EMPOWERMENT A note from the Marist Fashion Program Who will a student become? A great fashion designer? A legendary merchant? The developer of a remarkable new product, service or idea? It is a privilege to assist our students along their journey to personal and professional success. The goal of the Fashion Program’s team of instructors is to encourage creativity in all forms of design, product development, business and…thought. We acknowledge that ambiguity, struggle, and indecision are necessary components of this process. In fact, we celebrate these things, because students discover what they are capable of by learning to endure them. Here at Marist, an environment that truly supports empowerment, education is about the people and possibilities. All of our students prosper as a result of having honed their critical thinking and problem solving skills through intensive liberal arts study. In the Fashion Program, they also have the opportunity to interact with industry veterans and rising stars, intern with top companies, and learn to fearlessly test their own boundaries. That’s the pleasure of being an educator—a witness to an indescribably wonderful process of evolution. This magazine is dedicated to our students —our designers, our wizards of logistics, our remarkable organizers, our networkers, our brilliant promoters, our writers, our perfectionists, our visionaries. It’s been the pleasure of the entire Fashion Program faculty to know them, and an honor to introduce their work in this edition of the Marist Fashion magazine. Sincerely, Program Faculty and Staff: JARED ASWEGAN, JENNIFER BELTON, PETER BRICKMAN, IRENE BUCCIERI, SUZANNE CHIKA, RADLEY CRAMER, JENNIFER FINN, MELISSA HALVORSON, JODI HARTMANN, ELLIE HEINZINGER, DAVID HEINZINGER, GRETCHEN HIRSCH, GWENNO JAMES, MICHAEL JOHNSON, RICHARD KRAMER, JOHN MINCARELLI, JAMIE PERILLO, SONIA ROY, GLENN TUNSTULL & JULIE TURPIN 1
MARIST FASHION 2015
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katelyn SALIERNO
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NYFW
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BREATHE IN, BREATHE OUT
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maria CATALANO
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victoria SCHERMERHORN
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BEHIND THE SCENES
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THE BESPOKE MAN
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megan BRADY
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natalie PALTER
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deanna PROSKE
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abigail TAYLOR
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GLOBAL STREET TREND
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elisa MORALES
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kira MELENDEZ
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audrey MAYSEK
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jill HUB
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brianna SHERLOCK
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BETWEEN THE LINES
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TAILORED WOOLENS
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kevin CROWLEY
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CHECKERED PAST
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THE STORYTELLERS
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deanna WALTERS
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sarah GAYDA
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BEHIND THE SCENES
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MIS EN PLACE
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colette CUNNINGHAM
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CRITICAL MASS
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sabrina MATTERA
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adele JACKSON
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RIVER + STONE
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marrisa WILSON
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SECOND PERSON PARIS
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kiana MARKO
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BEHIND THE SCENES
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erin McCANN
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PREPACKAGED
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katelyn SALIERNO
Photography by Jake Jones
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Photography by Anna Graney
BREATHE IN, BREATHE OUT The Village of Chefchaouen and the Roots of Inspiration
BY ALANNA O’CONNELL
Before becoming a fashion design major, Katelyn Salierno believed, as many do, that learning to develop a concept from (sometimes) bizarre root to full blossom, is a purely cognitive process: an artist becomes inspired by color, texture, historical period, or place and sets about creating work that reflects said inspiration. Designers grow accustomed to being asked what their inspiration is, how they find it and how they know it will be rich enough to bear creative fruit. The reality is that inspiration can originate from any circumstance, no matter how banal, and is sometimes felt, rather than known. Frustrated, and Googling “exotic places” on a humid summer night in front of the TV with her boyfriend, Katie found a picture that triggered a rapid physical and neurological reaction, making her heart warm as it raced. Passing her boyfriend the screen, showing a sea of blue buildings captioned: Chefchaouen, Morocco, she stated simply and confidently, “This is it.” Chefchaouen, Morocco is a town with a mural-like landscape, known for its blue medinas and rich history, well known to artists, designers and
world travelers. From above, this enclave of angular structures resembles a small blue sea floating in between the ridges of the Rif Mountains—an ombre of aquamarine, cobalt, periwinkle, royal and powder blues. On hot days, while the sun is reaching its peak, the skyline and town become one surrounding the townspeople in a world of blue, indigenous to their history. Although now a place predominantly populated by Arabs, the blue trademark of Chefchaouen was established in the 15th century when a significant number of Jews, Muslims and religious minorities fled Europe during the Spanish Reconquista. In Judaism blue symbolizes the sky, heaven, and God. The blue dye, tekhelet, as mentioned in the Torah, was used in tapestries for the High Priest and strung to the corners of prayer garments. Today the townspeople honor this Jewish tradition by continuing to paint the medinas blue and incorporating blue threads into many of their garments and textiles. While walking through the twisted yet serene streets that remain to honor its descendants, one will eventually hit the center of the medina and its bustling bazaar. A culture of its own, the bazaar is a contrast to the general calmness otherwise felt throughout Chefchaouen. Streets filled with busy shoppers, hustling vendors, and small taxis consume the area. Stands with glass lanterns resembling miniature hot-air balloons, ornate rugs, scarves of the highest quality, embroidered kaftans, leather slippers, custom made textiles and impeccable ironwork fill the center of town with color, breaking the continuous stream of blue. Meanwhile from restaurants nearby, aromas of fresh breads, herbs, mint tea leaves, spices, olives, chicken tagine, and cookies stimulate the senses. It is no shock that Katie experienced such a strong emotional and physiological bond to this beautiful place—now reflected in the endless blue hues and soft layers of her senior collection. Recently, scientists have discovered that there are specific physiological effects that occur when one is inspired. Through fMRIs (functional magnetic resonance images) and EEG (electroencephalography) researchers Jon Kounios and Mark Beeman found the exact neurological process that occurs when a new idea is created. According to their research, when inspired, “a constellation of neurons
