1. Chartreuse & Plum

This is the ultimate “sophisticated garden” palette. Chartreuse provides a punch of citrusy energy that prevents the deep, regal Plum from feeling too heavy or autumnal.

• The Vibe: High-fashion, organic, and daring.

• Use Plum for heavy fabrics like velvet table runners and Chartreuse for organic elements like hellebores or lady’s mantle in your florals.

2. Moss/Olive & Dusty Rose

Think of this as the “New Romantic” palette. We’ve seen blush and gold for years; switching the metallic for a grounded Moss or Olive green makes the Dusty Rose feel earthy rather than sugary.

• The Vibe: Ethereal, vintage, and grounded.

• This palette thrives on texture. Think silk rose-colored ribbons against dried moss or olive branch centerpieces.

3. Navy & Sky Blue

Monochromatic palettes are having a major moment. By layering the depth of the Navy with the airy quality of Sky Blue, you create a look that is far more expensive-looking than a traditional “Blue and White” wedding.

• The Vibe: Coastal, serene, and architectural.

• Use Sky Blue for your invitations and Navy for your bridal party attire to create a striking visual hierarchy.

4. Raspberry & Sage

If you love a pop of color but want to avoid “neon,” Raspberry is your best friend. It’s a saturated, fruity pink that feels lush when paired with the silvery, muted tones of Sage green.

• The Vibe: Whimsical, vibrant, and summery.

• Sage makes for a stunning, non-traditional suit color for groomsmen, allowing the Raspberry bouquets to truly sing.

5. Champagne & Espresso

Move over, Cream and Gold. Champagne and Espresso is the “Quiet Luxury” of wedding palettes. It’s warm, moody, and incredibly chic for evening or indoor celebrations.

• The Vibe: Formal, cinematic, and sultry.

• Lean into the Espresso. Dark wood tables, smoked glass, and coffee-bean-colored candles create a cozy, candlelit atmosphere that Champagne accents will brighten.

Bottom line: choose one “anchor” color (the one used most) and one “accent” color (the pop). When you try to use both 50/50, the eye doesn’t know where to land. The point of your day is not what color the napkins or decorations are but the memories you make with the people you love but it never hurts to make sure they look good.

On April 3rd, an A24 film titled “The Drama” was released to theaters and I could not wait another moment to get myself a ticket. I am a lover of movies, and maybe it’s just me, but it has been a long time since I really looked forward to seeing one. Actually - I know it’s not just me. I have not been to a movie theater that packed since Barbie came out in the summer of 2024. We have an overwhelming amount of sequels and spinoffs coming out these days and not nearly enough standalone films, which it seems like just about everyone is exhausted of. I have been starving for something original and new, and The Drama gave me exactly what I needed. It was thought provoking and serious yet comedic and light, the characters were relatable but still surprising, and the plot itself was simple and complex all at the same time.

Robert Pattinson and Zendaya were fantastic, showing us a feel good rom-com side of them that I have never seen before. The pair had great on screen chemistry, but I feel like it is worth mentioning that they kept things very professional once we circled back to the real world. All shade, all tea; how strong could you be as an actor if people are questioning whether or not you’ve fallen in love with your costars? Are you truly acting at that point? I think not, but I’m sure the Brad Pitts and Angelina Jolies of the world would disagree with me on that matter. Anywho, this is a fashion blog and not a movie review. The movie was great and all, don’t get me wrong, but that is not why I chose to write this piece.

If you have not already seen it, Interview Magazine recently featured Zendaya and Robert Pattinson for their March issue titled “Into the Unknown” as promo for their movie together. This magazine, initially started by legend Andy Warhol in 1969, is very unique. Their artistry and playfulness in the photoshoots they conduct is always exciting and fresh, but that is not the aspect of Interview that made it famous. Rather than doing the classic sit-down list-of-questions interview from a journalist, they are known to favor choosing high profile guests that interview each other. Of course they have done some regular shmegular interviews in the past, but their pair-style interviews are where it gets the most interesting in my opinion. There is something so fascinating about learning what goes on in the head of a creative, and who could be better than another creative to help us figure that out.

Although lacking any real structure, I love the casual and intimate nature of these interviews. Zendaya and Robert’s discourse was honest and playful at the same time, giving us a behind the scenes look into the two co-stars’ relationship that actually felt real. When they laughed, I was laughing right alongside them. It is so refreshing to take a step back from the headlines and red carpets, and to see them merely as people who have done something cool and creative. For example, I absolutely loved learning that on Zendaya’s days off, she still comes to set to talk to all of the different department heads just because it is her favorite place to be. Or, that Robert Pattinson has been itching to wear a fake pair of glasses just like his character, Charlie. The same way you’re able to taste the love a cook puts into a hot meal, you can always see the love an artist puts into their work. That is exactly why I found myself so drawn to this issue and upcoming film, in that for the first time in forever, I was truly admiring celebrities and their creative choices. I could totally see the love.

Now, onto the fun part. This photoshoot had me screaming and gagging and gasping for air. There is nothing better than when hot (UNPROBLEMATIC) people get weird. In a world centered around brand logos, sweatpants, and Amazon Prime, I love being reminded that fashion at the end of the day thrives on experimentation and risktaking. I inserted a screenshot above this to give you guys a little bit of insight into the idea behind this shoot, although you can only get so much out of a theme like “I don’t know” and “Into the Unknown”.

After looking further into it, I learned that the creative team’s inspiration came from the classic 1962 film “What Ever Happened to Baby Jane?”, which will make so much sense to you in just a moment. If you haven’t seen it before, it is a dark horror/drama centered around two sisters who live together in Old Hollywood. In a very brief summation, the Robert Aldrich film follows an evil twin type trope; one evil sister (Bette Davis), and one good hearted sister (Joan Crawford).

Starting off with a bang, this photo shows Zendaya and Robert Pattinson wearing Dior from head to toe. Well, that is everything except for Robert’s socks, which are Flake. Nadia Lee Cohen is the mastermind behind the camera, and each look was conceptualized by both Zendaya’s long time stylist Law Roach and Interview Magazine’s own Mel Ottenberg. The above photo is one of my favorites from the entire shoot; it’s vulnerable, eerie, and just so captivating. Everytime I look at it I notice something new, like the way the blue of Robert’s scarf - which is tied, not hanging loosely - matches the color of the eyeshadow Zendaya is wearing. You could of course interpret this in a million different ways, but I would like to think that it represents the hold she has on him. Despite him standing over her in a dominating position, it seems to me that she is the power holder in this peculiar relationship, reeling him in. The choice of Zendaya’s pose feels inviting and enticing, but also threatening. The blonde wigs and smudged red lipstick appear consistently throughout their different looks, giving off that mad twin vibe with a fashionable and editorial twist. From my perspective, the two are very clearly intended to be connected, two sides of the same coin, reflections of one another - but, in a toxic, disturbing, and controlling way.

If you didn’t notice, another consistency throughout the photoshoot is a playfulness with gender roles. In this particular photo, both Robert Pattinson and Zendaya can be seen wearing very feminine pieces by Chloé. It is made very apparent through the usage of frills, bows, and lace, as well as their very feminine silhouettes. The tank top is very tight fitting on Robert, which really accentuates his most masculine features like his chest hair, broad shoulders, and lack of a defined hourglass figure. Nadia Lee Cohen posed the pair in a way that she’d be able to superimpose their photographs together in a scrapbook style, giving us a direct side by side comparison of the way both are exploring femininity. That made for such an eye catching final look at the two’s similarities and differences, and the way that their different representations of what femininity is clash and blend together.

If you take a look at the previous photo, the two were both styled in suits. The cut and dry difference between these photos is that the first represents masculinity, and the second represents femininity. However, there is so much more to it than that. Gender and fashion have been very intertwined topics since the beginning of time, where men and women have been expected to hide certain things about themselves and emphasize others. For example, you might notice that Robert’s suit jacket has no undershirt and a very deep V-neckline, something that you may expect to see on a traditional female silhouette. It is also much longer than your typical suit jacket would be, almost long enough to be considered a dress. Zendaya, on the other hand, is wearing a very form fitting suit. Her pose does make it difficult to tell how exactly it is meant to sit on her, but from what you can tell, she has a rather distorted white collar. I have never seen a suit like this before, as it appears as though it was designed to be intended for a man, but fits her in a more feminine way. Her silhouette is clearly defined with a cinched in waistline, and there is no sign of shoulder pads or any other hints that she is emulating masculinity.

Now, you’ll have to hear me out on this, but the Interview Magazine March issue strangely reminded me of another shoot done earlier this year. If you’ve been living under a rock, I can tell you that a man named Zohran Mamdani recently became the mayor of New York City. His wife, an artist named Rama Duwaji, was featured in The Cut’s February issue titled “The Artist in Gracie Mansion” by Danya Issawi. She has become rather popular for her elegant and exploratory fashion sense since her husband’s campaign began, and has turned into one of my own personal fashion inspirations. I had previously thought that her surge in attention could be due to a group bias, because who doesn’t love Mamdani? However, after this issue was released, I knew that she would have attracted attention all on her own.

Although this shoot was not as on the nose as Interview’s, it is still another excellent example of when hot people get weird. The cartoonish ambiance that appears in each photo represents Rama’s lifestyle as an artist in such a cool way, as though she is about to step right out of a painting in a museum. Jessica Willis, the stylist behind this shoot, chose very timeless and classy pieces throughout. However, each look has something a bit off about it that you would almost never see replicated in everyday life. In the above photo in particular, the Peter Do trench coat and collared shirt do not seem at all out of the ordinary, but heavily clash with the bright colored background. This really centers your attention on Rama, wearing jet black atop a rather soothing green. The silhouette of the coat is fairly masculine, but is on the androgynous borderline that she tends to gravitate towards with her personal wardrobe. The shoes, Marc Jacobs, are so fun and funky. The comically long toe is one that is common in a male dress shoe, and mixed into a classic high heel further adds to this shoot’s gender fluid pattern.

Although I wouldn’t necessarily describe Robert Pattinson and Zendaya’s shoot as cartoonish in the same way as Rama Duwaji’s, I hope you can see what I see in terms of their similarities. Both made me feel eager for the future of fashion and what boundaries will be pushed next. The world would be a better place if people felt more comfortable leaning into weirdness, because remember, fashion is not just about beauty. Fashion is art, it is political, it is ugly, it is an outlet, and really, fashion is whatever you want it to be. We are the only species on Earth that deems it necessary to wear clothing, so why would we not have as much fun with it as we can? Fashion is innately human, embrace it.

And, just a p.s., The Drama was not nearly as fashion forward as I thought it might be. However, I recommend it wholeheartedly. I am a fashionista at heart, but can appreciate art in all of its different forms - you should do the same.

I have my theories about the origin of this trend, which I trace back to two crucial movements: Y2K and streetwear.

The obsession with Y2K seems to hold on stronger than any other trend that cycles through the media. Whether it’s the music, the technology, or even the current beauty and body standards, people and producers alike crave the nostalgia of an era before. In my mind, capris are a response to the playful adjustments in denim culture and a return to the expectation of thin. In today’s world, what seems to sell is a clear juxtaposition of elegance with slenderness. This has been fundamental to the surge of GLP-1 usage that has taken over Hollywood and average Americans alike. In recent fashion weeks, plus-size models are reaching record lows of appearances in shows. The Vogue Business 2025/2026 Inclusivity Report indicates a makeup of 0.3% plus-size models in the nearly 8,000 looks premiered. Self-optimization, looksmaxxing, and wellness obsessions dominate the conversation, and the increase of form-fitting or low-rise pants is no exception.

What stands out to me as a response to streetwear is the parallel between capris and jorts. Two summers ago, I bought my first pair of Dickies jorts, which garnered a much slouchier vibe, often paired with some variation of a t-shirt or tank top, undeniably less feminine than the models above. Capris reinforce the frame of a woman’s hips, one of the most canonical feminine elements of her body. This femininity, paired with the opportunity to display indicators of thinness (i.e., thigh gaps, calves, and ankles), explains the dethroning of the jort.

To take a political stance, I question how the obsession with thinness and self-preservation is an economic recession indicator. I am reminded, with looksmaxxing influencers, of how exactly the disregard for personal health might correlate to a general malaise about the state of the world. People aren’t trying to be here for a long time; they want to look as good as they can while they can, even if the use of peptides, GLP-1s, steroids, or disordered eating inhibits their long-term health.

In short, this trend forecast is intrinsically tied to cultural shifts in beauty, which leads me to wonder how persistent capris might become. Dainty and feminine, the capri pant reflects everything a woman today is expected to be. Whether that’s a recession indicator, a result of surging misogyny, or regressing body positivity, I have a feeling capris will be here to stay.

They have also been made much more intriguing in recent times. It is not identical to thick gold styles anymore. It has got more variety now in color, shape, and texture. There can be remnants of glass, resin, and mixed metals all of which are not so uniform. It makes it easier to style them and feel more unrestricted as you can combine various things, and make it look good without seeming too much.

The history of Bangles is also long and people do not always notice that. They have been deeply rooted throughout generations in parts of South Asia, Africa, and in the Middle East. Bangles can have a variety of meanings from being related to celebration, identity, or some life phases. Although a great deal of people wear them in a casual way nowadays, the cultural backgrounds add onto the uniqueness of bangles.

The current fashion is less conservative, open to more styles and accessories, including bangles. There is no awkwardness in mixing the metals and the combination of various textures can add to the feel of the outfit being richer without appearing bulky or over-layered. A metal bangle can go well with a simple minimalistic look or you could have thick bangles for a maximalistic look. Everything is becoming increasingly more versatile as we come together to understand everyone is unique, and that style tends to reflect that.

The manner in which individuals carry wearables such as bangles also is very individualistic. There are those who wear the same many times to the point of becoming a notable statement piece, and others that rotate them according to what they are wearing or overall aesthetic that’s trying to be achieved. In any case, it is incorporated in their style and does not force in any way, but instead natural to one’s self expression.

Bangles are simply all-purpose. You can leave it simple or be elaborate and still make it work. Rules about bangles are few if any, and that is why they are considered to be more pertinent. Bangles are always an easy starting point in case something seems to be lacking regarding an outfit. And they’re a bonus if you want people to hear you clinking stylishly from down the halls!

As time passed and thinking evolved, people began to expand the domain of aesthetic inquiry to everyday objects like cars or fashion. In 1934, John Dewey published Art as Experience. Dewey posited that “having an experience” can happen in any situation, even in those we might not normally think of as being aesthetic in nature. This line of thinking birthed the idea that when we interact with something and derive aesthetic pleasure from it, the pleasure is tied to the experience and not necessarily tied to the object we are deriving the pleasure from. Dewey locates pleasure in the character of the experience and not in the object. This means that we can have an aesthetic experience cooking a meal or solving a math problem. After the publication of Art as Experience, ‘everyday aesthetics’ became–and still is–a field of study. Of course with any field in philosophy more questions emerged and people tried to answer them.

