FAD Magazine Vol. 2 No. 2 by Horace Mann FAD Magazine

FASHION/ART/DESIGN HORACE MANN SCHOOL VOL. 2 NO. 2 EARLY SPRING 11

IN BLOOM

FAD’S NEXT STEP

THE 7 CONTRADICTIONS 8 ISSUE horace mann school | winter 2010 | vol. 2 no. 2

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FADDIES

editorial board

rachel scheinfeld ‘12 co-junior editor

bathsheba weiler ‘12 co-junior editor

alice taranto ‘11 co-editor in chief

zoe kestan ‘11 co-editor in chief

daphne taranto ‘11 creative director

noah margulis ‘13 jr. design editor

veronica williamson ‘13 jr. assist. editor

fad-tastic staff Chloe Albanese (‘12) ShaKea Alston (‘13) Asher Baumrin (‘13) Ryan Bliss (‘13) Georgie Bonondona (‘14) Paige Burris (‘13) Alexandra Brachfeld (‘13) Lauren Cantor (‘13) Anna Caroll (‘13) Andrew Catomeris (‘11) Edith Comas (‘14) Magica Darabundit (‘11) Lia Ehrlich (‘12) Grace Ferrara (‘11) Dan Froot (‘12) Emma Garcia (‘13) Diva Gattani (‘13) Suman Gidwani (‘11) Cece Glatt (‘13) Anna Goldberg (‘12) Rachel Ha (‘13) Kia Hampson (‘11) Julia Hirschberg (‘13) Vivien Ikwuazom (‘13) Natalie Imamura (‘12) Antonio Irizarry (‘12) Billie Kanfer (‘12) Michelle Kim (‘14) Shinil Kim (‘14) Rachel Kline (‘14) Maia Landesberg (‘14) Caroline Levine (‘14) Halle Liebman (‘13) Kylie Logan (‘14) Allison Malin (‘13) Jean Mariano (‘12) Anastasiya Moroz (‘13) Florence Ngala (‘13) Claire Park (‘12) Julia Pretsfelder (‘14)

We would like to thank Ms. Hines, Dr. Kelly, Ms. Rubirosa, Mr. Do, Mr. Logan, Ms. Busby, Ms. Cassino, Dr. Delanty, and Dr. Schiller for their continuous support in the creation of FAD! 2

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Diana Rheinstein (‘13) Rachel Simerka-Smith (‘13) Ian Singleton (‘11) Hallam Tuck (12) Alex Vogelsang (‘14) David Yassky (‘11) Gina Yu (‘14) Amanda Zhou (‘14)

Alicia Hines Faculty Advisor

fashion | art | design

TABLE OF CONTENTS Karl Lagerfeld and Fashion through the Decades page 11

Fashion Show Preview

Photographed by Daphne Taranto ‘11

page 22

Form follows Function Design with Noah Margulis ‘13 page 26

KNOCKOFFS: PROs and CONs page 29

HEY GUYS!

An exclusively male

shoot Photographed by

Rachel Scheinfeld ‘12, Zoe Kestan ‘11, and Daphne Taranto ‘11

page 38

Harry Winston

Interview with Art Director and VicePresident of Design Sandrine de Laage page 12

FAD ROAR Fashion, Art, and Design at HM! page 16

Fashion Beyond Borders

See what’s going on around the world! page 32

Beauty

A whole new take on “glowing skin”... Photographed by Daphne Taranto ‘11 and Baci Weiler ‘12 page 34

HOT vs COLD

Don’t miss this tension-filled CONTRADICTION-inspired photoshoot!

Photographed by Rachel Scheinfeld ‘12

page 42

horace mann school | winter 2010 | vol. 2 no. 2

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LETTER FROM THE EDITORS

Welcome to FAD's inaugural Junior Issue! Since the beginning of FAD back in the autumn of 2009, we have been thinking about what will happen to this magazine after we graduate. In making FAD, we have not only created a high school publication, but we we have created a family. It's corny, but true. Through ups and downs (but thankfully mostly ups!), we have had a rotating staff of around 60 FADDIES writing, photographing, modeling, styling, and the list goes on. Since last summer, when the fact of our impending graduation really started to set in, we have been formulating the next generation of FAD. This magazine's changing of the guards is, may we say, unlike any other at Horace Mann School. For us editors, FAD is far more than a simple magazine to hold in your hands, so we took on the choosing of our successors as a serious task. After observing the most dedicated and driven younger staff members, we have chosen HM juniors Baci Weiler and Rachel Scheinfeld to take the reins next year. We literally could not be more confident in these two young ladies - they combine the best parts of discipline and creativity and have proven themselves more than perfect for FAD leadership. We have worked closely for many months with Baci, Rachel, and the dozens of FADDIES involved in this issue to refine the FAD image and taste level, and

now present you with Volume 2, No. 2. Enjoy this issue, and young HM students take note - you may one day call FAD your own, too. In style, Alice Taranto ('11) and Zoe Kestan ('11), Co-Editors in Chief Daphne Taranto ('11), Creative Director The cover of this issue says In Bloom: FAD’s Next Step. Well, that’s what this is. With stress season kicked into full gear, and seniors hard at work, this issue of FAD was turned over to the Junior leadership - us (ahhh)! When we began planning back in October, we thought, “How are we ever going to make this issue as great as Alice, Daphne, and Zoe do?!” But with guidance from our amazing senior editors and support from a great team of dedicated underclassmen, we introduce to you Volume 2 Issue 2: The Contradiction Issue. We chose contradictions as our theme because in life and the fashion world, things are constantly opposing each other. Here, everything is in contradiction - each photoshoot’s theme is inherently full of contrast, our new Op-Ed section has opened a forum for discussing controversies, and our cover model wears a spring-ready rose ruff despite being photographed in frigid February. That contrast resonates with us, the Junior editors, not just in terms of the time of year; this is-

sue is the beginning of a new generation of FAD. Alice, Zoe, and Daphne, the co-founders of the magazine, are graduating this year, leaving the future of their “baby” in our hands. And though it will definitely be tough to handle without their help, we’re confident that come spring, we’ll be excited and ready to take FAD on its next big step and watch it bloom. We will miss you, Alice, Zoe, and Daphne, and thank you so much for giving us this amazing opportunity to continue your FAD-tabulous legacy. Until next time, Rachel Scheinfeld (‘12) and Baci Weiler (‘12), Co-Junior Editors

Making of the Cover Dan Froot (‘12) and Rachel Ha (‘13) were adorable together, but we couldn’t resist putting this image on the cover...tada!

check out the FAD Facebook and Youtube pages for videos from this issue!

Front and Back Covers photographed by Daphne Taranto (‘11). See another winning shot from the shoot on p. 42!

Real rose ruff by Daphne Taranto (‘11) and Zoe Kestan (‘11). Beauty design by Alice Taranto (‘11), Nicole Dalesandro (‘11), Rachel Scheinfeld (‘12), and Veronica Williamson (‘13).

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PLEASE NOTE: As a policy, FAD never digitally alters photos to fundamentally change a model’sappearance, including body image and color. FAD only removes minor blemishes and adjusts lighting values at the discretion of the editors and the models themselves. Digital editing, including use of Adobe Photoshop, is credited where utilized.

fashion | art | design

BEHIND THE SCENES vol. 2 no. 2 BEHIND THE SCENES, Vol. 2 No. 2

horace mann school | winter 2010 | vol. 2 no. 2

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WE ABSORB CULTURE f.a.d. staff recommend you check out these quick current culture fixes

SEE IT

READ UP

THE SAVAGE LEGEND: ALEXANDER MCQUEEN

THE FASHION GURU: LAUREN CONRAD

After last year’s devastating death of the famed and talented designer Alexander McQueen, New York’s Costume Institute has decided to honor the late designer with an exhibition at the Metropolitan Museum of Art. The exhibit, entitled “Alexander McQueen: Savage Beauty,” will chronicle all of his designs, starting with his graduate show and ending with his final collection. The show will run from May 4th to July 31st, 2011 at the Met, and will make its debut on May 2nd at the Costume Institute Benefit Gala. Be sure to keep up with the Costume Institute Gala - always a fashion fete to remember, this year’s should be especially great in McQueen’s honor. If the McQueen exhibit is as fabulously curated and powerful as previous ones, you can bet we’ll be there to honor this deeply missed “enfent terrible” of the fashion world. For more about McQueen and his tragic suicide, read his obituary in Vol. 1 No. 3 by Rachel Scheinfeld (‘12): http://issuu.com/fadmag/docs/fadissuethree/20. - HALLE LIEBMAN (‘13)

The Hills star Lauren Conrad’s new book, Style, is a fun guide to help you make your wardrobe simultaneously trend-friendly and individual. The book starts out with a list of basics - key pieces everyone needs: a little black dress, well-fitting jeans, a collared button-down, a formfitting skirt, etc. Lauren gives readers shopping tips to help navigate department stores, boutiques, and specific items like jeans. The book isn’t only about the clothes, though there’s also a chapter on the best way to organize your closet, a hair and makeup section (of course), another on accessorizing your newfound stylish wardrobe. The travel chapter is especiall valuable, with sample packing lists and advice on when to pack. And finally, the most fun part: Events and Parties! Lauren tells us how to pick the right dress, make it individual, decode invitation dress codes, and more! It’s an extremely helpful book, both for the fashion challenged, and the extremely fashionable! -ALISON MALIN (‘13)

SEARCH IT MUSEUM OF MODERN ART: ON THE GO The Museum of Modern art has created an iPhone app that enables one to connect with the Museum anytime. It features a calendar of current and upcoming exhibitions, daily events and screenings. It also has the ability to share using Facebook and Twitter. The app includes an Art index of all the works and artists featured in a collection, plus a database of art terms. It even has built-in MoMA audio programs: five tour options and the ability to view by floor or stop number. You can take pictures to make a museum postcard, and create a playlist from your music library to listen to while exploring the Museum. The Museum also has other apps that are more focused on specific exhibits. For example, the Abstract Expressionist New York iPad app allows visitors and art lovers to not only view the art in the museum, but to view high-resolution images of the works of art from anywhere. It also supplies background information on the artists and about New York City in general. This app allows one to share pictures of their favorite works of art with your friends, and provides helpful information about the exhibition and art in general. –PAIGE BURRIS (‘13)

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STYLE IT V-DAY OUTFIT: PROBLEM SOLVED Bright colors were all over the place in Paris’ spring 2011 runway shows. Just check out a look from Isabel Marant’s recent runway show, which was full of wearable, romantic color. To make sure you have a fun fashionable time this upcoming Valentine’s Day, make yourself shine bright! Bring a burst of spring freshness to your look with a bright pastel top with a signature piece to show your creative confidence. Pair this with faded denim to mix it up (but also ensure comfort). There’s no room for disappointment in the business of looking good: add some fun, shimmery lip gloss and a pop of colorful, minimally applied eye shadow. Valentine’s Day is all about color, creativity, individuality, and boldness – even if you’re just chilling with your (platonic) friends. Just remember, love is not the perfect person; but it is the perfect outfit! -AMANDA ZHOU (‘14) AND VERONICA WILLIAMSON (‘13)

fashion | art | design

GET THIS

READ UP: MODEL CITIZENS

WHAT’S UP WITH THAT? HIDEOUS SHOES AT SS 11

ALICE TARANTO (‘11) GIVES A ROUNDUP OF THE MODELS YOU NEED TO KEEP TABS ON FOR THE SEASONS TO COME

Fashion is full of wierd and unfathomable clothing - stuff that would make the average person say, “What the heck?” or “Why would you ever wear that?” I usually don’t feel that way, as I consider myself relatively in-check with the fashion world. But this season, I was stumped by one trend - the atrocity that Interview Magazine calls a “modern mash-up of men’s brogueing, espadrille sole, and creeper style” shoes. This style, which one blogger called the “shoe of great monstrous evil,” was seen on the runways of high-taste designers like Prada (image below) and Balenciaga. When browsing fashion rags featuring these Elevator Shoe-type clunkers, I felt like the philistine standing in the art gallery, scratching her head as the critics praise an obscure painting’s compositional glory. Am I out of touch, or are the magazines perhaps paid to promote fashion houses’ new styles? Of the latter, I may never be sure. I do know one thing - you won’t catch me wearing this gaudy-awful trend. -ALICE TARANTO (‘11)

GLAM IT KAJAL RUIA: GLAM SHOE EXPERT

To those outside of the fashion industry, most models look identical - like lanky, blonde-haired, blue-eyed, cookie-cut fembots. But to those attuned to the wiles and ways of the fashion industry, high fashion models are as trendy as clothing: they go in and out of style, and some have a lasting impact (think Naomi, Linda, Christy, and Kate.) The “topness” of models is often rated by the ad campaigns they get and by how many fashion shows they open or close. Here, highlights from this season’s fresh crop of in-demand models.

melodie monrose

Known for her gorgeous complexion and what Essence Magazine calls a regal profile, this Nefertiti look-alike was a breath of fresh air this season on all of the top runways, which are usually dominated by that stereotypical cookie-cutter model. 18-year-old Melodie walked in such bigname shows as Marc Jacobs, Emilio Pucci, 3.1 Phillip Lim, Pucci, and Lanvin. Plus, she was just featured in a huge photo shoot in Interview magazine, see it here: http://bit. ly/dHdHRa.

andrej pejic

This hyper-androgynous male model just got put in the fashion spotlight as the face of Marc Jacobs’ Spring/ Summer 2011 ad campaign. The fashion industry, known for being a safe haven for the quirky, the queer, and the fabulous, has taken in 19-year-old Andrej with open arms - he recently walked the runways of Jean Paul Gaultier, Paul Smith, and Raf Simons. You have to admit that, gender aside, this SerbianAustralian has an intriguingly angelic look about him.