Photography by Colleen Kollar
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Photography by Colleen Kollar
bind together for the first time in the brain to create a neural network pathway.” In other words, a series of neurons are sparked when something seems truly inspiring, which correlates with the strong unexpected emotions felt. Before these findings many believed that inspiration was just a concept that was formed to satisfy an artist’s creative needs. Most would define inspiration as merely a “creative idea.” Words like motivation, muse, influence, imagination, and originality would seem appropriate. And although those are relevant, a look at the etymology of the word proves it to be something much more enlightening. In the 12th century the term “inspiration,” derived from the Old French word inspiracion, meant the action of blowing on or into. In its oldest form, inspiration is synonymous with the biological process of respiration—drawing of the breath into the lungs. As humans, respiration is essential to life; without breathing, life is extinguished. The Oxford English Dictionary’s historical thesaurus traces the evolution of inspiration along this historical path: external world > matter > gas > air > moving air > producing a blast of air > drawing in of air. Inspiration has a direct connection to the formation of human life. Inspiration is not just an artistic insight, it is a life-line. Just as no human can live without respiration, no artist can survive without inspiration. A more relatable definition of inspiration, according to the Oxford English Dictionary, is “a breathing in or infusion of some idea or purpose into the mind; the awakening or creating of some feeling or impulse, especially of an exalted kind.” Often inspiration sneaks up at unexpected times and from unexpected origins. This is why so many have trouble describing the feelings associated with it. Katie’s description of her reaction to Chefchaouen is proof of this: increased heart rate and a feeling of warmth. When the physiological process of inspiration and its relation to respiration was explained, her experience that night, last summer, began to make more sense. The designer has since confirmed her discovery of Chefchaouen, a spot that makes the neurons of even non-artists fire with an “exalted awakening,” as the moment that helped her breathe. 15
victoria SCHERMERHORN
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Photography by Dennis Golonka
VICTORIA ON THE FUTURE: “I want to do it all. Paraphrasing Jonathan Safran Foer, my bones groan with all the lives I haven’t lived.”
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Photography by Eury Fabian
The Bespoke Man BY JULIANNA SHERIDAN
With the Great Depression at its height, wild extravagance became a relic of the 1920s, the decade during which Gatsby says, “I have a man in England who buys me clothes. He sends over a selection of things at the beginning of each season, spring and fall.” In contrast, the 1930s in America was a frightening time. The wealth of the 1920s had evaporated overnight, leaving the masses to struggle for their survival, while the battered but still comparably wealthy attempted to carry on with what was left of economic privilege. Dressed in the best fashions, society’s upper tier would gather to talk about the world around them. Although women were more recognized for their fashion choices, men understood the importance of a proper, well-tailored suit. During this rough time, fashion was charged with upholding social standards—it had to signal tradition, status, and economic class. More than seventy years later, the Marist Fashion Program was fortunate to receive a clothing donation from this period. Robert Mahoney, Dutchess County resident, donated numerous suits, jackets, shirts and other accessories that belonged to his late father. The bespoke suits, hand-tailored to the elder Mahoney, exemplify the craftsmanship of the era. In near-perfect condition the donated pieces allow the modern fashion student to revisit the 1930s and gain insight from an important era of menswear; a time that kept earlier traditions alive, while laying the foundation for menswear today. Much of contemporary men’s formal wear has roots in the Victorian and Edwardian eras. As the bridge into the 1920s and 30s was crossed, a man’s evening attire remained rule and tradition bound, consisting of a perfectly fitted black dress jacket, matching pants, and a white waistcoat. The jacket was double-breasted, cut short to the
waist in the front and tapering to two longer tails in the back, called a swallowtail or claw hammer style. The jacket would have three buttons on each side, while the trousers featured braids of fabric at the outside seams. Under the jacket and waistcoat, men typically wore starched white shirts with removable cuffs and collars. These were detachable for purely practical reasons. Men had many variations of these pieces that could be switched out when these high-use areas became soiled or began to show signs of wear. The final touch was, of course, a bow tie in either black or white. Robert F. Mahoney, the father of the donor, was appointed to the New York City Magistrate as a judge, at the end of the Great Depression in 1939. Mahoney explained that because of his father’s profession, it was expected of him to frequently attend formal occasions. He noted that his father’s fashion changed with the times, which the varied suit styles in his donated wardrobe demonstrate. From a swallowtail coat to a navy blue tuxedo, Mahoney had a suit to fit every social event. He was highly educated, intelligent, and renowned for his work in law. As a child of immigrants, Mahoney was pushed to do something more. His success as an educated lawyer fulfilled his parents’ American dream. Mahoney’s son notes that this is “symbolic of the benefits of having an education and working hard. My father emerged as a ‘true dandy’.” More than sartorially self-assured, he exuded confidence in all things, and seemed to enjoy achieving the sophisticated appearance that his position required. Mahoney grew up watching his father dress for special occasions and take particular care of his wardrobe. As an artist himself, Mahoney respects the craftsmanship of his father’s collection and was compelled to keep a few special pieces, including a straw Panama hat that has been worn down to the texture of supple cloth, and a silk top hat in pristine condition. Aside from those keepsakes, Marist Fashion has been entrusted with these historic objects, and the memories that accompany them. We are honored. Thank you to the donor Robert Mahoney, appraiser Diane James of Diane James Antiques, and Madison Sikorski.