Two questions that are particularly pertinent to fashion are what counts as ‘everyday’ and ‘aesthetics’ in everyday aesthetics? For instance, someone living in New York will see many more interesting, avant garde outfits and garments compared to someone living in rural Wyoming. Cities like New York, Paris, and Tokyo have become known as hubs for designers and creatives looking to push design and garment development to its absolute limits. Another aspect to consider is that our aesthetic tastes are molded by the culture we come from. A person from Afghanistan and a person from Argentina will probably have differing opinions of what they consider to be beautiful or pleasing. If one were to transport these two people to the latest Ralph Lauren collection, we can all agree that they will have an aesthetic experience, but will it be the same experience. Are aesthetic experiences universal?

Regardless of how you might answer these questions, we can all agree that fashion moves at a blistering pace, trends come and go, new brands pop up, old ones die out, it’s difficult to get a firm idea of the state of fashion. You might have read this and thought ‘why does any of this matter?’ Philosophy as a discipline helps give us a framework for seeing the world and getting the most out of the human experience. Aesthetics is to fashion what philosophy is to life. Aesthetics helps us get more out of movies, paintings, sculptures, architecture, music, and fashion. I study philosophy not to pretentiously explain Kant, but to feel the weight of the human experience.

“Art is the manifestation and affirmation of freedom, because it is free of the darkness and incomprehensibility of finite things.” -Leo Tolstoy

We’ve all seen the people who make videos of their favorite actors and actresses and their looks on the red carpet. This article is an homage to that, but instead of showing the looks, I invite you to read my (short) reviews and find the looks yourself, and tell me if you agree or not. This is not meant to be a critique of any actor or actress in attendance; this is just meant to be my raw, unfiltered truth about every look I have seen and what I thought of them before the media tells me what to think of them.

Enjoy!

Miles Canton: strong color in burgundy looks great, brought his mom, who matched with him, which was so precious

Odessa A ‘Zion: stunning in black and silver beading, great makeup, and hair

Ruth E. Carter: The Sinners costume director, looked very classic and elegant in white and black

Conan O’Brien: The host of the event, is also very classic and would be better with an interesting broach or cufflinks, but overall made up for it with his hosting

Jessie Buckley: I liked the colors of the dress, and the cut makes her look very elegant, and the jewelry works well with the outfit, but her hair is too bright for her face, and it throws off the look

Lou Diamond Phillips: very clean cut and classic

Ginnifer Goodwin and her husband: the black lace was a good choice, and it went well with her hair, but the sharp edges of her dress made it hard to appreciate the details of the dress; the sleeves threw me off because they didn’t match very well with her emerald necklace

Heidi Klum: loved the pearl detailing and her jewelry and hair, but the fit of the Chrome Hearts dress was a little outdated for my taste

K-Pop Demon Hunter vocalists: Audrey Nuna, Ejae, and Rei Ami ate down, loved that they all matched with the black and gold

Zoe Saldana: She looked very simple in black satin and lace, but very beautiful and classic. The necklace doesn’t match and makes me think she didn’t care that much about the outfit

Demi Moore: She reminded me of the neck of a peacock, and I loved it

Kieran Culkin: I loved his brown jacket and brooch. It was refreshing. Hong Kong-based art and luxury Maison, Sauvereign, scores an Oscar hat-trick with 97th Academy awards’ Best Supporting Actor, Kieran Culkin

Hudson Williams: Loved his black-toned Balenciaga suit. This was perfect for his first Oscars

Spike Lee and Tonya Lewis Le: interesting shoes and cassette tapes in his bag, and his suit overall was complex, and the purple touches he had were iconic

Wunmi Mosaku: Very sparkly with a lot going on, and her makeup drew things together by having it match her dress

Kristen Wiig: Looked stunning and very tan in black lace, and I liked the top and the skirt separately, but not together

Elle Fanning: not loving the bun, but the necklace and the white dress were stunning, and I loved how the skirt flowed out

Kelly Ripa and Mark Consuelo’s: He looked classic in a black tux, and she was very glittery, but the top made her look like a box, so it was a little outdated.

Inga Ibsdotter Lilleaas: She was also in black and white, and the sleeves were interesting, but I was not impressed

Emma Stone: beautiful all around, no notes

Melissa Mccarthy: Her dress was age-appropriate, but her hair was a bit too big for her head

Rose Byrne: Her black dress with silver flower details was very classic, but I felt it was something that had been done before, so it was nothing special

Chase Infiniti: loved her look so much, the dress, the hair, the jewelry was all breathtaking

Renate Reinsive- she looked like a red crayon

Felicity Jones: she’s iconic, but the butter yellow and the gems in the back were oddly placed, but it was a bold choice that just didn’t land for me

Arden Cho: The black lace with the green sleeves was one of the most iconic looks on the carpet

Kumail Nanjiani: took the classic tux and turned it into his own, which I adored about his look

Brandi Carlile: interesting suit, don’t know why she’s here, but she was dressed nicely

Misty Copeland: She reminded me of the Beauty and the Beast feather duster, but in a stylish business way

Kerry Condon: Interesting dress, I think the cut was too low for her, but I always love a look with pockets

McKenna Grace: She looked like a princess in pink and was simply gorgeous

Joe Alwyn: Plain tux didn’t expect anything less from him

Alicia Silverstone: This was one of the better black and white looks that I liked, and it was very elegant

Stellan Skarsgård: gave dad energy but very classy look

Bruna Marquezine: Loved the sparkling grey. She looked amazing, and everything about her look was amazing

Wagner Moura: Very classic black suit, but I enjoyed the brooch he had

Nicole Kidman: She was a light pink feathery image that was beautiful

Ariana Greenblatt: Her dress resembled a dirty rag to me, so it was hard to enjoy it, but she was serving face, so that’s what I was focused on

Joel Edgerton: Love the glasses, and the suit was classic, so well done

Ryan Destiny: Her look was just a black velvet dress, but she was serving face, so it worked for her

Isabela Merced: The necklace was nice, but I don’t think it went very well with her leather dress, that’s all

Jeremy Pope: refreshing look in black and white tux, very interesting and stylistic, and went beyond the classic black tux

Rita Wilson: The black sequins were nice, but I could tell that it was not the dress for her, but she was still very classy

Brittany Howard: Very interesting, all black look with pearl detailing, and loved the glasses

Marsai Martin: The color was gorgeous on her, and the overall outfit was a hit with me. She looked amazing, and the necklace tied it all together well

Teyana Taylor: one of my favorites, looks like she was giving zebra but in the best way possible, and I loved everything about her look

Sigourney Weaver: She looked like she was wearing a yellow glittering robe, but the details were cool, so my feelings were mixed

Kate Hudson: I thought she looked like the bottom of a shiny pool

Ryan Coogler: Very classic in his tux and just overall dashing

Kathy Bates: she reminded me of Cinderella; she was beautiful and always timeless

Ethan Hawke: He had a very nice black full suit that was very true to him

Marlee Matlin: Her navy look was not good or bad it was a very neutral outfit for me

Adrien Brody: Nice black suit made it interesting with a flower brooch

Pedro Pascal: The clean face, not gonna lie, scared me, but his outfit was amazing, and I love it when he wears flowers

Rahael Saadiq: Very classic with all black suits and stylish glasses loved it

Auli’i Cravalho: She looked like she was wearing a frown but also giving belle vibes from beauty and the beast so idk how to feel about that

Timothee Chalamet: All white suit was fine, but I was too distracted by his hair that I thought was a wig

Jayme Lawson: Interesting blue feathers loved the color, but the shape looked awkward with the puffed skirt in the middle

Mia Goth: She had an interesting white flowery dress that resembled a gown I would wear at a tea party not necessarily the Oscars and I would have like to see some volume in her hair as well

Josh Groban: Classic tux loved his knight performance look much more

Charithra Chandran: Loved the emerald green on her it was truly an amazing look and one of the best of the night

Paul Mescal: I was disappointed he only had a black tux, but he looked good so that’s all I care about

Li Jun Li: Very red dress but also unique in the fact that it was abstract and flowed around her

Barbie Ferreira: She was gorgeous in the color blue one of my favorite looks as well hair and makeup was also on fire would have done a choker necklace but otherwise it was amazing

Buddy Guy: His overalls were an interesting choice, but he is an old man, so he is allowed to do whatever he wants at this point

Danielle Brooks: Kinda blended in with the background but a very interesting concept that complimented her very well the hair and makeup were also very stunning

Chase Stokes: I loved the red velvet suit, and he looked pretty good compared to his past looks

Ava DuVernay: Had a very bold sleeve but I loved her jewelry and the color and she looked beautiful

Amelia Dimoldenberg: All black sleeveless dress that had a bow in the back nothing special

Benicio del Toro: Very classic with another all-black suit that complemented him well

Goldie Hawn: The dress was beautiful, but I just don’t think it fit her the right way

Steven Spielberg: Very classic and simple with his tux

Michael B Jordan: very interesting jacket and pants and very clean look overall

Kylie Jenner: She had a beautiful red dress look that killed

Jacob Elordi: His mustache was the outfit, and I loved it with his classic tux

Leonardo DiCaprio: Classic tux as well, not as impressive mustache

Damson Idris: I can always count on him to pull something out that absolutely stuns, and he did exactly that with his dark turquoise jacket with fur detailing

Shaboozy: He was very dashing and had a very old-fashioned look

Anne Wintour: She was in her classic glass and bob, and she was glorious in black and white flowers

Anne Hathaway: I loved her take on the black dress with colorful florals. I just didn’t like that there was a belt involved

Gwyneth Paltrow: Very classic in white, and I was relieved she wasn’t wearing a low bun like everyone else

Robert Downey Jr.: Loved him in Emerald Green, and the brooch was stunning

One notable outfit was one worn by Billy Porter during the 2019 Oscars. Creating an almost political message with his outfit, Porter wore a fully tailored tuxedo jacket over a full-skirted velvet dress. This caught the eyes of many, with this outfit combining aspects of masculinity and femininity and making it into one. Porter said in an interview, “What is masculinity? What does that mean? Women show up every day in pants, but the minute a man wears a dress, the seas part.” With this subtle but amazing message Porter’s outfit sets a precedent for years to come and a precedent that has been becoming more normal everyday. The idea that clothing pieces don’t necessarily have a gender to them anymore or the question on what makes an outfit masculine or feminine is a controversial topic among many, which was challenged by Porter’s elegant tux-dress hybrid.

Another historic moment was at the 2025 Oscar awards, where we saw the first ever K-Pop idol, Lisa, make an appearance at the red carpet as well as the first idol to perform at the Oscars where she performed alongside Doja Cat and Raye. Her appearance at the Oscars was after her television debut in ‘The White Lotus.’ Her outfit was different, a unique take on the traditional tuxedo, but made into a floor length dress. It included a white button down that extended into a full skirt, which was underneath the dress-like tuxedo, and accessorized with a red carnation and gold jewelry. Lisa explained how in every red carpet appearance, she is always wearing a traditional dress. So, she wanted to do something fun and unique which is what struck the idea of this custom dress. Her outfit conveys again the idea of androgyny among fashion and how there isn’t a set gender for a look.

One more controversial Oscar look was Lizzy Gardiner’s 1995 Oscars look–a look that consisted of 254 American Express Gold cards. The dress, made up of various gold chains and straps, had the people talking. Some viewed the outfit as straight up tacky, saying it looked unpresentable and inappropriate for the Oscars, and saying it just wasn’t Oscar worthy. Theories spread saying her outfit was satire and a way to take a jab at the excess work and money Hollywood puts into things. Later, Gardiner confirmed her outfit was satire, saying it was a way to bring light to people’s wealth and their use of it.

In the 2024 Oscars, we saw Billie Eilish rock the room with a chic and Gossip Girl-esque outfit following her awards for her song ‘What Was I Made For’ from the 2023 Barbie movie. This outfit didn’t fall short to her previous unique Oscar outfits that came before, following her exquisite and unique style she always follows. With her black and white mid length skirt, coupled with a white button down and an oversized yet tailored black blazer and black leather Mary Jane’s, she gave this preppy school girl look that we haven’t really seen from Billie before. While there wasn’t any clear message with her outfit, it was still a notable one from the 2024 Oscar awards.

The outfits that are worn during the Oscars is a topic that people talk about for weeks following the ceremony and sometimes longer, so with the 2026 Oscars soon to start, lets see what this years participants have to offer.

Madonna, Janet Jackson, Britney Spears, Whitney Houston, Cyndi Lauper, Mariah Carey, Christina Aguilera, Lady Gaga, Ariana Grande, Taylor Swift, Katy Perry, Sabrina Carpenter, Olivia Rodrigo, Chappell Roan, etc., etc.

Now, enter the conversation of a male pop star. A desert landscape. The kind you see those rich nepotism babies posted up on four-wheelers in. Sure, some will say Harry Styles. We can acknowledge the likes of Freddie Mercury, THE male pop star. David Bowie, as well as George Michael. Additionally, Michael Jackson and Prince. All incredibly important. But since the latter five, we haven’t had a defining male star take space in the pop realm. I will state my opinion that Harry Styles poses as a popstar.

I like some of Harry’s music. Objectively, he is talented. However, it often comes across that he portrays aspects of femininity and gender expression to garner comparisons with former peers in this lane. Sort of “Look, I wore a boa… I’m on my way to the David Bowie school of male stardom.” And sometimes it reads as authentic, and other times I feel it is produced by a team aware that Styles possesses the ability to get to this ideal.

I think he could, let me also state. I think Styles needs to really explore whether he has a connection to this aesthetic, because given how his new album is presenting in terms of style (a t-shirt on the cover), it doesn’t feel like he’s still aggressively driven by the appeal of provoking with his fashion, style, and art. I will also state that Aperture was a mediocre return to form for Styles.

As such, I fear with Style’s new album… we aren’t getting anywhere closer to a boy existing in the same lane. Justin Bieber should not even be mentioned in this conversation, because even in the heyday of his critically acclaimed music (Justin has hits!), the effort simply wasn’t there. Dancing on stage with his pants falling off to a grossly understated and easy routine and relying solely on the fact that his teen audience wanted him to be their boyfriend isn’t pop stardom. It’s mediocre.

Mediocre is a great way to steer this conversation to the point of this article. At their core, all of these men deliver a mediocre overall performance. Music might be good, but there’s a lack of drive in aesthetics or performance art. The music might be entirely middle-of-the-road, but they look good shirtless and can flip and perform. At the core of the current male popstar is a sense that no one has the hunger the girls have. Period.

Lady Gaga was performing in IKEA PARKING LOTS. Full choreography with backup dancers. Chappell Roan’s first Grammy performance had her riding a giant horse in a Western set with backup dancers galore. Britney Spears held a large snake over her neck while doing choreography at the VMAS. Madonna, in her forties, did fifteen jump squats at the tail end of her show in heels while singing live. Janet Jackson inspired an entire generation of choreography. Ariana Grande is belting notes live that most men can’t even hit with help from their producers.

