The Arts Desk’s weekly picks for music, movies and more 

By SAVANNAH ANNO and ALYSSA CREVOISERAT — arts@theaggie.org

Song: “Orlando in Love” by Japanese Breakfast (2025)

Savannah: Released just a few weeks ago on Jan. 7, Japanese Breakfast makes a triumphant return with “Orlando in Love,” along with the announcement of their upcoming album, “For Melancholy Brunettes (& sad women).” While front-woman Michelle Zauner’s voice remains as bright and addictive as ever, the band’s new track hints at a slower, more delicate sound for the new record — a direct contrast to their last hit album, “Jubilee,” full of upbeat synth and punchy instrumentals. “Orlando in Love,” is short but sweet, with soft strings that reflect the lyrics’ tale: a lonely traveler at sea falling into the dreamy trap of a siren’s call. While the song lacks a true chorus, the third verse has been continuously stuck in my head since its release, with Zauner’s voice peaking as the strings pick up right along with her. Paired with a beautifully detailed music video, Japanese Breakfast has set the perfect stage for their newest era which, as a fairly melancholy brunette myself, I will happily embrace.

Alyssa: I am also a sad brunette.

TV Show: “Derry Girls” by Lisa McGee (2018-2022)

Alyssa: As an avid sitcom enjoyer — my senior year superlative was, unfortunately, Most Dedicated Binge Watcher — I am constantly searching for the next TV show to take over my life. Having watched my fair share of sitcoms, “Derry Girls” still has to be one of the most entertaining series I’ve ever had the pleasure of watching. With character decisions that make me audibly and visibly cringe, witty dialogue and, most importantly, funny Irish accents, this show’s runtime is three seasons of sitcom perfection.

“Derry Girls” follows the lives of five teenagers — four girls and one English boy — growing up in Londonderry, Ireland in the 1990s, a period of political conflict known as the Troubles that left Northern Ireland in a military stalemate and tense dynamic between catholics and protestants. Throughout the series, viewers are able to see loveable characters grow into young adults amidst the conflict in a coming-of-age, episodic format where every 20-minute episode is a new adventure. With performances by Nicola Coughlan (Clare Devlin) from Netflix’s “Bridgerton” and Saoirse-Monica Jackson (Erin Quinn), to name a few, this show is sure to scratch the sitcom itch and provide a funny, heartwarming and inspiring tale — I promise, you will be genuinely begging for a reboot at the end of the show and typing something new into your search bar: “How to channel your inner ‘Derry Girl.’”

Savannah: Why is this two paragraphs…? The show must be good.

Book: “The Will of the Many” by James Islington (2023)

Savannah: What I feel is a gift to the now-adult kids who were obsessed with Greek and Roman mythology in middle school, “The Will of the Many” is the first installment of James Islington’s newest series, “The Hierarchy.” Set in the Republic of Caten — a fictional society with cultural parallels to the Roman Empire — the fantasy book follows Vis, a young orphan hiding a real name that could lead to his immediate demise. As with any great fantasy work, Islington sets up a magic system all his own, one where an individual’s power and class level is determined by how much “will” they receive from the people positioned below them, collected by an ancient technology and special stone devices called “sappers.”

Beginning the novel as a prison guard, Vis’ world changes when he encounters one of the Republic’s most powerful senators, who proposes to adopt Vis and mold him into a perfect student for Caten’s most elite academy. Tasked with an impossible mission to uncover the secrets of the school and surrounding island, Vis risks everything for a chance at permanent freedom. Considering I caught a girl on the J-line engrossed in the exact same book, it wasn’t just me who enjoyed Islington’s level of detail and jaw-dropping twists and turns in this new dissection of colonial empires.

Alyssa: Am I offended that I’m not the one with the fantasy recommendation? Yes.

Album: “First Two Pages of Frankenstein” by The National (2023)

Alyssa: The National’s ninth studio album “First Two Pages of Frankenstein” is an introspective 11-track run that tackles themes of performance, depression and loneliness. With tracks like “Your Mind Is Not Your Friend,” the band’s lead singer, Matt Berninger, discusses the concept of generational mental health struggles and depression’s repetitive and inescapable hold. A gentle piano backing, soothing vocals and soft guitar make up the ballads of the album and are a constant accompaniment on my Spotify playlists.

