VALLEY Magazine | Fall 2025

Penn State’s premier student-run life and style magazine.

VALLEY Magazine is published once per semester and distributed for free on Penn State’s main campus in University Park, PA

Our mission is to recognize Penn State students for their academic and extracurricular accomplishments and to feature local style, entertainment and lifestyle trends.

VALLEY Magazine is named after Happy Valley and was founded in September 2007 by former Penn State students Nicole Gallo, Meredith Ryan, Katie Zuccolo and Kathryn Tomaselli. The Fall 2025 magazine is VALLEY’s 36th issue.

The content and opinions of this publication reside solely with the authors and not the Pennsylvania State University or the University Park Allocation Committee. Funded by the Student Initiated Fee & Sponsorship from

The Hemline Index

Looking Through Lenses Inches from Perfection

Miss American Pie Little Black Dress Weight of Wings

BEAUTY & HEALTH

Garden of Empowerment Hot Lips Hot Takes Last Looks Redefining Intimacy

CAMPUS CULTURE

Thrill of the Chase Behind Closed Doors Night at the Movies

Sex in a Different City Cover Star: Prismatic Existence

ENTERTAINMENT

My Own Little Fantasy

The Soundtrack to a Revolution When the Body Becomes the Monster Simulacrum Behind the Seams Audial Association

A NOTE FROM OUR

VALLEY and I were truly love at first sight. I spent my first year of college starving for exactly what VALLEY is — a sanctuary for the creative minds. I can still remember writing my first web ar ticle. I sat in the kitchen of my apar tment, meticulously reading over each word, anxious to prove myself as a writer and knowing in the back of my mind, I would never be the same

As VALLEY’s grown, I’ve grown alongside it. It took me by the hand and led me into a world I had only ever imagined as fantasy. It has swung open doors I only thought I’d peek into and has pulled out chairs at tables I wasn’t aware existed.

In every role, I’ve met a new version of myself, each with far more confidence than I ever thought possible. VALLEY made the impossible possible for me, pulling down a rope I stood on my tiptoes trying to grasp and placing it securely between my fingers.

I have so much to thank VALLEY and the people who have been my cheerleaders through my entire journey for. Emma, I have never met someone quite like you. You shine a light through a diamond and make a ray of the most beautiful colors. Since we’ve met, I’ve ooked at life differently.

Natalie, you have been my anchor through the storms. My approach to leadership was molded by you, and I will forever look up to you in admiration

Katie, I knew when you joined VALLEY you’d mean something to me I cannot wait to see you take on editor in chief, you are going to shine. Dani, we’ve been together from the start, and I am so grateful to work with you until the end.

Abi, thank you for stepping up and taking on Web Assistant when we needed you.

I am so grateful that it’s the three of you with me this semester. Molly, you are one of the best writers I have ever met. I knew I needed you. Shea, my first friend in VALLEY You hold a special place in my heart; if only sophomore year Shea and Erin could see us now.

Print writers, the pieces in this magazine have my jaw on the floor Each piece deserves a frame. To the entire Editorial staff, I ook forward to every single Monday meeting. You are a kaleidoscope of talent, and each of you will go so far. Never stop writing.

Diane, you see the world like no one else does — your creativity is incredible Reagan, you are the most fearless leader with the biggest heart. I cannot wait to brag to strangers that I worked with both

of you ten years from now. Stephanie, your email will continue to be flooded by me. Thank you for your unwavering guidance and enthusiam — you’ve inspired the learner inside me Zach, the best part of my heart. Thank you for proudly being mine, I adore you endlessly. Camryn and Sophia, thank you for coming to every single VALLEY launch with me. Remember joking that I’d be on stage someday? Now I’ll look at you from it with the deepest appreciation. With you three of you and my amazing roomies and friends by my side, I can accomplish anything. You’ve all made college a home To my parents, I am tearing up thinking about how to thank you. You nurtured a girl curious about words and supported a woman who loves them. I am me because of you both. And my Devy, my lantern in the dark, I’ll always be yours.

Issue 36 means everything and more to me. It has been my dream to be Editor in Chief since I’ve joined VALLEY and it’s been an honor serving this role. This magazine is filled with words waiting to be heard, please enjoy them all!

A NOTE FROM OUR

When I joined VALLEY as a clueless freshman, I could’ve never imagined how much love I would come to have for this organization and every person in it I joined this club because it was where the so-called “cool people” were … three years later, I still stand by that belief. What makes VALLEY cool isn’t just the reputation — it’s the creative minds, the leaders and the way everyone inspires each other and collaborates that make us truly special.

To my Business Division Directors — Madi, Sadie, Renita, Zharia, Raquel, Daliyah and Abby — you are the real heroes behind my job, and I’m so lucky to have you all by my side. And to the incredible teams you each lead — Advertising, Public Relations, Events and Finance — you all work so

hard and I am forever grateful for your dedication. There are over 100 people in the Business Division alone — the most we’ve ever had on staff. I love seeing how much love people have for VALLEY, and it makes me even more proud, not only of the magazine itself, but of the incredible organization we’ve grown into

To Diane and Erin, I couldn’t be luckier to work alongside you both. What we’ve created together is amazing, and I’m incredibly proud to support the work you put out. It’s endlessly inspiring and shines through this entire volume

To our brand-new faculty advisor, Stephanie, thank you for stepping into this role — we wouldn’t be here without your support.

To my family and friends, thank you for always cheering me on, whether it’s coming to every launch party or liking our Instagram posts. I’m so lucky to be surrounded by the best support system a girl could ask for. And finally, to the VALLEY audience — thank you for reading this new volume Your support never goes unnoticed, and I know you’ll love our cover star, Emma, and the incredible work featured throughout.

I’m honored to serve as VALLEY’s Business Director, and I hope this volume leaves you feeling more confident and inspired

Enjoy V36 — and remember: this is all student-run. Impressive, right?

A NOTE FROM OUR

This issue has been a dream. To have this magazine in parallel with last Fall’s issue fills me with so much gratitude. I am so deeply proud of everyone for who you are and the strength it takes to show up as consistently as you all do. If last year, we were a bird being hatched and exposed to new air, we have since discovered our wings and the breeze beneath them. We glide and unite so effortlessly as a team I have thoroughly enjoyed getting to know you all in the 3 months of madness, lash glue and body paint we have endured.

There have been so many laughs and so much community made at every photoshoot. While you see the image in front of the camera, what lies behind it is probably Sally with an enormous leafblower, or Charell asking for more lights, or our many laughs on many late nights It takes an entire army to do what we do I constantly joke about this but I would be nothing without Deedee’s talent and passion for visual storytelling. There have been so many times where I forgot something, or I wished we had something, and surely someone on the team would always arrive with exactly what we needed before it was ever asked for.

We are made of Shalini’s precision, EmmaKate’s groupchats, and Dylan’s striking typography I am so grateful for the graphic design team’s commitment to cultivating a VALLEY like never before Though they could not be printed, the Video team’s outstanding contributions to enriching our holistic identity echoes in the passionate shots that capture lifetimes. Jaden saved us so many times by constantly “knowing a guy,” and Zaara sustained us during the long nights with her many jokes and hot takes.

Thank you Erin and Reagan for your enthusiasm and warmth. Thank you Emma for being the vessel through which we could explore so many prismatic identities.

To Charell, losing you feels like losing an arm. We are so gutted to see you leave, but so thrilled that we can be part of your final farewell to the Penn State Community

To Sally, Sloan, Elise, Keira, Jaden, and Alex, we will miss your passion, your radiance, and your feathers! Continue to do amazing things knowing there will always be a warm embrace waiting for you within our VALLEY Community

As a freshman stumbling across the magazine in the HUB, I had no idea the lifetime I would find in these pages. To be here now, part of this creative symbiosis, given the trust and permission to continue enriching your minds with ideas that are dear to my heart, I am filled with the utmost gratitude.

All I can say is thank you. Thank you to this lovely team for pouring yourselves into us, with faith that we would alchemize that into color and hose water. Thank you to the business and editorial teams for the work you do in languages I am still uncovering. And finally, Thank YOU, dear readers for giving us a reason to push ourselves, and the opportunity to open our hear ts to what can be achieved at Penn State.

Model : Hugh Kibera

Headspace is sacred. Being allowed into this world is reserved for those who are willing to understand. The veil is not something that obscures, oppresses or covers. Rather, it is something that offers a lens into a different world. It allows you n, rather than shuts you out.

A Brief Histor y

Veiling is often associated with religious tradition, but its usage stretches beyond that. For centuries it has been a functional piece, used as protection against the elements. It has also evolved as a marker of social status or cultural affiliation.

It’s hard to hide behind a veil. The garment itself speaks volumes: a dastar for a man symbolizes religious devotion, while a dupatta for a woman can signify modesty and belonging. Still, the true significance can be hidden beneath the layers, not immediately obvious to the observer.

Common Threads

For Indigenous communities in Mexico, the rebozo (shawl) is such a garment rooted deep in history. Wrapped around the torsos of women, it’s used to carry children, aid in childbir th or protect from the cold. On the head, it shields from the sun, lends homage in church and helps carry other burdens. Brought over by the Spaniards during the Conquista, the shawl served as a veil of modesty for women of all castes.