Benson Boone does flips. Shawn Mendes pulls out his guitar. Adam Levine takes his shirt off… at the Superbowl halftime show. The same show that, when Lady Gaga did it, she leapt from the stadium ceiling via a harness, landing atop a speaker tower, from which she leapt minutes later, flipping to the stage below. All while singing live. Madonna entered her Super Bowl performance as the queen atop a throne being carried by men across the field, doing flips well into her fifties.

Justin Bieber got on the Grammys stage in his boxers.

As such, there is a drought of real male performers. Someone who authentically feels the art, provokes new meaning, creates meaningful music, and does so in a capacity comparable to the women currently ruling this realm. Luckily, I think we are preparing for the first male popstar in this century.

I want to note before I discuss that Bad Bunny should be considered as well, but I fear the language barrier bars many unwilling listeners from letting him take this role. I want Bad Bunny to be in this conversation, but America has work to do in accepting a Latin male dominating the pop space.

Enter Troye Sivan. Many know him as Charli XCX’s right-hand homosexual. Some know him from YouTube. Some have been with him since his debut album, Blue Neighborhood. I’ve been an active listener since I was a freshman in high school. I used a lot of his music and style to pull myself from the grips of the closet. Seeing a young gay man wearing makeup in his music videos, talk about being gay and longing for love… his initial era of yearning and youth captured my attention as a shy boy in my teens.

I distanced from Sivan as a large listener for a few years simply because Sivan took his time in crafting his next album. I loved the single releases and a few of his EPs. I loved Bloom. But cut to 2023, and Sivan teases a snippet of his lead single for his third album, Something to Give Each Other. Sivan’s previous works teased true artistry. I think both lack in certain areas, and it’s actually totally acceptable in my view, because these two albums represent Sivan’s path to finding a sound that suited his art. I also think that, as a gay male himself, I understand that coming out of the closet is symbolically represented through Sivan’s narrative arc.

Blue Neighborhood is the acceptance of coming from the darkness of a coat closet. Bloom is emerging into the gay community as in one’s youth. Both eras can’t be fully realized because no one experiencing the emotions and meanings of the music are fully realized themselves. I find, looking back, that Sivan’s exploration of his femininity through makeup and expression, as well as his constant experimenting during the early stages of his career, are part of a narrative of his coming full circle in terms of his emergence as a pop star.

Something to Give Each Other began with “Rush”. “Rush” is an intense dance track with a title that reads as a double entendre. Rush being a feeling that Sivan describes sexually as well as homage to the popular gay drug, Poppers. The song is an ode to the gay community as a whole, as is the music video. Featuring a diverse cast of queer and trans people, dancing in loose clothes with skin bared, it reads as queer acceptance at its finest. There are boys kissing boys, girls locking tongues with girls, and plenty of biceps, abs, and ass to gander at. Granted, Sivan did receive some criticism for a lack of body diversity, but it should still be acclaimed that, as a whole, this music video is a feat of bringing pure gay culture to the mainstream. Rush caught on.

Frats were playing “Rush” across America upon its release in the fall. Sivan followed the song with “Got Me Started,” a song that samples “Shooting Stars” by Bag Raiders. In the music video, Sivan performs full choreography alongside his dancers, as he did in the “Rush” music video. The song is upbeat, following in Rush’s footsteps, but it features a bridge and sections that return to the emotional vulnerability that worked on Sivan’s prior albums. It became apparent that Sivan had found a point where his sexuality and star power could intertwine with his vulnerability.

I, and many other gay men and women online, were rallying behind Sivan as the album release approached. And upon its release, Sivan released a music video for the third single from the album, “One of Your Girls”. “One of Your Girls” marks a key turning point in the trajectory of Sivan’s career and persona. This, in my opinion, was where it became apparent that Sivan would mean something moving forward.

In the song, Sivan sings about the struggle of being intimate with a closeted male/a male struggling to come out of the closet. The idea of talking to what is well-known as a “DL” (Down Low man). The song is one of my favorite songs of all time. The way Sivan blends such an emotional topic, universally understood within the queer community, with a production that is entirely inescapable sonically, is genius. And to make it all come together in pure pop perfection, Sivan suddenly appears in drag in the music video.

The lyrics of the song are as follows:

“Give me a call if you ever get lonely… I’ll be like one of your girls or your homies. Say what you want, and I’ll keep it a secret. You’ve got the key to my heart, and I need it.”

He sings these lyrics while dressed in drag. Sivan looks STUNNING. Absolutely gorgeous. To make it even better, Sivan enlists Ross Lynch, famous for being hot, to appear as the male backup dancer… if you can call him that. Lynch lounges back in a chair while Sivan dances atop him and around him in drag.

It’s sexy. It’s provocative. It’s emotional. It’s telling. It’s meaningful. It’s a moment. I remember hearing people who weren’t really tuning into Sivan start to take notice. Sivan began trending on social media for praise of the song and the album. The album is so beautiful. It has a song called “In My Room” with Spanish verses sung by both Sivan and collaborator Guitarricadelafuente. Sivan dips into emotional depths with songs like “Still Got It”, talking about the harsh standards in the Gay community. He dances on tracks like “Rush”, “What’s The Time Where You Are”, “One Of Your Girls”, “Silly”, and “Got Me Started”. From front to back, the album screams identity. And it was successful for Sivan’s career at that point.

“Rush” entered the top ten in Ireland, Croatia, Japan, and Russia. “Got Me Started” charted in the UK and Australia. It was a top ten album in Germany, Belgium, the Netherlands, New Zealand, Norway, and the UK. It also received a Grammy Nomination for Best Dance Pop Recording and Best Music Video at the 66th Grammy Awards.

Upon the album’s release, Sivan initially announced a European tour. I recall my frustration knowing I wouldn’t get to hear “Rush” live. However, upon the release of Brat, Sivan’s close personal friend, Charli XCX’s album, the two announced a North American tour debuting their new albums together… titled “The Sweat Tour”.

I secured tickets for myself and my best friends, Max and Zoe. We went. I still think this was one of the top three concerts of my life. It ranks next to or above Gaga and Addison Rae. This concert was different from both as it read as a rave disguised as a pop concert. People were literally drenched in sweat from dancing. I remember peeling myself out of a full leather outfit I wore that night. The show opened with Charli, and the two alternated. Sivan appeared on the large screen in his drag persona to introduce “One of Your Girls”… at the Chicago show specifically, Sivan joked that he could smell the Poppers from atop the stage.

His dancers wore jeans and were shirtless. Sivan sang into a microphone held where one of his dancer’s penis would hang. The show was as unapologetically gay as his album. It was embracive of gay sex, gay feelings, and gay people overall. It was a place where, suddenly, Sivan and XCX had somehow turned straight people into the minority. The queer dance ensemble that followed Sivan around the world, even beyond the Sweat Tour, in which Sivan performed several festivals and solo shows in Europe after the fact.

It marked a new standing point of something we hadn’t really ever seen. An *openly gay man who was very quickly developing the effects of what we expect from the female popstar. Complex choreography, costuming, fashion, storytelling, and great music. The era rode out, and over the past year Sivan has slipped into the studios, beginning work and nearing the completion of his fourth studio album.

So… where is Troye Sivan going? Not to say that we can for certain expect something from Sivan in terms of how this album is in regard to its story, sonic notes, and overall style… but something I am going to assert is that Troye Sivan knows there is a glimmering cascade of light peeking through a cracking door. One that has barred gay people from occupying this pop star role… despite being arguably the main demographic of this genre.

Artists are begging to have the gays behind them. We saw Katy Perry lose the plot trying to win over the gays… Taylor Swift has positioned herself precariously in a tough spot given her inability to match staunch LGBTQ+ advocates like Gaga or Madonna, who have maintained a grip on the gay demographic through years of continuous activism. And as such, we’ve seen how both careers are entirely lucrative.

Sivan has the queer fanbase. He has the appeal to attract interest from other demographics he previously missed. We watched straight women turn out for Heated Rivalry… demonstrating that there is an interest—a strong interest—in the gay male experience. We want to see men in a non-sexist perspective, which usually is only found in gay men (Not to say there aren’t sexist gay men).

If my prediction skills are serving me, given that I believed Chappell would be big before she blew up with “Good Luck Babe!”, predicted Addison would be big after the leaked EP, etc.. I can assert that Sivan is poised to experience a level of stardom powered by a new readiness for queer storytelling and expression in mainstream media.

If I were Sivan, or on Sivan’s team, I’d see the way the general public has latched onto gay sexuality and gay love and gay personas and let Troye Sivan’s pen and production fly. I’d launch with music videos on the same scale of taste and style as those from his former era, Something to Give Each Other. I’d take to fashion with a staunch hunger. I’d tell Sivan that his moment to bring queer pop to the mainstream is now. Not just music appreciated by gay people, but music made with intention for the queer audiences around the world.

Because, in the same way gay men and women can listen to and relate to straight-driven songs, it is hopeful that, at the very least, I feel straight women will find the topics of Sivan’s future music somehow relatable… marking a new era for pop music. I believe Sivan is the worthiest and poised to be this generation’s first real male pop star, as well as the first openly gay male pop star. I’m excited to see his next move… are you?

I need another song like Rush. That’s all.

The process of applying, let me just warn you, is hell. The University doesn’t tell you anything. They can’t really tell you where you’re living, where your classes are, what your classes are, or when you’ll find out any of this. What they can do is give you an application fee. As such, after applying in November of 2024, getting accepted to go in February 2025, finding out my host family’s names in July 2025, and then getting my finalized schedule two weeks after arriving in Paris… It’s all very much a near-year-long waiting period of wishing that the people would just put you out of your misery.

Regardless, after spending my entire summer working and saving, I flew to Paris. I flew over with my mother, but before I launch into my adventures, I want to go back to working all summer. I’m going to tell you right now—you need at least eight thousand dollars. I’m not sugar coating it. If you want to experience studying abroad truly, you need money. Period. Granted, I spent a lot of my money on clothes, but my friends who didn’t have my shopping addiction used it on travel to other countries. I mostly stayed in Paris, aside from a trip to London during my fall break. But to reiterate, I truly think you need eight thousand dollars—bare minimum—to experience life abroad truly. I spent at least $11,000 transparently. This includes clothes, food, Ubers, clubs, drinks, coffee, etc.

When my mother and I touched down in Paris, we stayed in the fourth. Paris is split into eighteen arrondissements. I lived around the second and the ninth. My French mother housed me in a former private mansion that had been converted into several homes. It was a mid-century home filled with tons of art she’d collected over the years. She was an art dealer in the fourth, which is the equivalent of being an art dealer in the Upper East Side of New York City… she’s selling thousand-dollar paintings to rich women drenched in Chanel No. 5.

I didn’t get to move into my room until September sixth, and I arrived in Paris on August twenty-ninth. So for around a week, I was living out of three overweight suitcases. It was hell. But as I first stepped out onto the balcony of our hotel room, overlooking the streets of St. Germain, I fucking gagged. I gagged. That city is truly exactly how it looks in the movies. They must have a gay creative director running the city’s aesthetic like the Navy. Everything is so uniform and belongs together.

My first few days were spent tirelessly exploring the city. We flew in and kept moving because of the 7-hour time difference between Paris and Illinois. So we began our travels at five in the evening and arrived in Paris at nine in the morning. I didn’t sleep, essentially, for over twenty-four hours. But I don’t regret a second of it.

I shopped so quickly. I shopped so much during my stay in Paris. I clocked in at forty-one jackets that I purchased across Paris. Many came from Kiloshop, which, if you’re ever in Paris, I really recommend if you like to thrift.

On my third day, I was required to attend this overly long introductory orientation. Granted, I still probably hold the view that this was unnecessary because I was so desperate to get out into Paris on my own, but regardless, this was where I met my girlfriends for the semester. One of my favorite people came from this experience—Jess, who shares my interest in being grossly chronically online. I’ve actually never met someone who understands nearly everything that comes out of my mouth like her.

We all went out together the first few weeks, nearly every other night. We started at this dive bar that ended up closing for construction, loved this club called Fitzroy across the street from Pachamama… which we also liked—it took time to grow on me because the music wasn’t very good. It’s a six-story club that drops smoke from the top floor down to the base level through the opening-wrap-around balcony ledges overlooking each descending level. It was sickening.

Then, towards the end of the first week, our study abroad group went to dinner, and I got wasted on red wine. It was actually so ridiculous, especially given that it was with our advisors who had been strangely staunch on advocating against drinking too much while abroad. Meanwhile, Drew was going to the other tables asking for their full pitchers of red wine to drink as my table’s had already been downed.

Somewhere in the middle of this week, though, I am forgetting a massive welcoming moment in Paris. I went on stage with Addison Rae. I feel sometimes like I’ve beaten this to death, but in truth, this is an example of intense manifesting and also a moment where I gained a new level of confidence in my style, persona, and fashion.

I’ve been a fan of Addison since her EP leaked. It was all over Twitter in early 2023, and I loved the scrapped Gaga song she cut called Nothing On But The Radio. I also loved “2 Die 4” and “I Got It Bad.” As such, when she released Diet Pepsi, that ending key change genuinely made me believe she was going to do something special.

As such, when she released her singles in early 2025, I began thinking about what I could wear for a hypothetical tour she might embark on. I sketched a design blending aquatic sirens with an eighties tutu skirt. It referenced one of the outfits she wore in the music video, which was shot in Paris (I actually visited the alley where she filmed the dance sequence), but it was also entirely inspired by films and themes I had been exposed to. I liked the wedding effect Madonna created when she performed “Like A Virgin” in the eighties. I liked the mask effect that reminded me of one of my favorite films, Eyes Wide Shut. As such, when she announced the tour, I secured tickets and began crafting the outfit.

I sewed the tutu, had the shell bra made, and commissioned the mask. When the night of the concert rolled around, I arrived at the venue and realized very quickly that the French didn’t dress up as Americans did for concerts. I got a lot of strange looks, I’ll admit. I’m used to being looked at, though, so I swallowed it and found my place in the line. I had pit tickets. I stood in line waiting, talking to a mother and her daughter. The mom actually told me that her daughter loved my outfit and wanted a picture. I spent some time speaking to them, when suddenly a girl with an Addison badge came up to me and asked if I would do a social media quiz/question. I asked if she was with Addison’s team, and she said yes.

They asked about how I liked Addison Rae’s music, what I enjoyed about her, etc. I answered. Before she moved down the line, she also asked for a video of my outfit. She said she loved my outfit and said she’d show it to the team backstage. I laughed it off and thought quietly that it’d be insane to get on stage for the Von Dutch scream.

The doors opened, I got inside, and I was about five people back from the stage. I was so excited. Granted, this album defined 2025 for me entirely. It’s one of my favorite albums ever. It’s so intuitive and intrinsic in its emotional awareness and assertions. It helped me through my parents’ separation while I was abroad in Paris. So getting to hear it live was already such a dream.

