the gentleman’s issue em magazine
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Cover Photo and back cover: (on Jon) Native Son blazer, $1,320, Native Son tie, $99, at Boylston Trading Co.; Ben Sherman shirt, $125. (on Jen) Stylist’s Own Jewelry.
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Volume 15 - Winter 2013
editor in chief managing editor design director photo director
Joey Polino JJ St. Onge Maria Murray Jamie Emmerman
creative editor fashion editor lifestyle editor web editor
Dillon Sorensen Daniel Tehrani Benjamin Lindsay Erin Doolin
marketing directors fashion directors deputy lifestyle editor
Jill Bisbee Rebecca Pollock
culture writers Marlee Kula Caroline Praderio Stefanie Robinson Brendan Scully Kim Suchy Courtney Swift Claire Teasdale
fashion writers Kathleen Allain Tess Babbitt Devan Norman Siri Winter
photographers Kathleen Allain Brian Annis Daniel Salerno David Galinato Joanie Jenkins Spencer Fields Nikita Merrin Misha Lambert Dondre Stewart-Taylor
Anna Buckley
editorial photographers Benjamin Askinas Evan Tetreault Sophia Youssef on the cover Model: Jon Allen Photographer: Evan Tetreault
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Sienna Mintz
editorial assistant copy editor
photo editor Zeynep Abes
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Allyson Mecca Divya Reddy Danielle Brizel Kelsey Leahy
marketing staff Sara Wynkoop senior stylist Jordan Peery beauty team Jasmine Pook Elizabeth Walsh Abby Woodman stylists Kristen Brice Emily Feldman Stanislav Ledovskikh Sean Mack Halie Ledou Special Thanks Emerson College, Faye Brennan and Andrea Martucci, Sharon Duffy, Kathleen Duggan, William Beuttler, SGA, Joe O’Brien and Shawmut Printing staff, and ECA for being the official model agency for em Magazine.
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table of contents culture 10 Spotlight on a Gentleman 21 The Wine Cellar 23 Cocktail Hour 24 Author Spotlight: Matthew Pearl 29 Team Pride: Homosexuality in Sports 31 The Renaissance Man 34 Heartthrobs 36 The Dame 48 In Defense of the Bro
fashion 40 Fashion Intro 42 Silhouettes in Menswear 43 Men’s Shopping in Boston 44 The Usual Suspects:The Essentials of Menswear 48 The Boyish Figure 52 Accessories: Arm Party 54 The Art of Cologne 57 Clean Cut 48 4 Looks, 2 Genders
editorial 62 Man’s Best Friend 72 Les Fleurs du Mal 82 One of the Boys
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“Street Scene� photo // kathleen allain, anna buckley, spencer fields, misha lambert, & dondre stewart-taylor
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letter from the editor Fashion, as a popular concept, has stereotypical connotations. If challenged to a game of word associations, fashion might garner answers along the lines of Chanel, Vogue, Anna Wintour, skinny, couture, runway, and Paris. Words like these describe the side of fashion we’re most accustomed to: the world of women’s wear, as it has been cemented into our pop culture reference books by the likes of The Devil Wears Prada or Project Runway. For the entirety of its tenure as Emerson College’s premiere culture magazine, em Magazine has lent itself to this popularized side of the fashion industry. As a result, it has left other aspects of fashion in the dark, waiting for their time in the spotlight. Perhaps most neglected among this forgotten repertoire is the world of men’s fashion; so it is with The Gentleman’s Issue that we look to let the boys have their fun. With my first issue as Editor in Chief of this fine publication, we’ve found ourselves at an interesting crossroads: this semester, the majority of our executive staff is made up of men. It seemed to me a bit puzzling to devote another issue to women’s wear when we had the resources, intellect, and style for a men’s wear issue at our fingertips. And so with this issue we look to the classic men of history: the styles they made their own that in turn became timeless, immortalized alongside their characters. James Dean, Alain Delon, James Bond, the heroes of an F. Scott Fitzgerald novel and the like have all served as our inspiration for The Gentleman’s Issue. But in today’s age, to be a gentleman means something completely different than to generations past. Gender
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roles and traditional propriety have changed with a push for equality, and thus the image of the ideal “gentleman” has been modernized to fulfill new standards. So we haven’t narrowed ourselves down to devoting an entire issue to Jay Gatsby—but to the variety of gentlemen that are seen walking the streets of everyday life, both here on Boylston and Tremont as well as the whole world over. I’m humbled by this issue, to say the least. Not because of the finished product and the fulfillment it brings to a concept that emerged almost a year ago—but by those who have come along for the ride. The talent of every single person on staff amazed me repeatedly throughout the journey we’ve taken together. There’s no way that The Gentleman’s Issue would be in your hands today without the incomparably brilliant collection of students that is the em staff. So for that, I must thank you all. Mario Testino has been quoted saying, “I have an idea and I convey it through other people’s talents.” I think there’s no better way to describe the talent this staff has, and how they’ve put my expectations to shame with the final product through their immense hard work, dedication, and amazing abilities. Thank you for your continued readership of em Magazine. I hope you enjoy The Gentleman’s Issue.
Joey Polino, Editor in Chief
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“Spotlight on a Gentleman” Emerson men embodying the various sides of a gentleman tell us in their own words what’s important to them text // danielle brizel additional inverviews // kim suchy photo // zeynep abes
Devin Brown Describe yourself in three words. Carefree, witty, and attractive. What does it mean to be a gentleman to you? To be worldly, well spoken, confident and charismatic, while maintaining your uniqueness and nerve. What’s the best thing about being a young guy? There’s so many opportunities and it’s a really great time now with everything changing in the world to be young and experiencing it all. How would you describe your personal style? A little bit classic, but really fun. Do you have a certain fashion staple? I love black jeans and basics. If you have one cool thing and the rest is basics, your outfit is cool. Do you have a celebrity or public figure that comes to mind that embodies a gentleman? Eddie Redmayne. He looks like someone out of an old magazine and I love that. What does a gentleman drink at a party? Gin.
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Mikey Gray Describe yourself in three words. Erratic, unique, and entertaining. What’s the best thing about being a young guy? You have so much opportunity ahead ofyou, to do what you want. It’s scary, because you really don’t know where you’re going—but that’s the spontaneity of life. And what’s the worst thing? Probably not having full control over everything. What’s the most common misconception about guys? That we don’t care about how we look, or just enjoy style. But everything you do, every article of clothing you put on represents your personality. How would you describe your personal style? It’s really just a mix of my favorite brands regardless of how they look or mesh together. Even if I’m not matching, this is how I feel right now. This is me. Do you have a certain fashion staple? I always rock cool socks. Do you have a celebrity or public figure that comes to mind that embodies a gentleman? Clark Gable. What does a gentleman drink at a party? Whiskey mixed with Coke.
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Ben Pedrosa Describe yourself in three words. Zen, optimistic, and ambitious. What does it mean to be a gentleman to you? I don’t want to sound trite or cliché, but really it’s about being chivalrous and gallant, being mindful as well. It’s about what you say, how you say it, and how it’s derived. What’s the best thing about being a young guy? Those who are older, they look down at the younger generation and they see the potential in them. I’m in a good position because I’ve had some really good mentors in my life that have just supernaturally found their way to me. I’ve met them purely organically. And the fact that I’m young, I’m there to absorb everything like a sponge. I’m in a perfect position to get mentored and get shown the way. How would you describe your personal style? A lot of contradiction, juxtaposing certain pieces that might not seem like a cohesive look from afar—but when you put it on, it works. I like stuff with a lot of distress, a lot of character, things that don’t look brand new. Do you have a certain fashion staple? Boots. Do you have a celebrity or public figure that comes to mind that embodies a gentleman? Johnny Depp. What does a gentleman drink at a party? Whiskey, absolutely.
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James Carr Describe yourself in three words. Cheap, opportunity, and fun. What does it mean to be a gentleman to you? Respecting women. If you’re on a walk an there’s a puddle, carry them over it. How would you describe your personal style? I try to dress as American as possible. Red flannel, that’s American I guess. How come? To fit in. I’m more than just an accent. I try and blend in. So, do you not want to be known as the British kid? No. It’s helped a lot, obviously. I got a job because I’m British. Do you have a certain fashion staple? Clarks. Do you have a celebrity or public figure that comes to mind that embodies a gentleman? Churchill. He was a gentleman, but he was also a bit of a dick. What does a gentleman drink at a party? Whiskey in a tumbler with ice. I like good local ales and beers, though.
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Sebastian McCall Describe yourself in three words. I feel sick. What does it mean to be a gentleman to you? I think being a gentleman has to do with being the same kind of generous and polite to all women, even with the ones you may not be romantically interested in. Giving your seat on the train to an exhausted 19 year old who just finished a run, the old lady with her cane and grocery bags, the pregnant 40 something bearing her first child. It’s probably about pursuing gestures that make all women feel better about themselves. How would you describe your personal style? My grandfather’s. Do you have a certain fashion staple? My glasses. Do you have a celebrity or public figure that comes to mind that embodies a gentleman? Danny Glover in The Royal Tenenbaums. I would love to be Danny Glover in The Royal Tenenbaums. What does a gentleman drink at a party? Martini.
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“Wine Cellar” Sienna Mintz, resident world traveler and wine enthusiast, shares an experience navigating vintages and vinos here in Boston. photo // anna buckley
I never liked wine. When I visited Italy at age six my dad made me take small sips from each of his glasses of Montalpulciano, Pinot Grigio, and Nebbiolo. Two weeks later, I still hated wine, as any sixyear-old would. It wasn’t until Thanksgiving of my junior year of high school that this changed. “You’re growing up,” I told myself bluntly, “You’re about to dive into the real world head first, so you gotta be ready.” I somehow became convinced that in order to be a real grown up, I’d have to like wine. I decided that Thanksgiving was the perfect opportunity for my transcendence into the world of swirling glasses and pretentious jargon. I choked down a glass of red the first night, wholly unhappy with the lack of sweetness and dry feeling it left on my tongue. As these dinners progressed, however, I grew to like the taste, if only just a little. By the end of Thanksgiving weekend, I was a self-proclaimed 16-year-old grown-up. Wine is a grown up’s beverage. With its hefty price tag and obnoxious culture, it’s no wonder college students don’t spend their Friday evenings arguing whether a Sauvignon Blanc tastes like a Meyer lemon or a bitter lime. You might wonder, “Why don’t they have Vodka tastings like they do wine?” Then you remember that vodka tastes like Drano, and you only drink it because you’re in college and desperate for a good time. Wine is a breed of alcohol that makes all the other foul intoxicating substances forgivable for their inherent grossness. In other words, wine is the way to go. Trouble is, we don’t all get to go wine tasting in Napa or drink a glass of our parents’ selection at dinner. It’s hard to decipher what’s good and what’s better left to the freshmen. TJ Douglas is the owner of the Urban Grape, a boutique wine shop with locations in Chestnut Hill and the South End. He has over 12 years of experience in the Massachusetts liquor and wine industry. The bright South End store walls are lined with bottles from all over the world. A large tasting machine rests proudly in the center of the room offering samples of a variety of aromatics. Douglas sits down on the white window seat in back to shed some light on the world of wine. “The labels give you pretty much zero information of whether or not you’re going like [the wine]. You can’t try it on first,” Douglas explains. Because there is so much variety when it comes to wine, it’s next to impossible to decipher between quality and a fancy font. Unless you have the pleasure of using the Urban Grape’s tasting machine, you run the risk of misjudging a wine. Douglas elaborates, “There are some amazing products out there that just have horrible labels. It may be a small family owned producer that doesn’t have a graphic design team or a million dollars to get trademarks for really cool labels.” The lesson to take away from this is that you can’t judge a book by its em magazine
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cover. “The best way, no matter where you shop, is to go to your local wine merchant and ask,” he advises. Wine is all about personal preference, so a score of 98 doesn’t mean you’ll like it. Douglas assures us that Franzia might not be so bad. “If it tastes good, it’s a good wine, no matter if it’s Three Buck Chuck or a $180 bottle.” That being said, it’s generally advised to spend a minimum of eight dollars on a bottle if you’re expecting to have a good experience. Douglas says, “[This is] where you get into a range of wine that has a story.” Still, wine is a difficult subject to speak about with any trace of eloquence. To most, it just tastes like grape flavored alcohol, nothing more and nothing less. Rest assured, that’s perfectly okay. Don’t worry about scary phrases like “malo-lactic fermentation” that send your mind spinning back to the days of chemistry labs. If you’re interested in that kind of thing, by all means, study up. For your slightly-aboveaverage wine-drinker though, there are only two words that really matter: tannic and acidic. Have you ever peeled the skin off of a grape and eaten it, leaving a dry sensation in your mouth? That’s the tannins talking. Grape skins are used to make red wine (that’s what gives it that burgundy color), and therefore makes it dry. Douglas explains that red wines pair well with fatty meats, as they cleanse the palate. “Putting cream in your coffee takes the bitterness away, it’s the same exact thing with tannins.” Acid, as you can imagine, is tart. It’s usually the prominent flavor in white wines, although some like Chardonnay beat the odds. “Think about acid in terms of lemonade versus hot chocolate. One has none, one has a lot, and you want to drink them at different times of the year with different foods,” Douglas says. Cabernet Sauvignon is a popular red blend. There are a lot of Cabernet varieties, though they’re generally full bodied—or in Urban Grape lingo, between whole milk and heavy cream. Often these wines are aged in oak barrels. The effect of this, Douglas explains, is that it “sometimes softens the wine a little bit and adds different kinds of tannic structure.” Now that you understand what a tannic structure is, you can understand why Douglas recommends Cabernet Sauvignon to accompany meats. Another quality of this wine is the flavor of dark red fruits like raspberries, dark cherries, blueberries, and blackberries. Cabernet’s sweetness level depends, like all wine, on where it’s grown. If, for example, the grapes are grown on the Napa Valley floor, the result will be big, juicy grapes from constant sun exposure. Grown in the mountains where the climate is cooler, other grapes will be smaller, and therefore more tannic. Douglas explains this as “zip codes,” which means that a grape will always taste different depending on where it’s grown. cont. on page 20 21
