spring / summer 2019
contributors Honor Barber Auden Barbour Sara Bellan Miarosa Ciallela Rae Edmunds Joslyn Evans India Halsted Sahil Hegde Eliza Jouin Isabella Lajara Margaret Maguire Ginger Mayo Jocelyn Molina Franziska Nace Sabine Ostinvil Anna Rekow Delia Tager Mackenzi Turgeon Caroline Wallis
additional thanks to Beauty Deconstructed Bonne Suits Charmed Fringe Chromat Edas Jewels Fluide Heimat Atlantica Magnetic Midnight Nicole SaldaĂąa Rowing Blazers
hooties Anastasia Ahani Tolu Akinyede Honor Barber Morgan Becker Louisa Berti Emily Blake Tracy Chen Posey Cohen Sophia DeLaney Blythe Drucker Rae Edmunds Thompson Eldredge Olivia English Sarah Hilligoss Colette Juran Avery Kim June Kitahara Maggie Krassner Kelley Kwong Courtney Lyons Louisa Mascuch Yuki Mitsuda Franziska Nace Antigone Ntagkounakis Emma Owens Arielle Shternfeld Delia Tager Tyrese Thomas Taya Voronko Elle Wolfley
masthead Editor-in-Chief Carolina Dalia Gonzalez Logistics Director Emily Mahan Fashion Director Miarosa Ciallella Photo Director Emily Kimura Market Director Paloma Raines Layout Director Mallory Evans PR Director Layla Alexander Blog Director Olivia Baker Features Director Darinelle Merced-Calderon Copy Director Maddy Aubey Holler Managing Director Ally Lozada
Follow Hoot on Instagram @hootmag Like Hoot Magazine on Facebook For more from Hoot Magazine, visit hootmag.com/blog Find past issues of Hoot at issuu.com/hootmag Email the editors at hootmag@barnard.edu
letter from the editor Happy 10th Birthday, Hoot! I am so incredibly excited to close out a collaborative, diverse, and disruptive decade of Hoot Magazine at Columbia. To think this little magazine started out with an idea and an editorial team in Fall 2009. Now for the past ten years, Hoot has been hosting a platform for students to explore their creativity through original editorial shoots and dynamic feature pieces. We have cultivated a community of writers, photographers, models, creative directors, make-up artists, and stylists who have all worked together to tell narratives overlooked or ignored by the world we walk in. We have involved the greater community of New York City through showcasing numerous innovative designers within the fashion industry such as Bode, Rowing Blazers, Outdoor Voices, and Susan Alexandra just to name a few. With any publication, there is so much more room for Hoot to grow in the years to come. As the last Editor In Chief - Anisa Tavangar - passed down her role to me, she made sure to highlight Hoot’s unlimited malleability. My time with Hoot has not only showed me the power of a malleable medium, but has also introduced me to the importance of community and collaboration. The Editorial Board and the contributors who worked tirelessly on each issue have exhibited another level of dedication to art and diversity. I have learned that it is through collective creativity where we can reach fresh and groundbreaking work. In light of our ten year celebration, the Editorial Board and I decided to play on the word “decade” and chose Decadence as our theme for the Spring/Summer 2019 issue. After 10 years of producing a variety of content, this semester we set out to encompass the thoughts and feelings that Decadence can be. As you flip through the pages of this issue, each shoot we have chosen adds a different narrative to Decadence. Our feature pieces critically reflect on the definition that Decadence in fashion may hold. As a writer, editor, creative director, and all the many other hats I have worn throughout this position, I am beyond touched that I get to leave Hoot with this final issue. It truly captures my own personal mission of accessibility, inclusion, and representation. It is a beautiful issue that perfectly closes out not only ten years, but the current Editorial Board’s goals. As some of us say farewell to the publication and this campus, the fabric of Hoot will forever be stitched into our Columbia identity. It has been an honor, an inspiration, and a privilege to be a part of this magazine. I am so excited to watch Hoot’s growth in the coming years as well as usher in a new Editorial Board. As always, thank you for your love and support. I hope that you, our reader, will continue to support our magazine in the decades to come.