Rebozos, each distinct in color, composition and cultural origin, are worn by women around Mexico regardless of cultural background.

For Andrea Morales, American and Indigenous P’urhépecha community

organizer and educator, the rebozo carries a distinct meaning. It stands as a symbol of who she is, where she comes from. Morales wears her rebozos with pride, acknowledging that doing so is a privilege.

“Stories overlap,” she says

The experiences of someone who grew up in the United States vary greatly to those of someone growing up in Mexico. Nestled in the emerald sierras of the western state of Michoacán, the P’urhépecha community prides itself on its history.

For Morales, being P’urhépecha denotes a devotion and a responsibility to her community. Being P’urhépecha means to carry on a legacy, but also to make sure that when doors open for people like her, she can open doors for other women in Michoacán.

Part of this legacy and responsibility is entwined in the threads of her rebozo

“I like to wear it because I also recognize that perhaps, in some regions of the U.S. and even Mexico, Indigenous people still continue to be victims of racism. Wearing it is like a symbol of ‘Hey, we’re here and I’m gonna take up space.’”

This is also why Morales wears her rebozos to protests. On its own, the garment is a message and a testament to a long and powerful history.

From Empress Charlotte to Adelitas, the rebozo became a symbol that bridged worlds. Adelitas, women revolutionaries, used the rebozo to carry ammunition and other supplies needed on the battlefield during the Mexican Revolution. Like these women, Morales carries her rebozo to protests, knowing

that if need be, it can become both a weapon and a shield But beyond its edge, the rebozo possesses a certain warmth, acting both as protection and a reminder of home.

“When my mom had me as a baby, she would use a rebozo and have me on her back,” Morales says, remembering being carried even as her mother worked cleaning houses.

A Lingering Legacy

In part a product of colonial evangelization, the rebozo became a staple for women at church. To date, it adorns the heads of devout women, accompanying them into sacred spaces.

Rebozos aren’t just for older women.

“From my experience, I do see a lot of young women…wearing rebozos … more so now to try to make more of that cultural connection or not let that tradition of wearing it die down.”

Though rooted heavily in tradition, the rebozo doesn’t shy away from innovation. The rise in the number of young P’urhépecha designers has triggered a movement of young people flocking to acquire the latest styles. Neon threads, colors that reference the LGBTQ flag and feathers that flutter when you dance — all markers of identity

“I’ve seen all the women in my family wear it. And they are strong women. And this is me also portraying them in a different type of setting, whether that’s in a university or in the corporate world. I feel like it’s such a powerful symbol of them and the history that comes with it.”

Cocooned in her rebozo, Morales invites you into her story: a world marked by tradition, spearheaded by women.

There was a time when

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There was a time when dropping a swear word meant you were either seriously pissed, about to get grounded or both Now? It’s practically a comma. In class presentations, DMs, even club meeting minutes, cursing has made itself at home. College students today aren’t just cussing — they’re rewriting the rules of what “professional” even sounds like. So, when did swearing stop being shocking? And why the hell does everyone sound like they’re narrating a Tarantino film at 9 a.m.?

In a world that prizes realness over perfection, saying exactly what you mean — even if it’s laced with a little bite — can feel honest, confident and even affectionate. Swearing isn’t a slip-up, it’s a fucking strategy.

Who Gets to Say What

Swear words have always had power, but not just because of how they sound.“What makes them powerful is who gets to use them and in what contexts,” Montell says. Historically, language that was labeled “dirty” often came from people who were seen as rebellious or lower-class, while “clean” speech was reserved for the educated, the elite and the moral majority. “Today’s mainstreaming of profanity is a way of rebelling against elitism, respectability politics and tonepolicing,” she says Basically, swearing is now a way to challenge the idea that polished equals powerful If anything, choosing to speak plainly (and yes, sometimes profanely) can feel like taking the mic back from a system that told people to stay quiet unless they could say it nicely Saying “fuck that” out loud is its own rebellion

Profanity as Punctuation

What’s Behind the Bark?

Of course, not all swear words land th same way. Montell points out that “con intention and identity are everything when it comes to profanity.” A woman calling he friends “sluts” might sound cheeky an warm. A guy doing the same? Ma “Gendered power dynamics still says. “Even if certain swear word edgy now, they can still be powerf way that linguistic freedom is always powerful.”

It’s not just what you say, it’s who y who you’re saying it to and why. A casua “bitch” between best friends isn’t the same as a stranger spitting it out on the street

Swearing or Feelings

Dr. E. Michele Ramsey, professor of communication at Penn State Berks, sa there’s also an emotional layer to “Punctuating our language with pr can help us express emotion in wa people are more likely to hear,” she sa “But for some, especially men who’ taught not to show vulnerability, it can become a cover-up. Swearing replaces real emotional expression — and those f don’t just go away.”

While swearing can be empowering, it can also become a kind of emotional shor Instead of saying “I’m anxious” or “I f dismissed,” you say “this is such bullshit. The emotion’s still there, it’s just dresse in denim instead of lace. And sometimes, “fuck this” is easier to spit out than “I’m scared.”

Read the Room

At the end of the day, swearing is personal

Rough Around the Edges

According to language writer and “Cultish” author, Amanda Montell, this isn’t an overnight shift … it’s the result of a slow linguistic rebellion. “As authenticity and balking at the status quo are generally thought to be Gen Z values, it only makes sense they’d continue normalizing ‘vulgar’ language in everyday speech,” she says. “The reasons for cursing — whether to add personality, build trust or just fill space — aren’t new, but they’re definitely spreading as Gen Z collectively decides that stiff, pedantic speech feels less real than talk that’s rougher around the edges.”

Here’s the catch: the more we use swear words, the more they risk becoming … well, background noise.

Dr. John Haddad, a professor of American Studies at Penn State Harrisburg, compares profanity to tattoos. “It used to be rebellious,” he says. “Now, everybody does it. The edge is gone.” According to Haddad, words that were once explosive now function more like punctuation: filler, emphasis, habit. That doesn’t mean swearing is meaningless, but its role has shifted. It’s less about making a scene and more about setting a tone. A quick “shit” or “damn” doesn’t shock anyone anymore, but it still colors the moment

For some, it’s a love language. Fo it’s a red flag. Regardless of how common it has become, it still matters w here you use it.

“There are still settings where the ol rules apply,” says Haddad. “No one’s judged for not swearing. But you might be judged if you do—especially in the wrong context.”

So go ahead and drop that casual curse in your GroupMe or your 8 a.m. vent session

But maybe skip it in the cover lett don’t. Just make sure you fucking mean it

Because even if curse words are no longer taboo, language still carries powe wielding it well? That shit never goes out of style.

Model : Allison Sanchez (They/Them)

By: Alexa Passaro

When thinking of fashion, what comes to mind? Most often, an image of your favorite store or your most-styled jeans comes to mind. Rarely do you think of the global financial state. However fashion has the potential to be an economic barometer, or at least economist George Taylor thought so. Introduced by Taylor in the 1920s, the “Hemline Index” states that the length of women’s hemlines can potentially mirror the ongoing financial state of the world

A concept melted together by economics, trend forecasting and sociology identifies that when the economy thrives, hemlines rise and when a financ al downturn hits these seams may fall

The economic shifts highlighted in the Hemline Index over the past decades were broad. In the 1920s, the rise of the flapper dress made

showing some leg socially acceptable during a time when the stock market boomed. People worried more about ways to get their hands on champagne than the length of dresses

Yet, in the 1930s, when the Great Depression hit, hemlines elongated again — reflecting the need to conserve resources. The 1940s brought hemlines that commonly fell just below the knee, as women entered the workforce in outfits that required freedom to move in The 1950s post-war economic boom in the United States made way for the “new look ” introduced by Christian Dior, showcasing voluminous skirts that hit around the ankle. As the economy rose into the 1960s, hemlines shortened yet again to the smallest they ve ever been.

Alongside the civil rights movement came the freedom to feel comfortable showing more skin. Enter the infamous miniskir ts and dresses Now worn casually, these pieces then stood for financial freedom and oppor tunity

“Hemline is foolproof, its foundation has proven through out history to be partly true Today, digital glo balization has changed the way fashion and trends spread

“So many brands are transcending just being a U.S. or European brand. American consumers have access to e-com from all over the world. You can see how these trends are impacted, moving more quickly than ever,” says Abbey Samet, the brand director for Haddad Brands.

This kind of accessibility shows that while floor-length skirts could be all the rage in Paris, the tiniest of dresses might be trending in L.A., and both of these trends can make it over to Seoul. Popular styles exist simultaneously with one another all across the globe. In the time before the internet these trends migrated more linearly.

shifts and reflect it in their work? The answer is inconclusive. For example a designer could release items with longer hemlines, in times of turmoil, or shorter ones during economic highs.

In a culture that is so wrapped up in diverse consumer tastes, it is more di icult to tie economics to trends. Regardless, the Hemline Index remains a historical marker of forecasting

even knowing. Instead of following the economics, they ’re following the past trends. As the theory goes these styles had to reflect the financial situation

This newfound movement places jabs in the ance of the “Hemline Inde

The coexistence of trends means the hemlines of today aren’t just following one pattern.