Merlot, on the other hand, is a pretty standard sweet wine. Douglas says, “The cheaper you go with Merlot the sweeter it’s going to be.” He compares Blackstone, the mass produced Merlot, to jam, emphasizing the high sugar content. In defense of the Merlot drinker, Douglas imparts, “Here in the United States we love sugar. We drink a lot of soda and eat a lot of candy and dessert; why wouldn’t you like a sweeter upfront style of wine?” In other words, if you’ve got a sweet-tooth like most Americans, Merlot could be your perfect budget-friendly fit. Pinot Noir, conversely, is a highbrow choice. Burgundy, the variety that grows in France, is both extremely expensive and, in Douglas’ opinion, “some of the best wine in the world.” Other bottles are much more affordable and can range from being “feminine and bright like skim milk” to “really earthy and gamey.” Because Burgundy is such a pricey choice, Douglas often introduces his Pinot-curious customers to bottles from Oregon, Chile, and California. Chardonnay is the number one style of wine sold around the world. It’s oaky and buttery, unlike the more acidic whites. Chardonnay can get pricey, though, because it is aged in thousand-dollar oak barrels, which gives it flavor and body. French oak gives the wine a coconutty flavor, while American oak barrels—often used prior for bourbon storage—procures a vanilla-caramel flavor. People tend to discount Chardonnay because it tastes like movie theatre popcorn. As Douglas points out though, “There’s a time and a place for that.” He likes to introduce new wine drinkers to Chardonnay because it’s an easy transition from the college favorite, Franzia, as well as sweet alternatives Blush and White Zinfandel. Douglas notes, “I’ve found that the wines most people are drinking are the ones that taste like lemonade.” These include Pinot Grigio and Sauvignon Blanc, both less expensive alternatives because they are not stored in expensive barrels like Chardonnay is. Pinot Grigio is popular but is what Douglas calls a “B-Flat.” “It’s a great blah wine,” he laughs, “It’s the water of the wine world.” It’s universally enjoyed because you don’t really have to think about it. It is generally grown in cooler climates so it isn’t sweet from natural sugars. Douglas recommends Pinot Grigio from northeastern Italy, where the soil is extremely mineral rich. “Think about wet stones,” he says, explaining that the soil in this part of Italy comes from the seashell rich Adriatic Sea. Barefoot—a wine you’ve probably felt classy drinking on more than one occasion—actually adds sugar to their Pinot Grigio, again appealing to the American sweet tooth. Sauvignon Blanc is another affordable, acidic white wine. It’s popular among twenty-somethings because of its typically colorful labels and screw-on caps. Despite common belief that screw caps are a sign of poor wine, it is in fact just another way of preservation, often allowing wine to last longer. Flavors of Sauvignon Blanc are citrusy, ranging from grapefruit to lemon to lime. “Sometimes you get this really cool sweet jalapeño pepper taste out of it,” Douglas adds. New Zealand Sauvignon Blancs are particularly popular right now, and are often un-oaked, bringing the price down to a college-friendly level. No matter your price range, it’s important to find which wine works for you. The six wines above barely skim the surface of what’s available, so start exploring your palate. Wine is clearly complex, but it doesn’t have to be. Keeping these basics in mind will coax you in the right direction, whether you’re at the Urban Grape, Blanchard’s, or a family Christmas dinner. em
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“Cocktail Hour” Tried and true recipes for simple yet classy cocktails, brought to you by literary and historical gentlemen who know how to drink with style. text // sienna mintz photo // joanie jenkins Sex and the City and its spawn of Cosmopolitan imitators have convinced society that cocktails are reserved for the fairer of the sexes—but ushering in a return to the halcyon days of the 1950s, a roster of classic libations can remind us what made drinking so fun in the first place. A good cocktail isn’t a mixture of orange juice and Smirnoff or a spiked Nantucket Nectars. In our college days—when this seems to be the usual fare—an artfully crafted cocktail will set you apart as a gentleman amongst boys. An excellent drink has to be cold, balanced, and appealing to the senses. Don’t make your drink too strong; there’s plenty of gin to go around. You should want to drink slowly and drink well. Make sure your drink looks good, smells better, and uses the best ingredients— we’re looking at you, vodka-gummy bear enthusiast. But aside from these vague platforms for drinking with poise, there are some mustknow specifics to ensure that you sip the spirit that best matches your personality. THE GIN & TONIC – The good old G&T is pretty self-explanatory. F. Scott Fitzgerald himself spent the better part of the Roaring Twenties getting acquainted with the drink. He and his wife Zelda were a pair of drunken pranksters, jumping in the Plaza Hotel’s fountain, boiling friends’ watches in pots of tomato soup, and even stripping in the Follies—so if you’re in your own roaring twenties and live to soak up every drop of them left, a gin and tonic is your poison. Did you know? The Gin & Tonic was invented in India by British colonists suffering from Malaria. Quinine, which is what gives tonic water its bitter flavor, is anti-malarial. The Brits mixed gin and lime juice with the harsh liquid to make it go down more easily! THE martini – The combination of vermouth, gin, and olive is an acquired taste for most, but it’s the ultimate gentleman’s cocktail. These drinks became popular during the Prohibition, when Harlem’s mobster-run speakeasies were filled with the sounds of hot jazz, the energy of rambunctious youth, and enough gin to keep everyone dancing. Today’s martini drinking gentleman is mysterious and alternative, especially when opting for the traditional version over the more flamboyant Appletini or Chocotini.
THE old fashioned – Traditionally made with bourbon, the beverage is warm, but refreshing, with a little burn and a lot of class. The patron saint of an Old Fashioned, Mad Men’s Don Draper makes a strong case for the drink’s traditional superiority. Hardly faithful but extremely cocky, this character throws Old Fashioneds back like it’s his job. Drink an Old Fashioned if you are a risk-taker who covers up the evidence. You’re a bad guy, and that’s exactly what makes you so good. Did you know? George Lucas loves a good Old Fashioned, which is a little ironic since his films are so futuristic! em em
Did you know? Humphrey Bogart’s favorite cocktail was the martini. In Casablanca he said, “Of all the gin joints, of all the small towns, she had to walk into mine.” He also added, “The whole world is three drinks behind.”
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author spotlight matthew pearl The former Emerson professor discusses writing, inspiration, and the road to publications. text // caroline praderio
“My only memory of trying to write prose fiction is when I was very young, in fourth grade or something, and I wanted to write a novel about a platypus,” says Pearl, 37, sitting on a bench outside Porter Square Books in Cambridge with his Boston terrier, Oliver, in his lap. He laughs at his earliest writing attempt. “I remember writing maybe two or three sentences and that was it.” The platypus project may have been a slow start for Pearl, but it provided no indication of the literary success he’d achieve. Years later as a student at Yale Law School, he put pen to paper once again. The result was something incredible: the manuscript for a novel called The Dante Club. This historical literary thriller, set in 1865 Cambridge, tells the story of four poets who, while translating Dante’s Inferno into English, become entangled in a string of murders. The book became a New York Times bestseller, and then an international phenomenon published in over 40 countries. Not too shabby for a second try. Since The Dante Club, Pearl has made his mark with three more international bestsellers: The Poe Shadow (2006), The Last Dickens (2009), and The Technologists (2012). His writing has also appeared in publications like Slate, The Huffington Post, and The Economist. Pearl grew up in Fort Lauderdale, Florida, the son of a contractor and a stay-at-home mom. He developed an interest in reading and English in high school, but was unsure where to focus his studies at the college level. Then he was accepted into Harvard University. “I [applied] mostly because it just seemed like if I could get into Harvard, why not?” Pearl says with a nonchalant shrug. “No real master plans, it was just a shot.” With no real master plan, he settled on an English major and graduated in 1997. He then promptly decided to go to law school. “It makes me seem sort of arbitrary in my decision-making, which I kind of am,” he says. “But I think I was just very disoriented by the end of college. So grad school became, as it does for a number of English majors, a viable way to do something other than get a job. You can’t just suddenly go to medical
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school, but you really can suddenly—within a couple weeks—decide to go to law school.” With the same “why not?” mentality that brought him to Harvard, Pearl applied to Yale University’s Law School and was accepted. “You know, I don’t think the word ‘law’ or ‘lawyer’ was even in my essay to apply,” he says. “I wasn’t sure about it, but once you’re accepted it seems like you planned something, and you feel better about yourself.” Pearl enjoyed his time at law school but found himself drawn to his prior English studies. He even took a few graduate English courses, though administrators frowned upon it. Still, something about literature and language dogged him. And one day, he was struck by the idea for a novel. “I was obviously reaching for some of what I was enjoying back in college,” he says, “And the last significant thing I had studied as an undergraduate was this one subject: Dante. But I think it just reentered my mind as a novel at that point. It just woke up again in my head in a different form.” It was 1998, and Pearl began drafting The Dante Club. By his third year at Yale he’d completed the 500-page draft in secret; not one classmate or friend knew. Then, dipping his toes into the waters of the literary marketplace, Pearl sent his manuscript to 10 different agents. His first bite came from an agent who wanted a two-week exclusive: 14 days of sole access to the manuscript before making a decision. Pearl obliged, until he received a call from another agent, Suzanne Gluck. “She called and she said she wanted to read it, and I said, ‘Oh, that’s wonderful! But I already gave it to this other person, and he asked for a two week exclusive, so I have to wait for him.’ And she said, ‘No you don’t! Pull it from him and send it to me!”” Though Pearl adhered to the rules and waited out the two weeks, Gluck’s good-natured aggression won him over. She and Pearl signed on, and the two worked closely over the next four months to perfect the manuscript. Then, on one fateful Friday, Gluck sent The Dante Club to 17 publishers. Publishing giant Random House soon made a preemptive offer to buy the book. Gluck and Pearl accepted, and suddenly, the uncertain law student was an author-to-be. After months of editing with Random House, The Dante Club hit bookshelves in 2003. It was an instant success, making the bestseller lists of nearly every major publication in the United States, including The New York Times, The Chicago Tribune, The Los Angeles Times, and The Washington Post. For a first-time novelist, the success was beyond unexpected. “I had so little experience and knowledge of the industry, I’m not sure any of my expectations were very concrete,” he says, “Even the idea of being a New York Times bestseller had almost no meaning to me. I had never looked at a bestseller list, and the names of different [publishing] houses meant nothing to me as a reader. I kept my expectations to just hoping that I would be able to write another book.” Over the next nine years, Pearl did just that with The Poe Shadow and The Last Dickens. In 2012, Pearl diverged from his literary-history formula for The Technologists, set in 1868 Boston as a band of students in Massachusetts Institute of Technology’s first graduating class attempt to solve mysteries that have left the city in peril. Each novel has met popuem magazine
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lar success, but critics haven’t been quite as kind. “Pearl appears to be using his 19th-century setting as a license to write extra-badly,” quipped James Parker, in The New York Times review of The Technologists in February 2012. His other novels have been hit by similar blows, aimed at his use of Victorian language, treatment of romance, and endlessly twisting plots. Like any experienced novelist, however, Pearl has developed a thick skin. “The general approach for most writers... is to not take them to heart too much. You try to keep it separate from your work,” he says. “It’s still definitely strange—even writers I know who’ve written far more books than I have don’t know quite how to process it. I guess you never get used to it.” Pearl has also been forced to confront the worry that his consistent work in the same genre has caused some publishers to pigeonhole him. “The publisher’s point of view is that the readers tend to be more possessive of what the writers are writing about than in other media,” he says. “Even John Grisham—for years, he wanted to write literary fiction and [his publishers] wouldn’t let him. His contracts would literally say, ‘four legal thrillers by the year 1990 or whatever it was. And I compare him to Steven Spielberg, the year that he directed both Jurassic Park and Schindler’s List—and nobody questioned it.” Luckily, Pearl hasn’t felt pressure from publishers to produce a certain type of book, though Random House once turned down his 80-page proposal for a novel that strayed from his usual brand of thriller. “There are times when you want to write something different, but I keep a list of my ideas and a lot of them fall in the same category just naturally,” he says. “They’re not contrived that way.” Today, Pearl considers writing his full-time job. He spent time teaching (law at Harvard and writing and literature at Emerson), but has put that aside for now. He’s left Random House to work with a former editor at a division of the Penguin Group called Penguin Press, and resides in Cambridge with his wife of four years, two young boys, two cats, and the aforementioned Oliver. “I say I work from home when people ask, but that’s not even an option anymore,” he says. Pearl now writes at a rented-out desk in Porter Square. Conveniently, the dog-friendly building allows Oliver to accompany him most days. Despite enthusiasm for his projects, Pearl is reluctant to share much about his works-in-progress for fear that he’s unable to articulate his vision for an unfinished book. “I’m working on one main project now, but I always have too many ideas,” he says. “I know incredible writers who could write circles around me but they can’t come up with an idea for the life of them. Ideas come very quickly for me, and frequently.” And if the ideas keep flowing, all indications show that Pearl has a long writing life ahead. Though his literary future is still in the works, for now he’s content to work towards one humble goal. “My ambition is that I can work legitimately on more than one thing at a time,” he says, smiling and petting the black patch of fur between Oliver’s upturned ears, “But I haven’t figured it out yet.” em
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Team Pride A look into the recent push for sexual equality in athletics, one of the final frontiers for the gay community. text // brendan scully
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r l a n d o Cruz is a 31-year-old professional boxer from Puerto Rico. He represented his country at the 2000 Olympic Games in Sydney, Australia. In World Boxing Organization standings, Cruz is ranked fourth out of all of the fighters in his weight division. Matthew Mitcham is a 24-year-old Olympic diver from Australia. During the 2008 Olympics in Beijing, Mitcham became the first Australian male to win a gold medal since 1924. Forty-five-year-old Carl Hester of Great Britain and 41-year-old Edward Gal of the Netherlands are both Olympic medalists for equestrian dressage. These men are all professional athletes and Olympians, hailed by their respective countries as national heroes and upheld as role models for generations to come. They also happen to be gay. There were a record 20 openly gay athletes at the London 2012 Summer Olympics. Three of these athletes— the aforementioned Mitcham, Hester, and Gal—were men. The subject of men being openly gay in today’s stereotypically macho sporting culture has oft been seen as borderline taboo. In America’s four main professional sports—Major League Baseball (MLB), National Football League (NFL), National Hockey League (NHL), and National Basketball Association (NBA)—there are no active athletes that are out of the closet. Scores of men, however, have come out after their retirement, such as NFL athlete Wade Davis, NBA player John Ameachi, and MLB outfielder Billy Bean. Athletes such as Cruz—whose October 4th declaration of being a “proud gay man” made him the first openly gay man in boxing history—serve as a beacon of inspiration for gay athletes of tomorrow. But as the gay exception to the hetero rule, the question must be asked: Why the stigma?
