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NEXUS

ISSUE

Copyright © 2025 The WALK Magazine. All rights reserved. Stories edited by the editorial staﬀ will carry bylines of the original author. Unless noted otherwise, all content is produced by The WALK teams. Please report corrections to thewalkmag@gmail.com. We will post corrections on our website, at www.thewalkmag.com. The University of Pennsylvania’s premier fashion magazine, The WALK was founded in 2006 as a student initiative and continues to be a student fueled organization. The WALK Online was launched in 2010 as a sister to the print edition. The WALK aims to satisfy our community’s widely-demanded fashion fix year-round. To get involved or learn about advertising and partnership opportunities, please contact us at thewalkmag@gmail.com. 2

The WALK Magazine

Spring 2025

SPRING/SUMMER 2025 Abby Portnoy Editor-in-Chief

Valentina Chang Vice Editor-in-Chief

Jackie Errera, Dovi Jakutyte, Olivia Wendel Creative Directors Logan Yuhas Editorial Director

Olivia Kim Photography Director

Zida Anyachebelu Marketing Director

Atticus Lim Art Directors

Sarah Li Finance Director

Zoe Vaz Videography Director

Alexa Petrosh Social Media Directors

Noor Majeed, Erika Kurre Operations Directors

Sarah Bender Web Director

EDITORIAL Editors Sydney Kim, Shaila Gray, Amy Liao, Bianca Peraza Staff Writers Cynthia Schneider, Rachel Lee, Elizabeth Collins, Sophia Zhang, Surina Ramoutar, Grace Lee, Aenaviah Amna, Jackie Errera, Elena Koulouris, Kaylee Wong WEB EDITORIAL Managing Editor Nina Rawal Bender Editors Kemi Ogunyankin, Mona Khosla, Taiwo Adeaga, Lex Lemer Writers Tony Zhang, Annie Bingle, Malia Sanghvi, Sophie Kadan, Roshni Misra, Clara Baurmeister, Paige Gibbons, Jocelyn Tan, Jackie Errera, Kate Swett, Kate Hoﬀman Filler, Rico Lago, Hazel Ann Felder, Raphael Englander, Camille Brown, Krisaana Gunsagar, Jasleen Sidhu, Victoria Velasco, Arielle Sam-Alao, Riya Verma VIDEOGRAPHY Videographers Erica Wiguna, Catherine Zeng, Elizabeth Jiang, Kimberly Liu, Tolu Adetola, Monserrat Barrera, Rebecca Wang Video Editors Tolu Adetola, Kimberly Liu, Catherine Zeng, Monserrat Barrera, Anastasia Kolesnikova PHOTOGRAPHY Photographers Amanda Herrera, Tina Zhang, Matthew Schwartz, Amy Zhou, Erica Wiguna, Noel Palomino De La Torre, Maura Catherine Dresner-Pfau, Sarah Yoon, Hoon Lee, Aditi Anakala, Alekha Choksey STYLING AND BEAUTY Beauty Stylists Adya Gupta, Lily Niu, Elaine Peng, Neila Kalipersad, Simar Soni, Doaa Adam, Isa Turri, Siri Paruchuri Fashion Stylists Tony Zhang, Sareena Patel, Mayokun Omitogun, Remy Lipman, Roshni Misra, Zachary Kirchhoﬀ, Luna Meline, Nehir Sunar MARKETING Campus Engagement Coordinators Ansh Jakatimath, Zoe Champ, Mila Maltby, George Chang, Sripriya Challa, Gina Joo Brand Outreach Coordinators Ava Infante, Amanda Lo, Chloe Lin, Tatiana Wilkins SOCIAL MEDIA Engagement Managers Suzie Kim, Lila Smith, Kayla Kramer, Emma Luo, Sierra Mar Elia, Sage Sharma, Sanju Medisetty, Isoken Umweni, Melinda Wang, Madeline Lach· TikTok Specialists Inbal David, Riley Rosztoczy, Jordyn Reed, Shannon Hodges, Alisha Luthra, Hope Applegate, Renny Huang · TikTok Videographer Sarah Lee FINANCE Analysts Nicole Diner, Rei Tangkijngamwong, Rhea Thapar, Alexandra Linehan, Kate Cunha, Kai Wang, Ella Thimons, Rosemary Yang, Neil Kreibich, Lahari Donepudi, Makena Reno, Ela Desai, Clarissa Kalamvokis, Nadia Duah ART AND DESIGN Illustrators Eecho Yuan, Ellen Chen, Eunice Choi, Sanjana Nalavolu, Yvan Phan Designers Isabella Risoli, Yvette Yao, Nishat Olayiwola, Maya McQueeney, Eunice Choi, Jennifer Long, Isabella Jabbour, Jasleen Sidhu OPERATIONS Operations Coordinators Grace Liang, Zoe Champ · Social Engagement Coordinator Nora Jacobs Social Chairs Sam Salcedo Martinez, Josh Mukherjee · Lead Merch Coordinator Madolin Bergman · Merch Designers Isa Turri The Nexus Issue

Fashion is Political

How conservative styles are reflected in fashion 12

AMERICANA PHOTO ESSAY

An Ode to GAP-American Summers Zac Posen ushers in a new era for GAP

The Death of the Rebellious Woman A Sontagian analysis of beauty and femininity

NOSTALGIA PHOTO ESSAY

The McDonald’s Moschino Collection A personal take on Moschino

The Eternal Thread

How traditional ethnic clothing weaves through modern fashion in Asia 31

Stepping into the Future 3D printing is bringing the future to your feet

FUTURISTIC PHOTO ESSAY

Tech-Infused Couture: The Future of Fashion Exploring the intersection of technology and high fashion

Rick Owens: Fashion’s Antihero Blending the ancient with the apocalyptic

VIRTUAL PHOTO ESSAY

The Digital Couture Revolution: How AR, VR and and AI are Redefining Fashion The technologies challenging fashion’s most fundamental traditions

All the Buzz: A Spotlight on Penn Beekeeping Slowing down and suiting up with Penn’s Beekeeping Club

Earthly Threads: The Rise of Agrarian Aesthetics Exploring how agrarian-inspired workwear has moved from function to fashion

Senior Spotlight

A tribute to The WALK’s Class of 2025

The WALK Magazine

Spring 2025

Cover Look: VIRTUAL Nexus is about the in-between—the pulse of connection, the spark that ignites when opposing forces meet. Our cover look, captured in the “Virtual” shoot, lives in that tension. Sculptural and shielded, yet soft and elemental, the model stands grounded in nature while dressed for a digital future. The mirrored glasses, the body-wrapping knit, the stark, bare branches. They don’t contradict, they converse. It’s a visual dialogue between worlds. In this issue, we explore what it means to exist at the intersection—to dress for transition, to fuse past and present, childhood and adulthood, virtual and real, and to find identity not in either/or, but in both. View more on page 40.

The Nexus Issue

Letter from the

editor

n 1977, NASA launched the Voyager Golden Record—a time capsule of Earth’s culture etched onto a gold-plated phonograph disc. It included music ranging from Mozart to Goro Yamaguchi, greetings in 55 languages, and a 12-minute montage of Earth’s sounds. Designed for an audience that may never find it, the record was less a message than an oﬀering, a deliberate attempt to connect across time, space and species. Curated by a team of scientists, artists and thinkers, the record was an attempt to map human experience and represent not just who we are, but how we see ourselves and how we hope to be remembered. That same impulse—to archive, to connect, and to imagine ourselves in relation to others—sits at the heart of The WALK’s Nexus issue. A nexus is not a single point, but a meeting of many where past and future collide, where nostalgia informs reinvention, and where craftsmanship intersects with innovation. This magazine is our own kind of time capsule, rooted in the present, shaped by the past, and looking toward the future. We begin with Cynthia Schneider’s (‘25) “Fashion is Political,” a striking reminder that clothing choices reflect power, ideology and resistance. Our “Americana” shoot continues this conversation visually, exploring western wear as a symbol of national identity and the American frontier. Shot against the Mayfair Diner’s glossy red booths, the styling conjures the image of rugged individualism and captures the resurgence of western wear in today’s everyday fashion where cowboy boots and fringe jackets move seamlessly from rural roads to city sidewalks. In “Death of the Rebellious Woman,” Jackie Errera (‘27) explores how today’s hyper-curated ideals mask submission as empowerment. Another lens on identity emerges through our “Nostalgia” shoot, a visual diary of growing up, full of moments that feel distant but oddly familiar. Following the soft sentimentality in “Nostalgia,” Aenaviah Amna’s (‘27) “The McDonald’s Moschino Collection” closes this thread with sharp satire. From there, we launch into our “Futuristic” shoot—a tribute to the starry-eyed optimism of 1960s space-age style. Sophia Zhang’s (‘26) “Rick Owens: Fashion’s Antihero” reframes fashion as armor for a world already in ruins. Our “Virtual” shoot draws directly from Owens’ dystopian aesthetic, featuring models drifting through wooded landscapes in dark knits and sculpted layers, eyes obscured and gestures suspended—an eerie, untethered simulation.

