Fall/Winter 2012
Jessica Crenshaw LIFE on and off the ICE by Nicole Estevez
MODEL FOR SUCCESS the fashion industry through the eyes of Sara Ziff the life of a dancer with james lasky art in the digital age photo shoot: fall into wonderland
Masthead Editor in Chief Nicole Estevez, CC’13 Copy Editor Katie Lee, CC’14 Treasurer Jenny Mayrock, BC’14 WEB Web Editor: Eric Wong, CC’15 Web Assistant: Nick Duckweiler, SEAS’15 BLOG Co-Blog Directors: Esther Jung, BC ’15 and Olivia Aylmer, BC’15 LAYOUT + DESIGN Design Director: Hannah Keiler, CC’14 FASHION Creative Director: Rubii Pham, CC’14 Menswear Director: Martin Hamery, CC’13 Womenswear Directors: Asia Carter and Rebecca Kobert, BC’15 HEALTH + BEAUTY Health +Beauty Director: Jina Lim, CC’13 FEATURES Features Director: Olivia Aylmer, BC’15 ARTS + ENTERTAINMENT Arts + Entertainment Director: Emma Goss, BC’15 PUBLIC RELATIONS Public Relations Director: Lexie Sokolow, BC’15 PHOTO Photo Director: Esther Jung, BC ’15
BLOG
Carina Brown, GS’16 Jessie Chase, BC’15 Samantha Cooney, BC’16 Rebecca Deczynski, BC’16 Adriana DiFazio, BC’15 Lillian Finckel, BC’16 Sasha Henriques, BC’15 Vanessa Hollander, BC’16 Angelica Leon, BC’15 Krista Lewis, BC’15 Shriya Manian, SEAS’15 Abby Mitchell, CC’14 Katy Nelson, CC’16 Heather Nickels, BC’16 Mariana Orbay, BC’15 Maitland Quitmeyer, BC’14 Emilia Shaffer-Del Valle, CC’15 Tiana Stute, BC’15 Whitney Wei, BC’15
FEATURES
Rachel Furst, BC’15 Caroline Lange, BC’15 Katy Nelson, CC’16
HEALTH + BEAUTY
Melissa Bai, CC’15 Nora Mueller, BC’15
PUBLIC RELATIONS
MENSWEAR
Celina Sprague BC’16 Lyndsay Patterson BC’16 Salena Huang CC’15 Sarah Collins CC’16 Shermin Luo CC’16
Amelie Alexandre, CC’15 Kelly Carde, CC’15 Dakota Ceneta, CC’16 Andre’ Fuqua, SEAS’15 Andrew Gonzalez, CC’15 Akinyele Jordan, CC’15 Camille Knop, CC’14 Josephine Kovacs, BC’16 Henry Murphy, CC’15
ARTS +ENTERTAINMENT
Alina Abazova, BC’13 Brittany Gibson, CC’16 Kelly Lane, CC’16 Kiani Ned, BC’16 Rachel Furst, BC’15 Rebecca Deczynski, BC’16
COPY
Najet Fazai, BC’16 Dana Melanz, GS’14 Andrew Morrow, CC’14 Hilary Price, GS’15 Bianca Sanon, CC’14 Reina Sekiguchi, BC’16 Tiana Takenaga, CC’14
PHOTO
Max Bartick, CC’13 Constance Castillo, CC’13 Camille Knop, CC’14 Rebekah Lowin, CC’14 Henry Murphy, CC’15 Kiani Ned, BC’16 Rubii Pham, CC’14 Bethany Wong BC’16
LAYOUT + DESIGN
Amy Fu SEAS ‘15 Stephanie Balakrishnan CC ‘15 Sofia Davis BC ‘16 Molly Grund BC ‘16 Brittany Gibson CC ‘16 Anna Batchelor BC ‘15 Grace Kim CC’15 Esther Kim BC’14 Mora Grehl BC ‘15 Nora Mueller BC’15 Anna Hippee BC’15
WOMENSWEAR
Serena Board, BC’15 Anna Hippee, BC’15 Elizabeth Williams, BC’15
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editor’s letter
he spirit of the Hoot staff remains strong. Now six issues in, it truly is incredible how far teamwork can go and it has been an enlightening experience working as Hoot’s new Editorin-chief. With dedicated members both old and new, the magazine is ever evolving and I am proud to work with and lead such an amazing team. When I joined Hoot’s staff the fall of my sophomore year as the A&E Director, one of the first things I remember we discussed as a team was what the voice of the magazine would be. An organization, which includes not only the print magazine, but also several online components including our website and blog, Hoot is a bit of all of us. We have come together in the name of fashion, yes, but as we can see with our individual styles and choices of inspiration, interest is the common denominator of the wide-ranging results we end up with. Fashion not only encompasses our favorite pieces of clothing and designers, but it refers to the lifestyles we choose to lead. I really wanted this issue to present our writers, photographers, and many editors with the opportunity to let their work speak for itself. The photo shoots featured have been a process from conception to styling to the final edits on the page. You’ll see the silhouettes and palettes that will easily take you through to spring. Our interviews and profiles are products of hours of corresponding and transcribing. You’ll be introduced to Manon Cooper (BC‘14) and Amanda Tien (CC‘14) who have embarked on an adventure very reminiscent of Hoot’s recent past as they produce Columbia’s food magazine, The Culinarian. Our cover star Jessica Crenshaw (GS‘12) opens up about her life as a professional figure skater, completing her studies at Columbia, and life as a new grad working at Manhattan Bride. You’ll discover how alum Michael Sin (CC‘05) is following his entrepreneurial dreams and leading the way in men’s grooming with Urban Cargo. Sara Ziff (GS‘11) explains how her experience balancing modeling and being a student at Columbia led her to found The Model Alliance. I would like to thank everyone featured in the magazine for sharing your stories and talents in the many ways we see here. Hoot is grateful to be recipients of a gift from The Gatsby Charitable Foundation through CUArts. The gratitude is fully extended to our readers and supporters who provide us with the chance to present our work. A very special and personal thanks must also go to Hoot’s Menswear Director and one its founding members, Martin Hamery. I remember the night Martin returned to our floor from a Hoot meeting freshman year and spoke so passionately about what he was working on. Needless to say, I was inspired then and have always been since the moment we met our first night at Columbia on John Jay 13. Martin is graduating a semester early and will be greatly missed. However, I have faith that he will be as successful as he has been the last couple of years I have known him, and I am certain that the effects of his strong presence and work at Hoot and Columbia will leave their mark.
Editor-in-Chief
HOOT www.hootmag.org
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Features
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4 Model for Success: The Model Alliance 8 Made with Love: Behind the Scenes with Barnard’s Zines 10 Get to Know: Gabriela Moya
12 Niche Newsstand 14 Physical Therapy: An Interview with James Lasky 24 Cover Story: Jessica Crenshaw
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table of contents
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A&E Fashion 16 Fall into Wonderland 20 Accented Mystique 34 Too Cool for School
46 Let’s Talk Food: The Culinarian 48 Art in the Digital Age 50 The Icon of All Ages: Audrey Hepburn
Health + Beauty 30 The Modern Man: Tiger Shave 40 Highbrow 44 Beauty and the Internet
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ALL SMILES:
Doutzen Kroes, Sara Ziff, Coco Rocha, and Jenna Sauers at The Model Alliance launch event. Courtesy of Sara Ziff
Model
for
Success A Columbia grad founds a non-profit labor alliance to give a voice to young models working in the fashion industry.