A simple answer to that question is that America isn’t ready for a gay icon in sports. Though athletes today aren’t identified for their ‘straight’-ness, the idea of having gay athletes in the industry isn’t always accepted. em magazine
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In a recent joint poll by NBC and USA Today, members of the general population were asked their opinion on openly gay athletes. Although only 14 percent of those polled said openly gay athletes should be excluded from playing team sports, 68 percent agreed it would hurt an athlete’s career by being openly homosexual. Doug Schoen, a founding partner of the research firm that ran the poll, responded to the data, saying, “I now understand why gay athletes would choose to stay in the closet … the poll shows us that we still have a long way to go in this country before homosexuality is accepted in sports.” Prevalent political ideologies that oppose equality for homosexuals also limit the appeal of a gay athlete coming out to the public. Organized advocacy for the acceptance of gays, however, is picking up speed. Sports programs such as You Can Play and Athlete Ally use the help of professional sports leagues to combat homophobia and support all persons in a team environment. Well-known athletes, such as Baltimore Ravens linebacker Brendan Ayanbadejo and former NBA star Charles Barkley, also publicly support gay rights. Several professional athletes have faced major criticism for anti-gay remarks and gestures. There was public outcry when Toronto Blue Jays shortstop Yunel Escobar wrote a homophobic Spanish slur on his eye-black. There was also fan backlash when New England Patriots linebacker Brandon Spike tweeted a homophobic “joke” earlier this year. Yet, a poll released October 15, 2012 by ESPN The Magazine say 92 percent of surveyed NHL players support gay marriage. Increased acceptance of gay rights in professional sports have seeped into college and high school athletics as well. Another poll conducted by ESPN The Magazine showed that almost half of the surveyed college athletes knew a teammate who was gay. Similar to the professional sports world, however, there are very few openly gay athletes at the Division I level. Emerson College athletics exemplifies this growing trend of acceptance in sports. As the most LGBTQ-friendly campus in the United States—as titled this year by The Princeton Review—Emerson is a breeding ground for acceptance and equality. Such sentiment permeates through to our athletic department. Christian Bergren-Aragon is a sophomore Broadcast Journalism major. He is a resident assistant in the Little Building and is a member of Emerson’s cross country team. In regards to his experience thus far as a gay athlete at Emerson he says, “Straight guys and gay guys are one in the same in sports here.” Bergren-Aragon credits Emerson’s accepting environment for helping him find comfort with his sexuality. Coming from a small town in Colorado, he only came out to members of his family and a handful of close friends in high school. “I didn’t want to accept [being gay] at first because of what I wanted in life,” he says. “I didn’t want to be an outcast.” Needless to say, Bergren-Aragon says that Emerson College and the positive experiences he had with athletics at the school have helped him transition into who he is today.
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Such positive reception would not be present in the college’s sports community without the support of heterosexual athletes. For sophomore Evan Gooden, playing soccer with his team is just a group of men playing for one common goal. In the end, sexuality proves irrelevant. “When you’re focused on a goal, nothing else really does matter,” he says. Gooden continues, saying that universal acceptance is just as important as winning to him and his team. Senior volleyball player Eric Doherty shares Gooden’s sentiment. “Gay teammates [are] never an issue. If you’re on the court, being a good teammate, giving it your all, I really don’t care.” Emerson College is a proud part of the ever-growing support for and acceptance of gay athletes. With a constant flow of professional gay athletes coming out, professional straight athletes supporting equality, organizations fighting against homophobia, and gay rights becoming more important in our country’s policies and elections, it’s not off-base to predict that the presence of homosexuality in sports such as football, baseball, basketball, soccer, and hockey will continue to rise. Former high school athlete and BFA Acting sophomore Mark Wolf Roberts shares his thoughts on homosexuality in sports. “People shouldn’t be afraid of who they are no matter what. The goal of sports is camaraderie, leadership, and learning. Those are reasons people play sports, and dissent and disgust towards homosexual athletes should disappear.” One can only hope that in 25 years’ time Orlando Cruz and his openly gay colleagues will be viewed as the Jackie Robinsons of their time, but one thing is for sure: The closet’s coming down. em
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“The Renaissance Man� Multi-talented inspirations like Leonardo da Vinci provide a historical model for the accomplished, ever-curious, and knowledgable modern gentleman. text // courtney swift photo // nikita merrin cont. on page 20
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renaissance Man has traditionally suggested a person of many talents, passions, and accomplishments. One needn’t look further than Leonardo da Vinci, the epitome of the Renaissance: An affluent painter, sculptor, architect, and musician, da Vinci was a man who appreciated the arts while wearing his heart on his sleeve. It might even be said that the very concept of the “Renaissance Man” originates with him. His resume also includes prodigious skill in applied sciences, mathematics, engineering, anatomy, cartography, writing, and more. he
Fast forward a few centuries, and the Renaissance Man of da Vinci’s era is still a prominent figure in our modern-day society. Though his overarching character has molded itself as a product of the times, the ability for straightforward rationale in the sciences and for a sensitive eye in the arts is just as important today as it was then. To be a Renaissance Man now means to keep up with music, movies, art, and fashion. It’s to stretch 32
and redefine one’s intellectual capabilities and to stay fluent in current events and politics. It’s to be a curious creature. The Renaissance Man is, quite simply, today’s quintessential gentleman. But just because this 21st Century man is unique and inventive, does not mean he is ignorant to the ways of the past. “They’d need to combine that innovation with nostalgia,” says Katharine Mohana, an Emerson alum and ex-public relations coordinator for Boston’s Museum of Fine Arts. “They need the audacity to be brave and think of new ways of doing things that are substantial and impactful [while] also referring to the past and referring to the gentlemen of the past and how they accomplished them.” Torie Reed, Curator of Provence at the Museum of Fine Arts, cites Renaissance men such as da Vinci and Michelangelo as key Renaissance figures whose influence resonates to the present day. “You might consider some of the greats whose artwork has come to epitomize the high Renaissance,” she says. “Both [da Vinci and Michelangelo] were skilled, if not recognized geniuses, in various areas.” Taking a look through this modern lens, contemporary Renaissance men include rock guitarist Brian May and Academy Award-nominated actor Vigem magazine
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go Mortensen. May, for instance, is the famed lead guitarist of the rock band Queen. Rolling Stone even named him one of the best guitarists of all time. Standard dropout garage-band rocker he is not. May also happens to be a well-regarded astrophysicist. Mortensen, too, is not just the silver screen fox from the Lord of the Rings trilogy. He’s a poet, a photographer, and an abstract painter. His writings can be found in three languages, and he speaks four more. You may even know a modern Renaissance Man yourself. They walk down Boylston Street every day on
performed in a number of Emerson productions, and he is taking a stab at directing for the stage later this year. “The concept of ‘learning how to learn’ is more important than devoting my time to just one skill,” Maxwell says. “We live in a world that thrives on collaboration to succeed culturally, linguistically, and artistically. The more someone can stuff under their tool belt, the more opportunities seem to present themselves.” Katharine Mohana, with both Emerson and MFA experience, describes the classic Renaissance period as a time of advancement but also of retro-
“I don’t want to leave this life without having tried something that, for at least a moment, sparked my interest,”. -ERIC MAXWELL (Marketing ‘14) their way to class, an internship, the library, or the dining hall. Emerson is a breeding ground for the Renaissance Man. The school fosters a knack for all things artistic while still upholding a career-oriented and business-like mentality. But it’s the men who use these skills as more than just a resume builder that are the true Renaissance men. It’s about bringing a determined passion and skill to everything you do. Mitchell Canfield, senior BFA Musical Theater major, has allowed his Renaissance-like capabilities to shine in many projects around campus. Canfield has been seen in a number of Emerson Stage productions through the past four years—musicals and straight plays alike. He has produced, assistant directed, and generally utilized most all leadership opportunities that came his way. He’s a Resident Assistant at Emerson and he’s worked as a team advisor and assistant program director for the National Student Leadership Conference’s theatre program through the Manhattan Theatre Club. “I think the only way to learn what’s best for myself is to go through every one of those opportunities and really learn about all the options out there,” he says. Eric Maxwell, junior Marketing major, is yet another Emerson Renaissance Man. He is not only an active brother of Phi Alpha Tau, the oldest communicative arts fraternity in the United States, but he is also a member of Noteworthy, Emerson’s premiere a cappella group. Additionally, he’s a member of Musical Theatre Society’s press team. Like Canfield, he has em magazine
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spect. “Looking back to classic Greek and Roman art and culture it was a time of innovation and also a time of returning to roots,” she says. She, too, sees these historical characteristics present at Emerson. “I think that Emerson guys are on the right track. They are very creative and innovative, but really respect a lot of classic gentlemen that were impactful in the past.” Maxwell describes one of his influences, artist Andy Warhol, as having a good sense of how to share his vision. “He played with ideas for a living,” Maxwell says, “He was able to take his lens of the world and share it with other people. I want to put things I see through my eye and get other people to appreciate it somehow.” In the fast-paced world we live in today, it’s beneficial for anyone to be skilled in multiple areas. It’s almost more attractive to see someone doing everything and wonder, “What can’t they do?” Emerson gentlemen are undoubtedly prepared well by the school. “Even in classes, we’re expected to know what’s going on not just in our own country, but all over the world,” says Maxwell. They are creative, emotionally grounded, and passionate. Where some twenty-somethings may follow societal pressures to be extra macho and less artistically creative, our men bypass the norm. Passion, drive, and emotional integrity are nearly mandated on our small campus. Even though half of the college is dedicated to the fine arts, Phil Rosenberg, a junior Visual and Media Arts major, spends less time on stage and more time behind the camera. He’s
worked on multiple Emerson shows from a technical perspective. He also helped with Kevin Bright’s trending sitcom workshop as a production assistant last year. Furthermore, like Maxwell, Rosenberg is a member of Noteworthy, and he assists with the group’s marketing and videography. The cherry on top of his stellar resume is his previous internship with Nickelodeon, where he read and wrote scripts, pre-screened episodes, and more. Rosenberg also takes to heart the idea of synthesizing and drawing on the styles of other artists for inspiration, citing comedy gurus and mentors Dan Schneider and Judd Apatow. “As separated as they are on the comedy spectrum, I find both of their humors sit at home with me in some place,” he says. Like the three gentlemen featured above, the modern day Renaissance Man, while certain of his career goals and expectations, branches out of his comfort zone and experiments with different interests and activities. There’s a fine line between spreading oneself too thin and utilizing every worthwhile opportunity. A Renaissance Man has a keen eye for what is important and what is simply something to fill empty time, They do not bother with the latter. In that vein, Canfield says, “Being successful is trying a lot of new things, but not half-assing any of the things that I do.” Even when putting everything they have into a certain endeavor, however, success is never a certainty. It’s ludicrous to think that the Sistine Chapel was perfected with Michelangelo’s first stroke. The Renaissance Man is not afraid of failure, but instead thrives on it, grows from it, and learns from it. So long as the experience is worthwhile, unknown territories are always available for traversing. Throwing the fear of failure aside, Canfield says, “What’s driven me is not wanting to miss any opportunity or pigeon hole myself and also just thinking forward to have experience in as many things as possible.” Maxwell shares a similar sentiment. “I don’t want to leave this life without having tried something that, for at least a moment, sparked my interest,” he says, “I don’t want to die without answering as many questions as possible.” em
