VIM Fall 2025

VIM C O L L E C T I V E

Anna Dundon Olivia Henry Rylee Brasseur Lydia Sarris Karis Henrich Brennan Petrucci Klame Griffin Divija Anuga Olivia DeMuro Kate BeHaylo Hannah Sheehy Anna Emanuel Amollia Riske Jessica Jurge Alison Woolcock Pritikana Kulandaisamy Hannah Stella Tenkorang

Manasa Nemani Lauren Coury Chandini Mulki Jennasee Hollingworth Sophia Dennis Ellery Maras Sela Fitzell Tanisha Nanisetty Layla Henderson Gigi Cole Macy Barham Chloe Cluff Sydney Stevens Micha Shellhause Nora Hanna Vi Amon Alexandra Foucher

EDITORS-IN-CHIEF:

CELESTE ROBERTS & GRACE OLUWOLE

ASSISTANT TO THE EDITORS: AMINA DUBOIS

ART DIRECTORS: Nia Kalinovic & Jill Moreno ASSISTANT ART DIRECTOR: Julianna Chan Art Team: Tate Rudisill, Reagan Sullivan, Marissa Malleck, Kalyn McNamara, Courtney Cohen, Lillian Schwalm, Myah Greene, Meryl Peterhans, Stephanie Monk, Ava Isham, Harrison Sanders, Emma Carey

FILM DIRECTORS: Evie Ansari & Abby Nellis Film Team: Emily Girouard, Marin Fox, Hannah Foster FINANCE DIRECTORS: Sofia Mukhtar & Elise LaCour ASSISTANT FINANCE DIRECTOR: Sydney DerKevorkian Finance Team: Scarlett Savage, Chloe Klimp, Dublyn Bottom, Varsha Nair

ADVERTISING DIRECTORS: Haley Burton & Laxmi Cspur ASSISTANT ADVERTISING DIRECTOR: Chiara Palomera Perez GRAPHIC DESIGN DIRECTOR: Lyle Hoffman Advertising Team: Grace Wagner, Juliet Jones, Alizna Jaffer, Graphic Design Team: Kenzie Doyle, Jenna Klos, Aditi Gonuguntala Rachel E. Baker, Gabriel De La Fuente, Bella Kramer, Samantha Yaekle HEALTH & BEAUTY DIRECTORS: Emma Stuckey & Reza Gupta ALUMNI RELATIONS DIRECTORS: Health & Beauty Team: Alianna Kannu, Abigail Hurst, Lillia Mojica, Jessica Clauser & Riley Stebbins Chloe Cluff Alumni Relations Team: Grace Obrochta, Macy Murdock LIFESTYLE DIRECTORS: Meghan Valade & Ashley Grifka BLOG & PODCAST DIRECTORS: ASSISTANT LIFESTYLE DIRECTOR: Saniah Pringle Sophia Normandin & Sydney Augenstein Lifestyle Team: Alexandria Winnie, Sarah Fleming, Annabel Sturtz, Blog & Podcast Team: Aphe Wojcik, Emily Grifka, Maddie Lloyd, Grace DeJong Melissa Su Frenkel, Jaiden Myler MARKETING DIRECTORS: DJ McCausey & Grace Hensley BOARD OF DIVERSITY, EQUITY & Marketing Team: Destany Yang, Taylor Randolph, Jacie Walden, INCLUSION DIRECTOR: Autumn Cottrell Lebua Bennett, Ainsleigh Kubicki DEI Team: Veda Chandrasekar, Ann Mwanda, Denait Amanuel, Ameena Babatund, Tanushri Bondalapati PHOTOGRAPHY DIRECTORS: Sofia Pate & Alexis Schmidt Photography Team: Aastha Singh, Brianna Schmidt, Dakota Hendren, CREATIVE DIRECTORS: Katie Mulhearn & Lily Stroup Kaiden Ellis, Keira Nagy, Megan Basile, Nash Gluchowski, Natalie Vezina, ASSISTANT CREATIVE DIRECTORS: Riley Moody, Sophia Georgieva Audrey McNeely & Tanner Proctor PUBLIC RELATIONS DIRECTORS: Sophia Chung & Emma Keane CREATIVE BEAUTY DIRECTOR: Alison Baumgartner ASSISTANT PUBLIC RELATIONS DIRECTORS: Kaylie Johnson ASSISTANT CREATIVE BEAUTY DIRECTOR: Camila Alessandra Bello Public Relations Team: Bella Vaughn, Sophia Jundy, Sophia Tocco Creative Beauty Team: Maggie Heflin, Erin Fozkos, Meredith Hill, Emma Griesmann, Adrianna Meech, Allysa Feldpausch Ugochi Ike, Kushika Sulabelle, Stephie Kosmas STUDENT RELATIONS DIRECTORS: Abby Worley & Olivia Gilcher COPY EDITING DIRECTORS: Maddi Bist & Bella Short Student Relations Team: Jenna Vansant, Nitya Katta, Copy Editing Team: Makenna Poucket, Katelyn Holsten, Celine St. Claire Ashley Park, Alyssa Perera, Hannah Veale, Helena Najar SOCIAL MEDIA DIRECTORS: Amelia EVENTS DIRECTORS: Riley Lingerfelt & Megan Malinowski Zeitlin, Reghan Scharlach & Ashley Lam Events Team: Grace Zimmer, Ilse Davalos, Jana Aly, Sara Cannon Social Media Team: Adrianna Ferrarotti, Alivia Henn, Annalise Boglione, Charlotte Miner, Kaitlyn Martin, Laila Padmore, Milonee Darjee, FASHION DIRECTORS: Ella Chamberlain, Rachel Sprowles, Sasha Lieberman, Sidney Ornstein Shelby Salame & Genevieve Orlewicz Fashion Team: Danielle Okeke, Reagan Steffey, Anna Williams, UX DIRECTORS: Jenna Salhab Olivia Seclanin, Sam McCarthy, Shaka Prince, Nina Tinney ASSISTANT UX DIRECTOR: Rosamaria Loeschner FASHION RELATIONS DIRECTORS: Jillian Whitley & Anna Milnes FOUNDERS: Kerry Chereskin, Lauren Christopherson, ASSISTANT FASHION RELATIONS DIRECTOR: Hajra Ahmad & Julie Christopherson Fashion Relations Team: Avery Gibb, Mary Auterman, Rhoan Wolcott, Renata Babajan, Mariana Teeple, Madelyn Adamick

