f.a.d. fashion/art/design
issue 1 fall 09 INTERVIEWS! INTERVIEWS! INTERVIEWS!
with Madeleine von Froomer Kim Hastreiter Eli Chess
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Marc Jacobs Diane von Furstenburg Coco Chanel Frank Gehry
beginnings issue 1 / autumn 2009
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a note from the editors welcome to the inaugural issue of
f.a.d.!
Welcome! f.a.d. is the premier fashion, art and design publication at Horace Mann. Don’t close the pages just yet—this is not a shopping magazine. We will review the fashion and art worlds and also create an outlet to display students’ own artwork. Writers and artists who contribute to f.a.d. treat fashion design, architecture and makeup as art forms like any other! You all know about Picasso and Monet, now we are here to bring artists such as Balenciaga, Chanel, and Frank Gehry into the spotlight. Hopefully after reading f.a.d. you will walk away with a new appreciation and awareness of art in all its forms. Everyone at f.a.d. has worked very hard to put together this fall 2009 issue for the HM community. Now enjoy!
alice + zoe
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f.a.d. / fashion.art.design.
staff
we made f.a.d. jazmine (11)
rena (12)
rachel (10)
charlotte (11)
zoe (12)
jennifer (11)(on left)
Faculty Advisor: Alicia Hines issue 1 / autumn 2009
erika (11)
daphne (11)
justin (11) 3
what’s in the i fashion
6 marc my words by jazmine goguen 7 style saga by rena branson 8 diane von furstenburg by rachel scheinfeld 12 trend around the bend by alice taranto 10 fashion week review by zoe maltby 14 california street style by daphne taranto
beauty
22 autumn colors by jennifer lim
talk to me
26 madeleine von froomer 28 eli chess 30 kim hastreiter
architecture
32 frank gehry by justin burris 4
f.a.d. / fashion.art.design.
issue culture watch
34 book worm by charlotte christman-cohen 35 chanel movies by erika whitestone 35 the september issue by rachel scheinfeld
your turn
36 do-it-yourself feather headband by alice taranto 38 my mini-notebook
Backcover sketches by (L to R) Zoe Kestan, Alice Taranto and Daphne Taranto Front cover by Jean Mariano. “A Face,” vectored photo. Jean says, “It was the most challenging thing to finish of anything I’ve drawn.” issue 1 / autumn 2009
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fashion
marc my words
Where did this modern fashion giant start out? by Jazmine Goguen (11)
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Marc Jacobs has continued to expand his success in the fashion industry; numerous celebrities, including Chloe Sevigny, Sofia Coppola, M.I.A. and Victoria Beckham, have modeled his clothing for ad campaigns. His spring 2010 line is both dramatic and feminine, featuring billowing fabrics, ruffles, sequins and tulle. The looks are modeled with ballet buns and dramatic makeup paired with elegant flats and sandals, a huge departure from the edginess of the looks favored last season. Jacobs often makes allusions to his beginnings in New York City, drawing from the people and experiences he had first starting out in the fashion industry. “I like romantic allusions to the past: what I wore during my experimental days in fashion… It’s the awkwardness of posing and feeling like I was in, but I never was in. Awkwardness gives me great comfort.”
all photos: style.com
Marc Jacobs has become one of the most influential and successful designers in the fashion industry, creating chic and innovative looks sold both in the U.S. and around the world. He designs for some of the leading brands in the fashion world, creating clothes and accessories for Louis Vuitton, Marc Jacobs, and Marc by Marc Jacobs. His designs vary with each season, ranging from soft and feminine looks to colorful and bold theatricality; his vision changes with each show to reflect his creative influences and his interpretations for the coming season. Marc Jacobs, though arguably one of the most inventive designers in the industry, had decidedly humble beginnings. At an early age, Jacobs was taught to knit by his grandmother, a beginning step in the discovery of his aspirations as a designer. At 15 he began working at New York City’s renowned Charivari boutique, where he was introduced to Perry Ellis. From there, Jacobs entered the Parsons School of Design, where he produced a line of hand-knit sweaters for the boutique during his time as a student. Jacobs demonstrated his talent and dedication as a designer while at the school, and in 1984 he was awarded the Perry Ellis Golden Thimble Award for his designs. Upon graduating from Parsons, Jacobs began working for Perry Ellis, where he designed a “grunge” collection for the label that received considerable attention and acclaim in the industry; despite this, the collection led to his subsequent dismissal in 1993. Marc Jacobs launched his own label soon afterward, employing Linda Evangelista and Naomi Campbell; the models were so supportive of his designs that they agreed to work for free. In the ensuing years Jacobs devoted his time to designs put forth on his label, producing his first collection of menswear in 1994. With his acclaim as a visionary new designer came his appointment as creative director of Louis Vuitton in 1997; under his leadership the label launched their first ready-to-wear line.
BIG TIME DESIGN LEFT: Marc Jacobs Spring/Summer 2010 runway looks. TOP: The designer himself appears after the runway show.
f.a.d. / fashion.art.design.