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“Heartthrobs” Why do women fawn over the sweet Lotharios of film and television? Gentlemen, take note: here’s a list of men that make us swoon, and why. text // marlee kula Have you ever found yourself watching a really, really, really dumb television show and asking yourself why you put up with it? Well, let me do the math for you. You watch that trashy CW show because the star is absolutely gorgeous. And I don’t mean he’s easy on the eyes. For you to fall in love with him through the TV, he must have that extra special spice. He’s dreamy, a bit of a nerd, and he’s approachable. Or maybe he’s reckless but full of courage and loyalty. All of the characters we fall for become very real to us. We lay around on the couch with our friends imagining what it would be like to go out on a date with him, and I’m not talking about the actor here. We fall for his persona— his character. We fall for what we think we know about him so intimately. Whether he’s a musician, an actor, or a fictional character, there is something about his ‘personality’ that is undeniably alluring. You know who the type: Women want to date them and men want to be like them. These individuals are timeless, and they each have a persona or unqiue quirk that keeps them in the spotlight. All the great iconic gentlemen of our generation have that extra somethin’-somethin’ that keeps us on our knees, watching that show even though the script is god-awful. Let’s take a look at some of pop culture’s most lovable (and notorious) gents. Just why do we love them so much, you ask? Men, time to take note. Chuck Bass, brought to life by actor Ed Westwick: the over-controlling, manipulative mini-mogul-to-be and resident heartthrob of “Gossip Girl.” He is about as handsome, well pressed, and well dressed as they come. With his impeccable taste and flawless manners (to any innocent bystander, at least), it’s easy to see why us girls have become so deeply enamored with the young Mr. Bass. Don’t get me wrong, Ed Westwick is just as insanely hot, but his silver screen alter ego flaunts a dazzling magnetism that women are drawn to. When picturing yourself on a date with Charles, you imagine the fast-paced, glamorous lifestyle he’s a part of in New York City. You picture grabbing drinks at his hotel, going on limo rides through the park, and taking part in the elite inner circle that Chuck, Blair, Serena, and all his friends, enemies, and frenemies call home. There’s no denying it: with his swanky bowties and kerchiefs, he’s stolen our hearts. Men looking to take away some inspiration from the infamous Mr. Bass should look to his cool demeanor, his style, and his ability to throw an off-the-chain-yet-classy soiree. Just be sure to avoid the mind games and treacherous tricks; nobody is really that interested in playing. Ferris Bueller, played by actor Matthew Broderick: the adorable ‘80s teen idol made famous by Ferris Bueller’s Day Off who will always be the original hipster. Before Michael Cera there was Broderick’s Bueller. Rocking a leopard vest and stealing your best friend’s convertible takes the kind of moxie we can only dream of dating. The obvious appeal
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with Ferris is that he’s clever and cute; your parents would just eat him up. He also cuts class to take his girlfriend and his best friend out on the town. What sets this high school boy apart from the rest is that he knows how to treat a girl right. Ferris treats Sloan like the queen she is. When we think about marriage material for eternal love, we think of bagging someone like him. Sure, we want a man that excites us and makes us crazy, but at the end of the day, we want a dependable, cosmopolitan guy that’s worth settling down with. To make this identity work for you men, all you really need is to be yourself. The unconventional, kooky things you might think would scare a girl off are actually just the things that make you a total chick magnet. Let your freak flag fly just like Ferris does when he joins the parade. Girls will have to love you for it. Bonus points if you can do a killer rendition of “Twist and Shout.” The one and only James Bond, portrayed by Hollywood hunks ranging from Roger Moore to Pierce Brosnan, can’t be left out when on the topic of gentlemen that all women fall for. There’s something about this kind of man that we women find so undeniably attractive. He’s dangerous and bold, rugged when he needs to be, and center of the action. But damn, James Bond cleans up nice! Hands down, there is nothing more delicious than a bad boy in a tux. Maybe it’s the fact that he’s such a cultural phenomenon and he’s been played by so many talented, handsome actors. Maybe when you get down to it, it’s the simple fact that no one can protect his girl like 007. The most recent Bond flick, Skyfall starring Daniel Craig, really showed off the character’s softer side. His struggle to remain fiercely loyal to M is surprisingly hot, and it also makes him the perfect example of the kind of man you want around to keep you safe at night, even if he isn’t quite as expressive as some other men. You have to be careful with a secret agent, though: secrets and disguises are his specialty. For all his chivalry, we know Bond has a fierce womanizer instinct, so get a guy like Bond to put a ring on it and keep him all to yourself! Uncle Jesse, brought to life by John Stamos: the head-turner donning lucious locks. As everyone’s favorite “Full House”-er, Jesse Katsopolis is known best for making the mullet sexy. In all, he’s a settled-down, all-around good guy that’s retired his rebel-without-a-cause attitude. Even though he abandons his motorcycle and his band only books garage gigs, he is still the coolest guy we knew back in the ‘90s. Dating Jesse would be like having your cake while getting an extra lick at the frosting. He’s gorgeous and experienced. He’s a great father who maintains a sexy edge. Although he’s old enough to be my dad, I’d still let him father my children any day. To copy Jesse’s bad-boygone-good schtick, act like the good guy. Chivalry is certainly not dead for most ladies, so hold the door open for her and offer to pay the check. Be respectful and you get to wow her in the sheets later. You’ll be the total package, pun intended. em
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“The Dame� While the qualities of a true gentleman are timeless, the kind of woman he needs on his arm has changed drastically over the past century. text // claire teasdale
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What makes a man a gentleman hasn’t changed much over the years, but his arm candy has never been as set in stone. Compared to decades past, the modern man no longer has an eagerly obedient Stepford wife beside him at the table, but a strong-willed woman that matches him in both status and intelligence. What is a gentleman looking for today? His female counterpart: a dame. She is smart, independent, and most of all respectful. Think about Katharine Hepburn, Jane Fonda, Angelina Jolie, and Michelle Obama, for instance. As feminine as these women are, they’re a gentleman’s equal, embodying many of the characteristics that define gentlemen today. For all intents and purposes, they’re gentlemen, too. An article published by Harper’s Bazaar in 1933 titled “What the Young Man Should Know” lists seven quintessentially manly skills: swimming, handling firearms, speaking in public, cooking, typewriting, riding a horse, driving a car, dancing, drinking, and speaking at least one foreign language well. Published today, this article would instead be called, “What the Young Person Should Know” or perhaps even “What the Young Lady Should Know.” Of course, this list would look rather different today. The subject may not being using a typewriter, but she better be tech savvy. Maybe she’ll forgo the firearm, but she can show off her own guns by routinely hitting the gym. Know how to speak to others with confidence; learn how to drive unless you live in the city; drink, but not excessively; sport your dance moves with grace. In 1933, the separate spheres of gender were as distinct as ever. Men provided for women and women raised the children and cleaned the house. Cute little flapper dresses were traded in for more modest garb. Even red nail polish was a faux pas. That was the average housewife. Who wants that anymore? There were women even back then, however, who acted out of the norm and ahead of their time. There have always been dames. Take Marlene Dietrich. She was famous for letting everyone know that she, too, could be a gentleman. Dietrich performed in both a beaded gown that gave the illusion of transparency, showing off her figure, and then a top hat and tuxedo. She toyed with gender roles in her appearance and attitude in a way that entranced the world. Dietrich shows that the dame takes what she likes from fashion, menswear included. Women wear suits all the time, but a small accessory like a tie or a loose bowtie will have everyone looking. Dames subtly reject the social norms. She defies mainstream fashion but always has a reference point. It was only after showing her tantalizing curves that Dietrich donned the top hat, after all. Stereotypical gender roles have been flip-flopped beyond the wardrobe, too. A gentleman today knows how to do what would previously be categorized as womanly skills, like cooking and cleaning. A dame will not only impress a gentleman, but will have a more satisfied and richer life if she knows how to do “manly” things like fix a leaky sink, drink without falling over, and dance face to face. Along with these masculine skills, dames incorporate masculine attitudes into their persona. Obviously the roles of the sexes have drastically changed over the years, but when it comes to relationships, dames go a step further. It may sound archaic, but in most relationships men are dominant and women are submissive. The dame simply does not adhere to this, either dominating her partner or, at the very least, being his equal. This adds a tantalizing mystery to the dame; men can never truly figure her out. Her domiem magazine
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“Women do not find it difficult nowadays to behave like men, but they often find it extremely difficult to behave like gentlemen.” -COMPTON MACKENZIE nance is subtle and intriguing rather than intimidating and off-putting. Dominance is not necessarily overpowering. In the case of the dame, dominance comes from the absence of submission. A woman’s refusal to submit is confusing and alluring. Don’t get me wrong, be a dominatrix if you want, but a dame is a bit more subtle and, in turn, brings the respectable qualities that a true gentleman wants in his counterpart. You want to be dominating in everything that you do and for that passion to show. You’re in charge because you know what you like and that makes others like it, too. The word “independent” when talking about women tends to conjure up thoughts of suffragettes or hardcore feminists burning bras. I’m all about that, but we’re talking about gentlemen girls. Independent means you don’t need anyone by your side to have a fulfilled life. It doesn’t matter if you’re getting help financially or even if you’re in a longterm relationship, you need something to keep you going. If you are genuinely interested in something, it shows. That intensity translates to confidence, which makes people want to know more. The key is to seem uninterested in any given romantic partner, which is thought of as a male characteristic and, therefore, attractive to men. We do it, too, ladies. Think of how women love men that are uninterested and “too cool.” Something keeps us coming back for more. People want to know more. Mysterious people are impossible to capture. We’re constantly told men cheat because they are fundamentally incapable of staying with one person. While that is simply barbaric, men do seem to lose interest faster than women. In the case of a dame, they cannot lose interest because the chase is never truly over The female gentleman arouses the interest of all by being uninterested in most. By that I don’t mean hipster disdain, but a dame is so busy being “independent” she doesn’t have time or desire to pay attention to anything else. A dame is not looking to please anyone but herself. Popular opinion says that the key to being a gentleman is respecting others. A gentleman holds the door open for others, always pays for dinner, et cetera. The key to being a lady is respecting oneself. Ladies don’t wear short skirts, or curse. When you combine these two types of respect, you get our lovely dame. Respecting yourself doesn’t mean only doing things that are ladylike. Whatever you do, ladylike or not, do it with conviction and confidence. If you’re going to smoke and sleep around, do it with pride. Gentlemen don’t get embarrassed by their decisions. If you make a mistake, you acknowledge it and apologize. You don’t drag it around with you like a Taylor Swift song. Believe in your taste. Compton Mackenzie, a Scottish aristocrat, wrote that “Women do not find it difficult nowadays to behave like men, but they often find it extremely difficult to behave like gentlemen.” Women can curse like a sailor and burp all they want; that’s what men do. But is that the kind of man you want? No, you want a gentleman, so act like one. em