Notably, and my personal favorite, “Tropic Morning News” details the difficulties of self-expression and the anxiety of communication — “Got up to seize the day / With my head in my hands feeling strange / When all my thinking got mangled / And I caught myself talking myself off the ceiling.” Sonically different from the album’s ballads, the track features drums and bass but maintains Berninger’s deep, raspy vocal style for an overall captivating and self-reflective song. In the same vein, “Alien” and “Once Upon a Poolside” are equally introspective and will leave you staring at the ceiling for hours. For lovers of lyrically captivating music and fans of Phoebe Bridgers, Taylor Swift and Sufjan Stevens, look no further than The National’s picture-perfect look into a suffering mind.

Savannah: I listened to “The Alcott” so much when it was released that now it gives me immediate flashbacks to last winter quarter. Scary times.

Written by: Savannah Anno and Alyssa Crevoiserat — arts@theaggie.org

The novel finds and examines the virtue in giving up on making sense of things 

BY JULIE HUANG – arts@theaggie.org

Sally Rooney’s latest novel, “Intermezzo,” is, in the broadest sense, about the futility of humanity’s enduring attempts to make sense out of an ultimately senseless world, with the possibility of abandoning the eternal quest for meaning altogether. Rooney’s novel delivers its existential take through the vessel of a more down-to-earth, familiar narrative: the story of a disjointed family, with two brothers who have grown apart as they grow older. 

Peter Koubek, a lawyer in his 30s, and Ivan Koubek, a 22-year-old competitive chess player, have both chosen to dismiss their deteriorated brotherly relationship at the cost of increasingly negative mental and external consequences for both. That is, until the grief of their father’s death, which has been looming over the course of the novel, finally forces them to address their issues with each other. 

The two male protagonists are introduced to the reader and then continually developed through their participation in socially unconventional and perhaps questionable relationships with the women in their lives. Peter is romantically juggling a situation with his complicated long-term best friend and college ex-girlfriend Sylvia, as well as a passionate stint with college student Naomi. Meanwhile, Ivan’s first appearance in the novel details his meeting Margaret, an older woman recently separated from her husband, who is also serving as the event coordinator for the chess match Ivan’s currently participating in. Of course, Ivan is immediately attracted to Margaret and they begin a scandalous age-gap relationship, which bothers Ivan less than it does Margaret. 

The majority of the novel’s characterization occurs within the framework of this emotionally complicated and socially unacceptable romance between these men and women, which can raise an uncomfortable and perhaps frustrating feeling that the novel’s female characters exist solely to illustrate the depth of Peter and Ivan’s emotional basins. 

 In a sense, they do. Opposites in personality, presentation and proclaimed inner values, the brothers are strikingly alike in how they perceive their female counterparts in the narrative. At times, Peter and Ivan perceive Sylvia, Naomi and Margaret as people with merits and flaws, but the brothers love these women best and most consistently because they are emotionally useful. They have the amazing capacity of acting as magic mirrors through which the emotionally inept brothers can perceive the flow of their own lives more clearly and finally make sense of turbulent emotions that have been magnified through the intensity of their romantic and sexual passions for the women in their lives. 

The novel’s pages contain no judgment or explicit condemnation of its characters for their selfishness, only a gentle curiosity for the way the male characters’ emotional arcs reflect the real phenomenon of how men look to women to grant their lives meaning. Peter and Ivan, too afraid, apathetic or self-loathing to face each other or their deeply embedded neuroses, find through relationships with Sylvia, Naomi and Margaret a purpose. This purpose valorizes and transforms them from fallible men into lovers and protectors, a reason for living that validates their past unrelated failures and illusory sense of heading in the “right” direction. In other words, the female characters provide what the male characters cannot give themselves: the tantalizing idea that life is building up to an ultimate culmination of something. 

Without commenting on the dubiousness of their choices to continue engaging in these relationships, “Intermezzo” presents this subtle explanation of why Peter and Ivan cling so vehemently onto their respective romances — because they perceive these women as possessing a unique attribute to bring them clarity and contentment, when really what they are feeling is the sense of self-harmony that they have lost over the years. 

To bring a new perspective to this idea of using others to create personal meaning, Rooney intermittently provides the reader with Margaret’s narration on her questionable romance with younger Ivan, using Margaret’s conflicted thoughts on her feelings for Ivan to reflect how the male characters perceive the female characters. Like the brothers dealing with the loss of their father, Margaret has recently faced loss: she has separated from her alcoholic husband, and in losing her established family, she has lost her sense of identity, floating adrift until she meets Ivan. Although his adoring worship of her brings her some solace, it does not abate but rather brings a whole new slew of worries. Has she done something morally unsalvageable by entering a sexual relationship with a man so much younger than her? Is she past redemption?