Trends originate from the runways. From designer brands, to small boutiques, the styles drip down from the top. What about the pieces the designers produce in the first place? Could it be said that they follow economic nce Index

“I think it’s a combination of both. Sometimes, brands like to take in all the news around them. Other times, they’re in their own universe, following the core DNA of a particular brand,” says Samet. “I think that when shifts in macroeconomic trends and conditions change, it ’s smart to be in tune to that.”

Fashion is driven through artistic expression, but for brands to develop longevity and surv ve commercially, they must align themselves with realities subject to change like inflation or recessions. Contrarily, the brands themselves may be responsible for the increase in favored lengths because of their recent releases.

Throughout time regardless of technology, trends have been recycled from centuries ago. The fashion designers from today may be taking part in the “Hemline Index” without

Modern fashion is more democratic than ever before.

“I think that ’s the di iculty now, in being a brand, because you have to be everything to everyone all at once and be able to service lots of di erent consumers because you have multi-generational customers,” says Samet. There may be a 50-year-old shopping for an ever yday look at Brandy Melville, while a 22-year-old is browsing for work clothes at Banana Republic across the street.

Go choose a maxi, mini or any length in between. The good news is - we are no longer confined to a par ticular hemline a n d d s u e v , t a s n a e d b o t t e n t e e

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These accessories everywhere allow you to add a small color your can rose-colored glasses and see people more love, you through yellow view the world with more joy. eyes might glasses, but what if our hearts and minds also things differently?

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The color whoever wears it. As one of the more popular colors, it adds an emotional brightness to a look. Larimar Rodriguez, a fourth year at Penn State, often wears her yellow glasses and immediately has a smile on her face. Blue hues nervous system. Like looking these wearer. Blue lenses or someone who wants the world’s chaos to move a little slower.

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“The Great green represents envy. some, others relate the color more to a feeling of curiosity. Slip them on and suddenly the world feels like something to chase, to claim, to make your own. It’s the lens for the visionary who’s not quite satisfied, the observer who’s always searching for the next best thing. Red is marked as the color of love because it attracts. The theory of rose-colored glasses different your judgment is potential partner, that you may miss a flaw. The color also exudes confidence and power. Putting on colored glasses can boost of sexy.

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Red lipstick, glass bottles of Coca-Cola, denim jackets, red and blue gingham and that ‘50s diner aesthetic. These cues bring our mind to one place in the world: Vintage Americana- a uniquely American fashion style inspired by a mix of nostalgia and patriotism – a Lana Del Rey music video come to life

Poland, found that moving to the U.S. called for a bit of a wardrobe switch

“Cowboy boots and hats, baseball caps, flared leggings, puffer vests, flannels,” says Jasielska. “No one wears them in Poland.”

What is specific to one country’s style does not always travel across the ocean. Certain things that seem to be the norm in the U.S. aren’t in other countries

“In Poland, following trends that are very specific is frowned upon, but in America, it is more looked at as a good thing,” said Jasielska.

We are constantly caught up in trends and obsessed with discovering the next best style. What we may not notice is that what we’re searching for is oftentimes influenced by American history.

A LOOK BACK IN TIME

Red, white and blue isn’t just a symbol of the U.S., but the basis of American style. om coast to coast, American fashion has a mix of unique styles that differ al throughout the country. What makes these styles stand out is that it is more than just a trend; it’s a reflection of the many cultures and climates that make up the country. om the southern charm of Texas to the treetwear of New York, the country’s closet hold thousands of iconic ooks. A fashion melting pot, the U.S. wardrobe is known ound the world.

FASH ION FLUENCY

Some American fashion trends that we see the U.S. do not translate well to other ountries. Jagna Jasielska, a senior Penn State international student from Poznań,

American fashion is constantly creating something new, but it always seems to be inspired by our historic uniforms. What was once created for ranchers and horse riders hundreds of years ago in the South, is now a staple in many Americans’ closets: cowboy boots. Built for the wild west and horseback riding, cowboy boots slowly became loved by Hollywood and hitchhiked their way into everyone’s closets. They continue to be an iconic look that symbolizes American fashion. Cowboy boots have found themselves migrating up north and becoming a go-to shoe for festivals and concerts.

In the midst of the Vietnam War, hippie culture and fashion rose as a protest to the government. There wasn’t a day the music died, but rather transformed into psychedelic rock, peace signs and all. One of the biggest music festivals in the world, Woodstock, was truly a turning point for hippie culture. It became a cultural hub, where music-loving free spirits jammed out and created longlasting design influences. While Jimi Hendrix and psychedelics were popular in the ‘60s, fashion items like flared pants and saturated colors have moved from music festivals to runway catalogs. Originating from Ivy League schools in the Northeast, such as Princeton and Yale, these students created a distinct American trend thanks to the help of some of the biggest-name brands. Tommy Hilfiger and Polo Ralph Lauren crafted this style best. Pleated skir ts, cable knit sweaters and polos are staple pieces of the preppy style. Although this look is not exclusive to Ivy League students anymore, the university-inspired designs have graduated to our closets. Born in big cities like Los Angeles and New York, streetwear originated from the early ‘90s hip hop and rap culture. The subversive subculture became popular as it emphasized self-expression alongside the urban lifestyle. When it comes to this look, the baggier the better Nowadays, you can find this style on the streets of the city and in the shops on 5th Avenue.

American fashion has always been a little like that vintage Coca-Cola glass bottle: nostalgic, iconic and constantly being rediscovered. It’s an aesthetic that never stops evolving while still holding true to its past. We’re still singing bye-bye Miss American Pie, but American fashion is here to stay

Beauty and class have been measured on drastically different scales over time. Modest and conservative clothing lovers scolded scandalous fashion for years. Designers never reached for darker colors because they knew they would only collect dust on the racks. What is now recognized as a versatile staple to any outfit, was not always the case. You might recall your mother telling you as a kid that black goes with everything. Her mother might have told her that, too. Yet, when it came to her mother she advised her to choose a red blouse rather than a black one.

Flashback to the roaring 20s when black was for mourning loved ones. There was nothing sexy, luxurious or flattering about the color.

This stereotype lasted until the infamous fashion designer, Gabrielle Bonheur “Coco” Chanel, resurrected the color and rewrote its history in fashion.

MOURNING TO MAINSTREAM

Nearly a century ago, Coco Chanel created the “Little Black Dress,” commonly referred to as the “LBD.” Chanel saw the shade for what it was and broke the chains that tied it to death. She reminded consumers that even the darkest things can be reimagined into something beautiful and alive. With its Vogue feature in 1926, the dress brought a revolution

Vogue College Editorial content called the dress “Chanel’s Ford,” capturing its simplicity and class. The dress changed fashion with its stylistic freedom. Consumers could dress it up with pearls and diamonds, or dress it down with flats and a lightweight jacket

Black Dres s Sophia M ontef ort e

Makayla Cordova, a fashion design student at Savannah College of Art & Design, says Coco Chanel changed fashion for the better “Coco Chanel was definitely essential in empowering women, especially in her little black dress, accentuating the silhouettes of women in a more empowering way than a sexier way,” Cordova says Chanel, adding femininity to the color black was a turning point for women’s fashion across the world. It turned the darkest color into the brightest beacon of style

Many changes bred in the 1920s poured into the following decades. In fact, Chanel

was not the only designer who wanted to give society a sleek design that could be worn with imagination. Givenchy featured their own black dress with actress Audrey Hepburn in the 1961 film “Breakfast at Tiffany’s.” The movie is the epitome of elegance, glamour and sweet luxury - everything that the color has come to represent.

This color earned its popularity from Chanel, and Chanel alone. Like the dress, the luxury house is a dependable designer company that has yet to go out of style even a century later. The luxury house graduated from selling just apparel to the most desired perfumes, hand bags and shoes. Over time, Chanel could no longer sell its affordable couture to their customers. Since the dress’s popularity reached across countries, more and more yearned for the original. The more people who wanted the LBD, the more strain Chanel felt financially

Nonetheless, the piece is recreated by affordable brands that offer people the ook instead of the label. With brands copying its color and cut, the LBD transcends Chanel’s financial borders.

Time was kind to the LBD and its relevance in the fashion industry. What once was a piece of its own, is now a staple that can be personalized by the individual. Women are offered different lengths, exposure, cuts and textures of the little black dress. With each fashion era comes new looks, new stylings and new reiterations of the iconic dress.

“Fashion is cyclical, so I feel like we are entering an era where neutrals are more common an d more classy, as opposed to bright colors and fun fashion … it is funny to see how fashion in the roaring twenties recycles,” Cordova said Excitement ensues when the perfect black dress is on the hanger. There is nothing that feels better, it somehow fits perfectly – almost like it was made for you. It’s synonymous with your fingerprint, you know it like the back of your hand, and you’ll carry it throughout your lifetime. No matter the occasion, with black, it’s a dress finer than death.

By : Natalie Untch

In the midland, humid forests of Southeast Asia, the male peacock begins his ritual. He fans his feathers in a slow, deliberate motion. This creates an iridescent, circular arc of emerald, sapphire and bronze. Each plume catches the sun like living stained glass. To the untrained eye, this would be an act of pure vanity, but feathers in the wild are never used in vain — this is for survival. The stakes are high. He knows that in this fleeting performance lies his future: the chance to pass on his genes, or fade quietly into extinction The pressure of his entire destiny rests in the weight of those color ful wings.