COLLABORATORS Faculty Mentors RADLEY CRAMER, MELISSA HALVORSON MICHAEL JOHNSON & RICHARD KRAMER
Student Directors PRICILLA ALDARONDO (CREATIVE), IGNACIO BORBOLLA (PRODUCTION), SILVIA ISOTTI (COMMUNICATION), TAYLOR MULLIGAN (TALENT), ELEANOR SCHWAB (PUBLICATION) & MARISSA VERALLIS (ART)
Photography RACHEL BRENNECKE, EURY FABIAN, DENNIS GOLONKA & JAKE JONES
Hair and Makeup BRIANNA BARRESI, JENNIFER DONOVAN (OWNER, LE SHAG), KARA ELETTO, JESSIE LE MONTAGUE & REBECCA WILLIAMS
Fashion Show Production Class GABRIELLE AMATURO, KIMBERLY ARISON, LOURDES COLON, EURY FABIAN, MEGHAN FAZIO, SARAH GAUDIO, NENAGH GOERG, ANNA GRANEY, ALEXA HALLAS, LAUREN KURRE, DALE MAURI, MEGAN MORELLI, NICOLE MORASKI, BRITTLEY MONANARO, KATHERINE OSBORNE, GRACE RUGEN, SHELBY TUPER, VICTORIA WELLINGTON & CHRISTINA ZURAW
Writing for Fashion Class KYLE-ANNE BELL, ADRIANNA CICINELLI, JONELLE ENGBERG, AMY FLORENCE, KATHERINE HINES, COLLEEN KOLLAR, DIANE LI, ALANNA O’CONNELL, JAMIE PHILLIPS, STEPHANIE ROMEO, JULIANNA SHERIDAN, MADISON SIKORSKI & LAUREN TRAINA 25
ON ARCHITECTURE AS INSPIRATION: “There’s a bright, orange, monolithic dome on top of a hill near home. They call it the Flintstone House. I would see it whenever we drove to San Francisco.”
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natalie PALTER
Photography by Rachel Brennecke
ON COLOR: “This is my second collection inspired by botany. I always imagine my clothes in a bright, green setting.” Photography by Rachel Brennecke
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abigail TAYLOR
Photography by Rachel Brennecke
elisa MORALES MOST VALUABLE STUDIO TOOL: “I’m a pattern-maker. I wouldn’t be able to make anything without my dress form.”
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47 N. FRONT STREET, KINGSTON, NY 12401 845-339-2333
audrey MAYSEK CRITIQUE PREPARATION STRATEGY: “I’m a ski racer. Portfolio review is exactly the same as when you’re standing at the start gate.”
Photography by Rachel Brennecke
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ON GETTING CREATIVELY UNSTUCK: “When I’m uninspired, I go back to draping.”
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brianna SHERLOCK
Photography by Jake Jones
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COMMUNITY AND CORPORATE PARTNERS
50 ROOTS; ACCESSORIES THAT MATTER LTD.; ADRIANNA PAPELL; BCBG MAX AZRIA; B.ROBINSON; BADGLEY MISCHKA; BETSEY JOHNSON; CITY OF KINGSTON, NY; COSIMO’S BRICK OVEN; DE’S JEWELERS; MARK DeZAO; DONNA MORGAN; TREVOR DUNWORTH; JAMES DURYEA; ELIZABETH BOUTIQUE; FASHIONOLOGY; DR. ZOFIA E. GAGNON; HADDAD BRANDS; JONATHAN ADLER; LACOSTE; MAGGY LONDON; MAHONEY’S IRISH PUB & STEAKHOUSE; DR. JOHN MCKINNEY; NAUTICA; KEVIN PAULSEN; MARIA PHILIPPIS; TERI ROSSIN; SOLOMON PAGE FASHION & BEAUTY; T&T TOWER ELEVATOR COMPANY INC.; TEA TALK; LEE WALIS & KARYN WANGENSTEIN
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Modern Hooded Cape; Designed by Jemma Perri; Photography by Jake Jones
TAILORED WOOLENS Thanks to a generous donation of weighty woolen fabrics, the Marist junior tailoring class has transformed bolts of traditional plaids and solids by Woolrich into a diverse collection of contemporary outerwear pieces. The following two examples were completed just in time for the last, Spring snowfall of 2015.
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Crimson Cocoon Coat; Designed by Mackenzie Kramer; Photography by Jake Jones
CHECKERED PAST BY ALANNA O’CONNELL
Textiles tell the story of human history. Weaving may tell tales of triumph, weather or topography. Tartans may speak of region and clan. And, like all stories shrouded by the mists of time, sometimes a bit of mystery lives on. Enter the tangled tale of Buffalo Plaid, John Rich, and Big Jock McCluskey: all embroiled in a he said/ he said, twisted tale of the origins of a classic textile. As even greater testament to its murky past, some call this textile a check rather than a plaid. Buffalo plaid can best be described as a two-color textile pattern with large, intersecting blocks of black and red. Though a simple twill weave, the fabric’s charm, and perhaps the reason for its enduring popularity, is that a unique shadow effect is achieved wherever red and black yarns interlace. The mystery of the textile’s origin, the source of enduring disagreement, is over who invented buffalo plaid. Some historians say it was in 8th century Scotland by a family called the MacGregors, others state that John Rich, founder of Woolrich, was the first to weave and sell it before the time of the Civil War. Perhaps it is with a Scottish family in the 8th century where the journey of buffalo plaid begins. The MacGregors were a clan of fearsome warriors that were banished from the Highlands of Scotland by King James VI. With nowhere to go, the MacGregors fled the country, dispersing as far as North America. One of them, Big Jock, changed his last name from McGregor to MacCluskey (later McCluskey) in a last effort to hide his identity. (Some accounts claim that King James the VI had placed a bounty on his head, wishing to completely annihilate the family name). Big Jock, affable and charismatic, adapted easily to his new name and adopted culture. Soon after his arrival in North America, MacCluskey developed a talent for hunting buffalo from Canada down to the Dakotas and relied on
that profession to survive. Eventually, MacCluskey discovered that also following herds of buffalo were recently “encountered” Native American groups displeased with the new competition for hunting ground. Cleverly dressed in his homeland Tartan, the ever-charming and pragmatic MacCluskey began to trade his heavy woven Scottish blankets for buffalo hides with the Sioux and Cheyenne warriors. They were captivated by the rich red color and believed it to be the spirit blood of MacCluskey’s old enemies, which would act as a guardian in battle and offer immortality. Of course the story doesn’t end there. It was Woolrich, the “Original Outdoor Clothing Company” that cemented the textile’s role in American cultural history. In 1830, John Rich an immigrant Englishman, built his first mill in Pennsylvania and began selling woolen products to lumber camps throughout the area. Buffalo plaid shirts, the most popular sellers, remained among his offerings throughout the company’s expansion. Known for quality products for the outdoorsperson of any age, Woolrich popularized buffalo plaid as the fabric of the hard working, adventurous and self-sufficient. Today, this textile remains not loyal to one story, one country or one fashion perspective. Perhaps rooted in the defiant, freedom-loving nature of the MacGregors, contemporary designers frequently revisit the pattern to lend their collections a rebellious quality. In fashion parlance, a perennial trend is one that returns, again and again. Buffalo plaid has most recently shown up on runways in Fall of 2012 with Yohji Yamamoto’s collection for Adidas and in the Fall 2014 show of London design house Preen. Each of these labels claim to have taken their inspiration from the Grunge Era of music and fashion in the early 1990s—no mention of 8th century Scotland, Big Jock or John Rich.