CREATIVE LOITERING LADIES 34 ALL THAT JAZZ 56 PINNED UP 18 COVER 42

HEALTH & BEAUTY SEALED WITH A KISS 36 WHAT’S IN YOUR CUP 24 FABRIC FREQUENCIES 14 NAILED IT 74 FASHION NAUTICAL 8 HOT MESS 50 WEARING IT WRONG 70 ALL DRESSED IN MOURNING 46

IN THIS ISSUE

CREATIVE BEAUTY HIDDEN GEMS 12 WINDOW TO THE SOUL 26 LIFESTYLE A PIECE OF YOU 22 POWDER ROOM PACT 60 LUNCH BREAK 28 SONDER 38

DIVERSITY, EQUITY, AND INCLUSION A LA VUELTA DE LA ESQUINA 66

PHOTO DON’T SHAKE THE POLAROID 32 GRAPHIC DESIGN AND ART FLAT REALITIES 54 FRUTIGER AERO REVIVAL 64

L L FA 5 ‘2

R E E H T T M O R T F S E R L E D I TO

For those of you who are new here, welcome to VIM Magazine. VIM is a student-run fashion, beauty and lifestyle magazine consisting of over 40+ directors, 200+ members and 22 total content and business teams, making it one of the top 10 largest RSOs at Michigan State. Each semester, VIM produces one print and digital publication available to students and creatives free of charge.

Diving into this semester, our focus was connection: the messy, meaningful and ever evolving kind. Whether it’s discovering new communities, talking about things that matter or just figuring life out together, connection is what makes everything feel real. We didn’t just want to talk about it, we wanted to live it. Every idea, every shoot, every late-night burst of creativity reminded us what happens when

people come together with a shared sense of purpose. It wasn’t always seamless (and honestly, when is it ever?), but it was genuine, the kind of energy that only comes from people who share the same passion and create with heart.

Throughout these pages, you’ll see connections in many forms. Writers sharing pieces of themselves, friends creating side by side and photographers capturing unique moments. This issue is the product of hard work, patience and plenty of creative chaos, but most importantly, it’s a reflection of heart- the passion,collaboration and community that make VIM what it is.

At our bi-weekly meetings, members had the chance to connect with guest speakers and professionals across the fashion, beauty and creative industries. This semester, we were lucky to hear from an incredible lineup, including the CEO and founder of a fashion sports apparel company, a New York based fashion designer, a seasoned publicist, writer and media strategist, and even the Director of U.S. Operations and Content Strategy for Vogue Magazine.

As we wrap up our first semester as Editors-inChief of VIM, we wanted to give a special shoutout to our lovely directors, team members and VIM collective. We are so proud of the hard work and dedication everyone put into this magazine, and we cannot wait to see what’s in store for VIM next semester.

With that being said, this is your Fall 2025 magazine. We hope you love it just as much as we do.

With gratitude, Celeste Roberts & Grace Oluwole

Glam: Camila A. Bello Castro, Alison Baumgartner Photo: Alexis Schmidt, Sofia Pate Spread Designer: Nia Kalinovic, Jill Moreno

A

t a time when fashion trends move faster than ever, it is no surprise that simple, breezy maritime looks are back. Slowing down and connecting with both the past and the sea is what nautical style truly emphasizes. Today, nautical fashion is making waves with a modern twist.

Although this style first emerged at sea, its origins were practical rather than fashionable. The classic whiteand-navy contrast was designed for safety; the bright white against deep blue made sailors more visible if they fell overboard. Navy dye was chosen for its durability, as it resisted fading better than most colors.

and polka dots surged too, evident in Vivienne Westwood’s wellknown 1981 Pirate Collection. What began as a survival-purpose attire transformed into an effortless and chic way of dressing, wearing the sea without leaving land.

In modern times, its influence remains a timeless adventure.

Fashion designer Matty Bovan incorporated these elements with a risky take, alluding to shipwrecks.

While pop artist Conan Gray’s 2025 album Wishbone showcases an evolving nautical theme to communicate a tribute to his dad and his search for direction in life, as he becomes a captain of his own story.

Even Wes Anderson’s film, My Life Aquatic, paints its world in maritime colors, ending on a note of tribute and reflection.

When Queen Victoria commissioned a replica naval uniform for her son, the Prince of Wales, nautical was no longer just a sailor’s staple.

Soon after, German painter Franz Winterhalter crafted a portrait of the From sailors to runways to everyday boy in uniform, eternalizing the look people, the destination of nautical that never quite returned to shore. influence has traveled north, south, east and west. This blast to the past By the late 1920s, nautical influence is not just a style, but also a tribute seeped into wardrobes beyond grounded in resilience and the those at sea, and stripes rippled serenity of the sea. Nautical fashion on runways. In the 1950s, bodice has proven time and time again that tops, bows and necktie accents it will stay afloat. proceeded. Seashell-sized buttons

Direction: Ella Chamberlain Style: Ella Chamberlain, Sam McCarthy Glam: Camila A. Bello Castro, Kushika Sulabelle Photo: Megan Basile, Natalie Vezina Models: Katie Higgins, Sahib Singh Words: Genevieve Orlewicz Spread Designer: Courtney Cohen

hidden gems

Direction: Meredith Hill Glam: Ugochi Ike, Erin Fozkos Photo: Megan Basile, Kaiden Ellis Model: Hannah Stella Tenkorang Spread Designer: Tate Rudisill

Fa

bric

Freq

s e i c eu

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is not merely something worn—it is a living Clothing environment.