About ten minutes before the show, I felt a tap on my shoulder. Her manager had found me and asked if I wanted to come on stage for Von Dutch. I said yes. During the fourth song I went backstage with her male dancer, Patrick, and they briefly explained what we would do… walk out, scream after the countdown, and then go batshit crazy. I remember feeling more anxious backstage than on stage. It felt entirely intimate on stage, really. I stood before eight thousand people.

Addison squealed when we walked on stage, asked our names, and then asked if we were nervous. I shook my head no. In the video, you can hear her say “Not nervous?!” in response. I wanted to be confident, so I was. I wasn’t nervous. I looked perfect for the moment, and I was ready to bust my fucking vocal cords. She counted down, and we screamed. I dropped to my knees, swept the stage with my feather tucked into my mask, and then, as the screaming sequence ended, she pulled us in for a picture.

I was smiling so big in that picture… didn’t even have a chance to have a mog off with Addison. After the fact, she told me that she loved me, loved my outfit, and hugged me so tightly. She smelled so beautiful, and she’s shorter than I am… if that gives you any reference. I was very shocked by how short she was. But she’s so beautiful. Genuinely stunning.

And then we walked offstage, I got my “I Screamed On Stage With Addison Rae” shirt and enjoyed the rest of the concert. My friends couldn’t believe I was on stage. I have a screenshot of my best friend Max’s story of that night. He was the first person I told I’d be going on stage besides my mom. It was ridiculous. One of the coolest experiences I’ve ever had in my life.

A real welcome to Paris.

A few weeks later, Paris Fashion Week was quickly approaching. I used the momentum of Von Dutch to launch a campaign on my TikTok to intern anywhere near Paris Fashion Week. Luckily, my on-stage video caught the eyes of the designers at a fashion house called Shan Huq, based in Paris, which had shown at Paris Fashion Week the year prior. This year, they weren’t doing a show, but they still were submitting to the Paris Collective for the season. They offered me a two-month internship, and suddenly I was also living the life of Andy Sachs from The Devil Wears Prada.

I spent hours hauling large rolls of fabric and patterns to different sewists, relaying messages, and doing errands for them. I also worked the shoot day with the models and the fashion. It was one of the coolest parts of being in Paris. The fact that I can plausibly say I was a fashion intern during Paris Fashion Week is such an insane sentence. Still, I’m incredibly grateful to have been given the opportunity by Shan and Mikael. And the internship ended with a very kind letter of recommendation and experience to put on my resume for applying to jobs post-grad, which I’m doing now.

I also spent the semester competing in a competition I was selected for, hosted by Elton John. It was a fashion competition where the winner would receive $20,000, a trip to Milan for the Spring Versace show, and a spread in Flaunt Magazine. I didn’t win, unfortunately, but I made the top twenty out of one hundred applications that were selected. It was another moment I felt my style and fashion aspirations were being seen in a greater capacity. And this competition pushed me to work harder and to show out even harder.

I wore a collection of different outfits. I made a whole look out of newspapers. I had a look with black heels, striped tights, a black suit, and a French-bob wig with a red painted face. I wore a Dior-Galliano-inspired fur, white-powder-faced look. I made a rain-cloud-inspired piece. I made each day of class an opportunity to show further my ability to style unique pieces.

A big thank you to my friends who took photos of me the entire time in Paris. I love you.

Class was so minimal that I spent most of my time shopping, roaming, writing, plotting, exploring, and drinking. I would go for nightly walks to the Eiffel Tower when I was anxious, and I’d take the three to Jess’s studio apartment in the eleventh arrondissement.

I took a trip to London in October and went out to a gay club by myself. I’ve done this a few times, and the more I do it, the less it scares me. To many, going out on your own is a death wish. For me, it’s startling but still offers an opportunity for fun. I had been wanting to go to Heaven in London, a popular gay club. Jess and Monica, who came to London with me, were exhausted and fell asleep in the Uber on the way home from dinner. As such, I put on a cream halter tank top, black pants, a fur coat, and walked to the club.

Upon arrival, I took two shots, then entered the dance floor to Whitney Houston blaring. It was heaven. These girls immediately approached me and took me in, asking why I was alone. I said my friends were tired, and they then said, “We’re your friends.” Sarah and I still like each other’s stories and chat across Instagram.

That night, I also ended up almost pissing myself. There was a guy dressed in prosthetics as Pennywise. I took a picture with him, took more shots of vodka, danced to Janet Jackson on the club floor, and soon watched a drag strip show with a contestant from the then-airing season of Drag Race UK—Sally TM. After the strip show, I ended up flirting with a British boy. I honestly didn’t date at all while I was studying abroad. Not that I didn’t have my eyes opened, given I was somewhere where there was actually an existing dating pool… but it was all very new to me. I’ve always positioned myself as entirely ambitious, and Paris felt more like an opportunity to take my fashion and persona higher than I had ever felt it reach before.

It was the smoke breaks we’d take during our three-hour French class, the vintage designer thrift strip in the third, it was the metro rides across the city, the French affect we’d continuously repeat as our vocal stims (Just making vowel sounds because the French don’t say ‘um’).

It was an insane and intense time in my life. I was constantly aware that I had to make the most of it. Which is why I think I posted more than one hundred times while in Paris. I genuinely was that busy. I spend time curating a little photo collection while I’m in Illinois, because there’s less to see. In Paris, I could go for a walk and have a full-twenty post ready in an hour. I loved photographing the city. I loved being photographed with it. I loved the clothes it brought me. I loved the way it made me feel.

But it’s a tragic thing, studying abroad. It’s a blip in one’s life where you don’t feel the responsibility of really settling down somewhere new and exciting. It’s a moment when you get to experience the world without responsibility. I literally, and I’m being completely transparent here, probably paid fifteen percent attention overall to my classes. I passed them all with As. That’s how easy the coursework is. Granted, I did have to contribute maybe a week’s worth of homework, studying, and exams across the entire semester, but still.

I’m so grateful for my time in Paris. It was a life-changing time for me. It was also exhausting, which is why I’m not outside right now. If I could persuade you to consider studying abroad, I would get on my knees and beg. It genuinely changes your life. It changes you. It changes the way you approach everything. I loved Paris, and even though I don’t know when I’ll be back, it gave me so much perspective on who I was and who I could be.

It pushed me to New York. It pushed my envelopes on all accounts. It strengthened my will and guided my ambition. And it drained my bank account.

The Olympics, naturally, gets a ton of global coverage every time the event occurs. But I noticed something different this year, and that is the specific coverage that a few countries were getting on their uniforms. As a fashion connoisseur, it is my natural responsibility to keep an open eye on recent and intriguing fashion developments. In particular, the relevance of fashion blending into sports is growing fast, and how it influences audiences is especially interesting.

Mongolia and Haiti chose to take the route of intentional costumes, or, creating a certain image that the media can then interpret, analyze, and create discourse about—ultimately, using the power of fashion as media to create a distinctive and memorable identity for their team.

Starting strong with this hand-painted look from Italian Haitian designer Stella Jean inspired by Édouard Duval-Carrié, a Haitian painter and sculptor. What we are looking at is “the very symbol of the Haitian spirit,” says Jean—a red, riderless horse, framed by a tropical scene of jungle-esque greenery and a vibrant blue sky, paired with a traditional Haitian tignon headwrap, capturing the naturistic values of the image that is created through the artistry of Jean.

You don’t have to know much about Haitian culture to understand the message that is being sent through this ensemble, which is one of the powerful aspects of fashion as media—especially when the media, the Olympics, is one that is globally ingested. The use of color and silhouette are powerful aspects of sending a message through clothing, with the red horse being a source of open interpretation through its distinct color and the ballroom gown-like shape of the coat, as well as the identical patterns of the chunky boots and tall headwear becoming the foundation of the outfit.

As seen in the original painting, the horse has a rider—however, the lack of the rider in the uniform gives viewers a sense that the person wearing the piece is the rider, the dominator, the person in control—revealing the power behind this look at such a significant event in the world of athleticism and competition.

Next, Mongolian brand GOYOL Cashmere delivers a collection of intricately woven designs, drawing inspiration from the Great Mongol Empire of the 13^th-15^th centuries. GOYOL’s Instagram post features a powerful quote that reflects the intention behind the design: “What We Carried Through Winter—We Carry to the World”. Their Instagram post highlights how reintroducing ancient Mongolian clothing culture to a global stage assists in preserving essential elements of their nation’s history.

Haiti’s use of historical values lies in the imagery of the outfit, but Mongolia takes a different approach by entwining their historical values into the materials and silhouettes created. Honoring the use of traditional Mongolian cashmere pays tribute to their ancestors who relied on this divinely created material to endure harsh winters. The high neckline to protect from the wind, the skirt slit to ensure freedom and avoid confinement, and the silk trimming embroidered with traditional motifs are all highly intentional. This ensemble was ceremoniously crafted using the most refined and historically important materials in the country. This creates power: however, the careful use of patriotism, attention to detail, and dignity that went into this ensemble makes it one that has the power of authenticity—one that reflects resilience and dominance—an intimidating presence to showcase at the Olympic games.

Both countries are small and can be seen to have less prestige compared to bigger countries such as the US, France, and Italy. Fashion has no language barrier—it is a universal language that can be spoken and fluently learned by anyone. But not everyone has the capability, knowledge, or capacity to understand the value of clothing as a language.

For people who feel like the media doesn’t allow their voices, culture, and lives to be visible over others, using fashion during such a ubiquitous global occasion to make ambiguous statements through intention, passion, and authenticity gives them space to solidify themselves as a culturally significant moment in history.

The attention, coverage, and visibility that these teams have received because of their unique collections gives them a louder voice and makes their presence felt more heavily at the Olympic games.

Other teams may be getting the gold, but the gift that Haiti and Mongolia receive are much deeper than accolade—it is eternal.

The City of Chicago is filled with people all with different backgrounds, and therefore all have different tastes in fashion. From the corporate hustlers, to the chic cafe goers, the fashion scene is never dead in Chicago.

With intricate fashion ideas come years of history and woven ideas from creative talents like Coco Chanel and Paul Poiret, who had a significant role in the creation of the chic ‘flapper dress’ in the early 1920s. With the creation of such iconic pieces of clothing come fashion trends and eras that revolve around pivotal trends we see in cities–like the vibrant city of Chicago–it has become a focal point of diverse fashion trends.

While corporate and chic hold out strongly in the heart of our city, where shops down Michigan Ave cater to trends like these, as we venture out into the surrounding neighborhoods of Chicago, we see older and newer fashion trends. From Hip-Hop, skater streetwear, to alternative punk rock and performative matcha drinkers, we see combinations of outfits created by the creative minds of Chicagoans. A common fashion trend seen worn by Chicagoans is modern streetwear, derived by the New York City hip-hop scene in the late 1970s. Comfy, baggy, yet still stylish, streetwear today has been reimagined by so many others, like skaters and K-pop idols, influencing others to hop on this major fashion trend.

The various styles that the Windy City houses aren't defined by just these few styles, but thousands of varieties of these styles on top of them. The fashion derived by the different cultures that shape Chicago all hold a significant role in the diverse styles we see in the city everyday.

Madonna is like Jesus Christ.

That’s a bold claim, but in truth, when her name is uttered in conversation, it feels prolific and yet lingers with mystery. We, as a society, recognize the epic of someone like Michael Jackson almost instantaneously. His legacy feels undisputed, despite allegations of child molestation and assault. If one were to play a Michael Jackson song, the majority would receive a signal to their brain to recognize the brilliance of the art, thereby present. Undoubtedly, he can be considered the King of Pop.

As such, we utter MADONNA.

We think of a few songs, maybe. We think of her dressed in the Marilyn dress or, perchance, Vogue. However, most hardly know who she is. We know Michael. The light voice. The face. The shy personality. The dance moves. The effortless star power. We don’t recognize the same mentions in Madonna.

Hence, why I compare her to Christ, there is a very singular idea of her. We think of Jesus, we think of him nailed to the cross. We think of Madonna and picture very precise, and arguably less significant, moments in her career.

As someone who has been consumed more so by the spirit of Madonna than I ever have by the spirit of Jesus Christ, I can attest simply that society does not realize how much better off we’d be as people if we listened to and observed Madonna’s prolific life and career. As such, I assert that my generation specifically would be better off listening to Madonna… we just need someone to push us into her corner.

Madonna began her career as a dancer in 1978, moving from Michigan to New York. What many don’t know about Madonna is that her early years were burdened by traumatic event after traumatic event. The first year she lived in New York, she was held at gunpoint and raped on the roof of a building. She had been dragged up with a knife to her back. Her apartment had also been broken into three different times. She jokingly says she eventually stopped locking her door because she felt it was pointless. She felt the city did not welcome her with open arms, but she felt entirely energized and enthralled by New York’s aura. From her Harper’s Bazaar issue, she states, “I felt like a warrior plunging my way through the crowds to survive. Blood pumping through my veins, I was poised for survival. I felt alive.” This is quintessential Madonna as one of her self-proclaimed sons. She’s always been this way.

She paid her rent posing nude for artists and selling her body essentially. Looking back, Madonna has remained shameless and unapologetic about her early and arguably desperate years. As such, she formed bands initially to perform in before launching into her solo career in the early eighties. In 1982, she released her first single, Everybody, and followed with her debut album, Madonna, in 1983. The album, though you might claim it is obscure to a young mind,

features hits you’ve heard. Lucky Star and Holiday are arguably the most popular from the album, but it also features hits such as Burning Up and Borderline.

Madonna made her debut on American Bandstand. Airing in the eighties, the show featured a young Madonna dancing to the hit Holiday. After the fact, the host, Dick Clark, interviews an adolescent Madonna, asking her what’s next in a career many had no idea would have such implications… and what did she say?

“I want to rule the world.”

And thus, Madonna followed her debut with Like a Virgin, her second album, where she famously rolled around sexually in a wedding gown on the MTV Music Awards stage, shocking audiences around the United States with the provocative nature that had yet to be seen from a female star. Before Madonna, she would’ve been a whore and satanist propaganda there primarily to sicken the minds of the youth. And that’s exactly what Madonna became to many. But she had a hold on most that they simply couldn’t deny.

True Blue came soon, where gone were the light brunette curls, and entered the platinum blonde ambition Madonna is starkly known for today. At the time, what was already stirring controversy, Madonna added fuel to the flames by asserting herself in the conversation that dominated a large part of the eighties and so forth: The AIDS Crisis. At the time, no one was talking about Aids in a way that wasn’t derogatory or defamatory. Those who had Aids were largely blamed for being homosexuals, and it fostered a new era of anti-gay sentiments. Madonna, from beginning to now, has never once been homophobic. On the contrary, Madonna has consistently had gay backup dancers and gay friends who have acted as her guardian angels. One of her best friends, Martin Burgoyne, was a gay man who lived with her in the eighties. He died when he was twenty-three years old. I write this as a twenty-two-year-old gay man. Stricken by the tragedy, Madonna’s first single off True Blue was a song called Live To Tell, detailing how AIDS was fundamentally devastating an entire community of innocent and good people, like her friend, Martin. After the fact, Madonna became the first, for a long while only, major star to advocate for safe-sex, advocate against the ill-planned celibacy initiative sweeping the nation, as well as active research into the virus…

She was extremely particular, in addition, about destigmatizing and removing the stigma of AIDS. People shamed her, people boycotted her, protested her… but she kept pushing. Papa Don’t Preach and Open Your Heart followed True Blue, cementing more iconography for

Madonna’s growing musical offspring. So much iconography comes to mind when discussing the True Blue era, which is why it has become one of my favorite eras and albums of hers. The Open Your Heart music video, where she is an exotic dancer at a peep show, sporting the iconic cone bra, and a scene where she sheds a black pixie-cut wig to reveal her platinum blonde… marking a transition period for what was to come.