CLASS OF 2015 FASHION MERCHANDISERS Marisa A. Abbattista Pricilla D. Aldarondo Zhen Bi Rachel A. Bowers Danielle Buckley Alexandra R. Buxton Caroline M. Caraker Trina R. Cardamone Kayla N. Chozen Brianna C. Conley Emily C. Cullinan Giana J. Emanuele Sheridan G. Fauvell Samantha D. Frederick Sarah B. Gaudio Blair A. Gage Chloe E. Genise Alison M. Gillin Hanna G. Ordas Guardia Katherine Guinaw Hulya Gurhan Emma J. Hailey Brianna N. Harrison Danielle A. Helwig Kimberly M. Hower Carla Jo Huskins
Silvia I. Isotti Monet A. Jackson Noor M. Kanoo Alexandra R. Kramer Taylor A. Kuzma Chunyiming Li Stephanie J. Lubov Courtney E. Lucas Kahlilah Lilley Paige N. Malengo Laura E. Manhart Silvia R. Martins Chloe Mayone Dale L. Mauri Caitlin C. McCarthy Shannon M. McNamee Stephanie M. Melnick Nicole Monaco Tracey L. Morrison Melissa S. Morrissey Taylor M. Mulligan Skylar N. Norris Jacqueline J. Ohn Megan E. Omalley Lindsey T. Pavero Codi Jo Peras
Reese M. Perlin Amanda J. Pichiarallo Kimberly Pizzo Kelsey M. Plate Jamie L. Plukas Nicholas F. Prieto Michelle Prisciotta Nicole T. Rende Heather M. Rodkey Kathryn M. Rogers Stephanie Roman Gena M. Russo Caitlyn Sabia Eleanor L. Schwab Abigail E. Small Leslie B. Sullivan Mengyao Tang Jillian N. Thompson Catherine R. Thomson Jacqueline Trauring Kaila F. VanAkkeren Rachel J. Varney Kristin N. Vecchiarelli Christine M. Venuti Marissa A. Verallis Wenwen Yan
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ON WHAT IT TAKES: “Endurance…endurance and love, you just have to have them.”
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deanna WALTERS
Photography by Rachel Brennecke
Photography by Timothy Maggio/Vinepod
MARIST AT NYFW Marist College recognizes Nanette Lepore for her achievements in the fashion industry, with the Silver Needle Icon Award. Above: Bright-eyed models take a final walk down the runway with messy buns and natural makeup, alongside the designer and her daughter. Opposite page: more scenes from New York Fashion Week on September 7, 2014.
Photography by Dennis Golonka
maria CATALANO
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WHAT’S ON MARIA’S HEADPHONES: “(Laughs) Really intense rap, really loud. It keeps me motivated.”
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BEHIND THE SCENES
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SCHOLARSHIPS PROVIDED BY
AGM ASSOCIATION OF GOLF MERCHANDISERS ALECIA HICKS FORSTER SCHOLARSHIP CUTTY SARK SCHOLARSHIP DOMINIQUE-DANIELA SCHOLARSHIP DUTCHESS COUNTY HOME BUREAU EVA BLOCK MEMORIAL FUND FASHIONOLOGY SCHOLARSHIP KATE SPADE & CO. FOUNDATION SCHOLARSHIP MARIST FASHION PROGRAM SCHOLARSHIP MARY ABDOO SCHOLARSHIP YMA/FASHION FUND
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SUPPORTERS
2015 Silver Needle Judges JAMES AGUIAR, MODERN LUXURY BJÖRN BENGTSSON, GREG NORMAN COLLECTION NINIVE GIORDANO, NINE WEST MICAH GROSSMAN, JONATHAN ADLER MARK HALDEMAN, PAUL SMITH CHRIS MANLEY, SURFSIDE SUPPLY COMPANY DOMINIQUE DANIELA PINO-SANTIAGO, DOMINIQUE DANIELA
Fashion Program Advisory Board MARY KITTLE, VP, STRATEGIC PLANNING, KAHN LUCAS LANCASTER INC. ALAN KRISFALUSI, VP, HUMAN RESOURCES, ROSS STORES CHRIS MANLEY, OWNER, SURFSIDE SUPPLY COMPANY JR MORRISSEY ‘88, ADVISORY BOARD CHAIR, OWNER & CREATIVE DIRECTOR, MORRISSEY DOMINIQUE-DANIELA PINO-SANTIAGO, OWNER & DESIGNER, DOMINIQUE DANIELA MATTHEW SIROTA, DIVISION PRESIDENT, MAGGY LONDON TOM WARD ‘69, CEO (retired), MAIDENFORM MARIANNE WEBBER ‘90, DESIGNER, QUICK TURN CLOTHING
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DREAM COLLABORATION: “The artist Peter Max. My aesthetic is starting to get a little more eccentric and over the top.”
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megan BRADY
Photography by Jake Jones
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HUDSON
EAST VILLAGE, NYC
KINGSTON
Le Shag.
ARTISTS/STYLISTS JENNIFER DONOVAN—OWNER & STYLIST KARA ELETTO—HAIR/MAKEUP BRIANA BARRESI—HAIR/MAKEUP REBECCA WILLIAMS—HAIR/MAKEUP JESSIE LEE MONTAGUE—MAKEUP
deanna PROSKE
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Photography by Dennis Golonka
deanna ON CRITIQUE: “Being silent is the harshest thing they could do.”