style saga
A fashion epic by Rena (10) We all have to start somewhere. For me, genesis occurred in the Arts & Crafts shack at summer camp, where my 12-year-old hands crafted what I felt sure was a masterpiece. A bunch of multi-patterned fabric strips with an awkwardly placed pocket, lopsidedly sewn together and drizzled with appalling puffy paint, was something I surveyed with the pride and joy of a new parent. A skirt had been born. At least, I boldly ventured to call it that. I couldn’t wait to saunter through the halls of my middle school in that new garment, letting everyone know that I was singularly responsible for its invention. I would pair it with electric blue fishnets the same shade as my eyeliner, along with two completely different shoes. This was my idea of fashion-savvy. Until 8th grade graduation, I excitedly stood each morning in front of my closet, wondering what combination I would try to pull off that day. Later on, when I found out I would accompany most of my best friends to LaGuardia (a public high school for the arts), I figured not much would change about my dressing habits. However, my home answering machine foretold a different fate. Five days before what would have been my first day at LaGuardia, a message from Horace Mann announced that I had been accepted. My mother made it clear that I was not turning down the offer. Refusing to conform to whatever vague notion I had of the way Horace Mann students would dress, I stood in front of a full-length mirror on the morning of my first day and gave my outfit a final once-over. I cringe to issue 1 / autumn 2009
recall it now: below my hot pink shirt was an electric blue, polka-dotted skirt with tiers and lace trimming, buoyed up to Little-Bo-Peep-esque volume by a poofy tulle slip—a glorified tutu. I smiled at my vintage finds and skipped out the front door of my apartment. As I quickly learned, I was not in Kansas anymore. Glares followed each swish and rustle of my skirt through Tillinghast. During the assembly at which new students were asked to stand, I reluctantly rose to my feet and wilted as all the eyes of judgment fell on my ensemble. I know my own paranoia was not wholly responsible, as peers later ventured to ask me, “What the ---- were you wearing on the first day?” Feeling like a character in a bad Disney movie, I succumbed to dull jeans and labels, trying to make friends. I’m a senior now, and over the past few years, I’ve started pushing boundaries again. While I no longer have any desire to wear an Ugg on my right foot and a Moon Boot on my left, and have not set aside time to sew in ages, I’ve reestablished a semi-loyalty to my audacious little middleschool self. I can honestly say that I’ve accumulated more compliments than glares thus far. As each protagonist in every Disney movie does, I have to deliver a predictable yet heartfelt moral. Here it is: Wear what you want. SKIRT STYLE: LEFT: Rena in her “electric blue” firstday of school skirt. BELOW: Rena shows us her masterpiece, equipped with all that puffy
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fashion
Diane von Furstenberg A profile of the famous wrap dress’s maker by Rachel Scheinfeld (12) In 1972 the legendary Diane Von Furstenberg made her debut into the world of fashion. Her “iconic” wrap dress, as described by many sources, was the beginning of her successful career. She was born in Belgium in 1946 into a wealthy Jewish family, a year after the end of World War II. Von Furstenberg, then know as Diane Simone Michelle Halfin, attended the University of Geneva in Switzerland and studied economics. She met her husband, Prince Egon of Furstenberg, at the age of 18 and married him in 1969, to be divorced after just three years. They had two children together; a boy Alexander and a girl Tatiana. After she and the Prince split, Von Furstenberg moved to New York and was remarried to Barry Diller in 2001. Although her life was complicated, Diane’s fashion career was booming from the time she introduced her line of wrap dresses in 1972 that were “to symbolize female power and freedom to an entire generation,” according to dvf.com. This simple dress has transformed into “a global luxury lifestyle brand.” After this, she created the fragrance Tatiana, named after her daughter, which became an immediate necessity for all women at the time. Diane then took a break from the fashion world, even 8
though she was known as “the most marketable woman since Coco Chanel” as described in Newsweek in 1976. She returned in 1997, and began to sell the cotton jersey wrap dress once again. She created a new line of clothing from ready-to-wear to swimwear, and her re-launched business began to thrive again. Her style then and now incorporates very unique patterns with simple silhouettes. In 2001 Diane hired Designer Nathan Jenden to help her as creative director for her brand. He gave a bit more edge to the company look, but the 40s glam was still alive within every piece. Over the years the company has joined together with other organizations and groups for special projects. For example In 2008 DVF and H.Stern created together the Sutra Watch collection. The two companies had also worked together in 2004 when DVF presented a line of jewelry sold only at H.Stern.
“[von Furstenberg is] ‘the most marketable woman since Coco Chanel.’”
The most amazing attribute of Diane Von Furstenberg is that through divorce, company failure, and changes in the styles of people within society, she has maintained true to herself. She has consistently given the public clothing and accessories that are bold, feminine, and classy. Her wrap dress was an inspiration to many designers and a different variation of the dress is still featured in every collection she shows. Currently housed in the Metropolitan museum of art is one of Von Furstenberg’s famous wrap dresses. This printed green dress from around 1976 is almost completely identical to some dresses in her Fall 2009 and Spring 2010 collections. The colors and prints used for her clothing in the 1970’s are as vibrant as the ones used today. Her clothing is sold in stores world-wide, with twentynine of her own Diane Von Furstenberg stores. The main headquarters of the Von Furstenberg house is presently in the heart of the meatpacking district with the main store right below. Personally I believe that Diane Von Furstenberg is one of, if not the greatest, designer of all time. Her clothing is not just another dress on a rack. Each piece is unique in its own way and was inspired by a greater idea. She is a role model for young designers and is an inspiration to all. DVF has been a muse to the fashion world for the four decades of which she was a part and will constantly continue to surprise the world with her creative designs.
f.a.d. / fashion.art.design.
issue 1 / autumn 2009
http://images.google.com/imgres?imgurl=http://www.metmuseum.org/toah/images/h2/ h2_1997.487.jpg&imgrefurl=http://www.metmuseum.org/toah/hd/amsp/ho_1997.487. htm&usg=__v-hNRT9B0ifSH18zGlHOGM6QYYg=&h=381&w=300&sz=54&hl=en&start=8&sig2=p ZeiWZXfFE0KcPnIAcfRzA&um=1&tbnid=kA0pAJWQ1fj4ZM:&tbnh=123&tbnw=97&prev=/images% 3Fq%3Ddvf%2Bwrap%2Bdress%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:enUS:official%26sa%3DN%26um%3D1&ei=_CXWSs7dBI2QNqLSjJQD
http://www.carlonmusic.com/wp-content/uploads/2009/08/dvf-logo.jpg
http://theindiespot.net/yahoo_site_admin/assets/images/diane_face.107173302.jpg
A POWER WOMAN
Top: The designer herself. Bottom left: The DVF logo. Bottom right: A 1975 DVF jersey wrap dress currently displayed at the met. The designer’s successfully classic style has remained much the same over decades.