Following True Blue, Madonna never slowed. Her fourth studio album, Like A Prayer, came out, and the Blonde Ambition tour followed. This tour is… the definition of legendary. I really need that to be clear. Artists Did. not. Tour. Like. They. Do. Now. Before. Madonna. Before Madonna, it was customary to have dancers, yes, and to sing live… but the theatrical nature many concerts possess with elaborate sets and costume changes and story-telling right on the very stage the audience cheered for was non-existent. Madonna ushered in the era of concerts we know to this very day. This tour set records, including the highest-grossing concert documentary from her film Truth or Dare, which took fans behind the scenes of the iconic show and gave glimpses into the lives of her dancers.

The Rolling Stones called the show an “…elaborately choreographed, sexually provocative extravaganza.” Many criticized her, specifically religious groups, for how sexually explicit the show was. Granted, this show began in 1990. During Like a Virgin, Madonna stimulated Masturbation on a bed with two male dancers accompanying her. In 1990.

In. 1990.

Madonna continued working and pushing. She was the most profitable artist at the time and, to this day, remains the best-selling female artist of all time. She released The Immaculate Collection at the end of 1990, a compilation of her hits for the public. The album sold 30 million copies worldwide, making it the best-selling solo artist compilation and one of the best-selling albums of all time. Justify My Love and Rescue Me were two bonus singles released after the album, and the music video for Justify My Love only further established Madonna as the key provocateur.

In Justify My Love, Madonna moves throughout a hotel hallway while seeing images of sadomasochism, bondage, gay sex, and nudity. The video became one of her first to be banned on MTV, marking a turning point in Madonna’s career. The controversy, however, shot the song straight to number one on the Billboard Hot 100, making it her ninth of forty-four number one singles. For reference, Taylor Swift has only 13 number-one singles thus far.

At this point in her career, Madonna was nearing leaving her record deal with Warner Brothers. At the time of her signing, female artists received less than 10% of their royalties. Madonna, for reference, in her first ten years at Warner Brothers, became equal to Bugs Bunny in terms of profitability. Bugs Bunny was Warner Brothers number one entity at the time, meaning what Madonna did… sold. And sold big. Terrified of losing such a commodity and artist, Warner Brothers allowed Madonna to start her own sub-label under the company called Maverick, as well as paying her $60 million in advance and increasing her royalties to 20% moving forward, which was the highest any artist had been making at the time. Madonna’s label signed well-known, mega-successful artists like Alanis Morrissette and Michelle Branch.

Following such, Madonna released her fifth album Erotica…

changing everything. The album was released subsequently with a coffee table book titled Sex… or Madonna’s Sex Book. Shot by Steven Meisel, the book is a collection of photographs picturing Madonna nude, in sexual remarks, and sexual remarks that feature BDSM, Homosexuality, and in no better terms… Erotica. The album was a sexually driven collection of works detailing Madonna’s desires, lusts, and female sexuality. This album was so jarring to the public in 1992 that it drew in huge waves of negative reactions. However, in true Madonna fashion, it reached the top of the New York Times Best Seller list. However, the controversy surrounding the book stunted Erotica’s chart life, making it her lowest-selling album of all time, and it debuted at number two on the Billboard 200. It had two singles, Erotica and Deeper and Deeper, both of which tapped into the top ten of Billboard’s Hot 100. At the time, Madonna was dating rapper Vanilla Ice, to whom she proposed… They never married, and the two split on saltier terms. Granted, Ice claimed he was featured without his consent in Madonna’s Sex Book.

Following the album’s release, Madonna embarked on the Girlie Show tour, which had only three shows in the United States due to the controversy surrounding the album. She performed the show partially as a whip-bearing mistress by the name Dita, who is Madonna’s sexual alter-ego she introduces audiences to in the song Erotic… via my favorite lyrics by her, “My name is Dita… I’ll be your mistress tonight…” She appeared on the David Letterman show in 1994 to promote the album and tour. She once more stirred controversy after using harsh profanity that failed to be censored immediately, as well as handing the host a pair of her underwear and urging him to smell them. Around this time, she briefly dated Tupac Shakur.

Bedtime Stories, her sixth studio album, followed Erotica and explored nineties R&B influences and trip-hop sounds. It was gentle, but still explored themes of sexual nature and femininity. The album, given her fall from public favor following Erotica, debuted at number three on the Billboard 200, but it still produced two top-three singles, Secret and Take a Bow. She filmed the movie Evita in 1996, which earned her a Golden Globe for Best Actress in a Musical or Comedy.

After the birth of her first child, Madonna became deeply interested in Eastern mysticism and Kabbalah… which directly inspired her seventh album, Ray of Light. The album is still, to this day, entirely ahead of its time and revolutionary, featuring modern dance-pop sounds with British rock influences and techno sprinkled in. The album was universally praised and debuted at number one in 17 countries and number 2 in the United States. It was the highest first-week of sales for a woman at the time.

Ray of Light marked Madonna’s first wins at the Grammys for Best Dance Recording, Best Short-Form Music Video, and Best Pop Album. At the time, Madonna established the Ray of Light Foundation, a non-profit focused on women’s education, global development, and humanitarian aid.

Following this, she released the album Music, which was a critical success in the United States. Following Music, she released her ninth album, American Life, which was arguably her worst-selling album at the time, given its themes of her dissatisfaction with American society. At the time, the conflict with Iraq had delved the country into a pro-war propaganda period, and Madonna’s stance of anti-war was so jarring that it led the album to face scrutiny. Around this time, she also famously kissed Christina Aguilera and Britney Spears at the MTV Music Awards. During this time, she also wrote five children’s books, which became the fastest-selling picture books of all time, with proceeds going to children’s charities.

Madonna followed with Confessions On A Dancefloor in her forties, facing ageist remarks from the media and audiences. Following an accident while horseback riding where she broke nine ribs, Madonna turned right around and filmed the dance-heavy Hung Up music video, which reached number one in a record-breaking forty-one countries. Madonna launched the Confessions tour following its release, grossing $ 193.7 million, the highest for a tour by a woman at the time.

Madonna continued to release records such as Hard Candy, MDNA, Rebel Heart, and Madam X… all of which saw lesser commercial success but still had hits spanning the charts and further legacy being implemented in Madonna’s career. And in this year of 2026, Madonna is set to release her fifteenth studio album, currently titled, Confessions On A Dancefloor Deux.

Of course, this is all glossing over a career spanning nearly forty-six years… but it touches on the points that makes Madonna a living legend. The undisputed queen of Pop Music. Arguably the most influential artist ever to exist in modern music. One of the most visionary artists ever to roam this earth.

So… why does the youth yearn from Madonna?

Madonna, in my remarks, has a different emotion that exudes from her in every capacity, beyond just her music. It’s hunger. Hunger for more. I don’t quite know an artist, besides possibly Lady Gaga, who has been so unapologetically hungry for all aspects that come with being a star. People might suggest Michael Jackson, Prince, Taylor Swift, etc., but I disagree. Those artists are generationally talented and working beyond hard, but none show such a reverence for the good, the bad, and the desperately ugly of life in the public eye.

A woman hellbent on ruling the world, isn’t there something so deeply inspiring about seeing this woman, when she was in her early twenties at best, telling audiences around the world only months after her debut album, that she simply dreams of ruling the world. Not just dreaming… she wants to rule the world.

I interviewed Advertising Professor and Department staple Melissa Peacock, who saw the singer on her most recent Celebration Tour, to which she remarked, “I first saw her in 1984… sometime around then she had taken Michael Jackson to the Grammy’s—very the Who’s That Girl era… and the first song I remember… just that first album with Borderline, Lucky Star…” and in regards to the show, she said, “This was a bucket list item. It was amazing. Once in a lifetime kind of thing… start to finish. Bob The Drag Queen opened the show, she did this amazing rendition of Live To Tell with an Aids memorial attached… and she closed with Bitch, I’m Madonna, and you could just tell she was there for it. She wanted it still.”

I never knew how important Madonna could be as a centrifugal persona in my life until I realized this. I consider myself viciously ambitious… riddled with raw desire for success and opportunity… and so, as I began to realize this energy that exudes from every pore of this woman… it felt like a beacon of wanting… needing…

And Madonna has given me my true unapologetic nature… which I implore many to take from her as well. Guilt is something we all find ourselves strangely consumed by, given that our society is so ashamed of average things… so why be guilty? Is being sexual, a key part of human nature, worth feeling guilty? Is something existing in your body, something put there naturally, a reason to feel guilty?

Erotica is my absolute favorite era of Madonna’s because it has opened my eyes to my own forms of prejudice and purity culture that still linger in my brain. I left that album with a newfound appreciation for erotic things, for sex, for my own body, and the way it can make me feel. I feel no shame in admitting it either. What is there to be ashamed of? We all orgasm. We all have fantasies. Whether they’re more extreme or not… and why are you so offended hearing of another’s?

There’s an interview during the Erotica era where the interviewer is criticizing Madonna for a photo in which she is masturbating in the Sex Book. Madonna turns the shame onto him and asks why he is frightened of it. The interviewer, a man, cannot explicitly give a reason. It just is strange, scary, and not correct in his mind. Madonna continues to ask “WHY.”

Why is it controversial for a woman to enjoy her own body? To make herself feel pleasure. Why are you offended at the sight of a woman giving herself pleasure? Why. Why. Why.

The youth yearns for Madonna because Madonna is a mirror to society. She displays what society considers the worst, the most devious, the most provocative, the most important subject matter before us… and asks why we think the way we do when we see what we see. Why does a woman strengthened in her own sexuality threaten the average person? Why does a woman in power threaten people? Why is it wrong for a woman past thirty to still make music? Why a woman leading the way is wrong?

Madonna should be a necessary pick up for every single person under the age of twenty-five… given the grotesque red pills infecting younger generations around this country, pushing them to republican viewpoints and grotesque conservativism. I think, on the contrary, everyone should listen to Madonna, who has infected many, including myself, with a virus that only made me more woke than I already was. My opinions on nudity, feminism, sexuality, homosexuality, masculinity, and expression have all become so open and nuanced through allowing the spirit of Madonna to consume me.

And this could happen to you! All for the small price…

Kidding.

You yearn for Madonna, and you just don’t realize it.

(That’s the closing, satisfying line of my article, but I am going to provide you with a list of songs to begin your journey into Madonna-ism slowly.

Madonna songs I recommend based on emotion:

Dance:

- Music (Electronic with insane production).

- 4 Minutes (Timbaland and Justin Timberlake features).

- Vogue (I mean, come on).

- Express Yourself (Come on girls… DO YOU BELIEVE IN LOVE? BECAUSE I’VE GOT SOMETHING TO SAY ABOUT IT. This song’s great for if you have a boy in your life that is acting like a man when he needs to act like a human being with emotional understanding and awareness).

- Hung Up (Pop perfection) .

- Open Your Heart (So fun to dance to at a pregame).

Dancing In Your Bedroom:

- Like a Virgin (The song where she rolls around on stage in a wedding gown. Roll around on your bed).

- Lucky Star (Eighties perfection).

- Burning Up (Getting ready song).

- Material Girl (Getting dressed song).

- La Isla Bonita (Cleaning while dancing).

Walking Around Songs:

- Human Nature (If you want to feel no shame/become unapologetic).

- Secret (I think this song sounds like Something In The Way by Nirvana).

- Rescue Me (Delta Work’s favorite Madonna song).

- Fever (90s house perfection).

- Angel (Such a unique song from Like a Virgin).

- Inside of Me (90s Triphop… need I say more?).

Feeling Your Sad Oats:

- What It Feels Like for a Girl (Genuinely a perfect song).

- Frozen (so beautiful).

- Little Star (This song is so personal to me and always calms me down when I have anxiety).

- Rebel Heart (If you feel misunderstood and alone, this is a beautiful ballad).

- Live To Tell (Genuinely a hauntingly beautiful song).

DREW’S FAVORITE SONGS:

- Erotica (My number one Madonna song of all time. This near-spoken track from the nineties about sex is just… wow. This song changed my life).

- Deeper and Deeper (Insanely fun song to dance to. Twirling is mandatory).

- Vogue (Girl… this song is probably one of the best songs ever made, let’s just be honest).

- Borderline (This song is so sweet and special. I think it’s my dog Charlie’s favorite Madonna song).

- Papa Don’t Preach (If you want to be dramatic boots, press play).

- Open Your Heart (One of my favorite songs ever… it’s just so beautiful. Like yes, open your heart to me! Baby! I’ve got the lock and you turn the key!).

- Music (I go fucking insane during the instrumental break at the bridge and outro).

- Jump (Great song for graduating seniors of College/Highschool… the main line is ‘are you ready to jump? Get ready to jump. Don’t ever look back, now baby’).

- Ray of Light (My best friend Zoe’s favorite Madonna song… so insanely euphoric).

- Sooner or Later (Jazz moment from Dick Tracy).

The internet, specifically the platform TikTok and its billions of users, has adopted the term ‘performative’ as a frequent slang term in their 2025-present cues. Different points of origins come to mind, stretching from the idea of performative, matcha-latte-drinking men dressed in styles that evidently took effort… or to those viewed as performatively niche in other senses: those who always happen to like the artist you’ve never heard of… or are always wearing a shirt they can’t disclose the brand name of because “it’s so underground… you’ve probably never even heard of it.”

Regardless, the idea of us as humans putting on personas, both online and off, is a thrilling and yet inquisitive matter. It raises the question… who is really performative, what does it mean to be performative, and is everybody strictly performative or is trying suddenly in style?

The concept of being performative hasn’t always carried such a negative, judgmental tone in society… and it began primarily with a target on a male manipulator’s back. Imagine the matcha-sipping boy dressed in evidently thrifted jeans, a perfectly vintage flannel button-up with tinted sunglasses that look as if they were bought at an old woman’s garage sale. And he’ll make sure you know that’s exactly where those shades are from. This is the dinosaur of performative individuals in the eyes of internet culture.

As more and more men of this variety began popping up, presenting photo dumps across social media with radio’s playing Lana Del Rey to showing off their ring and jewelry rotations, many women started sounding a necessary alarm: A tiger cannot change its stripes… meaning that despite an ode to positive masculinity, or an appreciation of femineity, these men were still going to ghost you over text or cheat on you. As such, this short-lived era of the rise of Lana-Matcha-Men was quickly met with adequate pushback of the feminine kind… and rightfully so.