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WRITER: OLIVIA AYLMER DESIGN: ANNA BATCHELOR
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trutting down College Walk in heels after a morning casting call, 29-year-old Sara Ziff (GS’11) remembers the stares of her fellow students as she settled into her women’s studies seminar. She recalls explaining on the first day of class that she had always felt somewhat conflicted about the work that she did and wanted to understand it in the context of women’s studies literature. “I’m a model,” she replied, when asked about her off-campus job. An awkward silence followed. Ziff took the class seriously, only to discover that she did not see eye to eye with the professor. “I didn’t necessarily think that just by virtue of working as a model, I was undermining women. In trying to sort of make sense of my experience and find a mentor in an academic environment, I felt like I wasn’t part of the club,” Ziff says. “They were sort of acting like I was exactly what they thought was wrong in society.” A model since the age of 14, Ziff knows all too well that the fashion industry faces issues that shape these misinformed perceptions. Since graduating from Columbia magna cum laude in 2011 with a degree in political science, Ziff aspires to change these views, and to cultivate a healthy environment built on mutual respect and grounded in solid labor laws, in which models— not just the rare supermodel—can thrive. She has united both her
Once the face of Kenneth Cole and a runway darling of Calvin Klein and Chanel, Sara Ziff’s path as a model led her from the catwalk to Columbia University and back, but this time, she’s speaking up as Founder and Director of The Model Alliance. fashion industry insight with her perspective gained as a Columbia student to create an initiative that will improve the industry for future generations of models. With the help of friends and trusted advisors, Ziff founded The Model Alliance last February to establish fair working conditions in fashion and to empower models to combat the stereotype that they should be seen, not heard. Plucked by a photographer from a Union Square crowd on her way home from The Bronx High School of Science as a teen, Ziff was suddenly caught up in juggling homework with Seventeen shoots. Ziff faced the pressures that young models encounter as they navigate the world of fashion and their central role in it. When it comes to losing a booking and a paycheck, or grinning and bearing an uncomfortable situation during a shoot, sadly, the latter typically wins out.
”It takes a lot of guts, especially at that age, to stand up to a photographer who’s making requests of you that aren’t age appropriate, like to take a topless photo, or people pressuring you to take drugs on set.” “It takes a lot of guts, especially at that age, to stand up to a photographer who’s making requests of you that aren’t age appropriate, like to take a topless photo, or people pressuring you to take drugs on set,” Ziff says. During her years as a fulltime model, Ziff and her then boy-
friend, NYU grad and filmmaker Ole Schell, were rarely without cameras in hand to document her travels from New York to Paris and Milan. The duo steadily compiled a collection of raw clips, which showed the then 18-year-old Ziff and fellow models dealing with financial struggles, moral quandaries on set, and fashion week exhaustion—the oft-hidden challenges that lie behind the perfect façade portrayed by models in magazine editorials and on the runway. These clips contained the seeds that would become Picture Me: A Model’s Diary, the documentary that would delve into the modeling industry from the inside out. The film premiered in 2009, while Ziff still modeled on the side to pay for her Columbia tuition. “I remember crying myself to sleep the night before the premiere. I was certain that the industry would shun me, and that I’d never work again,” Ziff says, when asked if she ever felt anxious about turning the lens on the very world in which she got her start. “At the time that I made that film, I wasn’t thinking in terms of organizing or workers rights,” Ziff says. “All of that kind of crystallized when the film premiered and we started talking more. We’d do Q&A’s with the audience, and time and again people would say, ‘Isn’t there a union for models? Why is this allowed to happen?’” Ziff recalls recognizing Steven Greenhouse, the labor and workplace correspondent for the New York Times, at a New School event centered on labor in the 21st century. She introduced herself, and told Greenhouse about her plans to start an alliance for models, HOOT www.hootmag.org
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To learn more about The Model Alliance, visit modelalliance.org
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to which he replied, ‘Oh, well that’s been done before.’ Greenhouse may have been standoffish, but he was absolutely right. In 1995, a model named Donna Eller formed a union called the Model’s Guild that eventually folded as a result of backlash from agencies and unpaid dues from models. A New York Times article published that same year by Greenhouse himself quotes Eller, who said, “The union should serve as a voice and a guardian … and it should counsel models on … how to get started in the industry.” The Model Alliance has already seen signs of promise for continued success. Its team boasts an advisory board with such members as Susan Scafidi, the Director of the Fashion Law Institute at Fordham Law School, and Columbia’s own Dorian Warren, an assistant professor of American Politics with a specialty in the study of inequality, who served as Ziff’s mentor during her time on campus. The Alliance includes prominent models such as Coco Rocha, Shalom Harlow and Trish Goff. However, to incite tangible improvements in the fashion industry requires what Ziff terms a “bottomup” approach. Marshall Ganz—a Senior Lecturer in Public Policy at Harvard and the mastermind behind President Barack Obama’s grassroots organizing campaign— whose works she read about in a community organizing seminar at Columbia, ultimately inspired this tactic. “He talks about the importance of narrative, and using your firsthand experience to tell a story and identify your community and talk about how what you’ve experienced within your community can be a catalyst for change,” Ziff says. After all, as she asks in ‘Picture Me,’ “Why be a prop in someone else’s story when you can tell your own?”
Top: Portait Sarah Ziff. Photo By: Peter Ash Lee Bottom: Susan Scafidi and Sara Ziff courtesy of Sara Ziff
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Made With Love: Behind the Scenes with Barnard’s Zines O WRITER: CAROLINE LANGE ART / DESIGN: MOLLY GRUND
n the first floor of Barnard’s Lehman Library, beneath a sign that reads “ZINE LIBRARY,” there is a wall of paper booklets. Many of them are photocopied amalgams of text, photographs, and drawings. All of them are handmade with love. These are the zines, and they are so much more than paper booklets. “It’s also punk. It’s also do-it-yourself. It’s also sharing with a subculture, doing something that has political consciousness, even if it is mostly personal content,” says Jenna Freedman. As Barnard’s zine librarian, Freedman is in charge of curating and preserving the zines in Barnard’s collection. “Anyone at Barnard, no matter what they’re writing about—their zines belong here,” she says. The same goes for Columbia students. The subject matter of the zines in Barnard’s library runs the gamut. There are zines on self-defense, cooking, authors’ personal experiences. There is even one that details how to build a water reclamation system. But all zines are about self-expression, about sharing what is most important to their author.
“Find something that you’re really passionate about and go from there,” says Suze Myers, a Barnard first-year who started making zines this past summer. “It can be a huge, general topic, like feminism or art, or it can be a really specific thing that you love or that intrigues you. It’s totally random and there are no rules.” If there are no rules, then what is a zine? “Anything!” says Barnard sophomore Adina Applebaum. “A collection of photos can be a zine. Your grocery list can be a zine. Awful poetry you wrote in middle school can be a zine,” she says. What makes a zine good—and what makes it a zine in the first place— is the sense of honest creativity within. “‘Good’ is so much in the eye of the reader,” says Freedman, who urges zinesters—that is, people who make zines—to avoid feeling self-conscious about their work. In fact, the zines she loves the most have “so much heart in them.” Freedman began making zines in graduate school after reading her friend Celia Perez’s “perzine,” or personal zine, in which she wrote and drew images about her life. “I got it,” says Freedman. “I was like, ‘Oh, this is
what zines are all about.’” That same perzine titled, I Dreamed I Was Assertive, has since found a new home in Barnard’s Zine Library. Freedman and Perez still keep in touch by writing letters and sending each other their zines.