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“In Defense of the Bro” While the qualities of a true gentleman are timeless, the kind of woman he needs on his arm has changed drastically over the past century. text // stefani robinson “What is this, a state school?” I remember the look of distaste on my friend’s face as we watched a group of brawny male college students toss a football and crack open cheap beers. It was a hot day on the Boston Common, and most of Emerson had brought homemade cocktails to the hills for a day of sun and reveling in each other’s majestic auras. These burly guys, however, were blissfully unaware that they were disrupting the Emerson chi. Could they not understand how their fist-bumps and cheers interrupted the M83 and Two Door Cinema Club floating in the air? My friend wasn’t the only one displeased. A wave of stink-eyes and vindictive chuckles emitted from the sea of Emerson students. But why? What did these poor, athletic drunks do to deserve such criticism? The answer is simple: They were bros. The Bro. We all know one. We’ve all seen one. Regardless of individual biases, The Bro has been targeted as the Alpha Male Idiot. And, like a Dave Matthews-loving bacteria, The Bro has different strains. There’s The Frat Bro, who is probably the most popularly portrayed bro in pop culture. There’s The Lacrosse (alternatively, LAX) Bro who plays lacrosse…obviously. There’s also The East Coast Bro, The West Coast Bro, and The Musical Theater Bro (LOL, JK, could you imagine!?). If you’re wondering what the differences between all these are, there really aren’t any. When it comes down to it, a bro is a man/boy/ creature who parades around wearing Rainbow flip-flops or Sperrys with a backwards visor/baseball cap. He unashamedly says the “N-Word” while reciting the lyrics to his favorite Lil Wayne song and guzzles Natty Ice whilst maneuvering his pick-up truck. His religion is sports and his Ten Commandments are a bogus set of Man Laws called The Bro Code, which includes creeds like “Bros before hoes” and “Never be of significant use to humankind.” Okay, fine. That sounds a little harsh, and of course I’m generalizing. I’m sure you’re wondering why I’m defending The Bro in the first place if my sentiment is one of disgust. My view of The Bro had remained somewhat negative until I came to Emerson. Before my hipster days, I grew up in a Georgia suburb: a bro nightmare. In school and even in my social life, The Bro was the dominant (well, only) male figure. My high school was wrought with them, so all my best friends were bros. It was an unlikely camaraderie: I was the artsy-theater-type who spent her time brooding and listening to My Chemical Romance, and they were the antithesis of everything I stood for. I guess there existed a mutual fascination with one another because my posse of bros and I spent most of our free time together. We did a lot of driving around listening to T.I. and god-awful country singers. For some reason they always wanted me to take pictures of them with their trucks. I never did learn the rules of baseball, but they taught me when to cheer or boo—which was plenty, since I was too busy writing short stories during games. They included me in their dim-witted chit-chat about which girls had the nicest asses and which basketball player they would be if a Bro-Genie granted their wishes. I once asked them which male celebrity they would sleep with if they were gay…I was shunned for a week. They were loud, obnoxious, and all had annoying laughs (think a mixture of a dying donkey and Buffalo Bill’s voice from The Silence of the Lambs). When I was able to convince them to attend theatre or the like, they heckled the actors or slept. Bro art was Call of Duty and “Family Guy,” but I had to explain the obscure Seth MacFarlane jokes that flew over their heads. I dreamt of escaping to a big city and meeting a boy who wore skin-
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ny jeans and had five-o’clock shadow. He’d play 10 instruments and understand me whenever I made a reference to A Clockwork Orange or Grease. I should have been careful of what I wished for because I got exactly that in fall 2010 when I started at Emerson College. Aside from the metropolitan air and my flawless academic schedule, it was the boys (well, the few straight ones) that indicated I was in Heaven. In the first few months I flirted with boys who had butterfly tattoos, hoop earrings, and hair longer than my own. We talked about our favorite films, plays, and remixes of Hall and Oates songs. I was happily drowning in Emerson-hipster-boy Heaven with no bros in sight. It took one night, however, to shatter my illusion. After spending a comfortable amount of time in my dream world, I had the pleasure of Skyping with my bro friends back home. I hadn’t seen them in ages and seamlessly slipped back into our old familiarity: stupid jokes, conversations about which jerk needed to be kicked off which football team, reciting Gucci Mane verses, the like. I realized that I missed them. I could pretend I was glad to be rid of The Bro, but there were aspects I authentically longed for. I went out that night with new eyes. I felt like F. Scott Fitzgerald, disillusioned with my personal American Dream. The party I attended wasn’t really a party—it was a group of people standing around taking cell phone pictures of each other. I tried changing the music to something more lively but was ridiculed for having terrible taste by some gorgeous male musician. I tried flirting with another beautiful filmmaker, but his weird extensive knowledge of every film ever coupled with his pompousness depressed me. Where were the guys taking shots out of an ice-luge? Where were the guys who happily gave me three cans of beer instead of charging me five dollars for a PBR? Where was the obnoxious rap? Where was the life of the party? Where were the bros? Believe me, I love Emerson, and I love its student body. Though, in my experience here, the idea of “The Bro” has been vehemently frowned upon. I can’t help but continue to think of that one day on the Common as my new peers scoffed at my old ones. As I come back to Emerson each year though, I see more and more bros, and I smile. The Bro isn’t necessarily some meathead that society should ridicule. The culture of The Bro is unique. Bros, aside from being humans like everyone else, are generous, fun, athletic, disciplined, motivated, and loving. I recall a time before leaving for college when I stood with my bros in a gas station parking lot, leaning on one of their trucks. They had all popped open cans of Natty Ice, fiddling with their baseball caps and lanyards. I told them how nervous I was to start school, how I wanted to flourish in the arts and make a difference in the world. They all listened to me, for a while not saying anything. I didn’t expect them to say anything touching or to even comprehend where I was coming from. But they all nodded. I will never forget the look of understanding on their faces as one of them told me, “You’ll be fine, dude. You’ll do it. You’re like Cleopatra. You’re like a god damn Egyptian Pharaoh.” I will never forget that moment and I will never forget that group of friends that so effortlessly encouraged me, all to the soundtrack of Mac Miller. An Egyptian Pharaoh. That is probably the most poignant and inspiring title anyone has ever ascribed to me—and from a pack of bros, no less. A bro is just that: a brother, a muscular shoulder to cry on, a best friend. em
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he era of fashion in which we are now is fascinating as the line between men’s and women’s clothing has begun to blur. Slacks and a tailored blazer are everyday wardrobe choices for women and accessories and bags are not only becoming staples, but also statement pieces for men. What’s more, the various styles of high fashion seen on the street owe an influence to past decades in a way that they never have before. In the following pages, we take a look at the essentials of today’s trends and the inspirations behind them.
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“The Silhouette in Menswear” While the qualities of a true gentleman are timeless, the kind of woman he needs on his arm has changed drastically over the past century. text // dillon sorensen
As someone whose fashion interests have always predominately been in menswear, it’s been extremely exciting for me to watch the men’s fashion industry grow over the past couple of years (and, more obviously, to be a part of em Magazine’s first-ever Gentlemen’s Issue). However, the fashion industry—without a doubt— emains a woman’s world. Women’s wear occupies the most square footage in American department stores, the most pages in fashion magazines, and is the primary source of income for most global fashion conglomerates. In fashion circles, whether they are at Emerson or in the offices of major American magazine corporations, women’s wear dominates the discussion. Many very intelligent, successful individuals within these circles continue to assert that men’s fashion leaves little room for innovation. Such individuals claim that menswear is exclusively composed of “basics”—i.e. suiting, jeans and dress shirts. There is no menswear equivalent to couture, and men don’t have the opportunity to overtly assert their “fashionista” status through Céline handbags or Christian Louboutin shoes. Therefore, the argument goes, menswear is boring. I would like to contend, however, that menswear is not only just as interesting as women’s fashion but in many respects is a bit more complex. And even more importantly, the combination of this newfound global interest and an new crop of designers make this an extremely exciting time for men’s fashion. Robert Geller is one of these new designers who has a penchant for not only pushing the envelope on the runway but also articulating his design philosophy. The son of a famed German photographer, Geller studied fashion design at Rhode Island School of Design before going to work for Marc Jacobs and launching the relatively unknown yet critically-praised menswear line Cloak in the early 2000s. Now, he’s at the helm of his eponymous label. In a video interview with Details magazine, he sums up this “menswear revolution” extremely well: “I’ve been—for a long time—interested in the Bauhaus and all aspects of it, but the one aspect I was interested in for this collection was its use of geometric shapes. I’m really interested in proportions of the male outfit and how it’s changing.” According to Geller, fashion has turned towards the image of “thin” and “narrow.” He believes that the time has come for a new silhouette in menswear. The silhouette he’s looking to create is about the juxtaposition of disproportion and balance. “If you can imagine a stick with a ball
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—the very skinny pants with sort of the oversized jacket, or really huge pants with a small top.” Playing with proportion isn’t exactly new to menswear— Yohji Yamamoto is known for his baggy men’s looks, while Hedi Slimane was known during his tenure at Dior Homme for his ridiculously skinny jet-black suits. However, it wasn’t until recently that menswear designers all across the board began to marry these slim and baggy silhouettes into a cohesive aesthetic. Mixing the slim and oversized has almost always been an integral part of women’s wear—think Azzedine Alaia’s signature A-line dresses or Yves Saint Laurent’s wide-legged pants/fitted blazer pants-suits. Or, for something more familiar, check out all the photos on The Sartorialist of women in super-skinny jeans and oversized army jackets. But it seems that, until recently, one or the other has historically dominated menswear. And most men’s focused magazines, blogs and forums have argued that slimmer is better. At most mass-market retailers, gentlemen purchase slim-fit shirts and blazers in droves, and it seems that every single issue of GQ uses the word “tailor” about a hundred times. However, it appears that the time has come for the wheel to be reinvented on the men’s runways in Milan and Paris. For his Fall/Winter 2012 collection, Neil Barrett presented an extremely oversized wool peacoat as a must-have piece. For his upcoming collection, Geller showed oversized shorts paired with skin-tight leather leggings and cropped jackets. The complexity in menswear lies in experimenting with silhouettes and proportion while maintaining a distinct sense of both tailoring and masculinity. There’s an art to oversizing the proportions of a male outfit while still making garments look fitted, and perhaps even more importantly, masculine. In women’s wear, masculine shapes are cool and represent a certain sense of empowerment. But menswear that comes across as too feminine is not commercially viable, and masculinity is at the core of even the most avant-garde menswear collections. As more and more high-end designers continue to experiment with the proportions of the male outfit, these ideas are beginning to trickle into contemporary and high street lines as well. And the message is clear: the slim silhouettes of the ‘90s are out, and now it’s all about mixing and matching shapes a way that women have been doing for years. em
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“Men’s Shopping” Menswear-specific boutiques have been popping up all over Boston. Here are a few of em Magazine’s go-tos. text // kelsey leahy Ball and Buck 144 Newbury Street. Boston, MA 02116 Ball and Buck is a store built for men who are founded in tradition and take pride in how they look. It’s the guy who holds the door for his lady and never forgets his pleases and thank yous. Whether its a Saturday morning hot towel shave or the perfect wool peacoat, our 1920s hunting lodge inspired store brings together the best products that are all crafted in America. If you don’t want to spend hours picking out what you want to wear on a given day, fill your wardrobe with Ball and Buck—everything sold here will make you look great without having to think about it.
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Jiberish 299 Newbury Street. Boston, MA 02115 Jiberish is a boutique for the man who lives a life balancing a passion for the outdoors with life in a city. His style is a mix of upscale street/skate while also drawn to modern takes on classic menswear staples. From their organic cotton t-shirts to the waxed cotton and calfskin leather varsity jackets, everything is cut-and-sewn from original patterns. Being based at the foothills of the Rocky Mountains, their focus on quality comes from the elements they are often exposed to. Functional, stylish, and often made in very limited numbers, Jiberish is for the guy on the go who looks good along the way.
Boylston Trading Company For the streetwear guy that wants to clean up his style yet stay true to his roots, Boylston Trading Company can help to do just that. With a wide spectrum of brands, BTC provides plenty of options for any guy who wants to take the fit, cut, and quality of traditional menswear and present them with edge and attitude. Show your ability to pull together clean outfits using pieces from multiple pastimes. Whether it’s a varsity jacket or camouflage chinos, this online boutique can help sharpen up any look while providing collectable pieces that will last for years to come.
