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“Nature’s first green is gold, her hardest hue to hold. Her early leaf’s a flower, but only so an hour.”


I never liked that poem by Robert Frost. It’s too pretty. It’s too glamorous. It’s too formulaic. It’s too banal. It’s too simplified. It’s too black-and-white (or too green-and-gold—rather). Everything that he says I always knew biblically. It wasn’t until I knew it personally that I started to take issue with that poem. 


There’s green and gold and black and white, but in reality it’s all gray.


“Then leaf subsides to leaf. So Eden sank to grief.”


I can assure you that if Frost suffered from a mood disorder, no poem he wrote about changing seasons would have rhymed and sounded like it came straight out of a nursery rhyme. I’d rather turn to Solomon than to Robert Frost and read Ecclesiastes, and I’m not even religious, but I think he made some better points than Frost and took a nuanced approach about the fleeting nature of things. Good days are a gift. Nothing can be known or predicted. 


“So dawn goes down to day. Nothing gold can stay.”


It’s not as simple as being able to predict dawn going down to day. It’s unpredictable. Sometimes it’s dawn going down straight to dusk or midnight or dawn staying there for longer than expected. Sometimes dawn was never even gold to begin with.

I can still recall the feeling of my monogrammed comforter from Pottery Barn nestled over every inch of my body in 8th grade. I can recall the sight of the fairy lights I draped on the walls of my room one Fall when I was growing up—an extra iota of light in an attempt to distract myself from the darkness which pervaded my room earlier and earlier each day. Apple cider and Milk and Honey by Rupi Kaur and half-decent notes app poetry to try to numb the pain.


I was undiagnosed then.


The weather’s been getting colder which means I’m struggling to even write this. It should’ve been done a while ago. I might need to ask for an extension—another one, I mean—just like 8th grade. I can still feel the burns I would get on my back from leaning against the space heater in my room for hours on end—The Lord of the Flies, To Kill a Mockingbird, and Hamlet piling up next to me, chapters upon chapters unread, essays due yesterday and the week before and the week before that too. Stained comforters and unwashed hair. Showers that lasted too long when I finally did take them with the water as hot as it would go. I would turn the shower on as hot as it could go and clench every muscle in my body—just to prove I could do it. The burn was intoxicatingly suffocating and there was something so gratifying about it. 


Nearly-absent libido and Winter Candy Apple from Bath And Body Works. The smell of pumpkin but the artificial kind—the kind you would find in a Yankee candle or throughout the shelves of Home Goods when they switch up their stock to Fall-themed goods. Comfort food that’s now uncomfortable.


The other day I switched out my tank tops and t-shirts for sweaters and long-sleeved shirts, yet my hands still reach for the tank tops on the top shelf whenever they get the chance.

I can still hear my mother’s voice in my ear as I’m leaving the house saying “you need to wear a sweater or a light jacket over that. You’re gonna be cold.”


“I’m fine.” I insisted, seconds before stepping outside and holding my breath as my muscles tense and my eyes tear up from the wind. In retrospect, this had nothing to do with oppositional propensities—rather something more internal.


I got on the school bus and listened to the chatter of my peers around me. “I like the fall because I like apple picking and stuff and those little Pillsbury Halloween cookies, but I don’t like the winter because it makes me, like, depressed.” I roll my eyes.


I can feel myself sinking into the leather seat of the bus. I hope no one sits next to me. Right now I feel heavier than the three people combined that are supposed to fill this three-seater—figuratively, I mean. 


It’s only October.


Even writing this feels like I’m doing something wrong—boo-hoo…another white girl is sad. My roommate’s family friend got murdered today. Her husband turned the gun on himself after killing her. Their three children found the body. My friend’s brother just went missing. There’s a war going on. Another white girl is sad. Woe is me. I’m feeling some sort of self-pity-induced-guilt for even writing this. It feels like calling your mom from the nurse’s office in middle school and begging her to pick you up when there’s a person bleeding out next to you. It’s making me feel even worse.


And it’s only October.


Sex is only fun in the summer and the spring, and if I have it during the fall or the winter, it’s usually only to fill a void—a coping mechanism to numb the pain—something that I barely even enjoy.


I don’t like “apple picking and stuff and those little Pillsbury Halloween cookies” like those girls on the school bus in 8th grade because they’re only a sign of what’s to come—and actually of what’s already here. If you think about it, apple picking was the original sin. Maybe Frost was onto something with “so Eden sank to grief”.


Have you ever felt lonely in a room full of people? Have you ever felt like if a tree fell in a forest and a hundred other people were around, it still might not make a sound? And if it did make a sound, Mr. Frost, it sure as hell wouldn’t be a rhyming one.