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This page, photos by (clockwise from left): Katie Labozzo, Jillian Gasarowski, John Scott, Anne Preis, Michelle Bedard, Bonita Fowler and John Scott. Opposite page, photo by Bonita Fowler.
paris
london
This page, photos by (clockwise from left): Madison Sikorski, Madison Sikorski, Nicole Giambagno, Alexis Chomat, Kristi Pentecoste, Karli Bruno and Kristi Pentecoste. Opposite page, photo by Kristi Pentecoste.
This page, photos by (clockwise from left): Lillie Tuthill, Hannah Dayan, Emily Leavitt, Rachel Colwell, Emily Leavitt, Natalie Vayda and Rachel Colwell. Opposite page, photo by Hannah Dayan.
florence
Forza Fur-enze!
CAPTION WINNER: KATELYN SALIERNO
kira MELENDEZ
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Photography by Dennis Golonka
kira ON HOLIDAY: “I watched a documentary with my parents that I fell in love with, Dogtown and Z-Boys, that actually went on to inspire my collection.”
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jill HUB
Photography by Jake Jones
JILL’S MOST MEANINGFUL ARTICLE OF CLOTHING: “I have a mink bolero that my grandma gave me. She was a seamstress.”
BETWEEN THE LINES An Exploration of the Gender-neutral Fashion Movement BY JONELLE ENGBERG
Men wear pants and women wear skirts, right? Gender normative dressing is still, well, the norm, and any deviation from these expectations can result in headshakes of disapproval. Gender neutrality, on the other hand, is a movement towards freedom and integration that is permeating popular culture, fashion and mainstream households. It isn’t a concept to be feared. In October of 2014, the first transgender reality show premiered on MTV. The host, Laverne Cox, identifies as transgender and encourages teens to be comfortable in their own bodies no matter how they identify. The recent winner of the 2015 Golden Globe for Best TV Comedy Series, Transparent, follows the story of a father who announces he is transgender and begins his road to womanhood. Each of these examples from popular culture is affecting the way we view what is considered “normal.” Perhaps the next step will be the integration of more androgynous fashion choices in the mass market? Long before David Bowie splashed glitter on his face and Diane Keaton portrayed “Annie Hall,” androgyny has been a persistent undercurrent in the fashion world, re-emerging every so of-
ten to remind us what resides beneath our safety net of tradition and the things deemed “normal.” Androgynous fashion often carries a negative connotation because of a belief that it places a person in a grey zone, void of gender identifying characteristics. The conventional perception is that certain articles of clothing, like a skirt, are strictly tied to the female gender and any departure from this is perverse. However, androgyny is not the removal of gender, but rather the combination of masculine and feminine characteristics. In essence, it brings together two seemingly different things and creates one limitless interplay between identities. Raising children with humanistic ideals and to dream beyond the realms of gender stereotyping was famously explored by the Free to Be You and Me campaign, conceived in the summer of 1972. This project was the creative brainchild of Marlo Thomas and Letty Cottin Pogrebin. While searching desperately for a bedtime story that was not deeply imbued with gender stereotypes, the two of them realized, to their disappointment, that they were looking in vain. Together they devised a body of work including a book, a play, a
musical album, and a television special based on themes such as “the human need for love…the importance of creativity, and the benefits of cooperative relationships,” none of which regard gender. Understanding that in order to change the world you have to start with the young, they focused all of their energy on children. By casting little girls as “princesses,” or “wives in training,” and little boys as “soldiers,” or “sports stars,” we narrow their experiences of life. Girls’ clothing and boys’ clothing is clearly designated by signage and color upon entering a store. “Boys” or “Girls” placards hang from ceilings or hover in the middle of selling floors indicating a stark partition. Shoppers are forced to choose between the “male side” or the “female side,” leaving the “other” unconsidered. Shopping can be a frustration to those who fall outside these designations. Discouraging exploration may lead the child to vehemently reject alternative gender roles later in life. Marlo and Letty realized that this was not the world they wanted for their children and sought to broaden the discussion. Some believe responsibility rests with the fashion industry, an understood catalyst for change, to provoke new mindsets within society. However, even fashion, a common outlet for self-expression is bound by certain rules and traditions. The word, agender, is the preferred term for those who move freely between genders or choose not to put a name to how they identify. As people begin to be more comfortable when confronted with questions regarding gender, individuals allow themselves to adopt more freeing terms, such as agender. On March 12, 2015 the London department store Selfridges & Co. on Oxford Street, launched its Agender Project. According to creative director Linda Hewson, “the project will act as a test bed for experimentation around ideas of gender—both to allow our shoppers to approach the experience without preconceptions, and for us as retailers to alter the way we shop for fashion going forward.” Only now are we beginning to see the environment Marlo and Letty dreamt of back in the summer of 1972. Fashion is finally following suit. Selfridges is revamping its entire three-story retail location into a gender-neutral shopping experience. This experiment aims at promoting
designers who have dedicated their talent and energy to a re-examination of gender normative dressing, including: Natalia Manzocco, Sara Medd of Greyscale Goods and Nicolo Formichetti for Nicopanda. This unique environment allows shoppers to step into a space where individuals are safe to express themselves in non-traditional forms of dress. Customers won’t be able to find a single mannequin throughout the Oxford Street store. Instead, gender-neutral art, photography, written pieces and articles of clothing will form the overall aesthetic. By removing gender, the clothes are allowed to speak for themselves, and for those who wear them. Hewson believes strongly that what her company is doing will bring attention to a seriously underrepresented apparel category. One of the labels being promoted by the Agender Project is Greyscale Goods— “beyond labels…just goods.” This Los Angeles based brand found its niche in gender-neutral clothing. It will be the first time Greyscale Goods is incorporated into a brick and mortar store since its launch as an online merchant. Most pieces are neutral in color and have a classic look. Bow ties, skinny jeans and timeless white t-shirts are quintessential to the brand and its image. Since it is becoming more common for customers to shop both the men’s and women’s departments, contemporary style has slowly shifted toward androgyny. This natural flow has been happening almost unconsciously, with doors opening to new designers that were previously shut tight. Gender-neutral fashion is securing its place in fashion, and Hewson is taking advantage of this opportunity to showcase an agender selling floor in light of a changing market. By drawing the focus away from gender and towards the innate human needs for love and acceptance, an experiment like the Agender Project becomes much more than a store concept, but a representation of a cultural shift. By empowering all of us, no matter our identity, we can dissolve the barriers of a limiting, intolerant, and exclusive society and create one that is more accepting, open-minded, and cosmopolitan. Back to our question: men wear pants and women wear skirts, right? The answer lies between the lines.