Margaret begins the novel as a woman who has lost her marriage and thus doubts the entirety of her previous identity, fearing that if she made such a mistake as marrying the wrong man, she may have lived the whole of her life entirely wrong. Her spontaneous decision to be intimate with Ivan then seals the sense of loss of identity completely — by doing something completely unexpected, she has made a choice she did not know she ever would make and finds herself no longer recognizable. 

Driven by the desperation of wanting to identify with something but finding all the old haunts irrevocably changed, Margaret turns to Ivan for a sense of personhood. If before she was defined by her husband, then now she is defined by her relationship with Ivan, even if that makes her a “cougar” or some sort of seductress, instead of the dutiful long-suffering wife that she formerly was with her alcoholic husband. 

Thus, the most compelling argument that “Intermezzo” could make for the rejection of the endless search for meaning and the falseness of organizing one’s life around some pre-existing expectation, lies in the unsavory results of its characters’ own subscription to these rejected beliefs. Without explicitly judging or condemning its characters for their modes of extravagant self-destruction, “Intermezzo” nonetheless showcases the pain and heartache that its characters feel and then bring to each other. This is an illustration of how hurtful and dangerous it can be to fool oneself into believing that everything in life, including oneself, can be easily reduced into artificial roles and frameworks. 

Not content to end on this moral note, “Intermezzo” goes further to suggest that, no matter the previous energy or belief that one has devoted to making life make sense, no one is ever completely trapped by the choices of their past. This attitude of acceptance and finding the strength to move on is shown most clearly in Margaret’s character arc, which ends in her reflecting that Ivan is not an escape from the pain of her past entirely but rather simply a new experience, which cannot in itself guarantee what her future will become. Coming to the conclusion that their relationship is not all-defining then allows her to enjoy the positive experiences more openly, without the risk of losing her entire identity, because her identity no longer belongs to any specific circumstance or choice. 

Though possessing less emotional clarity and perhaps maturity, the brothers are allowed similar endings to their arcs. Peter muses on the “conceptual collapse of one thing into another, all things into one,” which is his own way of accepting that his own definitions of himself, his brother, his job and his romantic relationships are ultimately enforced by no one but himself and can be abandoned if they start to hurt him or others. Ivan circles the idea when he points out the flaw in using human creations like language to assign order to the inherently chaotic arena of existence: “All words can give a false picture, and who’s to say what picture another person ends up with, even when the supposedly right words are used?”

Early on in “Intermezzo,” the novel itself boldly asks, “What if life is just a collection of essentially unrelated experiences? Why does one thing have to follow meaningfully from another?” 

We want things to make sense. We want there to be a formulaic system from which the answers can be retrieved, but there is no ideal system of signs and no infallible language to speak that will doubtlessly bring understanding. In “Intermezzo,” the characters’ desire to make sense of their lives and of each other casts shadows of doubt upon their morality, but it is the deeper desire to know that they are still connected to the world and to each other that ultimately redeems them. 

“Intermezzo” is concerned with separating the pursuit of happiness from the desire to be right. It tries to banish the notion that one can hold the right expectations and place the circumstances of life within the right framework. The novel is about choices and how we define ourselves by choices we have already made, which is why we are often surprised when we find that we still have a chance to choose again.

Written by: Julie Huang — arts@theaggie.org 

If you want to take a trip to the glory days of old Hollywood, use this list as your roadmap 

By NATALIE SALTER—arts@theaggie.org 

It’s not hard to fall in love with the world of cinema. Films combine visual, auditory and emotional spectacles to create a dynamic and moving experience in every reel. A full appreciation for the art form, however, is best enhanced by an understanding of where it all began. Travelling back to the black, white and Technicolor images of the mid-20th century cinema is a wonderful idea for anyone enamored with the fantastic universe of film. If you’re not sure where to start, here’s a handful of choices that will set you on the right path.

“Roman Holiday” (1953) dir. William Wyler

Set against the extraordinarily beautiful backdrop of Rome, the film follows Hepburn’s character of Princess Ann, who grows frustrated with the stiflingly rigid life of a royal and sneaks out into Rome one night for a taste of freedom. Through a series of humorous circumstances, her path crosses with Peck’s character of the American journalist Joe Bradley. Bradley surreptitiously tries to interview the princess for a hit news story while Ann seeks to experience all the sights and excitements of the city, and they consequently tumble into an adventure full of discovery and unexpected love.