Women are subjected to the cruelties of men as it is… a sneak-attack was hardly what they needed. However, as this war of women and the performative men hit a boiling point, in tune gay men… where suddenly the question of queer-performance came into play. Previously, it was alluded that this idea of performative-ness began only with these butter-yellow-cardigan men. Still, in truth, I recall the first encounter I had with the concept of male performance as such:

Harry Styles.

Upon the beginning of his solo career, Styles adopted a more feminine approach to his fashion and brand. Notes from Freddie Mercury were sprinkled throughout his albums, especially during his massively successful tours. At the shows, Styles would wear sequined jumpsuits while his adoring fans came dressed in hot-pink boas and shimmering, fringe-filled dresses. At the time, many in the queer community began raising concerns that with Style’s unwillingness to label his sexuality, he was indeed profiting off of performing as a queer man without owning everything else that title entails.

As mentioned previously, with elements and obvious inspirations taken from someone like Freddie Mercury, Styles was the first ever to be deemed the performative man. It’s a complex place to begin this phenomenon because… is Styles really performative? I go back and forth. On the one hand, sexuality is deeply personal, and he owes no one an explanation. However, given the rich history and culture in which Styles dips his toes and the payoff he receives for doing so, it sometimes feels a tad… performative.

Reverting to the conversations arising once more on TikTok, this idea of being performative slowly built up steam until we moved beyond just Styles, Pinterest-Papas, and Loafer-lads…suddenly, it wasn’t just the men of the world. Enter Addison Rae.

Addison Rae, known originally to most as a rising star in the 2020 era of TikTok Influencers, was branded on-site as a VSCO girl known for a viral dance. So much so that upon the release of her debut single ‘Obsessed’ in 2021, fans and observers flamed the star for what they deemed a ‘failed industry-engineered music career.’

This backlash of her dip into music sent Rae into a silent brooding period, where she vanished from For-You pages and only gave fans and viewers glimpses into her world through brief stints on her Instagram, where she’d suddenly been dressed in high fashion labels or out drinking with, at the time, underground artists like Charli XCX. Rumblings of this ‘performative virus’ began early in 2022 on Twitter, when paparazzi photos of Addison began circulating more widely…particularly because of her evolving style.

In August 2024, Rae released the single ‘Diet Pepsi,’ a breathy, dreamy pop anthem in which her odes to Lana storytelling, combined with her Britney-girl-next-door persona, hit just the right note. The song spent weeks on the Billboard charts and earned Rae enough critical acclaim and interest to warrant her sudden return to music. Enter Aquamarine, a nineties-house trackwith aquatic notes from her Swedish producers Luka and Elvira. The second single further cemented Rae as someone with a surprising amount of taste. That, and her continued effort to develop her own unique aesthetic… with zany and otherwise ‘strange’ videos being posted…over time, Addison Rae’s isolated personality began to trend. With further singles such as High Fashion and Fame is a Gun, Rae continued to gain popularity as she geared up to release her debut album, titled after her first name.

But upon its subsequent release, it flooded the claims of Rae’s new music career and ‘branding’ as entirely performative. Generated for her by industry insiders and specialists. To this day, many deem Rae’s personality, aesthetic, interests, music, and persona entirely performative. Addison has dropped slight jabs back at these remarks, but one stands out in particular for this point of this conversation.

In a video interview with Quen Blackwell, in response to the common criticism “She’s trying too hard…” Rae stands her ground, stating, “How about you try at all… we can tell you’re not.” As such, for a moment, Rae’s Instagram biography once read ‘Effort is ritual.’ These two instances of pushback against this umbrella term of being performative raise the question:

Is everybody performative, or are some of us just… trying?

The idea of being performative does seem to exist; let’s just state that clearly. Many people morph into what they believe will get them ahead. However, I think there is a difference between changing to get ahead and changing into someone who feels more fulfilling. My parents used to use this phrase against me when I was a teenager… this line of ‘…but that isn’t you! You’re putting on a front.’ In response to desires I had to change. Maybe my hair color, maybe my fashion, maybe my life… I remember getting so flustered and angry at this comment because in my head, I knew this wasn’t true. There was no ‘front’, nor was any of it inaccurate to how I felt inside.

It wasn’t necessarily who I had been once, but did that mean it wasn’t who I was meant to be? In the same sense, someone like Addison reads entirely authentic to me because I’ve been her… which is something that I think makes her altogether relatable. She was born into circumstances where a person would never think to make music like that, or dress in such a way, or speak in such a manner. Louisiana… Illinois… anywhere that isn’t Los Angeles or New York really won’t nurture these traits we deem as potentially performative… which is why much of it feels like a façade… a front.

It’s unusual to many eyes, so it must just be some stunt. People can’t possibly become this way naturally, right?

The town I grew up in was an unseasoned, boiled chicken breast. The radios played country, and the people held no appreciation for art, music, fashion, or performance like they might in a city. As such, the taste I developed was shaped by the culture I was living in. The moment I left that bubble, even if just going to school in Illinois initially, I found myself radicalized. If ‘Ponygirl’ by Sophie had been played for me or Addison Rae when we lived in our respective hometowns, it wouldn’t have made sense, and we’d have shifted back in apprehension.

Given the space to experience different cultures, sounds, and feelings, a person can change. I studied in Paris for four months and coming back to Illinois felt like pouring a spoonful of cayenne pepper into my mouth for months, then reverting to that unseasoned, boiled chicken. It was night and day.

This raises an even more interesting point: Is it justified and fair to call people performative when many are simply products of exposure to culture and the world later in life? Someone like Addison Rae might feel performative because this shift in who we perceived her to be felt so sudden… but it should be taken into account that Rae didn’t have the privilege of developing the levels of taste someone born in a city did.

When you filter this perspective through the current and ongoing commentary on nepotism in all forms of entertainment, it marks a point… what makes Kim Kardashian authentic as she is dressed in fashion handpicked by her stylists? It’s simply untrue to suggest that Kim Kardashian is accused of being performative, which is strange, because every aesthetic-based choice she has made is filtered through the influences she was exposed to as a child.

And this conversation, of course, has nuances of the patriarchy sprinkled throughout it. It’s renowned for male actors to disappear into their roles. Method actors such as Jared Leto or Austin Butler transform for roles to the point that they emulate those characteristics post-filming. Think the deep-Elvis voice that lingered in Butler’s press run for the biopic… and how it was virtually crickets in regards to anything involving his differences. Meanwhile, for the past three years, singer and actress Ariana Grande has been subjected to performative allegations regarding how the character of Glinda has changed her overall presence.

Her changes in vocal projection were deemed ‘false’ and neared the accusation of being performative. Butler was flooded with allegations of being overtly attractive. And beyond physical appearances, the relationship of costars Cynthia Erivo and Grande was subject to scrutiny for being ‘rehearsed’ or performative for the matter… while currently Hollywood’s favorite duo, from the hit television show ‘Heated Rivalry’, Connor Storrie and Hudson Williams are hailed as just the ‘best of friends.’

In these instances, it further skews what actually being performative is from a new rock to throw at those in the public eye… or even those in our porefield vision. Is the mark of malicious performative behavior the lack of access to taste? The simple existence of a woman or women… and is scrutiny for being such only utilized when an audience is looking for stones to throw?

This bridges the gap between trying and being genuinely performative. Your man who has a playlist of Cigarettes After Sex, The 1975, and Ethel Cain might be the performative Pinterest-pill I warn of… but the girl raised on a horse farm that moves to LA and gets an eyebrow piercing… she might just be trying out some new wheels she didn’t know she had.

That actress might just be resolving months and months of existing as another entity rather than putting on a show to rile twitter users’ feathers. Harry Styles may enjoy the style of dress he very so chooses… or he might just have a team of PR experts guiding him through a world of appearing queer. What is to say who is performative and who is simply… trying?

Trying to feel as authentically you isn’t performative… but chasing trends for validation is just that. Following the natural pipeline of your life, even if that exhibits changes that might appear jarring on paper, isn’t performative… but knowing that girls might match with you if you add an iced matcha latte onto your Hinge is.

Moral of the story? Pinterest is a mood board, not a blueprint. And if you don’t actually like the matcha, order a fucking latte.

Low and behold, the great Medusa. Heidi took a traditional approach, providing us with a textbook accurate rendition of the mythological character of Medusa. Online fans noted that Medusa is often oversexualized when it comes to dressing up as her or recreating her character, making Klum’s recreation a refreshing nod to the traditional character. Her unrecognizable face and body had been warped by several hours of special effects makeup and design, even giving us what looks to be a 7-8 foot long terrifying tail. On her head she wears the traditional snakes that Medusa is famous for, even giving them movement to appear as if they are real…and maybe they are!

The fine details in her costume are stunningly haunting. Her mouth itself completely transformed–with sharpened and small teeth, a lengthened tongue with black horizontal stripes, and a split at the end like a snake: consider me spooked!

And of course, we cannot forget about her husband, Tom Kaulitz, who is always a trooper when it comes to collaborating with Klum’s outfit. From being the egg to her peacock, the fisherman to her worm, Tom appeared at the event to be the stone knight to her Medusa. This showcases Medusa’s iconic power of transforming anyone who looks her in the eye into stone within an instant.

Heidi Klum’s Halloween event is always a huge success—but, to the world of fashion, it is a holiday. Happy Heidiween!

Klum began in the early 2000s with glamorous, playful looks that hinted at the showmanship to come. In 2001, she arrived as Lady Godiva on a white horse, shimmering from head to toe. In the following years she portrayed cartoonish fun through Betty Boop in 2002, a golden alien in 2003 — but by the late 2000s, her creativity had evolved into something far bolder.

The turning point came in 2008, when Klum appeared as the Hindu goddess Kali, complete with bright blue skin and multiple arms. From then on, she became known not just for dressing up, but for completely disappearing into her roles. While that costume generated some controversy. In 2013, she stunned the red carpet as an elderly version of herself, aged decades through painstaking prosthetics. Two years later, she re-emerged as a perfectly sculpted Jessica Rabbit, spending hours in the makeup chair to achieve cartoon-level perfection.

By the mid-2010s, Klum’s Halloween parties had become as famous as her costumes. Held in New York City, the events drew A-list guests and endless media coverage, turning her transformations into full-blown spectacles. In recent years, she’s outdone herself as a giant worm in 2022, a towering peacock surrounded by dancers in 2023, and a cinematic tribute to E.T. in 2024. Each costume feels like a production in itself, complete with props, prosthetics, and a team of artists behind the scenes.

Heidi Klum’s Halloween magic isn’t just about spectacle — it’s about commitment. While most celebrities pick a costume, she becomes one. Her process starts months in advance, often with professional sculptors, makeup artists, and special-effects teams working under strict secrecy. The result is always unexpected, dramatic, and unforgettable.

Her annual reveal has also become a cultural event, feeding the collective curiosity of fans who love watching her push creative limits. There’s something irresistible about seeing someone so glamorous lean fully into absurdity, horror, or ugliness — and still make it feel like high art.

So what’s next for the Queen of Halloween? Klum has already dropped a few clues. In an interview earlier this year, she teased that her 2025 costume will be “extra ugly” and “super scary,” promising something even more elaborate than before. A teaser video released in October shows glimpses of sculptural designs and 3D modeling, suggesting her team is once again fusing fashion with visual effects.

Given her track record, fans can expect a look that blurs the line between beautiful and grotesque. She could easily lean into a monstrous, mythic creature — something part-human, part-fantasy — or perhaps an inanimate object come to life, continuing her streak of surreal, full-body transformations. With her husband Tom Kaulitz often joining in on the theme, it wouldn’t be surprising to see a coordinated, performance-based concept that unfolds throughout the night.

Beyond the shock factor, Klum’s Halloween tradition captures something deeper about creativity and reinvention. Every year, she sets an almost impossible standard — then somehow surpasses it. It’s an act of boldness, vulnerability, and total dedication to transformation.

In a way, Heidi’s annual metamorphosis mirrors the same balance so many of us chase in our own lives — the desire to be extraordinary, even when it takes months of behind-the-scenes chaos to pull it off. Her Halloween is a reminder that greatness often looks effortless only because someone worked relentlessly to make it that way.

After more than twenty years, Heidi Klum’s Halloween legacy shows no signs of slowing down. Each costume is a love letter to creativity itself — daring, strange, and utterly unrecognizable. And if her recent hints are any indication, 2025’s look will be her boldest transformation yet: something ugly, terrifying, and unforgettable.

One thing’s for sure — when Heidi Klum finally steps onto that red carpet this Halloween, the rest of us will be watching, waiting, and wondering how she did it again.

The theme of Heavenly Bodies is understood to be the Catholic imagination of fashion, and draws on the influences of the Catholic religion within the work of fashion designers. The phrase “heavenly bodies” itself can also have several other interpretations, such as objects that exist in space like planets and stars, and objects that represent heavenly characters, such as angels and godlike figures. The subjectivity of the theme makes it one that can be shaped and molded on a case by case basis, creating a diverse and artistically sound ensemble. Here are some of the most breathtaking female looks.

These three took the bull by the horns: using crosses, visuals, headwear, and symbolic colors, they directly correlated their looks with Catholic imagery. Jlo radiates the beautiful stained glass panels in cathedrals, Cardi B’s silhouette creates the shape of a cathedral, while Ariana Grande is the paintings and stories seen on the walls. They each represent something different yet significant within the theme–and execute it beautifully, of course.

Some celebrities steered the theme away from tradition and had their own take on it. Katy Perry is an actual example of a heavenly body, embracing her large wings and gold garb as an angel. Zendaya even dressed as her own rendition of Joan of Arc, which is one of my favorite Met Gala looks of all time. Although it lacks the usual colors and dazzle, it nonetheless spears the theme on the nose, giving us chic divinity in respecting this catholic saint. Lily Collins showed a rare side of her within this theme, engaging with the dark undertones of death that comes with Catholicism. The overarching theme of black was telling, yet the singular red tear underneath her eye and the thin line of white above her bust tells a story of purity amongst sin within death, and the power of simplicity.

To conclude, I’ll showcase two more of my favorite looks from this out of this world event. Rihanna is serving us pope-realness, which is in fantastic taste in relation to the theme and her own personal speed of always showing up and showing out. Not a single part of her outfit is without a shine, even down to her radiant smile. Lana Del Rey is always figuring out a way to wow the crowd, and her ensemble does not fail to do so. She reminds me of a biblically accurate angel with inspiration from Our Lady of Sorrows–with several wings of a unique color, whiteness for purity, and a halo around her frame, and of course the many daggers piercing her chest.

This theme, and all of the other Met Gala themes, are up for interpretation by those participating and viewing. There must’ve been something in the water in 2018, because the fashion icons we look forward to seeing every year did not come out to play, and understood exactly what test was being given–they passed with flying colors, successfully creating their own Heavenly Bodies in the fashion history books.