Have you ever been walking through a grocery store, wondering why everything feels so heavy, so you turn around to take things out of your cart and realize there's nothing inside it?

Have you ever resented people solely for being content because it felt unfair? Some days each child playing ball, each passerby who feigns a smile, each bodega worker who takes 4 seconds too long to scan my items feels like they’re earning a spot on my hit list—can I say that?



And it’s only October.


The toddler being loud on the subway next to me right now is getting on my nerves twice as much as usual. Her mom is too for not controlling her. I’m looking around the train car to see if everyone else is as irritated as I am. The man in a suit next to me is reading Kafka without batting an eye. I don’t think he’s actually reading it, but he’s still able to continue performatively reading it without being disturbed to the degree I am. The woman leaning against the pole in front of me continues to stare down at her phone, scrolling through Instagram. Someone’s phone rings at the other end of the train car. I jerk my head out like a chicken to see who it is. I look him directly in the eye until he silences his phone. Nobody else seems to notice. I’m not usually this irritable.


And it’s only October.


I have more tolerance for the beggars on the train than for people like this.

When the beggars on the street or addicts on the train are ranting and being dismissed by the rest, I am often the only one to truly listen to them. I recognize their abandoned genius and treat their L train diatribes as sermons because oftentimes I see myself in them. 


They’re not crazy. They’re misunderstood geniuses. Watch Good Will Hunting once and you’ll understand. Sanity is nuanced. What is it I said about a tree falling in a forest with a hundred people around and it still not making a sound?


I repeated a fragment of an L train beggar’s brilliance to my friend once and she replied “even a broken clock strikes right twice a day”. I responded, “No, they’re not broken.”


My eyes are struggling to stay open as I’m writing this. I got nine-and-a-half hours of sleep last night. It’s dark outside now. I might have to resume writing tomorrow. I’m in a near-catatonic state of existential dread and avoidance—my stoicism mistaken for reticence by some, but just two weeks ago I was amidst a state of frenetic hyper-productivity.


And it’s only October.


I wish the Parsons students would stop posting pictures of their spiced lattes and links to their Fall music playlists.


To the person next to me, the air smells like Phoebe Bridgers and Girl in Red and ever-changing foliage and tailgates and flannels and trips Upstate and Spirit Halloween and chai (but not chai tea because I hate when people say that because it’s redundant). To me, it smells like the inside of a psych ward. The air smells like memories of 8-year-olds locked in rooms banging their heads against the wall repeatedly and of 4-oz cups of apple juice with a slightly metallic aftertaste because you had to pull the foil back to drink the juice and of monitored bathroom visits and of grippy socks and of the tiny salt and pepper packets for your steamed vegetables—not of this year but of years before and before that and before that too.


My body is a temple—sure, but only one The Sackler Family prays at.


The people telling me that it gets better are only making things worse. When my extended family members recite phrases that sound like they’re walking down the sympathy card aisle of a store without having any personal experience to add, it’s almost counterintuitive. It makes me want to wallow in my own filth even more—merely to spite them.


And it’s only October.


I’ve had days my fingers left an imprint in my hair when I stroked it because opening the shower curtain was a month’s worth of work, and I’ve had days where I’ve had to check if my feet were still on because I made myself too occupied to sit down even for the length of a TV commercial. My emotional state is but a candle in the wind. I have always lived violently—finding myself either begging my eyelids to close or having to nail them open—confiding in my comforter or not having felt its weight in days. In the winter, my comforter is a faded, stained version of the once-cerulean blue it used to be, but I can assure you it was never gold, Mr. Frost. 


My friend asks me if I want to watch Halloween movies. I say no. I don’t like watching Halloween movies and I don’t like watching Christmas movies. Retrospectively, maybe The Grinch was bipolar too. I don’t like holiday music or the sight of the first snow. It’ll just end up in piles on the sidewalk anyway—gray in a day or two. There’s something poetic about it. 

Nothing white can stay. It was never gold. None of it was ever gold.


Nature’s first green was never gold. It was only ever green. There was nothing ever poetic about it. Spring is Spring and Summer is Summer and Fall is Fall and Winter is Winter. How’s that, Mr. Frost?


Written by Lucy Geldziler

Photography by Rose Miller

Talent: Zoë Nadeau @zoeenadeauu , Sophie Gilbert @sophieg32



Ashley felt the branches tearing and scratching at her skin as she ran through the forest. She was thankful that the evening sun was still shining even though it was the end of summer. She didn’t know what to do but run. When she saw what he was doing to the girl… what he had done to her, she couldn’t think about that now. She needed to get as far away as possible. She slowed to a walk and tried to catch her breath once she reached the road. Flashes of the day she had clouded her head, she couldn’t think. 