Gorgeous shoes alert! Manchester-born Kajal Ruia has opened a glamorous shoe store called Ruia in Soho. Inside are high-end European shoes from brands such as Loriblu or Baldan. The best part is these brands cannot be found anywhere else in the country with the exception of Missoni, another boutique on the Upper East Side. You can find boots, stilettos, pumps, etc., in vintage styles or metallic colors. The store is not only a great place to find beautiful shoes, but an elegant and well-designed space to shop in, with glittering accessories and ornate architectural features. There’s even a lounge on the upper floor with a television for whoever was dragged along and isn’t interested in shoes. Ruia is definitely an amazing place to shop for rare European shoes and have a great time while doing so. -KYLIE LOGAN (‘14)

arizona muse

After walking (including opening/closing) runways of the likes of Chloe, John Galliano, and Prada, this 20-year-old New Mexico native’s career has just exploded in recent months. Thanks to her unusually “au naturel” eyebrows and a major chop (long blonde locks gone edgy jawlength bob), she’s on the top of everyone’s list. Muse is the face of YSL’s Spring 2011 ad campaign, to boot. Talk about a hot start. Check out a cool NY Mag interview the with newcomer here: http://bit.ly/bOd54Y.

BLOG IT

Flip to page 50 for an Ultra-Sponge! Alice Taranto (‘11) chats with Leandra Medine of the new it-blog “The Man Repeller.” And check out the fun DIY Julia Pretzfelder (‘14) did to go along with it!

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FEATURES

NIFTY THRIFT GUIDE Maia Landesberg (‘14) and Julia Pretsfelder (‘14) give tips on how to get unexpected fashion from the bargain bins of NYC.

A sampling of the fashion bloggers known for mixing “thrifted” items into their wardrobes. From left: Piksi from Finland (http://heinin.tumblr.com/), Instant Vintage’s Alicia from Los Angeles (http://www.innyvinny. com/), and Style Bubble’s Susanna Lau, A.K.A. Susie Bubble, from London (http://stylebubble.typepad.com/).

hrifting is a perfect way to find riskier and more original garments without the high cost of vintage clothing. Thrifted clothing’s reputation as cheap, worn, or dirty is an unfair generalization. The quality of the clothing really depends on the thrift store. A manager at Housing Works informed us that the clothing they sell comes from donations that are sent to a warehouse where it is determined if they are good enough quality to be sold. From this warehouse the clothing is sent to any of twelve of the Housing Works locations in New York City where the store managers decide the price for each piece. The effort put into the selection process is evident because the clothing that I saw at Housing Works was all in very good condition.

quirky finds Although Housing Works has the most high quality clothing and accessories, the other thrift stores I visited on the Upper West Side, like Goodwill, St. Francis, and Salvation Army, have a larger range of more out-of-thebox clothing. For instance, Goodwill had wedding dresses for sale, St. Francis thrift store had a dress that looked like it was from an Indian wedding, and Salvation Army had a pair of six-inch grungy 90’s style black mary-jane platform heels. These stores, being more traditional thrift stores, also have considerably cheaper clothing. Housing Works, Goodwill, Salvation Army, and St. Francis all have many things in common. The clothing is organized by apparel type, and the racks are literally packed with clothing. The stores also sell household appliances, DVDs, games, accessories, and books.

shop for good A great thing about all of these stores is that the revenue made from sales benefits a good cause. Goodwill is an organization that helps people with disabilities or an insufficient education find jobs. Housing Works finds homes for the homeless and its proceeds benefit men and women fighting HIV/AIDS. Salvation Army gives clothes, food, shelter,

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and substance abuse treatment to the poor and homeless. The proceeds of St. Francis’ sales at the thrift store go to the church and its soup kitchen. I have barely even scratched the surface of what these organizations do, so for further information check out their websites.

use your noggin It’s important to have patience while thrifting. This may mean rummaging through endless layers of clothing, but you’ll most likely find the garment or accessory you want whether that’s a black tank top or a ball gown, due to the sheer enormity in range of clothing. As always don’t be tempted by the rockbottom prices--before you stuff your cart, make sure you’ll actually wear everything you’re getting. Keep in mind the clothing you already have in your closet and think of what you’d wear it with, and look out for ill-fitting clothes (which is hard to tell, as most thrift stores don’t have fitting rooms). You may find a pattern or color that inspires you and buy a garment just for the fabric and get creative by repurposing your thrifted piece. If you do buy something you end up never wearing or grow out of some clothing, you can just pay it forward--rethrift! It’s a great oppurtunity to recycle. The biggest thrill of thrifting--after the sheer awe of being in places full of so much affordable clothing--is chancing upon that one-of-a-kind item that you end up loving and wearing for years. With patience and perseverance, thrifting can be fun and rewarding--a great way to make fashion come to you.

where to thrift in NYC ALICE TARANTO (‘11) GIVES THE SCOOP ON 3 OF NYC’S HOTTEST THRIFT STORES

CADILLAC’S CASTLE

THE GARMENT ROOM

http://nymag.com/listings/ stores/cadillac-castle/

http://www.thegarmentroom. com/

Bonus: With guaranteed classy and stylish finds, this is hardly a “sift-through” type secondhand store.

Lower East Side: 333 E. 9th St. between 2nd and 1st Ave.

Bonus: Racks in the $40 range with anything from simple tank tops to gold jewelry to Margot Tenenbaum-esque fur coats.

SOHO: 112 Greene St. between Prince & Mercer St.

BUFFALO EXCHANGE http://www.buffaloexchange. com/

Bonus: At BEx, you can buy, sell, or trade pre-owned loot! East Village: 332 E. 11th St. between 1st & 2nd Ave. Williamsburg: 504 Driggs Avenue at N. 9th St. Chelsea: 114 W. 26th Street fashion | art | design at 6th Avenue

FEATURES

GUISE OPINION Lia Ehrlich (‘12) shares her experience in “style and design boot camp” with award-winning designer Joseph Abboud.

ver the summer, I was given an incredible opportunity to intern for one of the most prestigious menswear design teams lead by award-winning designer Joseph Abboud. During my stay at his office, Abboud gave me the lowdown on men’s fashion in what I would call a five-week style and design boot camp. When thinking about this article and what I was going to write after this extensive cram session education, I thought who better to give advice than my summer boss--besides, everyone knows the best advice comes straight from the horses mouth; an intern doesn’t exactly qualify. Design teams typically work two to three seasons ahead, but this team was especially busy with this year’s upcoming spring collection for companies such as Hickey Freeman and Hart Shaffner Marx. Abboud was recruited as lead designer and this would be his first collection designing for the company. The goal: to completely transform the chic and formal men’s suit label from a manufacturing brand to a lifestyle brand. Abboud skillfully did this by adding suit blazers and jeans, combining the trademark tuxedos with sportswear pieces. Abboud has told me that this spring for men it will be all about linen and denim washes and casual sweaters with blazers. “As a designer you try to figure out if customer got the message you were trying to convey--this is when I feel I’ve done my job,” he says referring to the extremely positive reaction from the customers of the company’s new casual attitude.

breaking the rules According to Abboud, the most dramatic change in menswear in the last five years is what he refers to as the breaking down of the rules. “Men used to always wear shirts, suits, and ties, but they’re breaking the rules and wearing suit jackets with jeans, cargo pants with tweed jackets, and suits with no ties. It’s a softening of the hard and fast menswear

rules, which I like because it allows for more creativity and challenges men to have good taste in what they do and not look too silly or flashy.” Agreed. Even in a formal work atmosphere the general trend is a blazer and denim, quite contrasting to the originally stiff, generic office type outlook. Now that may have just been what I’ve seen, knowing that I worked in a place that might just have had the ultimate heads up on what was “a la mode,” but I’m pretty sure most of us would agree that the modern man in general has adapted to this new stylistic idea.

easy breezy

Every day, Joseph would come into work with a new, dazzling outfit, never too much or too little but just right. The best part was that it was so natural and effortless. Now of course I asked Joseph the most important question, the one every man with a wish to be considered “fashionable” would want to know: What is it that constitutes a man with great style? Lucky for us, he had the perfect response. “Men shouldn’t look like they’re trying too hard with style; it should be much more natural for them--that means don’t buy the loudest or most outrageous things. Men look good in navy blazers and natural colors. Women are most happy with the way men dressed when they express their masculine side; otherwise it seems like they’re a little frivolous.” Its important to foster self-expression and personal creativity in the clothing you wear and the way you present yourself to the world, but if you’re a man looking to be a perfect candidate for best dressed, I couldn’t imagine getting better advice. Joseph Abboud’s Fall 2010 Lookbook is full of casually classy outfits with mixed high-end and everyday materials; plus equally effortless modelling.

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FEATURES

THAT’S SO LAST SEASON FAD members curate a historical tour of fashion’s twists and turns from the 1890s to the present.

1920s Scandal! Bare ankles and suggestive V-shaped columnar dresses epitomize the 20s’ liberating fashions

1950s

The 1890’s brought a shedding of some of the extravagances of the 19th century. Bustles no longer protruded as far, corsets were loosened, and fancy details like lace and crinoline were limited. The typical silhouette included a form fitting top, ciphened at the waist with a more natural skirt bottom. Changing attitudes towards women allowed for more casual sportswear. This included the shirtwaist, which was tailored more like a men’s shirt and were worn by all classes. Also cycling costumes were introduced. This ensemble typically included bloomers (Turkishstyle baggy knickers) and shirts with mutton sleeves (huge poofed-out sleeves). It was the final decade of the 19th century, known for its extravance in fashion. -NOAH MARGULIS ‘13

1890s

The 1900’s continued the long elegant lines of the late 1800’s. The decade approached the abandonment of the corset and the bustle and embraced a simple columnar silhouette and introduced the “Gibson Girl” style, the first standard of women’s beauty. Huge hats, high collars, and skirts that brushed the floor elongated every woman’s figure. Eveningwear included low necklines, full “pigeon” breasts and hair piled high on top. Often worn at all times of the day were the characteristic turnof-the-century hats. These hats were trimmed with feathers, ribbon, and artificial flowers; they became the centerpiece accent for every outfit. The decade also brought about the rise of haute couture houses in Paris that dictated fashion styles for women of all classes all over the world. -NOAH MARGULIS ‘13

1900s

The fashion on 1910’s is characterized by exotic opulence as well as practicality during the First World War. Skirts began to rise and hair was starting to settle, thus setting the stage for the radical fashion change in the 1920’s. Fashion silhouettes were much more fluid and straight than in previous decades and were very much influenced by typical oriental garments. At the front of this Asian-inspired craze was famous bohemian designer Paul Poiret. Poiret translated kimonos into bright, draped evening gowns and fabulous coats with Asian inspired textiles. Simple shaped felt hats, headscarves, and turbans often accompanied these looks. More traditional hobble skirts) and women’s suits were worn along with fur-trimmed coats and wide brimmed hats. -NOAH MARGULIS ‘13

1910s

The 20s were the later half of the Flapper era. Young women wore short skirts and usually bobbed their hair. This was a time when everyone was wearing extravagant clothing and makeup. In the 1920s women also began entering the workforce in massive numbers. This was a major turning point in women’s rights and public positions, and the clothes worn by women really showed it. Corsets where left be-

1920s

1970s

Christian Dior’s New Look, with tea-for-two gloves and body-flattering femininity, was his 1947 reaction against the austerity of WWII.

1980s

The seventies in America are characterized by bohemian prints, miles of legs, long locks and sun-kissed Cali girl beauty.