Theatrical performances, rehearsal studios, youth theater programs, dance classes, concerts, film, private parties.
323 WALL STREET
UPTOWN KINGSTON
845.338.8700
Photography by Dennis Golonka
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KEVIN’S MOST PRODUCTIVE HOURS: “7 A.M. I’m the first one here every single day. I wake up at 6:50, take a shower, and get to the studio no matter what I did the night before.”
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THE STORYTELLERS Lately, consumers have become disconnected from the story behind their clothes. Manufacturing overseas has created a great barrier between the wearer and the maker. Some, however, are beginning to revive the relationship between the craft and the consumer. What started as a hobby for Mackenzie Edgerton and Blaine Vossler
has developed into a full brand, called The Local Branch. The pair drives across America in a pickup truck pulling a renovated 1970s Airstream— a travel trailer that serves as a headquarters as well as their workshop and home. Whether in the Grand Tetons of Wyoming or on the Bourbon Trails of Kentucky, the couple attempts a bal-
BY KYLE-ANNE BELL ance between exploration and work. From their aluminum fortress, merchandise such as leather holsters, quartz necklaces, and clothing adorned with bison, arrowheads, and Navajo-inspired prints are handcrafted and sent out. Each item is tagged with a description of its inspiration and the location in which it was made. A short note
Photography by The Local Branch to the customer referencing the significance of the buffalo design or the fact that their item was created in Malibu, California, communicates that this is not just another t-shirt, but a wearable story of the American frontier. The development of the brand is organic—a natural extension of themselves. Meeting
the creative couple through video chat offered a small window into their adventurous, poetic way of life. The call began with a welcoming smile from Mackenzie, who graduated from Marist College in 2008, majoring in both Studio Art and Radio, TV, Film. Casually using the sewing machine in the back corner was Blaine, who would later spontaneously turn from his work to offer spurts of insight. After college, Mackenzie and Blaine moved to San Francisco where they found themselves dissatisfied with their corporate jobs. The Local Branch was spawned from a simple desire to create under their own rules, and the couple began selling the merchandise through Etsy and at craft shows. “It’s not in my blood to be working for someone else,” explained Mackenzie. Soon the Local Branch became too big to be a mere side project and its rapid growth allowed them to dive fully into their entrepreneurial dream. Quitting their day jobs, and closing the Etsy shop, the couple dedicated a year to revamping the brand and creating a website. Mackenzie had the idea to buy and restore an Airstream trailer found on Craigslist. Stopping to breathe the open air along the way, they took their craft on the road. The couple describes the brand’s style as “Americana.” But their craft goes beyond the mere emulation of a style. Mackenzie and Blaine are seekers of truth. The product description of the Buffalo print t-shirts describes the animal as representative of “the best and the worst of the American story. It will forever remain an emblem of our shared identity.” This provocative
caption warrants a response. “That’s for Blaine,” answered Mackenzie turning to him with a beaming expression. A thoughtful fine artist, Blaine articulates the story behind the hand-drawn print, which involves a live observation of the majestic buffalo at Yellowstone alongside a historical account of their use in American currency, and a less positive note of driving them to near extinction. Their craft is not only inspired by the triumphs of the American pioneer, but also their tribulations and ever-haunting missteps. The description that accompanies the purchase allows the customer to wear the piece armed with the knowledge of its heritage. “Travel has informed our vision,” explains Mackenzie. Last summer, she and Blaine took an unplanned venture to the Navajo Nation, a Native American reservation in the southwestern part of the country where Utah and Arizona meet. Mackenzie wrote about the trip in The Local Branch blog, and it seemed she was searching for the words to illustrate the spiritual nature of the reservation. Though not easily translated into speech or text, the experience was rendered in their designs with a great respect. They met a
Navajo elder who was a weaver in the community. She taught them the symbolic, mythological, and sacred elements of the ancient craft. Navajo weaving most directly inspires the brand’s Triangle print, symbolizing “water and the feminine spirit.” This authenticity, too seldom seen, is integral to The Local Branch. A question rises from the meeting with Mackenzie and Blaine: How does this migration across the states and conscious artisan approach fit into a long-term business plan? The couple is aware that while working from the road may be romantic, it may be unsustainable. The journey fits the “in-between time” of their lives before having kids and settling down. Mackenzie described the possibility of farmstead property where they can employ like-minded people. The
Local Branch looks forward to a future of steady expansion, artistic collaboration, and of course taking the Airstream out for an occasional spin. For now Mackenzie and Blaine are still collecting tales from the road, sharing them with us—one print, one holster, one visual conversation at a time.
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sarah GAYDA TOP HAND-ME-DOWN: “I have this shirt of my mom’s that she used to wear in her twenties—it’s denim with embroidery on the pockets. I love wearing it.” Photography by Dennis Golonka
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Writing & Concept: Stephanie Romeo; Styling & Concept: Diane Li; Photography by Shelby Tuper
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MIS EN PLACE With mental clarity and the proper equipment at hand, an uninterrupted thought process, perhaps the artist’s most crucial tool, is attainable. French for “put in place,� mis en place is the culinary term for what artists and designers also recognize as an essential ingredient to the creative process: forethought. About more than just saving time, or organizing a workspace, mis en place is a strategy for uncluttering the mind and making room for ideas.