She remembers last night, parts of it, but coming to a dark room woke her with a start. She had stood immediately, beginning to feel the space around her, and stopped when she felt his presence behind her, the darkness keeping her from seeing the room around her. She knew she shouldn’t speak, in that moment her chest was so tight she knew she wouldn’t be able to talk even if she tried. The man shifted so he was in front of her, grabbing her by the arms and pulling her to another room. “Here.” He grumbled and shoved her to the floor. This room was lit, blindingly lit, and made her feel less safe than the dark did. At least the dark was something she was familiar with. This, this sterile room, this felt like her worst nightmare coming true. She had always hated the doctor's office, mainly because of the fluorescent lights, and this was that turned up to eleven. By the time she had collected her thoughts, her eyes were still adjusting to the light. “I wanted to show you.” The man stated and the words made Ashley flinch. She looked around the room, hoping to see where the voice was coming from. “I hope you’ll understand, I didn’t want to show you like this. It was the only way.” The words boomed from the sound system that was somehow connected to the room. Where the hell am I? Ashley questioned herself. What was he going to force her to see? She looked up at the glass panel in front of her and her jaw dropped. She was terrified. 



A rustle from behind Ashley pulled her out of the memory of the night before and nearly made her jump out of her skin. She clenched her fists and forced herself to breathe, trying to remember what she had learned in therapy and her self-defense classes. She tried to take stock of what she had. Her (now dirty) t-shirt from the night before, her torn-up jeans, and her socks. “Fuck.” She whispered to herself. She knew there was only so much time until he realized she was gone, and there was only one thing left to do. Pick a direction and start walking. Ashley began walking through the grass on the side of the desolate road. Not a car in sight. She wondered how long it had been. A day? Had she only been stuck with that man since the previous night or had she been out for longer? She looked around as she walked, trying to identify any sort of landmark that could tell her where she was. Nothing, just trees, and sky, and grass, and road. Ashley was exhausted. Her adrenaline had kept her going through the farmland and off past the forest and onto the road. A road. Any road. That was her goal. She had gotten out. What now? 



Ashley clenched her teeth as she began to open her eyes again. She couldn’t believe what she was seeing. Through the glass, she saw a girl who had to be around her age, if not younger, tied to a chair with a burlap sack over her head. She was covered in blood so fresh, and dark, that Ashley could barely tell what color the girl's skin was. Her bra and underwear were dyed red. Ashley’s mind began to race. “Why me?” She bellowed at the glass, caving in on herself, using all the energy she had to form the words she knew she needed to say. “Ashley…” The man started “I’m disappointed. I thought you understood me.” 

Ashley shook her head “I don’t even know who you are!” She screamed. She heard him speak again. “Fine.” The man spat, his voice echoing through the speakers “If you want to have it that way. Go.” She heard a click, the door behind her opened, and that’s when she started running. 



The asphalt was tearing the skin on the bottom of Ashley's feet, and still she walked. She checked each side of her, the fear of whoever it was that had her trapped just hours ago was still in her mind. Her mind was still racing but she forced herself to walk, to conserve her energy. Finally, about 3 hours and 6 miles later Ashley almost cried tears of joy as her walk broke into a run when she saw the gas station. She kept running, she was so close, less than half a mile away. She could see herself now, past the gas pumps and trash cans and through the double doors of the 7-11, then into the back of a cop car on the way to figure out who the hell did this to her. When suddenly, she heard the engine of a truck behind her. 


Written by Lucy Anderson

Photography by Mia Scagnelli

Talent: Lauren Bastidas, Ella Malave

MUA: Marlie Kaye



Whether it’s due to the revival of brands like Diesel, the mainstreaming of new musical genres like hyperpop, the resurgence of films like 2001: A Space Odyssey (1998) and shows like Black Mirror, or the constant creation of unbelievable technology like spatial computing or ChatGPT, our culture—always, but particularly in recent years—has been captivated by the idea of the future.


Looking at fashion, we haven’t seen this popularity in futuristic styles since the spunky space-age silhouettes of the 1960s. Futuristic fashion takes many forms; it can look anything from weatherproofed Stormtrooper-esque ensembles to liquid-like fabrics to a pair of metallic silver Sambas. But the girlies of Manhattan didn’t just start wearing silver shoes out of nowhere—we’ve been seeing this general trend towards space-inspired, avant-garde fashion in recent years—it’s just evolved.