What makes a zine good and what makes it a zine in the first place– is the sense of honest creativity with which it is imbued. “It’s a whole little community bouncing back around each other,” Freedman says of her fellow zinesters. They write each other letters, promote each other’s work, and occasionally meet up at zine fests—conventions
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where zinesters and readers convene to trade zines and often meet each other for the first time. But before they even meet, they already consider each other close friends. Many people start making zines in an effort to join the community. “They just want to ping the world and see what pings back,” Freedman says. “I think of zinesters who are from isolated places—who just want to say that there’s no one like them in their school, or there’s no one else who’s doing selfinjury. They just need not to be alone.” Others feel a responsibility to document and express their own experiences for those who will someday go through similar experiences. Freedman cites Kelly Shortandqueer, a female-tomale transgender person who discusses his transition experiences in his zine, shortandqueer.
“They’re just little glimpses into a stranger’s life and an insight into how someone else thinks of the world, which sometimes change the way I see things. And I love that,” says Applebaum. She often becomes inspired by her own deep happiness, sadness or worry. “I’ve been so significantly affected by another person’s art, and that person wasn’t anyone famous or ‘influential’; he or she was just someone with a story to tell and a determination to tell it.” Think you might want to make a zine, but are not sure where to begin? “Dive in!” says senior Jordan Alam. Alam works as an assistant in the Barnard Zine Library, which she considers “the best job ever.” “It’s not a process that needs to be measured out or learned,” she says. She and Applebaum also suggest looking to others for inspiration. “I use my friends!” Applebaum says. Whether you choose to draw from friends or other zines, Freedman believes that all zines should be authentic. “It should have a personal touch,” she says. Freedman had a stamp made for her zines— she keeps a series called “Lower East Side Librarian” —that she uses to mark every zine she makes. “My DNA is on every zine, and I feel like that’s essential somehow.” That do-it-yourself aspect is crucial to zine making. “Sit on the floor and make your zine. Don’t do it in Microsoft Publisher,” Freedman says. “The point to me is to kind of get your hands dirty.” Zinesters often compile meaningful bits and pieces—Alam calls them “memory objects”—with which to build their zines. “I collect weird things that remind me of past events or places and stick them in,” she says. “Sometimes I hand-bind the zines with sewing supplies. I also have tried typewriter zines in the past.” Applebaum favors pages from old copies of National Geographic, sequins and other collage materials. Both girls intersperse their finds with their own
text—poetry, lists, stories, recipes, words that just sound nice together. “I’m a visual artist, but in a way, zine-making feels like the antithesis (in a good way) of taking a photograph or making a painting,” Myers says. “You’re taking something that’s already there and turning it into something else.” And perhaps that is what is so wonderful about zines: anything and everything you make proves valuable to someone. “As human beings, we’re always fascinated by other human beings, so someone is bound to be interested in what kind of zine you’ve created,” Applebaum says. You do not need to be politically informed or particularly artistic or a 90s-style punk to make a zine. All you need to be is someone with a story to tell.
SOME ZINE LIBRARY SUGGESTIONS
• “Memorytown USA” and “Muffin Bones” by Emily Larned • “I Dreamed I Was Assertive” by Celia Perez • “The East Village Inky” by Ayun Halliday
WHERE TO FIND ZINES IN NYC
• Barnard’s zine collection in Lehman Library • The New York Public Library’s zine collection • Bluestockings Bookstore (172 Allen St., New York, NY) • ABC No Rio (156 Rivington St., New York, NY) • Desert Island (540 Metropolitan Ave., Brooklyn, NY)
HOOT www.hootmag.org
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Get to know:
Gabriela
moya
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WRITER / PHOTOGRAPHER: RACHEL FURST DESIGN: the fashion world? Gabriela Moya: Before I studied STEPHANIE fashion, I actually went to Rutgers UniBALAKRISHNAN versity, where I did a double major in
abriela Moya is an up-andcoming designer and recently named emerging fashion designer of 2012 by the popular, internationally-read magazine Vanidades. Though new to the fashion industry and with only four collections under her belt, she has progressed quickly and has already showcased her work at New York Fashion Week. Though the building itself is nondescript, Moya’s Union Square studio is anything but plain. The space’s walls are adorned with art and other inspirational material. Her desk is covered with sketches and samples. Naturally, she has a rack of her latest collection hanging in the room. Gabriela’s line, eponymously named, is full of bright colors and eye-catching patterns. Her line fits women ranging from the fashionable college gal to the workingworld sophisticate. She welcomes Hoot with smiles and a bubbly personality for her interview. Hoot: What inspired you to enter
art history and history. I finished my B.A. and I wasn’t sure what I wanted to do, if I wanted to continue with art history or if I wanted to go into design— something I had always wanted to do, but had never been brave enough to take the leap. So I decided to visit my sister in France, where she was studying. While I was there, I was looking into schools for art history and for design. When I visited what was to be my future school, l’Ecole Supérieure des Arts et Techniques de la Mode, I just fell in love with the curriculum and I was like, ‘Yes, this is exactly what I want to do.’ One thing led to another, and at the following fashion week in New York, I presented my Fall/Winter 2011 collection! I just got such great attention that I thought, ‘Alright, I guess I’m doing this,’ and now I’m four collections in. Hoot: From where do you draw your inspiration? GM: Since I have an art history background, I do reference art and architecture a lot. For me, designing is very organic. I start sketching and the
clothes just seem to make themselves. Essentially, I start free handing—sometimes I don’t even sketch clothes, I just sketch forms—and I’m like, ‘Oh, that would be a really interesting pocket’ or ‘That would be a really cool color.’ Once I finish with that, I usually work with an artist who will collaborate with me on the textiles.
“For me, designing is very organic. I start sketching and the clothes just seem to make themselves.” Hoot: Is there any particular time period or art movement that inspires you? GM: Contemporary. I work with contemporary artists because I’m very into the ‘what’s going on now’ type of scene. I love going to the museums; I love MoMA and the Met. I especially love the rooftop of the Met; there are always great art installations up there with a great view of Central Park. You have to be up-to-date with what’s going on in the world. The tendencies of the moment are not only in fashion but
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in art too, and it’s a guessing game really, but it’s not that hard to guess what people want. The longer I’m in the business, the more experience I have to draw from and the more I know what sells and what doesn’t. I tune my collections to match what’s going on in the world.
you could just wear to class: some great leggings in the collection, a great romper. They’re pieces that you could definitely just wear day-to-day. There are even some pieces you could wear to a dressier affair. I use a lot of silk in my collection, so maybe one of my silk dresses or tops.
Hoot: Who is the ‘Gabriela Moya’ girl? What pieces from your collection do you think our readers would enjoy? GM: I guess it would be somebody that really loves fashion. My clothes are pretty versatile, you could wear them to work or you could wear them on the weekends. So I think it is somebody who’s active, is out there, is either in school or a professional— somebody who likes color and pattern, because it’s very heavy on both. You know... somebody who likes art. I have a lot of great summer dresses. I have some more risqué pieces; I have these little bras in this collection that I think are really fun. I personally wouldn’t wear them without something on top because I’m not that risqué, but I’d love it if some young college girl would wear that out to a club. I also have things
Hoot: In this process, from being student to becoming a fashion designer, what would you say has been your greatest obstacle? GM: Sanity! Being sane, I suppose. Design school was a torturous experience. The long hours— it’s a totally different type of studies. It’s not like academics; it’s really trying to be creative and doing things fast and learning things that just take time and precision and labor. I had so many long hours and nights where I didn’t sleep! It was definitely hard becoming a design student, but it was worth it. Now I like what I do, and I know what I’m doing. Another obstacle I face is making good collections. I never really know if other people will love my collection as much as I do.
