Rouge Winter 2018

ROUGE

Winter 2019

Film Noir: Not Just Black and White

How Movement Transforms Clothing Winter Lookbook

2019

Winter Lookbook

Film Noir:

Not Just Black and White

Fashion into Film

Interview with Isabelle

Letter from the Editor

While couturiers are free to experiment with radical or frivolous concepts, costume designers must prioritize the character above the design. Though their purposes differ, both fashion and costume designers hope their creations spur reaction. While fashion designers target the consuming public, costumers present to an audience.

The current fashion climate echos the art world in its lust for the shock factor. In an industry dominated by the rapid release of new seasonal lines, fashion designers are constantly striving for the surprise, the never-seen-before, the reinvention of the new. However, whether in film or theatre, costume designers sculpt an impression about the character in service of the story - as a tool to relay information about a character’s personality, taste, or economic status.

Presenting a twist on the mid-century societal expectations of women, the femme fatale archetype, popularized by 1940s film noir, is a seductive and dangerous woman who frequently leads her lovers into fatal situations. While the femme fatal often appeared in the dresses and suits typical of the 1940s, she also dressed provocatively in peignoirs and other risqué garments. This particular wardrobe was unique to the femme fatale of the 1940s and assisted in signaling her true nature to the audience.

The images following this page and each article contain a movie quote from a variety of genres including film noir and neo-noir. I encourage you to consider the potential differences and similarities between fashion and costuming as you read this issue.

Annika Suderburg, Editor Input: Madeline Laun

ROUGE

1 How Movement Transforms Clothing On dance culture and how dance costumes have evolved 2 Featured Artist: Julian Prins Four paintings and a statement from artist, Julian Prins

3 Fashion into Film The relationship between the fashion and film industries

5 Behind the Scenes A look into Maggie O’Hagan’s artistic process

4 Interview An interview and film noir photoshoot with Isabelle Abboud

6 Winter Wonderland Select styles for the wintertime 7 Not Just Black and White Iconic film noir at a glance

You better be sure you want to

o know what you want to know.

Fashion & Dance How Movement Transforms Clothing

By Deena Martin

Both timeless forms of artistic expression, fashion and dance have long been paired together to create moving human masterpieces. While fashion barriers are constantly being broken down, some dancers dare to set the bar even higher. Throughout the years, fashion trends have materialized from the turbu-

ginnings of their fight for suffrage, women of the Beautiful Era emphasized their femininity.

Women abandoned the extra layers and traded them for thinner materials made for movement. These outfits displayed their curves, a

Deena (far left) in the La Salle Dance Concert

lent social movements that construct our modern world. The line between editorial fashion, street fashion, and dance culture thins as both male and female pioneers of every decade merge the three to create new platforms of expression.

Many remarkable firsts of America’s history occurred in the first decades of the 1900s, such as the first Rose Bowl, Cuban independence, the opening of the Louisiana Purchase Exposition, and the San Francisco earthquake.

Alongside these prominent social events, fashion began to transition from the frills and furbelows of the 1800s to a minimalistic look for practicality. While developing the humble be-

The Charleston Dance

outrageous concept for the time that accentuated the culture shock of this decade. Men of the 1910s also enjoyed more practical fashion, opting for suits of lighter fabric and detachable collars.

The Roaring Twenties saw the emergence of the Flapper Girl along with women’s right to vote, the first Miss America pageant, and the Wall Street Crash of 1929. In parallel with women’s effort to make their economic and social mark, their fashion choices made an equally fierce impression. The Jazz Age fully embodied women’s social cry for freedom and expressed their newfound femininity. Women’s frocks were sleeveless, with an exposed back and a typically shorter

pulled from all past eras to develop the costume types we see today. Through the development of numerous dance styles, the costume opportunities are endless. Dance costumes now serve as components of a performance, story, and expression completely available at the artist’s disposal.