But to understand how we got here in fashion today, we need to look a few years back. Since much of the world spent the year 2020 in clothes we couldn’t be caught dead wearing outside of the house, I’m starting in 2021. Emerging from the pandemic, the year 2021 brought forth bolder and louder fashion. The Y2K aesthetic, which drew from styles of the late ‘90s and early ‘00s, popularized trends like bright printed pants, sweater vests, and rhinestones. But more importantly, the fashion trend also captured the technological excitement of the time and made technology fashionable. Cher’s outfits in Clueless (1995) were iconic but what were just as iconic was her brick-sized cell phone and computerized closet. Films like Clueless (1995), Legally Blonde (2001), and Mean Girls (2004), influenced the style of the era, but so did The Matrix(1999).


The sci-fi, action flick brought forth not only novel technology but also sleek and shiny styles and avant-garde cuts. Contrasting the bright and bubbly, the fashion of the film comprised of skinny sunglasses, floor-sweeping black trench coats, and skintight latex getups.



Reinvigorated by Troye Sivan and Charli xcx’s hit song “1999,” which drew heavily from The Matrix’s visual style, the edgy all-black look became commonplace in cities like New York, Berlin, and beyond. Though bold, the look comprises of all-black basics and distinctive yet highly versatile pieces, like black leather boots, a black long trench, and black skinny sunglasses. Even for those not dressed in the entire look, a pair of black Dr. Martens or a long black trench (like the one Kylie Jenner’s brand Khy released just months ago), are all nods to the futurism of the Y2K aesthetic. Poster child of dark, edgy, and futuristic fashion in the 2020s is none other than Julia Fox. Fox’s comeback was marked by her relationship with the controversial artist Ye and equally controversial choices in fashion and makeup. Thick black eye makeup and Barbarella-inspired outfits became her signature look from 2022 to 2023, wearing her daring outfits even at the grocery store or when running errands with her son. Fox’s influence of dressing in futuristic avant-garde styles for everyday is clear with the trends in patent black jackets and extraterrestrial cuts.



The brand that comes to mind when thinking of this movement is, without a doubt, Diesel. Since the 2020s, the brand has been synonymous with futuristic fashion, from its edgy logo, metallic bags, and iconic runway choices (who could forget Ella Snyder strutting down the Fall ’22 runway, looking like something that emerged out of the galaxy with matching fire-engine red hair and painted body). But Diesel didn’t always have the brand value it holds today, so when did it become the brand we know today?


From its inception, Diesel has positioned itself as the provocative and rebellious “alternative to the established luxury market,” a belief the brand still holds true today. Though what you bought was plain denim, what they sold was audacity, strength, and confidence. They accomplished this through memorable and highly acclaimed advertisements, like their 1991 “Guides for Successful Living” campaign, which won a prestigious international advertising award of the highest distinction. Disregarding the marketing conventions of the time, they created an ad campaign that featured two male sailors kissing, a nod to “Don’t ask, Don’t tell,” the U.S. government policy that prohibited openly gay Americans from enlisting in the military. Messaging like this falls perfectly in place with liberal Gen Z values today.



With branding and values aligned with youth culture, what ultimately brought Diesel back to relevance was doing what they do best—creating memorable images. Under the creative direction of Y/Project director Glenn Martens, Diesel further refined their brand by carefully choosing who represented it. Diesel moments that have purchased real estate in my brain are Kylie Jenner in a skintight metallic blue Diesel turtleneck mini, swinging a matching Diesel bag, or Ella Snyder’s firey red galaxy mutant moment on the runway. Selecting King Kylie, the edgier Jenner sister, and Snyder, a trans model and ex-Parsons student, draws the audiences of those controversial personalities to the brand but also deters those who don’t like them or what they stand for. It sends the message that this is who and what our brand finds cool, and if you disagree with that, you’re not our customer. But for fans of the King Kylie Tumblr era, it felt like finally being spoken to by an established brand.


In 2024, a few years into the futuristic revival, brands like Balenciaga, Courrèges, Fendi, Iris van Herpen, Paco Rabanne, and Rick Owens are now leading the movement, but Diesel’s success with reviving futuristic fashion for everyday attire is still to thank. Moreover, we continue to see cultural influences through media, technology, and celebrities permeate fashion. (Hello? Charli’s brat alien green.) Fashion is ever-evolving but interest and excitement about the future is a trend not going away anytime soon.


Written by Kristi Yang

Photography: Mark Bluemle, @markbluemle

Creative Director: Mark Bluemle, Sophia Querrazzi

Talent: Celeste Nieves, @dreamingofceleste

Styling: Sophia Querrazzi

Grey Bodysuit designed by Cassidy Haley Productions, @cassidyhaleyproductions

Fashion from Diamond Durant, @diamondurant

MUA: Celeste Nieves

Props from Abracadabranyc

Nails designed by Jili Marlin

Set Designer: Mark Bluemle


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