After performing opposite her for the duration of filming, the male lead of “Roman Holiday,” Gregory Peck, insisted that the film’s producers put Audrey Hepburn’s name alongside his above the film’s title, predicting that she was on her way to become a big star. They obliged, and in line with Peck’s prediction, Hepburn took home the award for Best Actress in a Leading Role at the 1953 Academy Awards. Hepburn’s career would go on to span numerous successful films and a foray into humanitarianism, all of which would elevate her to the status of global icon. But if there is a single point to be named as the launching pad for her success, it would have to be “Roman Holiday.” 

“Roman Holiday” is everything a classic old Hollywood love story ought to be — swooningly romantic, touchingly sentimental and wrapped up with heart-aching moments of devotion and yearning. Hepburn and Peck’s infectious chemistry as a pairing and the comforting blend of love and comedy throughout the film’s duration make it timeless and utterly unforgettable. 

“Singin’ In The Rain” (1952) dir. Gene Kelly and Stanley Donen

The recent success of vibrant movie musicals such as 2024’s “Wicked” has turned audience attention back in time to one of the most famous and beautiful films of the genre, 1952’s “Singin’ In The Rain.” Backdropped with astoundingly gorgeous Technicolor sets and extravagant costumes, the movie is a phenomenal blend of infectious music and charming characters that will make you want to sing and dance next time it’s pouring outside.

Following the transition of a group of film actors from silent films to ones with sound, “Singin’ In The Rain” makes unlikely companions out of famous actor Don Lockwood (Gene Kelly) and stage performer Kathy Selden (Debbie Reynolds). From a hostile first encounter to an unexpected romance, Don and Kathy’s story intertwines with the drama of the former’s failing movie and the bold idea they believe will salvage it and bring it to life. It’s a tribute to the art of making movies and the creativity and passion that makes cinema incredible. “Singin’ In The Rain” is pure, unadulterated movie magic, awash with captivating color and irresistibly bright energy that will make you laugh, blush and want to sing along at the top of your lungs. 

“Some Like It Hot” (1959) dir. Billy Wilder

One of the finest classic Hollywood comedies, “Some Like It Hot” is the hilarious tale of two musicians and the lengths they’ll go to in order to save their own necks. When struggling artists Joe (Tony Curtis) and Jerry (Jack Lemmon) witness and narrowly escape a mob hit, they stumble upon an opportunity to escape their pursuers and land themselves a job at the same time: They’ll transform themselves into women and join an all-female band. Alongside the charming singer Sugar (Marilyn Monroe), the two men — now Josephine and Daphne — experience a series of hilarious mishaps and high-stakes encounters.

The effortlessly funny comedy of “Some Like It Hot” is unbeatable years later, using simple yet unusual circumstances and a memorable cast of characters to induce side-splitting laughter in audiences everywhere. Slapstick humor, witty dialogue and brilliant situational irony work together to create one of the most iconic comedies. It’s hard to keep a smile off your face when watching Wilder’s film, and it’s impossible to forget once the screen fades to black.

“All About Eve” (1950) dir. Joseph L. Mankiewicz

The line between admiration and obsession has been tested and explored by filmmakers for decades. “All About Eve” is a shining gem of this subgenre, winning countless accolades, including “Best Picture” at the 1951 Academy Awards. Chronicling the career of aging stage performer Margo Channing and her unexpected mentorship of theater devotee Eve Harrington, portrayed by Bette Davis and Anne Baxter, respectively. The film follows an initially enlightening relationship between a jaded celebrity and a deeply earnest student of her works, which quickly alchemizes into something more sinister as Eve’s past is called into question. It functions excellently as a criticism of fan culture and explores the cutthroat, predatory environment women in fame are subject to. 

There are many qualities to “All About Eve” that elevate it above its competitors. A suspensefully winding plot is one and a slew of excellent acting performances another. Perhaps most phenomenal of all, however, is its razor-sharp masterpiece of a script, the clever and insightful dialogue making it a verifiable masterpiece of film writing, with insightful commentary on the lives of women in the spotlight.

“Rear Window” (1954) dir. Alfred Hitchcock

All of Alfred Hitchcock’s films are a study in masterfully executed suspense stories, but perhaps the most exceptional among them is 1954’s “Rear Window.” James Stewart and Grace Kelly are the stars of a nail-biting tale of murder and deception. When photographer L.B. Jeffries (Stewart) finds himself stuck in a wheelchair facing his apartment’s rear window after a broken leg, he endures his otherwise dull days by observing the comings and goings of his eclectic neighbors. After witnessing a series of strange behaviors exhibited by one man and noticing the sudden disappearance of his wife, Jeffries quickly suspects murder but must find a way to prove it while trapped looking down from his window. 