The Jitterbug was popular in the 1930s and 1940s

skirt. Coco Chanel, a newcomer to the fashion world at the time, introduced affordable glam through her creation of faux jewelry. Towards the 1930s, the famous economic fall introduced pressed pleats, bush shirts, and newsboy caps to men’s fashion. The postwar optimism faded with the stock market crash, as well as the shortlived glamorous street style of the Jazz Age.

Due to World War II during the 1940s, the 1950s and 1960s provided a complete revival of editorial fashion, street fashion, and dance culture. Women drew much inspiration from Christian Dior’s The New Look with extreme emphasis on accentuating curves, an interesting flashback to the corsets of the late 1800s.

Women’s street fashion was labeled retro to fit with the music interest of young adults at the time, such as the Beatles. Men’s fashion was split into athleisure (in accordance with the traveling boom), slim fit suits and ties (for those following the retro trends) and greaser fashion (created from the postwar state of emotional complacency). Dance culture, on the other hand, experienced a reversion back to traditional ballet, specifically that of England. Since this revival, dance styles have built upon ballet to develop various styles of hip-hop, rock, latin, and disco.

As fashion trends continued to develop into various styles of casual, dance culture

Top: Jenn Logan (left) and Ashleigh Doede (right) Bottom: Tiler Peck, principal dancer at the New York City Ballet

From where I sat it looked as some irreg

though you were conjugating gular verbs.

Featured Artist: Julian Prins My artwork portrays many aspects of my life. Growing up, my two older brothers and I could all draw fairly well due to our parents both being very creative: my mom has always been a jewelry maker and my dad was an artist when he was younger. However, I was the one son that I think enjoyed drawing the most and stuck with it. I was fortunate enough to be able to continue art in a more advanced school environment. In the art classroom, I have always been a very composed person, but I love to bend the rules and go against the guidelines of an assignment. I do what I feel to be fun a lot of the time, which makes it so much more exciting and the outcome even better, and it ends up usually working out for me.

I never paint to spur reaction, to communicate or get any sort of validation. I never try to define what art is supposed to do or what it is all about. I want to show what I can do because I genuinely love to do it. For me, art being second nature has really influenced me to Mirrored Self-Portrait with purple nail appreciate and love the process; I find enjoyment in painting in my room to good music. The range of choices of techniques to be loose or meticulous is the ultimate dream. When I finish a piece I either save it or gift it. I have always been one to make others happy with the talent I am so appreciative of because that is what it is all about. I hope my art can be remembered through the people that enjoy it and I hope they get to know who I am and my life through each piece.

Tio Manuel

The Bridge on 1st Street

Tuesday’s Breakfast

That’s life. Whichever way yo to trip

ou turn, life sticks out a foot p you.

Fashion into Film

By Galilea Garcia

There is definitely a correlation between the fash- wait another twenty-two years before Parisian fashion ion and film industry, but both exploit the benefits the visited them again in the form of the original brand amother industry provides them with. The first recognized bassadors, Audrey Hepburn and Hubert de Givenchy. collaboration between film and couture was the contract Unlike Chanel, whose costumes were washed out on between film company, MGM and Parisian designer, the big screen, Givenchy’s designs were everything an auCoco Chanel. In depression-era Hollywood, the directors dience expected to see. His costumes for Hepburn left an of MGM thought movies would attract larger crowds if impression that has survived countless eras in both the they were glamorous. film and fashion Sam Goldwyn, the world. Though not founder of MGM, all may remember surmised that Chanel the plot behind would give his stars Breakfast at Tiffathis glamour both on ny’s, most everyone and off the screen. knows the iconic Chanel’s arrival in Los Audrey Hepburn Angeles convinced outfit from that denizens they were film, a black dress the new fashion cenand white pearls. ter of the world. In Still, the most enreality, Chanel was during aspect of the elegance Goldwyn their relationship thought he could buy was the relationship from Paris. Unforitself. This was the tunately, it was soon first time an actress revealed that being a refused all other defashion designer and signers and swore a costume designer only to be dressed were very different.