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FASHION WEEK! FASHIO
Zoe Maltby (10) reviews everyone’s favorite week of New York: PROENZA SCHOULER: Lazaro Hernandez and Jack McCollough’s response to Recession dressing was to produce a collection that was bright, fun, and eminently wearable. Proenza’s designs seemed to be aimed at a kind of surferhipster chick who transitions easily from the beach to the street. Standouts included easy leather shift dresses, vibrant tie-dye pieces, and a skinny pant-blazer combo, all infused with a scuba aesthetic that made added a freshness to even those basic pants. Proenza’s CFDAwinning accessories line continued its winning streak with graphic shoes and bags that echoed the beachy, surf-rat motif. ALEXANDER WANG: Alexander Wang’s Spring collection was, at its core, a tribute to sportswear in its most traditional form—literally, the gear worn on the field. This theme manifested itself in everything from a reworked Varsity jacket to a sweatshirt dress complete with leather shoulder pads. That doesn’t mean the collection lacked practicality; in addition to all the football wear, Wang showed his signature skintight dresses and subtle reincarnations of classic outerwear including a slightly deconstructed leather jacket. Although not really a departure from his previous work, and occasionally bordering on the repetitive, Wang’s collection is still likely to be a bestseller in a season that desperately needs a blockbuster. RODARTE: Sisters Laura and Kate Mulleavy presented a collection that was simultaneously disturbing, beautiful, and technically stunning. The Mulleavy sisters always have a story behind their clothing, and this season’s did not disappoint. According to style.com, the Mulleavys were inspired by the concept of “a woman burned alive who is transformed into a California condor. Forced to scavenge for existence in a barren, war-torn landscape, she pieces together her attire from rags that, as Laura Mulleavy pointed out, only serve to expose her wounds.” This concept of a woman who can “be scarred and still beautiful” played into everything from shredded minidresses dyed and draped to look like bruised skin to ropey, sinuous gowns with sequined tendrils creeping around models’ legs like raised scars. Everything about the collection bordered on extreme, from the distressing techniques the Mulleavys applied to every textile
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to the dirt-strewn, foggy runway that served as their backdrop. There were echoes of the short-skirt-complicated-top motif Rodarte used for Fall ’09, and some of the draped pieces evoked their Fall ’08 collection, inspired by Japanese slasher films, but ultimately this was an entirely new, undoubtedly astonishing collection from two of fashion’s biggest tastemakers. MARC JACOBS: Fashion’s celebrity designer turned out a collection that once again confirmed his status as one of the most important designers of this generation. Like his collection at Louis Vuitton which showed a couple weeks later in Paris, Jacobs’ namesake collection defied easy categorization. There were strains of the “underwear as outerwear” trend popularized by John Galliano’s collection for Dior Haute Couture last season (Although the trend, like most, can actually be traced to Jacobs—his 2007 spring collection featured numerous slip dresses and sheer tops paired with intricate intimates), as well as menswear and sportswear influences, many decked out in layers of frills and pleats. There was also some of the old-school Americana Jacobs explored so successfully in his Mary Poppins-meets-pioneer collection last Spring. Style.com compared to styling to Japanese kabuki performers, complete with slick topknots and stark white foundation. Several of the tiny, glittering minidresses, adorned with sea urchin-like spirals of color, even had an unexpected aquatic feel to them. But while Jacobs’ collection was undoubtedly a pastiche, it still managed to feel cohesive, and taken on their own his separates are surprisingly wearable.
London CHRISTOPHER KANE: For Spring, Kane showed a series of plaid pieces that were more Lolita than Dorothy Gale. The elements of masculine suiting running through the collection were, Kane said, inspired by Jeremy Irons’ wardrobe in the screen adaptation of Nabokov’s classic. The collection was intentionally repetitive, centered mainly around a series of variations on the iconic plaid dress with more straightforward menswear-inspired looks spliced in between. All of this segued into a finale of pastel, flower-printed dresses with the same strangely semi-disturbing vibe as the plaid. While each piece in the show was innocently wearable on its own, together they had a weird kind of creepiness—which is completely Kane’s intent. Kane has made a name for himself as that one-of-a-kind brand that can appeal to both the conventional and the risk-taking; he combines the technique and wearability of de la Renta with the originality that is a hallmark of London Fashion Week.
f.a.d. / fashion.art.design.
N WEEK! FASHION WEEK! the year in New York, London, and Paris Paris ALEXANDER McQUEEN: McQueen’s freaky, fishy spring collection already has equally fierce defenders and detractors. Its basic structure was nothing new—succession of printed mini-dresses parading down the runway, each accompanied by towering heels. The twist? Each dress was patterned with blown-up photos of reptiles, while the shoes resembled nothing so much as sea-monster hooves. Much like the Mulleavy sisters at Rodarte, McQueen had a clear storyline governing his entire collection, which he described as an expression of a post-apocalyptic world in which mankind has been forced to return underwater due to global warming. Even the models themselves resembled undersea creatures, their hair spiked into horns and eyebrows virtually erased. McQueen’s collection was also similar to Rodarte’s in its fixation with reworking something repulsive—in this case, scaly sea creatures and reptiles—into something beautiful. Nowhere was this more evident than in the final piece, a silver minidress-as-spacesuit that seemed to glow from within. BALMAIN: At Balmain, designer Christophe Decarnin continued to make the case for his unique brand of high-end trashy-cool with ripped, sequined bandage dresses, slouchy shredded tees, and lots of gold leather. The incredibly influential peak-shouldered band jacket of last Spring was reincarnated as a tattered khaki military frock coat complete with tasseled epaulets, which also put in appearances on dresses and leather tops. Style.com labeled the overall look “disco cavewoman goes to the front,” and it is indicative of Decarnin’s talent that that was meant as a compliment. The house has become completely unrecognizable since Decarnin took over from the conservative Oscar de la Renta, but is, if anything, better for it—Decarnin has used the legacy and resources of Balmain to keep his collections safely out of the tacky zone, and his tenure so far has been a huge commercial success as well as a lesson in rebranding. BALENCIAGA: Nicholas Ghesquiere’s past inspirations have been all over the map. For fall it was gorgeous, couture draping; last Spring, a futuristic alien being; before that, a Hitchcock-ian femme fatale. For Spring ’10, Ghesquiere seemed to start somewhere much humbler—the first look that ap-
issue 1 / autumn 2009
peared on the runway essentially consisted of jeans and a sleeveless hoodie. But this being Balenciaga, each hoodie was actually made from “engineered from molded leather, woven jersey, and nylon foam,” according to Style.com, while the jeans were “vegetable-dyed leather.” The whole look was set off by chunky shin-length peeptoe boots similarly composed of compacted liquefied leather. The whole look was undeniably futuristic in tone, hearkening back to last Spring’s collection without ever repeating it. After several variations on the jeans-hoodie look, Ghesquiere moved into more recognizable territory with color blocked shift dresses, leatherpaneled tops, and shimmering mesh-like miniskirts. While Ghesquiere’s collections may vary wildly in their starting point, they never fail to explore those ideas in ways that are fresh and compelling.
COLOR BLOCK: left: a look from Balenciaga’s Spring ‘10 show in Paris.
All photos from Style.com
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fashion
ay ay, cap’n!
do the polka
Get your pirate on with headscarves, knotted clothing, palm tree prints + cut-off pants.
Galliano SS 10
Pradal SS 10
Marni SS 10
Sonia Rykiel SS 10
House of Holland SS 09
Prada SS 10
Luella SS 10
Cover yourself in dots (evenly spaced only, please!)
e h t d n u o
ar 12
bend
f.a.d. / fashion.art.design.
rip torn
be a shoobie
What to expect for Spring/Summer 2010 by Alice Taranto (11)
Chloe SS 10
Galliano SS 10
Yohji Yamamoto SS 10
Yohji Yamamoto SS 10
Givenchy SS 10
Rochas SS 10
Yohji Yamamoto SS 10
Balmain SS 10
Burberry SS 10
Try sandals + socks for a new way to let summer footwear in on the chilly days.
Let the moths out + take your scissors to your clothes to make a statement.
all photos from Style.com
issue 1 / autumn 2009
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http://www.flickr.com/photos/moonjazz/2546854768/sizes/l/
fashion
Sara
New Mexico Senior
WHERE DO YOU GO TO HIGH SCHOOL? COMPARE YOUR HIGH SCHOOL WITH THE W. COAST SEMESTER PROGRAM. I go to high school in Albuquerque (that’s in New Mexico). Being at oxbow or an art school, people express themselves or are more comfortable expressing themselves through their style...People are weird... ina good way! We all just understand that that’s okay. ART SCHOOL vs. NORMAL SCHOOL? art school, duh! BIGGEST INSPIRATION? For art: pushing your comfort zone.
