlike words, clouds clarity instead of creating it.
In these last few months before graduation, however, I have been forced to face numbers in a very real, very scary way. In four days, I will be graduating from Texas A&M. In four weeks, I will be preparing to move half-way across the country to the biggest city in the US where, out of a population of 8.3 million, I will know one person. In four months, my life will, most likely, be unrecognizable from what it is today. It is with this realization that my love of words, my aversion to numbers, and this semester’s print issue face the ultimate collision. There is one part of me that thinks I will leave and never look back. There is another part, however, that knows better than to think in such a binary way. There is poetry in numerics, intangibility in diction, and melancholia in moving forward.
I don’t know numbers, but I know love and friendship and creative expression. I know the ache in the pit of your stomach that accompanies having to reinvent yourself time and time again, but I also know that so many of the friendships that I have made here will transcend that reinvention. I know that this 70-person organization made a campus of 70,000 students feel a bit smaller, and I know for a fact that I would not be the person I am today without it.
To this year’s executive board, I’d like to say thank you for your friendship, unwavering support, and faith in me as an editor. To Chloe, Catherine, and the rest of our writers, I’d like to say that you are absolutely amazing and to never stop writing; the world needs more “words people.” To Kate, Alexa, and the rest of this amazing organization that brought TART to life, I’d like to say that your friendship is invaluable, and your art is inspired; keep on creating. And to our wonderful videography chief and one of my best friends, Haley, I’d like to say that I’m so incredibly proud of everything you achieved, both in and outside of A-Line. You were someone I never knew I needed until joining this organization, and moving 1,600 miles away from you is about to be one of the hardest things I’ve ever had to do.
To the A-Line Magazine, just know that I will forever be indebted to you. Life is bittersweet in the best possible way, so continue to feel everything wholly and completely.
Yours loyally,
Emma Ehle
LETTER FROM THE Digital Media Chief ASSISTANT
Dear Reader,
TO THE
As I sit down to write this letter, I am filled with different emotions- pride, nostalgia, and gratitude. It is with great pleasure to present TART, a culmination of hard work, dedication, and passion from our talented teams.
This issue holds a special place in my heart as it marks my final contribution to A-Line before I embark on a new chapter in my life. It is a bittersweet moment, reflecting on the journey that has brought me here to this moment and how far I’ve come.
When I transferred to Texas A&M as a junior, I was looking for a community that would not only embrace my love for fashion but would also challenge me creatively. Little did I know I would find so much more than that- I found my best friends. To my dear friends and now roommates who started as colleagues and became my forever soulmates, thank you for sharing this journey with me. Your constant support and encouragement have been a source of strength and inspiration.
I would also like to express my gratitude to Sudiksha Pai, our Digital Media Chief and my partner in crime, for her unwavering dedication, enthusiasm, and support. Working alongside Sudi and our incredible social media team this past year has been a privilege, and I have learned invaluable lessons about leadership, teamwork, and creativity.
As I prepare to step into the next chapter of my life, I hope my story serves as a testament to the transformative power of pursuing one’s passion. Whether you’re part of A-Line magazine or simply a reader who shares our love for fashion, I encourage you to embrace your journey and never shy away from following your heart.
Thank you for being a part of my journey. Liane Nguyen
LETTER FROM THE Design Chief
Dear Reader,
This print issue, “TART,” embodies the energy I love to surround myself with most. It’s fresh and exciting in a way that leaves a lasting impression. It’s unapologetic and magnetic. It’s the kind of energy that the members of A-Line Magazine show up with every day. Everyone in this organization shows up unafraid to be themselves, whether it’s in the way that they dress or the art they create. Just like “TART,” the A-line staff is full of daring, bright, creative, and visionary creators. This brilliant group of people continues to push boundaries and bare their souls through their work, and I’m grateful to experience the creative process with this team. A-Line Magazine has given me the chance to collaborate with skilled artists and writers with strong visions and a passion for making something beautiful, and I am so lucky to have found a place on campus that celebrates creativity and fashion in this way.
To my design team, I am so proud of your hard work this semester, and it has been such a treat to see you take your visions from start to finish during this print issue. I have so much confidence in our small but mighty team and I am thankful that y’all have trusted me throughout my first semester as Design Chief.
LETTER FROM THE
Dear Reader,
Always keep creating, Claire
Thessen
Creative Director
As we move through life, we are shaped by a range of defining moments. The moments that are the most ingrained in our memories are the times we experienced the highest of highs and the lowest of lows. This delicate balance between the sweetness and sourness humble us. It reminds us of the duality of the human experience. It is the juxtaposition between these extremes that brings an overwhelming sense of gratitude for the blessings that follow us through our journeys.
During each of these journeys we experience moments that are sunny and sweet, and moments that are overcast by sourness. We often experience both simultaneously. As the seasons of change pull us through time, a sense of loss over the past and fear of the uncertainty the future brings trouble us. However, this feeling of loss is evoked by longing for the joyful periods that preceded. This feeling of fear and uncertainty is balanced with feelings of excitement and the triumphs that brought us here today. Ultimately life’s bittersweet moments tie us together in our humanity as we share the collective experience of joy, sorrow, and everything in between.
TART encapsulates bittersweetness through the emphasis of contrasting concepts and bright colors that leave a lasting impression in your mind with each turn of the page. Through this issue we hope to inspire you to embrace the full spectrum of what life has to offer. Stand out, be bold, and take advantage of this moment.
Your time is now, so savor every second of it. Morgan Tran
LETTER FROM THE
Dear Reader,
TART is about boldly expressing yourself and embracing fun. I hope that reading this print issue encourages you to explore your creative side and look for new sources of inspiration. TART means so much to me, and it is a true representation of the creative talents of the wonderful members of A-Line. I am so proud of all the hard work they have done on this issue. My time in A-Line has been deeply inspiring and impactful, and I know the organization will continue to create amazing content. I have learned from each and every member and I am excited to see what they will create next. When I first joined A-Line I was a freshman who knew nothing about creating a magazine, but I have been fortunate to be a part of five print issues over the years. To the staff and executive board, I just want to say thank you for all that you do for A-Line Magazine! I found friends and a community that has helped me grow in a way no other organization has. As I go onto the next chapter, I look back on the memories I have made with all of you, and I know my time in A-Line will always have a place in my heart.
XOXO,
Sara Hartung
Maha Afzal
Styling & Concept: Sudiksha Pai
Photography:
Model: Trei Parker
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We are an online fashion and lifestyle magazine run by students at Texas A&M University. Our core mission is to enkindle the human spirit through self-expression and embolden all to excel beyond social norms.
Self expression can be seen in many forms. Whether it’s in writing an article, capturing a photo, or creating a graphic design, we encourage our staff and readers to challenge themselves creatively and freely express their original ideas.
Here at A-Line, we believe that those bold enough to excel beyond norms should be acknowledged and empowered. We aim to uplift all who dare to be different, and to ignite a spark in our readers when we do so.
The A-Line team is made up of a community of collaborators, working to produce weekly content for our site, as well as a semesterly print issue. We hope our content makes you feel inspired to pursue what sets your soul on fire.