by Givenchy. Their Chanel was too mefriendship became ticulous and at one the standard to folpoint insisted her aclow by other film tresses wear a different stars who wantdress for every scene. ed to influence an The costume designaudience the way Audrey Hepburn with Givenchy er assigned to help Hepburn did. Unher tried to explain that there was no room for subtle- fortunately, not many film stars have been able to retain ty in film. In movies, clothes were made to enhance the a relationship with a designer as his or her muse for long. actor’s character, not the other way around. Ultimately, Actors tend to swear by one designer for a single season bethe media ruled the attempt to make Hollywood more fore quickly moving on to a different brand when offered a elegant unsuccessful because Chanel abhorred eccentrici- better deal. In a culture where fashion is regarded as one of ty. The most dignified Chanel was not showy enough on the most important aspect of life, this constant movement screen for the American audience. In the words of The towards new brands and designers is necessary to stay relNew Yorker, she made a lady look like lady. Hollywood wants evant. Film stars are now forced to compete with a plethoa lady to look like two ladies. Hollywood would have to ra of smaller celebrities and influencers. A generation ago,

film and fashion enjoyed a relationship so intertwined it drove garment makers to rush production of the newest costumes in movies. This frenzy to dress in streetwear adaptations of film costume was especially prevalent in the 1970s and 80s. The Depression-era glamour girl in Bonnie

tumes for Carrie Bradshaw and her style-besotted pals in Sex and the City famously sparked a run on Manolo Blahnik stilettos. Headbands, blazers, and mini-kilts were instantly back in fashion when worn by the private school members of Gossip Girl. With the influx of TV shows, it appears that film as a driving force of fashion has begun to fade. The creative director of Barney’s New York, Simon Doonan, believes it is very rare to find real fashion or anything with a significant impact on the fashion world in movies. The influence that film wields now is

Faye Dunaway in Bonnie and Clyde and Clyde (1967), portrayed by Faye Dunaway, spawned a raft of slinky midi-skirts, twin sets and jaunty berets like those that lent her character a vixenish appeal. Diane Keaton’s tomboy regalia in Annie Hall (1977) prompted legions of fans to adopt Ms. Keaton’s signature tweeds, khaki trousers and slouchy fedoras. In his white disco suit and open-to-the-navel black shirt in Saturday Night Fever (1977), John Travolta inspired scores of would-be hipsters to scour stores across the country for copies of his sexy bare-chested look. In contemporary times, this relationship between film and fashion has been steadily winding down. Influencers of fashion now range from music artists to models on social media. Film stars no longer have a monopoly on being the only named arbiters of taste.

In the past decade, the once unchallenged role of movies in shaping public taste in fashion has been largely usurped by television and the concert stage. The cos-

Gossip Girl only an impression. For example, Marc Jacobs acknowledged Marie Antoinette and the director, his friend, Sofia Coppola. But the feeling of that giddy costume extravaganza came through only in an airy cream and ivory palette. Despite the film’s waning influence on fashion, it will forever create an intimacy with the viewer’s gaze.

A dream is neve

er just a dream.

I s a b e l l e A b b o u d

Interview with Isabelle On Big Bear, balance, and Bruce Lee Makeup by Gabriela Rizzi Photographed by Nikolai Garcia

How does your Senior year compare to how you thought it would be?

Everyone told me senior year would be the easiest year but that was the biggest lie I’ve ever been told. So far, the combination of college applications and school has absolutely drained my friends and me. But now that I’m done with my apps it has gotten easier. Hopefully, second semester will be more relaxed and everyone will enjoy every moment of it.

If you could travel anywhere, where would you go and why?

Lebanon because my parents were born there and I would like to see where they grew up.

I also have some family out there, and I’d just like to learn more about my culture.

If you had a completely free day where would you spend it?