It’s easy to think of a magazine as the product of a few voices. But The WALK represents the work of over 150 students bringing their perspectives, talent, and energy beyond the pages to our community. Alexa Petrosh (‘25), our Social Media Director, has expanded The WALK’s presence by collaborating with beauty and fragrance brands, documenting campus style, and curating a feed that feels as alive as the magazine itself. Our Operations Directors, Noor Majeed (‘25) and Erika Kurre (‘25), have kept everything running behind the scenes, while our Editorial Director, Logan Yuhas (‘27) has shaped the voice of this issue. A special thank you to our Art Director, Atticus Lim (‘26), and his team of incredibly talented designers and illustrators, who have complemented each piece of writing with a visual language equally as thoughtful. To my Vice Editor-in-Chief Valentina Chang (‘25): there is no version of this magazine without you. Leading The WALK with you has been one of the most rewarding experiences of my time at Penn. To us, Nexus is about connection, but not just as a theme. Connection is what built this magazine. As you turn these pages, I hope you feel the many minds and hands that shaped them and find your own point of connection because that’s what The WALK has always been—a place where people and perspectives meet. With love,

In contrast, we return to something more grounded in our spotlight of Penn’s Beekeeping Club and Elizabeth Collins’ (‘25) “Earthly Threads” which examine the evolution of functional hobbies from their utilitarian roots to a fashion-forward statement. Abby Portnoy Editor-in-Chief 6

The WALK Magazine

Spring 2025

about our photo essays americana

nostalgia

futuristic

virtual

beekeeping

“Americana” recontextualizes western wear within the vinyl booths of Philadelphia’s Mayfair Diner, bringing symbols of rugged individualism into a distinctly contemporary setting. With cowboy boots, fringe and denim styled alongside milkshakes, laminated menus and classic diner fare, this shoot explores how the frontier aesthetic of the past—once tied to the Manifest Destiny and the realities of westward expansion—has resurfaced in today’s fashion as both statement and aesthetic.

Our “Nostalgia” shoot is a vibrant ode to childhood—its colors, its chaos and its joy. Styled with glitter, oversized jerseys and bright hues, it evokes a version of growing up that feels sincere, yet staged. The shoot leans into the symbols of youth with aﬀection, capturing the playful and unfiltered spirit of early self-expression before it was shaped by trends or expectations.

In our “Futuristic” shoot, the past’s vision of the future takes center stage. Inspired by 1960s space-age style, the styling features leather trenches, go-go boots and highshine textures. The shoot nods to our enduring fascination with what’s next, capturing how we’ve always imagined—and dressed for—what we imagine is coming.

Shot in Wissahickon Valley Park, our “Virtual” shoot places dystopian fashion in a barren, post-apocalyptic-inspired setting. Drawing from Rick Owens’ dark, sculptural aesthetic, models wear layered knits, sleek blacks and reflective eyewear. The shoot blurs the line between simulation and reality, asking what it means to feel grounded in an increasingly virtual world.

In our club spotlight, we turn our attention to a unique part of campus life: Penn’s Beekeeping Club. Protective veils, elbow-high gloves and utilitarian coveralls serve as visual markers of a practice where function comes first. This shoot reflects how contemporary fashion has borrowed from practical hobbies like beekeeping and speaks to the nexus where purpose, identity and self-expression intersect.

The Nexus Issue

VIDEO FEATURES Spring 2025

VIRTUAL SHOOT Videographer: Tolu Adetola Video Editor: Tolu Adetola

AMERICANA SHOOT Videographer: Kimberly Liu Video Editor: Kimberly Liu

See more at thewalkmag.com! 8

The WALK Magazine

Spring 2025

FUTURISTIC SHOOT Videographers: Kimberly Liu Video Editor: Tolu Adetola

BEEKEEPING SHOOT Videographers: Monserrat Barrera Video Editor: Monserrat Barrera

WEB FEATURES Spring 2025

Milan So Far: The Spectacle of Dsquared2, 100 Years of Fendi, and Prada’s Critical Show Tony Zhang | March 3, 2025

SKIMS: The Blueprint for Celebrity-Driven Fashion Success Riya Verma | March 6, 2025

Less Isn’t More: Maximalism is Back

Fashion as a Form of Resistance

Kate Hoﬀman Filler | March 6, 2025

Jasleen Sidhu | April 1, 2025

The “Fifth Fashion Week”: Unpacking Trends From Copenhagen’s Runways Victoria Velasco | April 1, 2025

The Revival of Boho: 2025 Has a New It Girl, and She’s Wearing Isabel Marant.

Krisaana Gunsagar | March 3, 2025 The Nexus Issue

Fashion is Political The subtle style of conservatism Coco Chanel, the iconic French designer and founder of the luxury fashion brand Chanel, was involved in intelligence operations for the Nazis during World War II. Hugo Boss, the German businessman behind fashion house Hugo Boss A.G., was an early member of the Nazi Party and manufactured uniforms for soldiers. Under Hitler, the German Fashion Institute was established to regulate and control women’s fashion. These are just some of the ways fascist regimes and fashion have been historically tied. In resistance to this history, Miuccia Prada’s Fall/Winter 1988 collection depicted life in 1950s post-Mussolini Italy. Many of her early collections were inspired by the uniforms often worn by the armed forces during fascist rule. Prada used the imagery of fascist-era Italy not to glorify it, but to subvert it and challenge the power dynamics embedded in uniforms, exploring fashion as a tool of both dominance and resistance. Drawing on the legacy of Italy’s National Fashion Board, an organization that mandated long dresses and a traditionally feminine, “Italian” appearance, Prada reclaimed these visual codes. As a woman designing clothes, she shaped fashion into an expression of feminine power, rather than a tool of control. Throughout history, the regulation—or in contemporary terms, the influence—of how people dress has been a consistent aspect of political agendas. Fashion statements frequently appear in major celebrity moments, such as red carpets or music performances. Beyoncé’s 2016 Super Bowl halftime show, for example, featured a costume that paid homage to the Black Panther Party’s iconic uniform, complete with a black beret. This choice was intentional—her “Formation” music video tackled themes of Black pride and the Black Lives Matter movement. Interestingly, the Black Panther uniform itself was influenced by earlier protests, specifically the French resistance to Nazi occupation. Their adoption of the black beret and militant styling became a powerful subversion of fascist-era tropes. In 2017, Ralph Lauren dressed Melania Trump for Donald J. Trump’s first

The WALK Magazine

Spring 2025

“All art is political, even art that does not want to be.” - Pedro Barreio inauguration. The move sparked boycott campaigns on social media and multiple brands pledged not to dress the Trumps. However, the brands that dressed Melania and other family members of the president and vice president for the 2025 inauguration faced minimal backlash. Trump’s 2016 win was once seen as unprecedented, but now the Overton window has shifted. The Overton window, a concept in political science, refers to the range of political beliefs and arguments considered publicly “acceptable.” Who fashion brands choose to dress is inherently political as illustrated by our modern reckoning with brands like Boss and Chanel, who once dressed Nazis. That brands are now willing to dress, or even endorse, controversial American political figures signals a major cultural shift.

tion of traditional values and customs. Two prominent online trends reflect this ideology explicitly: the old money aesthetic and the tradwife movement. The old money aesthetic, as it appears online, is often associated with white tennis skirts, prep school uniforms, and quiet luxury. But in reality, the term refers to generational wealth and a worship of the elite. TikTok fashion influencers rarely use the traditional definition of “old money”; instead, they draw inspiration from early 20th-century nouveau riche families, like the Kennedys and the Vanderbilts. Nonetheless, this aesthetic is rooted in flaunting wealth through expensive tailor-

While fashion’s influence on culture has long been dictated by fashion designers, celebrities and public figures, everyday people are now changing the fashion landscape. Through social media, influencers now promote and steer what is trending. Influencers’ fashion content subtly reflects current politics. Early 2020s online fashion trends were distinctly maximalist, marked by bright colors, excessive layering, and inventive ways to accessorize, customize and personalize one’s style. Today, fashion influencers deem the personal style of 2020 to 2022 as “dead” or “cringey,” opting for more minimalist aesthetics. They prioritize “closet staples” over “statement pieces,” describing their style as chic or classic rather than innovative or adventurous. This shift may have been an early indicator of the rising popularity of more traditional or conservative values in the U.S.

ing and an “if you know, you know” culture where a brand’s value lies in its exclusivity. The appeal of owning a Birkin bag, for example, is not solely about its craftsmanship, but also about the diﬃculty of acquiring one. While the old money aesthetic is aspirational, its popularity among younger online audiences suggests a growing emphasis on status over self-expression in fashion.

The tradwife, or traditional wife, is another rising trend on social media platforms Conservatism in America is broadly de- like TikTok and Instagram. Much like the fined as an adherence to and preserva- old money aesthetic, it presents a curat-

ed and aspirational lifestyle. Tradwives romanticize homemaking, showcasing content centered around cooking meals from scratch, caring for children, and maintaining a seemingly idyllic domestic life. However, this is not simply about choosing to be a stay-at-home mom or preferring to source organic foods. Their clothing choices intentionally evoke the past, with outfits that range from 1950s housewife silhouettes to looks straight out of Little House on the Prairie. Another emerging online trend of the past five years is Americana. This aesthetic celebrates American culture, traditions and nationalism, often through red, white and blue palettes, stars and stripes, Southern influences and country or folk music. It’s a nostalgic embrace of all things America. In fashion, Americana has manifested visibly—perhaps most notably in the cowboy boot trend of the 2020s. Bella Hadid, a famous American model, has been a pillar of style in this decade. If she wore it, you could bet that it would be the next big trend. From 2021 to 2023, Hadid’s looks leaned toward colorful, experimental streetwear and she was frequently spotted in the cult-classic Adidas Sambas. More recently, she’s adopted a distinctly Western-inspired style, complete with cowboy hats and denim-heavy looks. This return to nostalgic and traditional American style is no coincidence. It reflects a broader cultural and political shift in recent years. The results of the 2024 election may have been a shock to many, but our changing fashion tastes may have signaled this turn to the right all along.