A fluffy-haired Madonna rocks out in her 80s garb, featuring a scrunchie, fishnets, and jacket wide enough to pass as football gear.

hind and women turned to clothes with a more boyish figure. Coco Chanel became popular because she opposed the excessiveness of earlier fashion and stripped away all of the excess fabric and frills from her looks, creating a new, more practical and sophisticated look that shaped the decade and that lasted long after the 20s. -VERONICA WILLIAMSON ‘13 In the 1930s The Great Depression began and caused an upset in the burgeoning fashion trends from the previous decade. In the early 30s, women continued to wear the boyish figure, but as the decade went on women returned to wearing traditional feminine looks with longer skirts and higher, more defined waists as the Depression began to hit their resources at home. But even as the economy got worse designers were still working. Madeleine Vionnet became famous for her bias-cut dresses, which introduced the new halter-top. In the early thirties Nylon was invented and by the end of the decade was being reproduced and used in clothing; clothes were easier to make and cheaper. -VERONICA WILLIAMSON ‘13

1930s

The 1940s were majorly affected by World War II. Due to the war there was a lack in supplies, haulting people’s fashion creativity. Platform pumps were made with interesting materials like crocodile hide and cork because things such as leather and steel were not available. Hats also became a way for people to express themselves without having to put much money into making or buying them. Swing skirts to the knees became popular in an effort to conserve fabric. In 1947 Christian Dior ended the war’s effect on fashion by creating a new line that basically used excess fabric in every way possible, from wide leg pants to long draped skirts, and led the country out of its previously barren fashion. -VERONICA WILLIAMSON ‘13

1940s

The end of World War II in 1945 brought changes to the fashion world. After years of demand for military uniforms, companies knew how to mass-produce clothing. Buyers found themselves with more money to spend on elegant clothing. Newer, better fabrics became available, and with the end of the war came a desire in women for a more feminine look. Jacque Fath and Christian Dior pandered to these desires with their new lines. Dior’s looks emphasized female qualities with fitted jackets, tapered waists, and calf-length skirts. Designer Pierre Balmain’s history of studying architecture manifested itself in his structured looks. His designs again accentuated small waists, high bust lines, and narrow shoulders. Balmain was obsessed with making women feel elegant and did not approve of adding excess anything to create a glamorous dress. -EDIE COMAS ‘14

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1950s

fashion | art | design

The ‘60’s began the hippie-era. Up till then, designers had always said what was in style, but now people began to define what was fashionable--designers were forced to keep up with the ever-more-radical popular trends. Women’s shorts grew shorter and their boots taller, and men began the “Peacock Revolution” and started to wear flowery suits and leather jackets. Yves Saint Laurent became the head designer at Dior. This Algerian born, avant garde, designer’s first collection was considered part of the “Left Bank style.” It included leather jackets, knit turtlenecks, and his infamous fur coat with knit sleeves. His clothes were neutral colors spiced up with fringe. Emilio Pucci, another designer of the ‘60’s, became famous for his bright prints on silk fabrics. His work became synonymous with names like Marilyn Monroe and Jackie Kennedy and his patterns known everywhere. -EDIE COMAS ‘14

FEATURES

1960s

1970’s saw a variety of different styles as many design1970s The ers branched off in their own directions. Women wore mini skirts, midi-skirts, maxi skirts, and pants. For men, work attire varied from a traditional suit to a t-shirt and bell-bottoms... Anything outrageous was fashionable. Thea Porter, a designer raised in the Middle East, made foreign styles fashionable, creating eveningwear for her clientele. The garments weren’t traditional Middle Eastern garb but had a foreign feel. They resembled “harem-wear”: loose fitting, long, and flowing. Birkenstock shoes became stylish, starting the trend of wearing shoes for comfort and not beauty. Doc Martens (black work boots) became the style for the 70’s rebels. “Punks” in this era rebelled against the social norms, including those of fashion, and opted for grungier, typically ripped-up clothing. -EDIE COMAS ‘14 In the 1980’s jeans became more than a casual garment. Calvin Klein was one of the first to create “designer jeans.” These jeans were worn tight to flaunt curves and were sold in styles such as acid-washed, streaked, and completely bleached out. Designers started using fabrics previously designated for underwear, such as Spandex and Lycra, to make shorts, pants, and shirts. Sweatshirts became more popular as well for two reasons: fitness and its clothing were becoming very popular, as was the layered look--sweatshirts could also be layered over anything. When Ralph Lauren moved from businesswear to women’s clothing, he incorporated sportswear. In the 80’s he also began his Roughwear collections. His inspiration came from earlier fashions in England. There were lace and brooches to commemorate the 1800’s and early 1900’s. English riding outfits inspired the fitted jackets. Gap, which had opened in the 60’s, become a billion dollar phenomenon in the 80s as well. -EDIE COMAS ‘14

1980s

In the 90’s rebels wore baggy jeans and people who wanted to distinguish themselves from the rest of society, just as Doc Martens had been in the 70’s. But they soon became stylish for everyone. From that came baggy shorts. The idea was now made that the waistband should be several sizes too big so as to show underwear. The trend of Spandex and sweatshirts kept growing in the 90’s. People did not look to designers for fashion; they looked to pop culture. Men began to discontinue the style of ties and women began to wear pants. People were now starting to order their clothes from home with catalogs from and go to discount stores such as T.J. Maxx or Target. -EDIE COMAS ‘14

1990s

THE NEW DECADE

How do we characterize style today? One designer has a grip on the past, a vision for the future, & is just right for right now

STYLE PROFILE karl lagerfeld Claim to fame: Artist, Photographer, and designer of the Chanel house and of his own eponymous fashion line Birth Year: Debatable. He says 1938, but everyone else bets on 1933 Birthplace: Hamburg, Germany Signature Styles: Snow white hair pulled back into a ponytail, mystery man sunglasses, black suit/white shirt, rings galore

Karl Lagerfeld, the established and renowned fashion designer, has been involved in the fashion world for most of his life. At 17, he became Pierre Balmain’s assistant after his coat design won a contest arranged by The International Wool Association. Eventually, after moving from Balmain with Jean Patou, Lagerfeld went independent. He became a stylist, working all over Europe. It wasn’t long before the House of Fendi took him. In 1975, he created his first fragrance, Chloe. Lagerfeld created other fragrances and was known as the first famous designer who launched a scent before a label of his own. But in 1984 he created his own line, “Karl Lagerfeld”, while working with Chanel and Fendi. He also published his own photography books. The closing of Lagerfeld’s company in 1997 did not stop him; he launched a new line, Lagerfeld Gallery, soon after. In addition to being a publisher, he took over a bookshop and soon became associated with H&M after creating a collection for them. Lagerfeld, a poised and admirable designer, sometimes called “Kaiser Karl”, is presently associated with the labels Fendi and Chanel along with his personal label. Karl Lagerfeld’s delicate, flowing, and elegant designs stand out, continuing to create trends in the fashion world. -KYLIE LOGAN (‘14), SHINIL KIM (‘14), YASMINE NAHIM (‘14)

in the 2000’s, many of the styles from earlier decades 2000s Now have come back. A trend known as “Hipster” is popular. Hipsters wear vintage clothing, t-shirts with logos, thick-rimmed glasses, and more. The Spandex from the 80’s has reappeared through leggings that are in every color imaginable. They are worn under baby doll tops, dresses, even t-shirts. In the early 2000’s pointy stilettos were popular for every event. Next came the ballet flat and Ugg boots which come in a variety of styles. Canvas shoes with laces are now popular as well. Oversized sunglasses became in style when celebrities like Paris Hilton began wearing them. Fashion has come a long way since 1890, and will continue to move forward fast. -EDIE COMAS ‘14

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leading ladies Walk the line: Lagerfeld stomps the catwalk with top models in the final walk of a Chanel show, done in Lagerfeld’s characteristic head-totoe black & white. Bottoms Up: Above, a limited-edition, novelty Diet Coke bottle with Lagerfeld’s iconic figure. Karl claims to have saved his health on a Diet Coke and veggies alone.

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INTERVIEWS

SANDRINE DE LAAGE of Harry Winston

Daphne Taranto (‘11) and Rachel Scheinfeld (‘12) chat with the Art Director and Vice President of Design of Harry Winston

E v e n Marylin Monroe is into it! In her song “Diamonds Are A Girl’s Best Friend,” H.W. is mentioned.

ow did you get to this position at Harry Winston and what led you to fashion? My background is a bit unusual in the field of design because I started with a degree in talk to me harry marketing and finance before going to winston, tell me design school, which gave me a double skill set. So as I design a product I all about it am very much aware of the marketing value of it and the client’s expectations. Twenty years ago I joined Cartier where I did mostly marketing and when I went back to France I moved to a more design position. Well-known Danish model I decided to create my own company. Four Freja Beha was re- years ago I wanted to move to the US and left cently featured in this advertisement my companies. I wanted to go back to a more for Harry Winston corporate position and to work for the best jewelry. jeweler in the world. Harry Winston gave me everything I dreamed of: New York, the position, and being back in the jewelry industry. How does it feel to be separated from a product that you created, like when you see where it’s going and the progress that it has made? I’m very proud that it has continued and am very happy that these products are still selling. My son is 16 and I know in two years he will be leaving and I will love him and be proud of him but he won’t be mine anymore. I think it’s similar. Known informally as the Jeweler of the Stars, H.W. is a red carpet fixture. Right, actress/model Joy Bryant dons H.W. studs at the 2010 Met Gala.

What is your favorite part of your job today? It’s difficult to say just one thing; I am lucky to work with amazing people and an amazing team. I really love being in charge of the image of the brand as opposed to one product or something, and I get to meet many interesting people. So how do you think, in your position, you balance the boundaries between designer and organizer? It’s having the ability to not just apply your

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abilities to one subject but to many which create the entire company at the end of the day. It’s also about trusting the people you’re working with and knowing that you don’t have to be involved in every detail to make it happen. How would you describe the feeling of opening a magazine and seeing Freja Beja in the ad or seeing someone wearing the piece in the media? I’m proud and happy. It’s a simple answer but very true. When you were younger did you see yourself working with jewelry one day? I thought for a long time that I would be an architect; jewelry came by chance when I started working with Cartier, then it became a passion. Do you feel that there might be any connection between architecture and jewelry design? The very first collection I launched with Harry Winston was called the New York collection, and was inspired by the architecture of New York. So yes, I think that a big or small-scale process of creation remains the same no matter what the product is. Did you grow up and go to high school in France? Yes, I grew up in France, London, and Belgium; I ended in Paris and studied in Paris before leaving for Hong Kong. I then returned to France and then onto the U.S. Gold or Silver? Well actually at Harry Winston we use platinum because it looks the best with diamonds. So I would say platinum first, but I do like silver, although it oxidizes. But, yes, I like silver.

fashion | art | design

INTERVIEWS

JENI PAOLELLA of Jersey Shore

Daphne Taranto (‘11) and Flo Ngala (‘13) catch up with the network stylist of the hit television show Jersey Shore

ow did you start working in costumes? Did your high school and college experiences influence you in anyway? Since I was a little girl I’ve loved fashion! I used to play dress up and go in my mom’s closet. I was never the girl who would match her pants and top, I’d just wear random colors and patterns. (laughs) When I went to high school and then college at the University of Miami, there were no places for fashion. I started studying journalism, and knew pretty quickly it wouldn’t be my area so I transferred to FIT in NYC. That’s when I decided that I wanted to make a life out of it. Can you talk about your position at Jersey Shore and the other shows you’ve worked on/experiences you’ve had with various media? I worked for the production company that started the Jersey Shore, which is how I began working there. I met them during the first season, and was hired by MTV to dress the cast for promos and photo shoots. I ended up becoming good friends with several of them, and went on to work with them personally. I’ve also worked on “Dance Your Ass Off”, “More to Love”, “A Shot at Love”, and other reality work. What would you say is the biggest challenge about your job? It’s a lot of work, in this past year I’ve been home 3 months, I’m constantly in hotels and all over and you need to learn how to shop in different countries. Sometimes you get tricky bodies/ different shapes and sizes and sometimes being honest with people can hurt them but being honest is important. I also miss my dog when I’m away from home. What qualities would you say someone pursuing a job like yours should have? Being social, they should try doing different fashion related jobs like working in retail, sometimes the hours or redundancy can get annoy-

ing but retail is definitely the best way to learn the ins and outs of fashion like how to work with people.

