san francisco | academy of art university |
May 2016 volume 1 | page 15
Style Vintage Teddy Boys jacket. Shirt, tie, pocket square, brooch and necklace: H&M. Producer/styling: Wendy Ren, B.F.A. fashion styling student. Photographer: Jennifer Miyako McGowan, 2015 B.F.A. photography alumna. Models: Bexter and David, Scout Model Management. Hair artist: Arlanza Lewis. MUA: Gabriella Slater.
INSIDE
Teddy Boys: Fashion styling student Wendy Ren’s editorial puts a modern twist on the subculture. Page 16.
Anastasia Hendrix: The former San “The Retrospective”: The de Francisco Chronicle style editor tells edYoung Museum’s Oscar de la itorial styling students about her unique Renta exhibition tells a beautiful adventures in the fashion world. Page 18. story in over 130 outfits. Page 19.
Street Style: The evolution of the military trend. Page 20.
page 16 | May 2016 volume 1 | academy of art university | san francisco
STYLE TEDDY BOYS
Teddy Boys By School of Fashion PR staff The School of Fashion’s Assistant Director of Fashion Styling Flore Morton gave students in her FSH 478: Editorial Styling class the task of analyzing a fashion subculture to prepare for their upcoming shoots. B.F.A. fashion styling student Wendy Ren chose to research Teddy Boys, and her resulting editorial draws from the origins of the subculture yet includes a modern, romantic touch. producer/styling
Wendy Ren, B.F.A. fashion styling student photographer
Jennifer Miyako McGowan, 2015 B.F.A. photography alumna
models
Bexter and David, Scout Model Management
hair artist
Arlanza Lewis mua
Gabriella Slater
Vintage Teddy Boys jacket. Shirt, tie, pocket square, brooch and necklace: H&M. Pants and socks: Academy of Art University styling closet. Black shoes: Dr. Martens.
Vintage jacket and suspenders. White shirt: Zara. Brooch and pocket square: H&M. Pants and socks: Academy of Art University styling closet. Black shoes: Dr. Martens.
Black suit coat: Goodwill store. Shirt and pants: Zara. Hat and scarf: Academy of Art University styling closet. Shoes: Aldo.
Left: Vintage coat. Shirt: Zara. Hat, brooch and scarf: Academy of Art University styling closet. Right: Vintage jacket and suspenders. White shirt: Zara. Brooch and pocket square: H&M.
Left: Vintage Teddy Boys jacket. Shirt, tie, pocket square, brooch and necklace: H&M. Pants: Academy of Art University styling closet. Right: Jacket, vest and shirt: H&M. Bowtie: Zara. Bolo tie: Stylist’s own. Pants: Academy of Art University styling closet.
Jacket, vest and shirt: H&M. Bowtie: Zara. Bolo tie: Stylist’s own. Pants: Academy of Art University styling closet.
san francisco | academy of art university |
May 2016 volume 1 | page 17
STYLE TEDDY BOYS
Trench coat: Burberry. Vest: H&M. Shirt: Zara. Pants and bolo tie: Academy of Art University styling closet.
Jacket, shirt and shoes: Zara. Pants and hat: Academy of Art University styling closet.
Left: Jacket, shirt and shoes: Zara. Pants, bolo tie, and hat: Academy of Art University styling closet. Right: Jacket: Zara. Shirt: H&M. Pants: Academy of Art University styling closet. Vintage scarf and brooch.
page 18 | May 2016 volume 1 | academy of art university | san francisco
STYLE ANASTASIA HENDRIX
Styling a story
By Angela Han
Climbing to the top of the Golden Gate Bridge, playing with elephants and dolphins and voyaging to Alcatraz at night—all was in a day’s work for Anastasia Hendrix, former style editor of the San Francisco Chronicle. The accomplished, multifaceted journalist visited Academy of Art University’s School of Fashion on Friday, April 1, to talk to the FSH 328 Editorial Styling students about her adventures as a fashion editor and the constructive lessons she learned along the way. At the core of the fashion editorial is a story, and behind every story is a storyteller—a scrupulous conceiver and director who imbues meaning and emotion into fashion imagery. But not all photo shoots are handled with fastidious effort, which doesn’t come as a surprise when anyone with a smartphone and Instagram account can be considered a photographer and fashion stylist. We live in an age of information overload, a hyper-competitive, exposure-hungry, visual-obsessed milieu in which the bad, vacuous and trite outnumber the good, evocative and inspiring. This escalating imbalance forces those with genuine fervency and exceptional talent into dilution. Despite this dramatic shift, quality is still invaluable. “It’s all about the story,” explained Hendrix, a raconteur at heart, who prioritizes the narrative element and employs it as a tool to draw in her audience. Hendrix also suggests implementing an element of surprise as a means to rise above the myriad of content-churners—a straightforward yet elusive tactic she picked up through her years of edito-
Anastasia Hendrix breaks down what goes into styling a cover. Photo by Danielle Rueda. rial experience. “It’s about being up close and personal and presenting something that hasn’t been seen. You have to have something that’s unexpected besides the clothes.” How a story is told is just as important as the story itself. “You need to have a voice, a point of view. It’s about owning your message and staying true to your core,” said Hendrix, who instilled life and her own unique perspective in a number of award-winning fashion editorials for the Bay Area newspaper. From shooting
wedding gowns underwater to harnessing prison-chic in the eerie halls of an infamous federal penitentiary, Hendrix tackled each San Francisco Chronicle fashion editorial with creativity and ingenuity. But with feat comes encumbrance, and even a professional of her caliber is not immune to the precarious nature of fashion styling. Rather than being discouraged by the obstacles and rejections that’ll inevitably arise, Hendrix suggests to “embrace the failure ethos” by figuring out what went wrong and moving on.