Feathers in the context of nature, are rooted in survival. Birds use their plumage to mate and keep a population thriving, while also relying on them for flight, camouflage, preening and protection. However, when stitched into seams, feathers shift from nature’s necessity to a fashion statement. Through their newfound wings, a model soars from the runway onto our screens.

Flaunted

Sophia Isabella, a fashion stylist based in New York City has worked behind the scenes of sleek runway shows to the glossy editorials featured in Vogue. She also runs a TikTok account, @2poor4prada, where she discusses fashion trends and predictions.

“When someone thinks of feathers you think of flaunting, much like a peacock does. [However,] it depends on what type of feather you’re looking at.”

Feathers come in endless forms. Across hundreds of bird species, plumage ranges from the strong shaft of a quill to a downy fluff, from muted camouflage to explosive colors.

This abundance of feathers comes with the responsibility of choice. Every feather carries a different energy and meaning; using the wrong choice can derail an entire design

Designers must select feathers for designs and consider the texture, weight, movement and meaning.

What’s In The Back

Ru

nine in energy,” Isabella says. “On the other hand, there are more structured feathers with harsher color and energy that read as very masculine.”

From a designer’s perspective, using feathers is a risk. The type of feather used could be what distinguishes a high fashion runway look from a dollar store boa.

“When you are using something like feathers, you have to be intentional,” Isabella says

Ostrich feathers, for example, have become a staple in high fashion. “There’s an elevated texture to them because they’re so soft,” Isabella says. She explains that ostrich plumes have a slow, graceful movement, which adds a softness and femininity to a look even when the model is striding at full pace.

Placement matters. In the bird world, plumage is often flaunted from the shoulders or trailing down the back; it’s a visual strategy of dominance and sex appeal. Fashion borrows from this instinct Therefore, when designers place plumage on the shoulders or backs of a design, the feathers amplify structure and strength, leaning into a masculine look Conversely, Isabella says that when the feathers are at the hem or cascading down the arms, they carry a feminine energy of play, flow and softness.

ff led Feather s

Designers often use feathers in ways that push far beyond a simple bird-inspired aesthetic, merging modernity with nature to create layered statements. For the Loewe Spring/Summer 2025 collection, Jonathan Anderson dipped feathers in gold and covered the models’ faces; a choice Isabella says reads as both regal and symbolic “[It could mean] we are easily blinded by status,” Isabella says. Loewe, whose models could barely see out their glowing plumage, stunned the digital audience with their blatant show of wealth.

“If you have a light colored feather, or something softer in texture, it can be quite femi-

The Jean Paul Gaultier “Illusions of Fur” show in 2019 used feathers in nearly every look One standout design featured a body-hugging bodysuit with rainbow feathers cascading dramatically down the arms, creating a sense of movement with every step. Another look took the opposite approach, a muted yellow ensemble, where feathers quietly softened the top of the body before loosening and drifting apart at the waist, giving the impression of swaying plumage. Both relied on softness in placement, but the colors used redefined what that softness meant.

Alexander McQueen orchestrated entire collections around plumage, with his conic “The Horn of Plenty” show turning feathers into representations of mortality and rebirth

On the runway, these ooks are life or death.

Designers can soar or they can plummet, only hoping their designs take off like the birds of the wild. If they do not succeed, they are done. There is no design after death. In these cases, feathers grow arger than the nature they came from; a spectacle of production and power, carrying a seduction beyond what nature intended.

Model : Delaney Beal

et’s talk about one of society’s most persistent taboos: The bush. Or more broadly, women’s body hair It’s a strange contradiction that we celebrate having thick hair on our heads, yet when it shows up on our legs or between our thighs, it’s suddenly “unhygienic,” becoming something that must be “dealt with.”

shaved in a few days) and she was horrified, so I felt ashamed.” Another said how they weren’t sure their partner was still going to be attracted to them once they embraced their body hair But that shame shouldn’t be ours to carry anymore.

the pressure. What once was a personal choice became a standard.

From Pr oduct to Pressure

During the rise of second wave feminism, many women began to reject the blade. This wasn’t just a rebellion against the patriarchy’s beauty standards, but a reclamation of their own wild, ungoverned selves.

w s c as one anonymous source shared. To be accepted, seen as beautiful or worthy, women must be “well kept.” Yet, in pushing back against that expectation, women are reclaiming ownership over their bodies. They’ve decided that femininity can’t be defined by one singular act. The full bush has become an act of resistance. It signals autonomy and refusal to let the razor, and beauty standards as a whole, dictate the terms of womanhood.

These judgments, however, aren’t rooted in hygiene or logic, but rather in control.

The shame we have tied to our body hair didn’t just grow overnight. It’s planted early and fed constantly Whether it is through the media we consume, our friends and family or even passing interactions we see throughout the day, it follows us around everywhere. One anonymous source shared that, “In high school, a classmate saw my armpits (which hadn’t

How did we get here? Though the idea of shaving has seemingly always been around in some form, it didn’t morph into the cultural expectation we know it as today until the early 20th century.

In 1915, Harper’s BAZAAR ran an ad campaign launching Gillette’s first ever razor marketed for women. The ad described shaving one’s underarms as a “necessity” that was meant to “solve an embarrassing personal problem.” From that moment, the idea that women’s natural hair was something to hide took root.

As the hair removal industry grew, so did

Rebellion in the Razor Drawer

What starts as skipping a shave becomes something more.

The bush is bigger than just hair It’s symbolic of something that is wild and unruly, that can’t be tamed. This is exactly why it has been made taboo

Choosing to let it grow is choosing to say no to a system that tells us our natural state is wrong.

For generations the message has been driven into us that, “Girls who shave their body hair are seen as cleaner and more feminine than girls who don’t,”

Shif ting the Lens ting

Garden of Empowerment

Our worth isn’t defined by artificial beauty standards, such as shaving or sculpted features, but rather through our choice to be fully unapologetically ourselves.

Radical AcceptanceAccept

“Get[ing] to know your whole body Look at it closely Inspect it. Decorate it with piercings and tattoos. Wear things that aren’t ‘meant for you. Wear the belly shirt, the booty shorts, the bum revealing bikini. Find comfort with your whole outward self,” is how one person explained what reclaiming ownership of their body looked like for them.

Women are beginning to realize that this shame was never natural, but rather forced onto us. However, what’s been planted can also be uprooted. “Seeing the way other women embrace [body hair], showed me that it’s a worldwide phenomenon, it’s not just in my head,” one source says. By shifting the lens, we no longer see our bodies as canvases awaiting approval from others, but as landscapes we must care for Unraveling years of conditioning isn’t easy but every choice we make for ourselves, whether that means shaving or not, is a step closer to reclaiming our wild, natural selves.

However, reclaiming our bodies isn’t just about letting our hair grow It’s about letting ourselves grow It’s about stepping fully into the wild terrain that is ourself. Unlearning all of those negative connotations that were instilled into us. Deciding that we don’t owe anyone a polished version of ourselves to be “worthy.” Recognizing that the bush was never the problem, but rather those who built the system. When we challenge beauty standards, we challenge the systems that created them. By taking ownership of our bodies, we can encourage others to do the same. The bush isn’t dirty It’s not lazy It’s not a flaw It is a return to ourselves. It is rooted. It is wild. It is ours.

by

Isabella Mikelonis ell a Mikelonis

As you walk into the steamy bathroom, your heart beats grow louder, almost in tune with the song you can now hear on the other side of the wall. Ears ringing and mind spinning, your hands find the edges of the sink Through the smoke and sweat, you look up to meet your dazed reflection. The mascara below your eyes, the sweat in your hair, none of it matters — it’s the signs of a good night. Finally, your gaze falls to your lips, where a whisper of red is all that remains. Tonight, your shade has served you well, as it has time and time again.

By: Dani Arcaro

campaignedfor middle classvotingrights,

campaigned ting rights, and for women’s rights to own proper ty

The Suffragettes advocated for peaceful protest, highlighting the connection between beauty and activism.

Even now, the red lip carries more weight than ever, and constantly has conflicting connotations: beauty vs advocacy, femininity vs identity, seductiveness vs pornography – can both not exist at once?

and proud “There’s the idea of the mouth itself, which is so ripe with suggestion, not just sexual, but appetite,” appeti ,” says @ Girlsschoolbooks. We circle the part of our body that talks, laughs, kisses, smiles and screams, all in bright red. It’s not just there to look good, it’s there to make a point.

Our Voice F Sale

From teenage girls swiping it on to defy their parents, to working women challenging societal expectations, the red lip consistently pushes back against the idea that femininity should be quiet or polite. It’s bold, unapologetic and impossible to ignore.