Written by Cynthia Schneider Designed by Eunice Choi Illustrated by Yvan Phan The Nexus Issue

AMERICANA

The WALK Magazine

Spring 2025

The Nexus Issue

The WALK Magazine

Spring 2025

The Nexus Issue

The WALK Magazine

Spring 2025

DIRECTED BY JACKIE ERRERA, OLIVIA WENDEL, OLIVIA KIM, DOVI JAKUTYTE. MODELED BY HALEY WHITE, SAMUEL PAÑEDA, MARTINA BULGARELLI. STYLED BY SAREENA PATEL, ROSHNI MISRA, NEHIR SUNAR. BEAUTY BY ISA TURRI, SIMAR SONI. PHOTOGRAPHED BY NOEL PALOMINO DE LA TORRE, MAURA CATHERINE DRESNER-PFAU, HOON LEE. The Nexus Issue

An Ode to GAP - American Summers Can Zac Posen reinvent GAP while staying true to its casual American roots? There’s a photo of me from two summers ago. It’s nighttime and I’m in a white tee shirt and my favorite GAP oﬀ-white cargo shorts, sitting, smiling on the bank of the Kamo River. An American in Japan. The same friend that took that photo took another on the Fourth of July—he’s a great photographer. We’re home now, in a friend’s backyard in suburban Northern California. I’m in a red tank top and low-slung GAP denim shorts, white linen shirt sliding oﬀ one shoulder. I’m leaning against the fence, holding a coke, laughing as my friend tries to flip a burger. He’s wearing American flag-printed boardshorts and a white GAP wife beater. Americans in America. I think that’s a fairly accurate depiction of my summer.

WRITTEN BY KAYLEE WONG DESIGNED BY YVETTE YAO ILLUSTRATED BY ATTICUS LIM 18

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Spring 2025

For its Summer 2017 campaign, GAP painted its own “Portrait of An American Summer.” Featuring diverse, street-cast models dressed in linen, jersey, and denim in reds, whites, and blues, the campaign spans cities, deserts, and beaches. “Portrait of An American Summer” is a beautiful and authentic depiction of an ideal American summer. It looks a whole lot like my summers, anyway, from its fabrics to its color scheme, even to its locations. There’s one campaign photo of a woman in a white, flowy tank and light-wash denim shorts. She’s leaning against a bicycle, relatable enough that I’m fairly certain there’s a photo of me in that exact same pose. That may just be one summer campaign, but GAP has epitomized American summers—and Americana more generally—since its founding in San Francisco, CA in the summer of 1969.

In the beginning, GAP sold music records and San Francisco-based Levi’s jeans. In 1974, it launched its own label, and by the 1980s, it was poised to take over America. Selling the basics of American style—tee shirts, polos, jeans, khakis—in every color and at accessible price points, GAP filled the niche with a success no other retailer had yet seen.

even views his own personal collection, GapStudio, as almost a couture house, transforming T-shirt dresses into T-shirt gowns—ones that actually sell. For average consumers and A-listers alike (see Anne Hathaway in a GAP corset shirt dress in 2024), Posen has been able to elevate American basics without losing their fundamental ease.

GAP reached its cultural peak in the 1990s and early 2000s, at the height of American mall culture. Its iconic dancing advertising campaigns featured allAmerican musicians like Juliette Lewis, Madonna, and Missy Elliott. It became a cultural behemoth, the quintessential representation of American fashion. Everyone wore GAP.

One of Posen’s greatest strengths is in his understanding of clothing’s emotional resonance. As much as my photos from summers past, clothes hold stories and memories. They’re a reflection of who we are and how we see ourselves.

By the mid-2000s, however, GAP’s cultural dominance began to wane. Foreign fast-fashion companies like H&M, Uniqlo, and Zara began to take up space in the closet-staples niche that GAP had once monopolized. For more than twenty years, GAP stagnated, economically and culturally.

My oﬀ-white cargo shorts, to me, are synonymous with adventure. With traveling. With making friends in foreign countries. With saying,「日本語があまり話せないからごめんなさい。アメリカ人だから。私たちとボウリングへ行きませんか？」(“We don’t speak much Japanese, sorry. We’re American. Do you want to come bowling with us?”).

In comes Zac Posen. In February 2023, GAP Inc. CEO Richard Dickson brought in Posen to be GAP Inc.’s new creative director. Having dressed wellknown actresses like Julia Garner, Sarah Jessica Parker, and Claire Danes for celebrity galas, Posen is known for elaborate, glamorous ball gowns and evening wear—a far cry from GAP’s typical offerings. As Anna Wintour, editor-in-chief of Vogue and global chief content officer and artistic director of Condé Nast, put it, “I certainly didn’t see that coming.” Indeed, upon first glance, Posen for GAP is totally wrong. After all, how could a man perennially dressed in luxury suits level with a company known for casual, affordable denim?

Those shorts are stained now. First with some mystery dark substance, then by the bleach I used trying to get the dark stuﬀ out. They’re still in my closet back home, though. I don’t have the heart to toss them out. I suppose I’m just nostalgic.

But this might be exactly what makes Posen perfect for GAP. His appointment marks a radical departure from the brand’s risk-averse design strategy. Where GAP’s basics have become predictable, Posen is, by nature, unpredictable. Where GAP has lost its cultural edge, Posen represents a fresh perspective on American style.

As GAP looks to reclaim its place in American fashion, Posen might just be able to remind us why we fell in love with it in the first place—because it could make us feel beautifully, authentically American, abroad and at home.

In his first couple of years as creative director, Posen has reimagined staples, adding unique darting to white shirts, unexpected ribbing to black dresses, and new cuts to motorcycle jackets. He

My low-slung denim shorts are still doing well. They’re as easygoing and fun as anything or anyone can be. They’ve come with me to silly highschool parties and to sunbathing sessions on college lawns. They’ve come on night drives with my best friends, when we speed down California 280 at an ill-advised 90 miles-per-hour, blasting Katy Perry until we settle down with One Direction.

Summer is coming up. I’ll most likely be back in California then, and I’m excited to see a Posenled, GAP-American summer. Americans’ll be in GAP. And GAP’ll be in Americans. The Nexus Issue

The Death of the

Rebellious Woman The tradwife, the Clean Girl, the botox junkie—who are these women, and what makes them so dangerous, yet so alluring?

n a white picket fenced home situated unassumingly in a nameless American town, a wife cooks dinner with a serene, empty smile. Her husband returns home from a long day of work, a long day of toiling away as the family’s lone breadwinner; he is the vision of rugged, American, masculine individualism.

WRITTEN BY JACKIE ERRERA DESIGNED BY ATTICUS LIM ILLUSTRATED BY ELLEN CHEN 20

The WALK Magazine

Spring 2025

He kisses her on the cheek. She reaches toward the camera and hits pause. Unlike the housewives of the 1950s, her life is not merely lived; it is curated, packaged and sold. She captions her video #feminineenergy #wifelife and presses post. This seemingly wholesome, yet meticulously curated scene echoes the kind of feminine ideal that Susan Sontag, prolific American writer and critic, sought to deconstruct. In her essays from On Women, Sontag interrogates how beauty standards and the construct of femininity operate not only as personal choices but also as ideological structures embedded into the very fabric of society. These concepts are mechanisms of control, shaping (however subtly) how women act, think and conform—all under the guise of feminine self-expression. Though Sontag wrote her essays as feminism’s second wave crested in the early 1970s, her perspective maintains its relevance in the present, particularly when considering modern aesthetic and lifestyle movements like the tradwife (short for “traditional wife”), which presents femininity as something to be perfected, optimized and carefully performed. Sontag reminds us that beauty is rarely neutral. It is an instrument of social discipline, a way to shape how women see themselves and how they are seen by the world, how they exist in relation to desire and power. But beauty alone is not enough. The modern feminine ideal does not just

demand attractiveness; it often demands a controlled, contained and nonthreatening kind of beauty. The “Clean Girl,” for instance, lives her life through regimented diets, facials and pilates sessions. Sontag’s analysis reveals that societies obsessed with control often demand an idealized, perfected version of the human form: one that rejects boldness, mess and anything that disrupts the pristine illusion of eﬀortless beauty. In this context, beauty becomes a performance of submission—not only to men but also to societal expectations. The body is a canvas onto which societal values are painted. On the canvas of the Clean Girl, we observe her conformity to a distilled color palette of neutrals (inoﬀensive, unrevolutionary), her quiet appropriation of slicked-back hair and gold hoops (not nearly so celebrated on the Black and Latina women who came before), and her consumption of only the highest-quality produce (the body is a temple, only accessible to a particular socioeconomic class). Sexuality, too, must be contained. The tradwife movement is the clearest example of this. These women do not reject femininity; they reframe it as devotion to men and family, just as Sontag argues the ideal feminine figure must be beautiful in the particular way that aligns with patriarchal values. They are not meant to be sexually powerful, but rather pleasing and obedient. And a very specific kind of sexuality is required of these women— one that is heteronormative and devoid of

agency. In this sense, femininity is not about autonomy but about being seen, about being palatable. This is why beauty standards so often emphasize youth, thinness and softness—qualities that project vulnerability and non-threatening desirability. It’s also why none of the tradwife influencers who have garnered fame and sparked controversy on the internet are visibly aged by their numerous children or larger than a size two. But if the Clean Girl and the tradwife are the ideal, then who represents the threat? It’s the women who do not fit. The messy, the loud, the unruly—the ones who cannot or will not box themselves in. In her essays, Sontag describes how imagery that identifies an idealized human form demands an enemy, a figure who must be cast out, mocked or punished. Someone against whom the conformers may serve as a contrast. In the United States at present, both in the online spaces where hyper-feminine movements thrive and in more tangible sociopolitical spheres, that enemy is often the masculine-presenting woman, the gender-non-conforming woman, the queer woman, the woman of color, the sexually autonomous woman. They are taboo because they reject the very premise that femininity must be about pleasing, containing or softening oneself. In many cases, especially for Black, trans, and plus-sized women, that rejection is not a personal choice but a decision made by a society that believes the only way to be feminine—the only way to be beautiful—is to be white, cishet and thin. And unlike past feminist subcultures like “Riot Grrrl,” which directly challenged the “politeness” of traditional femininity, mainstream feminism has recently embraced an aesthetic that is softer, more commercial and more palatable. The common thread across movements like the Clean Girl and the tradwife—even the craze surrounding fillers, plastic surgery and Ozempic—is that they frame

submission as choice. Women aren’t being forced into rigid beauty standards, self-optimization or domesticity. They are choosing it. And when these justifications are adopted and submission becomes aestheticized, we see that—just as Sontag warns—it becomes much harder to critique. A woman who embraces hyper-femininity isn’t constrained, she’s aspirational. A woman who submits to her husband isn’t oppressed, she’s reclaiming tradition. A woman who obsessively maintains her beauty isn’t insecure, she’s taking care of herself. Indeed, among critiques of these lifestyles, a common defense to fall back on is that a woman’s decision to stay at home or to pursue traditional beauty standards through plastic surgery are equally as feminist as another woman’s decision to work outside the home or to embrace her natural features because they are both exercising their right to choose. These defenses are often followed by the mantra of online feminism, women supporting women. The reality is that none of these choices are made in a vacuum. They are informed by a lifetime of socialization in a society with patriarchy baked into its foundations. Praising every choice a woman makes as feminist ignores the structures that shape those choices. It becomes impossible to diﬀerentiate between empowerment and compliance. There are many women who independently choose to be stay-at-home mothers rather than working a 9-to-5, women who independently choose to go under the knife. And that’s alright, but those choices are not inherently feminist. They aren’t inherently empowering.