“Treat every exchange that you have with someone like gold because you never know when it’s going to come back around.” —Anastasia Hendrix And that’s what she did. After nine fond years at the Chronicle, Hendrix jumped onto the startup bandwagon as a content strategist for Japanese skincare company TATCHA. Though she’s no
Anastasia Hendrix gives styling students tips for how to stand out in their field. Photo by Danielle Rueda.
longer in the trenches of print journalism, she still uses her narrative craft and style savvy to sculpt compelling and engaging digital content for the geisha-inspired beauty brand. Through the thick and thin of her career, Hendrix learned one thing that, to this day, is unequivocally useful—relationship building. “Treat every exchange that you have with someone like gold because you never know when it’s going to come back around,” Hendrix advised Flore Morton’s editorial styling students. “It may not be easy, it may be frustrating and they [may] not be right. But you have to look at it like an investment.” Hendrix ended on a proverbial note with four words that should be permanently ingrained into every aspiring fashion stylist’s mind: “Work hard, be nice.”
Angela Han is a B.A. Fashion Journalism student at Academy of Art University.
san francisco | academy of art university |
May 2016 volume 1 | page 19
STYLE OSCAR DE LA RENTA: THE RETROSPECTIVE
Why you should see the Oscar de la Renta exhibition
Spring 2011 collection, styling by Andre León Talley. Photo by Drew Altizer Photography. By Paula Gómez One of the first things seen at “Oscar de la Renta: The Retrospective,” a current exhibition at the de Young Museum in San Francisco, are three of the dresses designer Oscar de la Renta showed in the very famous “Battle of Versailles” in 1973, where five American fashion designers— including de la Renta, Halston, and Anne Klein—gathered at the palace of Versailles to show his work against the best five French designers, including Christian Dior, Emanuel Ungaro, Pierre Cardin, Hubert de Givenchy, etc. The ethereal, colorful, flowing chiffon and crepe de chine gowns, pieces from his 1974 spring collection, precede seven sections in the exhibition: early work; Spanish, Eastern, Russian and garden influences; daywear and eveningwear; ball gowns and red carpet ensembles. More than 130 outfits celebrate the career of one of the most influential designers of the 20th and 21st centuries. Curated by the former editor-at-large for Vogue, André Leon Talley, the exhibition includes de la Renta’s first cre-
ations from Spain (with lace mantillas and satin capes, inspired by the Fiesta Brava and flamenco dancing), as well as pieces highly influenced by his former years at Balenciaga and Balmain in the early ‘80s. This “travel-in-time” exhibition illustrates the importance of fabric for the designer, his approach to the women’s silhouette, and a signature aesthetic in every piece. But, even more than a celebration of his legacy, the de Young show displays the precise prophecy that was the designer’s unique contribution to fashion. De la Renta managed to walk across time, always reading what was coming up next: from the 1960s onward. His own career traced change and the role of women in history, always creating for what was coming next. Talley, a long time friend of de la Renta’s and his family, explored the designer’s work throughout the years, including iconic dresses like Sarah Jessica Parker’s Met Gala gown, pieces for numerous celebrities, and even First Ladies Hillary Clinton and Laura Bush. “The Retrospective” tells
the story of de la Renta’s career in 130 dresses and five rooms full of his imagination and passion. This is not just about dresses and fabrics, the de Young Museum brings together the magic and creativity of the Dominican Republic-born designer.
Oscar de la Renta Evening ensemble; jacket and skirt Spring 2002 Silk tulle, bead and sequin embroidery Mrs. Laura Bush and George W. Bush Presidential Library and Museum Worn by First Lady Laura Bush at the Poland State Dinner, 2002. Photo by Drew Altizer Photography.