Red in e Mou e

Before its lipstick ever glimmered on the shelves, the red lip told critical stories about the world. In countless countries, a swipe of scarlet on the mouth marked meanings of both power and seduction. In ancient Egypt, both men and women alike completed their makeup with a red lip, complementing the jewels that embellished their looks. Flash forward a few thousand years, and a sex worker in ancient Rome would adorn her lips with the same scarlet to make herself known

In the early 20th century, red lipstick became a symbol of power and strength, particularly during the Suffragette movement. This movement

People are drawn to a red lip for multiple reasons, but one seems to always ring true: there is beauty in the powerful “Red lipstick [then] is not just beauty It’s a performance of visibility and I think of defiance in that very visibility,” says user @Girlsschoolbooks on TikTok. @ Girlsschoolbooks advocates via social media for girls’ school education, often touching on gender inequality and sexist metaphors that are still present today.

Rouge To Punch In

As kids, a red lip stood out to us. It drew attention and made onlookers stop in their tracks. This idea was often incorporated through books and movies that, as children, were part of our traditional curriculum. A red lip dared us, and we were required to watch and read it. When thinking of rouged lips, “The Scarlet Letter” is a novel that stands out to @Girlsschoolbooks because of its symbolism. “I remember in high school reading about how red lips have always been sexualized,” says @Girlsschoolbooks. From high school hallways to office cubicles, the scarlet stigma stains its wearer A red lip is a built-in spotlight, in a world where women are told to be quiet, it screams back loud

For centuries, society has baked biology into beauty standards, turning a simple pigment into a loaded weapon of attraction and defiance. The idea of a color that is so bright and associated with passion, danger and energy to be placed on a lip for the public to view, can often raise flags and opinions, but that may be the goal

“The ‘red lippie’ is now commercialized to the point of ubiquity - sold as empowerment in a tube,” says @Girlsschoolbooks.

In the makeup shelves sit a rainbow of reds, each one speaking to a different woman, a different lip, a different voice to be heard. A color so powerful, it blares from even the smallest of displays. It screams, hoping that it meets a woman just as bold. A match made in heaven. The lipstick you applied hours before is now scattered and stained across the bar. One kiss to the shot glass, another to the beer bottle, a few to the cigarette bud and too many to the guy you’ll never see again.

The bathroom door swings open and you hear the music, beckoning you to return Before you slip back out into your midnight masquerade, your red lip is reapplied and you hold your head just a little bit higher

t’s your last night out. You want to ensure you have the perfect outfit, with the hair and makeup to match. Now is not the time to hand a stranger a makeup brush and wish them luck. Yet, there comes a time when many of us will be attending our last “party” without having lifted a finger to touch up a blemish or switch between tops 20 times. Although the thought can be grim, it’s undeniable that you’ll still want to look your best at your funeral. The job of mortuary cosmetologists may be a little morbid, but they give our families and friends one last chance to celebrate the life of a loved one.

“Party” Planner

Christine D’Alonzo owner of Amelia Paris Salon, often uses the word “party” in place of “funeral” when discussing her work on bodies. Although she never intended to be involved with postmortem party planning, her inspiration to take up the work is clear. A spiritual person herself, D’Alonzo once shared an admiration of Saint Thérèse, the patron saint of missions, with one of her regular salon clients. These two exchanged many conversations, prayers and eventually D’Alonzo was given a bottle of blessed oil by the client. A week later, when D’Alonzo was informed of her death, she felt obligated to fulfill the mission of creating her final look.

“I can say the room, energetically, was very peaceful. I could feel her energy I wasn’t scared,”

D’Alonzo says about her first time doing the deceased’s makeup. This process felt natural for D’Alonzo though she still had some nerves. “I prayed through the whole thing.”

Everything D’Alonzo has learned, she’s had to learn on the job She quickly found out simple makeup is the best, due to how cakey or off-colored the products can look on chemically treated skin.“You want them to look beautiful and radiant and ready for their party,” D’Alonzo says.

The Fashion of Compassion

Unlike D’Alonzo, Patrician Owens-Lee has dreamed of working with the dead since she was eight years old. After seeing firsthand how illness can devastate a family at a young age, Owens-Lee pivoted from doctor to funeral director

“I realized I couldn’t stand to see sick people because I couldn’t help them,” Owens-Lee says, “so I chose funeral service, because I can work on bodies and can help the families that serve.”

Now, Owens-Lee has worked as both a funeral director and embalmer in Indiana. While she doesn’t deal with the cosmetics, her roles are essential to ensure a final goodbye that is remembered for all the right reasons. However, working as the key communicator and coordinator for families requires one to take on more than just tasks.

“A lot of people don’t know that you go through the process of grieving, whether you want to or not,”

Owens-Lee says. “I don’t care how you try to ignore it, it’s going to come out one way or the other.”

Despite the grief she’s both witnessed and experienced, Owens-Lee emphasizes that compassion is at the core of her work. For her, it’s not about how someone ends up needing their services, but how she can help that family make peace.

D’Alonzo holds a similar sentiment to Owens-Lee, to treat everyone she works on with compassion. This can be seen in her work, as she doesn’t treat her dead clients any differently from live ones.

“You listen and you give them as much love as you can,” she says.

Although the work itself is all about appearance, the true magic of the work lies in the lives it touches and the memories it makes. Much like being alive, it’s easy to get caught up in superficial details that can muddy the real, genuine beauty of life.

amma mia, here we go again. It’s your first date in a long time. After endless scrolling on Tinder and Hinge, and way too many nights out where you “care” about someone’s major, you finally meet someone who likely won’t ghost you. The conversation is flowing, and shockingly, you have more in common than just hating 8 a.m. classes. Then, your date asks, “W hat’s y our love our language?”

You pause. Many people are familiar with the five love languages: words of affirmation, quality time, physical touch, acts of service and receiving gifts. Maybe you took that Buzzfeed quiz on a random Tuesday night instead of doing your homework However, real intimacy is not always so easy to define. What happens when your emotional needs do not fit so neatly into a multiple-choice quiz?

ThE UpSiDe

The concept of “love languages” started in 1992 by author and Baptist minister Gary Chapman, based on years of counseling couples in his ministry Since then, the framework now appears in social media, online quizzes and the occasional late night confessions.

According to licensed psychologist and certified sex therapist, Dr. Rachel Needle, love languages are an easy way to express how people feel loved. “[Love languages] provide couples with a common language to talk about emotional needs, something many people struggle to ar ticulate,” she says

WhY We LoVe ThE WaY We Do aY

Dr Needle and Ramppen both warn against treating love languages as fixed identities or one-size-fits-all solutions.

Emotional needs are nuanced and can be shaped by childhood experiences, trauma and mental health

For example, someone who identifies strongly with “words of affirmation” might actually use this as a coping mechanism for anxiety. The most common love languages can carry underlying meanings that go unnoticed.

“R educing intimacy to fi ve categorie s ca te gories can sometimes mask more nuance d m ore or u nmet n eeds, ” needs,” Dr. Needle says. Exploring the root of our wishes brings an added element of empathy and a greater sense of connection.

ThE PoWeR Of AsKiNg WhY

Relationship coach and sexuality educator, Dakota Ramppen, notes that humans naturally seek simple ways to make sense of complex emotions. Labeling how we give and receive love can spark conversations, validate feelings and build understanding. Still, love languages are not a universa solution, and relying too heavily on them can conceal deeper needs.

By: JuLiE EvAnChAk

emotional gaps between partners and create long-lasting, stronger relationships.

Ramppen introduces the idea of a reductionist approach, which is when people cling to one love language without questioning it or ignoring how their needs may change over time. It may feel safe and easy to do this, but it does not leave room for growth

The antidote? Curiosity.

Being curious about not just what someone needs, but why they do, invites vulnerability and deeper understanding into a relationship. It could mean asking follow-up questions or listening more closely. “R eflect on what n eed isn’t isn’ t being met, why, where it’s coming from and what that l ooks li ke in looks action,” says Ramppen.

For example, she recalls working with a couple who both valued quality time but had different interpretations. One partner simply believed that sitting in the same room doing separate activities counted.

ThE LoNg GaMe

“In shor t-term relationships, especially early in life or dating, intimacy is often tied to excitement, chemistry and physical connection,” Dr Needle says. There is nothing wrong with the thrill of a fling or a honeymoon phase; however, she warns that many people pay attention to the speed at which a connection forms, rather than how meaningful it actually feels.

As relationships mature, so should the conversations. Ramppen suggests, “Take your time. You don’t have to rush into it.” In longer-term connections, depth begins to matter more. Intimacy is not just felt, but built through reflection, honesty and mutual growth

The other needed shared experiences and conversation. This disconnect did not mean they were incompatible; it meant they had more to learn about one another. Exploring the problem can reveal

However, with growth comes change

As people mature, so do their emotional needs. “What often changes most over time is not just how we define intimacy — but how we value it,” Dr Needle says Individuals begin to express love in new ways that better reflect their evolving values and emotional maturity

ThE VeRdIcT

Intimacy and love are not built from a label. “I think p eople miss an people o ppo rt unity to ex plore di fferen t oppo explore dif fe rent ways of sh ow ing love ,” sho wing v e,” Ramppen says. Therefore, do not limit yourself to a single definition. Stay open to change Let your relationships be less about categories and more about creating something meaningful beyond Tinder swipes, frat basements and late nights conversations at bars

Love is not just a language It’s a co nv ersation . conve rsation.