Hoot: What has been the most exciting moment of your career so far? GM: There have been a few good ones so far, but I guess the most recent one was being named emerging designer of the year by Vanidades. I was really humbled and excited. We had a wonderful star-studded event. My lifetime idols were there. Carolina Herrera was also being honored, and Ruben and Isabel Toledo. It was really fun to be recognized by somebody so influential, and also by such an important magazine. Having those people as my peers is just very humbling. Hoot: What are your long-term goals as a designer? GM: If I could just live from my designs that would be an accomplishment enough! Having my own boutique one day would be awesome too. But to know I can do this for the rest of my life without having to worry ‘Can I finance this next line? Am I going to make money, or is this going to sell?’ would be ideal. Maintaining a career doing what I love would be fine by me.
HOOT www.hootmag.org
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Hoot’s G uide to the
Niche Newsstand
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WRITER: Katy Nelson PHOTOGRAPHER: OLIVIA AYLMER DESIGN: Mora Grehl
must confess: magazines are my greatest weakness. I subscribe to an embarrassing number of them. Let’s just say I am becoming fast friends with the staff of Columbia Mail Services. But I cannot help it; they are my creative fuel. After hours spent poring over schoolwork, it is easy to feel drained. Magazines immerse you in another world, if only for a moment. They can transport you anywhere—to the lavish world of haute couture and the runways of Paris, London, and Milan, or to the streets of the East Village. But good magazines are more than mere catalogs of inspiring places, people and things: they are works of art. The graphics, photographs, and text mesh to create something tangible and beautiful that you would never dare to discard. Kindles and iPads simply cannot compare. And yet sometimes I find
myself bored, encountering the same old reviews, the same runway roundups. Do not get me wrong, I love newsstand mainstays like Vogue, Elle, and Harper’s Bazaar. But after reading countless, seemingly identical features on fall’s baroque trend, I need to mix things up. Thankfully, there is a whole industry of imports and small niche publications that provide a completely fresh outlook on fashion and art. The catch? Sticker prices can easily average $20 per magazine. How to decide when to splurge and when to save? Hoot did the work for you. Below, you will find our handpicked selection of the mags worth those steep price tags. We promise you will not want to put them down.
Lula: Girl of my Dreams
Whimsical, romantic, quirky, fun… I could rave all day about Lula. This semi-annual British mag is more akin to an art book than a magazine. You will literally want to frame every page. I actually have a Lula page hanging in my dorm right now. Lula is for the girl who loves old photographs and hazy colors, and who admires Gia Coppola and Astrid Bergès-Frisbey more than Megan Fox or Katy Perry. The pages are brimming
with inspiration: A recent issue featured everything from interviews with musician Daniel Johnston and painter Juliana Romano, to photo spreads of the Meadham Kirchoff and Louis Vuitton collections. And unlike some fashion publications, Lula never takes itself too seriously. Always playful, Lula reminds its readers why fashion is fun. You can tell that the editors, photographers, and stylists pour their hearts into every page.
Tomorrow’s Journal
I discovered this Danish magazine while looking through the racks of Magazine Café, a.k.a. Magazine Addict Heaven, in Midtown West. The magazine’s unusual binding caught my attention, and once I began leafing through its pages, I was hooked. Published on a quarterly basis, Tomorrow’s Journal is a showcase of art and fashion. It features innovative editorials with dreamy photographs and intricate illustrations. But it is more than just a compendium of beautiful images; it is one of the most well-designed publications I have ever read. Every detail—from the textured paper to the creative layouts and fonts—is spot on. Though this magazine is still young—only four issues have been released—I am sure it will find its
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way onto the bookshelves of print lovers around the globe.
Jalouse
If Vogue Paris and NYLON collaborated, they would come up with Jalouse. This French monthly is more Rive Gauche than Rue SaintHonoré. Young and energetic, avant-garde yet down-to-earth, Jalouse is full of noisy film photos and envy-inducing fashion spreads. You will also find features on the latest music, film, literature and art. As if that is not enough, even the advertisements are amazing. Expect gorgeous ads for French labels like Maje, Sandro, Rodier and Claude Pierlot. Flipping through the pages will leave you longing for the Parisian life—strolling along the Seine, gallery hopping, and going home to a petit appartement in Saint-Germain. A girl can dream, right?
The Gentlewoman
If you are tired of cover stories
with celebrities coyly discussing their love lives, then pick up a copy of The Gentlewoman. Each issue of this semi-annual British magazine features in-depth interviews with influential women from fields as diverse as business, music, film, and food. In this year’s autumn/ winter edition, you will find profiles of The xx’s Romy Madley Croft, architect Pernilla Ohrstedt, chef Leila McAlister, and a bevy of other inspirational women. Past issues have featured everyone from Phoebe Philo of Céline to stylist Kate Phelan and author Jennifer Egan. An added bonus: the magazine beautifully exemplifies minimalist design. Printed on a mix of glossy paper and newsprint, it includes a series of fashion spreads, in addition to stunning portraits of the featured women. \
Kinfolk
Love to entertain and need an excuse for a personal day, or at least an hour? Then brew a cup of your
favorite warm beverage and curl up with an issue of Kinfolk. Published four times a year in the U.S., this independent mag bills itself as a “guide for small gatherings.” Indeed, it celebrates life’s simple pleasures on every page. Think campfire picnics, cozy garden dinners, and early autumn camping trips. The magazine is a collaborative effort, produced by a worldwide community of artists and writers. You will find beautiful photo essays that transport you from New York’s grimy streets to the peace of fresh country air. Kinfolk will have you dreaming of canoeing across pristine rivers and whiling away the hours baking in a homey cottage. You will want to taste-test every recipe, from the cardamom blossom tea to the pear tartlets and sweet potato butternut squash soup. For a pricey publication, Kinfolk is pure heaven and worth every penny.