Jeni with members of the JS cast

What do you think about “Teee-Shirrrt Tiiiimee!!!” (as Pauly D would pronounce it)? T-shirt time is always taken very seriously!! They’re all very neat and clean. Their clothing is always dry-cleaned and put together, the L in GTL! They never put on a dirty or wrinkled t-shirt! Any last words about the cast? It doesn’t matter how much money they have or how much fame they have they still all remain the same people, they could be making millions of dollars and they’re still dressing the way they want to dress. That’s a great part about them. Alice Taranto (‘11) asked HM’s health teacher Peggy Hartmann to weigh in on the health risks that tag along with tanning. Read up, Snooki! All tanning beds are dangerous and should not be used. They use UV rays, which cause skin cancer. UVA rays damage the deep dermis (bottom layer of skin) and UVB rays cause sunburn to the epidermis (surface layer). Every year over 1 million people are diagnosed with skin cancer. There are 3 types: basal cell, squamous cell, and melanoma the deadliest form (rapidly rising in woman under 40). UV ray exposure causes other damage too: premature aging of skin, cataracts and serious eye damage, and immune system changes. Wear sunscreen with an SPF of at least 15 - the fairer your skin, the higher the SPF should be. Apply 15 to 20 minutes before going out to ensure proper protection. Even sun tanning liquids are dangerous because they color the under cells which are dead - the ultraviolet rays penetrate and damage the skin. According to dermatologists, there is no such thing as a safe tan!

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INTERVIEWS

PROSPER & MARTINE ASSOULINE of Assouline Publishing

Daphne Taranto (‘11) and Baci Weiler (‘12) get the scoop on the world-wide publishing house from two publishing moguls.

What were some of the greatest obstacles in starting Assouline and how did you overcome them? In what ways do you feel that your business has grown the most since its foundation? (Prosper and Martine) Assouline the Brand happened very organically. We made our first book out of a passion project, then another, then another… and the next thing you know we’re 15 years later and over 1000 titles. The greatest obstacle is picking and choosing the projects, we are passionate about so many things… Your website states that you “have always heeded the French expression savoir vivre.” Do you feel that Assouline books capture a sense of living that may not be seen or heard in everyday life?

Assouline books capture culture and bring it to life. Our subjects range from fashion, art, travel, design, wine, etc… each one is different but from the Assouline point of view: sophisticated, worldly, and luxuriously.

your books expanded over time? If so, in what ways? Please describe any upcoming projects about which you are especially excited. We are extremely excited about GAIA, a We look at each book as project in collaboration How has your job Guy Laliberté, who our child, a labor of love with changed the way you founded Cirque du Solook at books in gener- that we cultivate and leil. He spent 12 days al? in space, orbiting the present to the world. Our entire lives we have earth and for the first loved books, a house is not a time, we present photos home without books. We look at each book taken from this viewpoint. We’re also workas our child, a labor of love that we cultivate ing for the first time with Coca-Cola, a new and present to the world. subject for us… both are exciting and new subjects, however fit seamlessly within the Do you have a specific favorite book Assouline collection. from your publishing house’s collection? In what places in the world do you find Again, just like children, each and every your books to be the most successful? one is a favorite… it would be impossible to We just opened a wonderful store in Istanchoose. bul, Turkey and we do incredibly well in the United States and across Europe. We’re also Do you often find that there are any moving more and more across Asia in 2011. trends (such as specific colors, texts, People around the world are thirsty for culor other visual images) that repeatture. edly arise in Assouline books? If you look at our first book, to our most From where are most book ideas genrecent book you will see, the point of view erated? is the same, we create books in a way that Book ideas and subjects come from all differmakes them timeless… ent influences, our travels, a gallery we discover, an artist we meet. Have the subjects and concerns of

“

ow did your high school and college experiences influence your positions today? Did you always want to start your own company? (Prosper) From a very early age I was incredibly passionate about the creative direction of magazines, books, and fashion in general. My first internship was with the Couturier Mr. Pierre Balmain and quickly I moved to the magazine L’Express, from there I started a few of my own magazines and worked my way up to today.

Various publications from the Assouline publishing house.

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fashion | art | design

INTERVIEWS

VERONIKA VILIM model in Next mgmt

Billie Kanfer (‘12) chats with 16-year-old model about what’s great, what’s tough, and what it takes to be a part of the modelling world.

ow did your career as a teen be helpful and inspiring. I have met such cool model start? people who help me and I know in the long run The main thing that propelled me to those people will have made an impact on me. model was my friend Mark Indelicato who is What did you do in obsessed with fashion. London? His knowledge of fashwas such a nice exion and modeling was I have faced so many chal- It perience! I went there what made me look lenges... The way I man- to meet with clients into the idea more. age them is by being able for the next fashion Basically I was The modelling to let go quickly and try- week. running around all of world isn’t easy. ing to look at the bright London seeing parts What are some challenges you’ve side of criticism. It’s all a that normal tourists wouldn’t see. I was gofaced, and how learning experience. ing on castings everyhave you overcome day, it was a great exthem? perience and I know that I want to go back I have faced so many challenges such as rejection, harsh criticism, difficulties and there whether it be for modeling or vacation. many more things. The way I manage them Do you draw inspiration from other is by being able to let go of those difficulties models? quickly and trying to look at the bright side Yes! Mainly from my friends and seeing their of the criticism. It’s all a learning experience. success. What’s the scariest thing you have had Is there any model drama? If so, what, to do for a shoot? and do you participate in it? Well I can’t think of anything ‘crazy’ that I There is drama in every field of life.... I try to personally have done, but there was this one stay away from it. shoot that took place in this dead man’s house. The furniture was mostly taken out but the What was your favorite shoot? floor was really dirty and there were pictures I really liked this one shoot where I had to go on the wall . Also a heroin addict prostitute out to the Hamptons - it was such a nice day used to live next door and they didn’t know and the people were great! There was also rewhat happened to her (very creepy feeling). ally tasty food which is always a plus. Are there any pressures from modeling? Yes. I hate to say it but weight. What shoots have made the most impact on you? I don’t think there is a specific shoot that had an ‘impact’ on me but I do think of every shoot to

“

What is your most and least favorite part about being a model? By far my favorite thing is traveling and getting the experience to go to places you normally wouldn’t go to. And my least favorite is waiting... there is a lot of waiting whether it be for shoots, or knowing if I got the job.

Stunning photos of Veronika from the Next website.

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SPECIAL REPORT

FA D

FUEL THE FUN: Horace Mann LD kids help FAD out by showing off their school spirit! All Horace Mann Apparel supplied by the Horace Mann Bookstore. Styled by Zoe Kestan (‘11), Daphne Taranto (‘11) , and Rachel Scheinfeld (‘12) . All photos shot on location at Horace Mann School in Riverdale, NY. From left to right: Benno (‘19), Evan (‘19), Emma (‘18), Jenna (‘19), Casey (‘19), Jane (‘19), Abby (‘19). Photo By Zoe Kestan (‘11) 16

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fashion | art | design

ARS! FADâ&#x20AC;&#x2122;s Coverage on All Things HM!

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SPECIAL REPORT

COSTUME CRAZE ShaKea Alston (‘13) and Noah Margulis (‘13) get the scoop on one of HM’s best-kept secrets: the Costume Shop! The Costume Shop lo- style from caveman furs to 18th cated in the basement of Till- century breeches to modern day inghast is truly one of Horace casual wear. Since the plays at Mann’s best-kept secrets. The Horace Mann span all time pecavernous space holds hundreds riods, the Costume Shop has to of costumes, and the unique vin- constantly adjust, ordering and tage finds are reminiscent of those making new things every season. found in thrift stores, thanks to all the donations from Alumni and other generous The Costume Shopsources. If you look carecarries all and evfully enough you’ll find many cool donated pieces such as a ery sort of style from vintage Saks hat and various caveman furs to 18th suits from Barney’s and Dolce and Gabbana. FAD was century breeches to lucky enough to take a look modern day wear. around one afternoon thanks to the Theatre Department. Upon entering, we were in awe of all of the truly amazing and The majority of the huge space unique pieces, like the wide array is taken up by a dozen doubledecker racks, which are jam of fur coats and wedding dresses. We were able to find packed with clothes on hangers. tons of cool clothes, includ- The clothes are sorted by type ing the dress Nicole Bleuel (’10) and create thin alleys between wore in Vol. 1 Issue 3 for ‘What the racks. One alley carries an a Fine Art’. The Costume Shop is endless array of sport jackets stocked with men and women’s and suit pants while another has costumes and accessories, plus mini skirts on the bottom racks fabric, notions, a sewing ma- and longer skirts hanging above. chine, and dress-forms to make A wheeled staircase is really the new costumes. The Costume only way to see everything, and Shop is utilized for every show it might still take hours. In addiand carries all and every sort of tion to the racks, a whole wall of

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BRO OUT: Evan (‘19) and Benno (‘19) show off their pride as the guys of the group. Photo by Rachel Scheinfeld (‘12)

labeled boxes contains more basic clothing like t-shirts, sweater, and jeans. Also in these boxes are the massive assortment of accessories--ties, scarves, crazy hats, wigs, glasses, jewelry, and more. Guest Costume Designers Wendy Kahn and Stewart Lee utilize everything they can in the shop to create the costumes for the Horace Mann Productions we see each trimester. Another part of the shop houses all the props and a changing room. There is also a small nook with shoes and a table for sewing and ironing. But that’s not all; above this nook more labeled boxes carry a huge array of fabrics. Who would think that after all the clothes on the racks they would need to make more? But since some shows call for very specific costumes the shop is fully equipped. The shop is truly a paradise--for fashionistas and historians alike, whether you like hoop skirts, grand Marie Antoinette wigs, uniforms for nuns and police officers, or simple modern clothing. Better than any store one could ever visit, the Costume Shop is really a treasure. The only trouble is, none of it’s for sale.

BAG OUT These students have chosen an unusual (but fitting!) medium for showing their uniqueness: Backpacks!

zoe kestan

vicki marlin

ja me s ru be n

Editor Zoe KesVicki Marlin James Ruben’s tan brought her transformed old bright blue quirky sense of her bag from a and neon green style all the way plain navy blue backpack was to her backpack. American Aptoo small and To make a plain parel backpack impractical for white backpack into a fashion school, so he with a black botstatement. She looked at the tom from Urban used her talent NikeID website Outfitters her as an artist to hoping to find own, she used create a unique something else black acrylic bag that is colcolorful that he paint to paint a orful and expressive. Using many differliked. Howevmustache and ent colors of fabric paint, she painted a er, none of the goatee just above the front pocket. Zoe picture of a man on her backpack. Vicky backpacks were what James was looking thought that the mustache would add a lot wanted to personalize her backpack, for - so he designed his own, picking the of personality to her otherwise plain and and saw decorating her backpack as an colors and style with the help of his sister. simple bag. Now, her backpack is one of opportunity to try a new medium with His yellow, green, red, orange, and blue a kind and expresses her fun-loving perfabric paint. backpack is exactly what he wanted, and 18sonality. f.a.d. magazine fashion art |the design his name is even stitched| into back.

SPECIAL REPORT HM’S OWN ARTIST STARS Get to know your grade’s talent! Baci Weiler (‘12) peeks into the creative minds of four of HM’s talented artists in these quick interviews. Emma (‘18 ). Photo by R ac

hel Scheinfe

ld (‘12)

grade

RISING ARTIST STAR:

Lindsay Zelson (‘15) brings us the report on this talented young artist. Let’s see what she brings to the high school next year!

Alex Kissilenko (front) with FAD MD coordinator Hannah Fink (‘15)

We all learn, at some point in our lives, that we have a special talent for something. For Alex Kissilenko (8), her gift and passion belongs to art. She never took classes as a kid, but now realizes her love for drawing and sketching rooted from her fourth grade class. “[I] had an assignment to write and illustrate a story,” she tells interviewer Lindsay Zelson (8). “Being a huge Harry Potter fan and all (who isn’t), I wrote a fantasy story and illustrated all these magical creatures. That’s probably where it first started.” For Alex, art is a way to express her abstract thoughts. According to her, “it’s all just doodling.” Alex, because she is still a middle schooler, hasn’t been exposed to the Horace Mann Arts program fully. She does start her visual arts elective next trimester and is looking forward to that. Alex says that she’d love to pursue her career in visual arts here and believes that one day, when looking at the displays in Fisher Hall, she’ll see her own work.

Alex Kissilenko

grade

Natasha StolovitzkyBrunner

when did you start making art? I started drawing just like everyone else, stick figures in preschool with crayolas and magic markers. The best. why do you make art? Drawing makes me happy! how do you usually make art? It’s crucial that I be struck by inspiration. It could be anything from a persistent feeling to random art found on the internet. Then it’s pencil to paper and lines and lines and lines. what’s your favorite medium to work in? Dry, please. My happy place is made of pencils and pens. Also sharpies! what do you do with most of your art? I’m happiest giving my drawings away, but if I promise to make something it might never get done. What I don’t give away is in my sketchbook, which gets shoved deep into my shelf when it’s finished. If things don’t turn out right I throw them away. who’s your favorite artist? I don’t really have a favorite artist.