Model : Simone Stager

Gabriella Vitabile

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Learning the Unknown

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Katie Dallas

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Craving the Forbidde n

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I’d Tap That

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BY CHLOE BLAND

BY CHRIS TINE D’AVANZO

t’s a cool Friday night, and you quickly shuf fle inside, desperate to escape the cold. The crisp, outside air is immediately replaced with a dimly lit lobby — a location that feels comfor table, familiar. As the warm light hits your face, the savory scent of buttery, salty popcorn tickles your nose, all simultaneously filling you with a wave of nostalgia.

Ticket in hand, you wander into the next room. It’s just as dimly lit as the lobby, but the sound of light chatter and laughter gives you the reassurance you need to know you’re in the right place. You find an open seat and sink into the plush comfor t of its arms. All of a sudden, the lights begin to fade until it’s pitch black. Just as soon as the light disappears, it is replaced with a brilliant picture on the spacious screen that sits at the head of the room. It’s right at this moment, this new memory, but one that you know you’ve had before, that you’re ready to be completely immersed into a brand new world.

EXPOSITION

Livsey spoke of past performances, such as the time Duke Ellington played on their stage.

“It’s kind of amazing that we’re still here but we are and we’re very happy about that,” says Livsey.

RISING ACTION

The State Theatre’s website gives visitors a glimpse into the rich history of this community owned, non-profit organization. On Oct. 15, 1938, the theater was opened by Warner Bros. as a test market for new films. Each week, four films were played, costing around 30 cents per ticket

The State Theatre’s doors unfortunately closed in 2001 after the theater lost its glamour. However, this closure didn’t last for long. A reconstruction of the oncethriving creativity center was initiated by a passionate local contingent and owners Sidney and Helen Friedman, and the curtains soon rose again.

CLIMAX

There’s nothing quite like a night at the movies, and Downtown State College is lucky enough to be the home to its own vibrant movie and culture hub: The State Theatre. The theater not only shows movies, both new releases and classic favorites and live music performances by upcoming and renowned artists.

Bob Livsey is one of the movie programmers at The State Theatre, and notes that there were originally six theaters in State College built around the same time, but The State Theatre is the last one standing

“That’s always original, it’s that beautiful stone cottage facade that is just memorable and people love it and compliment it all the time,” says Livsey

Livsey described the front facade as the theater’s most notable preserved element.

Visitors can also see original silk panels that covered the walls when the theater was first built and the glowing yellow lights of the marquee.

FALLING ACTION

Johnny Macko works with Livsey at The State Theatre, and enjoys his role as talent buyer, booking national acts at the theater.

“It’s a truly special thing to have a theater like this in the downtown area, small town America,” says Macko. “These places still exist, but a lot have closed, and I think the fact that people can walk here from campus is a huge plus, and it just has a really nice, intimate feel that a lot of communities don’t have.”

Although the buildings around the theater have changed throughout the years, a few of the theater’s original elements have remained frozen in time

In a time where streaming services are taking over, it’s important now, more than ever, to remember the joy and nostalgia of going to the movies Sitting in a theater filled with strangers, coming together to simultaneously witness something magical, is truly an extraordinary experience that can never be replaced. The State Theatre is a place where students can travel back to a simpler time, where cinema comes to life

“It is a timeless experience,” says Livsey. “You can’t get a 30 foot screen in your living room and have a bunch of people, have 200 people there all sharing the same experience at the same time, with the same emotion, clapping for the hero, booing the villain, laughing. Nothing will ever replace that.”

RESOLUTION

The lights fade up, the credits begin to roll and the audience exits the dark oasis. Strolling past abandoned sodas and popcorn crumbs, you hear whispers about the movie’s ending. You arrive at the lobby and exit the theater, smiling to yourself, knowing it certainly won’t be your last time here

couldn’t help but wonder does a change in location also change the rules of love — or at least lust? Studying abroad has become a rite of passage for many college students, but for some, it’s less about museums and more about midnight rendezvous There’s something about a foreign city — the cobblestone streets, the unfamiliar accents and the anonymity — that makes even the most reserved students a little more daring, a little more romantic and a lot more willing to cross lines they wouldn’t back home

In Paris, they fall in love. In Madrid, they fall into bed. So we had to ask: when we

pack our bags for a semester abroad, are we also unpacking a new version of ourselves — one who’s just a little more willing to say yes?

PASSPORT

TO PLEASURE

They say, “What happens in Vegas, stays in Vegas” … but for one student in particular, a plane ticket across the Atlantic meant that all bets were off. What you wouldn’t expect is a story that would make even Samantha Jones blush.

For the sake of this tale, this female undergraduate student has chosen to remain anonymous.

The world was situated in the palm of her hand and she could do whatever she wanted.

“Being in a new country, I felt like I could be a new me and make my own rules.”

For her, London was a gateway, leading to empowerment and excitement

There it is, the new us. The version of ourselves that exists somewhere between jet lag and self-reinvention When you’re an ocean away from home, no one knows who you truly are — or at least the carefully crafted persona that carries you through life No one is watching. There are no expectations and suddenly no limits You have total creative contro over both your identity and your decisions.

“In Copenhagen, people were so direct,” she says. “There was no flir tatiousness: it was straight to the point of wanting to sleep together.”

It was Europe without the romance. Sex stripped of pretense. Still, Copenhagen turned out to be just the foreplay

WHEN IN ROME...

The main event? Berlin

“Berlin is very sexually free. The nightclubs are known to be crazier than anywhere else. I took a drug there and ended up having a foursome. I only did because I knew I would never see these people ever, ever, ever again,” she says “So why not?”

An experience that happened under the veil of a foreign country. That is all it was: an experience— a night wrapped in secrecy, sealed by distance and forever archived in the “only abroad” chapter of her memory. To be nameless is to be unbound, and what is more liberating than sex without consequences?

“After all, it is important to experience everything a new culture has to offer. In a way [the foursome] connected me to the

culture. I knew going into Berlin that it is very sexually free,” she says

SOUVENIRS OF THE SOUL

“I left the sexual stuff behind,” she says, “but I learned a lot. I came back more independent. More confident. I know myself better now. I think I understand what I want from life — and from sex.”

So maybe the real question isn’t whether we fall in love in Paris or fall into bed in Madrid. Maybe the question is: Who do we become when no one’s watching? And which version of ourselves makes the return trip home?

In Berlin, she fell into a foursome, but she also fell into herself.

I couldn’t help but wonder … when we embrace the culture of a city, do we also

finally give ourselves permission to embrace the parts of us we’ve kept hidden?

Between strangers’ sheets and passpor t stamps, we of ten forget that some of the baggage we bring home is more serious than plastic souvenirs. We come home as a new version of ourselves that we never knew existed before.

There’s a reason they say, “When in Rome …”

But even in the most uninhibited cities, freedom of ten walks hand-inhand with self-reflection. And not every memory makes it past customs.

In a fifth grade classroom, full of wandering minds and itchy uniforms, Emma Duffy stood out. A curious, spunky child, she often found herself on the outskir ts of her classmates, though she never understood why. Sure, she followed her own set of trends and maybe she questioned the systems people obliged to, but that was just Emma being Emma … and thank god for that

Following the morning prayers at her small Catholic school, Emma fidgeted in her seat, unable to grasp that day’s concept in religion class: homosexuality.

“I still remember sitting in class and doing the whole lesson about how homosexuality is a sin, and everybody’s just sitting there like, ‘Really?’”

For many, you can consider, but you can’t question. The nine years Emma spent in Catholic school were well before she realized being gay was even an option

Looking back though, the closed off part of Emma’s identity made subtle hints.

“From [a picture] in our religion textbook, I was like, ‘Oh my God, that girl is so pretty.’ This kid came to me and asked, ‘Are you a lesbian?’ And I was like, ‘No, no, of course not!’” But Emma’s thoughts did not match her words.

Fast forward to high school, and Emma starts at her local public school, where she begins meeting friends, joining clubs and chasing passions. An escape from the 30 kids she spent her whole life with was necessary, especially when they made her feel like an outsider.

MOLDED IN THE MANTEL

Looking back on her childhood, Emma recalls two phrases her parents instilled in her. The first being, “Whatever you want, make it happen.” The second? “Being gay is okay.” This was a phrase Emma first thought simply had a nice ring to it, but without realizing it, simultaneously internalized.

When her friends started coming out to her in high school, her mmediate thoughts were a mix of confusion and subtle disapproval. Although she didn’t believe in these reactions, the guilt she was taught to feel surrounding homosexuality rose inside her … that is, until her parents’ words appeared in her mind. “It stuck with me. I remembered that and I thought, maybe it is okay.”

Over COVID, Emma started exploring her sexual identity With time for herself to reflect, she thought about the Catholic guilt that brought a sense of internalized homophobia. Emma considered, questioned and ultimately changed.

“The biggest thing about coming out was that I didn’t want to sit everybody down and be like, ‘Hey guys! Guess what, I’m gay!’ There’s no reason for me to say, ‘Hey, I’m different.’ It shouldn’t be like that.”

PRESSURE MAKES SPARKLE

Two years later, she starts school at Penn State. The curious, spunky Emma is still inside her, but now with a greater sense of self. She’s the ultimate gogetter, and college is the place to get it all.