In the summer, I would take a little trip down to Huntington beach. If it was the winter, I would drive up to Big Bear.

Have any activities you’ve done in high school been particularly meaningful to you?

For sure cheer. Before coming to La Salle, I was extremely shy, so cheer was a completely new experience for me. It taught me how to be loud and confident in myself.

Netflix or movie theater?

Netflix for sure. Movie theaters are lowkey grimy. Also, on Netflix I can turn the movie on and off whenever I want.

do a face mask and watch Netflix or just listen to music and draw (even though I’m awful at drawing). Overall, people should just do the activities they enjoy to unwind.

School and balancing activities or college What are some of your favorite movies? apps can be a very stressful time for people. Cat in the Hat. Honestly, I love so many movies and that’s the first one I thought about. Every time I watch this movie I become instantly happy.

You mentioned you did gymnastics. How did gymnastics affect you

Do you have any advice for how to manage this? How do you unwind or relax?

Honestly, start everything as soon as possible! I started writing my college essays in July. Also, I had a college coach and she helped me organize everything. There are many ways to unwind or relax and it’s different for everyone. Sometimes I’ll go for a run or hangout with my friends but once in awhile I’m too lazy. Instead, I’ll

and your high school experience?

Gymnastics was very all-consuming. I practiced about 20 hours a week and had competitions every now and then. I didn’t do gymnastics my freshman year or the beginning of my sophomore year due to an injury, but when I went back, I had so much fun. Surprisingly, gymnastics never got in the way of school. The sport actually taught me how to manage my time and always get my work done when it was due.

Where is your favorite place to be?

Anywhere outside with my friends.

with my best friend and my family. I’m really excited and can’t wait to visit family out there that I’ve never met in person.

Do you have any plans after graduation?

Other than college, not really. But over the summer I’m planning to go to Lebanon

Fire, Earth, Air, or Water and why?

Water because Bruce Lee.

When your head says one thing and yo always

our whole life says another, your head s loses.

Behind the Scenes: The Artistic Process

By Maggie O’Hagan

3.

In this layer, I began playing with greens and complementing red tones, but it felt off.

2.

For the second step, we have the first layer of paint. This is 1. Every painting starts with the most terrifying layer as I, the a sketch. It is the first step in painter, never really know where anything, the rough outline, the beginning. In this narrative, I will to begin or what color scheme to explain the steps of painting from use. This is where I wing it! my point of view as an artist.

5.

4.

Finally, this painting clicked. I decided to go wild with red tones and dive into the face. However, it still just didn’t feel right and I needed to start on the hair, background, and shirt.

This was the all-time low point of this painting. I had been having a terrible day, and in a fit of anger I blurred over everything I had worked so hard on. I feel this small phase and outburst really represents how much I use painting as an outlet of mine.

6.

As I started to calm down, I kept persevering. I’m not sure if you can tell as the viewer, but this painting was actually made during a very difficult month of my life; I had lots of problems going on. I feel that this phase of the painting encapsulates the sadness I was feeling, as the girl in the painting looks very melancholy and distracted.

8.

7.

Here I started to regain my composure and paint seriously. I was finally pleased with the arm, nose, and mouth but the eyes were wrong! No matter many layers I applied, I just felt they weren’t mine. As this was a self-portrait, I struggled a lot with the windows to my soul concept.

This final change happened in one class. That last day I was feeling sense of entrapment in prisoner’s chains from most of my challenges going on separately. That one class period, I completely tuned everything else out by listening to music. Looking back, I’m still not satisfied or happy with how it turned out. I personally think the face shape and eyes are not as good as they could be. However, I am proud of how much I learned from this process and how much I was able to dive in and fix mistakes. If I could, I would go back to how it looked halfway through, but I know I can’t. I think that’s one of the biggest things I’ve learned from art: it’s okay to mess up and not be happy at times, especially if you use these down-in-the-dumps moments and grow from them. As Ellen Slatkin once said, Art is the best thing to help you through life.