Pen & pencil drawing from Natasha’s current sketchbook.

when did you start making art? I started art when I was around five or six, but I didn’t really enjoy it at the time and lost interest very quickly. I became more interested and started to take it seriously in my freshman year. why do you make art? It’s fun, relaxing, and introspective. Plus people seem to think you’re really deep. how do you usually make art? It depends on what I’m doing, but I usually work relatively late at night for periods of at least 4 hours at a time. I don’t like drawing on an easel, but I prefer a slanted surface to a table. I know a lot of people who are very impulsive and will just start slopping paint on the canvas, but I need to sit and think before I can start a piece. I also usually play music while I work! what’s your favorite medium to work in? My best medium is definitely graphite because it is so readily available, but I find that I enjoy paint and ink more. I would like to experiment with pastel and watercolor too. what do you do with most of your art? As of now most of my “art” is just practice, so I don’t really see a point in hanging them on a wall. Pencil drawings by Greg Swong. I usually just leave them in the room I paint in or leave them lying around the house. who’s your favorite artist? I don’t really have a single artist that is my favorite, but artists that currently inspire me the most are Chuck Close, Caravaggio, Rembrandt, Raphael, Thomas Eakins, and John Singer Sargent.

Greg Swong

grade

when did you start making art? My mom was an interior designer, my aunt is an art teacher, and my grandma is an art collector, so I’ve always been surrounded by art. Even when I was in kindergarden I looked forward to art class more than anything else; I can’t say much has changed now. why do you make art? For me, art is fun. I like challenging myself to make something look realistic, and then putting my own spin on it. how do you usually make art? Aside from doodling in class, I make most of my art from photographs or paintings. I try not to copy them, but to use the same subject matter in my own style. Often I’ll take a few photos or paintings and combine them into one piece. what’s your favorite medium to work in? I like acrylic - since it dries so quick and smooth, you’re able to redo something over and over until you get it right. It also allows you to mix colors easily. For drawing I like colored pencils and crayons. what do you do with most of your art? I’m a huge packrat; I save it! I have tons of Pastel drawing by boxes, but I don’t hang a lot up unless I’m reVicki Marlin. ally proud of it or it goes with my room. I might replace it eventually, but I never throw it out (Except some stuff from freshman year, that was just awful haha). who’s your favorite artist? My favorite portrait artist is Ingres. I like the way he uses paint and color, and how you can see his strokes in his work. I’m probably most influenced by my mom. She loved art like I do. I learned a lot from her.

Victoria Marlin

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SPECIAL REPORT

FAD MAGAZINE FUNDRAISER JANUARY CLOTHING SWAP

And don’t forget to check out FAD’s Facebook photo album at http:// on.fb.me/dVxDVz for more great pics from the event!

A STYLISH AFFAIR One cold afternoon, dozens of students gathered in Horace Mann’s Fisher Hall to prove that one man’s trash is another’s treasure. Middle school, high school, guys, gals - everyone joined in, and most walked away with something new to love! Be sure to get involved next year at what is sure to become an annual tradition.

TOP: A sampling of the swapped t-shirts; Maia Landesberg ‘14 considers a top; Nicole Dalessandro ‘11 tries on one of the swap’s character items; Eric Singerman ‘11 gets goofy; Baci Weiler ‘12 scours the stacks of clothes; HM student musicians Sam Torres ‘12, Hallam Tuck ‘11, and Alex Ma ‘11 jammed while FADDIES shopped. BOTTOM: Pierre Eid ‘12 ponders womenswear; Dan Froot ‘12 tries a tie; the many shoppers; Hannah Fink ‘15 and Julia Fife ‘15; Zoe Kestan ‘11 and Amay Sheth ‘12.

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fashion | art | design

ROAR FOR THE CAMERA: Abby (‘19), Jane (‘19), Casey (‘19), Jenna (‘19), and Emma (‘18) cuddle up with the proud (but camera-shy, it seems) bronze lion, mascot of HM. Photo by Rachel Scheinfeld (‘12) All Horace Mann Apparel supplied by the Horace Mann Bookstore. Styled by Zoe Kestan (‘11), Daphne Taranto (‘11),horace and Rachel Scheinfeld. mann school |

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DESIGN & ARCHITECTURE

FORM FOLLOWS FUNCTION Which is more important? Noah Margulis (‘13), FAD’s Junior Design Editor, notes significant designs in history.

Tulip Collection

In 1955, Eero Saarinen designed this furniture collection which was a staple in midcentury modern furniture design. The chairs are renowned for their smooth lines and “space age” look. The chairs were even featured and popularized in Star Trek in the 1960’s. However, the chairs are not as smooth as the designer imagined. Their base is constructed aluminum with a fiberglass seat on top. Saarinen originally imagined them to be made completely out of fiberglass. However, this idea was opted out because it made the chair too unstable. Saarinen put form before function, and his idea was, sadly, overturned.

Louis Sullivan

1 Campaña Brothers

In 1983, these Brazilian brothers teamed up to make incredibly original furniture out of ordinary materials. These included cardboard, rope, wood scraps, plastic tubes, and even stuffed animals. Their work is very original, incurring controversy and international acclaim. By the early 90’s they were widely known and became the first Brazilians to exhibit work at the MoMA. Their first big design was the red rope Vermelha chair, which continues to be their most popular. Their furniture usually looks random and somewhat childlike which only makes it more unique and noteworthy. Not many could imagine a piece of furniture out of junk, making this duo a perfect example of designers who see from and make it functional.

In 1896 American architect Louis Sullivan coined the immortal words: Form follows Function. A mentor to Frank Lloyd Wright and the creator of the modern skyscraper, Sullivan truly deserved his title as the “Father of Modernism.” Modernism in architecture simplifies a building to fit its original purpose, directly relating to Form follows Function. This became a main principle for architecture and product design in the 1930’s, influencing the design of cars and many famous buildings. Sans ornamentation, Sullivan’s buildings were Most designers will begin with a few funcdesigned solely to fit their purpose. Howtional and deliberate ever, as with many sketches that directly rebig movements, there late to a project. Calatrawere and still are Modernism in architecture va, a famous Valencian some rebels. Designs simplifies a building to fit architect, takes a differfrom the 1960’s, the ent approach. Calatrava’s 2000’s, and even its original purpose, direct- design process begins Wright’s buildings ly relating to Form follows with sketches of movestuck to a new prin- Function. ment in nature and such. ciple, form before He thinks of most of his function, or form vs. designs as moving pieces of art. In Valencia function. A famous contradiction, This has he has designed four buildings for the Arts created some of the most interesting designs and Sciences Center. One of these buildings that not many other people could envision.

Santiago Calatrava

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f.a.d. magazine

resemble the upper half of an eye, which sits over a man-made pond. At night the building reflects in the pool, creating a full image of an eye. The building moves, and during the summer the eye is “open.” Other buildings at this site resemble a whale and a sailing ship. His buildings are very difficult for engineers to actually build, because they create many problems due to their size and occasionally odd proportions. Recently he designed a series, or set, for the NYC ballet that directly reflected the movements in each of the pieces. He truly puts form before function in his fantastic designs.

Moss

A famous gallery space in SoHo, Moss has an internationally known collection with clients from celebrities and design professionals to students and tourists. Moss sells and exhibits all forms of design primarily furniture but also houseware and accessories. “The furniture and objects offered at the shop deliberately blur the distinctions between production and craft, between industry and art.” The store’s intention to change the public’s perception of product design. This forces any viewer to look at each object as art rather than at its material or function. In all, Moss puts on emphasis on form rather than function. Because of this, the store feels like a museum: everything is behind glass and the store is entirely white. Products range from Lego shelving systems and chandeliers made out of toy army men to clean smooth porcelain bathtubs and plain black dining tables with inlaid animal skeletons. It’s a space for the odd and amazing. Simply stated, it’s “cool.”

fashion | art | design

OP-ED fashion take

3 2

Kermit the Frog. (Yes, this is an article it too? For example, take the late Alexanabout fashion, but just stick with me for der McQueen, a designer whose talent was a second.) Your typical childhood TV pal, unlike any other. McQueen was a visionand maybe even, stuffed animal. Now, ary who was able to create original looks, how do you feel when I tell you that an that when seen on the runway, would entire jacket made out of stuffed Kermits literally make your heart stop for a secexists? A friendly childhood Muppet now ond. Looking back through pictures of his being worn on a runway by someone in runway shows from his career, I am contheir 20s?? Ok, something is wrong here. stantly mesmerized by the intricate deNo wonder Lady Gaga was the only person tailing and creativity that goes into every to ever wear this jacket! piece. Sometimes I Obviously, her style is think, “That’s amazmuch different than the ing, but who would Does a designer have ever wear that??” As norm. There’s nothing wrong with dressing to break his or her sty- a successful designdifferently, but Lady er, McQueen knew listic form in order to how to almost push Gaga definitely goes the whole 9-yards. To create a piece that will the seam too far, but a normal person (Lady kept it just practibe functional to the cal enough. If you Gaga is normal in her own way...) a Kermitlook at the pieces as common eye? covered jacket is not separates, their apthe first thing you pick peal is much clearer. out of your closet in the morning. So why McQueen was still able to create the comwould a designer take time to create this plete form that he wanted, but kept the piece? It is not functional and is just plain functionality at the same time. Does a odd. However, I love it. You can look at it designer have to break their stylistic form from a different perspective as well. Its in order to create a piece that will be funcform completely captures the aesthetic of tional to the common eye? Designers are this designer, who happens to be, French constantly faced with the dilemma of how designer Jean-Charles De Castelbajac (his to stay true to what they dream of creatname is almost as complicating, and to what they actued as his jacket!) His style is ally need to create to make witty, unique, and he doesn’t a living. Fashion, like any care whether every single other aspect of life, is about person will want one of his choices and compromises: creations or not. While I apYou want to be able to wear plaud De Castelbajac for his it, but love the look as well. individuality and I love his To be functional or not to designs, the fashion world, be functional? That is the at the end of the day, must designer’s question. be transformed into the fashJean-Charles ion market. Things need to De Castelbajac Fall have “hanger appeal” and be 2009, Kermit Jacket. We functional for everyday life. love the Muppets, but on a So when we say form follows jacket? We love his creativfunction-that doesn’t just ity, but definitely not our mean that the armholes fit first outfit choice for correctly and that the stitchschool. ing will never tear. What that truly means is whether or not something can push its aesthetic boundaries while still being wearAlexander able. No matter what anyone says, pieces McQueen Pre-Fall like this jacket are what certainly grab 2009. Functional pieces put people’s attention more than a plain black together so that even a jockey sweater. I look at photos by De Castelba- wouldn’t want to wear it. Howjac and am completely mesmerized; however, McQueen’s brilliance alever, at some point we have to understand lows these pieces to somehow that we are not all Lady Gaga and that our function as an entire wardrobes need to be more functional creative entity. than this. Is it possible to have your cake and eat

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Can I wear that? Rachel Scheinfeld ‘12 shares her opinion about fashion whose form can simply not function.

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OPINIONS & EDITORIALS

CONTROVERSY

Controversies splash the pages of fashion magazines and other media every day. FAD writers share their opinions about the hottest cultural debates from the Catwalk to Capitol Hill.

outsourcing

Art by Roy Lichtenstein

Should American business be taken overseas? Take a stand!

CON by Julia Hirschberg (‘13) The Garment District, located in Manhattan’s Fifth through Ninth Avenues and between 34th and 42nd Streets, is America’s - arguably the world’s - center of fashion design, including manufacturing, showrooms, high end labels, and wholesale. As prices of commercial space continue to rise, the Garment District has been greatly affected. Designers’ increasing dependence on outsourcing, or costcutting overseas production, is taking its toll on the Garment District. Take a look at the labels on your clothing. Do they say “Made in China,” “Made in Korea,” or “Made in India”? These are examples of the rise of outsourcing. Leola Phillips, a woman who worked in the Garment District between 1957 and 1992, compared how the Garment District used to be with what it has now become: “It’s hard work and you got to get paid. You don’t even want to know where our clothes are getting made now – they get pennies for it.” Another negative effect of outsourcing is that more and more designers are turning to overseas labor instead of utilizing New York City’s workforce. Therefore, designers could possibly leave the city, decreasing its reputation as a global fashion capital. This problem is becoming increasingly more severe, as many fashion buildings are being repurposed as office spaces for lawyers and bankers. When we buy Americanmade clothing, we are supporting our economy, which in turn will help bring the Garment District back to its former glory. Organizations such as Save the Garment Center are looking to preserve the Garment District - and you should be, too. For more information, check out www.savethegarmentcenter. org.