AESTHETIC? My style changes with my mood, but I really like a kind of street style - leather jackets, etc. WHEN DID YOU GET INTERESTED IN ART? Freshman year of high school - it happened by accident! (Laughs) I had transferred out of another class into an art class and realized I was kind of good at it, and enjoyed it. WHY OXBOW? I heard about it because my art teacher/ former students who have gone here who’ve loved it recommended that I would like it too. LEFT FOOT OR RIGHT FOOT OF PANTS FIRST? (tries it out...) It depends... (Laughs.) My right!
WHAT IS YOUR FASHION
california street style 14
f.a.d. / fashion.art.design.
WHAT MUSIC MAKES YOU WANT TO DANCE? Really bad techno of any kind…Especially European. LEFT FOOT OR RIGHT FOOT OF PANTS FIRST? (pause)….Well this morning I put them on backwards so I had to take them off and try again, but I think right leg, generally.
Miranda NY junior
GLASSES OR CONTACTS? Depends on the person. I wear neither because I’m perfect. RAW OR COOKED FISH? One fish 2 fish red fish blue fish? HOW DOES OXBOW, AND ART SCHOOL, COMPARE TO YOUR NORMAL SCHOOL? Really great, really busy, a lot less focused which is weird but it’s a lot more intense, and emotionally wearing.
What are the cool kids up to at The Oxbow School in Napa, California? issue 1 / autumn 2009
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Daphne (11)
http://www.flickr.com/photos/moonjazz/2697383352/sizes/l/in/set-72157605564155575/
...is off from HM and is at The Oxbow School in Napa, California for the 09-10 school year’s first trimester.
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Oxbow is "an innovative, interdisciplinary semester program combining visual arts with academics" that "provides high school students with the skills necessary to negotiate and succeed in an increasingly complex and interdependent world, " according to the website. Fewf! That sounds harsh, or heavy, or "hella heavy," as the word goes on the west coast. It's located in wine country, about five minutes from rolling hills of vineyards. Classes here are a couple hours long. Basically we are on a 2-day rotation, with 4 blocks - English/History connections class, Science focus class, art class, and "notgym." We have four studios that we now can choose between - printmaking, sculpture, new media (photography), and painting. (At first we were given which studio we worked in so we could check them all out). Being here has made me realize that being creative or going to art school does not mean that you become pigeonholed as a freelance artist or something of that sort not that that's bad! Just that there are professional careers you can have in the art world. In terms of fashion, there are several people who are interested, and there's a thrift store in town where
we go sometimes ("glitz + glamour" day was fun - sequins and leather and ultrasuede, oh my!) but nobody's too trendy. Because it is warm mostly (at least compared to New York), people dress for fall or summer depending on 10 degree change. But mostly it's a sunny 72 degrees here :)
f.a.d. / fashion.art.design.
Nikki
NY Junior WHAT’S THE DIFFERENCE BETWEEN THE E AND W COASTS? On the east coast I dress nicer. Here, I grab whatever’s closest.
WHAT ARE TWEAKERS? Tweakers are these little hairs that stick up when you have a ponytail – the fly away hairs. WHAT’S YOUR HALLOWEEN COSTUME? I’m going to be Momo from avatar.
issue 1 / autumn 2009
http://www.pezheadsthemovie.com/freebies/wallpapers/candy_1024.jpg
WHEN DID YOU GET INTERESTED IN ART? At the beginning of sophomore year. I’ve always been interested in art, but that’s when I got serious about it.
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Connor VT Junior
5 WORDS TO DESCRIBE YOUR OXBOW EXPERIENCE? freeing, busy, three, more, words WHAT MUSIC MAKES YOU WANT TO DANCE? Any good music. Some james brown, I’ll go crazy with some james brown. “SAY IT LOUD!... YOU”RE KILLIN’ ME!” MARKER OR CRAYON? Is it a magic marker…?
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http://bioweb.uwlax.edu/bio203/s2008/manelli_chri/Images/raspberries2.jpg
E COAST W COAST DIFFERENCE? There’s a different lingo like “hella” and “legit.” And “hella legit.” Those are both west coast wannabees if you say it on the east coast. In Vermont we just don’t pronounce our t’s. Vermon. Did you see htat? Vermon.
f.a.d. / fashion.art.design.
fashion
Zac
New Mexico WHY DID YOU COME TO OXBOW? Art!
http://www.gifttrap.com/images/Crayons_002.jpg
HAVE YOU EVER TIGHTROPED BEFORE? No - it's so much harder than it looks, though!
issue 1 / autumn 2009
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fashion
Sarah
CA Senior HOW DOES NAPA COMPARE TO WHERE YOU LIVE? i think that in some ways it's really similar, but where i live is a little more country-ish, traditional, mormonville, and there's more diversity here.
http://www.flickr.com/photos/congaragata/305621012/sizes/o/
WHAT MUSIC MAKES YOU WANT TO DANCE? techno or rock. i like electronic music, too.
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HOW MANY CUPS OF COFFEE DO YOU DRINK PER DAY? i don't know, i'd say it ranges from five to...nine. MILK + SUGAR? yup. sweeter after dinner.
f.a.d. / fashion.art.design.
Luke
NY Senior
WHAT’S YOUR CURRENT PROJECT? I’m making prints right now - I did research on palm readings and what I think it’s about. ROLLY CHAIR OR REGULAR? Depends on the context….. CRAYON OR MARKER? Oh, crayon. WHY OXBOW? Art!
issue 1 / autumn 2009
http://4.bp.blogspot.com/_idUARdOEJAk/R1DDDR-w2vI/ AAAAAAAAAdc/7x6w0jgUwik/s1600-R/PICT8783.JPG
E COAST W COAST DIFFERENCE? Palm trees. (There are palm trees here, right?)… Actually, the usage of the word “hella.” That’s pretty much it.
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Jenny says...
I’ve been doing fine art for a while but I first got interested in makeup about a year ago when I realized how similar it is to fine art. I realized that all the same ideas applied, such as shading and placing darker colors in farther deeper parts while bringing luminance to closer things to make them stand out. Makeup is definitely an art - it is just a unique way to show one’s artistic ability. It can transform one’s look and make a person look completely different. Makeup can also help to bring out the best features in one’s face and give people confidence. Makeup is almost always associated with fashion because of how well it can complete a look. In fashion, makeup is crucial because it can dramatically intensify a look by using bold colors like a siren red lipstick or it can be used to emphasize the theme of a fashion look.
falling all over
Jennifer Lim gives us her take on Fall 2009
Make up by Jennifer Lim Photography and Assistants: Zoe Kestan and Alice Taranto Student Models: Nicole, Frances, and Yasmin 22
f.a.d. / fashion.art.design.