Except for a few carefully chosen shots, the entire film is shot from within Jeffries’ apartment, capturing the movements of his neighbors solely through his window. The film’s ability to build suspense within such a tiny, contained space is phenomenal, the film’s camerawork brilliant and a masterclass in direction. As the sinister mystery unfolds, you’ll find yourself on the edge of your seat, anxiously anticipating what horrors will be unearthed by the makeshift detective. And it’s a wild ride — the last 30 minutes of the film are guaranteed to make your heart race with fear and excitement like nothing else.

Written by: Natalie Salter—arts@theaggie.org

Learn about what the new restaurant brings to town

By ELIZABETH BUNT — arts@theaggie.org 

This past fall, Davis residents may have noticed a new restaurant on the corner of 2nd and D Street in a storefront that had remained vacant for a long period of time. Painted bright pink and purple, Maya’s Authentic Mexican Food pops out from the surrounding stores and is easily picked out from blocks away. 

“We’re a family-owned Mexican restaurant, proudly serving up the bold flavors and warm hospitality of our heritage,” Maya’s Authentic Mexican Food’s website reads. “For generations our family has passed down secret recipes and cooking techniques, blending traditional Mexican cuisine with modern twists and flair.”

New Mexican restaurants are bound to have a tough time establishing themselves in Davis. The market for Mexican food is backed by Guads, Tres Hermanas and Taqueria El Burrito — ask any UC Davis student for their favorite taco spot in town and you will probably hear one of those three names in response. For those of you who haven’t heard of Maya’s, here are a few key aspects of the new food spot. 

Maya’s has a large and varied menu, offering everything from traditional street tacos to seafood to soups. 

“Our dishes are crafted with love, using only the freshest ingredients and time-honored cooking methods to bring you an authentic taste of Mexico,” the website reads. 

The restaurant even offers a few fusion dishes like their Birria Ramen, and, like popular downtown restaurant Guads, Maya’s Authentic Mexican Food offers a free chips and dips bar. Patrons can try as many salsa combinations and load up on as many tortilla chips as they want while waiting for their orders. 

Maya’s also has a unique cocktail menu offering a variety of margarita flavors and several signature cocktails that rotate with the season — also included on its menu are fun non-alcoholic drinks, like their hot chocolate-horchata combination. 

For those interested in bringing a larger party, the interior of Maya’s cozy and welcoming space is best suited for smaller groups of friends and family. If you are planning to go with a bigger group, consider going a little before or after peak hours to ensure that your party will find seating.

  Overall, Maya’s Authentic Mexican Food is a welcomed new addition to the Davis restaurant scene, its differences separating it from other established Mexican restaurants in the area while still maintaining an authentic dining experience. With something on the menu for everyone, Maya’s is perfect for those wanting a tasty night of dinner and drinks or a quick lunch stop. 

For avid lovers of Downtown Davis’ eating locations, consider adding the winner of a 2024 Best New Restaurant award to your list. More information on Maya’s Authentic Mexican Food, including the menu and merch, can be found on their website and Instagram page. 

Written by Elizabeth Bunt — arts@theaggie.org

A guide to celebrating the Lunar New Year and embracing traditions while away from home

By IQRA AHMAD — arts@theaggie.org

Lunar New Year, also known as Spring Festival, marks the beginning of the lunar calendar and is celebrated across East and Southeast Asia. This year, the festivities begin on Jan. 29 and will usher in the Year of the Snake. For those who can’t make the trip home, celebrating on campus can still honor these traditions and foster a sense of connection. With a little creativity and collaboration, it’s possible to bring the spirit of the new year to Davis.

Enjoy a Lunar New Year-themed meal

Invite your friends to a shared meal featuring traditional dishes from various cultures at Latitude or any Dining Commons on Jan. 29. With a New Year-themed meal, you can enjoy the holiday camaraderie alongside your favorite foods and people.

Decorate your space

Transform your common areas or dorm rooms with Lunar New Year decor accompanied by friends. Hang red lanterns and paper cuttings to set a festive mood. Many stores and online retailers sell affordable decorations, but you can also organize a craft night to create your own unique designs. Decorating together provides a fun and interactive way to learn about Lunar New Year traditions while fostering creativity and community.