Only one is a wanderer; two toget

ther are always going somewhere.

Winter Lookbook 2019

By Sophie Chiara & Lauren Tapert

This lookbook is for you to interpret. By adding in a different skirt, jacket, or scarf to each outfit, you can fully personalize and dress the look up or down. Depending on where you’re going that day or how you’re feeling, the look will change and these fits allow that. From simple tees to classic skirts, this lookbook gives a range of options for this winter season. Simply adding in pieces from your own wardrobe will ultimately create the look you want. If you don’t own these pieces, try thrift stores or any clean-lined brands like Cotton On or Brandy Melville. These looks were created from our personal wardrobes and are constantly changing with our moods. We aren’t afraid of trying new things or adding in bold accessories to any look, and neither should you!

Strictly Business

Dipped in Blue

Cherry on Top

Dressed to Kill

Take Me to Aspen

All the Rage

Sometimes it’s worse t

to stay than it is to run.

Film Noir: Not Just Black and White

By Lilly Sayenga

Can film have flesh and blood? Some would say no, that film is simply a sequence of pictures that tell a story. But what about those stories? What can we learn about society’s past based off of the movies created during a given era?

Enter film noir, a film genre popular in 1940s and ‘50s that features dark, fatalistic themes and cynical leading ladies, some of whom are more evil than their male counterparts. Noir movies explored and defied societal and gender expectations in an era when everyone had a mold made for them. Women were expected to be pure and submissive housewives whose primary role was to Lady In The Lake - Audrey Totter and Robert Montgomerey (1946) directed by serve their husbands and raise the children. Men were given Robert Montgomerey- from a Raymond Chandler Book by the same name the upper hand in just about everything, but were also expected to conform to a strict set of social rules- how to look, how to act, what career to go into, etcetera. The tens of millions of soldiers who fought in World War II were told to forget the terrible things they had seen and done.

Film noir, French for dark film, challenged these customs by creating a malevolent and pessimistic world of rain-slick city streets filled with tough anti-heroes and dangerous women. The men wore trench coats and fedoras; the women wore wide-shouldered suits, spiked heels, and icy expressions. Male or female, they all had questionable motives, shady pasts, and off-kilter moral compasses. Often a cold, ominous voiceover – the voice of the protagonist – led viewers through a violent new world of sex, scandal, crime, and heartbreak. This put the greed and perversions that mainstream American society desperately wished to shove into a corner and run away from onto film. In the great noir stories – The Maltese Falcon, Double Indemnity, This Gun for Hire, The Big Sleep, Out of the Past – we see the truths of life and the darker layers of the human experience. A cyclical pattern of cynicism and fatalism, buried under a seemingly unattainable de- The Big Sleep (1946) directed by Howard sire for happiness and vitality, offers viewers a deeper exploration Hawks- Humprhrey Bogart and Lauren Bacall into the realities of the American Dream.

My personal experience with film noir is rooted mainly in my parents, both of whom are old film fanatics. As a young child, I often fell asleep next to my mom and our television, which was always playing one of her five favorite films on repeat: The Ghost and Mrs. Muir, Rebecca, Sabrina, Auntie Mame, and Laura. These five films shaped me into the person I am today- but the only one qualifiable as noir would be Laura. My little eyes watched in awe as the winding tale of the murder of Laura Hunt was slowly unveiled. The film is instantly recognizable as noir.

Firstly, its plot, a tough-as-nails homicide detective investigates the murder of a beautiful woman and gets more than he bargained for. Secondly, the film style itself: shot in black-and-white with hard, crisp shadows, every exterior shot set at night, and with off-kilter framing that suggests something is wrong with the world. This style has its roots in German Expressionism, so it’s not surprising that great film noir directors like Billy Wilder, Fritz Lang, and Otto Preminger were all refugees who fled Nazi Germany Gene Tierney and Dana Andrews in Laura- Directed by for Hollywood.