This is where the real danger lies. It’s not just about how these aesthetics look—it’s how they make women think. They redefine oppression as aspiration and blur the lines between empowerment and submission. They create a world in which women are not just complying with restrictive norms; they are actively celebrating them. And they shape ideology, often in ways that aren’t immediately recognizable. The rise of tradwives, the popularity of the Clean Girl, and the dominance of plastic surgery, fillers and Ozempic as modes of body alteration hold consequences that extend beyond social media hashtags, especially as the world experiences a widespread and punctuated shift toward political conservatism. Sontag’s essays remind us that beauty is never just about aesthetics; it is a mirror reflecting the values of the society that demands it. And in a world where feminism is being softened into obsolescence, where women are told that the most powerful thing they can do is be beautiful, be pleasing, be silent, the most radical act may be to refuse to be beautiful at all.

Sontag urges us to look beyond the surface. When every decision a woman makes is celebrated as feminist, the true purpose of feminism—to dismantle gender-oppressive structures—is diluted. When young girls are taught to embrace values, beauty standards and goals constructed by the patriarchy, they are not permitted to dream beyond the kitchen of a picketfenced home. And when every action is framed as resistance, true rebellion disappears. The Nexus Issue

NOSTALGIA

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The Nexus Issue

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The Nexus Issue

DIRECTED BY JACKIE ERRERA, OLIVIA WENDEL, OLIVIA KIM, DOVI JAKUTYTE. MODELED BY JAMES COOMBS, HOPE APPLEGATE, AMANDA QU, FELIX PREMROU. STYLED BY LUNA MELINE, MAYOKUN OMITOGUN, SAREENA PATEL, REMY LIPMAN. BEAUTY BY ELAINE PENG, SIRI PARUCHURI, DOAA ADAM. PHOTOGRAPHED BY SARAH YOON, ADITI ANAKALA.

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The Nexus Issue

The McDonald’s

Moschino Collection Situated in LA, there’s a lot more to the brand than irony and postmodernism

first saw it or something like it in the window of a shop on Melrose—a red quilted bag with a yellow M arched across the front, the same yellow M that stood blinking outside every strip mall parking lot between the San Bernardino Freeway and the Arizona state line. It was a Moschino bag, this much I knew but what did it mean exactly? It was harder to say. I kept walking. This was 2014 and in certain corners of Los Angeles it was still possible to believe in fashion as a vocabulary, a syntax for who you imagined yourself to be or might become or want to be. In certain corners, people still talked about the way a particular shoulder seam could recall the dust-light of the Avenue Montaigne at

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dusk or the way an Yves Saint Laurent woman might always carry a sense of warning, a kind of elegance perpetually at the edge of disappearance. That was the theory anyway. By the time Jeremy Scott sent his McDonald’s collection down the runway, most of that had already dissolved. What had taken its place was thinner, brighter, louder—fashion that didn’t ask you to know anything, only to remember it happened. The bag with the arches was not meant to conjure anyone in particular. It was not meant to suggest wealth or discretion or sex nor even the California girls of an earlier Moschino moment, giggling in the backseat of a convertible. It was meant only to suggest itself, the thing

you knew instantly, the thing you didn’t have to think about. A hamburger wrapper, a fry box, a plastic toy with a limited-edition label. It was the same promise and the same joke. You could wear the joke. You could carry the joke in your hand, tucked under your arm. There was a time when McDonald’s had meant something else. When I was a child, there was a McDonald’s on the way to the airport and stopping there before a flight was a kind of celebration, a way to mark that we were going somewhere, that we had money enough to fly and money enough to sit in a booth under the bright fluorescents eating spicy chicken sandwiches wrapped in paper so thin it bled grease onto our fingers. There was a time when McDonald’s was not ironic at all. But irony had long since set in, like rust over a beachfront balcony. By Fall/Winter 2014, the whole landscape had been stripped down to its bones: nothing meant anything except how quickly it could be recognized. In this way, McDonald’s was perfect because it was the first thing anyone learned nowadays. The arches were global shorthand, a promise that you could be anywhere—oﬀ I-40 in New Mexico, down an alley in Tokyo—and still know exactly what you were going to get. The fashion industry had followed suit. Where there had once been atelier appointments and silk-covered buttons hand-stitched in rooms with filtered light, there was now the drop. The collab. The logo as the message and also the point. Moschino’s McDonald’s collection did not just blur the line between fast fashion and luxury; it erased it entirely, then stenciled a smiley face over the whole thing. You did not buy the bag because it was Moschino. You bought it because it was the joke. You were in on the joke. You were the joke. What Jeremy Scott understood—and what

no one could quite admit—was that the joke was all that was left. You could no longer wear fashion to say who you were, only what you had seen. The logos didn’t mark you as rich or tasteful or even interesting. They marked you as someone still willing to play. And maybe that was the point. There was no moral panic to be had. No scandal to uncover. The golden arches drifted over the fashion week crowd like a weather pattern no one could quite explain. One day the sky was clear, the next it was there, inescapable, that bright red and yellow, the joke that refused to die. Scott’s trick was understanding that the past no longer belonged to anyone, that nostalgia itself had been franchised and anyone could buy in—so long as they knew the punchline. I think about the bag sometimes when I pass the McDonald’s on La Cienega, the one with the updated digital menu, the one where no one takes your order anymore. There’s only the kiosk now, a screen oﬀering you exactly what you’ve already seen. The bag was never really about McDonald’s. It was about something closer to inevitability, the sense that no matter how far you travel, how many times you change your clothes or your name or the city you call home, you are always on the same road, the same arch rising ahead in the twilight, golden against the sky. You keep driving. You order the meal. You pay for the joke. You already know how it ends.

WRITTEN BY AENAVIAH AMNA DESIGNED BY BELLA JABBOUR ILLUSTRATED BY EECHO YUAN

The Nexus Issue

The Eternal Thread Grandpa’s army attire and Grandma’s quilt dresses are the hottest items to hang up in your closet. “军大衣,,” the term for China’s military coat jūndàyī. The design of the jacket is striking and attention-grabbing, from its signature olive-green tone, conspicuous dark fur collar, shining gold buttons and ankle-length hem. The details work together to exude both retro sophistication and blatant confidence, and they contributed to the jacket’s virality on one of China’s primary social media platforms, Xiăohóngshū. The jūndàyī have the date 8-1, or August 1st, engraved on its gold buttons, signifying the date of origin of China’s People’s Liberation Army (PLA). These coats were first meant for soldiers during the wintertime, yet they spread in popularity to the Chinese public in the 1980s. The fashion trend died down after the advent of leather and down jackets, which were seen as the most upto-date and fashionable at the time. These old-time jackets have been recently revitalized, congruent with the increasing interest in timeless fashion and perhaps even with the spirit of nationalistic pride and identity. Searching for the keyword “jūndàyī” on Taobao, which is one of China’s biggest e-commerce markets, will show over 100 stores with massive volumes of both legitimate and imitated versions of the army coat being sold. Zhou Hiafeng’s store, one of many like it selling the coats, reported to Beijing Review that it sold over 2,000 military coats in just a month. Another example of the return to attire of cultural heritage in the region is the rising popularity of grandmother’s quilt dresses and tops in East Asia. Elderly women in Hong Kong have traditionally been known to don their trad and floral-patterned garments. The younger generations have taken their spin on this form of attire, wearing items like floral-patterned blouses, vintage dresses and more modern versions of the Chinese traditional cheongsam, which is a longer, figure-fitting, one-piece dress with a left-overright opening and two side slits. A brilliant, new version is the knitted cheongsam released by YanYan Knits, an innovative use of diﬀerent types of fabric deviating from the typical silk, brocade, velvet or cotton. This overall concept has been informally referred to in Korea as the “halmennial” trend, which derives from the term halmoni, or grandma in Korean. It has also been referred 30

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to as “grandmacore,” a tribute to appreciating the comfortability and practicality of this fashion trend, as well as its timeless elegance and sophistication. A similar occurrence in Korea has been the twist on the traditional hanbok wear, particularly vitalized through the K-pop band Blackpink’s “How You Like That” music video. In the video, they wear outfits that oﬀer a unique contemporary take on the centuries-old Korean garment. For modern hanbok brands, such as Danha, site traﬃc increased to nearly 4,000 visitors a day after Jennie’s embroidered, cropped hanbok-inspired top was revealed in the music video. There are many potential reasons behind this sudden, unexpected deviation from the once overdetermined drive toward the new and novel. It may stem from a newfound appreciation for tradition and the past, and how both can play a vital role in shaping today’s fashion landscape, especially as heritage luxury brands and secondhand goods are increasingly popular in Asia and abroad. Additionally, some attribute the rebirth of these trends to individuals’ inner nostalgic longing to identify with their past and to bond with each other’s mutual cultural identities through fashion, as Asia continues to dominate global culture. Regardless of what the reason may be, this practice evidently has social and cultural impacts beyond what people are choosing to wear on a daily basis. As Psychology Professor Wang Guangxin of Beijing Forestry University explained to Jiupai News, this trend “reveals people’s nostalgic feelings buried deep in their collective subconscious.” It informs us of our very human desire to connect with our ancestors and our pasts. Ironically, this return to historically relevant styles is also incredibly contemporary; it reflects the massive influence social media has on how we perceive fashion. On platforms like Instagram and TikTok, we see countless influencers raving about a new trend they are obsessing over, their unique version of a traditional outfit, etc. Social media has become a vital mechanism for recovering our heritage’s fashion trends globally and nationally, reaching audiences from all walks of life within seconds.