Nigo was born Tomoaki Nagao on December 23rd, 1970, in Maebashi, Japan to a nurse mother and a metal working father. Despite never having been trained as a fashion designer, he has still made waves in the fashion community, especially in the streetwear subculture. Nigo has stated that he was drawn to fashion due to the heavy influence of American style and culture on Japan. This is what led him to hip-hop and rap groups like Run DMC. Inspired by the magazines he read, Nigo moved to Tokyo at eighteen to study at the Bunka Fashion College. During his time at Bunka, Nigo befriended Jun Takahashi (a noteworthy fashion designer in his own right), and Takahashi introduced him to Ken Fujiwara. Fujiwara ran a column in a street culture magazine titled Takahara that Nigo loved reading. Naturally, they took a liking to each other’s tastes and fashion sense, so much so that Nagao was nicknamed ‘nigo’, because he was Fujiwara’s number two. Nigo and Fujiwara ran a column together called “Last Orgy 2”. This was when Nigo realized he had a future in fashion design. After writing and exploring for a time, Nigo and Fujiwara opened the NOWHERE store in Urahara in 1993. Right around this time was when Nigo conceived of the brand A Bathing Ape, the name coming from the Japanese idiom “a bathing ape in lukewarm water.” During the first years of Bape, Nigo only produced small batches of shirts or other articles of clothing, but it caught on with the young adult crowd and exploded in popularity worldwide. Bape rolled out the legendary “bapesta” sneakers in 2002, being prominently worn by artists such as Pharrell and Kanye West. Following the success of the bapesta and the growing notoriety of Bape worldwide, Nigo brought Bape to the US in 2005, with the first store opening in SoHo, New York. Bape stores already existed internationally in places such as Hong Kong, but Nigo knew that he had a massive untapped customer base in the United States. Nigo and Pharrell started rubbing shoulders in the early 2000s, and by 2003 had launched their own brand: Billionaire Boys Club.

However, Bape had started to lose its luster by the late 2000s and early 2010s; it was no longer as exclusive, and it seemed that as Nigo and Pharrell kept collaborating and focusing on other artistic ventures, less and less effort went into Bape. So, Nigo sold it in 2011 to an IT company based out of Hong Kong.

Nigo did not stop creating, though. Pharrell and Nigo founded Human Made, participating in a big collaboration with Adidas. Perhaps the biggest move Nigo has made has been becoming the creative director for Uniqlo’s UT line in 2014. Uniqlo is a Japanese brand that basically functions as a higher quality and more unique Pacsun or H&M. Uniqlo regularly collaborates with other brands or creatives such as KAWS or even the Museum of Fine Arts in Boston. This draw that Nigo has on other brands or intellectual properties is what makes his work with Uniqlo so interesting. Nigo’s work with Uniqlo proves he can reach a wider audience outside of just streetwear. His pull has become worldwide across most fashion circles. Another creative that both Pharrell and Nigo worked with was Virgil Abloh. Abloh’s collaboration with Nike, through his brand Off White, remains the most celebrated collaboration in streetwear and sneaker culture history. Nigo prevails as a tastemaker, creator, and innovator in the fashion world.

April 5th, 1973, Pharrell Lanscilo Williams was born to Carolyn and Pharoah Williams. When asked about his hometown in an interview for NPR, Pharrell said:

“There were a lot of athletes that were incredibly gifted, a lot of artists that were incredibly gifted, you know you talk about Carbon… that heat, that pressure, that time produced a lot of diamonds.”

Pharrell had always been drawn to music and art since he had been a child; it was only natural for him to blossom into the creative he is today. Pharrell’s cousin, Timothy Mosley is a well known producer who goes by the name Timbaland. Although this article does not focus on him, Timbaland has crafted some of the most memorable beats since the turn of the decade: “Sexyback” for Justin Timberlake and “Pony” for Ginuwine– both making massive splashes when they were released.

During middle school, Pharrell met Chad Hugo during a summer band camp in the seventh grade. They went on to form The Neptunes and, later, N.E.R.D. with Shay Haley. This mid-nineties era of Pharrell, Neptunes, and N.E.R.D. was one of experimental sound and finding a concrete identity for not only Pharrell, but also Nigo across the Pacific. By the time they both met in the early 2000s, Pharrell had been producing for the top names in the music industry: Prince, Clipse, Jay-Z… you get the idea. While I do not want to spend a significant portion of this article discussing the impact that Pharrell, The Neptunes, and N.E.R.D. had on 2000s culture, especially early 2000s culture (check out the pha-real shoot btw), it cannot be understated how much of the music and culture that came out during this time were influenced by Pharrell.

Synesthesia is the perceptual phenomenon where a person experiences something in one cognitive pathway which leads to a secondary experience in another pathway. Think, colors with numbers or a certain smell triggering when a word is spoken to you. Synesthesia comes in different forms and differs person to person, but the same fundamental connection between one sensory pathway triggers another. Along with his other inspirations for music, Pharrell also has synesthesia, so when producing or writing a song, he ‘sees’ a sound. This would help explain his prolific creative output. Pharrell has gone on to help score for movies and TV shows such as The Amazing Spider-Man 2 with Hans Zimmer and Despicable Me with Heitor Pereira. In an interview with MediaMikes, Pereira had this to say about working with Pharrell on Despicable Me 2:

“With the first one there was a lot of time spent looking for the right tone and themes. I was also trying to find my way of incorporating some of Pharrell’s material into the score. It worked to a point but I still had to find the right themes for the Minions, the bag guys etc. I got to work together with Pharrell quite a bit on the first film and I would say that there was a lot of influence from him in my score actually. In the second film, for scheduling reasons and other things the job was more divided. He wrote the songs and I completely wrote the score. My goals were to find out how to take advantage of Pharrell’s great energy in the score. The new one was all about discovering the melodies that would go hand and hand with the old melodies for the Gru and the girls. Additionally, I had to find the tones for Lucy, the purple Minions, El Macho and his three different incarnations. The process I focused on was to try and keep the original themes of the main characters and still at the same time create new music.”

If Pharrell and Nigo were to retire right at this instant, they would have arguably the most interesting and impactful artistic output of any duo since the turn of the century. What makes them so unique, even compared to other artistic minds à la Trent Reznor and Atticus Ross, is their versatility. Many creatives usually only excel in one lane. When The Weeknd tried acting, it became clear he should stick to the recording booth and stay far away from any TV script. When I discovered Lin-Manuel Miranda produced the worst song on Lil Wayne’s newest album, I realized he should put FL studio down and return to writing plays. Not everyone can be world class in every artistic domain; some people can paint far better than they can rap. However, Nigo and Pharrell have proved they can rap, produce, design, and, in Pharrell’s case, act.

What once was a tumbleweed landscape now knows itself as the internet. In the 1990s, when Carrie Bradshaw stepped out for a cosmopolitan with her best girlfriends, she didn’t turn to a closet that was built for her but rather by her. That story is so deeply different today. As of recently, I’ve found myself wondering how this generation has lacked a character as dynamic and life-defining as someone like Carrie Bradshaw. Where is the show that reads as the ‘Generation Z’ Sex and the City? However, this road of thought is one that is short and simple… we live in an era of curation. Of fashion, content, and art.

I intend to touch on the fashion of it all, as this is a fashion column, but I do want to quickly identify an indicative point of this conversation in regards to Sex and The City. Why don’t we have our own Sex and The City? Some may say it’s Gossip Girl, but that still belongs to a differing generation… and to belong to the same generation that spends its time swearing up and down that skinny jeans are a morally correct fashion choice? Disturbing. Wrong. Immoral. Horrific.

No show has told a story like this for our generation, and I would argue that curation and algorithms are the root of the problem. Shows are shorter now, representing our deafened attention spans. They also lack complex writing because of this, as well as another key issue: They don’t seek longevity with audiences. They are multi-episodic drops at once that seek to create virality for a few weeks before disappearing for years and losing the initial grip they ever held on audiences. An example of this could be Stranger Things; though not arguably known for its fashion, Stranger Things was huge in favor of younger audiences. However, seasons ranging from 6-8 episodes that have taken nearly a decade to complete five seasons have led to the final season emerging with a looming cloud of fan-anger. Many criticize the Duffer Brothers for how long it takes to produce the season and how most of them have moved on and are finding it hard to care about these characters as they had when the previous season aired.

A show like Sex and The City aired year after year and had nearly twenty-episode seasons consisting of thirty to forty-five-minute episodes. The stories focused less on generating buzz on a social platform in the aftermath, as it did truly fleshing out its characters, developing its world-building, and making this story feel integral to be seen by the audience.

Fashion.

A show that demonstrates our generation’s style at its best has yet to exist truly. Sex and the City is peak nineties fashion. I will die on this hill of a thousand opposing soldiers firing nonstop ammo at my singular barrel of cover… Carrie Bradshaw is a poster child for the excellence that is nineties fashion. She borderlines the best minimalistic-chic attire with colorful statement pieces that develop into her character in a satisfying way. She has pieces that are created, nurtured, and fostered by her. The ‘Carrie’ necklace directly led millions (including myself) to get a necklace with their name (Though it should be mentioned that gold jewelry did largely come from black culture); The choice to mismatch a pair of Jimmy Choo/Manolo Blanc shoes with each other in a single outfit. The mere opening theme song where she walks the streets of New York City in a goddamn tutu down to her kneecaps and a ribbed pink tank top. And something to be noted of Carrie? No one dressed like Carrie in the show.

Sometimes for the better, because most outfits would look weird on anyone but Carrie. Some even read a little strange on the goddess herself. This brings us to a point I’m trying to make. Each character beyond Carrie possesses their own personal style that makes sense for them. They aren’t looking at Carrie and following her stylistic choices like a Bible. Miranda dresses in Lawyer-corporate chic with notes of modest but sexy styles for her night-wear. Samantha is loose, flowy, and free to represent her sexually liberated character. Charlotte often dresses head to toe in Chanel to represent her conservative nature. Every character outside of the core four dresses in a similar way… indicating that they think for themselves.

This way of fashion and personal style does not exist in the masses today… and it is why we have yet to see a show like Sex and The City represent our style choices in such a bright and shining way. Our generation dresses in a way that is curated for them, down to the shoe and up to the hat on their head. Most people dress in a way that has been selected and debated upon for them.

I raise the ‘going-out’ staple. Nothing makes me more upset than how our generation truly lacks a style for going out at night. No one has fun anymore! I’m talking to the people who wear a white sneaker, a pair of jeans from Edikted, PacSun, or… even Shein. I’m inserting right here and now that I think you’re deplorable if you still knowingly shop at Shein… because not only is it morally wrong given the rate they exploit workers compared to larger companies (So don’t tell me ‘Nike also uses labor’... the rate in which they do is disproportionate), but also the clothes aren’t worth it either way. Your clothes from Shein look cheap, feel cheap, and immediately deter you from being fashionable in any way. Point. Blank. Period. Not to mention, so many bulk orders from Shein end up wearing those pieces once or twice and then throwing them out, which leads us to a huge issue with landfills and the climate crisis.

As I was saying, White sneakers. Jeans. Plain black top. I see it on almost every single girl when I go out. Before this, every girl flocked to buy the Urban Corset because it was trending. And the men… don’t even get me started on the men. They don’t even try to dress fashionably because most of them have been raised to believe they don’t have to anymore. What happened to men wearing decent clothes? Why are you in sweatpants when going out? Why are you in a hoodie when going out?? I’m not saying ‘wear a suit’ but honestly…. What the fuck happened to men wearing suits?? And good suits. Not the slim-fit, tapered navy pants with a suit jacket that, proportionately, does not match the silhouette of the pants.

And going beyond this, our generation are sheep in fashion. I remember buying my Adidas Sambas in 2021, long before they had started trending on social media. I grew up playing soccer and owned Adidas cleats, and I sought to incorporate them into my style. Additionally, I frequently shop… which is where I source most of what I buy. Within two years, people online began posting videos claiming, “Airforce 1s were out and Sambas were in.” This led to a flock of people rushing to buy Sambas. Now, in a world where once every man and woman wore Nike Airforces, I see every man and woman wearing the white or black Sambas largely because influencers and their algorithms told them that this was what was fashionable. Not because they themselves found them organically or even felt they were a correct choice for their style, but rather because it was curated and spoon-fed to them.

I’m not trying to come off as the ‘I was ahead of everything’ person, because I have found my fair share of things on Pinterest and in magazines. However, I quickly learned a key skill that having a defined personal style requires: The ability to edit what you see and what you actually buy. Will you actually wear that, and if you do, does it even make sense?

Another example are these ‘aesthetics.’ Mob-wife aesthetic. Clean girl aesthetic. Y2K Aesthetic. So many are consumed by a particular aesthetic that they once again become victims of the age of style curation. I once, too, found myself a victim of the aesthetic issue. I remember when my style really started to flourish, I found myself pulling references from many eras. I loved the nineties (Still do), but I also sourced particular silhouettes and pieces that were popularized in the early 2000s. Factor in the prep I still love from 1980s Ralph Lauren and Gossip Girl school attire, and I suddenly hit a problem: Which aesthetic was I? I quickly realized, however, that trying to define yourself to one particular aesthetic was stupid and led to these choppy indents between different areas of your style. And often, we don’t even understand the meanings and origins of these aesthetics that often pull from different communities.

Beyond this, when you try to stick to one aesthetic, you often end up never truly finding a style that feels indicative of you. If you decide for a month that your vibe is the Mob-wife aesthetic… rocking brown faux fur from Shein, chunky gold jewelry, bold brown lips, and chunky sunglasses… but then the next month, you feel like this is your Clean. Girl. Era. You’re in your ‘Pilates then green juice’ era, and your clothes must reflect this… suddenly you need to ditch your former style choices entirely to commit to this new character.

Aesthetics and the need to cling to them are just another way our generation finds itself confused with fashion. It's a particular aesthetic pushed one month, expected for one to buy everything needed to look the part, and then we change the second we scroll and see something new. There’s nothing personal about that style.

As such, our Sex and The City does not exist because we lack the creativity to live lives like Carrie Bradshaw. Unfortunately, our generation requires validation to view something as ‘okay’ and ‘in’ to wear. I’m here to tell you, even if it’s just one person, that escaping this is where you truly start to feel the fantasy. It’s where you begin to develop a sense of fashion and style.

I want to give an example of how I find and curate my style to demonstrate how to dress to impress (yourself). A lot of my fashion begins via inspiration and reference, so don’t assume that cutting the algorithm means we don’t take inspiration. I look to fashion in television and films for inspiration. Keyword: Inspiration. I don’t dress identically to what a character wears. An example of this is an outfit I wore last year that was inspired by a Chanel number adorned by Anne Hathaway. It’s a white button-up shirt layered underneath a shoulderless black mid-sleeve sweater with chunky Chanel-esque jewelry draped over the neck stretching down to the stomach. If my memory serves correctly, the pants are black, and she wears a paperboy hat in Chanel tweed. I adore this look and love the way it’s styled. I took inspiration from how she layered the shirt but didn’t copy it exactly.