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The Usual Suspects The Essentials of Menswear text // kathleen allain & danny tehrani photo // zeynep abes
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The evolution of menswear over the years has been a slow and understated one. Few things have altered the classic elements of the suit since 1900: the crisp shirt, broad shouldered blazer and simple slacks have remained a constant for more than a century. While women’s fashion changes almost beyond recognition by the decade, the classic pieces that make up a man’s wardrobe have changed with such subtlety that a man has and will always look good in a well-fitting suit. Though the changes to this men’s uniform seem few and far between, it’s these subtle changes that are to be delighted over in menswear, that make you focus on each detail with care. Color, cut, accessories, and fit all add up to make men’s dressing a pattern of attention to detail and intricate care. It’s also true that fashion has always had a thing for nostalgia. There are certain looks that always stay in style, and although designer collections change
with each season there are some things they reference again and again. In the 1980s, Giorgio Armani, the emperor of menswear, came to fame thanks to a bit of retro inspiration. After the polyester, disco free-for-all of ‘70s menswear, Armani’s ‘30s style vision of slouchy suits, big around the shoulders and wide in the legs, seemed fresh even though the look hit its peak 50 years before. While Armani only widened the fit and matted out the fabric of the same suits that had been tight and shiny in the ‘70s (a la John Travolta in Saturday Night Fever), that subtle shift expressed what was happening in the world during the Reagan era. The days of Free Love had been demolished by AIDS, political conservatism was on the rise, and the yuppie, “Greed is Good” days had caused the world to become a darker place. The dark, traditionalist, ‘30s film-noir looks that Armani premiered were a statement about what was happening in the world. In this decade, fashion history em magazine
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continues to repeat itself, referencing past suit styles as well as past lifestyles. In the rapidly changing fashion world where trendy purchases become obsolete, some men’s looks are not going anywhere—we’ve come up with a few examples that will always be at the top of our Most Wanted list. Al Capone, swingin’ jazz, and F. Scott Fitzgerald are things that come to mind when thinking of the 20’s. However, we found that in this era we couldn’t resist the Chicago gangster. Here, we went with a classic menswear look: pinstripe suit and vest. Go with a streamlined one (Gant $275), with a matching pant (Gant $295), and pair it wit-h a subdued square tie (Ball and Buck The Hillside Tie $83). Watch out, this monochrome look is dangerous. The Great Depression brought somber hues in clothing, and durable fabrics in the ‘30s. Fashion was rationed, but new styles emerged. Hence, the tweed jacket (Shipley and Halmos $695)! Wear it with a crisp em magazine
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white oxford (Gant $135) and straight leg jeans. We chose Rag and Bone burgundy ones for fall ($185) paired with Ben Sherman shoes ($260). To channel that newsboy edge we chose a Ben Sherman hat ($195). This look is effortlessly cool. For the ‘50s look, get your Harvard on with this American Ivy League style; New England preppy meets nostalgic elegance. Channel your inner Cary Grant, and layer a sweater (Rag and Bone, available at the Tannery) over an oxford button down (Ben Sherman $125) with a plaid bow tie (Ball and Buck $38) and school-boy blue blazer (Rag and Bone $695). Pair it with some cotton pants (Left Field $165) and penny loafers (Ben Sherman $260), and hit the books. We are innamorato with this look taken right out of a black and white Fredrico Fellini film from the ‘60s. The skinny leg trouser (Surface to Air $375), fedora (Ben Sherman $85), fitted blazer and pant (Surface to Air
$555, $375), and black shiny leather dress shoes (Florsheim by Duckie Brown $500) are all classics of Italian menswear suiting that work together to give off a streamlined, basic, and tailored look. We freshened things up with Warby Parker glasses ($95), and this clever white oxford (Iro $195), which has a black stripe down the front placket replacing a traditional tie. Wear it with dress pants like we have here, or for a more casual look pair it with black jeans. The modern hipster isn’t afraid to be fun and playful, using a lot of texture, pattern, and color in his wardrobe. Try a retro polka dot dress shirt (Ben Sherman $120), striped square tie (Ball and Buck The Hillside Tie $97), camel coat (Ben Sherman $495), and leather and suede oxfords (Walkover $295). These pieces are guaranteed to make you stand out among a crowd. em
Look 1: Ben Sherman coat, $495; Ben Sherman shirt, $120; Left Field pants, $198, Walk-Over shoes, $259, The Hill-side tie, $97, both at Ball and Buck. Look 2: Ball and Buck shirt, $128, The Hill-side tie, $83, both at Ball and Buck; Gant vest, $275, Gant pants, $295, both at Gant; Florsheim by Duckie Brown shoes, $500, at The Tannery. Look 3: Gant shirt, $135; Rag & Bone pants, $185, Shipley & Holmos blazer, $695, both at The Tannery, Ben Sherman shoes, $260; Ben Sherman hat, $95. Look 4: Surface to Air pants, $375, Surface to Air blazer, $555, Iro shirt, $233, Florsheim by Duckie Brown shoes, $500, at The Tannery; Warby Parker glasses, $95; Ben Sherman hat, $85. Look 5: Left Field pants, $165, Ball and Buck bow tie, $38, both at Ball and Buck; Ben Sherman shirt, $125; Rag & Bone sweater, Rag & Bone blazer, $695, both at The Tannery; Ben Sherman shoes, $260; Moleskine notebook, $6.25.
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The Boyish Figure text // danny tehrani photo // jamie emmerman
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What does it take to make iconic women’s wear? Menswear, apparently. Look to the most iconic of fashion’s houses and you’ll find that at the root of their innovation is a gender-bending twist that blurs the binary between men’s and women’s wardrobes. Just ask Chanel’s Karl Lagerfeld, who just this year photographed a slew of style-setting celebrities from Sarah Jessica Parker to Kanye West in the house’s iconic Little Black Jacket book and exhibit. The revolution Coco Chanel started when she took inspiration from menswear to craft the perfect women’s jacket out of tweed (once considered only a man’s material) still reverberates today. When it comes to
outerwear, going the masculine route is, was, and always will be the epitome of chic—start with some menswear-inspired outerwear and an iconic look is sure to follow. Fall and winter have always meant a shift to darker colors. The Fall 2012 collections took it to another level, going deeper into the color wheel with rich hues laced with a bit of Goth-girl glam—like at Gucci where the palette had all the aubergines and plums of a bowl of ripe, bruised fruit. Take on the trend with a coat in bold maroon (Steven Alan, $548, available at The Tannery) and pair it with the ease of a men’s pajama shirt (Rag & Bone, Stylist’s Own). Jeans (Steven Alan, $278, em magazine
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Look 1: Steven Alan pants, $278, Steven Alan jacket, $548, both at The Tannery; Vintage Rag & Bone top; Model's Own earrings. Look 2: Millau pants, $156, Millau top, $132, Jeffrey Campbell shoes, $165, Necklace, $125, all at LF; Smythe jacket, $695, at The Tannery. Look 3: A.L.C. pants, $454; Opening Ceremony shirt, $265, Rag & Bone turtleneck, $220, Rag & Bone jacket, $995, all at The Tannery; Boutique 9 shoes, $138. Look 4: A.L.C. sweater, $385, Rag & Bone coat, $995, both at The Tannery; Echo collar, $45, at LF.
available at The Tannery) in decadent gold and black lace pattern hint at the Baroque shown at this season’s glamorous Dolce & Gabbana show. Stefano Pilati’s last collection for Yves Saint Laurent was a swan song of perfectly polished ‘80s glamour, hard-edged masculinity paired with the house’s trademark smoke-show sexuality. Reference Pilati’s poetic collection by adding hints of subversive leather, like this collar (Echo, $45, at LF Boston) and chic shoes (Topshop, Stylist’s Own), to an otherwise simple outfit composed of a black coat slashed with color (Rag & Bone, $995, available at The Tannery) and a sweater in bright cerulean (ALC, $335, at The Tannery). em magazine
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You can never go wrong with a minimalistic monochrome look. A striped pea coat (Rag & Bone, $995, available at The Tannery) in white, grey, and black will become a staple in any wardrobe; different enough to turn heads but pared down and effortlessly wearable. We updated the trend with a hit of modern texture in the shape of this cotton sweater (Rag & Bone, $220, available at The Tannery) and a coquettish wink in the form of suspenders and tight black trousers (ALC, Stylist’s Own) paired with the perfect loafer (Boutique 9, $138, available at LF Boston). Channel the power of Vivienne Westwood and Alexander McQueen,
fashion’s punk revolutionaries, with a look that is all Anglophilia. The classic punk of red tartan pants with a slew of zippers (Millau, $156, available at LF Boston) is balanced well with a gentlemanly fur-collared coat (Smythe, $695, available at The Tannery). Finish off the look with a pair of shoes that reference the designers’ high/low, tough/ refined dichotomy—penny loafers (Jeffrey Campbell, $165, available at LF Boston), a staple in the businessman’s wardrobe, get roughed up with a high platform that is half Goth-girl, half Spice Girl and 100% chic. em
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Boylston Trading Co x Harun brown beaded bracelets, $90, at Boylston Trading Co.
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“Arm candy” text & photo // kathleen allain
R
emember the days when it was cool to wear your concert wristband until it fell off? Or when you weren’t cool if you didn’t have a yellow LIVESTRONG bracelet? Well, my friends (man friends, that is), those days have returned. Your arm looks bare, and your watch needs a friend. Let me introduce you to the bracelet trend. “The key is to pile them up until you’ve lost count and wear them till they fall off” explains Will Welch, fashion writer for GQ magazine, in an article for the GQ website. He’s right. It doesn’t matter if it’s made of leather, rope, string, or metal; the more the merrier, all colors welcome. The fashion blogger who goes by the infamous sobriquet “The Man Repeller” coined the phrase “arm party.” She says, “They’re gatherings. Or soirees. Or dinner dates. In some instances, they’re ragers or frat parties.” While the true originators of this look were surfer dudes, rock stars, and 8-yearold girls at summer camp, now everyone is stacking their bracelets. We’ve seen it all over the runway and the street, and on everyone from businessmen to hipsters. Miansai, Luis Morais, Tateossian, Kiel James Patrick, Ralph Lauren, and Tod’s are just a few of the designers who have adopted this trend. Kanye West is also doing it, which means it’s definitely cool.
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“The Art of Cologne” Resident cologne connoisseur Daniel Tehrani takes us through the dos and don’ts of choosing– and using–the perfect cologne. photo // jamie emmerman There was a time when wearing enough Axe to singe the nose-hairs of unlucky passers-by was considered cool. Thankfully, we’ve since outgrown middle school and upgraded to big-boy colognes—or so we think. Pick up your fragrances and actually smell them this time. That’s right, take a deep sniff and think about what you smell. How many of your Lacostes and Armanis smell like Lysol and Speed-Stick? Chuck those in the trash and file in for Cologne 101: it’s time to get educated. Within the perfume world, mainstream fragrances, particularly those marketed to men, are a big joke. The “good” perfumes with expensive natural materials go straight to the niche market and boutique brands, while department stores are full of bland, big name flops. Slap “sport” or “blue” on the bottle, fill it with some cheap, “clean,” metallic-smelling chemicals and we’ll buy it, so long as the name brand is recognizable and the guy in the advertisement is hot, shirtless, and preferably wet. It’s time to start paying attention to what we scent ourselves with. Cologne does not designate the gender of a fragrance, despite what marketers would like us to think. In fact, fragrances don’t have genders the last time I checked so feel free to buy whatever the hell you like and spritz yourself with abandon, but I digress. Cologne is in fact a classifica-
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tion of fragrance the way a “floral” or “oriental” fragrance is, describing what notes are used in it. A “cologne” is always a unisex fragrance that is a blend of citrus notes (e.g. lime, lemon, or grapefruit), florals (like jasmine or orange blossom), and a green finish (think lavender or herbs). It gets its name from a city in Germany where it originated in the 1770s, first made by an Italian perfumer hoping to capture the scent of a meadow in spring. Colognes should, when done well, evoke that image perfectly. I love colognes because you splash them on and are instantly refreshed. Unlike modern men’s colognes, there is no harsh, metallic, “licked-spoon” top note, no artificial candy “melon” accord, or foghorn, Macho-Man pine. Instead, colognes are a subtle aura of fresh cleanliness that are natural-smelling, un-abrasive, and coolly refreshing. The best colognes out there can be found at a range of prices, all within a short distance of campus. The trick, though, is hunting down the good stuff. The best guides are online blogs like NowSmellThis.com, where experienced and unbiased perfumistas post articulate reviews, or BaseNotes, an online board where anyone can rate and rant about perfumes they’ve tried. For the slightly more curious, there’s Perfumes: The Guide, a book of reviews by Luca Turin, the bible of any perfume collector, and an absolute must-read for his intelligent, well written, and positively hilarious insights (he calls Paris Hilton’s Heiress perfume a “barf-bag floral”). Turin’s favorite cologne is Eau De Cologne by Chanel, a brisk yet soft fragrance that is sheer heaven (exclusively available at Chanel boutiques so grab one at the Newbury store for $110.00). Another scent you’ll want to splurge on is Hermes’s Un Jardin Sur Le Nil. French for “a garden on the Nile,” this cologne exudes summer with the scent of a tart, unripe mango with lime squeezed on top. Their Eau Pamplemousse Rose is another citrus scent, this time balancing the sharp freshness of grapefruit with a soft, bright rose (both are available at the Hermes boutique, Sephora, and department stores for $90). Thierry Mugler’s Mugler Cologne ($60 at Lord and Taylor) smells like clean skin that’s just been washed with a bar of orange blossom soap—fresh but very sexy. Green Tea by Bulgari ($62 at Sephora) is a blend of rose, jasmine, cardamom, and, of course, green tea that is easy to wear and just as delicious as a tall, iced glass of its namesake on a hot summer day. Jo Malone’s Lime Basil & Mandarin ($60 at Saks) also smells as it sounds, which is to say, bright, herbal, and absolutely perfect. All these colognes sparkle—they’re fresh, subtle, and pleasant, as every gentleman should be. em
“Clean Cut” Nine tips for properly using your comb and razor from our fashion team’s bible of men’s grooming. text // danny tehrani
Grooming goes through its trends as much as fashion, art, and music do—remember when frosted tips were a thing? Barf. But a few things will always (or never) look good, so I sat down with my team of fashion writers to pin down the classics of grooming. Don’t be afraid to conceal a pimple. While makeup up may not be the most masculine thing to sport on your face, it’s much preferred over a pimple the size of Texas. There’s no shame in wanting to look good, so muster up the courage and grab a pigmented, long-lasting concealer in your skin tone. Just dab over any blemishes and you’re good to go. Try Mac’s Studio Finish Concealer ($18 at MAC stores)—the finish is so natural that with a light application, no one will even need to know. Or (expert tip) try Yves Saint Laurent’s Touche Eclat ($40 at Sephora) for covering up any dark circles after a long weekend. Do shave all patchy bits. Leave the pubes in your pants, guys. Patchy hairy spots on your face will only revolt, or worse, bring back memories of awkward pre-pubescence. Soul patches, goatees, anything reminiscent of a kung fu villain is a definite no-go. A full beard or a even a little stubble are all good, but leaving patches unshaven only looks unkempt. Do use antiperspirant. It’s not the same as deodorant, guys! Too many men think that putting on deodorant is going to combat sweat, when it really just adds another smell to your already smelly smell. Instead, grab a stick marked “antiperspirant” that will actually keep the schvitzing at bay. Do clean and cut your nails. This one’s a big turn-off—while a shiny clear manicure isn’t completely necessary (or even desirable), keeping your nails short and clean is a must. Forgo the file and invest in good nail clippers to keep them in order.