Exchange red envelopes

Exchanging red envelopes filled with money is a well-known Lunar New Year tradition that symbolizes prosperity and good luck. On campus, you can adapt this custom by using red envelopes to share encouraging notes, small candies or thoughtful tokens of appreciation. Whether exchanged with close friends or dorm mates, this gesture is a heartfelt way to spread joy and build connections during the holiday season.

Host a game night

Games like mahjong, yut nori or even card games can bring people together in the spirit of the New Year. Teach your friends the rules and enjoy a night of friendly competition.

Share stories and customs

One of the best things about going to Davis is the people and all of their unique experiences. If you or your friends celebrate Lunar New Year, host a storytelling night to share personal traditions and memories. This is a wonderful way to educate others and appreciate celebrating the New Year with new people.

By bringing Lunar New Year festivities to campus, you can celebrate with your community, and with some thoughtful planning, your dorm and campus can feel just like home, full of joy and new beginnings.

Written by: Iqra Ahmad — arts@theaggie.org

If you are over the ‘clean girl aesthetic,’ try something a bit more chic and realistic 

BY BETH MUNRO-MORRIS — arts@theaggie.org

As the new year unfolds, so too does the familiar urge to reinvent ourselves. It’s that time once again to revisit neglected intentions and create a version of ourselves that is polished, poised and, above all, impeccably dressed. So, as we dive into the winter quarter, the burning question remains: Which microtrend will redefine your wardrobe this year?

Many trend-conscious consumers flock to TikTok or Pinterest, endlessly scrolling to see  which wardrobes the hottest influencers are showcasing. But what if we looked beyond the fleeting influence of “nepo babies” and instead drew inspiration from a more timeless source: cinema.

Enter the “Frazzled English Woman” aesthetic — a style pioneered by iconic British film characters such as Bridget Jones, from the film of the same name, and Kate Winslet in “The Holiday.” It’s an aesthetic that celebrates realism over perfection, embracing the chaos of everyday life whilst maintaining a subtle air of elegance. Here’s how to pull it off in just seven steps:

Invest in timeless staples

Transcend fleeting microtrends, and your wallet will thank you. Think knit sweaters, tailored coats and chunky scarves. You don’t need a closet full of designer pieces to nail this aesthetic. Instead, fill your wardrobe with quality fabrics like wool, cotton and cashmere that stand the test of time — and also trends.

Layer, layer, layer

With the cold weather creeping in, why not embrace the art of layering? This aesthetic thrives on the practicality of throwing together cozy pieces. Between classes, extracurriculars and the occasional late-night study session, who has time to curate the “perfect” outfit? Pile on your favorite knits, coats and scarves and you’re good to go.

Mix colors

Toss color theory out of the window, and play around with mismatched patterns. In the world of the “Frazzled English Woman,” even navy and black can coexist. Why waste time coordinating colors when you could be studying for a midterm — or better yet, sneaking in an extra 10 minutes of sleep?

Re-wear outfits

Celebrate the lived-in look — whether it’s the jeans you can’t seem to take off or the sweater you wear for the fourth day in a row, the more lived-in, the better. Who wants to stress over a new outfit every day when you’ve got papers to write and exams to cram for?

Wash clothes only when necessary

Coffee stains aren’t just allowed but encouraged. Embrace the messy side of femininity and let your clothes tell a story. Grab that shirt off your bedroom floor and wear it with pride (no one likes doing laundry anyway).

Accessorize

Don’t overlook the power of accessories — they turn clothes into an outfit. A leather bag with perhaps a few keyrings, a casually draped scarf or even a mug that you clutch on your way to class all add that effortless flair. If you’re feeling daring, pair this with smokey eye makeup and a faux cigarette. The best accessories always feel like they’ve been added accidentally, just like the rest of your look.

Embrace your ‘main character energy’

“The Frazzled English Woman” may seem a little tousled and frantic, but she carries an undeniable self-assuredness. Channel the quiet confidence of your favorite film character and move with purpose. Whether you’re rushing out the door with a coffee in hand, running late for class or riding your bike through the rain, own it. Mess is part of the appeal.

So forget about curating the perfect Pinterest-worthy outfit and welcome the glorious chaos of real life. Own your disheveled self, because often, the best dressed is the person who’s too busy to care. After all, if Bridget Jones can win over her dream man in granny panties, you can certainly handle a few missed laundry days and still ace this quarter.

Written by Beth Munro-Morris — arts@theaggie.org