This photo shoot was inspired by the season change to represent a fun transition into autumn.
For each look, we concentrated on emphasizing one feature in each of the models’ faces. The colors used in the first look were inspired by the color change in the leaves. This look emphasized the eyes which is why the face and lips were kept nude.
jenn
y’s f
ace
char
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yourself issue 1 / autumn 2009
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This makeup look was made to
accentuate the lips and eyes. We used the color of purple and pink dogwood trees for the colors incorporated in the look.
jenn
y’s f
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ace
char
t
f.a.d. / fashion.art.design.
This look was created to bring out the cheekbones. The cheeks are very contoured and highlighted on the cheekbone area to make them pop. In addition, we added a granny smith apple light green hue on the eyes and lips to represent the trees.
issue 1 / autumn 2009
’s
jenny
rt
ha c e c fa
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talk to me
Madeleine von Froomer
Q + A with the designer behind Sophomore What exactly do you do at Sophomore NYC? Please tell us about how Sophomore began, how Sophomore hit it big and where the name “Sophomore” came from. I am a designer at Sophomore. Chrissie [Miller] and I start each new season by going to the picture library, watching movies, going vintage shopping, etc. to get inspired and then we sit down and talk about what we are feeling for that season. Then I stay home for a few days and sketch and sketch and sketch. Then we sit down again and edit the sketches. Chrissie started Sophomore in 2004 with her then partner Shawn Regruto. They designed one graphic on a whim and it took off from there! It was Shawn who suggested the name Sophomore, which means “wise fool”, by the way. Who are Sophomore’s stockists (stores that sell Sophomore garments)? From the start, what kind of press attention has the label garnered, and how so? Stockists include Opening Ceremony, Dover Street Market, Selfridge’s, American Rag Japan, Steven Alan, Confederacy. In the beginning the press was more celebrity-based, but now we are getting press on the actual clothing and design which is very exciting. Where do you live? How do you think your surroundings and location affect your style and art? I am right in the middle of a crazy move!! I have been in Chinatown for the past 5 years which was VERY inspiring. It’s a mix of crazy dollar stores, men’s undershirts shops, beautiful fruit stands, stinking fish, and Chinese wedding posters. It’s awesome. I think it does contribute to my eclectic style. I like to mix all different kinds of clothing styles and try new things to keep myself interested.
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http://www.sophomorenyc.com/about.html
Interview conducted by Alice Taranto and Zoe Kestan
What are your other influences or inspirations? I think fashion is really about fantasy. I dress to match an idea I have in my head of some other woman I would like to play at being, and who that woman is is always changing. Is there a style icon of today that you feel represents the mood or spirit of Sophomore, and what is that mood? Why do you feel that Sophomore has a decidedly New York City, specifically Lower East Side from the 1970’s, vibe? We are really into Linda Manz right now. I really love her dark side. She’s hard and tough, but she also has a vulnerability that makes her so seductive. It’s that same mix of hard and soft that gives Sophomore its ny vibe – the clothes are boyish yet sexy at the same time. I think androgyny is super sexy (back to Linda Manz). Sophomore has a simplicity and sexiness that is so 70’s. I also think the graphics bring a Lower East Side 70’s vibe. At what age period did your interest in art begin, and how old are you now? Did you ever have a specific turning point when you realized you had to do some-
f.a.d. / fashion.art.design.
thing creative? I just turned 30! I was interested in making art from the very beginning. I remember making my mother a “garden” by filling a soda cap with little twisted paper tissue flowers at 4 years old. I had a little easel set-up and I was always painting and drawing. I still paint to this day. Where did you grow up and go to high school? Can you recall your high school experience with art and style, both in school and on your own time? I grew up in Mississippi/ New Orleans and went to high school in New Orleans. I went to an art high school for half a day and regular high school for the other half. Which was awesome! I was really into surrealism and was very angst-y and dark, even though my personal style was ripped straight out of the Woodstock video. I went barefoot around school and painted flowers on my jean shorts (embarrassing). Even more embarrassing were my rave days, but I’m not going into that here.
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Please recall your experience working at Proenza Schouler. How did that designer contribute to or mold, if at all, your design aesthetic? Working for PS was a fantastic experience, stressful most of the time, but well worth it. It was the first time I was really exposed, from the inside, to high fashion and working with these amazingly talented designers and patternmakers was invaluable. I learned so much - about fabric and how it moves on the body, patternmaking, the design process, and even building a business. I have definitely carried over the luxe aesthetic and classic design principles into the work I
issue 1 / autumn 2009
do for Sophomore. I just have to find a way to bring it more down to earth, and more affordable. Tell us about your biggest moment or most exciting project in your career so far. Once Chrissie and I had a little collection together for Spring 2008, we were dragging it all around town looking for a decent showroom. When Opening Ceremony took us after seeing just a few t-shirts, we were so excited! That’s when we knew it was on. Please explain how your idea process works for your shaping of a lookbook each season. Chrissie is really the force behind the lookbooks – together with our photographer, Cass Bird (who is amazing). We all sit down and talk about what the mood and story will be for that season, and which people will fit that mood. We never use professional models from an agency, we find real people around ny who are interesting for us. Most of the time its friends of ours anyways! When Chrissie and Cass collaborate, the result is always mind blowing. What advice do you have for budding high school artists, designers, fashionistas or bloggers? My advice would be to give yourself the freedom to fail. When I was in high school I had this tunnel vision where everything I made had to be perfect, and if I didn’t know what I was doing when I went into a project, then I wouldn’t do it. Looking back I see how much freedom I really had, artistically, that I didn’t take advantage of. Don’t be scared to make something ugly. And lastly, bus or subway? Subway!!
FRESHMAN, JUNIOR, SENIOR...
Far left: Madeleine von Froomer, left, with colleague and co-designer Chrissie Miller. Right: From Sophomore’s Spring 2009 lookbook, photographed by Cass Bird.
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talk to me
Eli Chess ‘01
Q + A with the HM Alum/entrepreneur behind Alabaster + Chess. Interview conducted by Alice Taranto and Zoe Kestan Can you explain to us exactly what you do at Alabaster + Chess? How does your business work, and can you explain your branching out into womenswear? I am a co-founder (with fellow HM alum Ysiad Ferreiras ’01) and Managing Partner of Alabaster & Chess. I run the day to day operations of our NYC, Boston and Albany NY offices; manage our overseas operations, and work with Ysiad and our other staff on all ongoing development and growth projects. Alabaster & Chess makes custom made men’s clothing that are based on helping our clients find their own style based on the greater trends in current men’s fashion.