Photography by Jake Jones
colette CUNNINGHAM
CRITICAL MASS How 3D Printing is Reshaping Fashion BY JULIANNA SHERIDAN
Senior fashion designer, Colette Cunningham has one simple piece of advice for her peers: “Pursue what you love,” she said. “Make yourself learn about it.” That’s what the designer did when she decided to incorporate 3D printing into her senior collection. Speaking with such passion and knowledge on the topic, she recognizes how this new technology is revolutionizing the fashion industry. Under development for over a decade, 3D printers have recently become popular as the industry looks for alternatives to traditional textile and apparel production processes. 3D printing, also known as additive manufacturing, takes a substance such as plastic, and builds it into a solid, three-dimensional object. According to CNN, research firm Canalys expects the market for 3D printed goods to quadruple to more than $16.2 billion in the next five years. This growth can be attributed to the trend moving away from printing rigid structures and toward more tactile pieces. What was once used as a way to build an array of prototypes for many industries, 3D printing is now at a critical meeting point with the mass market. The technology is being used to
print anything from mechanical fixtures on the International Space Station to viable organs from stem cells. Engineers, artists, and scientists are just beginning to realize its full potential. Fashion designers have begun to pair this new tool with their apparel and accessory designs, producing mesh textiles, sculpted shoes, and fine jewelry with the machines. Aaron Isaac, a 25-year old entrepreneur, makes custom 3D printed jewelry molds based on what keywords consumers are searching on Google. From the most sought after engagement rings, to the latest necklace trend, Isaac is taking advantage of cutting-edge technology to create a unique business model. One of the most alluring aspects of this technology is its flexibility; consumers can add and alter details at will. By using printers, people can create exactly what they are looking for to reflect their personal style. Cunningham believes that the potential for customization will shape the future of the fashion industry, especially when printers are able to create materials that look and feel like familiar fabrics for consumers.
Michael Johnson, Professional Lecturer of Fashion Technology in the Marist College Fashion Program, agrees. He says, “As soon as someone figures out how to print with material that is as soft, flexible and durable as cotton or cashmere that will be at least as cataclysmic for the current fashion business model as, say, file sharing has been for the music industry or the Internet has been for newspapers.” Another potential benefit to 3D printing, in spite of its current reliance on plastics, could be heightened sustainability. Traditional manufacturing methods involve taking away from the original material and creating waste of costly raw goods, an expensive and unsustainable practice. Consumers could use recycled plastic water bottles as filament for the printers, or they could melt down older pieces to create new designs. There are many other substances that are used with 3D printing, including compostable cornbased materials. The opportunity for growth in this area is massive, and the sustainability factors are attractive to many industries. With additive manufacturing, claims Asheen Phansey of greenbiz.com, “the product is printed layer by layer…because this operation can be performed without huge, high-throughput machinery, it can be performed at hundreds or thousands of remote locations—or millions, if you consider the potential of a 3D printer in every household—with near zero waste.” This means that in the coming years, individuals could have the capacity to produce objects at home for everyday use, creating less reliance on factories, which contribute too much of the world’s pollution. Companies could focus on the intellectual capital, or the value of its designs, versus the cheapest way to make them. Cunningham shares a story of a designer whose dream is “[that] clothes don’t have to go through the whole fashion production cycle. Consumers can just have a pattern and the materials to make something at home.” The process of using a 3D printer is relatively easy, with a little knowledge of computer-aided design (CAD) software. After designing the model using CAD, it is put through a program known as a slicer that separates the 3D model into individual 2D layers. The file is then sent to the printer where the creation process begins. As the nozzle of the printer moves from side to side,
each layer of additive is meticulously printed on the other by cross-section. Like a glue gun, the liquefied raw material flows onto the build platform, creating a 3D object, albeit slowly for now. For Cunningham the process of printing one of the support pieces for her senior collection took nearly 70 hours to complete. “Colette…has really taken the ball and run with it. [She] now knows more about 3D printing than anyone at Marist— student or faculty,” says Johnson. Beginning in the Spring of 2014, Marist Fashion began offering the 3D printing class, which was developed by Johnson and fellow instructor Richard Kramer at the request of Program Director Radley Cramer. “Marist Fashion was the first program in the country, if not the world, to offer a 3D modeling and printing course in the context of fashion design. Until then 3D printing was offered in art and design programs, but not in fashion,” states Johnson. Colette has taken advantage of a widespread enthusiasm among artists, programmers, designers and faculty. After her introductory 3D modeling and printing in fashion course, Cunningham reached out to Matt Frieburghaus, an Associate Professor of Digital Media at Marist, who helped her to further her knowledge of 3D modeling software. And when she realized she would need more advanced, commercial printers than were available to her in the fashion program, she sought them out. She is using 3D designs as the main support pieces of the garments in her senior collection, inspired by the physics and science behind water. As her ability to manipulate the models on the computer increases, the possibilities grow for her designs to become more intricate and inspired. “Really, as I see it, these collaborations have not only strengthened my work and the execution of it, but [they] are what is actually making this happen,” she said. 3D printing has brought theoretical designs to life, allowing even the most bizarre facets of our imaginations to become something material. This technology has the ability to impact the world in ways that are immeasurable as people find new ways to push its limits. The question is whether or not it will be able to evolve at the same rate as the demand of designers and consumers.
UNIFORM FOR LIVING: “I like a lot of dresses—especially breezy ones. Either a romper or a dress... or shorts and a nice, flowing top. Okay, anything flowing!”
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sabrina MATTERA
Photography by Rachel Brennecke
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PLAYLIST ESSENTIALS: “From house music like Yellow Claw to more chill stuff like Susanne Sundfør or alt-J.”