Everythat thread thatthe meets skin carries environment.

Every thread meets skinthe carries motion and lothing is not merely something worn—it is a living

motionshaping and influence, shaping not onlybut appearance but also influence, not only appearance also movement, movement, comfort and the mind. Clothing is commonly treated comfort and the mind. Clothing is commonly treated as simply as simply fashion, decoration or aesthetic. However, it is also the fashion, decoration or aesthetic. However, it is also the material the body each day. Selecting certain fabrics that material cocoonsthat thecocoons body each day. Selecting certain fabrics determines whether the body is restricted or supported in growth, determines whether the body is restricted or supported in growth, ease. flowflow andand ease.

An often overlooked element of of health is An often overlooked element healthisisthe thefact factthat thatthe the skin skin is the body’s largest organ.

Just as harmful substances would not the body’s largest organ. Just as harmful substances would not be be applied to facial skinskin forfor fear of ofbreaking applied to facial fear breakingout, out,the thesame same care care should should be extended to the fabrics that remain be extended to the fabrics that remaininincontact contactwith withthe the body body for longfor periods.

Although a lot of debate on this topic revolves around long periods. Although a lot of debate on this topic revolves the frequencies or energetic of fabrics,ofmost scientific around the frequencies or vibrations energetic vibrations fabrics, most research focuses on the way textile composition impacts scientific research focuses on the way textile compositionphysical impacts health and, in turn,and, mental health.

Fasthealth. fashion fabrics such as physical health in turn, mental Fast fashion fabrics polyester, nylon and acrylic are made for convenience, consumed such as polyester, nylon and acrylic are made for convenience, at high rates asatthey from to consumer a global scale. consumed high go rates as runway they go from runway toonconsumer There is little consideration of the materials, chemicals and on a global scale. There is little consideration of the materials, processes by which these fabrics are made.

Polyester clothing is chemicals and processes by which these fabrics are made. frequently derived from plastics and treated with chemicals that Polyester clothing is frequently derived from plastics and treated are prone to trapping causing irritationheat, andcausing promoting with chemicals thatheat, are prone to trapping irritation bacterial growth on the skin, whereas natural fibers such as cotton, and promoting bacterial growth on the skin, whereas natural fibers bamboo or linen regulate body temperature and reduce skin such as cotton, bamboo or linen regulate body temperature and irritation, comfort and breathability. reducepromoting skin irritation, promoting comfort and breathability.

Modern clothing often includes hazardous chemicals: dyes with heavy metals, formaldehyde, Bisphenol A or BPA, polyfluoroalkyl substances or PFAS and synthetic plastic-based fibers. These are heavily used in the process of making modern clothing to alter the synthetic fabrics for improved manufacturing and meeting consumer standards, such as wrinkle-free or stain-resistant finishes. Unfortunately, the emphasis on enhancing product formation and aesthetics comes at the expense of human health. Formaldehyde and heavy metals are linked to skin irritation and bacterial colonization, especially in areas of the body that crease, in which synthetic fibers trap sweat and odor. This results in increased skin irritation, allergic reactions and dermatological infections such as hidradenitis suppurativa (HS). Other materials used in making these clothes, such as BPA and PFAS, are long-lasting chemicals linked to disruptions in immunity and hormonal functions. Besides harmful chemicals, many of these fast-fashion fabrics are formulated with microplastics. A study by the National Library of Medicine found that simply washing polyester clothing releases hundreds of thousands of microplastics, contributing to reproductive harm, inflammation and more. Contrastingly, natural fibers and fabrics such as cotton or linen and their hypoallergenic structures improve airflow, breathability and moisture absorption, which reduce many issues that stem from synthetic plastic-based fabrics, such as skin irritation.

Beyond physical health, clothing should also be associated with our mental health and well-being, as they directly impact one another. The body can suffocate in tight, irritating synthetic fabrics, creating a physical tension that seeps into mental tension, discomfort and restlessness–or it can flow with loose breathable natural fibers that promote calm, clarity and movement. This mind-body connection is evident all around the world, such as with traditional practices like yoga, where clothing is intentionally loose and made from natural materials to promote breath, flexibility and flow over restriction and sweat. Modern workout clothes are made with the same plastic-based materials that restrict that mind-body flow, but it is overlooked that when the body moves freely and the skin can breathe, the mind follows suit. Ultimately, fabric is not simply an aesthetic, but rather a layer of protection and connection between the body and the mind—one that can either confine or cultivate balance, comfort and peace.

Direction: Alianna Kannu Style: Alianna Kannu Glam: Ugochi Ike, Maggie Heflin Photo: Megan Basile, Keira Nagy Models: Kiame Griffin, Olivia Hinton Words: Alianna Kannu Spread Designer: Lily Schwalm, Reagan Sullivan

PINNED

UP

Direction: Katie Mulhearn Style: Katie Mulhearn Glam: Alison Baumgartner, Maggie Hefin Photo: Dakota Hendren, Alexis Schmidt Models: Ava Mazilauskas, Pritikana Kulandaisamy Spread Designer: Ava Isham, Myah Greene

A Piece of You

E

veryone who crosses paths is different in a variety of ways, but there is one thing they share in common: they’re all a mosaic of all those they have met. Whether it is a close friend, enemy, partner or family member, pieces of others are carried within indefinitely.

Still listening to a song a childhood best friend played in middle school, making a comfort meal that a parent used to make and wearing a gifted outfit sparks memories of them incorporating others into one’s own life.

When paying attention, this concept is evident everywhere, including in music. In the song “Cherry,” Harry Styles sings, “There’s a piece of you in how I dress.” There are moments in life, both big and small, that shape the way people construct their identities.