See p. 32 for an interview with Erica

PRO by Ikaasa Suri (‘15) Have you looked on the label on the back of your shirt or on the bottom of your shoe and seen a tag reading, “MADE IN...”? Have you ever wondered why it usually says something other than “America”? Here is your answer: many top brands use a tactic called outsourcing, where a company manufactures its products in a foreign country. Companies outsource their labor mainly for the benefits of saving a lot of money and having a broader audience. The skilled workers and raw materials found abroad are extremely cheap compared to those available in the U.S, allowing these fashion companies to focus on other expenses. China and India are hot outsourcing spots because the raw materials there cost a fraction of what they would do in top designers’ headquarters, such as Italy, France and America. All in all, outsourcing is a way for companies to manufacture their products on the cheap so they can produce the clothes that we have all learned to love.

fashion police

Even Capitol Hill has something to say about knockoffs! Emma Garcia (‘13) reports. In August 2010, New York Senator Charles Schumer introduced the Innovative Design Protection and Piracy Prevention Act. The bill, currently pending, attempts to help eliminate the production of knock-offs by protecting a design for three years after it is first introduced to the public, whether in the stores or on the runway. This law would apply to all aspects of the fashion industry, from underwear to jewelry! However, the bill only aims to prosecute design-

Wolf ofmagazine Save the Garment Center! f.a.d.

ers who have substantially copied another’s designs. Basically, if you have to squint to be able to tell the difference, the item is illegal. For knockoffs already on the market, their producers will not be charged with “fashion plagiarism.” Should it pass, the Act would be the first piece of legislation to provide copyright protection in the U.S. fashion industry, which was previously thought to be too utilitarian to be under piracy protection. The bill is expected to benefit American consumers in the long run because no copying means a more original, wide range of apparel options. American producers will no longer need to worry about intellectual theft or losing costumers to their cheaper competitors. In addition, the bill attempts to engender fairness by protecting the deserving designers who actually invest the time and energy to be original and creative. As a result, the industry is expected to flourish. However, those opposing the Act predict a different outcome if the bill passes. Their concern is that the bill will stifle creativity by making new designers afraid to enter the industry, at fear of a future lawsuit. In addition, non-supporters believe that the bill is incapable of making any real impact seeing as fashion moves in cycles, and therefore almost nothing is truly original. Finally, many think that ultimately the big brand-name lawyers will get the long end of the stick. I think the bill has good intentions, but that the benefit in the long run will not be what is anticipated. Designers might be afraid to take inspiration from others, for fear of being sued, making the idea of the “trend” less popular and harder to accomplish. Therefore, innovation might even be stifled instead of promoted. For the most part, I agree with all the points of opposition to the Act. After all, knock offs are never exactly like their “original” counter part.

fashion | art | design

OP-ED knockoffs Should you save up for the real Louis or just get a bootleg on Canal St.? You decide! Think of the typical middle-class woman who picks up Vogue magazine, the fashion Bible. As she flips through the pages, she admires the different designer logos and patterns that she simply can’t afford with her salary. Discouraged by this disconnect she suffers from the fashion world, she puts down the magazine and swears off fashion forever… Okay, that was a bit dramatic, but you get the idea. The overwhelming majority of people cannot afford and/or do not want to pay for these exorbitantly priced designer items, and knockoffs are a significantly cheaper alternative. They allow people to participate in the fashion trends that without knockoffs, they would have had to simply drool over. Before knockoffs, high fashion was exclusively for the upper class. When the recession hit, more people turned to knockoffs because designer items are (obviously) not necessities, and many people could no longer meet the prices of designer brands. For someone accustomed to purchasing these products, it‘s a pity to have to give up them up, so in come the knockoffs.You can get knockoff handbags, jewelry, sunglasses, and many other types of accessories that seem identical to the real product, and the quality is not always so bad, though it of course won’t meet the standards of the real thing. Seeing how fashion trends come and go so quickly, it may not be worth it to pay so much money for something that will go out of style next season. It might make more sense to buy a knockoff instead, despite the inferior quality. There are people who are appalled by knockoffs, but I don’t really see all the harm in them. With knockoffs, more people will be seen carrying a certain bag or wearing a certain watch, spreading word of the product like free advertising, which can’t hurt. Admittedly, most designer brands don’t need more advertising and would rather have people buying their real products, but it is not as if someone is trying to take the designer’s work as their own. People who buy knockoffs usually know the original product, and few people who sell knockoffs admit that they are indeed knockoffs, so the designer is never discredited for his or her design by knockoffs. In turn, designer brands only really seen in magazines become more relevant and less distant to the everyday person.

CON by Alex Vogelsang (‘14) Knockoffs may be easy to come by name at the top? and much cheaper than the original, but Not only do knockoffs discredit the we shouldn’t fall to temptation so easily. original designers, but they also supply We hear about knockoffs all the time, illegal jobs in not only America, but in either online or by seeing the multiple some developing countries as well. With stands along some of the most popular the need to make knockoffs affordable shopping districts. So close to the origicomes the need to save money on pronal, they seem like a great deal. And anyducing these goods, which require cheap way, who does it hurt, right? labor. Many knockoffs are made by peoSadly, it hurts an entire industry. The ple paid sub-minimum wage in sweatfashion industry emshops in the U.S. and ploys over 4 million developing countries, Over 200 kids die people, who work in all to save us money on areas such as design, every day due to un- stolen ideas. The mamanufacturing, marjority of these workers safe working cond- in sweatshops are kids keting, retail, advertistions in sweatshops. ing, and more to probetween ages 10-14. duce the clothes and Over 200 kids die evaccessories that people ery day due to unsafe all over the world buy daily. They work working conditions in sweatshops, which long hours and use all of their expertise are illegal anyway. Every time someone to not only produce the clothes but also buys a product made by sweatshops, they come up with ideas to expand companies supply money that allows these factories and provide more global jobs. Designto continue to function. Although knockers work for extended periods of time to offs are not the only products sweatshops come up with just the perfect ideas to put make, in fact, some popular designdown runways or sell in their stores, only ers use sweatshops, a majority of cheap to have them stolen by a lazy designer knockoffs are made in unsafe and illegal who is not talented enough to create his working conditions. own designs. Suddenly, the hard work of So next time you’re on the streets of the skilled team is not being accredited, midtown eyeing a Louis Vuitton knockand the common consumer is buying a off bag that looks almost exactly like the cheap, unoriginal copy. There’s a reason original, think about whom you’re really we have the ability to copyright ideas in hurting. No matter how much it hurts to the Unites States. How would you like spend so much on clothes, you’re helping it if you worked for hours on the perfect the fashion industry and paying for fair history paper, only to have someone take working environments. Now that’s someit off your computer and put his or her thing we can all support.

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PRO by Rachel Ha(‘13)

KNOCKOFFS: do YOU approve?

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OP-ED fur Brrr, it’s winter time! Should you grab that soft mink coat or go the other route with an animal friendly faux-fur hood? It’s a heated debate!

PRO by Diva Gattani (‘13)

CON by Alex Brachfeld (‘13)

Fur - the short, fine, soft hair of certain animals - has been used in the fashion industry since the 1600s, and was worn in the caves since ancient times. Regardless, the anti-fur dispute has been going on since the 1980s and 1990s. In the spring of 1980, the People for the Ethical Treatment of Animals (PETA) was established as an American animal rights organization. Because of awareness groups and alternate fabrics to fur, many Americans have protested the use of fur in fashion. But can people who consume meat protest the use of fur in fashion? I myself am a fence-sitter when it comes to the antifur dispute. Unless people are hunting an endangered species to make a pair of gloves, I don’t really care if people wear fur. When individuals think of the antifur disp u t e , Can people who t h e y consume meat s o m e igprotest the use of times nore the fur in fashion? use of other animal-related materials used in clothing, such as animal skin. For instance, UGG boots frequently worn by Horace Mann students are made from animal skin. In addition, many winter boots and soccer cleats are usually made out of cattle or kangaroo leather. Therefore, when thinking about whether you are pro or con to the use of animal skins and fur in fashion, I suggest you look in your closet first and make sure you understand from what materials your clothing is made.

Fur is a very controversial subject to people in today’s society, specifically in places like New York City. In today’s fashion, US Vogue editor Anna Wintour and designers such as Marc Jacobs and Philip Lim would consider fur completely appropriate for wearing. On the other hand, fashion figures like Stella McCartney are very opposed to the idea of fur as clothing. McCartney has made a big effort to decrease people’s interest in fur by creating garments free of fur and that do not impose any cruelty on animals. As reported on CNN.com, McCartney stated, “everything in [my] store and every single garment and accessory that you see is cruelty free in the sense no animal has died to make anything in here.” Though there are many people who support McCartney’s attempts to abate the amount of fur worn in modern day society, millions of animals are still killed in the interest of fashion. Even before being killed for their fur, animals like coyotes and lynxes are unnecessarily kept in traps for thousands of hours at “fur farms” where millions are kept in small cramped cages. There are about 31 million animals killed a year for their fur, mainly minks, foxes and chinchillas.

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Samantha’s white fur coat gets walloped by a red paint balloon outside a fashion show in the first Sex and the City movie.

About 16 coyotes, 60 mink, 45 opossum, or 20 otters are killed in order to create just one typical 40-inch fur coat. Even animals that are usually kept as household pets, such as cats and dogs, are getting involved in fur production! Fortunately, many people in today’s society are beginning to see the cruelties of fur, as some retailers including Abercrombie & Fitch, Ann Taylor, Calvin Klein, Ella Moss, Forever 21, H&M, and many more of today’s popular brands are making their clothing fur-free. Hopefully in the near future, fur coats and items will decrease in value and attraction as people become more aware of what happens in this process.

city spotlight: NEW YORK Uptown vs. Downtown Charlotte Glatt (‘13) tells of the fashion dichotomy between NewYork City’s Uptown and Downtown As radical as Alice falling down the rabbit hole into Wonderland is the dichotomy between Manhattan’s uptown and downtown fashion vibe. Midtown is the great divide between New York City’s fashion elite: the imaginary DMZ where two completely opposite fashion trends collide. As you walk further uptown, suits, ties, fashionable weekend tweeds, and cords are flaunted by the men. Designer bags and shoes are worn, and Gucci, Hermes, and Tory Burch are some of the few status labels for the ladies. Uptown inhabitants consist of business people and families, their motto “dress for success.” For downtown “hipsters”, colors clash, trends are set, and no one flaunts - they strut. The flashy fashion styles are worn by trendsetters unafraid of expressing themselves and make a statement. Ironically, what is “downtown chic” today is uptown staid tomorrow.

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A downtown denzen on the Sartorialist blog.

fashion | art | design

OP-ED

cultural contradictions American Apparel: It’s From Canada...

Anna Goldberg (‘12) gives us the inside scoop on the future of this questionable company. At first glance we might think it’s kind of ironic that the very patriotic-sounding American Apparel was actually created by Canadian-bred Dov Charney, but then again, it’s American Apparel, which means everything has to be a little bit off the mark. This is what we should expect from head Dov Charney who insists on shunning his title as founder / CEO for the more-friendly-less-bossy sounding title of ‘Senior partner.” We’ve all seen the brand’s semi-pornographic ads and heard the stories of sexual harassment suits thrown at the lovely Senior partner, but not many of us know that Charney is actually a Harvard legacy and the nephew of famous architect Moshe Safdie. So how did Charney’s promising roots lead him to his 2004 Fashion Industries Guild title of Man of the Year and the other 23 awards that pepper the American Apparel press page? And how did such a promising company sink into 91 million dollars of debt in 2010? Sadly, American Apparel, although moral and patriotic in name, is nothing of the sort when it comes to business practice. Apparently the company has lied

to the public more than once about the nature of its products and ads. While AA’s claim to be sweatshop free might hold true, when factory workers tried to organize into unions for job security, the company employed an intimidation campaign to stop unionization. It seems American Apparel isn’t all that ethical after all… AA also claims of its ads that all models are real employees of theirs; girls that work behind the counter, etc. Yet recently professional models Mele Vazquez and Zanita Whittington have been spotted in these supposedly “realpeople” ads. Not to forget the nail polish fiasco of 2010. American Apparel’s new line of nail polish supposedly ‘toxin free’ of such common polish ingredients as formaldehyde and toluene apparently wasn’t so safe after all. The originally released nail polish was recalled and replaced with a completely new line. From the company that sells leftover scraps of clothing to the public, a certain level of quality comes across (you decide if that’s a positive statement). Founder Charney has also been the subject of several sexual harassment lawsuits, none of which

were proven, one of which went away after a mysterious donation of $1.3 million. American Apparel has 24 stores in New York alone; the company seems to be doing well in the public eye. We now know that AA isn’t as wholesome as even we, the wearers of the questionably unisex clothing, thought it was. Apparently American Apparel is in trouble…and if it doesn’t make 20 million by January 31, the store will be going off the grid for good. Oh no! Where will we go to buy the same t-shirt in ten different colors now?

DO YOU ap prove?

