Armida de la Garza uses McLuhan's media theory to reassess the white dress in The Two Fridas (1939). By comparing its representation across painting, photography, film, it shows how different media shape perception and generate new interpretations of Kahlo's work.

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Why is it that Clueless's Cher Horowitz ends up dating her stepbrother? Bartholomew argues that the 1995 film indexes cultural fantasies about the nuclear family, the reproduction of class, and feminization of labor in the US at the end of the 20th century.

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Elspeth H. Brown and Alisha Stranges's article "Photography, Fashion, and Queer Worldmaking at the Pussy Palace" examines how photography and fashion functioned as technologies of queer and trans worldmaking at Toronto's Pussy Palace bathhouse events (1998–2014).

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