Otto Preminger 1944

Echoes of the struggle against fascism lurk in every dark corner of film noir: the femme fatale who beguiles a man into committing murder, the respectable businessman who’s running a secret criminal empire, the chump who walks blindly into a deathtrap, and the cynical detective who finds the only way to survive is to adhere to his own private moral code. These are all metaphors draped in glamorous dresses and pinstriped suits.

So how did these filmmakers and actors turn all of that into great entertainment? They focused on strong, complicated characters and raw human emotion.

You don’t have to know or care about history to enjoy seeing private eye Sam Spade outwit the clever murderers and dumb Barbara Stanwyck playing the Femme Fatale in Billy Wilder’s classic cops in The Maltese Falcon, or to feel pity 1944 film, Double Indemnity for the doomed screenwriter who narrates Sunset Boulevard. These characters, with all their flaws, are people we can relate to, and their journey through the shadowy world of film noir is not so different from our own.

That’

’s all.

Contributors

Cover Look Makeup by Gabriela Rizzi Modeled by Isabelle Abboud Photographed by Nikolai Garcia Noir-Inspired Shoot Makeup by Daniella Gersh and Gabriela Rizzi Modeled by Jamila Jelks, Kimberly Marquez, Kate Mena, and Sophie Todd Photographed by Madeline Laun and Ivané Peña

Quotes

You better be sure you want to know what you want to know. (Brick, 2005) From where I sat it looked as though you were conjugating some irregular verbs. (To Catch a Thief, 1955) That’s life. Whichever way you turn, life sticks out a foot to trip you. (Detour, 1945) No dream is ever just a dream. (Eyes Wide Shut, 1999) When your head says one thing and your whole life says another, your head always loses. (Key Largo, 1948) Only one is a wanderer. Two together are always going somewhere. (Vertigo, 1958) Sometimes it’s worse to stay than it is to run. (Rear Window, 1954) That’s all. (The Devil Wears Prada, 2006)

Sources Cited Fashion and Dance: How Movement Transforms Clothing

By Deena Martin “America’s Best History Timeline.” U.S. Timeline, 1960-1969 - America’s Best History, Americasbesthistory.com, 2018, americasbesthistory.com/abhtimeline.html.

Stevie McGLinchey. “History of Womens Fashion -1900 to 1969.” Glamourdaze, 16 Sept. 2012, glamourdaze.com/history-of-womens-fashion#belle-epoch-fashion.

“20th Century Dance.” Early Dance Circle, Early Dance Circle, 2017, www.earlydancecircle.co.uk/resources/dance-through-history/20th-century-dance/.

“100 Years of Men’s Fashion.” Ties.com, The GentleManual, 27 Sept. 2017, 2018, www.ties.com/blog/100-years-of-mens-fashion.

Browar, Ken, and Deborah Ory. “Tiler Peck in Light Blue Dress.” NYC Dance Project, NYC Dance Project, 2016, www.nycdanceproject.com/#/tiler-peck/.

Historical. “Jitterbugging in a Juke Joint on Saturday Night.” Gettyimages, CORBIS/Corbis, 1 Jan. 1900, www.gettyimages.com/detail/news-photo/jitterbugging-in-a-juke-joint-on-saturday-night news-photo/615301550.

Hulton, Deutsch. “Bee Jackson, World Champion Charleston Dancer.” Gettyimages, Hulton-Deutsch Collection/CORBIS/Corbis, 1 Jan. 1920, www.gettyimages.com/detail/news-photo/bee-jackson-the-world-champion-of-the-1920s-dance-craze-the-news-photo/613458236.

Wight, Keira. “043017SpringDance-2059.” Flickr, K.R. Photography, 30 Apr. 2017, www.flickr.com/photos/84616515@N04/33693861724/in/album-72157680390288954/.