Carolina Dalia Gonzalez
amusement
directors/photographers Eliza Jouin, Margaret Maguire hair/makeup Isabella Lajara, Jocelyn Molina - Beauty Deconstructed models Ider Bayar, Gillian Berkowitz, Naomi Chang, Eli Duncan, Cecelia Morrow, Darrion Vinson clothing Bonne Suits
writer & illustrator Delia Tager
noise complaint director/stylist Honor Barber photographer Anna Rekow makeup Sara Bellan assistant Miarosa Ciallella models Bella Barnes, Hiba El Hababi, Maddy Tipp, Rose Sciortino
these boots were made for fashionable* walking writer Isabella Lajara
One of my mom’s favorite stories from my childhood is me in the bathroom of a mall. I was three and had turned to an older woman and had said, “girl, I love your shoes”. Other stories include me at my window head bent praying to God for a “little zebra print skirt,” and the time I cried because I had to throw my rainbow converse away because I had wore them down to the sole. There were the pink cowgirl boots that I wore to church, my sparkly red shoes inspired by Dorothy à laThe Wizard of Oz that I wore to every parent teacher conference to “leave a good impression.” When I wasn’t styling myself I was styling my younger brother. In family photos you will find him in my church cowgirl boots, striped shirt, and a jauntily placed hat as the final pièce de résistance. When he was an unwilling model, I turned to my Bratz dolls, their millions of accessories, heavily made up faces and cute hairstyles became my muses, so I would create little outfits for the dolls out of scrap fabrics. Eventually this turned into me making clothes for myself and I applied to the High School of Fashion Industries, a fashion school in Chelsea, Manhattan, and majored in Fashion Design. I was able to surround myself completely with fashion. As each year progressed, my access to fashion classes, professors and internships progressed. While during my freshman year I only spent one class period learning how to design sketches online, senior year I would spend three periods in fashion construction, a fashion merchandising course and preparation for the senior fashion show, a sort of thesis presentation of designs we had been working on all year. And while I loved fashion and the ability to express myself in a less vocal way, focusing more on how others would perceive who I am solely through appearance––without me first having to stop and explain who I am and what I’m about, instead allowing my sense of style to do the talking for me––I felt like there was more that I wanted to do than just fashion. I realized that while I loved design I did not want to have a career as a fashion designer. While interning for a bridal designer and the former designer for the US Olympics was extremely informative, beneficial, and a once in a lifetime opportunity, I realized that I wasn’t suited for a career in fashion. The work started to be less enjoyable and more about how to profit, and while I believe that being able to capitalize off of your talents is amazing, it did not bring me the same joy that designing outfits for my Bratz dolls did. At this point I had fallen in love with writing and had been accepted into Columbia where I thought I would pursue different aspirations. While at Columbia I’ve been able to explore my other interests but something always brings me back to fashion. I think it’s the fact that I’ve never stopped loving fashion, just stopped loving try to profit off of it. I’ve modeled for my designer friends, interned at Emily Ratajkowski’s swimwear company, and been featured in Hoot as both a model and a make up artist. Maybe it’s the child in me who felt most herself when wearing a cheetah print jacket with a princess dress and cowboy boots (an outfit I would still wear), but my love for fashion will never die. I may not dream of being the Latina Anna Wintour anymore, but maybe I can still be the kid who gets emotional over rainbow sneakers.
three graces director Paloma Raines photographer India Halsted models Helena Brijbasi, Yisel Garcia, Kaili Meier
stylists Ginger Mayo, Paloma Raines clothing/accessories Charmed Fringe, Heimat Atlantica, Nicole SaldaĂąa
cogitare director Carolina Dalia Gonzalez
stylist Miarosa Ciallella photographer Auden Barbour assistant Delia Tager, Rae Edmunds models Emily Huntsman, Idris O’Neill makeup Fluide
clothing Magnetic Midnight, Rowing Blazers
primary director Maddy Aubey photographer Caroline Wallis makeup Mackenzi Turgeon - Beauty Deconstructed hair Joslyn Evans
stylist Morgan Becker
assistant Sahil Hegde models Layla Alexander, Mackenzi Turgeon, Jasmine Sabadosa clothing Chromat
nature’s palette
director, photographer, stylist Sabine Ostinvil makeup Mackenzi Turgeon - Beauty Deconstructed models Bryn Evans, Joslyn Evans, Wilaynes GonzĂĄlez, Mame-Diarra Seck, Lola Williams
ghost clothing
writer Franziska Nace
The coat that Mallory purchased from the thrift store had a ghost in it. It hadn’t been surprising, honestly.The coat had been a little too heavy when she’d tried it on, like there were thoughts sewn into the lining. When she moved in it, the layers of fabric ruffled against each other like whisperings. It looked exactly like a coat Mallory had had as a little kid, or that she had always wanted as a little kid. “Oh Mall,” her roommate Sophie had said when she told her. “This is ridiculous.You said the same thing when your stove light was flickering. And whenever your wifi cuts out.” Sophie would never be a ghost. She had too many things to say. She also took up too much space— not literally, but in the sense that she belonged to a book club, and a gym, and went out with different friends every weekend.To become a ghost, you have to be uncertain.You have to be half- faded away already. “You’re probably right,” Mallory said. She felt the coat tighten imperceptibly across her chest, like a spectrous hug, an affirmation that some things were best left private, and interior. Mallory was sure, somehow, that her coat-ghost had been the same age as her. And had maybe liked some of the same things. When she got home that night, and accidentally dribbled a little bit of ice cream on the coat, it absorbed surprisingly fast, as if the ghost was excited about the flavor. Mallory thought about how, when people saw ghosts, it was always the clothes they were wearing that stood out as the most important thing.The eidolon of a woman in a victorian dress, the overalls of a vaporous former railway worker, the satiny bow of a tiny, large-eyed girl. You wondered why ghosts even needed clothes at all where they were going. It struck her that maybe the ghost clinging to her jacket was just waiting for its ghost clothes. Mallory opened up the sewing kit Sophie had got her when they both moved to the city together. “It’s like, an adult thing,” Sophie had said. “Since we’re adults now.” Mallory had never hemmed or altered a single piece of clothing in her newly adult life. It had always felt pointless, somehow, like no one would notice it anyway. It turns out that it’s not that hard to work with ghost thread.You think of something lonely, and far away, and unknown— like a cloud, or the bed you always slept in at your grandmother’s house. It’s easier if you have thoughts like that already tossing around inside your head like evanescent marbles. When Mallory finished sewing the ghost-coat, she felt her coat-ghost depart from her shoulders, like a sigh, or a hiccup. For a split second, it felt like she saw a shade of it misting in the air. An all-too-familiar face shrugged into the coat, smiling invisibly, as if she were fully tangible for the first time.