“We work hand in
Where do you live? How do you think your surroundings and location affect your style and art? Our company bridges the line between fashion and a typical custom clothier. Although I cannot claim to be a true fashion mogul, we pride ourselves in keeping abreast of men’s fashion and style trends and informing our client’s clothing creation via our Web/Facebook newsfeed/blog and during fittings with our fashion consultants. Living in the DUMBO neighborhood of Brooklyn and West Village neighborhood of Manhattan, both areas filled with highly creative people and business during the formative years of our company certainly influenced our forays into the fashion world.
We meet with our clients individually to help guide them as they choose fabrics and styles that accentuate their personal style and use a matrix of physical measurements to construct clothing, hand-made to match each client’s body and personality. We work hand in hand with our clients to help them build a modern infused wardrobe of classic staples with a fit that is not possible via off-the-rack shopping.
What are your other influences or inspirations? One of our main influences in our Men’s line and a first read for any of our employees is “Dressing the Man,” by Alan Flusser. He has compiled an incredible collection, description and articulation of the time tested lines, contours and complimentary colors/ patterns that have historically and always will be the basis of men’s fashion. The subtle modifications of these themes are what drives men’s fashion and are imperative to constructing a classic wardrobe albeit with personal variations and with an eye to new trends. We also keep an eye on the red carpet, major men’s fashion publications and brands for inspiration, influence and ideas for our clients.
hand with our clients... [for] a fit that is not possible via off-the rack clothing.”
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Women’s clothing is vastly different from men’s lines; especially in the custom world. Our nascent women’s line is being developed to serve the vastly underserved market for affordable custom made clothing. We are working very hard to develop measurement and construction systems that can provide our potential women clients with the same quality and detailed construction as our male clientele. We have worked on a few occasions with women looking for Male-style formal-wear constructed to fit women and have held a soft launch of a women’s blouse/shirt line. We hope to follow up these efforts with a hard launch of our shirt line and introduce an overcoat line this winter.
f.a.d. / fashion.art.design.
At what age period did your interest in style or art begin, and how old are you now? Did you ever have a specific turning point when you realized you had to do something creative? I have always been interested in the creative process, though I admit that I came to fashion later in life. It was only after a post college journey around and exploration of the world that I fully accepted and pursued my true calling as an entrepreneur. Learning through experience and trial and error was a tremendous lesson taught to me by my partner, Ysiad, an entrepreneur from the womb, and has guided the development of my fashion sense, Alabaster & Chess and all my other undertakings. Can you recall your high school experience with art and style, both in school and on your own time? During my years at Horace Mann, you would be hard pressed to find someone who considered me fashionable or particularly artistic. Although I spent quite a few hours in Prawat Laucheron’s printmaking studio (some of my work still adorns my mother’s house!), it definitely came to me later in life that khaki pants and a polo shirt was not the epitome of men’s fashion.
you have cultivated at Horace Mann. It was not until I ventured into the world of small business that I fully appreciated the breadth and value of the myriad resources of my friends, their families, and of Horace Mann itself. It will open doors and give you opportunities that are unparalleled. Where do you see yourself going in the future? At Alabaster & Chess, we have spent the past two years of depressed economic activity to develop our product and brand, and position ourselves for a rapid expansion as the economy turns around. I look forward to helping guide our growth, creatively and geographically, into the premier custom clothing/fashion hybrid in the country. And lastly, left or right sock first? I suppose I generally start with the left, though my main goal of a successful outfit is remembering to zip my fly before I leave the house!
BESPOKE: Left: Chess shows a suit tailored and made by Alabsaster + Chess.
in Prawat Laucheron’s printmaking studio.”
What advice do you have for budding high school artists, fashionistas or bloggers? The greatest opportunity that you have today is the incredible fusion of social media and technology with traditional mediums and the strongest network of friends, teachers and parents of any high school student in America. Never before have so many resources been so prevalent or user friendly on the internet and blogosphere with more opportunities to experiment and develop your creative/artistic/business horizons. It presents every young person with an outlet for expression and an audience for your work beyond your immediate environment. Finally, I cannot overstate the value of the relationships and contacts
issue 1 / autumn 2009
http://www.facebook.com/home.php?#/photo.
“...I spent quite a few hours
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talk to me
Kim Hastreiter
Q+A with the editor and publisher of PAPER magazine. Interview conducted by Alice Taranto and Zoe Kestan. Where do you live? On Washington Square Park, Greenwich Village NYC
How do you think your surroundings and location affect your style and art? I live in a wonderful little penthouse apartment overlooking Washington square park and all of my beloved downtown NYC. I have an amazing garden and surround myself with amazing art and design of people I love and admire. My house reflects my life so far. Full of inspiration.
Can you please explain the mission of Paper to us? PAPER is a magazine that celebrates creatives and shines a light on the best upcoming art, fashion style and pop culture we can find around the country and around the world. We are cultural anthropologists. We explore, discover and love to spread the word of the fantastic creative stuff we find to everyone. We also love to create culture instead of just reporting on it. We do this by finding great talents and collaborating with them on ideas in order to inspire our readers.
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A drawing of Haistreiter by Daphne Taranto
What are your other influences or inspirations? I am inspired by creative people. I am inspired by my dog Romeo. I am inspired by art. I am inspired by beauty. I am inspired by bright colors. I am inspired by smart people. I am inspired by humor. I love to laugh. At what age period did your interest in style and art begin, and how old are you now? I am 57 years old now. I was always
f.a.d. / fashion.art.design.
What advice do you have for budding high school artists, fashionistas or bloggers? Go and be an INTERN for someone you admire. Work for FREE for your dream job and show them how hard you want to work and you will eventually be hired. Tell us about your biggest moment or most exciting project in your career so far. Every day a new big moment comes along. It was exciting when we did our first book, “From Abfab to Zen.” Then we did
issue 1 / autumn 2009
Where do you see yourself going in the future? I want to continue to seek out and discover inspiring people in order to collaborate with them to inspire others.
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And lastly, glasses or contacts? Glasses. ALWAYS. BIG RED ONES
Above: Designer Betsy Johnson (L) with Hastreiter. Below: May 2005, Kelly Obsbourne (L) , and April 2009, Katy Perry (R), PAPER Magazine covers.
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Can you recall your high school experience with art and style, both in school and on your own time? Not really. High school was so far away. I really grew wings and flew in college and not in high school. High school did not encourage individualism (at least the one I went to when I was growing up).
our second book, “20 Years of Style.” Then when I finished my book about GEOFFREY BEENE last year. That’s why I love coming to work every day still. The big exciting moments/projects continue to come to us. [One] week’s big moment was when Mayor Bloomberg sent over a proclamation that Sept. 8, 2009 was PAPER MAGAZINE DAY in honor of our 25th anniversary. Later that night we celebrated at a party for 1000 people at the NY public library. This was a moment. But I’m sure there will be another one coming as soon as I turn around. I cant wait to see what it is.