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Do groom your brows.
Don’t spike your hair.
If your brows meet in the middle or extend unevenly between your eyes, you are either A. my relative or B. clueless. It’s not a good look for any one but Frida Kahlo (and even that’s debatable). Pluck that sh*t. If you don’t know how, ask a female friend… And if you don’t have any of those it’s probably because your one, big eyebrow scared them off. Seriously guys, you can get tweezers at CVS for less than a dollar. Just do it.
“The Jersey Shore” is not only a great cultural ambassador for the state of New Jersey, it’s also a fantastic opportunity to gauge your grooming habits. If your hair looks any bit like the hot-mess-express train wreck to Shame Station that is The Situtation and his juice-head pals, please put down the gel. Leave the glistening, super hard, over-gelled look for the GTL crowd and N*Sync. To keep hair in place, go for a wax or a paste that will leave a matte finish but still have the hold of gel. Try Sebastian Microweb Fiber ($20), Garnier’s Hair Putty ($5) and a Japanese product you can pick up in Chinatown called Gatsby’s Hair Wax ($14 at Sasa Beauty in Chinatown).
Don’t shape your brows. The above being said, if you’ve got a thin arch going on that rivals early-‘90s J.Lo’s, we’ve got a problem. Overgroomed brows are just as bad, if not worse, so pluck a few stray hairs on the side and in the middle. If you’re starting to look anything like a Chola with sharpie-brows, do us all a favor and put the tweezers down. Do take care of your skin. A surprising amount of guys wash their faces with just water. Facial skin is incredibly delicate and as such it needs extra attention, The easiest way to get clear skin is by treating it properly—a gentle cleanser that’s fragrance free and oil-free is best for getting skin clear. Cetaphil’s Gentle Skin Cleanser ($15) or La Roche Posay’s Toleriance Dermo-Cleanser ($22) make great options. Moisturizing is also key: try Clinique Dramatically Different Moisturizer ($20), because it gets rid of any dry skin but won’t break you out. The only lasting and permanent solution is seeing a dermatologist so make an appointment if acne persists.
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Do wash and care for your hair. Hair care isn’t just for girls. While we just went over how hair that’s been given too much attention is never good, hair that hasn’t been given any attention is probably worse. And don’t think that wearing a baseball hat over tendrils of oil-soaked hair is a solution; get in the shower and shampoo. Condition, too, while you’re at it. Stay far away from “combination products” marked as body wash and shampoo, because the chemicals in soaps can be too harsh for your scalp and hair. Instead, invest in brands that are gentle: Aveeno and Neutrogena are affordable and non-irritating.
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FO U R LO O K S two genders
text // kathleen allain photo // daniel salerno
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The oversized clutch is easy to pair with any outfit, even a hard edged look—Rag and Bone jeans, the Tannery; Chandelier, LF, $148; Surface to Air vest, the Tannery, $159; and Ibiza X Jeffrey Campbell shoes, LF, $175. Also, don’t forget about your hands: paint them a smoky hue for fall, and layer chunky bracelets, ours is a Metal glove from LF ($85).
This look is all about ease. Going out for a stroll? Pick a portfolio clutch in a trending color, and give a pop to an otherwise simple outfit—Bespoken pants, $235; Band of Outsiders shirt, $265; and Wings and Horns sweatshirt, $198; all available at the Tannery.
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The portfolio clutch is perfect for going from meetings to matinées. With coffee in one hand, and your clutch in the other, you’ve got places to go and people to see. Since the portfolio clutch is a statement piece, we paired it with feminine pieces—Ibiza X Jeffrey Campbell shoes, LF, $145; Angel Biba skirt, LF, $116; Helmut Lang top, the Tannery, $295; and a Gant blazer, $790 to balance things out.
Grab this sleek accessory (Phillip Lim $450) and chuck your chunky messenger bag. Here we played with athletic wear and business wear to mirror the bag’s on-the-go style. Our shoes are dress shoes, but they have a sportswear edge with the bright yellow sole insert (Walkover, The Tannery). We juxtaposed these with a businessman’s blazer (Gant $595) and luxe shirt (Gant $115).
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MAN’S BEST FRIEND story by tess babbitt photography by evan tetreault
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t seems that every day there is some new controversy surrounding gender roles in our society. A magazine publishes an editorial that is offensive to women, a political candidate says something surprisingly old-fashioned, a sports commercial makes men look like idiots—the media is full of examples. Our society is obsessed with gender, what it means to be a man or a woman, and the distinct differences between the two. We’re obsessed with it when it comes to marriage, television, our friends, movies, advertisements, even ourselves; anywhere in which a man or a woman is depicted, society states its views on gender. We’ve talked about these images in school, written papers about them, read essays and history books focused on the entrapping nature of gender roles and how they are damaging our society. Yet for some reason,we as a culture cannot seem to fully shake the idea that a man protects, provides, and is rarely emotional; while a woman cooks, cleans, stays at home, and cries a lot. Judith Butler, a famed feminist philosopher, tells us that gender is all a performance in her work Insubordination of Gender. Every time we get dressed as men and women, we are simply performing an imitation of an image to which there is no real original. As a culture, we hold so
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much stock in these images of male and female we forget that in reality they have no real substance. What makes a man a man anyway? Anatomically we all know what’s involved, but beyond that, who makes up the rules to tell us what is masculine and what is not? The answer is not as simple as blaming everything completely on the media, for it simply mirrors what we as a society project. It is a complex subject that is deeply rooted in our subconscious and colors the way we view the world. The majority of the attention the media gives to gender roles—whether bolstering them or tearing them down—is directed at women. This may have to do with the fact that women have been fighting against these roles for decades. They fought for the right to vote in the ‘20s, they fought for the right to wear pants in public and not be ridiculed in the ‘50s, they continue to fight for equal pay in the workplace, and most recently, the right to fully own their bodies and their decisions surrounding sexual freedom. While all this attention has been paid to women, it’s easy to forget that many of the same stereotypes of expected appearance and behavior are applied to men as well. Men have been dealing with the captivity of gender roles equally as long as women. Perhaps because their roles have always been seen as more dominant and powerful they haven’t received as much negative attention or been driven towards protesting these confinements. Why fix it if it’s not broken, right? In the media, men have always been portrayed as the strong and simple type. From the earliest cowboy movies, with Clint Eastwood and his rugged looks going after bad guys with no regrets, to Don Draper, the
modern day man’s man, seducing secretaries and beguiling clients with his sharp wit: these men never get over-emotional, never lose sight of their masculinity, and never hesitate to take what they want. How is it that women have made so much progress in the way society views them, and yet men have remained so stagnant? Guys, it’s time to cut the crap. The photographs in this editorial are a satirical look at how real men are supposed to live their lives. Real men drive fancy cars to their powerful jobs, are served by beautiful women who wear practically nothing (except heels, of course), and just generally lounge about in the lap of masculine luxury. This is the ridiculous image that men and boys have come to strive for in modern society. And yet there’s something alluring about these stereotypes—something that pulls us into the films and photographs to fantasize that we are a part of them. This could be our primal instinct as humans to seek success and support, which in its most simple form means safety from a vastly unpredictable world. But, then again, it could just be the projections of the media that tell us that’s what we want, and therefore we believe them and begin to believe it is our idea. Think of it as cultural inception. The media and older generations tell us that in order to be successful and attractive to the opposite sex (or the same sex, what have you), we must follow these very distinct rules. And we, as a new generation, believe these rules and follow them as carefully as wide-eyed schoolchildren. But this is the 21st century, and it’s time to shake things up. Gender roles have managed to sneak by other historical cultural oddities and remain deeply rooted in our psyches. We are, however, making progress. For
Look 1: Ben Sherman pants, socks, sweater; Warby Parker sunglasses, $95; watch and shoes, Stylist's Own. Look 2: Ben Sherman pants and blazer; Ball & Buck bag; watch and shoes, Stylist's Own. Look 3: Ball and Buck shirt, $48; Ball and Buck jeans, $198; Maison Kitsune cardigan, $1049, at Boylston Trading Co. Look 4: Maison Kitsune sweater, $675, at Boylston Trading Co.; Burberry trench coat; Ball and Buck shoes.
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instance, the recently released Bond film Skyfall features a bit of an erotic moment between Bond and Silva, the overtly sexual and frightening villain. Now if James Bond, the epitome of masculinity, is flirting with more than just disaster, shouldn’t that send the message that the days of rigid gender roles are over? It will take more than a few scenes with sexual insinuations in popular movies to move society in a direction that removes the rigid lines around the concepts of gender. This is where the modern gentleman comes in: it’s time to overturn the status quo. Stop trying to figure out what society wants you to become, and start deciding what it is you want to do. If you continue to follow these rules, you will spend more time worrying about what the beer you’re drinking says about you than what you say about yourself. If you don’t start forming your own ideals and realize how absurd the popular definition of masculinity can be, we will continue this cycle for eternity. As a younger generation, there is no better time for us to start shaping the world into what we want it to be. We can ensure children, and their children, will grow up in a place where it’s okay for a little boy play with dolls without fear that the neighbors will question his sexuality. Cast off those ridiculous ideas that it takes a nice car and a smoking hot wife to make you happy, and go out and find what actually makes your heart race. It’s time to grow up and be yourself and change the way the world sees you, lest we all remain stuck in this lifelong performance of gender without a curtain call in sight.
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Les Fleurs du Mal at the boston athenĂŚum
story by devan norman photography by SOPHIA YOUSSEF
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James look 1: Ben Sherman pants, $150, sweater, $175; Maison Kitsune blazer, $1199, at Boylston Trading Co.; Warby Parker glasses, $95; Shoes, Model's Own. Srda Look 1: Ben Sherman pants, $150, blazer, $295; Native Son shirt, $115, tie, $49.50, both at Boylston Trading Co.; Shoes and belt, Model's Own.
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T
here is a history and indeed a beauty to Gothicism that is often overlooked. Edgar Allan Poe helped open the public’s mind to Gothic literature and the macabre, showing the valuable perspective gained from embracing inner darkness in “The Raven.” Poe’s narrator peered within himself, “wondering, fearing/Doubting, dreaming dreams no mortal ever dared to dream before” (54-5). Brave and creative, this represents the evolved beauty of being Goth. Unfortunately, something has been lost in translation over the years. The modern conception of the Gothic subculture often stops after three major components: Victorian inspiration, the macabre, and lots of black. A struggle for acceptance and respect has long been associated with the movement, permeating our culture today. Gothicism, like Poe’s narrator, is unafraid to embrace the light found in the more shrouded recesses of society. The term “Goth” actually dates back before Poe and others introduced it as a literary genre. The word itself originates from an East Germanic tribe, renowned for their ferocity. Both sections (the Visigoths and the Ostrogoths) of the group proved integral to the fall of the Roman Empire and a shift into Medieval Europe. Staying true to longstanding strategy, the tribe did not compromise its method even though no one thought they could accomplish such a feat. A group of Nordic warriors rising from obscurity is the perfect point of origin for a movement characterized by determination and overcoming obstacles. Their mythology and culture were the basis for the rise of the use of “Gothic” to describe new styles of architecture in Medieval Europe.
Gothic architecture itself is based on soaring ceilings full of light and darker hidden alcoves—a physical version of the use of light and dark in Gothic literature like Poe’s. Although chiaroscuro (an Italian word literally meaning “light-dark”) is a term typically used in photography, woodcuts, or paintings, it also fits Gothic architecture and the Gothic subculture as a whole. Tonal contrasts between light and darkness create depth, and chiaroscuro is the word that encompasses the concept. Hardly anything beautiful comes solely from a place of brightness and transparency. A hint of darkness or shadow adds another dimension to a piece or a person. Without its counterpart, darkness or light alone would lack the drama and effect on observers. Gothicism always garners a reaction of some kind through introducing the unfamiliar in a new way. In the 18th century, Gothicism in literature shifted toward a genre heavily imbued with elements of horror and the macabre. It was characterized by supernaturalism, melodrama, and the bizarre. Aside from its status as formally crafted literature, most aspects of Gothicism offended the public’s delicate sensibilities. Charles Baudelaire and his work Les Fleurs du mal (Flowers of Evil) responded to the industrialization of Paris in the 19th century. A different standard of beauty arose amidst the technological advances and Baudelaire embraced it. He found elegance and beauty in a world of cold machinery. Change and adaptation became an ideal as artists found inspiration in the modernity of their age. Goths in our time are inspired by more than past aesthetics; they subscribe to philosophies (like Baudelaire’s) of hope and
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James Look 2: Gant Rugger pants, $170, Reigning Champ shirt, $75, Folk sweater, $75, Native Son tie, $49.50, all at Boylston Trading Co.; Shoes, Model's Own. Srda Look 2: Ben Sherman shirt, $125; Folk sweater, $200, Native Son pants, $210, jacket, $575, all at Boylston Trading Co.