“I wasn’t majorly involved my freshman year, but I was trying a bunch of stuff. I just couldn’t really stay committed because I was like, ‘Let me tr y this and that and this.’”

Emma made friends quickly, though she struggled to find her group

“After I started dating my girlfriend, it was a big transition because I think it became real for a lot of people. People that I was friendly with became less close to me because they realized, ‘Oh, she’s not joking.’”

Faced with the familiar feelings of confusion and loneliness from grade school, Emma fell into a state of isolation, desperate to be a part of a group that embraced her. But time and time again, that proved not to come so easily She was stuck inside revolving doors, a cycle of only ever being seen as the ‘lesbian.’ These people knew her from so many other things, but al other impressions suddenly became irrelevant

In another effort to find her place, she went to a club meeting to learn more about hormone replacement therapy, a topic she felt passionate about helping with but knew little about. At the end of the session, Emma asked a question about accessibility Instead of encouraging or relating to Emma, the director asked, “Are you a reporter?” Emma was stunned by the director’s assumption that she wasn’t part of their community, that she didn’t look the part

“That was definitely a real low for me, especially feeling like I didn’t really understand my own identity. Then I had to flip the script and think, ‘Well, I feel this way because of this, how can that not happen anymore?’”

THE FACES OF A DIAMOND

Even with the size of Penn State, there are not many queer clubs. The ones that are operating have a small number of members and might feel cliquey to a newcomer

“When I walked into a lot of these meetings, I didn’t feel very accepted because I didn’t feel like I looked queer enough for them.”

With a lingering feeling of defeat and once again, loneliness, the words of Emma’s parents whispered inside her head, “Make it happen.”

Enter Kaxom, or KXO.

The original idea was to make Kaxom a queer co-fraternity. Although Emma had a positive experience within her sorority, she knew many others could not say the same. Her goal was to bring an uplifting, sorority dynamic to other queer individuals.

The Office of Sorority and Fraternity Life supported this idea, but you need to have a nationals to be registered on campus, which unfortunately was a dead end. Emma then sought to make it a

student org similar to others on campus. However, the Student Organization office combated the idea.

“I thought, this isn’t going to stop it from happening. I already had an executive board, I already had people that wanted to be involved, so we switched gears and made it a service organization.”

All of a sudden, things started falling into place. Naturally, it took time to grow, but two years later, Kaxom now has over 200 members. Activity and service-based events throughout the week give people the chance to spend time doing things they love, within a community that makes them feel loved.

“I’m very out and proud most likely because my parents are super accepting, but if they said, ‘This is not okay, we don’t like you because of this,’ that would definitely prevent me from doing that That’s how a lot of people’s [parents] are. So I know I can’t do anything about that, but I can create a community here for people where they feel accepted, loved and valued as a person.”

Kaxom was a jump start for Emma in finding a connection to her community. She worked tirelessly to create a space where others could find themselves, and once she created it, she began to create herself.

CRISP BEAUTY

No one is made up of one storyline. People are a mosaic of experiences and people in their lives. Emma is no different. Of course, a big part of her identity is her sexuality, but like everyone else, it is only a part

Up until this semester, Emma trained from 6-8 a.m., six days a week, as a member of the Penn State Crew team. After being an athlete her whole life, Emma sought to remain active and train alongside people with a similar drive, and by doing so, she met some amazing people.

As a new member of Opulence, a Drag Ambassador group at Penn State, she’s pursued her longtime interest in drag and dazzles audiences with her Cathylick

Cunt persona.

Last year, she won a grant from her proposal to study the queer community in Amsterdam.

“What I’m interested in specifically is how social perceptions influence discrimination in different areas.”

An eight hour flight later and Emma touches down in Amsterdam, eager to explore. She spent the trip talking with locals, specifically along Reguliersdwarsstraat, the main street for Amsterdam’s gay community

“What I’ve determined [so far] is that social perception does influence discrimination

For example, in Amsterdam, they don’t know what DEI is. There’s no need for DEI

because it’s established into the norms that you’re going to be accepting, it’s going to be diverse, you’re going to be curious.”

You can bet Emma will continuously work to integrate that same perspective into the norms of our own societies.

So again, the words, “Make it happen” appear in her head, and after everything she’s done, she’ll continue to do more. “I hate the quote, ‘Everything you want already exists,’ because it doesn’t. I don’t live by that because I’ve had to make it happen. You have the resources to do it, and everything can always happen, but how do you make it happen?”

Emma on of graduating is not the same girl who first came to Penn State, nor is she the same girl who first came out or the girl learning that homosexuality is a sin. She is the Emma that she is today because of those versions of her and the many others she’s created since A diamond that continues to shine light in a dark, silent room.

And the thing is, you never see sides of a diamond at once — they’ all re

Model : Safian Lewis

By: Shea Deasy

As thhe liighghts ts dim and nd the e noi o se sof of teens froom th the e ou outt s siidee, we wrap ou o rs r el elveves tigh g tl tly y in wararm m bl b an anke k ts, , signal ainng g our br brai a n to t pununch h ts timmececar a d foor r a all l th the ha h rd d wor o k to todaday. y We e re releleasase on o e last s siggh h beefo f re we e oppen en up p th the e secrret t wor o ld we’ e ve e dreeammt t foor r o ourssel e vees, s a plaace wheere e ou o r faant n astica ca th thououghghts ts livve e wi withthou o t ju j dggme m nt t or r suupppr p essi s ng g bouunddaarieies. s Evevery y r on one he here re livves es car a el e essl s y, and yoou do o too o

Writing Beyond the Norms

Modern literat a ur u e ha h s exxpa p ndded d bey e on o d sc s i--fi fi thr h ills s and n classsi s c roma m ntic arcchety t pe p s that t pro r vide an inkl k inng g to o the he e ennd d of the e stooryy. . Wh W ile e boookks raangge in gennre and d tas a tee, , thhe e innte t rnet e has allowwed cre r at a ivve writerrs to cappit i al a izze on o th t ei e r writinng capabilities e and parasociaal l relationships s with Hoollywwood.

To put t it straight, writers s havve e tappped nt n o fan fi fictioon, n feeding g thousands of peo e ple with simmilar sentiment n s to t wards a ce c rtain celebrity or fictiionnal a character, , an a d gained enough popularity for the movie industr y to consider a film adaptation. It seems wild, right? That one, slightly outlandish yet thrilling fan fiction you read on Tumblr or Wattpad in 2014 later becomes a mainstream

mo m vie wh wher e e yo your u oncnce e se secrcret et wororld ld s no n w ev ever er yoone’’s s to o sh s ar are. e

Flexing Our Creative Muscles

Ficttioon n enab a lees s o our r brrai a n to o dririft f t fro r m dail i y coogn g itioon and inndu d lgge e in a new spa p ce tha h t innvi v te tes s cr crea e ti t vity, ch c aoos s annd ac a ceepttanance c to deep p des e irres es “B “Bei e ng g ablble to t visisuaualize e a chharracte t r or a new w wor o ld d doees wo wond n er ers s to flex x that a cre rat a ive musc s le e I treaat cr c ea e tivi v ty thaat t way y - liike e a musclle,” Erin i CB B saays, a fi fiction wr w iter e bas a ed in n Ma M inne.

“[T[The musscl c e] ] neeeds to o be e exeercissed e regegular a lyy, so I ma m ke k sur u e to read d a loot t and pu p rssue u othher e creativve e enndeavvors, s ” Er E in n CB B sa s ys y She sp s ec e iaaliize z s in n inddie e wom o en n fi fict c ioon annd is botth h an n avi v d re r ad a er and nd wri r te t r.

Words Mold Into Emotions

We devel e op attac a hmennts to o characte t rs s and d walk alon o gsi s de e theem m ev e er y step in thei e r stor yline, e almost t mo m rpphing ourselves innto o the h m. Their flaws and quirks beecome our r own, and our u eyes seee the same vibrant, fanciful environment desscrib i ed in the sentences peeling of f the book

Letter by letter, we intake more and more of the plot and construct our interpretation of what we are reading

“AAs I’’m m reaadi d ng g the h descrcrippti t on o s, , my y mi m nd is s li l teeraall l y bu builildi d ng a picctu t re e n re real a timme; e sududdedenl n y, y thehere’s s a facce I’ I ve v nev e er e seen be befoore re flashshinng g th t roougugh my m thohougghthts s wh w en n I reead a thahat t ch chararaccte t r’ r’s na name me Itt’s s not o a prorocess s thaat t I innteenttioiona n ll l y thinink k ab abouout t or o cre r at ate. e Wheen I re readad, I can feel e th t e whhol o e ra r innbobow w of humman n emo m tiionon,” ” , Eririn CB sayys. s

te ter(r(s)s),” ” Eririn CB sayays. s

Fan a fictition o feeds peo o l pl p e wh who o lo long ng for accccep e taancce, e va valiidadatition o or r a stor or y thhat works ks n theieir r fa f vor. . Theere e are e no rulees s when t coomemes to t fiction o al a sto t ri r es. As some e st s or o iees s once e exiisted d with a belooved chararac a ter r whho o tr trag a iccalally perisshe h d or o an un u po populaar paairing g am a onngs g t thhe au a di d encee, fa f n fict c io ion reewrit i es sto t ryylines to rea e ss s urre ou o r resttleless min i ds s th t at t in anotheher r li l fe, , it t all l wor o ke ked d ou o t the wa w y itt’s ’s suppposeed to to. Ti T gh g teenened mu m sc sclees relaax a little e bitt, jaaws w unc n leencch wh w il i e w we read ab a ouut t thhe pl plot ot we’ e ve dreeamamt t of f but u not t or origginnal a ly givenn.