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interested in art from when I was young and coveted magenta crayons and used to trade all my colors away to get more magenta. I began making art in art school. I went to three of them. (Washington University, Nova Scotia College of Art and Design, California Institute of the Arts, where I got my MFA). After college in my twenties as a young aspiring artist I got a job in a clothing store on Madison avenue and fell in love with fashion. I met photographer Bill Cunningham who used to photograph me on the street because I dressed crazily. He got me my first job at a newspaper called the SOHO NEWS where I was the style editor. As an artist with a job called “style editor” I began asking artists to do pieces for me. Robert Mapplethorpe shot fashion for me, Keith Haring did drawings for Vivienne Westwood designs at my suggestion, Ann Magnuson produced amazing creative pieces for me. This set the tone of what I would do with PAPER in the future. I love working with artists to collaborate on fashion or art pieces on the pages of PAPER and do this often. Did you ever have a specific turning point when you realized you had to do something creative? I never wanted a normal job. So I just made up my own world where what I do is creative. I do not like corporate thinking because I think this is the enemy of creativity.
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architecture
Frank Gehry
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boxer who eked out a living selling pinball and slot machines. He accompanied his father on sales calls from a young age, teaching him about the art of the sale. Gehry later used his selling skills to pitch his ideas to prospective clients. Perhaps Gehry’s ability to acquire commissions even early in his career stemmed from his early experience in sales. Two other determinative figures in Gehry’s early life include his grandparents. His grandfather owned a hardware shop, where Gehry would often play. He would combine scrap metal and corrugated steel into outlandish shapes that almost certainly inspired some of his later designs, including the Guggenheim Musem in Bilbao. His grandfather, who was also a Talmudic scholar, also taught the young Gehry about the lessons of Judaism. Gehry claims that these teachings have shaped the way he interacts with people to this day. His grandmother owned a small carpentry business, and often left wood scraps strewn across the floor. Gehry loved building model cities and buildings out of these chips. In the mid-1940s, the Goldberg family lost most of its money due to bad investments and the family hardware business floundered. Irving Goldberg became very ill, and a doctor recommended a change in scenery, causing the family to move to Los Angels in 1947. Once there, Gehry took a job as a truck driver while trying to make money for college and decide what to do with his life. When attempting to decide on what to major in for college, Gehry fondly remembered the times he spent playing with the wood scraps and the steel from his grandparents’ workshops. It is because of his youth, he reminisces, that he decided
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The neologism “starchitect” applies to no individual more aptly than Frank Gehry. Gehry has carried tremendous influence in the field of architecture while obtaining worldwide celebrity status. Gehry’s reputation is so powerful that hiring him to design a building practically gives the property a “stamp of approval.” He pioneered and popularized the style of deconstructivism and has inspired a whole generation of architects. He has achieved such international renown that nearly every architectural critic has written about and analyzed all of his projects, but the most important question remains; what factors shaped this architectural genius? What mundane occurrences and activities are responsible for providing Frank Gehry with a mind so visionary that the man remains unrivaled in his fame by other architects. The best way to identify the formative moments of one’s life is by examining that person’s childhood. Frank Gehry was born as Ephraim Goldberg in 1929 in Toronto. He grew up in Timmins, a small and modest mining town in Ontario. Gehry’s father, Irving Goldberg, was a former
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Where did this megaarchitect start out? by Justin Burris
f.a.d. / fashion.art.design.
al and corrugated steel into outlandish shapes that almost certainly inspired some of his later designs.” Gehry then returned to Los Angeles and founded the firm Gehry and Associates, which at first received only minor single family commissions in California. Before long, Gehry’s innate creativity burst through, and he decided to design his own home according to some of the fantasies that he had harbored since his childhood. He used corrugated metal, plywood, and other bizarre materials that drew worldwide attention and launched him to fame. He began receiving coveted commissions, and created designs that drew both on his youth and on his time studying Le Corbusier. He merged styles and used new materials. He developed his basic thesis- that a building could be deconstructed and rebuilt in an infinite number of ways- into dozens of the world’s most recognizable struc-
issue 1 / autumn 2009
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“He would combine scrap met-
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to become an architect in the first place, and enrolled in architecture courses at Los Angeles Community College, before finishing his education at the University of Southern California. In 1952, Gehry married his first wife, Anita, who convinced him to change his name from Goldberg to the less-Jewish Gehry. He then apprenticed at the Los Angeles firm of Gruen and Associates, but was drafted and forced to serve in the army designing furniture. These furniture designs later proved to form the basis for Gehry’s furniture portfolio. After his yearlong stint in the army, Gehry returned to Gruen and Associates, but grew tired of its strictly utilitarian designs, and decided to sojourn with his wife to Paris for two years to study Le Corbusier’s work. He later applied the internationalist style that he learned from Le Corbusier to many of his buildings, notably the InterActiveCorp Building in New York which contains long, unbroken windows, but has a deconstructivist twist to it through its angled faces and iceberg-like form.
This page: Walt Disney Concert Hall (top), Dancing Hall (bottom). Opposite page: The architect himself. tures, including the Guggenheim Museum in Bilbao, the Walt Disney Concert Hall, the Dancing House in Prague, and the Experience Music Project. Gehry’s whimsical designs have inspired and delighted people of all ages around the world, and architectural critics have lavished unparalleled praise upon his works. Who would have thought that the experiences of an imaginative youth could have spawned the world’s greatest architectural genius? Maybe the reform that the American education system needs is a class in block-building.
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eye candy FAD culture watch
book worm
In this book, trendsetters get a new name--the virus. by Charlotte Christman Cohen
What better for the first issue of FAD than to discuss a book explaining the spread of social epidemics? In Malcolm Gladwell’s book, “The Tipping Point,” Gladwell explores and explains the tipping point phenomenon, which is the point at which “an idea, trend, or social behavior crosses a threshold, tips, and spreads like wildfire.” In his book, Gladwell describes the people who are responsible for the spread of trends: “Connectors”, and a subgroup of Connectors called “Mavens.” As described by Gladwell, Connectors are extremely social people who have wide circles of friends. Connectors are responsible for bridging everyone in the world together, making this truly a small world. Mavens, who are Connectors as well, are responsible for passing information along through their friends. Gladwell does a great job of explaining how trends spread by using the example of the Hush Puppy revival trend that occurred in the late 90’s. “…Perhaps the shoes caught the attention of Connectors precisely because they weren’t part of any self-conscious, commercial fashion trend. Maybe a fashion Ma-
34
ven went to the East Village, looking for new ideas, and found out that you could get these really cool old Hush Puppies at a certain thrift store, for a very good price, and told his friends, who bought the shoes for themselves because there is something about the personal, disinterested, expert opinion of a Maven that makes us all sit up and listen.” For anyone interested in how ideas and specifically trends spread, this is a great book with some fascinating ideas that may just change your perspective on how the world works. http://farm2.static.flickr.com/1136/822382161_ed87d46f15.jpg
The Tipping Point
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culture watch
f.a.d. / fashion.art.design.