I wore black pants, Steve Madden motorbike boots with silver accessories, a silver chain belt draped over my waist, and a button-collared white shirt layered under a black shoulderless top. Additionally, I had a noticeable blue Scorpio necklace tucked under the collar and a black messenger bag clutched at my side. It’s paying homage to the original while also being my own take on it. In a way, it becomes entirely something new because, beyond the shirts' layering, everything is subtly different.

Today, March 6th, I woke up and had no intention or plan regarding what I’d wear that day. Some days, I have a thought while lying in bed about an idea of what I might wear the next day, but most nights, I fall asleep, not once giving it a sliver of a thought. This is where we reach a problem with many people and the issue of our fashion and style being curated.

If you buy the exact pieces of an influencer’s outfit, or you purchase a super niche, trending piece like a really colorful Samba or a striped pant, unless you genuinely know how to incorporate this into your overall style, that’s going to be a one-and-done deal if we’re being honest. You’re going to wear those pants in the way they were sold to you, styled and all, and once you get through that first or second re-wear, it’s going to feel like you’re putting on a Spirit Halloween pre-selected costume. This is why I say I’m an avid ‘outfit-repeator’ because most of the time, outfit-repeating isn’t taking the exact same clothes and putting them in the same order multiple times, but rather taking an idea that worked and tinkering it slightly to be distinctive.

A real sentiment of style is the ability to wake up and go into a closet built by you. I mentioned earlier that Carrie Bradshaw doesn’t rummage through a closet built for her but rather by her. What I mean by this is that when I open my closet, I see pieces I have hand-selected… pieces that are staples in multiple aspects of my style. Given such, let’s rundown how I put together an outfit.

Today, March 6th, I opened Pinterest and went to my current fashion board. It’s a board I have for when I study abroad in Paris, as I feel I have to truly study and prepare myself for one of the most fashion-forward eras of my life. I cannot be seen in Paris in anything but my best. They don’t go to the grocery store in sweats in Paris. So, I scroll briefly before seeing the pin featured here:

This outfit consists of brown loafers, baggy grey pants, a button-down shirt, a red tie layered under a cardigan, and an indigo denim jacket. There’s a chain and a beret as well. I looked at this photo and liked the way the cardigan, buttoned shirt, tie, and jacket were layered together. So, I opened my wardrobe and took out a vintage Ralph Lauren button-down I thrifted years ago, a red striped tie, and a red cardigan I thrifted this past year. I also pulled on a pair of brown BDG jeans (Which I would argue are some of the best denim pants out there). I took my brown boots, pulled the legs of my pants over the top, and then selected a brown fur coat. My finished look reads as follows (I also had my red Coach bucket bag).

This is the difference between reference and rip-off, between curation and curating. The outfits are entirely different, but I used an aspect of his outfit to inspire mine… I didn’t need each piece to be selected for me, styled for me, and placed on my body to an exact measure.

The issue with curation is that it has given society a fashion frontal lobotomy. Many of us fail to develop the critical thinking ability to truly understand our own personal styles and style ourselves under such conditions. Some of my favorite looks I’ve worn in the past few weeks followed the exact same pipeline of looking for inspiration and using a key touchpoint to build something for myself rather than copying and pasting what I see entirely.

I also find that the curation of fashion for people has grossly limited what people can tolerate creatively from people’s outfits. We’ve become far too judgemental towards people taking steps outside the lines… given that most of us look like clones to the person next in line at the bar…

We don’t allow ourselves to have fun anymore! I wore a look that was inspired by Aquamarine (By Addison Rae) for my birthday night out, and a freshman dressed head to toe in what--Baggy light-wash denim, a slim black top from Amazon, and a pair of white sneakers--asked why I was blue, and then said judgingly, “I thought Halloween was three weeks ago…” I say this truly out of a place of concern for fashion… who are you to be speaking? You may ask, who am I to be speaking? I think this is the clear difference in what gives someone like myself the right to critique a person for having no style versus someone like this girl… I could be in the most butt-ugly ensemble, but if I put together the outfit by myself… that already puts me miles ahead of someone who can’t put together an outfit without it being curated for them. Some of the best advice I could give is that you do not let someone read you down for something they definitely shouldn’t be speaking on.

In the same vein of putting together an outfit for my day looks, I can run you exactly through how I’ve been styling myself to go out at night. I am well aware not everyone will want to dress to the extremes I often go to, but this is a blueprint for finding your style… your direction for the evening, if you will… I gravitate towards a reference again. Often, it’s far more concise when I’m going out because there’s more of a STORY we’re going to tell. I recently went out to an apartment party and then subsequently ended up at a Brat party later in the night dressed in head-to-toe sailor realness.

How did I get there?

I consume a lot of high fashion runways and campaigns. I’ve had a Vogue subscription for years (I recommend everyone subscribe and help support print media), and recalled a campaign done by Jean Paul Gaultier. It was sailor-driven and has primarily been associated with their brand for a long time (Violet Chachki was rocking a similar look the same evening I went out, coincidentally). So, I sourced a white sailor hat and a striped navy top. I had white pants and white-heeled boots. I put together the ensemble and then began to add in areas I felt it lacked. I strung a golden Snoopy chain necklace (My mother’s from the nineties) around some of my belt loops and smoked the hell out of my eyes to add a spark of edge to the look. The harshness of the black eyeshadow with the cut-clean aesthetic of sailors created a juxtaposition that told a story of a different kind of sailor than society typically sees. The original campaign didn’t do the eyeshadow, nor did she accent with gold chains. This is again an example of how it’s important to reference something and not stick to its original concept entirely.

Some other examples: I had this idea of a porcelain Slavic doll set in the harsh winters of Scandinavian countries. Hence, this look was born, where I removed my eyebrows, harshened the whiteness of my face, and accented a mesh top with silver star and sequin embellishments, fur wrist cuffs, and a campy black fur hat.

To conclude… you don’t have to be ridiculous or pull out-there looks like this. You could tell a story in a much more tame but still meaningful way. Think Carrie Bradshaw again… she would wear a flowy floral or little black dress depending on what she intended to convey that night. Our fashion, in order to escape curation, has to mean something individual to us. The largest issue with how algorithms, trends, and curation have stunted us is that our fashion is highly impersonal. We need to reintroduce our identities in the way we dress…

Scroll on Pinterest. Get off those Amazon Storefronts. Pick up a physical MAGAZINE!!!!!! (Pro Tip: Carry a fashion magazine around like it’s a purse. It works just as good as an accessory to your outfit and character as it does to read). In the curation of our personal styles, it becomes everything but that: Personal.

Style is like a breath of crisp, summer morning air when you give yourself the freedom to do what you want. And the truth is, we should be better characters in the story of it all… shouldn’t we?

Bring back being a Carrie rather than being curated.

The arise of tattoos in the twenty first century can be traced through so many different roots ranging from music to biker, to sailor, to counterculture groups, each influencing their respective subcultures tattoos styles in various ways. Mentioning sailors is important as they were one of the earliest groups known for their tattoos. Often their tattoos fit less within a specific art style and rather served the purpose of telling the sailors' story however they wished to express it. Also touching specifically on music subcultures as I believe they were some of the most influential on modern tattoo cultures, nearly all classic and alternative rock stars that inspired the next generations of musicians had numerous tattoos like for example Slash, Travis Barker, and others. Some influential celebrities that pioneered tattoo cultures include soccer player David Beckham with his now well known arm sleeves and actress Angelina Jolie with her expressive back tattoo. In recent years, Pete Davidson (Pre-Tattoo Removal) has been recognized as an icon in the world of popular tattoo fashion while already being one of the biggest comedic and movie personalities.

Tattoos have even found their way into the high fashion scene. Elite models with tattoos became associated with individuality and personal branding. For example British awarded Model of the Year, Cara Delevingne, has multiple prominent and visible tattoos across her body and arms yet remains one of the stars in the business. The desensitization of tattoos in pop culture has been a slow but sure process reaching nearly all webs of modern aesthetic curators.

When synthesizing your own individual style and conglomerate of different tattoos, it is above all else, important to channel your own style. I’m not saying if you want to get a tattoo it needs to have a meaning or needs to represent something super meaningful. No, I am rather warning of fashion fads that will turn into cheugie and regrettable pieces later. When deciding how to express yourself through bodily art find a style that is more than a just short-lived aesthetic. Whether that is a superman tattoo on your ankle like my dad or a Lebron James arm tattoo like drake, express yourself.

Modern Guide to Tattoos:

(a comprehensive guide to some of the popular styles dominating tattoo subcultures)

• Traditional tattoos: Traditional tattoos are usually categorized by their thicker lines and limited yet bold colors. This style has been around for a long time and remains relevant with its expressive nature. These styles typically encapsulate specific and recognizable themes and I have layed out the three prominent styles of traditionalism.

American Traditional: Simpler and usually more recognizable designs.

Image from Cailyn Cox

Neo – Traditional: Very similar to American yet typically more intricate with thinner lines.

Image from Shutterstock

Japanese Traditional: Extremely expressive style with more a more blended look. One of the oldest styles of tattoos.

Image from Brian Cornwell

• Realism: Realism is the general name for tattoos that fit the description of in fact looking realistic. Of course, under this umbrella there are certainly multiple different classifications and ways to depict realistic tattoos. Two modern popular forms of this include Black and White Realism and Engraved style Tattoos.

Black and White Realism: Black and white realism offers unique details and a timeless pallet using just white and black. This style of realism can easily be mixed and used in other styles like for example trash polka which I will go over soon.

Image from TT: donebyself

Engraved Style Realism: Engraving style tattoos are typically characterized by a lot of fine line hatch marks. It offers a very refined and finished look to a tattoo and has grown alot in popularity in recent years.

Image from TT: Zanereti

• Cyber Sigilism: Debatably one of if not the most popular styles in the underground scene right now. Most Seemingly a style that has a very strong grip on the alternative subcultures today. This style incorporates futuristic and cybernetic design elements usually resulti in sharp lined aesthetically pleasing finished designs. This style allows for personalization of symbols within the aesthetic but is in my opinion fairly limited which is why you normally see cyber sigilism included on more diverse body pieces that include multiple styles.

Picture form IG: fullcigspliffs

• Trash Polka: Another lesser-known style that has been emerging in the past couple years is the Trash Polka style. This Style is one that I am personally fond of but it consists of mixing abstract ideas with realistic elements. It can be described as confusingly beautiful with calligraphic elements strictly in red and black.

• Patchwork Tattoos: Patchwork tattoos is another very broad category of popular tattoos that has existed for a long time. The premise surrounding patchwork tattoos is do diversify the tattoos you have to be done at different times by different artists however even that is a loose characterization. Some people choose to get patchwork done of one singular style while other mix it up. This style has a large breadth of possibilities and is much less bound by specific design customs than say Trash Polka.

• Sticker Sleave/Patches: Sticker sleaves are another kind of patchwork sleave but they have grown stupendously in popularity in recent years and so I sought them fit to be mentioned separately. These patterns are typically made with a series of small thin lined tattoos that give the impression of stickers being placed on your body. These tattoos have grown in popularity primarily due to their smaller and concealable sizes in this age of increased tattoo affinity. I would also attribute the availability of little stick and poke ink tattoo kits to this as these are primarily the only designs simple enough to be done.

Image from Pinterest

Granted, it can be really hard to overcome choice paralysis, and break the cycle of convenient content that’s been auto-recommended on our feeds. Having to sift through a million photos and videos a day, where does someone even begin? (Hint: It’s right here!)

This article highlights 4 unique creators whose work is contributing to growing niches in our mainstream fashion discourse. This list is by no means exhaustive, and only captures a small portion of what’s out there; but I hope it serves as a solid starting point for people looking for inspiration, and are itching to learn more.

If you’re interested in:

Fashion & Disability:

• Destiny Pinto (IG: bydestinypinto): Pinto is a designer specializing in assistive fashion design, and has recently released a line of redesigned assistive accessories for people looking to incorporate personal style with their assistive medical gear. Pinto’s foray into assistive fashion started in her early years of design school, when she was first diagnosed with rheumatoid arthritis; it was then that she began exploring digital design, 3D modeling, and reflecting on the limited designs and colors of compression gloves (MSN). Pinto began drafting the beginnings of her current assistive fashion line during her 3rd year of school, drawing inspiration from both her personal experiences with accessibility, and her best friend’s experiences in navigating fashion with ostomy bags. The designer currently has a website for people to purchase her designs, and is working on collaborations with other assistive medical aid designers.

Destiny Pinto (Source: BBC News)

Fashion history & cultural critique:

• Mina Le’s YouTube video essays (YT channel): Mina Le is a YouTube video essayist that discusses a range of topics, from media and personal life, to fashion and set design. Prior to YouTube, Le’s educational background was in Media & Communications and Politics & International Relations, equipping her with a unique lens on fashion and cultural analysis. As an avid watcher, I can attest that her videos are deeply researched and well-thought out, and provide interesting and nuanced takes on current trends and events. Some videos I’d recommend are:

  • “Lets talk about the rise in ‘core’ and ‘girl’ aesthetics”

  • “UNPACKAGING SICKNESS AS A BEAUTY TREND”

Le’s YouTube page

• Viv Chen’s The Molehill (Substack): The Molehill is an independent Fashion newsletter run by Viv Chen, a writer based in California. Chen’s work ranges from fashion recommendations and vintage guides, to critical analysis of film, fashion, and its relationship to theory (example: her article about J.Crew, reflecting on how whiteness is leveraged in the brand’s identity). While some of her writing is paywalled, such as the J.Crew article, there are a variety of essays in her page that are open to public reading; the one I recommend the most is below.

  • “A Tale of Two Canal Streets”, an article that blew up in late-2024, talks about NYC’s Canal street, the racialization and moralization of high fashion vs. counterfeits, and how counterfeits interact with existing geopolitics in fashion.

Reading about designers outside of the US/Europe:

• Title Mag (website): Title Mag is an independent magazine that covers topics across beauty, fashion, art, and music, with thought-provoking critique of cultural artifacts. Its webpage holds a nostalgic “90s/early 2000s early internet” type of charm, with its 16-bit images and Windows 95-esque desktop. If you’re looking into unique art concepts and designers outside of the US, some articles I’d particularly recommend are:

  • https://title-mag.com/why-shanghai-fashion-week-2024-deserves-global-attention-highlights-from-the-ss25-collections/ “Why Shanghai Fashion Week 2024 Deserves Global Attention”: The article explores Shanghai Fashion Week, and the innovative designers that took center stage. A major highlight of this Fashion Week were the designs inspired by AI and deep-fakes (no, there was no AI involved in the creation of these pieces), aiming to provide commentary on the digital manipulation of the self.

  • Sudanese Symbolism: Artist Tasneem Elnayal on Collective Grief and Change

Title Mag’s homepage (above), despite it being a Fashion and culture magazine, is also a unique ode to the early internet experience.