WRITTEN BY GRACE LEE DESIGNED BY ISABELLA RISOLI ILLUSTRATED BY EECHO YUAN

Stepping Into the Future How 3D printing is revolutionizing sneakers

For most consumers, buying shoes is all about style. Which new color of the Adidas Samba should I get? Should I embrace the dad sneaker trend with a pair of New Balances? But a new question may soon need to be asked: how were my shoes made? A radical shift is taking place in the footwear industry—one that has nothing to do with color or sneaker trends, but everything to do with how our shoes are manufactured. Believe it or not, your next pair of shoes may be 3D printed.

Recently, 3D-printed shoes have been emerging as a major trend in the footwear industry. This technological advancement has the potential to reshape how shoes are produced, shifting the focus from aesthetics alone to sustainability, customization, and efficiency. 3D printing simplifies supply chains and boosts the industry’s sustainability profile. Overstocking has long plagued the industry—with more than 20 billion pairs of shoes produced annually, about 1 in 5 go straight to landfills without ever being worn. 3D printing allows for on-demand production, dramatically reducing waste. It also makes the materials used in shoes completely recyclable, offering a more circular production process. Because of these benefits, it’s no surprise that leading footwear brands are racing to adopt this innovative production method. This year, the United States Patent and Trademark Office granted Nike a permit for a new 3D printing process. Instead of stitching, gluing and assembling shoes by hand or machinery, the permit allows for a digital design process in which the upper part of the shoe is hardened and shaped, with the sole printed directly onto it. The outcome is a shoe that’s lighter, stronger, and more sustainable. But Nike isn’t limiting this technology to footwear—the patent also covers applications for clothing and sports equipment, hinting at a broader transformation across the sportswear industry.

WRITTEN BY ELENA KOULOURIS ILLUSTRATED BY ATTICUS LIM DESIGNED BY JASLEEN SIDHU Nike isn’t alone. Adidas is already in the game with its 4DFWD line, which features a 3D-printed midsole designed to optimize cushioning and support for runners. This new process removes the need for traditional molds and lengthy prototyping phases, enabling more agile and eﬃcient production. Looking to the future, Adidas plans to integrate this technology into an automated manufacturing system known as Speedfactory. With the help of customer-specific data, Speedfactory aims to produce footwear tailored to each individual, signaling an industry shift toward mass customization and automation. This revolution extends beyond performance wear. Luxury fashion houses are also embracing 3D printing. Gucci’s Spring/Summer 2025 collection introduced the “Cub3d” sneakers, which use the technology to craft a light, cushioned midsole while integrating a 3D-printed interlocking G pattern for visual impact. Similarly, Dior unveiled its fully 3D-printed Derby shoe in its Fall/Winter 2023 collection. These releases signal that even the most traditional fashion houses are ready to reimagine craftsmanship through a technological lens. Even entirely new brands are entering the space, built from the ground up around these digital tools. One standout is Syntilay, a futuristic footwear company co-founded by CEO Ben Weiss and Reebook’s original co-founder Joe Foster. Syntilay creates 3D-printed shoes designed with the help of artificial intelligence. Customers scan their feet using a phone, and about three weeks later, receive custom-made shoes produced in Germany. AI drives around 70% of the design, from structural modeling to color palette selection. Many of the aesthetic influences come from sci-fi media and futuristic vehicles—think Blade Runner meets streetwear. But despite all the innovation, the adoption of 3D printing in footwear is still in its early stages. High costs, technical complexity and lukewarm consumer reception have slowed widespread integration. While the promise of personalized, sustainable, AI-generated shoes is thrilling, most customers haven’t entirely bought in—at least not yet. For now, it seems we’re still lacing up shoes made by human hands.

The Nexus Issue

FUTURISTIC

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The Nexus Issue

DIRECTED BY JACKIE ERRERA, OLIVIA WENDEL, OLIVIA KIM, DOVI JAKUTYTE. MODELED BY ATINUKE ALIU, JUDY MA, LAURA CARBAJO. STYLED BY TONY ZHANG, NEHIR SUNAR. BEAUTY BY NEILA KALIPERSAD, ELAINE PENG, SIRI PARUCHURI, LILY NIU. PHOTOGRAPHED BY MAURA CATHERINE DRESNER-PFAU, ALEKHA CHOKSEY. 34

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The Nexus Issue

Tech-Infused Couture: The Future of Fashion How designers are blending craftsmanship with cutting-edge technology to shape the future of personalized, sustainable fashion

In recent years, the world of fashion has witnessed a grow-

ing fusion between technology and couture. Designers are increasingly pushing the boundaries of conventional fashion by incorporating advanced technologies into their creations, resulting in garments that transcend traditional fabric and thread. These tech-infused pieces are no longer confined to the realm of futuristic fantasy; they have arrived on runways, capturing audiences’ imaginations and reshaping how we view fashion. From spray-painted dresses to garments made with 3D printing, tech-driven couture is introducing a whole new dimension to the fashion landscape. One of the most striking examples of tech-infused couture is Coperni’s spray-on dress. The groundbreaking dress, which debuted at Paris Fashion Week in 2022, uses a sprayon technology to create a fitted, seamless garment directly on the model’s body. Rather than using traditional fabrics or textiles, this “dress” is instead sprayed on using a special solution that hardens into a wearable fabric. The live performance, which featured Bella Hadid being sprayed with the dress on stage, was a mesmerizing example of how technology can transform the fashion design process. This innovative approach not only challenges our understanding of garment construction but also demonstrates how the future of fashion could involve instant, customizable clothing that adapts to each individual. Building on this fusion of fashion and technology, Anouk Wipprecht’s Spider Dress takes tech-infused couture to the next level with interactivity. The Spider Dress, equipped with sensors and motors, responds to the wearer’s movements and the surrounding environment. The garment is designed

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to create a dynamic experience for both the wearer and the audience, with the dress’s mechanical “legs” extending and retracting based on stimuli such as proximity or touch. This piece is more than just clothing; it is a responsive, interactive experience that blends technology with human movement to create an emotionally engaging connection between the wearer and the garment. Wipprecht’s creations, alongside those of designers like Iris van Herpen, highlight the blending of couture with wearable technology. Iris van Herpen is known for her avantgarde, futuristic designs, which often incorporate 3D printing. One of her standout pieces, the 3D-printed dress from her Biomimicry collection, uses intricate digital designs to create fluid, sculptural garments that would be impossible to create with traditional materials. The use of 3D printing in fashion allows for complex, customized designs that can be tailored to individual body shapes and sizes, furthering the idea of fashion becoming a personalized, high-tech experience. When examining these garments, one cannot ignore the distinctive aesthetic that accompanies tech-infused couture. The materials used in these designs often veer away from soft, flowing textiles and instead embrace more industrial and commercial materials such as spray paint, latex, 3D-printed polymers and metals. The resulting looks are often harsh, with geometric shapes and sharp lines taking center stage. For example, the Coperni spray-on dress presents an almost armor-like appearance, with sharp edges and a sleek finish that contrasts sharply with traditional fabric draping.

WRITTEN BY SURINA RAMOUTAR DESIGNED BY ATTICUS LIM ILLUSTRATED BY ELLEN CHEN This contrast in textures and forms is a defining characteristic of tech-infused fashion. Wipprecht’s Spider Dress, for instance, has a rigid, industrial feel, with its mechanical “legs” and sharply defined lines. Unlike the fluidity of typical couture pieces, tech-infused fashion leans into the angular, the sculptural and the structural. This gives these garments a sense of functionality and futurism, with a focus on innovation rather than simply aesthetics. Looking ahead, the role of technology in fashion is set to expand. As more designers experiment with 3D printing, spray-on fabrics and interactive elements, it is clear that the future of couture lies in the marriage of craftsmanship and technological innovation. But the impact of tech-infused couture goes beyond the runway. As sustainability becomes an increasing concern in the fashion industry, innovations like 3D printing could also play a crucial role in reducing waste. Traditional garment production generates a significant amount of waste, from fabric oﬀcuts to excessive manufacturing. 3D printing, on the other hand, allows for precision and customization, ensuring that every piece of material is used eﬃciently. For instance, Ministry of Supply, a Boston-based fashion company, is pioneering 3D printing in ready-to-wear clothing. Their 3D Print-Knit line produces seamless garments on demand, reducing fabric waste by as much as 30% compared to traditional manufacturing. Another significant advantage of 3D printing is its ability to recycle materials. Sustainable, biodegradable or recyclable filaments can be used in the printing process, further reducing reliance on synthetic materials that take decades to decompose. Companies like Zer Collection, a Spanish fashion

brand, have embraced this technology by creating garments from recycled plastic and 3D-printed biodegradable materials. Zer’s designs are not only environmentally conscious but also intended for everyday wear, bringing tech-infused, sustainable fashion beyond the high-fashion sphere and closer to the everyday consumer. This growing movement demonstrates how technological innovations are beginning to reshape the broader fashion market. While avant-garde pieces like Coperni’s spray-on dress capture global headlines, brands like Ministry of Supply and Zer are making these technologies accessible to a wider audience. Their work signals an exciting shift: one where fashion-forward, sustainable clothing is no longer limited to elite runway shows but is becoming available to a broader, more inclusive market. With designers like Coperni, Anouk Wipprecht and Iris van Herpen leading the charge, tech-infused couture is rapidly becoming a reality on runways around the world. As materials like spray paint, latex and 3D printing continue to shape the future of fashion, we are likely to see even more daring, innovative pieces that challenge our perceptions of form and function. This is the future of fashion—one that merges creativity with technology, oﬀering a bold, new vision for what couture can be.