The Phantom of the Opera: Film Review Revealed Behind the Mask

Billie Kanfer (‘12) recaps the story of a man trapped behind two different shades of life. The Phantom of the Opera is a story in which a disfigured man hides behind a mask - haunting the Opera Populaire only to fall in love with a woman whom he trains. This story has many controversial themes occurring throughout: the idea that a man could both love and hate a woman, the controversial colors playing important roles, and the mask he wears. The Phantom of the Opera trains a woman to be a star but in doing so he falls in love with her. When she doesn’t show affection towards him but instead towards her childhood sweetheart, Viscount Raoul de Changy, the Phantom’s heart is broken and his love turns into fury and rage and jealousy. The idea that one man can turn his love into fury is one of the great controversies of this story. Sometimes it seems that love and hate walk a thin

line and at one moment passion could turn into fury. The Phantom of the Opera portrays this controversy through colors. Three colors were prominent in the film version: red, white and black. The Phantom wears a mask, similar to the yin and yang in the way that half of his face is in the light because the mask is white while the other side hides in the darkness. These black and white colors show the controversy that he has not only with his love, Charlotte, but also with himself. With Charlotte, the white half of the face shows the love and compassion he has for her while on the other hand, the darkness represents the anger he exerts when she does not turn to him. The Phantom faces controversies within himself that use the colors black, white, and red. The red is most symbolic when he is doing something for

love. In the ballroom scene he appears wearing a red coat proclaiming his love towards Charlotte and he sends her red roses. When he is in hiding he only wears black and white. These different contradictions are represented by the three main colors that appear in the film. The oppositions of love vs. hate and light vs. dark occur throughout the film making it a true love/hate story.

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SPECIAL REPORT

FASHION PASSPORT FAD far and wide

In FAD’s second-ever Fashion Passport section, FADDIES take you from around the world in style. Read up on these global hot spots, wherever you hail from! JUKU

HARA

JAPAN WILD STREET STYLE

Anything goes with Japanese everyday garb, but the wackier, the better. Japan is known for setting new cutting edge trends in the fashion industry. Tokyo is not only the capital of Japan, but its fashion capital as well! One of the most interesting parts is the Harajuku area, located around the Harajuku train station. It’s famous for an energetic atmosphere and lively street fashion culture. The area is mostly populated by young adults and teenagers. Harajuku style is a fun and creative style that consists of constantly mixing and matching all styles of modern clothing even with traditional Japanese garments such as kimonos. This constant change allows for a fun variation causing Harajuku style to remain popular within Japan. The Harajuku style often combines many different types of fashions and styles to create one unique look. There are many styles of Harajuku, including Gothic Lolita, Decora & Kawaii, Ganguro & Kogal, and Cosplay. Gothic Lolita refers to clothing that has either a very dark or cute look. Gothic Lolita is an individualistic style. It differs tremendously based on the individual. Kawaii, meaning cute or E OF A TRIB EY Z D A H VALL YAEDA

N TANZA

pretty, has become a major aspect of not only Japanese fashion but Japanese culture as well. Kawaii fashion mostly includes ruffles, pastels, and bright colors. It is a fashion statement that emphasizes the cuteness of an individual! It will often appear as though the clothing was designed for a young child. Decora is a style that is similar to Kawaii but consists mostly of bright colors, hair clips, and bows. Decora also uses plastic and furry toys as accessories. It is common that an individual’s outfit could make noise as they move! Ganguro fashion consists of a deep tan, dyed hair, white lipstick and eye shadow, thick black eyeliner, false eyelashes, facial gems, and pearl powder. The clothing worn is brightly colored and includes mini skirts, tie-dyed sarongs, and lots of jewelry. It is believed that Ganguro was started as a rebellion against the norm of what beauty is within Japanese society, maybe even the “Japanese hipstas.” Kogal fashion is similar to Ganguro however Kogal fashion is based around the ability to show off disposable income. Cosplay, also known as costume play, is a fashion style

that revolves around dressing like characters from manga, anime, and video games. Some tips to achieving a general Harajuku look include layering. Layering is an essential aspect of Harajuku style. It allows for dimension within an outfit. One way to achieve the illusion of layers is to wear clothing with ruffles. Another key aspect of Harajuku style includes accessorizing! Embellish an outfit in bright colored accessories that stand out. When putting on make up and picking a hairstyle, go crazy. Hair dye, theatrical makeup, and funky hairstyles are all a huge part of the Harajuku style. Harajuku fashion is not only about the clothing. Japanese fashion has a strong emphasis on color. Another one of the most recent trends involves wearing a vibrant color that “pops” on top of a traditional timeless black outfit. The main message about Harajuku fashion is that it allows for individuals to create their own style and have fun with wearing what they want, and doing what they do! -PAIGE BURRIS (‘13)

UNLIKE ANYTHING

Checking in on the style of this East African tribe The Hadza tribe is an African tribe that does not let the heat stop them from wearing intricate jewelry and even blankets! The Hadza have a lot of Maasai blankets. Maasai blankets look thin, but are super warm. They’re usually red, blue, purple, or a mix in a checkered pattern. The blankets are used to wrap around themselves and as “walls” on the temporary structures they build to sleep in. They’re seminomadic so their homes are easy to put together and take apart by using these blankets. The men dress simply: a t-shirt and shorts. They have to keep it simple; after all, they spend all

day hunting! You can tell the shirts and shorts were new at some point, but from hard work and their constantly moving lifestyle-their clothing has faded to a dull brown, and the clothing is frequent to holes. The people of the Hadza tribe also make their own shoes. They cut off a piece of tire and use thick strips of cloth to tie them onto their feet...tire sandals! Bandanas are also worn, that are made out of different colored string and fabric- it gets hot during the day, and no ones wants sweat into his or her eyes! The women are usually covered head to toe with jewelry! They have tons

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of beaded jewelry everywhere: their upper arms, thighs, hands, feet, heads, and necks. Anywhere they can put a bracelet or ring, they have it. They dress more traditionally than the men; they wear kangas, which are similar to Maasai blankets but thinner, and wrapped around their waists like a skirt. Kangas are worn all over eastern Africa. The Hadza’s simple clothing is well suited to their lifestyle, but the beauty of clothing is unique and contains their tribal aesthetic. This tribe is no exception to the different and interesting styles seen all over the world!. - ALLISON MALIN (‘13)

fashion | art | design

IDE

EST S

W UPPER

NYC

THE ART OF EATING

SPECIAL REPORT

FAD talks food with chef Jennie Werts of Ouest, a Nouveau American Cuisine restaurant What made you pursue cooking in a restaurant as a career? I worked service at La Cuvee Restaurant and Wine Bar as a garde manger. That first night after service I knew that I wanted to do this for the rest of my life. There was something about the rush during service that was exhilarating to me. I continued to work at this restaurant every summer for the next two summers, and by the last summer in 2005 I was running the kitchen on my own. I studied art history at Union, but always knew that after I graduated I was going to go to culinary school. What do you wear to work and do all the other chefs wear the same thing? Ouest is a special restaurant because we have an open kitchen. So the customers can see us. We all wear white, clean, pressed chef coats and chef pants. However, some of us wear our own pants to work, which may be plain black or navy. We are provided with the chef coats at work every day. It’s also a law that we wear something on our heads, so most of us wear maroon (the main color of Ouest) bandana’s or Ouest baseball caps (it can get hot under those though). RICT T DIST N E M GAR

NYC

As sous chef, what is your role in the kitchen? Basically when the chef de cuisine isn’t there, I am in charge of the kitchen. When he is around, I am the headline cook. I help Tom Valenti and Nick Kayser with specials and new menu items as well. As sous chef I have also learned how to do inventory for the restaurants food and ordering. Where do you find inspiration when creating new dishes? I love going out to eat. If I had the money I would do a lot more of it, so usually I try to find different good places that are reasonably priced. A lot of my inspiration just comes from trying as many different foods as possible. Recently I went to Korea Town around Macy’s and got Korean bbq with some friends. The flavors and spices are absolutely wonderful in Korean cuisine. So right now that’s what’s on my mind. Those spices and bold flavors! I also love using local ingredients, and am inspired by that when I am trying to come up with a dish. What process do you take when creat-

ing new dishes to balance taste and the presentation? About how long does this generally take? For me, the taste is the most important thing when creating a dish. Presentation is definitely important; people definitely do eat with their eyes. But I think that when you leave a restaurant you remember what a dish tastes like more than what it looks like. In the end, I always find that I am fussing with the presentation rather than the flavors. That’s just me though. I think a lot of chefs are different in their process of creating a dish obviously. How long this process takes varies. But I guess I would say that it’s a never-ending process. A dish is never perfect. If you’ve gotten to that point, it’s time to stop. Do you cook at home as well? I don’t cook as much as I would like to, but I definitely do sometimes. Not for myself, but for friends and family. Tonight I am actually cooking for my two roommates! I have two days off in the middle of the week, so I usually eat out or order in.

-REPORTING BY CLAIRE PARK (‘12) AND CHLOE ALBANESE (‘12)

FASHION LOCAVORE

We hear from Save the Garment Center’s Erica Wolf on why we must keep NYC’s fashion industry alive Why do you believe it is so important to “Save the Garment Center”? Having grown organically over the past 100 years, the Garment Center has incredible advantages given the skilled labor, proximity, and creativity it has always produced. There is no other apparel district in the world like what we have right here in New York City. Saving the Garment Center will preserve American jobs, secure the skilled labor we still have in this country, and maintain innovation and creativity within our own borders. What is the biggest effect outsourcing has had on the fashion world? Outsourcing has created a lower priced market JAPAN

TANZANIA

with lower quality product, and has negatively affected the job market in the United States, once a leader in apparel production. The apparel and retails world has in many cases become a race to the bottom and has lead to an overall decline in the middle class workforce with many jobs going oversees. What do you think is the future for the Garment Center ? The future and potential of the Garment Center is as a combined research and development hub, a center for high quality couture production, and production of mid-level tailored goods. This is the result of the geographic closeness of designers, suppliers, and factories

within one square mile. We need to nourish these resources while we still have them, because if the factories shut down they are never coming back. There is an opportunity in the domestic fashion world to create skilled positions for out of work Americans to hold. What is Save the Garment Center’s main goal? Change in this country is made one consumer at a time and our hope is that American citizens and the American Government will support local industry with each purchase and each policy. -REPORTING BY RACHEL SCHEINFELD (‘12)

GARMENT CENTER

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ART OF FOOD

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EDITORIAL

ALPHABETIZE YOURSELF The F.A.D. Magazine Fundraiser Gala, featuring a fashion show by the Horace Mann Fashion Design Club, is on February 4, 2011 in the Cohen Dining Commons (A.K.A., “the caf.”) What are you doing to prepare? We’re sewing up a storm of 26 alphabetized looks, 5 of which are previewed here (F, A, D, M, & G, of course!). A… B… C… You’ve heard it before, but not like this! Prepare your eyes for a feast of denim, velvet, and lace, because the Fashion Design Club has some hot, hand-made styles in store for the FAD Fashion Show Event on February 4. Each of the show’s 26 looks (or outfits) is based on or represents a letter of the alphabet. For example, F is for feathers, A for angelic, D for distressed, M for MC, and G for goth. In the following pages you’ll see these 5 runway looks, all made and modeled by HM students, previewed before the show itself. In addition to the fashion show, the February 4th event will include student deejays Rodrigo de Paula (’11) and Zach Bretton-Granatoor (’11), a raffle/silent auction of various desirable goodies (such as a Tory Burch handbag and a tour of Teen Vogue’s NYC offices!), as well as a panel discussion with industry-insiders, and, of course, dessert! The event staff consists of around 60 HM students – from models to design-

ers to backstage assistants to beauty designers to photographers – so you’re sure to know or perhaps be someone involved in this grand production! We produced this photo shoot to present the runway show’s looks outside of a catwalk situation. HM parent Kara Ross was generous enough to lend FAD the design studio of her eponymous jewelry and accessories line for our photo shoot. Ross says she counts her family as “one of [her] top influences.” Both guys and gals can wear Kara Ross jewelry, which the designer says is “elegant but unexpected and fun.” So how can a guy integrate jewelry into his look? Ross says, “Start with small yet stylish statements – a vintage watch, for example – and then branch out into heavier, more statement pieces, like my cuffs.” And as for Ross’s favorite type of jewelry to design – rings, necklaces, or bracelets? “Oh, I love it all.” -DAPHNE TARANTO (’11) and ALICE TARANTO (’11)

Photographed and Digitally edited by Daphne Taranto (‘11) on location at the Kara Ross studio, NYC with assistance from Zoe Kestan (‘11), Baci Weiler (‘12), Rachel Scheinfeld (‘12), Miranda Shapiro (‘11), and Veronica Williamson (‘13). Beauty design by Alice Taranto (‘11). All looks styled with Kara Ross jewelry and accessories. Models (all hm seniors, HOW CUTE!) from l-r, David Yassky wears the F/feathers runway look designed by Alice Taranto; Kia Hampson wears A/angelic by Veronica Williamson; R. Hallam Tuck wears D/distressed by Zoe Kestan; Ian Singleton wears M/MC by Zoe Kestan; Grace Ferrara wears G/goth by Alex Vogelsang (‘14) and Zoe Kestan. 30 f.a.d. magazine

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oh, you look fab

I think you mean I look FAD!