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physical therapy
WRITER: ANDREW GONZALEZ PHOTOGRAPHERS: RIGHT: CONSTANCE CASTILLO LEFT: REBEKAH LOWIN PHOTO ART: HANNAH KEILER DESIGN: ANNA HIPPEE
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hen one hears the w o r d “dance,” what is their first thought? For many, dance represents a culture of women in tights, turns, leaps, and the occasional male dancer, chosen to complement his partner during moments of incredible technical precision. Surviving in a world where the ratio of women to men seems disproportionately skewed, Biology major James Lasky (CC‘14), has found solace in the the dance community as a male dancer. He calls it “an escape.” “I think of pretty girls, leotards, and studios with big mirrors filled with these girls,” answers Lasky, smiling and nodding about his first thoughts concerning dance. He began learning ballet at age 14, which is considered a “late start” in the dance world. Professionals use this expression in an attempt to justify how long it takes for one’s foundational ballet technique to solidify. The standard remains unattainable, and is a reality many dancers must come to accept to avoid any increased pressure to be perfect. This bar is not set to hinder or stifle one’s commitment, but rather, to ensure continuous preparation and resilience throughout training. The desire to uphold this standard is the drug that keeps dancers wanting more. Before he considered switching to more classical forms, Lasky
competed as a ballroom dancer between the ages of eight and twelve. International ballroom styles are divided into two groups, standard and Latin, and range in dances from the Waltz and the Quickstep to Samba and the Jive. While partnering may seem too close for comfort for some, it is his favorite aspect of dance. In his opinion, partnering fosters a sense of chivalry, and it is important to distinguish a man’s natural masculine tendencies from his ability to perform finessed and partnered movements in this context. A male dancer’s ability does not compromise his masculinity, yet the gendered bias still exists today. “The act of bowing, partnering, pulling bars out for the class— these all exemplify the chivalry associated with ballet,” says Lasky. This statement sheds light on the fact that ballet only represents a microcosm of dance. As a whole, dance represents mixed forms of movement ranging from Hip-Hop to Foxtrot, and not a microcosm of gender relations. Lasky took two years off from his studies to dance at Marin Dance Theatre, a dance school near his home in Northern California. He began to apply both ballet and ballroom technique to his modern training, a form he described as more “adult.” When compared to the more conservative nature of ballet, his remarks on modern dance seem en pointe. The innate abandonment of strict form to a style, which requires more emotional commitment, distinguishes the possibilities that modern dance offers to dancers like James Lasky
from those that ballet does. This assumption, however, does not subvert the influence ballet has had on all forms of dance. A technical background in ballet only strengthens one’s technique and understanding of uniformity. Towards the end of his two-year training, he traveled and auditioned before deciding to attend Columbia. In terms of physical and mental hygiene, “ballet and modern have definitely helped,” says Lasky, optimistically emphasizing the importance of daily physical activity through his tone. He does not currently follow a strict diet, but the order and uniformity that defines balletic dance forms has inspired consistency and uniformity in his life. It is reflected in his wardrobe— simple hues and tones, and stylized comfort—as well as his work ethic. Ballet and modern vocabulary resonate with his studies in science, and reaffirm the necessity for defined uniformity through practice. Dance reflects the ideas and opinions of a given community much like the way fashion does, except through movement and not through clothes. With this comparison in mind, it may be easier to accept ballet with its fashions, standards, and contributions as always being culturally relevant. Lasky’s account adequately refutes any stereotype regarding gendered ability and brings forth the issue that one’s success in dance is ultimately decided by technique, and the ability of one’s body to adapt.
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Entering Wonderland
On Anna: Oxblood velvet dress: Hallelu. On Serena: Velvet flower print dress: Urban Outfitters. All accessories: Stylists’ own.
DO IT BIG
Make a statement at the club, in the mall, at your mother’s house with big hair. Tina wears dress, Versace; shoes, Dior; scarf, Alexander Wang; legs, Dr yomomma; wig, I Love Hair.
Fall into Wonderland Stylists: Asia Carter and Rebecca Kobert Makeup and Hair: Elizabeth Williams Photographer: Esther Jung Models: Anna Hippee and Serena Board
fashion
Eat Me, Drink Me
On Anna: Top and skirt: Zara. On Serena: Vintage dress All accessories: Stylists’ own.
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The Mad Hatter’s Tea Party
On Anna: Beaded collar blouse: Zara, Gold leaf print skirt: Zara. On Serena: Dress: Vintage. All accessories: Stylists’ own.
fashion
Paint the Roses Red
On Anna: High-low Dress: Stylists’ own. On Serena: Textured Jacket: Zara, Blouse: Stylists’ own, Printed trousers: Zara. All accessories: Stylists’ own.
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Accented Mystique Pocket Scarf – CU Consignment Suit – Zara Turtleneck – Uniqlo
Stylist: Andre’ Fuqua Style Assistant: Josephine Kovacs Photographer: Henry Murphy Model: Dakota Ceneta Hair and Makeup: Amelie Alexandre and Kelly Carde design: brittany gibson
menswear
Denim jacket – Levi’s Pants – Obey Shirt – Stylist’s own
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Sweater – TOPMAN Scarf – CU Consignment Pants – Model’s own Socks – Uniqlo Shoes – Cole Haan
menswear
Shirt – CU Consignment
Special thanks to Pam Jarrett of CU Consignment for items featured HOOT www.hootmag.org 23
jessica crenshaw writer/stylist: nicole estevez Photographer: Max Bartick Videographer: Vanessa HOllander Hair: Dominique Star Makeup: Lilian Finckel design: hannah keiler
features
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features
A
t the age of eight, Jessica was given the choice of continuing with gymnastics— something she was pretty good at, but hated—or skating, an activity she enjoyed with her step-dad who was a hockey player. Jessica chose skating. Little did she know then, skating would soon blossom into a career. Despite leaving her hometown of Richmond, VA at the age of 15 to pursue skating in the Northeast, Jessica remained grounded. When asked about how she balanced school and figure skating as a teen, Jessica replies, “skating was my career, but my parents always had the philosophy that you
could break your leg tomorrow, and if you didn’t have an education, then what else did you have?” With that mentality, Jessica worked hard hitting the books and the ice, and graduated high school early at the age of 16. Relatively young, Jessica kept skating with her partner at the time and decided to wait before applying to college. When the pair stopped skating not long after, Jessica was accepted at Columbia and moved to New York to start her new life as a college student. After completing her first year in the School of General Studies, Jessica realized that her life as a skater was far from over. With an offer from her coaches to skate with a partner for Greece, Jessica took a leave of absence, of which Columbia was very supportive. During this time, the pair competed in two European and World Championships, and was a second alternate for the 2010 Winter Olympics. Jessica is grateful for the experience. Upon her return, she completed her last three years at Columbia in two,
graduating magna cum laude with a degree in Art History. She was always the everdiligent student in department lectures and seminars. Jessica’s love of art history actually began at Columbia. “I thought I wanted to do history and a friend suggested that I try art history. I took Art Humanities as one of my first courses when I returned to Columbia. I had a great professor who was inspiring and made me fall in love with art.” This passion for art history grew into her thesis on French Directoire fashion of the 18th century with Professor Anne Higonnet. When Jessica returned to school, she was a full-time student. However, skating has never been far removed. A skating instructor on the weekends in Central Park, Jessica acknowledges, “I’ve always followed skating, but there are times when you do something for so long, you do need a bit of a break. The thing is that despite saying or thinking that, you can never HOOT www.hootmag.org
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get away from something that you love so much and have dedicated so much time to.” As for art history, Jessica is still deciding on whether or not to pursue it in graduate school. Jessica is currently the Assistant Editor of Manhattan Bride, a leading magazine in the city covering all of the major topics for the bride-to-be including gowns, makeup and local venues. Regularly traveling for photo shoots that take her out of the city for days at a time, attending major events like Bridal Fashion Week, and handling the editorial material for the magazine among other tasks, Jessica says she could not be happier. When asked to define what life after Columbia is like, Jessica answers, “It depends on what you want it to be. People shouldn’t be afraid to fail. It may be rough on the ego, but at the same time, this is New York and there are a lot of responsibilities that come when you graduate and you can’t just wait for your dream situation to come. Sometimes you have to go off the beaten path, and that’s something that I’ve benefited from my entire life.” Crenshaw encourages experimenting with one’s interests and using the resources available at Columbia, adding that she found her job with Manhattan Bride through LionSHARE. Jessica concludes, “The Columbia experience definitely came with a price tag for me, which is the reality of my situation, but the experience I had was incomparable. I knew the consequences of this going into it, and now I’m dealing with them as a recent graduate. But I know that because of Columbia, I will get through it and I will work hard just like I did as a student.”