Like music, pieces of others are also expressed in fashion every day. Style is the ability to showcase an identity. It is rarely just about the jacket or jeans someone decides to wear that day, but is often more so a reflection of the influences around them and the people they have encountered. Things like thrifting allow us to dive deeper into this connection.

A thrift store is a museum of those who came before and those around us. Clothes passed down through generations are not just trendy and vintage; they tell a story and reflect the lives of many different people.

The way people talk, react to situations ad think is all formed by the people who taught them how, even if they don’t remember it.

As President Jimmy Carter once said, “We become not a melting pot but a beautiful mosaic. Different people, different beliefs, different yearnings, different hopes, different dreams.” It is a simple and wholesome part of life, the best part being that there is more love to be shared through new connections.

Direction: Grace DeJong Assistant Direction: Jayda Groth Style: Grace DeJong Glam: Alison Baumgartner, Maggie Heflin Photo: Dakota Hendren Models: Harrison Sanders, Céline St. Claire Words: Grace Dejong Spread Design: Harrison Sanders

in

Hot, iced, shaken, stirred — coffee isn’t just a drink, it’s a ritual.

Whether it’s a bold mug of black coffee on the front porch every Sunday or an extra-large vanilla latte to start a shopping trip, coffee has become a huge part of our daily lives and routines.

Coffee beans were discovered in Ethiopia in the 9th century, but it was during the 16th-17th century that coffee made its journey throughout the Middle East and rose to popularity. It has made its way around the globe into millions of homes and tens of thousands of coffee shops.

In Drive Research’s article, “Coffee Statistics: Consumption, Preferences, and Spending,” Emily Rodgers reports that nearly 3 in 4 Americans drink coffee every single day, with 36% of people drinking 3-5 cups a day. Rodgers wrote that globally, more than 2.25 billion cups of coffee are consumed every single day. Now that’s a lot of coffee!

What’s so impressive about coffee is not only its hold on society and culture, but also its reliability and resilience over time. Just like clothing trends and music genres, food and drinks go in and out of trend. Not coffee though, it’s the drink that continues to adapt and evolve, but never fades. Even with the increased popularity of energy drinks, coffee stands as one of the most preferred beverages.

Part of what makes coffee so appealing is its variability. There are now a wide variety of milk, cream, and flavor options to suit every dietary preference and restriction. Too bitter? Add sweetener. Lactose intolerant?

Direction: Emma Stuckey Style: Emma Stuckey Glam: Meredith Hill, Alison Baumgartner Photo: Natalie Vezina, Sofia Pate Models: Mia Piotrowski Words: Emma Stuckey Spread Designer: Meryl Peterhans, Marrisa Malleck

Use a dairy-free cream. Don’t want caffeine? Try decaf.

The options are limitless.

Many people drink coffee because they claim it boosts productivity. Some can’t even fathom having so much as a conversation before their first cup of the day — cue the classic, “I haven’t even had my first cup of coffee,” or, “Don’t talk to me until I’ve had my coffee,” remarks.

Potential exaggerations aside, there is reality behind the sarcasm here.

Hosting around 60 milligrams of caffeine, an espresso shot, or a cup of coffee, which typically has between 80 to 120 milligrams of caffeine, is a direct boost of energy. Caffeine works to block the neurotransmitters causing drowsiness, fighting to boost alertness and energy. It even helps produce dopamine and norepinephrine, increasing mood and mental functions.

The Mayo Clinic’s digital health library reveals that along with increased mood and feeling, coffee may support heart, liver and brain health. It decreases the risks of Type 2 diabetes, colon cancer, hypertension, high cholesterol and heart failure.

The key to reaping coffee’s benefits is moderation of course. Possible downsides include anxiety or insomnia,

but those tend to occur after excessive coffee drinking, especially late into the day. So indulge in that daily cup, or maybe even a few during the week. Any more than that though? Maybe save that for finals week!

In addition to potential productivity and health benefits, what’s even more intriguing is coffee’s way of bringing people together. Coffee machines have become fixtures in the workplace, just like coffee shops have become the heart of many streets. There’s something comforting about that one coworker brewing a pot for the whole office to share. And there’s nothing like spending hours at the coffee shop with friends getting homework done with a side of jokes and gossip — or maybe jokes and gossip with a side of homework.

Next time a big due date is approaching or it’s been a boring day around the house, visit a coffee shop. It’s bound to brighten one’s day–and who knows, potentially lead to making a new friend.

Whether it’s a shot of espresso to start a Monday morning or espresso with a shot of vodka and some ice to start a Friday night, enjoy that cup or martini glass.

W I N D O W

TO THE

S O U L

Director: Kushika Suabelle, Maggie Heflin Style: Kushika Sulabelle Glam: Alison Baumgartner, Erin Fozkos, Maggie Heflin Photo: Nash (Vo) Gluchowski, Natalie Vezina Models: Natahn Gothro Spread Designer: Harrison Sanders

Direction: Madison Lloyd Assistant Direction: Ashley Grifka Style: Madison Lloyd Glam: Alison Baumgartner, Camila A. Bello Castro Photo: Dakota Hendren, Finn Gomez

E

ight hours a day, five days a week, for all of adulthood.

That is the reality of working in corporate America. From the second a person begins a corporate career until they retire, they are agreeing to work like a machine every weekday, with only about a 30-minute reprieve each day.

What is supposed to be a small time frame to eat, relax and log off midday is not the case for everyone. Some may even go so far as to schedule appointments or meetings during their breaks, as they share the same operating hours as other corporate employees.

Anything to succeed at the American Dream, but at what cost? As adults, many are expected to constantly be on the move, working nonstop from before work to after work and sometimes even during a 30-minute lunch period. However, it is not always superior to push for work to get done during this time. In the corporate office, people are expected

never to turn their work brain off, causing them to push themselves to work during their personal time.

