As a little girl, I dreamed of when I would be in high school and would get to attend my high school prom. I always thought that it would be just like what I saw in the movies - I would be asked by the boy of my dreams, I would go to the mall with my friends to find the perfect dress, and I would spend the morning getting ready with my friends. Then my date would ring my doorbell, we’d take pictures on a grand staircase, he’d sweep me off my feet and away to prom, where we would dance the night away and take home the titles of Prom King and Queen. It would be perfect. 

I was never allowed to have a Barbie doll. My mom decreed it a rule in the Bickel household. I asked her why one time when I was six or seven, and she told me that she didn’t want us having dolls that portrayed unrealistic body standards. She didn’t want me and my two sisters growing up thinking that we were supposed to look like Barbies when we grew up

When I was in 6th grade, I hit a boy in my class over the head with my lunchbox because he called my best friend gay and said that my jacket made me look gay too. I knew that he wasn’t using “gay” as a nice thing, and I was infuriated on my friend’s behalf. 

I first heard the lyrics of Zemer Nugeh, a poem by seminal pre-state Israeli poet Rahel, as a 14-year-old at summer camp in the early 90’s. I had no experience with heartbreak or loss, and yet the haunting words affected me. I’d spend the evenings walking through open green fields, kicking up dust at sweaty folk dancing sessions, feeling inspired by nature and Hebrew culture and pining for the summer when I’d get to spend six weeks in Israel.

I am one of the biggest grammar freaks that I know. I proudly count myself as a “soldier of the subjunctive,” and I find cartoons about comma placement to be hilarious-- so it may come as a surprise that I was excited when The American Dialect Society voted an ”incorrect” use of English to be the defining word of 2015. The word in question? The singular “they.” 

I am a member of the Marching Band and Color Guard at my high school. One challenge that we face as a group year after year is designing our costumes. The easy part is making the design fit with the show’s theme. The harder part is designing something to wear that everyone is happy with. 

For the young woman, a thrift store serves as the proverbial laboratory of feminism. The reactants: bits and pieces of people left behind in coat pockets and skirt pleats (the people, hopefully, being solely metaphorical). The product: a newly formed sense of self, or the ability to form said sense of self. 

Brandy’s clothes are appealing to girls like me who prefer a simple look. However, there’s one important thing that separates Brandy from the other clothing chains for teenage girls—their one-size policy. Yes, all of Brandy Melville’s clothes are only available in one, miniature, singular size. One size fits most is the company’s complacent statement regarding their sizing. 

There is not a single part of American culture that infuriates me more then the over-editing of the female body. It’s untrue, unfair, and unjust. You and I should not have to feel badly about what we see in the mirror. It’s not fair, but it’s not going away unless people try to do something about it. 

I have always been what some may call a “fashionista.” I have loved fashion since I was a very little girl. Whether it be my all-pink clothing phase, my mortifying obsession with layering neon Sugar Lips tank tops, my love for high side ponytails, or my obnoxiously bright and sparkly Limited-Too wardrobe, I have always used fashion to mirror my inner self. 

Every single morning, I wake up, shake the fog out of my head, and consider what I am going to wear. Almost every day, my outfit is some version of Doc Martens (or, “Docs”) boots, a white button up shirt, and jeans. I somewhat intentionally do not dress like most of the other girls in my grade. I don’t care about looking similar to them, but I do care about my appearance. 

The This is What a Feminist Looks Like campaign has inspired discussion and change around the world. The message behind it is that people of all shapes, sizes, races, ethnicities and genders can believe in gender equality. 

Recently I found myself bombarded by a series of conflicting articles, all telling women how they should dress. Strangely, for articles that seek to police women’s behavior, each one claims that its dress prescription is the only way women can be respected from a feminist perspective. 

Imagine it’s the first week of September. In New York City that means two things: school is starting, and midtown Manhattan is filling up with fashionistas and papparazzi; it’s Fashion Week. 

I used to wear tie-dye. A lot of it. I also used to wear awkward length skirts, brightly colored shirts, and sparkly jewelry. It was a middle school phase; everyone is entitled to one. But it was also more than a phase. It was the time before I cared what people thought of me. 

It is a general truism that in a society which prioritizes one’s physical appearance over one’s personality, dressing outside of the established norm is often a form of social self-ruin. It is also a general truism that the delicate ecosystem of Jewish private school isn’t the place most conducive to experimentation with gender expression through clothing. 

Art as a form of healing. Art as a form of escape. Art as a form of human connection, or livelihood, or emotional fulfillment. Art as everything that you need it to be. 

While my Jewish views are different from Helène’s, she and I have similar artistic views. Just like Helène, I think art can be utilized as a powerful weapon to fight various forms of oppression and injustice. I believe that art ought to be used more often in the everlasting fight for gender equality. 

This Rosh Hashanah, I’m thinking about change. We look at transformation as something that happens overnight, but if the women I learn about every day at JWA are any indication, change happens in surprising ways and at unexpected times. It can be sudden or slow, a product of one determined action or years of effort.

This year, photographer and Catskills native Marisa Scheinfeld mounted her first museum exhibit, “Echoes of the Borscht Belt.” We spoke to Marisa about her haunting photographs, what drew her to the ruins of the famed Jewish play land, and why the Catskills are so important to Jewish American culture. Don’t miss Part I of JWA’s interview with Marisa!

This year, photographer and Catskills native Marisa Scheinfeld mounted her first museum exhibit, “Echoes of the Borscht Belt.” We spoke to Marisa about her haunting photographs, what drew her to the ruins of the famed Jewish play land, and why the Catskills are so important to Jewish American culture.

In a society where we’re constantly told what we should love and what we should hate about ourselves, we can forget that our bodies belong to us. There is little space for women to create their own narratives, express their own fears, and admire their own features. Artist Miriam Ross gives women the opportunity to do exactly this in her project, The Body Journey.