features
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THE MODERN MAN: TIGER SHAVE FASHION: MARTIN HAMERY BEAUTY: JINA LIM MODEL: AKINYELE JORDAN PHOTOGRAPHER AND PHOTO EDITOR: CAMILLE KNOP PRODUCTS: John Masters Organics Oil Skin Balancing Face Baxter of California Facial Scrub Kyoku For Men Facial Moisturizer (SPF 15)
beauty X Menswear
Tank - RAD by Rad Hourani
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urban cargo
Meet Michael Sin (CC’05), co-founder of Urban Cargo
writer: jina lim photographer: rubii pham
and haircare. Customers sign up for an account and fill out a grooming profile, which asks what products the customer is currently using, ethnicity, age, shaving habits and current needs. Based on the initial analysis, each month’s sampling of 3-4 products with information about the products and brand ships for $14.95/month. The subscription pays for the expert advice and the convenience. There are also full-sized kits designed specifically for purchase as well. Hoot: What did you do between Columbia and establishing Urban Cargo? MS: I graduated from Columbia College in 2005. I studied economics. Post-graduation, I worked at an investment bank for two years, then in private equity for another two. Then I worked at Coach in strategy until I started Urban Cargo.
U
nlike for women, it is anything but effortless for interested men to discover new quality skincare or grooming products. There are limited opportunities to sample skincare and cosmetic products and to get advice since department stores, online stores, magazines, and beauty blogs that provide helpful reviews and comparisons are almost exclusively directed at women. Urban Cargo is a year-old company that curates monthly selections of personalized grooming product samples for men and offers solutions-oriented full-sized kits for those with specific needs. Behind this growing business that recently made exciting deals with Gilt City and American Express is Michael Sin, Columbia graduate and one of the three co-founders of Urban Cargo. Sin shares his post-graduation journey to starting his own business and insights into men’s grooming. Hoot: What is Urban Cargo? Michael Sin: Urban Cargo is an online destination for men’s skincare
Hoot: What made you want to start your own company? MS: While I was at Coach, I realized that there was a tremendous opportunity in men in general. Coach’s men’s business was taking off and so were MR PORTER, Gilt Man, etc. I recognized grooming as the new growth area. I have always been into grooming. Growing up, my friends would compliment my skin and ask for recommendations. After working at Coach for years, I felt that it was time for me to take a risk and go out on my own and see if I could make it as an entrepreneur. Hoot: How did you come up with the business concept? MS: It was a mixture of what we saw in the market as an opportunity and our own interests. If you looked at men’s options for purchasing grooming products, there was Sephora, department stores, and online shopping. Sephora and department stores are very female-centered and create a very uncomfortable shopping environment for a lot of men, even for those who like to try different products on. Online shopping is great if you know what to buy. The subscription model was getting hot too, but Birchbox for men wasn’t there yet. Urban Cargo could
provide men the convenience they always wanted. Hoot: What is big in men’s grooming today? MS: I think that more men being engaged with grooming is the biggest thing. The women’s side of industry is huge and the average expenditure for women is high already, so brands try to get women to spend more money by inventing new products for them to buy. On the other hand, the average man is probably only using face wash. The biggest trend right now is to engage more men and educate them without scaring them away. Hoot: What are your favorite products? MS: I love Kyoku for the shaving cream and aftershave. For face wash, I love John Masters Organics and Burberry. Hoot: What is your beauty routine? MS: I use face wash. Then if I use an electric shaver, I use a pre-shave optimizer, which is like a pre-shave oil but not as thick, so that the blade doesn’t cut through the skin. If I use a regular razor, I use a shaving cream, followed by toner and moisturizer. At night, I use face wash, toner, serum, eye cream, and moisturizer. On a weekly basis, I’ll do a clay mask or a monthly facial. I’m fairly engaged. Hoot: What do you think is the biggest difference between men and women in their skincare? MS: For men, it’s more necessary for there to be a tangible effect, some sort of a sensation after using a product. Women have been marketed so well that they know that certain products work in the long run. However, since men do not have the same education, you really have to prove to them why a product is great by providing a more tangible and immediate benefit. Also, because they are more solutionsoriented, but do not know exactly which products to use to fix a certain problem, we decided to create premium kits so that they can find the best products for their face or hair, making it a bit easier for men to take care of themselves.
beauty X Menswear
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too
cool for school PHOTOGRAPHER / STYLIST: RUBII PHAM ASSISTANT: FARSAI C. MODEL: ZOE BAKER-PENG
Jacket – Guess by Marciano Skirt – Chloé Belt – Stylist’s own
fashion
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Top – h&m
Vest – h&m Pants – h&m
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Top – h&m Pants – h&m
Jacket – Opening Ceremony Pants- h&m
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high
beauty
brow
director: Jina Lim makeup: Sharon Shum & Carina Brown hair: Elizabeth Williams photographer: Kiani Ned models: Caroline Schimmenti & Emily Ellis design: Nora Mueller HOOT www.hootmag.org
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PRODUCTS
Not Your Mother’s Smooth Moves Frizz Control Hair Cream; Not Your Mother’s Knotty to Nice Conditioning Detangler; REVLON PHOTOREADY™ MAKEUP in Nude; INGLOT freedom system rainbow eye shadow palette; Bellapierre Shimmer 9 Stack in Bella; Nars Eyeliner Stylo in Carpates; REVLON SUPER LUSTROUS™ LIPSTICK in Smoked Peach; Nars Eyebrow Pencil in Ipanema
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beauty
and the internet WRITER: MELISSA BAI DESIGN: ESTHER KIM
M
akeup variety has increased tenfold in recent years thanks to greater color selection and innovative new products; but despite the daunting selection of lip glosses it’s now easier than ever to make informed decisions on beauty purchases, even for drugstore brands that cannot be tested out in the store. Shoppers now often pick up a mascara because of a mention in a Youtube makeup guru’s recent video, or check out online swatches of a new lipstick line before choosing a shade. Rewind just ten years back, before the internet made its splash in the beauty world, when the most makeup advice the average woman had available would be meager mentions in monthly magazines, and a world without online product reviews sounds downright apocalyptic.
It is possible to watch someone apply makeup in a variety of ways, from the classic smokey eye to that celebrityinspired red carpet look. There are several YouTube gurus who cater to young girls just starting to experiment with makeup and have become role models. Their online success often transfers to real life, such as the Fowler sisters Elle (allthatglitters21) and Blair (juicystar07), who were nominated for Teen Choice Awards, and Marlena (makeupgeektv), who started her own cosmetic line. Top figures have sizable Facebook and Twitter followings as well. Many hold meet-ups to chat with fans and create generous giveaways for loyal subscribers. Makeup on the internet has evolved from poor-quality videos filmed by girls in their bedrooms, to polished productions with professional lighting equipment and HD cameras. Getting a product mention from a well-known makeup artist can often make a product explode in popularity, such as last year’s release of Revlon’s Colorburst Lip Butter. It went viral in the beauty community and caused drugstores everywhere to go into permanent sold-out status. Yet this newfound power of the makeup expert presents some challenges. As companies look to them as a new avenue for advertising, with more and more sponsored videos cropping up, which may result in biased, dishonest reviews. And
despite the plethora of talented artists, there are also ones with mediocre skills feeding subpar advice to their fan bases. The beauty industry’s interaction with the online beauty community will undoubtedly increase in the coming years. So, it is time for the consumers of online beauty advice to step up and say no to big companies influencing opinions. As to whose side the internet will favor, only time will tell.