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beauty in difficult times from years gone by. Oscar Wilde also questioned societal norms in his literature during another Gothic revival. This time around, he created social commentary through fictionalizations of public fears. A poster boy for outcasts coping with the world around them, Wilde wrote the quintessential Gothic novel The Picture of Dorian Gray. The work relied upon allusions to homosexuality, aestheticism, and other taboos of the time. Gorgeous Dorian, vain and unwilling to let his beauty fade, cautioned against overly committing to vanity. While parodying a discomfort the world at large experienced, Wilde was also able to communicate to more open minds that not everything frowned upon should remain so. The excess, and general bizarreness of traditional Gothic novels makes the subject a target for parody. In present day, however, this may not necessarily still be the case. Contemporary Goth appreciators are practicing homage, not mockery. Goth’s most recent incarnation was born in the post-punk era of the 1980s. And, since art, music, literature, and fashion
are so intricately linked in Gothicism, it manifested itself in the form of an aesthetic of appearance. London served as a breeding ground for grungy, dramatic, and dark styles because musicians (the most influential icons of the time) were sporting the look. The goal wasn’t to appear unhappy, there was a certain power found in dressing against the social norm. Reaching into a stereotypically scary or odd source of inspiration can help shed light on something relatable and hidden. Siouxie Sioux of Siouxie and the Banshees helped resuscitate the look-like-you’re-dead trend with dramatic makeup and all black everything. Ornate lace, lush fabrics, corsets, occult jewelry, and various religious symbols were integral aspects of gothic clothing. A direct response to obscenely bright 1970s disco fashions, Gothic attire had a much more muted color palette and a slightly vintage Victorian aesthetic. This form of Goth subculture enjoyed a second coming in the 1990s, courtesy of the always-weird Marilyn Manson. Although he may be construed as more parodic than other iterations of the movement, Manson certainly took himself
seriously. The self-proclaimed “Antichrist Superstar” wears the aubergine lipstick and powdered pallor of his predecessors but gives it a frightening spin. Along the same vein, spookily beautiful Christina Ricci helped introduce the Goth look to the mainstream. Her take on Wednesday Addams in the 1991 movie remake of The Addams Family inspired young women across the country to wear dark clothes and style their hair in braids. In a testament to the determination and strength of its East Germanic namesakes, the subculture has continued to gain street credibility and more exposure in the past few years. A connection between Goths and horror fiction became impossible to ignore, with Goth characters more common in horror films than ever before. Tim Burton and his casts (well, Johnny Depp) perfectly embody the modern take on Goths. Large, mooning eyes and incredibly pale skin can be found in every single one of his films. A new standard of beauty was introduced by his vision. Similarly, Neil Gaiman’s celebrated graphic novel series The Sandman inspired Goths through characters such as the brooding, mysteriously handsome protagonist Dream and his sister Death. With company like Burton and Gaiman, Edgar Allan Poe is much more accepted now than he was when he was alive. Gothic characters are becoming more common and are presented in a world where misfits are able to belong. From humble beginnings, the Goth subculture has even managed to insinuate itself into high fashion: Hollywood starlets in The Craft brought back dark lips and kohl-rimmed eyes, a trend that is back on runways this season. Fashion designers have, on several occasions, been drawn to Goth’s perfect blend of the morbid and the romantic; Jean-Paul Gaultier, Christian Lacroix, Rodarte, and the late Alexander McQueen have debuted Gothic looks in their shows since the ‘90s. The models were hailed “glamorous ghouls” wearing all aspects of Gothic fashion from ethereal gossamer gowns to more structured, high-collared suits. This trend, dubbed “Haute Goth,” brought Gothic style to the mainstream fashion world. Finally, such a rich and prevalent movement was given proper attention. Gucci’s Fall/Winter 2012 collection featured velvet in deep wine and other heavy jewel tones, a slightly updated take on 19th century bohemia. Versace unleashed a beautiful army of “Gothic Warriors,” armored and intimidating. Erdem even caught on to the trend, darkening a usually vibrant color palette with intense and shadowy shades. Terrifying, but only in the best kind of way, these shifts to the dark side are for the better. Streamlined modern clothing doesn’t hold many historical reminders, so contemporary Goths use fashion as an outlet to romanticize the past. Newer, blended fabrics can’t hold a candle to the luxe, dark velvets and brocades of Victorian-inspired ensembles. It has been a gradual shift, but over the years Gothicism has come to represent a true embracing of individuality. Followers of the subculture are historically informed and unafraid of believing in change. In a basic sense, expression of primal urges and taboo choices has slowly percolated into the mainstream. Gothic culture shows the perfect balance between nostalgia and braving the harsh reality of the present. Seen by the outside world as only blackness and shadow, an internal light brings clarity to those willing to find it. Goths are dressing with elements from another time because the present is miles away from accepting their fascination with peeking into the proverbial darkness. Only through this exploration of human nature are humans able to gain the illumination of their true nature.
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one of the
boys story by siri winter photography by benjamin askinas
Manuel: Jiberish jeans, $199, shirt, $59, sweatshirt, $76; Nike Air Safari sneakers, $90, at Bodega. Gracie: Furst of a Kind shorts, $154, Ibiza x Jeffrey Campbell shoes, $225, Emma & Sam tank top, $58, hat, $110, all at LF; Opening Ceremony jacket, $345, at The Tannery; Balenciaga bag, $725, at Neiman Marcus. Dan: Isaora shirt, $250, pants, $190, and vest, $449, Diemme shoes, $450, all at Boylston Trading Co.; Raised by Wolves hat, $50, at Bodega.
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M
enswear is a term coined by the fashion industry, one attempting to encompass the standards of classicism and legitimacy expected in a man’s attire. Often these trends are disguised as that “timeless suit” that every man must own in order to be considered respectable. For those outside of the immediate fashion sphere, this limited view of the evolution of menswear can be intimidating and restricting. A niche in men’s fashion popularly termed “streetwear”, though, knows no such boundaries and has no such expectations. Essentially, streetwear is much more than apparel: it stemmed out of the organically accessible urban subcultures, allowing it to be defined as “every man’s” alternative wear. Urban apparel is not made to be displayed behind a shop window; rather it stomps around on urban playgrounds from New York City to Tokyo. Streetwear was born out of the surf culture in the late 1970s when Shawn Stussy began signing surfboards and eventually applying his self-made logo to clothing, sold from the back of his truck near Laguna Beach. The t-shirts and caps had the same DIY aesthetic of punk without any political message other than the laid back vibes of California. When skateboarding exploded in the ‘80s, streetwear expanded further and became a uniform ensemble of cool. It was understood to be easy going and reflective of underground cultures from skating to graffiti. The style was heightened by the early hip hop scene when brands like Le Coq Sportif, Adidas, and Nike embedded sport, music and movies into their clothing. In the ‘80s sneaker culture began after the explosion of basketball and the rise rap music, every boy was collecting Nike’s air max se-
Heritage Research pants, $107, at Boylston Trading Co.; BDGA shirt, $80, at Bodega; Warby Parker sunglasses, $95; Danner shoes, $330, at Ball and Buck.
Right The oversized clutch is easy to pair with any outfit, even a hard edged look- Rag and Bone jeans the Tannery, Chandelier LF $148, Surface to Air vest the Tannery $159, and Ibiza X Jeffrey Campbell shoes LF $175. Also, don’t forget about your hands: paint them a
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Tantum t-shirt, $48, Undefeated hat, Woolrich Woolen Mills shirt, $198, all at Boylston Trading Co.; Puma x Hussein Chalapan, $195, at Neiman Marcus; Rag & Bone pants, $185, at The Tannery. em magazine
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plosion of basketball and the rise of rap music, every boy was collecting Nike’s Air Max series and listening to Tupac and Biggie. Graphic t-shirts, loose-fit jeans or shorts paired with Nike’s and a bomber jacket became a look dominating the streets of the American metropolises. Each piece in an outfit could be traced to an underground or emerging iconography, the leather jacket channeling Marlon Brando in The Wild One and the Nike sneakers, a tribute to Michael Jordan of course. Nowadays, in a world of Wifi, hashtags, and hipsters the term streetwear has evolved past solely expressing pop culture, and can be understood more as an umbrella term for self-awareness and self styling all around the world. Unlike some aspects of mens high-style wear, streetwear has a sense of humor that flips off the fashion elites (Hermes, Armani, etc.) and lends itself as a gateway for telling boys and men alike to be individualistic and “wear what you want to wear.” Not to mention the fact that streetwear is cheaper and more accessible than most designer ready-to-wear. The website Sneakerfreaker.com is dedicated solely to locating those beloved vintage Jordan’s and limited edition kicks. The notion of absorbing somebody’s personality from their daily dress is one reason for the countless number of fashion blogs available. FrUits is a Japanese street magazine,
founded in 1997 by Shoichi Aoki, dedicated to capturing the cool kids stomping the streets of the Harajuku district in Tokyo. Japan is known for pioneering the emerging social trends of the inner-city circles and magazines like FrUits record the self expression of its citizens. Casual brands like Play by Commes Des Garçons and Bathing Ape have all come out of Japan’s very own street culture. Similarly, Scott Schuman, founder of The Sartorialist, encourages a two-way dialogue about fashion through his snapshots of people in the city streets. Not all believe that The Sartorialist has earned its street credibility, though: the tumblr page “Fuck Yeah Menswear” is a parody of The Sartorialist’s documentation of street fashion, lightheartedly reminding men that they don’t have to be wearing a cashmere cardigan to be cool. Mindsets like this have made easily accessible streetwear brands like American Apparel more popular recently. Aside from their simplistic take on wardrobe basics, they have been pushing limits by projecting gender neutrality. T-shirts, hooded sweatshirts, and pants in multiple colors are sold to both men and women, emphasizing that both boys and girls can mix and match pieces to create their own urban look. Similarly, Parisienne designer Isabel Marant has recently become the Pied Piper of women’s ready-to-wear,
Right The oversized clutch is easy to pair with any outfit, even a hard edged look- Rag and Bone jeans the Tannery, Chandelier LF $148, Surface to Air vest the Tannery $159, and Ibiza X Jeffrey Campbell shoes LF $175. Also, don’t forget about your hands: paint them a
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Dress, $228, at LF; Iro jacket, $1226, at The Tannery; Balenciaga bag, $2750, Jimmy Choo shoes, $1095, both at Neiman Marcus.
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Dan: Patta t-shirt, $40, at Boylston Trading Co.; Creep shirt, $202, at The Tannery; wings and horns pants, $295, at The Tannery; Nike Sneakers, $100, at Bodega. John: Mitchell & Ness x Boylston Trading Co. jacket, $426, at Boylston Trading Co.; Danner shoes, $310, at Ball & Buck; pants, at The Tannery.
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though her clothes are all tomboy with a notably bohemian vibe. What’s more, she’s responsible for inadvertently pioneering sneakers with a built-in hidden wedge, a comfortably chic look that, unsurprisingly, has been replicated more times this season than any other statement piece (perhaps a woman’s answer to Nike Jordan’s?). Marant says that even as a kid she would cut up pieces of cork and stick them inside her Adidas sneakers, creating an illusion of height. Clearly nowadays, designers get most of their inspiration from DIY and the streets. In lieu of gawking at the runway models dressed in caged couture gowns, the kids on the block are mixing their Nikes with their suits and baseball caps with their cocktail dresses. These fashion innovators are the tastemakers of the readyto-wear collections. Boy or girl, it’s all about looking as comfortable as you feel. Ultimately, streetwear is about the kind of self-awareness that needs no instruction from bloggers or designers. Terminology may change and adapt, but the essential pieces of urban apparel remain. Being one of the boys means owning the basics: the t-shirt, jeans, jacket, and sneakers are all reflective of something that was born out of a subculture, something to be freely dispersed and dressed up or down. The baseball team logo embossed on your baseball cap, the neon on your Nike’s, or the message on your t-shirt (whether embracing designers or telling them to “Commes Des F***k Down”) is at the wearer’s discretion.
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on Gracie: Shorts, $182, at LF; Charlotte Olympia shoes, $675, Alexander Wang bag, both at Neiman Marcus; 3.1 Phillip Lim jacket, $895, A.L.C. sweater, $365, both at The Tannery. on Manuel: Jiberish jeans, $199, hat, $33, vest, $90; Nike shoes, $90, at The Tannery; Billy Reid shirt,97 $85, at Neiman Marcus.
“ Now, gentlemen, let us do something today which the world will speak of hereafter. � -Lord Collingwood
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