Wight, Keira. “043017SpringDance-1722.” Flickr, K.R. Photography, 30 Apr. 2017, www.flickr.com/photos/84616515@N04/34406353411/in/album-72157680390288954/.

Film Noir: Not Just Black and White

By Lilly Sayenga “Photograph from The Big Sleep (1946).” Film Noir, PB Works , 2007, uffilmanalysisfive.pbworks.com/w/page/7284493/Film%20Noir%20 %28click%20on%20this%20link%20to%20view%20discussion%20of%20the%20following%20films%29.

James, Bryan, and Michael Hadley. “Dana Andrews, as Detective Mark McPherson, Interrogates Gene Tierney as Laura in Laura (1944).” Classic Films Reloaded, Classic Films Reloaded, www.classicfilmsreloaded.com/laura/.

Greene, Brian. “Still from Lady In The Lake (1947).” Criminal Element, 15 Dec. 2016, www.criminalelement.com/another-kind-of-christmas-movie-ladyin-the-lake-1947/.

Seitz, John F. “Double Indemnity Still.” Film Studies, 2011, zaralimedia.weebly.com/double-indemnity.html.

Fashion into Film By: Galilea Garcia WWD, Kristen Tauer |. “‘Fashion in Film’ Explores the Relationship between Fashion and Entertainment.” Los Angeles Times, Los Angeles Times, 8 Oct. 2016, www.latimes.com/fashion/la-ig-style-fashion-film-costume-design-20161007-snap-story.html.

Weale, Sally. “Fashion Went to the Movies - and Took Them over: Archive, 1 November 1997.” The Guardian, Guardian News and Media, 1 Nov. 2017, www.theguardian.com/fashion/2017/nov/01/fashion-movies-film-archive-1997.

“Film, and Fashion.”. “Film and Fashion.” The Columbia Encyclopedia, 6th Ed, Encyclopedia.com, 2018, www.encyclopedia.com/fashion/encyclopedias-almanacs-transcripts-and-maps/film-and-fashion.

“Exploring the Relationship Between Film and the Fashion Industry.” The Cinematic Katzenjammer, 29 Sept. 2014, cinekatz.com/2014/09/29/exploring-the-relationship-between-film-and-the-fashion-industry/.

Laneri, Raquel. “How Movies Changed the Way We Dress.” New York Post, New York Post, 26 Feb. 2017, nypost.com/2017/02/24/how-movies-changedthe-way-we-dress/.

Administrator. “The Impact of Fashion on Films.” Hiras Fashion Style Journal, Nov. 2011, www.hiras.com/blog/2011/11/the-impact-of-fashion-on-films/.

Ferla, Ruth La. “Film’s Influence on Fashion Wanes.” The New York Times, The New York Times, 3 Mar. 2010, www.nytimes.com/2010/03/04/fashion/04COSTUME.html.

“LUSCIOUS AT THE MOVIES: Bonnie and Clyde.” Luscious: MyLusciousLife.com, 9 Dec. 2013, www.mylusciouslife.com/luscious-movies-bonnie-clyde/.

“Film Forum · ANNIE HALL.” Film Forum, filmforum.org/film/annie-hall-film.

Friedman, Vanessa. “Givenchy and Hepburn: The Original Brand Ambassadors.” The New York Times, The New York Times, 13 Mar. 2018, www.nytimes. com/2018/03/13/fashion/hubert-de-givenchy-audrey-hepburn-designer-muse.html.

Winter 2019 Contributors Isabelle Abboud, Sophie Chiara, Galilea Garcia, Nikolai Garcia, Daniella Gersh, Jamila Jelks, Madeline Laun, Kimberly Marquez, Deena Martin, Kate Mena, Maggie O’Hagan, Ivané Peña, Julian Prins, Gabriela Rizzi, Lilly Sayenga, Annika Suderburg, Lauren Tapert, and Sophie Todd

ROUGE Winter 2018