With this continuous grind to work, the balance between work and personal life gets lost in the abyss. Even after clocking out physically and mentally, some remain, either working from home or are too exhausted to go out and enjoy life outside of work. Which begs the question: what are they working towards if they can never truly enjoy success? The most effective way to combat this epidemic of overworking is to set boundaries. To step into a job with an intention, get it done, enjoy the break and leave the work at the office. That is, the goal is to find a happy medium. Balance shouldn’t cost people their jobs, but jobs shouldn’t cost people their lives.

Models: Manvita Gouni, Amelia Zeitlin, Nicholas Boucher Words: Saniah Pringle Spread Designer: Myah Greene

POLAROID

Direction: Brianna Schmidt Style: Brianna Schmidt Glam: Alison Baumgartner, Erin Fozkos, Maggie Heflin, Stephie Kosmas Photo: Brianna Schmidt, Alexis Schmidt Models: Cait Knight, Ashley Grifka, Thiago Sawada Guiger Spread Designer: Meryl Peterhans

Loitering

Ladies

Direction: Tanner Proctor Style: Tanner Proctor Glam: Erin Fozkos, Ugochi Ike Photo: Riley Moody, Nash (Vo) Gluchowski, Kaiden Ellis Models: Penelope Hammer, Lauren Muller Spread Designer: Emma Carey

The red lip has been a fashion statement for centuries. Five thousand years ago, women in Mesopotamia began crushing up gemstones to color their lips.

Cleopatra, the first known queen to pigment her lips, did so by crushing up beetles. The color they primarily used was red, of course.

Despite its timelessness, the red lip is often marked with an air of ferocity and rebellion. This is due to its history of representing power and resistance. During the fight for women’s suffrage in the 20th century, suffragettes showed off a red lip at protests and public events. It stood as a symbol of strength during an already incredibly powerful moment for women. Since then, red has continued to exude power and defiance. The red lip is more than a color, it is a movement.

Perhaps it’s the practicality of red lipstick, although it may not be the ideal product to use on a day of running errands in a matching sweat set. However, some feel like they cannot wear it during formal events or even the day of a work conference due to the stigma of being “too much.”

In the age of the “clean girl aesthetic” and neutral tones, bold and colorful expressions are dying down; women are often told to not call attention to themselves. While trends and increasing social media usage may be to blame, women have also faced this judgement in real life.

When a woman is a bit too loud, dresses uniquely or behaves unconventionally, she is often criticized. For instance, someone walking into a lecture dressed up or laughing a little too loud is likely to be met with disapproving looks and whispers.

Women must find it in themselves to be expressive, and take on whatever look they strive to achieve, regardless of the opinions or questionable looks that come with it. Nothing looks better than confidence.

If a red lip is bold, loud and calls attention, so be it. Something commanding is not inherently bad, and it’s time to shift this thinking. Call that attention, speak up, be bold and wear that red lip loud and proud. Confidence will never go out of style and neither will a classic red lip.

Direction: Emma Stuckey Style: Emma Stuckey Glam: Meredith Hill, Stephie Kosmas Photo: Nash (Vo) Gluchowski, Sophia Georgieva Models: Alizna Jaffer, Lillia Mojica Words: Emma Stuckey Spread Designer: Reagan Sullivan

SondeR B

ehind every face passing by on the street lies a life that has felt love, endured heartbreak, experienced joy and suffered through loss.

Moments like a morning commute, waiting in line for coffee or walking through a crowded campus suddenly spark reminders of this shared humanity. Sonder captures the quiet realization that each life holds a story as vivid and complex as one’s own.

The term was first coined in 2012

by John Koenig in his project, The Dictionary of Obscure Sorrows, where he created words for emotions that lacked names. Since then, it has caught popularity through social media, directly juxtaposing the recent trend of “making oneself the main character.” In reality, no one is a main character, with the whole world revolving around themself.

Instead, they are all simply an extra in someone else’s coming of age story. Sonder challenges the selffocused norms of social media, which encourages curating and promoting one’s life for an audience. While many people remain absorbed in their personal struggles and successes, moments that force people to step outside of their own lives are the ones that hold true power.

and never fully understood by others, yet they shape everyone’s experiences and character. Empathy is essential in understanding the experiences of others, and it begins with recognizing other’s hidden battles.

Sonder also encourages reflection on how interconnected everyone’s lives truly are. Even fleeting moments or interactions have an impact on those around them. An exchanged smile, brief conversation, even a smallglance has an impact on someone else’s story.

Recognizing this interconnectedness and impact can help instill a sense of thoughtfulness in one’s actions.

Reshaping how one approaches their own relationships, but also the treatment of complete strangers.

Sonder may be a newer term, but its impact will only continue to grow through the power of social media and word of mouth. It serves as a reminder Sonder can evoke uncomfortable feelings; it can create a sense of obsoleteness in the grand scheme of life. However, pushing past those negative emotions and embracing the feeling can unlock a hidden freedom, and welcome a new found connected empathy. It reframes existence by emphasizing that no individual occupies the center of the universe. Each individual is often merely a passing blur in someone else’s busy life.

An exchanged smile, brief conversation, even a small glance has an impact on someone else’s story.

Sonder forces a shift in perspective: any individual is a passing blur in someone else’s busy life. No one is paying attention to other people’s low moments as closely as one would assume as everyone is facing their own issues.

These issues may be invisible

to learn from the experiences of others and to embrace humility. Every person’s experience holds value and countless lessons, and failing to step beyond

Direction: Meghan Valade Assistant Direction: Jayda Groth, Annabel Sturtz Style: Meghan Valade Photo: Aastha Singh, Dakota Hendren Models: Tanisha Nanisetty, Julianna Chan, Idres Abdul-Qadir Words: Meghan Valade Spread Designer: Marissa Malleck

Sonder forces a shift in perspective: any individual is a passing blur in someone else’s busy life.

the self will discourage a world of new perspectives. Sonder demonstrates that every person carries a story waiting to be heard or seen, and full acknowledgement of those around allows for a deeper understanding of humanity as a whole. Sonder should be embraced and force others to take a moment to stop and truly look around once in a while.