video update
KooKoo for Coco
Compare + contrast recent Chanel-based movies by Erika Whitestone
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“Coco Before Chanel” stars Audrey Tautou, who is a famous French actress known for the movie Le Fabuleux Destin d’Amélie Poulain. This foreign film portrays Coco Chanel before she became the rich, famous, idolized designer we all know her to be. The movie starts showing Gabrielle Chanel, Coco’s real name, as a young girl in an orphanage with her older sister. Soon after Chanel begins working as both a seamstress and a performer. Chanel meets Baron Balsan, who introduces her to the cream of the crop of French society. She starts creating exquisite hats that become quite popular. Coco falls for an Arthur Capel and life is more complicated. The acting and French fashion are both very realistic. But the movie spends too much time focusing on Coco’s love life instead of how she makes her name in fashion. Lifetime’s “Coco Chanel” is
issue 1 / autumn 2009
the story of Gabrielle Chanel an orphan who rises to become one of the most significant fashion icons. It stars Shirley MacLaine, Malcolm McDowell and Barbora Bobulova. Although this film doesn’t go into as much detail with how Chanel gets the nickname Coco or how she is introduced to the French upper class, it goes into great detail of her hardships to get to the top both physically and mentally. It even has the storyline of her English love. In addition, this movie was not in French, and had awful French accents, which detracts a little from the overall effect of the film. On the contrary, the movie is happens in flash back, which makes it much more enjoyable because you can contrast the young Coco versus the old and how time has changed her, but not her views on fashion. If you are interested in learning about Chanel’s love life most definitely see Coco Before Chanel. But if you want to see more of her fight to become an unbelievable talented fashion designer then watch Coco Chanel. Whichever you choose you will enjoy the show with a nice bag of popcorn and your favorite pair of stringed pearls. Opposite page: Tatou on the “Coco Before Chanel” poster.
video update
The September Issue An inside look at the mega fashion mag, Vogue. by Rachel Scheinfeld
NO ANNA BANANA Right: The
no-funny-business Anna Wintour surveys a fashion show. Wintour is renowned for wearing dark specs at fashion shows to hide where she is looking. Top: The September Issue’s movie poster. Note the subtitle!
The September Issue, the new documentary featuring the intricate life of Ana Wintour gives an outsider a real inside look of the life at Vogue. The real star of the show was Vogue Creative Director, Grace Coddington, who bewilders us all with her great eye for fashion and unique ideas. The entire movie basically repeats the same idea that Wintour is an unpleasant boss. Yes, she always has the final say and what she says goes, but how many times can we hear that in a movie? Other than that, the “real devil wears prada” shows the excessive planning and photo shoots needed to make a new fabulous edition of vogue. The movie also showed that there is more of a person behind the oversized sunglasses and dirty blond bob. Wintour’s family life and the story behind how she came to be Editor-In-Chief of Vogue, the premiere magazine in the world, is exhibited. It is definitely a must see for fashionistas.
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your turn
(do it yourself)
A feather fringed headband! These are sold at Intermix and other stores, but it’s always fun to have an arts and crafts project ready for a rainy day. by Alice T.
1.Take your feather fringe and cut 2
sections, each long enough to cover one length of your headband. (This will usually be about 15 inches)
2.Get your glue and follow the in-
structions on its box to glue your feathers to the headband (being careful not to glue your fingers together!).
What you will need: 1.About
35 inches of feather fringe (or however much you need to wrap a little more than twice over your headband).
a.A
great place for fringe is the Mood Designer Fabrics store (In Manhattan on 37th street between 7th and 8th avenues). They sell feathers presewn into a silky band for extra-easy craft projects at prices between $7 and $13 a yard.
b. You
can buy feather fringes online at www.moodfabrics.com.
c. Alternatively,
2. Scissors
You may be gluing two layers of feathers onto the headband, depending on the thickness of your feathers or the desired look (with thinner feathers, 2 layers. With thicker feathers, 1 layer. For a fuller look, 2 layers).
3. A
cheap headband—it doesn’t matter what it looks like since it will be covered! Just make sure it doesn’t give you a headache. ☺ Try Forever 21, Delia’s, H & M or J. Crew.
a.If you’re doing 2 layers, ...the first layer should be glued about
4. Crazy
glue or strong craft glue.
5. About
a dozen small binder clips.
1.
¾ cm from the edge of the headband. ...The second layer of fringe should be glued right on the edge of the headband. (This staggering will make your headband appear fuller.)
Optional:
an additional 2 larger binder clips.
you can buy individual feathers, but this makes everything very difficult.
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f.a.d. / fashion.art.design.
b.If you’re doing 1 layer, it should be glued right on the edge of the headband.
3.Use your binder clips to secure your glued
2.
feather trim in place. Use a clip every 1-2 inches along the headband, using your optional large clips at the ends of the headband for extra security.
3.
4.Read the instructions on the glue box and
wait the required amount of time for the glue to dry, but try to be patient and wait several hours just to be safe. ☺
5.When you have waited, remove your clips from the headband.
4.
6.Use your scissors to trim the feathers from the ends of the headband. If you don’t trim down end feathers, they will be bent underneath the weight of your hair and fall off anyway. Do a gradual cut for about 2 ½ inches coming in from each end.
5.
7.Shake out your headband, and wear it as much as you can! (Feathers can face forwards or backwards.)
Variations: 1.Be creative!
You can do whatever you want on your headband. The thicker the headband, the more space there is to work on. You can make flowers, spirals or zigzags with your feather fringe.
6. 7.
2.Check
out other trims. Go to www.MoodFabrics.com or the Mood Designer Fabrics store and look at fun sequin, fur, bead, lace and other trims.
issue 1 / autumn 2009
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your turn
k o o b e t o n mini-
my now
he t d
e
y o j n
e e ’v
u
yo
t a h t
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sketch it!
my cro fashio qui n s
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f.a.d. / fashion.art.design.
:
tion a r i nsp
der n a x W 08 A Ale n uee Q c M
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issue 1 / autumn 2009
39
like fashion design?
join the club F.A.D MAGAZINE Horace Mann School 231 West 246th St. Riverdale, NY 10471
the fashion design club
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expect to work hard, have fun and build a clothing collection. contact alice taranto or zoe kestan to join
f.a.d. / fashion.art.design.