A look into Gregg Araki, adolescent doom and how styling connects a movie to its message.
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Superman has nothing on the 80s ballroom scene. These similarly cape-clad and tights-sporting superheroes’ “by-day/by-night” transformation involved a lot more than taking off a pair of dorky glasses. Rather, the late 20th century underground ballroom scene involved a largely black and latinx community of LGBTQ+ people gathering to transform into their billowed, feathered, studded and extravagant true selves. A forced by social convention to walk the city streets as a stereotypically straight-laced masculine man “by day” could indulge in glinting glamor, pearlescent luxury “by night.” Ballrooms spelled a necessary escape, where opulence, grandeur and self-expression could safely congregate. Members received no accolades or attention for their boundary-smashing efforts in self-exploration. On the contrary, prevalent themes in stories of the ballroom circuit are concealment and designated safe spaces for self-expression.
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In a time when we long for the mystique of old stars, Kacey feels like she’s been transported through time. She gives us all the romance we’ve been craving from today’s stars, while refusing to be tied up in the past; she’s a new classic.
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The competition is most famous for the creative, wonderful, and oftentimes ridiculous outfits that the competitors wear. However, more important than the clothes is the question of what place Miss Universe has in the modern era.
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Dennis Keith Rodman, housing insecure airport janitor turned Hall of Fame NBA defender turned ubiquitous Hollywood delinquent, was also an iconoclast of lingering ‘90s conventionality. Through his frequent “antics” on and off the court, he transpired a persona of unabashed self-expression that transcended rigid interpretations of black masculinity.
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I hopped on the “Project Runway” bandwagon in 2012. As a second grader with a new paper doll fashion design set from F.A.O Schwarz, I had turned to “Project Runway” for the ingenuity and fervor I hoped to harness on my construction paper and glitter: elegant drapery, intricate bodices, exquisite tailoring … all brilliantly executed before the lights dim for the start of the runway show. When Tim Gunn announces the formidable “Your time starts now!” in his iconic, velvety bravado, the contestants appear to defy the first law of thermodynamics and make something out of nothing.
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What used to be the largest lingerie retailer in the United States is now a brand name riddled with accusations of fatphobia, transphobia and ageism. Victoria’s Secret is attempting to redefine its influence by featuring models with a more diverse range of body types and skin tones in their advertisements. As they do so, the fantasy of a slim, tall woman with a 32B-cup bra size disintegrates – the fantasy that the company itself created.
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Halloween may have passed, but Evanston’s howling winds, 6 pm sunsets and fiery red foliage perpetuate an autumnal stay-of-mind. Come early November, some may not have completely shed their witchy alter-egos. If you’re still feeling spooky, check out this admission letter from Miss Robichaux’s Academy, the witch school from “American Horror Story: Coven,” season three of the FX horror anthology. One of her pupils is bound to resonate with you!
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Taylor Swift is a mastermind, and nothing in her album roll-outs is accidental—including her outfits. From the perfect red lip to the latest leg-lengthening bodysuit, each Swift album unveils a new side to the singer-songwriter’s style, and the Midnights era, based on her latest record-shattering release, is no exception. At times shimmering and at others subdued, Swift’s recent looks perfectly represent the album’s basis on a special kind of self-reflection that can only occur in the middle of the night.
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