D

eath is the most mysterious, inescapable part of human existence. It shapes thoughts, emotions and even wardrobes.

Mourning, like death, is a universal experience that transcends time and culture. Funerals are not only for grieving the loss of a loved one, but quietly acknowledging the eventual step into the unknown. For centuries, fashion has helped people express that complexity — the sorrow, reverence and need to make sense of something uncontrollable. Throughout history, clothing has expressed loss and grief. In ancient Rome, mourners wore black togas to honor their dead. During the Renaissance, long black cloaks, gowns and veils became a standard uniform of grief in Europe. From there, the color black spread across continents and is now the traditional mourning color in countries like Russia.

However, it isn’t the only color that speaks to loss. In countries with large Buddhist populations like India and China, white is the traditional color of mourning, symbolizing purity and the soul’s rebirth. In South Africa, red is the main mourning color, representing bloodshed and resilience after the Apartheid Era. Egypt’s mourners wear gold for eternity and Brazil bears purple for devotion. Shades of mourning are as varied as humanity itself, each expressing how cultures understand life, death and the soul. For centuries, royalty set fashion norms. Queen Victoria and her white wedding gown established the standard for bridal fashion to this day. After her husband’s death, Victoria wore black for the rest of her life, transforming personal grief into a public statement. Her style cemented the idea that a widow’s loyalty should be visible even after the funeral. Even now, her influence echoes through gothic fashion and the deepened the cultural connection between black and mourning.

Direction: Reagan Steffey Style: Ella Chamberlain, Reagan Steffey Glam: Alison Baumgartner, Maggie Heflin Photo: Aastha Singh, Nash (Vo) Gluchowski Models: Liza Hacker, Ava Hughes Words: Reagan Steffey Spread Designer: Ava Isham

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hat symbolism took on new meaning in 1994 when Princess Diana stepped out in what became known as the “Revenge Dress.” The off-the-shoulder, figure-hugging black Christina Stambolian gown worn the night Prince Charles publicly confessed to cheating wasn’t a look for a passed loved one, but instead for the death of her marriage and reclaiming her power through fashion. She transformed black from a color of sorrow into one of liberation, showing that sometimes mourning is as much about rebirth as it is about loss. In this age, other influential individuals joined the royal courts at the top of fashion influence. The first ladies of the United States are who many look to for fashion inspiration. When John F. Kennedy was assassinated in 1963, First Lady Jackie Kennedy’s pink Chanel suit, stained with her husband’s blood, became a haunting symbol of tragedy. She refused to change out of it, insisting, “I want them to see what they’ve done.” In that moment, her elegant suit became both a garment of mourning and protest. Supermodel Naomi Campbell honored her friend, designer Virgil Abloh, at his 2021 memorial, wearing a sharply tailored black suit. The architectural silhouette nodded to Abloh’s fascination with design. Her look was poised and quietly emotional, showing that mourning fashion can communicate love, respect and legacy – not just sorrow. From ancient rituals to red carpets, fashion has become an expression of grief. Black lace, white linen or even pink Chanel suit can express grief and honor loved ones, but also symbolize rebirth, liberation and protest. Funerals are not only about death, but about transforming, honoring and rediscovering life. So when in mourning, ask, “What story do I want to tell?”

The image is iconic: Carrie Bradshaw from “Sex and the City” crossing a Manhattan street, her vintage fur coat falling off at the shoulder, last night’s makeup slightly intact and Manolo Blahniks clacking against the pavement. That kind of undone glamour — its spontaneity and chaos — has re-emerged in fashion’s latest trend: the messy girl aesthetic.

After years of the clean girl aesthetic, with its sleek hair and neutral palettes, perfection has started to feel sterile. The messy girl offers a deliberate contrast. Her hair isn’t sleek, it’s lived in. Her purse is half open and bursting. She layers jewelry and accessories, throws a jacket over a dress and heads out the door before anyone can accuse her of overthinking it.

But this style is not to be confused with carelessness. It’s intention disguised as indifference.

Bradshaw once said, “I like my money where I can see it – hanging in my closet.”

The messy girl lives in that same spirit – visible, tangible, personal. It’s about layering and texture, about embracing the parts of life that might not fit into a neat little box.

There is great freedom in the mess. The smudged lipstick, the forgotten hair clip, the skirt that doesn’t quite match the coat. It’s not aspirational in a traditional sense, but it’s a quiet rebellion against the idea that everything needs to be perfect, that every detail needs to be polished or refined.

More than anything, the messy girl aesthetic is about embracing imperfection. It’s about giving in to spontaneity, to motion, to mornings that start too early and nights that end too late.

So let the coat slip, let the eyeliner smudge, let the jewelry pile on. The beauty is in the mess.

Direction: Shelby Salame Style: Shelby Salame Glam: Kushika Sulabelle, Erin Fozkos Photo: Brianna Schmidt, Riley Moody Models: Henika Patel Words: Nina Tinney Spread Designer: Stephanie Monk

LAT FREALITIES

Direction: Nia Kalinovic, Jill Moreno, Julianna Chan Photo: Alexis Schmidt, Sofia Pate Spread Designer: Jill Moreno, Nia Kalinovic

ALL THAT

jazz

Direction: Katie Mulhearn Style: Shelby Salame Glam: Ugochi Ike, Maggie Heflin, Stephie Kosmas Photo: Dakota Hendren, Keira Nagy Models: Elena Sweeney, Ryan Harris, Amari Ball, Shaka Prince Words: Olivia Selcanin Spread Designer: Kalyn McNamara

Step into a dimly lit jazz club. Trumpets and laughter fill the air. On stage, a woman in a gold studded dress catches every glimmer of light, commanding the room with effortless grace.