The Nexus Issue

Rick Owens: Fashion’s Antihero A deep dive into the dystopian world of Rick Owens, where fashion is both armor and art WRITTEN BY SOPHIA ZHANG DESIGNED BY ATTICUS LIM ILLUSTRATED BY YVAN PHAN

In a world where fashion often seeks comfort in the fa-

miliar, Rick Owens thrives on the strange, crafting garments that feel like relics from a future yet to arrive. His aesthetic is one of paradoxes: glamour and grunge, ancient and futuristic, regal and raw. “I’ve always thought of my life’s mission as kind of balancing out oppressive discrimination and intolerance in the world by proposing a very cheerful perversity—that’s always been my thing,” Owens told Vogue in 2024. This ethos of deliberate disruption through style oﬀers a key to understanding Owens as both a designer and a cultural force. Owens has built his world through an unrelenting dedication to his own vision. Unlike designers who lend their talents to heritage brands, he has steadfastly cultivated a fashion house that exists entirely on his own terms, remaining both its owner and primary creative force. Over the decades, he has challenged perceptions of beauty, masculinity and form. His collections are a testament to the power of fashion as armor, preparing its wearers for an unknown future where industrial materials, sweeping silhouettes and post-apocalyptic hues oﬀer both aesthetic defiance and protection. Dystopian Dreamscapes Owens’ work is deeply influenced by dystopian worlds and science fiction, elements that imbue his designs with an eerie, otherworldly quality. His Fall/Winter 2024 collection, for instance, was directly inspired by the novels his father read to him as a child—particularly the works of Edgar Rice Burroughs. Titles such as Thuvia, Maid of Mars and Llana of Gathol transported young Owens to distant planets populated by alien warriors in sculptural attire, a vision that has clearly shaped his signature aesthetic. Owens translates this science fiction into clothing that appears both utilitarian and supernatural. His infamous Fall 2019 collection sent models down the run-

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way resembling glamorous extraterrestrials, with body modifications such as disfigured face protrusions and blacked-out contact lenses. In collaboration with Instagram artist Salvia, the haunting makeup included ghostly pale skin and scalps shaved to the crown, pushing the boundaries of beauty into the realm of the grotesque. Beyond aesthetics, Owens’ sci-fi gothic beauty carries deeper philosophical underpinnings. His work suggests that the future is not about assimilation, but evolution. His garments, with their exaggerated shoulders, draped silhouettes and unconventional textiles, seem designed for a race of humans preparing for a post-Earth existence. They create the illusion of creatures adapted to uncharted environments, where architecture and anatomy blend seamlessly into a sculptural form of survival.

The Philosophy of “Glunge” At the core of Owens’ aesthetic is his unique blend of glamour and grunge—a term he has coined as “glunge.” His collections mix industrial materials like distressed leather, neoprene and sheer mesh with delicate draping and exaggerated proportions. His muted color palette of charcoals, inky blacks, bone whites and rusted metals further heightens his apocalyptic vision. These elements coalesce into a style that is both raw and refined, perfectly balancing aggression with elegance. Yet, despite the seemingly radical nature of his work, Owens remains deeply grounded in reality. His clothing, though dramatic, is wearable. Unlike other avantgarde designers, who often create for spectacle rather than practicality, Owens ensures that everything he presents on the runway is sold. His garments may feel escapist, but they serve a purpose, oﬀering protection, confidence, and a new form of power dressing for those who navigate modern life as if it were a battlefield. The Antihero of Fashion

Ancient Meets Apocalyptic Although Owens’ work is often described as futuristic, its roots are equally entrenched in the past. His Spring/ Summer 2023 collection, EDFU, was inspired by the stoic endurance of Egyptian artifacts. The collection’s name referenced the ancient Egyptian temple of Edfu, a monument that has withstood multiple civilizations and now serves as a symbol of resilience throughout history. Owens used this concept as a foundation for a collection that evoked both history and survival—draped robes reminiscent of pharaohs, monolithic shoulders echoing colossal statues and textiles that felt as though they had been excavated from the sands of time. Beyond EDFU, Owens often channels classical antiquity into his work. Greek and Roman influences appear in his draped togas, gladiatorial boots and tunics, but rather than replicating history, he warps it. His designs feel like the remnants of a lost civilization, artifacts from an alternate timeline where ancient figures exist in a post-human future. His silhouettes, oversized yet structured, feel both ceremonial and utilitarian, as if they were designed for leaders of an alien empire.

Owens has often been described as fashion’s antagonist, a provocateur who subverts expectations and challenges the industry’s status quo. However, he is not merely a rebel for rebellion’s sake. His work has always carried an underlying message of tolerance and acceptance. By embracing the otherworldly, he expands our understanding of beauty, making space for those who exist outside traditional norms. Since the pandemic, his collections have taken on an added layer of optimism. Though his work has always teetered on the edge of aggression—towering platform boots, face-obscuring hoods and razor-sharp silhouettes—recent seasons have shown a soft intimacy emerging. There is a quiet optimism in his vision now, a recognition that resilience can be both powerful and gentle. He still designs for a dystopian future, but perhaps now, there is the suggestion that humanity can rebuild rather than merely endure. Owens’ impact on fashion is immeasurable. He has cultivated a universe entirely his own, one where avantgarde design meets ancient mysticism and futuristic utility. His work is a reminder that fashion is armor, history and a portal to another world. Whether one sees his garments as dystopian survival gear or ceremonial attire for a civilization that never was, there is no denying that Rick Owens has built a legacy as fashion’s greatest antihero.

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DIRECTED BY JACKIE ERRERA, OLIVIA WENDEL, OLIVIA KIM, DOVI JAKUTYTE. MODELED BY CONNER TADLOCK, DEREK IKE, VALENTINA CHANG, ABBY PORTNOY, ALICIA DACOSTA. STYLED BY REMY LIPMAN, ROSHNI MISRA, ZACHARY KIRCHHOFF. BEAUTY BY ADYA GUPTA, ELAINE PENG, SIRI PARUCHURI, ISA TURRI. PHOTOGRAPHED BY TINA ZHANG, AMANDA HERRERA. The Nexus Issue

The Digital Couture Revolution:

How AR, VR and AI Are Redefining Fashion

Digital fashion, powered by AR, VR and AI, is revolutionizing how we dress—where pixels replace textiles and creativity transcends fabric and form.

ashion has always been a mirror of society, reflecting shifts in culture, technology and identity. Today, that mirror is entirely online—existing in virtual spaces, driven by algorithms, and designed for screens rather than runways. Emerging digital fashion houses are not just designing clothing; they are redefining what it means to dress in an age where fabric is optional and pixels are paramount. Powered by augmented reality (AR), virtual reality (VR) and artificial intelligence (AI), digital fashion is blurring the lines between physical and virtual wardrobes, unlocking a world where creativity has no material limits.

Virtual Reality & Metaverse Fashion Shows: The Rise of Virtual-Only Fashion The rise of VR platforms has accelerated the development of garments only available in the metaverse, giving rise to an entirely virtual fashion ecosystem. The Fabricant, a pioneer in this space, creates intricate designs solely for online environments such as metaverse platforms and social media avatars. Their 2019 sale of the digital dress “Iridescence” for $9,500 marked a pivotal moment and proved that fashion without fabric can have real economic value. Major brands are investing heavily. Balenciaga debuted a collection within the video game “Afterworld: The Age of Tomorrow,” while Jean Paul Gaultier’s NFT collaborations allow fans to own digital couture. These metaverse-native fashion shows, often hosted on platforms like Decentraland and The Sandbox, democratize access to luxury fashion and reduce the carbon footprint associated with traditional runway shows. VR environments free designers from real-world limitations—gravity, materials and even the human form itself—allowing for garments that defy physical logic and expand the very concept of what fashion can be.

Augmented Reality: Dressing Beyond the Screen While many digital fashion innovations live within the metaverse, AR is bringing these designs into the real world. Apps like Snapchat and Instagram have introduced AR filters that allow users to “wear” digital garments in real time, merging digital fashion with daily life. Companies like ZERO10 are pushing AR try-on technology, oﬀering virtual fitting rooms that eliminate the need for physical samples and returns. This hybrid approach allows brands to showcase their designs in an engaging, interactive way, reducAI-Powered Fashion: Algorithms, Customization and Retail ing costs while expanding accessibility. Innovations Luxury brands have also embraced AR-powered fashion experi- Artificial intelligence is now shaping fashion design and retail in ences. Burberry, for instance, has launched AR shopping experi- profound ways. AI tools generate garments based on consumer ences where consumers can visualize products in their personal trends, behavior patterns and predictive modeling, enabling hyspaces before making a purchase. These advancements suggest a per-personalized creations. Unlike human designers, who draw future where AR-infused clothing could shift seamlessly between from personal experience, cultural influences and artistic intudigital and physical realities, extending beyond mere aesthetics ition, AI-generated designs often emerge from data-driven patto functional digital wearables like garments that change appear- terns, creating futuristic, highly optimized aesthetics that may ance in real-time, adapt to environmental conditions, or integrate challenge traditional notions of the creative process. Companies like DressX and Auroboros are using AI to design digital collecsmart technology for interactive and personalized experiences. tions that evolve based on user input while also streamlining production workflows to reduce waste. 46

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AI extends beyond creation to revolutionize retail. Virtual stylists and AI-powered chatbots are helping consumers curate digital wardrobes tailored to their unique preferences. In the long term, AI’s precision could help replace fast fashion with on-demand, digital-first alternatives.

and reshape creative labor markets as traditional artisans risk being sidelined in favor of crypto-savvy creators.