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This page: Bad Girl and Good square off nearby your friendly neighborhood peacock. Grace Ferrara (‘11) wears the G/goth runway look designed by Alex Vogelsang (‘14) and Zoe Kestan (‘11) and Kia Hampson (‘11) wears A/angelic by Veronica Williamson (‘13). That page: Just an average day for models - bro’ing around in designer bling and runway-ready threads. David Yassky (‘11) wears the F/ feathers runway look designed by

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Alice Taranto (‘11); Ian Singleton (‘11) wears M/MC by Zoe Kestan (‘11); R. Hallam Tuck (‘11) wears D/ distressed by Zoe Kestan (‘11). Both pages: Looks styled with Kara Ross NYC jewelry and accessories; Photographed by Daphne Taranto (‘11) on location at the Kara Ross studio, NYC. fashion | art | design

werq it

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FAD went inside daphne taranto (‘11)’s Fisher Gallery yarn installation, “(no subject),” to capture beauty strung under a new light. photographed by daphne taranto (‘11) and baci weiler (‘12). we used neon paint dust and black lights to create these looks. digital editing was only used for the stripes in the front spread. All clothing is stylists’ own. Stylists’ makeup and neon paint dust used on models. Makeup and hair by Diana Rheinstein (‘13) assisted by Maia Landesberg (‘14), Julia Pretsfelder (‘14), Rachel Buissereth (‘13), Rachel Kline (‘14), Caroline Levine (‘14), Sam Torres (‘12), Rachel Scheinfeld (‘12), Allison Malin (‘13) Digital editing by Daphne Taranto. page 34-35: photographed by Daphne Taranto. Page 36 foreground and background photos by Daphne Taranto. Page 37 background photographed by Daphne Taranto, foreground photographed by Baci Weiler.

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“The installation was covered in neon strings, some of which glowed in the dark - with the help of blacklights - when the lights were turned off. This influenced hair and makeup directly for the shoot. We used glow in the dark paint as eyeshadow, and our hair was tied in strings just like the strings in the gallery. I Ioved the connection between the art and the makeup, and it was so much fun modeling for this shoot!”-MAIA LANDESBERG (‘14)

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ITâ&#x20AC;&#x2122;S BRO

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One Saturday afternoon, FAD members and some of HM’s top male models (+ one Fieldston guest) bro’d out in NYC’s Meatpacking District for an exclusively male shoot. FROM LEFT TO RIGHT: Ryan Bliss (‘13), Asher Baumrin (‘13), Andrew Catomeris (‘11), Hallam Tuck (‘11), Alex Adler (‘12), Colin Ross (‘11), Dan Froot (‘12), Antonio Irizarry (‘12). For outfit information see next page. THIS SPREAD photographed by Daphne Taranto.

O TIME horace mann school | winter 2010 | vol. 2 no. 2

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yo.

OPPOSITE: Hallam Tuck (‘11). THIS PAGE: Top Row: Alex Adler (‘12), Antonio Irizarry (‘11), Hallam Tuck, Dan Froot (‘12). Bottom Row: Colin Ross (‘11), Andrew Catomeris (‘11), Ryan Bliss (‘13), Asher Baumrin (‘13). Styled out of the model’s closets by Zoe Kestan (‘11) and Rachel Scheinfeld (‘12). With assistance from Daphne Taranto (‘11), Magica Duranbundit (‘11), Lauren Cantor (‘13), Maia Landesberg (‘14), Julia Pretsfelder (‘14), Emma Garcia (‘13), and Miranda Shapiro (‘11). Original photographs Daphne| Taranto, Kestan, and2Rachel Digital editing by Daphne Taranto. horace mannbyschool winter Zoe 2010 | vol. no. 2Scheinfeld.

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HOT vs. COLD

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It may be snowy and bare outside, but that didn’t stop us from feeling the heat in this photoshoot. Opposing forces - love and hate, winter and warmth, simplicity and extravagance - face off in these pages. The juxtaposition of photography and digital art adds a whole new level of tension: between the captured and the created. Dan Froot (‘12) wearing his own. Hair by Zoe Kestan (‘11). Rachel Ha wearing rose ruff by Daphne Taranto (‘11) and Zoe Kestan (‘11). Makeup and hair by Alice Taranto (‘11), Nicole Dallesandro (‘11), Rachel Scheinfeld (‘12), and Veronica Williamson (‘13.) THIS SPREAD by Daphne Taranto (‘11). Shoot photographed by Rachel Scheinfeld (‘12). Styled by Baci Weiler (‘12) and Rachel Scheinfeld (‘12). Assisted by Paige Burris (‘13), Noah Margulis (‘13), ShaKea Alston, (‘13), Chloe Albanese (‘12), Claire Park (‘12), and Veronica Williamson (‘13).

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LEFT: Natalie Immamura (‘12) wearing all stylists’ own. Styled by Noah Margulis (‘13). Makeup by Baci Weiler (‘12). Photo by Rachel Scheinfeld (‘12). Digital editing by Daphne Taranto (‘11) and Baci Weiler. RIGHT: Antonio Irizarry (‘12) wearing stylists’ own. Chloe Albanese (‘12) wearing a blue knit scarf by Jean Mariano (‘12). Clothing stylists’ own. Makeup by Rachel Scheinfeld. Original photo by Rachel Scheinfeld, digitally edited by Daphne 44 f.a.d. magazine Taranto and Baci Weiler.

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Rachel Ha (‘13) wearing skirt, headband, and shirt by Noah Margulis (‘13) and Natalie Imamura (‘12). Accessories stylists’ own. Makeup by Baci Weiler (‘12). Original photo by Rachel Scheinfeld (‘12), digitally edited by Daphne Taranto (‘11).

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Suman Gidwani (‘11) wearing skirt and shirt by Rachel Scheinfeld (‘12). Makeup by Chloe Albanese (‘12). Belt stylists’ own. Original photo by Rachel Scheinfeld, digitally edited by Daphne Taranto (‘11).

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From left to right: Rachel Simerka-Smith (‘13) wearing a dress by Rachel Scheinfeld (‘12). All accessories stylists’ own. Makeup by Baci Weiler (‘12). Hair by Chloe Albanese (‘12). Dan Froot (‘12) wearing his own. Emma Garcia (‘13) wearing a dress by Veronica Williamson (‘13). Accessories stylists’ own. Hair by Claire Park (‘12) and Paige Burris (‘13). Makeup by Emma Garcia (‘13). Original photo by Rachel Scheinfeld (‘12), digitally edited by Daphne Taranto ‘11 and Bacimagazine Weiler ‘12. 49 f.a.d.

D.I.Y: Do It Yourself

MAN REPELLER Hey Ladies! Ever worn something crazy and then wondered what guys think about your look? Rising Blog Star Leandra Medine knows where you’re coming from

On her hilarious and frequently updated blog, www.TheManRepeller.com, Leandra Medine provides a fresh perspective on fashion and acknowledges how eclectic clothing and styles confound and repel men (think anything drop crotch, secular turbans, shoulder pads, fur headdresses, etc.).The blog features entertaining posts involving how-tos, like How To Get Photographed by a Street Style Blogger or How To Turn a Man Getter Into a Man Repeller. One of the funniest and most original blogs out there, the Man Repeller finds humor in out-there styles that fashionistas love and men just can’t comprehend. Julia Pretsfelder (‘14) solves the Man-Repelling Equation

Shoulder pads, unnecessarily layered denim shirt, t-shirt that looks like it was attacked by wolverine.

Extremely baggy leather pants hoisted up by scarf belt, with an awkward amount of pale leg showing.

Frequent fliers on Leandra Medine’s Man Repeller blog include puffy-sleeve dresses and BCG’s, or Birth Control Glasses, seen here in a post entitled “Getting Street Styled Part II: A Lesson in Layering.” Above, Medine transforms a plain outfit. Check it out here: http://bit.ly/gXnny6.

Alice Taranto (‘11) gets the 411 from the original Man Repeller, Leandra Medine Which area of NYC do you find has the most concentrated population of man repellers? Are you a fish out of water living on the Upper East Side? During winter months I'd say Bond St. at Lafayette likely holds the highest concentration of man repellers because The Smile restaurant is right here--for the uninitiated, this space is essentially a Jane x Kenmare hybrid. During summer months, Nolita. Re: living on the Upper East Side, no, I definitely don't feel uncomfortable, after all, I grew up here but I definitely do recognize that my style has evolved into something that's become rejected by most of the UES stereotypes. What do you think of the Man Repeller-inspired outfit Julia put together? Does it pass the test? Oh it passes in flying colors--the inclusion of a holey shirt (dubbed a chronic offender by a man himself) with harem pants, ankle socks and birth control glasses make the look a sure fire man repeller, hipster propeller. I also applaud the use of that checkered scarf though I'm not sure it's necessary. If there’s an icon for the man repelling crowd (besides you), who would that be? Chloe Sevigny, obviously.

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If there were a school for man repelling, what would be the school uniform? I'd say Ramaz (where I went, sup now,) implements a pretty man repelling uniform. Maxi skirts, short sleeve shirts, flat shoes et al. How can we keep our man repelling style intact in the springtime, as temperatures rise and hemlines (tend to) shorten? Rising temperatures do not mean rising hemlines. Draw inspiration from spring shows, I'm particularly excited for punchy bright separates a la Jil Sander. Is there a Lady Repeller style, the equivalent for guys? Does it involve feathers, or perhaps spandex? No, no, that would be drag queen territory. Woman repellers include cargo pants, short sleeve button ups, athletic socks with dress shoes, square toe shoes, ill fit trousers and jackets, pre-mature facial hair and...offensive stripes a la Abercrombie and Fitch.

Articles written about your blog note how the Man Repeller concept is, feminist because it’s about women IA L dressing for themselves, not for a SSENT E T IN U THE Q man’s sake. Has your blog always ER EPELL R been a celebration of women’s dress N A M in this way? magazine

Earrings that could take out an eye, Turband and glasses from Professor Trelawney’s closet, witch booties, and gym socks.

The argument that my blog is a feminist forum for women to feel empowered is quite special but to be honest, I never meant for my blog to mean anything grandiose about society and the way women are perceived. I am, however, really happy that people have taken the opportunity to draw their own conclusions about what I suggest with my posts. If you'd ask me, I'd say that's pretty much the point of blogging: setting a precedent and having people interpret it as they please.

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D.I.Y

JEAN’S JEANS

Despite roots in the 80s, acid wash jeans are actually very current. From left to right, acid wash denim on Rihanna, the Balmain runway, and Katy Perry.

You’ll Need: a pair of jeans, liquid bleach, a bucket, plastic gloves, a sponge or cloth, rubber bands

Take an average pair of jeans. Add one at-home chemical experiment and FADDIE Jean Mariano (‘12). The result? 80s-inspired acid-wash jeans!

Twist and roll up each leg of the jeans and rubber-band it tightly...

Undo the rubber bands and load the jeans in the washer. (Make sure not to wash them with other clothes though!) Then load in the drier.

E! N O D (‘11)

no read aria mped th M e n a i v Jasm ls her re e d o m

Dip sponge/cloth in bleach. (Use gloves - bleach can harm skin.) Begin liberally dabbing the jeans with the bleach-soaked cloth.

Be creative with the pattern! For a splotchy pattern dab the jeans unevenly. For a creased effect, try making folds and rubbing bleach into them.

...Then rubber-band the whole thing into one bundle.

In a large bucket, mix 1 part bleach with 2 parts water (more/less depending on how dark your denim is); soak the jeans for 15-20 minutes, checking ever 5 minutes or so, until they’re satisfactorily pale.

P.S. FROM FAD: - Do try this at home, but ask your folks first and be sure to designate a safe table space. - You can acid wash any denim and add slits for a grungier look! - Be sure to post your product on facebook.com/hmFADmag!

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JOIN FAD!

If youâ&#x20AC;&#x2122;re interested in joining FAD, please contact us at fad@horacemann.org horace mann school | winter 2010 | vol. 2 no. 2

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FAD FUNDRAISER FASHION SHOW EVENT

february 4th 7-9 pm

turn to p. 30 for a sneak peek

e ouâ&#x20AC;&#x2122;v y k n f thi all o n e se .d.? f.a line at s on dpress. u d fin g.wor a fadm com OR

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