“Makeup on the internet has grown from girls filming grainy videos in their bedrooms to polished productions with professional lighting equipment and HD cameras.“ Emily Eddington, otherwise known as emilynoel83 on Youtube, has been running her Beauty Broadcast channel and blog since 2007. As well as being a full-time news anchor Emily continually cranks out reviews and tutorials for over 300,000 subscribers. Hoot was given the incredible opportunity to chat with her. Hoot: How did you get started with your YouTube videos about makeup? What were your expectations starting
beauty Internet beauty guru Emily Eddington shares her opinion on the online beauty boom Image provided by: beautybroadcast.net Video stills Left page: http://www.youtube.com/user/KlairedelysArt Below: http://www.youtube.com/user/frmheadtotoe
I don’t want to waste time watching paid advertisements; I want a real, honest opinion. Hoot: Any predictions on the future of online beauty? EE: The cosmetics industry isn’t going anywhere, and neither are the bloggers and video makers. I predict the bar will continue to get higher when it comes to people creating their own content though. Already it seems there’s an expectation that videos will be welledited, well-lit and thoughtfully put together, so I think those expectations will only continue to grow. I’m also starting to see more of an interest from the baby boomer generation in my YouTube videos. I’m trying to cater to them by involving my mother now and then (who’s in her 60s and a former cosmetologist) to chat about issues related to aging and beauty. out and how have they worked out? Emily Eddington: I’ve always had a little bit of an obsession with makeup and I remember the day I saw a YouTube makeup video for the first time. I was Googling a random product and within the search results was a link to a video of someone talking all about the product and how it worked. I was instantly hooked. It was so much more fun and interesting to learn about makeup from someone just talking to you in a conversational way as opposed to only finding the information that the brand selling the product wants you to know. As time went on, I watched more and more videos, but didn’t see a whole lot when it came to affordable, drugstore makeup. That’s kind of my specialty, and I’ve been through a lot of trial and error through the years. So I thought, why not share the knowledge I’ve gained? I did not expect my channel to grow to where it is now. I started it because it was fun for me and I was helping people, and those are the main reasons why my channel continues!
Hoot: What is the best part of beauty information and advice being so readily available online? What would you say is the worst? EE: I remember being in high school and my main makeup resource was the few pages in the beauty section of Seventeen. Now the information seems endless and it’s very empowering. You can find an eye makeup tutorial for every color of the rainbow and exactly the products you’d need to recreate the look! At the same time, now that there are thousands upon thousands of people putting out information, which can be a lot to wade through. You also need to make sure you’re getting product reviews from a credible source, and the vast amount of sponsored videos is something to watch out for.
Hoot: Given that Hoot’s audience is mainly comprised of fashion-conscious college students, is there any advice that you can give to our readers? EE: Makeup is a fun, creative outlet, but it isn’t everything. It’s a phrase we’ve all heard, but I think it’s true...real beauty is on the inside. Treat everyone with kindness and keep things in perspective. Makeup is fun, being pretty is nice, but nothing can top the beauty associated with a truly compassionate person.
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LET’S TALK FOOD
This semester, Culinary Society President Manon Cooper (BC ’14) and Webmaster Amanda Tien (CC ’14) decided to take their passion for food to new heights, founding the food magazine The Culinarian.
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WRITERS: Alina Abazova and Kelly Lane PHOTOGRAPHER: bETHANY WONG DESIGN: HANNAH KEILER
Manon Cooper (BC’14), below, and Amanda Tien (CC’14), right, hard at work as they review material for their premier issue
ood is an important part of our lives, both as students and residents of New York City. While most Columbia students have the option of eating in a dining hall or cooking in their suite, they can explore an entire city of culinary marvels and edible delicacies. The Columbia Culinary Society seeks to make food an integral part of students’ lives by not only eating, but also discussing, writing about, and planning events around food. This semester, President Manon Cooper (BC ’14) and Webmaster Amanda Tien (CC ’14) decided to take their passion for food to new heights, founding the food magazine The Culinarian. Hoot sat down with them to get a sneak peak at their first issue, and to find out how a foodie survives on a student budget!
Hoot: How did you two become lovers of food? Manon Cooper: I’ve always loved food. My mom is French; I’ve spent some time [in France]. When I came to college, it was a big adjustment. I didn’t have a kitchen, I was living in a dorm, I was exposed to the cafeteria food. Fortunately, there was New York, which has an amazing food scene. Amanda Tien: My dad was in the army, so we moved around all the time … we always liked to experience the food of the place where we were. Hoot: Tell us about your process of getting the magazine off the ground. AT: We’ve decided for now that we’re just going to go digital. MC: [Print] will be the next step for
us.
AT: We started it in September, and
we thought we could get it to happen in December. We’ve gone through a lot of reevaluating because we’ve realized we want to go for quality. We’re thinking maybe March. We want to give it that time that it deserves to let it develop. MC: We’re both going to graduate at the same time, so that’s why creating the structure is so important, because
that’s what’s going to make it sustainable long-term.
Hoot: What sorts of features will you have in the first issue? AT: The first issue’s going to be about being a student in New York. It should be about things that apply to us directly, whether it’s an op-ed on a dining hall or whatever it might be. For our feature article, I actually talked to Eddie Song, the creator of Korilla [a
features a&e
Korean barbeque food truck company], who’s a Columbia grad. MC: There will be a lot of open features, like interviews, how-tos.
Hoot: How does a foodie survive on a college budget? MC: It just requires a bit of adaptation. Like food carts—I never had [them] at home—and they’re amazing. I love them! I don’t always have a stocked fridge, so [I] just need to plan ahead for my meals. AT: I go out to eat more than I cook. That’s kind of how I convince my friends to get out of Butler. I tell them, ‘we’re going to a new restaurant, it’s going to be maximum $15, and I’m going to take you to a neighborhood you’ve never been before.’ And they’re like, ‘Okay!’ Hoot: What are some of the culinary
highlights of Morningside Heights? AT: My favorite place right now is Max Soha. It’s this incredible little Italian restaurant. MC: I really like Community. At home, we always ate organic and local. I also like Bettolona. The Roti Roll place is pretty good too, and so is Thai Market.
Hoot: Do you read any culinary magazines or watch cooking shows? MC: I love cooking magazines. I almost love looking for clippings in them more than cooking! I also like looking at blogs, especially Smitten Kitchen by Deb Perelman. It’s super accessible to everyone. She has great pictures too! AT: One thing I really appreciate about Food Network is that they’re constantly pushing their chef personalities, and I think that’s something that’s really important for our magazine. I
want our writers to really be recognizable to the students. That’s something that we really try to do with the blog. I want to really be clear that these are people; they’re not just usernames. You should be able to follow someone that you like—like, ‘I’m always following Jack’s articles, because he’s always talking about something that I’m really into.’ MC: I also like looking at cookbooks. I got Julia Child’s cookbook for my birthday, and that’s like the Bible of cooking.