Sustainability in the Digital Wardrobe: Promise and Pitfalls The fashion industry is one of the largest global polluters, contributing to textile waste and significant carbon emissions. Digital Yet, this innovation comes with a cost. Training large AI models fashion oﬀers potential relief by eliminating fabric waste, cutting consumes vast amounts of energy, raising concerns about the transportation emissions, and reducing overproduction. Brands environmental toll of digital fashion’s backend. Addinow use digital prototypes to gauge demand before mantionally, automation risks displacing traditional deufacturing physical versions, helping to mitigate envisign and retail jobs, introducing labor market presronmental impact. sures that require further scrutiny. For example, Adidas’ Into the Metaverse NFT project, which ofH&M has experimented with AI-driven trend fered both digital assets and exclusive access to forecasting and automated supply chain sustainable, limited-edition physical merchanmanagement, reducing reliance on tradidise, exemplifies this hybrid model. Similarly, tional fashion buyers and merchandisers. influencers are trading fast fashion hauls for Similarly, Zara has integrated AI-powdigital outfits tailored to social media, minered inventory systems that optimize imizing the environmental costs of fleetproduction cycles, potentially displacing trends. ing roles in logistics and retail planning. As AI continues to streamline Yet, this optimism is tempered by the processes, the industry must grapple energy consumption behind blockchain with its impact on employment, parand AI technologies, reminding us that ticularly for designers, factory workvirtual garments are not automaticalers and retail professionals. ly carbon-neutral. The key challenge ahead lies in balancing innovation Blockchain and Digital Fashion: with genuinely sustainable practices. Luxury, Authenticity and Controversy The Future of Fashion: Designing In a realm where duplication is Without Limits eﬀortless, blockchain technology With AR, VR and AI reshaping the secures digital fashion’s exclusivlandscape, fashion is no longer conity. By minting designs as NFTs strained by materiality or geogra(non-fungible tokens), brands phy. Digital garments now function can ensure authenticity, verify as both art and utility, allowing conownership, and limit edition sizes sumers to experiment with identithrough that blockchain system. ty in ways the physical world could This creates new forms of prestige, never support. Freed from real-world where digital provenance becomes limitations like fabric durability, the modern equivalent of haute manufacturing costs and even gravicouture labels. ty, designers can now explore entirely new forms of expression. Luxury powerhouses like Gucci and Dolce & Gabbana have entered this As the lines between digital and physispace, releasing collectible NFT fashcal blur, fashion is becoming an immerion pieces that combine investment sive, customizable experience. But this potential with personal identity. evolution also prompts important questions: how can technology serve both the However, blockchain’s energy-intensive environment and labor rights? Can virtual infrastructure, particularly on proof-offashion truly be democratized, or will it repliwork systems, contributes to high carbon cate the exclusivity of its physical counterpart? emissions, ironically clashing with digital fashion’s promise of sustainability. Still, it’s a step in The answers remain unwritten, stitched together the right direction since traditional fashion proin the code and creativity of the next generation of duction generates substantial carbon costs through designers. textile manufacturing, transportation and waste, accounting for nearly 10% of global carbon emissions. While Written by Rachel Lee digital fashion eliminates material waste, blockchain-backed asDesigned by Eunice Choi sets can still carry a significant environmental footprint. Critics Illustrated by Sanjana Nalavolu also highlight blockchain’s potential to exacerbate wealth divides The Nexus Issue

The WALK Magazine

Spring 2025

All the Buzz a spotlight on Penn Beekeeping

A look inside Penn’s Beekeeping Club where curiosity, community, and a whole lot of honey keep students coming back

The Nexus Issue

The WALK Magazine

Spring 2025

DIRECTED BY ABBY PORTNOY, VALENTINA CHANG. PENN BEEKEEPING CLUB FEATURING GLORIA CHENG, ANDREW LUONG, LALA MUSTAFA, ALEXANDRA BARANYAI, MICHELLE ARTIGA. PHOTOGRAPHED BY MATTHEW SCHWARTZ, SARAH YOON. The Nexus Issue

O ne of Penn’s sweetest hidden gems is tucked behind the tennis courts at Penn Park, where two unassuming

wooden boxes hum with activity. These are the hives of the Penn Beekeeping Club, a campus community bound not by pre-professional ambition or resume padding, but by a unique passion for bees, biodiversity and hands-on exploration. Since its founding, the club has grown from a niche interest group to a thriving organization with over 800 members (aﬀectionately referred to as “bee-ople”) on its listserv and an eight-person “bee board” guiding the swarm. With no applications or dues, the club’s opendoor policy is part of what makes it so inviting whether you’re a seasoned beekeeper or someone who just wants a little honey. It’s the kind of club that catches people oﬀ guard in the best way. “People walk by, do a double take, and go, ‘Wait … there’s a beekeeping club?!” laughs Lala Mustafa (C’26). Before getting anywhere near the hives, members gear up in either full or half beekeeping suits ranging from head-to-toe coveralls to just a protective jacket with

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a veiled mesh hood. Made with cotton and polyester, the suits oﬀer protection without sacrificing mobility. Thick leather gloves are pulled on over the elbows, hoods are zipped tight and velcroed shut, and suddenly, the club’s members transform from student to beekeeper. “I’m usually scared of flying insects or animals that might sting or hurt me,” admits Michelle Artiga (C’27). “But I haven’t gotten stung so far even though I’ve worn a half suit all the times I’ve been inside the hive!” Whether in a full onesie or just the upper half, suiting up is part of the ritual. Putting one on means leaving behind the rush of campus and entering the lively rhythm of the hive. At its core, the club is built around weekly hive visits, or “bee-facing events,” as Co-Presidents Andrew Luong (C’26) and Gloria Cheng (WN’26) call them. “These hands-on experiences allow members to get up close with the bees, learn about bee behavior, and actively participate in hive maintenance.” That might mean inspecting brood cells, checking honey stores, or dealing with unexpected visitors like mice, mites, or wasps. “Every time we open a hive, we never know what to expect,” says Cheng.

The work shifts with the seasons. Fall is for prepping the hives for winter, monitoring mite levels, and insulating the boxes. In the colder months, members may feed the bees sugar water or fondant to help them survive. Come spring, the hives are opened to assess the damage and if all goes well, a long-awaited honey harvest. “Our honey extraction events are especially jovial,” Luong shares. “It always feels like a family reunion of sorts.” But beekeeping isn’t just whimsical. It’s unpredictable, sometimes heartbreaking, and always humbling. “The hive, although made up of thousands of individual bees, acts uniquely like a collective organism,” says Alexandra Baranyai (C’28). “The bees know best and make decisions far past what human influence can dictate.” Mustafa puts it simply: “No matter how much you prepare, there’s only so much you can control.” Beyond the hive, the club buzzes with creativity. “Non-bee-facing” events oﬀer fun, low-pressure ways to connect from honey tastings to themed Quizzo nights to beeswax chapstick-making workshops. Creative partnerships have also expanded the club’s reach. “As a student in ASL, I am given the privilege

to sign a hive visit, where it will be completely silent. It is also a wonderful homage to deaf beekeepers, who have a long history with the trade,” remarks Luong. The club has also worked with the Girl Scouts of Philadelphia, maintains a strong relationship with the Philadelphia Beekeepers Guild, and attends the city’s annual Honey Festival. What makes the Penn Beekeeping Club stand out isn’t just the bees, the honey, or the hands-on learning— it’s the way it weaves people together. Across majors, backgrounds, and levels of experience, “bee-ople” gather around a shared rhythm of showing up, suiting up, and caring for something beyond themselves. “It’s become a comforting space for me,” says Mustafa. “I’ve learned so much and met people I probably wouldn’t have crossed paths with otherwise.” Some come for the honey, others for the science, and many stay for the community. With every visit, event, and shared discovery, the club has created its own ecosystem—one that’s just as dynamic, collaborative, and alive as the bees themselves.

WRITTEN BY ABBY PORTNOY

The Nexus Issue

The WALK Magazine

Spring 2025

The Nexus Issue

Earthly Threads:

The Rise of Agrarian Aesthetics How workwear’s rugged practicality has transformed into a high-fashion statement, blurring the lines between labor, luxury and lifestyle

renewed fascination with agrarian life has taken hold among urban dwellers, nature enthusiasts and sustainability advocates, with more people engaging in activities like beekeeping, gardening and foraging as a means of reconnecting with nature and escaping the hyper-digital world. In a society dominated by screens, agrarian hobbies oﬀer a tangible connection to nature and a simpler, slower-paced way of life that contrasts sharply with the noise and artificiality of the digital age. This shift has not only influenced lifestyle choices but has also found a tangible expression in fashion. Workwear, once the uniform of these farmers, beekeepers and laborers, has been elevated into a cultural and stylistic statement, straddling the line between function and aesthetic appeal. The rise of this agrarian aesthetic raises important questions about its authenticity—does it represent a deeper cultural shift, or is it simply another fleeting trend? The romanticization of rural labor is not new to fashion, be it the Americana of the 70s or coveralls of the 80s, but today’s agrarian aesthetic is more than a passing reference. It reflects a broader societal longing for self-suﬃciency and environmental consciousness. Designers have tapped into this sensibility, integrating earthy tones, durable fabrics and garments traditionally associated with agricultural work into their collections. Labels such as Bode, with its intricate quilted jackets, and Eckhaus Latta, which frequently employs natural dyes and textured, homespun fabrics, embrace this philosophy in a way that feels both nostalgic and forward-thinking. Recent collections have further cemented this trend. Juun.J’s Spring/Summer 2025 Ready-to-Wear Collection reinterprets traditional workwear with oversized silhouettes, structural layering and haute couture detailing, blurring the lines between labor and luxury. Under the theme of ‘WORKOUTURE,’ Juun.J fused classic workwear elements with 1950s haute couture, featuring mermaid skirts, structured denim and draped organza—materials not traditionally associated with manual labor. Similarly, Yohji Yamamoto’s utilitarian approach has long embraced the functionality of workwear, while Marine Serre has incorpo-