Don’t Rain On Our Fictional Parade

The repputat a ioon su s rrou o nding fan fi fiction has s shrunk the audiien e cee, both h rea e ders r and writers aliike

“I think most people view those readers as being of a certain age - usually young - and female. I’ve heard some people say that they think fan fiction readers/writers have an “unhealthy obsession” w th whatever story or charac-

Cr C ittic i s saay y th that t ploots ts are re juv u en enil i e – a an n unrrea e liiststic c reeaad th that a origi g n naatetes s from om a deeeememed ‘pproofo f un u d d’ pieiece ce of f li liteerr at a ure, e, yet e the he gen e re e has as the e oppppor t tunniity ty to o ca c te ter r to all ll au a di d en e cees. s

All ll gennres s ar a e me mean a t to t catatch h ouur r att t en entionn, , an and w we find d ou oursel e vees grravvittatinng g toowa w rds s on o e that a leaavees s us s wanantt inng g mooree. For r so some m , fa f n fi fict c ioon aligns ns witth h t thhei e r readdining inntereest s s annd de desi s re e to o se s e otheer r writers’ s’ perrspectivees s on o th the e sa s me story r we e re read ad Th The e ge g nre al a loows w for a biggger, r mo more re com o p pllex ex world d to o fo f rm r tha h t sati t sfifies s the e in inteere r st s s of al a l r reeadder e s. s

“At the e end nd of f the e daay, it’’s a wi w de e rannge of f people whho ennjoy y fan n fi fiction. Jusst t becaausse soomeone e en e joyeed ceert r ain storiees, s worrlds s or characterrs s dooes e n’t t me m an it’s ‘uunhealt l hy h .’ I think socieety has as gottten n aw a ay from haavi v ng pa p ssiona n te int n erests, , annd the idea to o just let peo e ple live,” Erin n CB B says

Whi h le our imagi g nation runs s wild, gr g aspi p ng at hiddden messagges and plo l t twwissts happening before our eyes, our grip on n the book loosens Ever so slowlyy, our r eyes shut t and the book falls on our laps, waiting for the next time we wi w ll l enter bacck k in i to its seccret world.

The year is 1977 Dubbed “The City That Never Sleeps,” New York City is the place of escape. Creativity blooms on every corner.

It’s a warm Saturday night, and you decide to wander around the West Side of Manhattan with friends. Suddenly, disco music begins to roar through the air. The beat pulses louder as you walk closer A line of people dressed in furs, sequins and feathers wraps around the block.

It’s Studio 54 - the place of a budding cultural revolution.

When people think about Studio 54, they often imagine sparkling disco balls and dramatic red carpet entrances. However, its legacy is more than the whispers it left behind. Studio 54 paved the way for a new cultural era.

Unified As One

At the end of the 1970s, New York City was restless and evolving. Michael Musto, journalist and former Studio 54 clubber, was starting his job as a reporter “Americans were disillusioned because of Watergate and the Vietnam War, and New York was a mess,” Musto explains. It was time for a change. Not many places could unify the unique people of the city, each with their own values and ideals … until Studio 54. Socialites, musicians, ar tists, drag queens, ournalists and even business officials danced on the same dance floor as one community Together, they were bonded through music.

The Power of Disco

Walking into Studio 54 was an experience unlike any other. Skyhigh ceilings lined with glittering chandeliers led clubbers towards the dance floor The atmosphere blended luxury with mystery: a stark contrast to the soulful blues and rebellious rock of the 1960s. Disco music embodied a spirit of optimism and clubbers chased its high wherever they could find it.

Studio 54 owners Steve Rubell and Ian Schrager created an atmosphere that-

From Grease-themed nights decorated with ‘50s conver tibles, to Bianca Jagger riding in on a white horse, every moment was theatrical. Imagination ran wild and creativity had no limits. At Studio 54, “no” simply wasn’t an answer

The Smell Of Desperation

Within just a few months of opening, Studio 54 was celestial. The club’s rise to popularity led to its heightened wonder. Herds of people desperately pushed to the front of the line, hoping to enter the most elite club in the city

“The real allure was its exclusivity: not everyone got in, and that made it irresistible,” says Matthew Yokobosky, Senior Curator of Fashion and Material Culture at the Brooklyn Museum Inspired by the magic of Studio 54, Yokobosky curated the 2020 “Studio 54: Night Magic” exhibit.

“In that way, Studio 54 became not just a nightclub – but a cultural myth that has endured for over four decades,” Yokobosky says

A Distant Memor y

As we reflect on the phenomenon that was Studio 54, we cannot help but wonder if it was simply a dream. Entering Studio 54 felt like drifting into a trance, where our worries faded around us. Looking back, it may seem like a blur

“While it may be difficult to replicate its exact chemistry today, its legacy continues to inspire new generations to seek out spaces of glamour, expression and freedom,” says Yokobosky.

In the digital age, partygoers no longer have the opportunity to slip into nightclub oblivion, where our identity is merely defined by the dance floor. Where we walk out into the early morning wondering if any of it was real or if it was all a dream. Unless technology rolls back, all we can do is miss a time we never had, hoping our society will dream as one again.

e movement of an arm, the tilt of a head, the dragging of a foot, the gore, the rugged clothes — all these small details work together to bring body horror to life.

A deep, bloody cut, the slow motion of blood splattering across the screen, a crushed hand or twisted limb. These images don’t just shock; they create the psychological thrill that draws people in, allowing them to experience the fear and fascination of horror

When you tweak one small detail, to the human eye, the body appears deformed. For most viewers, they can imagine each painstaking and sickening distor tion in their own body Watching a character writhe in pain makes you squirm for escape on your couch.

ThE ArT Of CrEaTiOn

Body distor tions remind us how much of the human body remains unknown. As science advances, more is explained and understood. These new discoveries lead ar tists to distor t reality into something more strange and ner ve-racking.

the lighting and camera angles. Subtle shif ts in light and framing can transform the design, making it come alive on screen. Working in tandem, both parts help in turning the human body, something so familiar, into an unknown and mysterious figure.

MeCh AnIc Al AiD

The rapid advancements of technology are greatly af fecting the world of SFX; hours of handcraf ted work can now be done with one click of the computer

“I have mixed feelings,” says Shofi. “Practical ef fects will never go away; they give actors something real to interact with. CGI can sometimes look too per fect, which the human eye senses as of f.”

Shofi still sees how technology can enhance the craft. The use of 3D scanning and printing can speed up production and give SFX ar tists the oppor tunity to imagine creatures past their bloodiest, creepiest dreams.

BeYoNd FlEsH

Movie-goers watch the latest horror film to chase a thrill. Although the actors themselves aren’t really being chased by a serial killer or bleeding out in a basement, the special ef fects ar tists behind the scenes create something that feels all too real.

“The body itself is fascinating to study and you can push ideas to extremes [in order] to convey messages about the human experience,” says Mallor y Shofi

Shofi is a Los Angeles-based special ef fects makeup ar tist and creature designer. They work with prosthetics for body -horror films and design characters for film and television productions.

“It’s the most imaginative genre for a makeup ar tist; there are no boundaries,” Shofi says

Audiences rarely realize the time and creativity involved in designing the creatures in “The Substance” or in “The Walking Dead.” The crawling, broken bodies take hours of meticulous work. A spine doesn’t break on screen, and cause theater shrieks, without a genius behind it.

The creation process can take anywhere from one to four months, Shofi explains. It be gins with conversations with the director and writers to discuss the overall vision. From there, ar tists move into sketching concepts, creating life casts of actors and experimenting with materials such as latex or clay to mold and shape the final design.

Once the piece is complete, bringing the ef fect to life not only heavily depends on the prosthetic itself, but also on

With ever y design, there is some form of hidden symbolism. The collaboration between writers, directors and ar tists is what brings the stor y to life

“Usually, the stor y comes first and the body horror amplifies its themes, symbolizing emotional or societal struggles in a visceral, visual way,” Shofi says

As times change, audiences’ tolerance for gore is increasing. Viewers are seeking out horror not just for the thrill but because in an unsettled world, they want to confront their nightmares.

“Gore also of fers escapism; viewers can experience something extreme and leave feeling that reality isn’t so bad,” says Shofi. Facing fears such as mortality, corruption and loss of control allows viewers to trap these monsters within the confi nes of the screen.

As technology develops, body horror continues to scare and shock new generations of horror fans. The genre creates fears beyond our wildest imaginations and then pushes them even further, until we’re left watching the screen through the spaces between our fingers.

Remember: we can always drive home from the theater, or turn of f the TV and end our day within the comfort of our own bed … but when we close our eyes, all bets are of f.

By: BeLlA SpEiR