“Oscar de la Renta: The Retrospective” will run through May 30 and is a must-see for any fashion aficionado.
Paula Gómez is a graduate student in the MA Fashion Journalism program.
Pink Carpet: gowns worn by celebrities including Jessica Chastain, Rihanna, Taylor Swift, etc. Installation of “Oscar de la Renta: The Retrospective” at the de Young. Photo by Drew Altizer Photography.
Installation of “Oscar de la Renta: The Retrospective” at the de Young. Photo by Drew Altizer Photography.
Spanish section: The rise of de la Renta’s career in Spain. Installation of “Oscar de la Renta: The Retrospective” at the de Young. Photo by Drew Altizer Photography.
page 20 | May 2016 volume 1 | academy of art university | san francisco
STYLE STREET STYLE
Military trend takes on the streets of fashion By Alexandria Ceranski
What was once a strict symbol of conflict is now an ongoing element in street style and casual fashion everywhere. The green army jacket was officially proposed and worn by General Dwight Eisenhower in 1944 as a functional United States military dress. It has now trickled up to runways starting in the late 20th century. In 1994, designers such as Prada and Versace were showing their interpretations of this coat and color, but it was not receiving positive feedback. Since war was still a sensitive political topic to discuss, the public had a sort of repulsion to the designers’ eagerness to display this patriotic garb as an artistic fashion. Once the 21st century started and a new wave of designers with an urge of nostalgia took over, military influence was everywhere. As the public became more comfortable with this influence, this trend started hitting the streets. Green trenches were a staple in fall and the quite literally named “combat boots” had their shining moment. We saw this olive green parading down the Junya Watanabe Fall 2010 runway, Marc Jacobs Spring 2010 on supermodel Karlie
Kloss, and on the Prabal Gurung Fall 2013 runway. The most recent military influence was on Prada’s Fall 2016 runway show with olive green trenches and sailor caps. In Vogue Runway’s review of this collection the reviewer noted how the strong World War II reference gave us a strong reality check, “They were sweet little nothings thrown on the backs of girls’ heads, but they also reminded us that there is a war going on.” Whether it be sailor caps, olive green coats, or combat boots the military references are endless. Academy of Art University graduate fashion design student Iwalade Alabi provides an example of how this trend has been morphed and altered. This look comprises of the clothes that she wears to work. She is a stylist at Modcloth, a brand with a flirtatious edge. While pairing this army green trench and chestnut combat boots with a dress and gold jewelry, it is the perfect combination of professional and trendy. This is also an example of how military-wear has touched bohemianism. Alabi says that her style is “simple, sexy, and edgy.” She also mentions that this is a casual look for her. All three of these
elements are traits of the new bohemian style we are seeing at festivals and in cities. An article from the New York Times about the army jacket states that, “The counterculture kid in army gear could razz the warmongering machine that had endowed the jacket with symbolic power, and he could honor boys destined to die in their boots, and he could also effectively affect a bohemian pose.” Alabi embodies the simplicity that represents the hidden honor of wearing combat boots and the edge and ease that can put this green jacket in the bohemian category. Alabi is no stranger to finding vintage and historical references in fashion. When asked where she likes to shop, she replied thrift stores, along with Zara, H&M and occasionally Ross. Thrift stores appeal to Alabi because she likes pieces that are different, and she occasionally finds that clothes from the past fit her better than pieces from today. She would definitely recommend bargain shopping. Ironically sticking with the green theme, she describes her most prized thrifting find, “High-waisted pants! These [are] wool, green, straight-leg, high waisted pants. I feel like I can dress
Photo by Alexandria Ceranski.
it down and I can also dress it up if I want to go out. It’s classic, so I like that!” Knowing that vintage clothing and historical reference are a huge element in creating new fashions and trends, Alabi can apply that to her personal styling. She mentions that the consultation with customers in helping them figure out what looks work for them really inspires her fashion designs and her own personal wardrobe. She is hoping to be a fashion consultant and have her own label to feed her creative side. An ability to take historically inspired pieces and make them new again is what will not only produce new ideas
Photo by Alexandria Ceranski.
and designs, but it will keep the military influence on the streets and on runways. This is a strong quality we are seeing in upcoming fashion workers all over the world, so who knows what references and interpretations are to come.
Alexandria Ceranski is a fashion journalism student at Academy of Art University.
graduation fashion show
2 016
Photo by Isabella Bejarano, MFA Photography (May 2013)
3:00 pm – Wednesday, May 11, 2016 2225 Jerrold Avenue, San Francisco, California 94124 Looping shuttles will be provided beginning at 1:30 pm, running every 15 minutes from 625 Polk, 180 New Montgomery and Northpoint.