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rated workwear motifs into eco-conscious tarian fashion and high-end design. Luxury designs, often upcycling discarded fabrics houses such as Schiaparelli, JW Anderson, to create functional yet fashionable pieces. and Acne Studios have embraced the rugged charm of workwear pants, offering HAIX’s recent Flextreme collection launch, their own reinterpretations at premium presented as an energetic, choreographed price points. High fashion has long been fashion show at SV Darmstadt Stadium, influenced by workwear aesthetics, but toexemplifies how workwear is no longer day’s trend toward upcycling and recycling just about durability but also about per- has only reinforced this connection. The formance and spectacle. For example, the increasing popularity of workwear jeans collection featured sleek, functional work- blurs the lines between blue-collar roots wear sets designed with practical cuts, and luxury aesthetics. Even within fast reflective safety elements for maximum fashion, brands like Zara, H&M and Urban visibility, and durable, protective materi- Outfitters have capitalized on the trend, als. Clever branding elements seamlessly making workwear jeans a staple across all integrated HAIX’s brand identity across price points. the collection, elevating traditional workwear into a performance-driven fashion One of the strongest arguments in favor of statement that balanced functionality with workwear aesthetics is its alignment with striking aesthetics. sustainability and slow fashion, which have become increasingly important in today’s The rise of labor-driven aesthetics paral- society. As environmental concerns conlels the broader evolution of workwear as a tinue to rise, the durability of workwear cultural staple. Brands like Carhartt, Dick- makes it well-suited for longevity, and ies, and Patagonia—originally outfitting its frequency in secondhand stores ties blue-collar workers—have transitioned in with the growing thrift and upcycling into the fashion mainstream. Carhartt’s movements. Brands like STORY mfg., with Work in Progress (WIP) line, for example, their hand-dyed organic matehas gained cult status among streetwear enthusiasts, signaling the growing crossover between labor gear and high fashion. What was once a symbol of working-class practicality is now coveted as a stylish, urban essential. Similarly, Patagonia’s commitment to sustainability resonates deeply with eco-conscious consumers, solidifying its position as a brand that blends environmental advocacy with fashionable, durable clothing. However, the shift from necessity to style is not without irony. The rugged durability that made these workwear staples indispensable for laborers has now been repurposed as a symbol of cool, effortlessly ‘gritty’ luxury. These gar- rials, and luxury labels integrating vintage ments, once crafted for the wear and tear workwear into high-fashion interpretaof physical labor, are now sold at premium tions, offer an eco-conscious approach prices, contributing to the gentrification that prioritizes longevity over fleeting of garments previously used for specific trends. In this sense, the agrarian aesthetic jobs. The very clothes that once symbol- represents more than just a visual shift— ized hard work are now marketed as an as- it’s a call to reconsider our consumption pirational lifestyle, raising questions about patterns and the impact of fast fashion on authenticity in fashion. the planet. Fabrics traditionally associated with workwear, such as durable denim and sturdy canvas, have also evolved as essential components in the shift from function to fashion. Denim, in particular, plays a key role in this evolution, as workwear jeans have become a key intersection between utili-

However, this eco-conscious image is not without contradictions. The commodification of agrarian aesthetics sometimes undermines its original ethos. Massproduced workwear jackets, made under questionable labor conditions, directly contradict the values of craftsmanship

and sustainability that they supposedly symbolize and champion. The very communities these garments come from, the working class, are alienated from the trend by wiped out thrift stores, sky high prices and increasing demand. This disconnect between the aesthetic’s image and its existence on the market raises valid concerns. Does buying into this look signify a genuine engagement with agrarian ideals, or is it merely a fashionable performance that capitalizes on a trend of the moment? As agrarian aesthetics become increasingly ubiquitous, the question arises: is this a true lifestyle shift or another ephemeral fashion cycle? On one hand, the integration of functional workwear into daily wardrobes suggests a desire for practicality and durability. On the other, history has shown that aesthetics borrowed from labor often become detached from their

original intent, absorbed into the ever-revolving wheel of trends. If the agrarian aesthetic is to persist, it may require a deeper cultural shift—one that extends beyond fashion into genuine lifestyle changes. Will the fascination with gardening, beekeeping and foraging translate into long-term commitments, or will it dissolve as soon as the next wave arrives? Ultimately, agrarian aesthetics reflect a collective yearning for grounding, simplicity, and connection to nature. Whether this movement is an enduring shift or a beautifully packaged illusion remains to be seen—but for now, workwear, in all its durable, earth-toned glory, remains aspirational yet unresolved.

WRITTEN BY ELIZABETH COLLINS DESIGNED BY ATTICUS LIM ILLUSTRATED BY YVAN PHAN The Nexus Issue

SENIOR SPOTLIGHT: CLASS OF 2025 The WALK’s community would not be complete without the creativity, leadership and vision that our seniors bring to each and every aspect of the team. Each of these incredible seniors ` integral to producing our annual 27L fashion show, website, and print magazine—defining features of The WALK that we’ve all come to adore and take pride in. Their personal contributions have instilled life and spirit into The WALK’s legacy. From their impeccable sense of style to their passion and dedication behind the scenes, the seniors of The WALK inspire our staﬀ approach each day with optimism and grit and to always leave a personal touch behind. Here’s a tribute to our class of 2025…

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VALENTINA CHANG POSITION Vice Editor-in-Chief MAJOR Philosophy, Politics & Economics (PPE) POST-GRAD PLANS Working in Financial Regulatory Compliance (in NYC) and applying to law school FAVORITE CLOSET PIECE My Salomon sneakers—so comfy, versatile, and the perfect way to finish oﬀ an outfit! WHAT I’VE LEARNED FROM THE WALK Being part of The WALK since freshman year, I’ve learned how a group of passionate, creative people can all bring unique talents to create truly incredible magazines, events, and more.

ABBY PORTNOY POSITION Editor-in-Chief MAJOR Philosophy, Politics & Economics (PPE) + Minor in Sustainability POST-GRAD PLANS Investment banking in NYC FAVORITE CLOSET PIECE My gray Reformation cardigan— can easily dress it up or down and it keeps me warm! WHAT I’VE LEARNED FROM THE WALK I’ve learned how powerful and incredible the final product can be when a diverse group of people come together and bring their dedication, perspective and trust in each other toward a shared vision. That collective eﬀort is what has made The WALK so special to me.

OLIVIA KIM POSITION Photography Director MAJOR Visual Studies and Cognitive Science POST-GRAD PLANS Consulting in Philly FAVORITE CLOSET PIECE My jewelry… specifically the jewelry my grandmother has passed down to me!! WHAT I’VE LEARNED FROM THE WALK I’ve learned the value of working in a team for creative projects— every person brings a unique perspective and vision to each shoot. The most successful shoots I’ve directed involve combining everyone’s ideas into a cohesive vision because it produces the most original and unique work!

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ALEXA PETROSH POSITION Social Media Director MAJOR Nursing + Minor in Nutrition POST-GRAD PLANS Work as a Pediatric RN (Registered Nurse) in the Philly area FAVORITE CLOSET PIECE Vintage black leather jacket I thrifted! WHAT I’VE LEARNED FROM THE WALK Being part of The WALK has opened my eyes to how personal and unique everyone’s style is. It’s been really cool learning how people express themselves through fashion and getting to see so many diﬀerent perspectives come together in one place.

ZOE VAZ POSITION Videography Director MAJOR Health & Societies + Minor in Nutrition POST-GRAD PLANS Attending Yale for a Masters in Public Health concentrating in Health Policy FAVORITE CLOSET PIECE Black low rise cargos from Guess WHAT I’VE LEARNED FROM THE WALK Style and fashion are more than just creative outlets or modes of expression, they are pathways for social commentary and a record of our cultural evolution.

ERIKA KURRE POSITION Operations Director MAJOR Communications POST-GRAD PLANS Brand Partnerships and Marketing at Comcast FAVORITE CLOSET PIECE Black Sezane cardigan. WHAT I’VE LEARNED FROM THE WALK I’ve had the opportunity to meet and collaborate with so many people! I’ve learned truly how many people it takes to create a successful publication.

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SARAH BENDER POSITION Web Director MAJOR Psychology FAVORITE CLOSET PIECE My Veronica Beard black blazer WHAT I’VE LEARNED FROM THE WALK The WALK has taught me so much about fashion, culture, and just about myself. I learned how to channel more confidence both in writing and creative ex-pression in general.

ZIDA ANYACHEBELU POSITION Marketing Director MAJOR Design and Science, Technology and Society + Minor in Anthropology POST-GRAD PLANS Traveling and Grad School FAVORITE CLOSET PIECE My vintage cowgirl boots WHAT I’VE LEARNT FROM THE WALK I have learnt that creativity comes in so many diﬀerent forms. From the writers to the photographers and designers- we all do so much to create and run the magazine. I really have an appreciation and a deeper understanding of diﬀerent creative practices.

SARAH LI POSITION Finance Director MAJOR Finance and Entrepreneurship POST-GRAD PLANS Moving to San Francisco! FAVORITE CLOSET PIECE My black combat boots I’ve had forever WHAT I’VE LEARNED FROM THE WALK There are people out there who get your style, your vision, and care about fashion as much as you do. The WALK inspired me to experiment — with clothes and ideas. It reminded me that fashion can be thoughtful, expressive, and personal.

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WANT MORE? thewalkmag.com • @thewalkmag The WALK Magazine Spring 2025 The Nexus Issue Copyright © 2025 The WALK Magazine. No part of this publication may be altered or reproduced without the express written consent of The WALK Magazine. For all inquiries, please email thewalkmag@gmail.com. All rights reserved. TW/S19-100A