Behind her, three men in tailored suits play in perfect sync, the instruments weaving a rhythm that feels alive. Here, music and fashion are one: bold, fluid and free.

Music and fashion share a natural rhythm, feeding off each other’s energy. When jazz swept through the 1920s, it did not just change how people listened to music; it changed how they lived and dressed.

Jazz’s smooth, free-flowing sound became a symbol of rebellion – and fashion quickly followed.

Before this era, women’s fashion was stiff, conservative and designed for the male gaze. Corsets, layers of undergarments and long, restrictive dresses dominated wardrobes. As jazz music encouraged freedom and self-expression, people began to make statements with fashion garments.

That is where the flapper era comes in. With looser silhouettes, shorter hemlines and dresses allowing women to move freely, reflecting a new wave of independence. The flapper dress wasn’t just a trend, but a statement rejecting the notion that women need to dress for men’s approval. Women began dressing for comfort, confidence and joy. Allowing them to perform to their fullest potential and have the ability to dance in the clothes they are wearing.

Men’s fashion evolved too. The rigid, traditional style gave way to more refined and expressive looks. The 1920s man took pride in his appearance, not out of vanity, but out of sophistication. Suits became sharper, fabrics lighter and accessories, like hats and sunglasses, became the finishing touches that showed style could be personal and practical. The shift in men’s fashion reshaped ideas of masculinity, encouraging men to explore style and self-expression in new ways.

Together, music and fashion created a cultural shift. Jazz made people feel alive, and fashion made that feeling visible. It was a decade where smooth melodies met smooth silhouettes, and style became a reflection of freedom.

A hundred years later, the rhythm of jazz still moves through fashion.

Society dresses to express, not to conform.

What people wear reveals who they are — bold, confident and unapologetically individual. Similar to jazz, fashion has learned to improvise. No silhouette belongs to one gender anymore; style has become a celebration of freedom and self-expression.

It

’s an unspoken understanding, communicated not through words but with a knowing glance across the table or dance floor: “Come with me to the bathroom?”

In that instant, a pact is made. No matter the venue, whether a dimly lit club pulsing with bass or a dive bar with flickering lights, the “Powder Room Pact” stands as one of the most significant rituals of modern womanhood.

Inside those fluorescent-lit walls, something beautiful blooms. The bathroom becomes a sanctuary, a brief escape from the noise and expectations of the outside world. It’s where the entirety of the night’s photos are snapped, lip gloss is reapplied in many layers and a dozen tiny affirmations float through the air like confetti: “You are gorgeous.” “I need that dress!” “Screw him, he doesn’t deserve you.”

There’s a universality to it. Step into any women’s restroom on a Friday night, and you’ll witness the same choreography play out, transforming what should be a mundane moment into one of the night’s most memorable. It’s a sacred space, not because of marble countertops or silver faucets, but because of the sense of community it holds. For a few minutes, the bathroom becomes a microcosm of sisterhood; only those surrounded by tile experience.

The Powder Room does not solely exist for touching up makeup and taking millions of photos; it’s for the emotional moments of life. Where pep talks are delivered with the urgency of love, and laughter erupts over shared stories that will never leave those graffiti-covered walls.

It’s where you regroup, recenter and re-enter the world a little more put-together, both inside and out.

In an era where much of our connection happens through screens, the powder room remains a rare place of genuine, in-person intimacy. It’s where the façade drops for a moment. The girls in line are no longer strangers but allies in a shared experience of womanhood, helping each other spritz perfume, borrow tampons or share a short, but meaningful, compliment.

That may be why the Powder Room Pact endures. It’s not about vanity; it’s about vulnerability. It’s a small rebellion against isolation, a promise that no one has to face the world or even the mirror, alone. And when the bathroom door swings open and the group returns to clinking glasses and dance floor lights, there’s a quiet power in that moment. Behind the shimmer of highlighter and the scent of borrowed perfume, something stronger lingers: solidarity, sealed by a smile and a swipe of lipstick.

Direction: Madison Lloyd Assistant Direction: Emily Grifka Style: Madison Lloyd Glam: Kushika Sulabelle, Erin Fozkos Photo: Brianna Schmidt, Riley Moody Models: Ramisa Anjum, Alana Johnson, Rachel Zhai Words: Madison Lloyd Spread Designer: Lily Schwalm

Direction: Jenna Klos Style: Jenna Klos Glam: Alison Baumgartner, Maggie Heflin Photo: Riley Moody, Nash (Vo) Gluchowski Models: Sophie Liu Spread Designer: Lyle Hoffman, Aditi Gonuguntala, Mackenzie Doyle

A la Vuelta de la Esquina

In the United States, there is some type of grocery store every few miles. A place to go up and down isles in search of ingredients to whip something up that may feel like home. In the Southwest region of the United States, there is an abundance of mercados, Latinx and Hispanic grocery stores that provide ingredients and other items that are commonly used within Latinx and Mexican American households. Although there is a large community there, not all Mexican-Americans reside in the Southwest region of the United States. Their communities span across the country, having their own specific traditions and rhythms. Depending on the region, some Mexican-Americans may not have as much access to the ingredients that would be used to make traditional dishes, due to their communities being smaller. In that case, they may not have the same cultural keepsakes that would be just around the corner in a mercado.

For generations, Mexican-American or “Chicanx” fashion has been a way for people to hold onto their personal beliefs and traditions while facing significant discrimination. In the 1940s and 1950s, during their time of protest, MexicanAmerican’s would wear “zoot suits” that were inspired by Black jazz culture. The suits were known to be oversized, with high waisted and wide-legged pants that commanded dignity and respect. As the twenty-first century progressed, so did the cultural elements of Mexican-American fashion.