Hoot: Do you see yourself eventually working with food in your career? MC: I see myself in the publications industry. And if I end up working for a food magazine, that would be awesome. AT: I’ll always get to eat food, even if I don’t work with it! HOOT www.hootmag.org
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art in the digital age
WRITERS: Rachel Furst and Brittany Gibson DESIGN: SOFIA DAVIS
E
ach of us has our own interpretation of what art is. It is precisely this freedom of interpretation that has given rise to a new wave of expression, one that integrates technology and art. Technology influences so much in our world today, that it is no wonder it has also extended to expressive forms on display at exhibits at the Museum of Modern Art (MoMA) and Whitney Museum of American Art. As one walks into the New Photography 2012 exhibit at the MoMA, one is bombarded with a range of colors and hues, dazzled by tiny scuba diver paper motifs, and stunned by images of nude models. New Photography 2012 is a gallery of several photographers who are taking photography in a brand new digital direction. One of the five artists in the collection, Michele Abeles, digitally superimposes patterns, colors and images onto the body of a nude male. While the first piece in the series does not even allude to the man behind the layers of her superimpositions, the installation gradually exposes parts of the subject, culminating in the unveiling of the man in his entire nude form. The use of photographs and computer imaging to overlap patterns, such as tiny scuba
DO IT BIG
Make a statement at the club, in the mall, at your mother’s house with big hair. Tina wears dress, Versace; shoes, Dior; scarf, Alexander Wang; legs, Dr yomomma; wig, I Love Hair.
divers, Chinese characters, and colors such as translucent pinks, yellows, and blues, heighten the sensory experience of Abeles’ works.
Guyton expresses the idea that while technology is created to produce consistency and precision, a faltering interaction still exists between art, people and machinery. The exhibit at the Whitney, entitled Wade Guyton OS, demonstrates Guyton’s technique for using print as an art form. While the exhibit at the MoMA celebrates the integration of art and technology, the display at the
Top Left: “Cut” by Anne Coller Bottom Left: Wade Guyton OS (Whitney Museum of American Art, New York, October 4, 2012 – January 13, 2013). Photograph by Ron Amstutz Right: “Progressive Substitution Drills” by Michele Abeles
a&e
Whitney celebrates the use of technology as a form of art. Guyton’s work is a series of canvases stained with printer ink, with the physical process by which he stains the canvases as the root of the artist’s work more than the finished product itself. First, Guyton types letters on Microsoft Word, often using the letters X and U, and then prints them onto a piece of canvas. As the printer is not equipped to work with non-paper materials, the printer jams, and Guyton must pull the canvas through the machine. This action creates the random smears and stains that characterize his art. The particular uses of the letters X and U in his work are an allusion and invocation, respectively. The X represents mass commercialization in popular culture, such as pornography, X-Men, the XFiles and Xbox, while the U acts as a call to the individual viewer. Guyton’s main purpose is to display the process of technology and its effect on art. Guyton expresses the idea that while technology is created to produce consistency and precision, a faltering interaction still exists between people and machinery. This new integration calls into question whether technology has a place in the art world. In some instances, technology helps to elevate art, giving it multidimensional properties and ne w modes of expression. On the other hand, it can detract from traditionalist views of art which necessitate the hand of the artist. Whether you consider technology in art a pro or con, it is worth your while to stop by the New Photography exhibit at the MoMA, on display until February 4, 2013, and Wade Guyton OS at the Whitney, on display until January 13, 2013. HOOT www.hootmag.org
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the icon
of all ages A Tribute to Audrey Hepburn’s Enduring Legacy
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WRITERS: REBECCA DECZYNSKI AND KIANI NED man Holiday (1953), Sabrina (1954), signer Hubert de Givenchy, who first DESIGN: My Fair Lady (1964), The Nun’s Story dressed her for her role as the shy GRACE KIM (1959), and of course, Breakfast at Tif- daughter of a chauffeur turned glam-
ust about every girl in New York—or more like every girl in the world—recognizes the image of Audrey Hepburn in a classic little black dress, pearls, dark sunglasses, and a perfectly coifed up-do, sipping coffee and nibbling on a pastry in front of the window display at Tiffany’s. Though Breakfast at Tiffany’s is over fifty years old, Hepburn is not just an actress of our parents’ generation, but of ours too. Born on May 4, 1929 in Brussels, Belgium, Hepburn spent much of her youth in Europe between Belgium, England, and the Netherlands. She studied at the Arnhem Conservatory in the Netherlands during World War II, and remained in Amsterdam to pursue her interest in dance after the war was over. Hepburn also danced in London, where she graced the stage as a chorus girl in productions such as High Button Shoes (1948) and Sauce Tartare (1949). In 1951, Hepburn made her first appearances in European cinema, and was finally introduced to American audiences in her Broadway performance of Gigi (1951). Her performance in Gigi prompted calls from Hollywood and she was soon starring on the big screen in classic American titles such as Ro-
fany’s (1961). Breakfast at Tiffany’s is set to take the Broadway stage this February in a play version of Truman Capote’s novel. The book was made into a musical in 1966, only to receive horrific reviews. Actress Emilia Clarke is set to play Holly Golightly. If there is anything certain about this upcoming production, it is that Clarke has some big stilettos to fill.
Hepburn always preferred Givenchy’s designs for her film roles, saying, “His are the only clothes in which I am myself.” Although Hepburn has been missed for 20 years, her impact on the world today is undeniable. Her spirit can be found everywhere, from her quotations on Facebook profiles and Tumblr pages, to the Holly Golightly posters sold outside of the Columbia gates. Hepburn is perhaps most noted as a fashion icon, standing apart from the crowd by favoring classic and puttogether looks. Her unrivaled elegance even drew the attention of French de-
orous heartbreaker in Sabrina. From then on, Hepburn always preferred the Frenchman’s designs for her film roles, saying, “His are the only clothes in which I am myself.” And thus, she bolstered the career of a notable designer and sparked the trend hordes of women strove to copy. Just as her character Princess Anne in Roman Holiday crops her long locks in an act of whimsy, so too do countless women opt for the pixie cut that Hepburn made famous. Even the style of pairing leggings with ballet flats can be connected back to Hepburn’s dance number in Funny Face (1957). In reference to Hepburn, fashion is seen as undeniably chic, elegant and clean-cut. Aside from being a fashion icon, and a truly talented actress both on stage and in film, she was also known as a humanitarian. Off-screen, Hepburn traveled the world as an advocate for UNICEF in the 1980s, visiting Asia, Africa and Central America in her efforts to raise awareness about the world’s malnourished children. After her death to colon cancer in 1993, she was awarded a special Academy Award for her humanitarian work, and her mission to help children lives through the Audrey Hepburn Children’s Fund founded by her sons Sean Ferrer and Luca Dotti in
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1994. Hepburn’s legacy has transcended time and generations. In January 2011, Margaret Cardillo published Just Being Audrey, a picture book biography of the legendary actress for children. Cardillo provides a treasure to be passed along to the next generation, preserving Hepburn’s life. Although Audrey Hepburn is considered an idol in the eyes of many, she probably would have disagreed. Her fame was not a priority. She once said that, “I never think of myself as an icon. What is in other people’s minds is not in my mind. I just do my thing.” However, Hepburn’s role as an icon is indisputable, as we continue to admire and remember her two decades after her death. Paramount to the films, fashions, and stories we have gained from Hepburn, her advice is perhaps the most poignant. The actress, mother and philanthropist certainly knew how to make the most out of life: “The most important thing is to enjoy your life— to be happy—it’s all that matters.”
Top: Audrey Hepburn in Breakfast at Tiffany’s . Left: The children’s book shows Audrey as a role model for young children. The cover, much like the book, captures Audrey’s undeniable grace and charm. (c) illustrations Julia Denos Right: Hepburn lives on as the embodiment of class and style. Tina Fey takes on the image of Holly Golightly, giving her an air of sophistication with Hepburn as her muse. Entertainment Weekly
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