Moving into the 80s and 90s, Chicanx street style began to fully take form in Los Angeles. Fashion in LA was known for its wrinkled khakis, Dickies-brand pants, white kneehigh socks and oversized flannels, commanding the same respect and tradition as zoot suits once did. Tattoos are also crucial to Chicanx fashion, depicting personal values and tradition. Chicana women were known for their slicked back hair, chains and nails.

Direction: Ameenat Babatunde Style: Ameenat Babatunde Glam: Meredith Hill, Camila A. Bello Castro, Kushika Sulabelle Photo: Riley Moody, Sophia Georgieva Models: Carolina Mercado, Kaydence Pearson, Desiree Arevalo Words: Autumn Cottrell Spread Designers: Courtney Cohen, Tate Rudisill

Many students at Michigan State University (MSU)who identify as Chicanx find it vital to remain close to their culture, even if they may not have immediate access to ingredients or cultural items that they might have in their home. MSU student Julieta Lopez mentions that she understands “how different it is to grow up with two different cultures,” referencing the disconnect that can be felt for many MexicanAmericans who have to both assimilate to hegemonic United States culture while maintaining their Mexican heritage.

“I think the best way is by going where my people are.

Actively seeking out community is the best way. For example, going to Mexican supermarkets both allows me to interact with my people but also supports the local Hispanic community,” said Lopez. On MSU’s campus, there is a need for spaces where Mexican-Americans can celebrate and embrace their culture. Student organizations such as Cultras de las Razas Unidas and Association of Latino Professionals are actively embracing their culture and uplifting Mexican-American and Latinx voices. Even when they do not have a designated place to come together to embrace their culture and traditions, the Mexican-American community has found a way to keep their rhythm. Whether that is using slightly different ingredients at a grocery store to make a traditional dish or customizing the low-riders that they drive, there are many ways for people within the community to depict their Mexican heritage and personal freedom. Mexican-Americans across the United States have been adapting to adverse environments and circumstances for centuries, continuing to rely upon each other and their community, all while subtly making waves in mainstream fashion, art and culture. As their cultural emblems shape the greater culture, Mexican-Americans will continue maintaining pride and resilience for their heritage.

Direction: Ella Chamberlain Style: Anna Williams, Ella Chamberlain Glam: Kushika Sulabelle, Camila A. Bello Castro Photo: Sofia Pate, Keira Nagy

Models: Nicole Perez, Stephanie Monk, Krishsyveer Sultania Words: Shaka Prince Spread Designer: Julianna Chan

ociety has been governed by the understanding and following of societal norms, whether sustained through tradition or seemingly unspoken. These rules can manifest themselves throughout our daily lives in a multitude of ways, yet appear particularly pronounced in the world of fashion. Consider ideas such as: “pants are meant for one’s legs and shirts for one’s torso.”

While these notions may seem like common sense, they lack objectivity which makes them absolute. The influence of fashion rules becomes even more striking when they address the functional purposes of the clothing itself.

These rules have been challenged and broken in moments of creativity as well as necessity.

This adaptation often prompts rethinking of what one believes to be fixed truths. When the cost of living is too high, adaptation is required.

In fashion, this reimagination has led to the resurgence in giving clothing “second lives” through practices such as thrifting. Trends like repurposing ties as belts, wearing shirts as skirts, and transforming jeans into bags are a few examples of this reimagining of fashion norms.

However, subverting fashion norms isn’t always done out of necessity or as a creative challenge.

It also serves as a form of “rebellion” against the growing world of fast fashion, where clothing is designed to be worn briefly before being discarded due to poor quality or fleeting trends.

Repurposing and wearing clothes the “wrong way” allows clothes to reach a greater potential, while challenging consumerism culture.

Direction: Abigail Hurst Style: Abigail Hurst Glam: Meredith Hill, Alison Baumgartner, Kushika Sulabelle Photo: Sophia Georgieva, Aastha Singh Models: Kate Behaylo, Audrey Dissanayake, Manushree Ganta Words: Abigail Hurst Spread Designer: Stephanie Monk, Emma Carey

Nails are wearable emotions, and the state of someone’s nails often reflects how one is feeling, coping or expressing in a way that words can’t. Freshly done nails can signify desire for control, celebration or a fresh start.

Chipped or overgrown nails can show emotional fatigue, overwhelm or even just a lack of time for self-care. Psychologists have long noted the link between grooming rituals and emotional regulation. But nails go beyond self-care, and are microexpressions for how people present themselves to others.

The shading of one’s nails can often reveal stories of breakups, triumphs and love. A dark shade may resemble a breakup. Gold to mark a graduation.

Even grey in the wake of grief. Nails serve as timelines and markers of transitions, resilience and identity. In a world that often feels chaotic and out of control, nails offer a rare sense of power. Nails are one of the few aspects of life that can be changed on individual terms, no permission required and no explanation needed.

Neon green could show rebellion, while a nude could quietly suggest control and a desire to fit in. Sometimes, it’s not always the color but the act of painting.

The quiet intimacy of painting nails and waiting for the polish to dry is a form of self-care. It’s a rhythm of restoration, a moment where the world slows down.

Painting each finger is a reminder that everyone has control over their body and choices, even though there is so much that feels uncertain.

Nails can be ambitious; a bold declaration of who we are becoming. A chrome finish might show dreams of reinvention. A French tip could speak to nostalgia, a tradition that is wrapped in something timeless. Sometimes, it’s about returning to what feels familiar after everything around is changing. Nails have become a language that is subtle, yet powerful. They tell a story of who someone is, where they’ve been and who they are trying to become. Our nailbeds are personal archives of colors and memories.

Nails are more than beauty; they quietly rebel against complacency.

At the intersection of art and identity, their aesthetics reflect emotion.

When life feels unbalanced, painting nails is grounding. Glittery, bare, bitten or chipped, they carry milestones and moods. Change doesn’t always need to be drastic; sometimes it’s as simple as picking a new shade and finding the courage to begin again.

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