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adele JACKSON
Photography by Rachel Brennecke
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RIVER + STONE BY KATHERINE HINES
There’s a new clothing brand along the shores of the Hudson River, and it’s called River + Stone. “The word ‘river’ connects the brand to the ever-changing movement of fashion. ‘Stone’ links the brand to the tradition and history of Marist and the Hudson River Valley,” explains Radley Cramer, Fashion Program Director. River + Stone is a clothing and accessory collection for men and women that represents a modern attitude toward fashion, and a nod to historic college imagery. The brand includes apparel with creative graphics derived from vintage photographs discovered in the Marist College archives. Students found images from “the crew team, the Poughkeepsie Regatta, and Lowell Thomas,” says Professional Lecturer Jennifer Finn, who helps students utilize smart business and advertising strategies on the retail side of the industry. At the same time students are coming up with these designs, they must tune into and remain aware of what is happening in the marketplace. The class, Private Label Development, led by product development expert Jodi Hartmann, contributes to the creation of this line that embraces school spirit with a heightened attention to current trends. Once the process of evaluating material gets underway, the students explore transforming the visuals into dynamic, modern, and saleable designs. River + Stone also provides opportunities to spotlight the work of talented fashion design
students. Senior design student Kevin Crowley has created signature pieces for the brand. Crowley revamped and super-colorized fox graphics and the historic Marist “M,” modernizing traditional symbolism for the fashion-forward wearer. Pushing these new concepts does not go without challenge. Promoting a new fashion brand is a major undertaking, as well as a learning opportunity. This became the primary goal for one senior capstone project, whose team created the River + Stone Rep Program. Fashion line representatives, who are chosen from the Marist Ambassador Program, are outfitted in River + Stone apparel, and serve to promote the brand as they give tours to prospective Marist students. The capstone team also focuses heavily on using social media. Once the merchandise was integrated into this promotion platform, even “alumni were calling and wanting it,” comments Jodi Hartmann, Professional Lecturer of Private Label Development. Originally the vision of President Murray, River + Stone continues to evolve. “We are ready to expand the business,” remarks Hartmann. River + Stone hopes to someday have its own retail space, and a thriving e-commerce site. No matter what happens in the future, collaboration among students and their faculty remains key to the brand’s growth. With a sense of pride, Hartmann articulates, “These individuals are demonstrating their teamwork, and the Marist Community has taken notice." 161
Spectators could observe the Intercollegiate Rowing Association races from open-air railroad cars operating along the Hudson River. At left is a ticket stub from one of these rides in 1922.
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Classic short-sleeved T-shirt featuring Babe Ruth during a charity baseball event with Lowell Thomas and the Nine Old Men in 1937.
A panoramic photograph of the Intercollegiate Rowing Association Race of 1917 is one of the collection’s most instantly recognizable prints. It is shown here on a long-sleeved T-shirt for men and women.
Women’s T-shirts include fitted styles. Here, the Marist “M” has been placed at the hip in metallic gold.
Photography by Eury Fabian
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"The word 'river' connects the brand to the ever-changing movement of fashion. 'Stone' links the brand to the tradition and history of Marist and the Hudson River Valley," explains Radley Cramer, Fashion Program Director. 164
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Photography by Rachel Brennecke
MARRISA’S FAVORITE STUDIO TECHNIQUE: “I love sewing invisible zippers with the invisible zipper foot. I actually offer to do it for any of the other designers, too.”
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SECOND-PERSON PARIS Imagine traveling to a major city so intensely serene that when the sun rises over tiled rooftops no higher than a few stories, you can step out on the balcony, look ahead, and actually hear your own thoughts. What colors will you see? What scents will you smell? What will you eat today, and with whom? What if something unimaginable happens
that seems to threaten this serenity? I was there, and I can tell you. Day 1: You will arrive in Paris very early in the morning, report to class at Mod’ Spe, fall asleep and make a great impression on your first French fashion professor. Later, have your first authentic crepe and first sip of French wine.
Photography by Radley Cramer, Anna Graney & Melissa Halvorson
BY GIANNA CONSILVIO Day 2: You will take a class on learning basic French, and walk away remembering a handful of phrases. Visit the Fondation Pierre Bergé - Yves Saint Laurent (I know!). Dress in your fanciest outfit in honor of this field trip, and regrettably, wear heels. You will not make this mistake again. That evening you are made aware that a violent terrorist attack has occurred in an-
other part of Paris; that your chaperones, French instructors, Marist adminstrators and family at home are concerned for you. It’s scary. You will be taken to dinner by your chaperones and given a curfew of 10 p.m. Day 3: You will visit the FashionMix exhibit and get blown away by all the vintage de-
Day 4: You will visit an embroidery house and learn to bead on silk. I’m serious, they let Fashion Merchandising majors use needles and thread, and it works! Order escargot at lunch that day with your group and then refuse to eat them. You’re allowed. There will be a dramatic resolution to the most immediate threats facing Paris, but a curfew is still in place. Day 5: You travel to Versailles, Cathedral of Notre Dame, and Pont des Arts (Lovelock Bridge). That night, find a local Italian restaurant by your apartment and make friends with the waiter because he will eventually bring you free macarons. Curfew is relaxed, but you are asked to stay within a few blocks of the apartment. signer items in front of you, from Schiaparelli sweaters to Balenciaga gowns. Ride the Grande Roue and convince the guy operating it to let you ride for two full turns. When you get off the Ferris Wheel after what feels like hours, go to Angelina’s and order the “chocolat chaud.” Although there seems every good reason to panic given yesterday’s events, it isn’t necessary. Paris does not panic.
Day 6: You wake up early to attend Mass at the Notre Dame Cathedral. Later go to a flea market with the chaperones. That night, walk with 1.5 million other people who reject terrorism and value the right of free expression. Je suis Charlie! Everyone taking part is calm, albeit emotional, and only interested in representing their country’s goodness. A French couple thanks you and your friends for joining the event. You feel as if you have experienced the essence of France in that simple walk. You remember this as one of the most moving events you will ever witness. Day 7: You attend perfumerie class and
learn to make your own scent. Then, finally make it over to see the Eiffel Tower up close and personal. Take a ridiculous amount of pictures and stay there long enough to see it light up and twinkle. It has been determined safe to let you roam free again.
Day 8: You go to class, then take the rest of the day to get started on the big group project you forgot about because you fell asleep the first day of class. For this project you have to go to various stores, ranging from H&M and UNIQLO to Lanvin and Dior. You will be denied service in the upscale designer stores, and it will make for great stories (for instance, that time Chanel chased you out of the store, saying you need a note from the corporate office in order to ask any questions).
Afterward, you join your chaperones for a round of celebratory beverages and dinner. This will be the last time the whole group is together, but you will be having too much fun to get upset. Day 11: You and your cohort will attempt to do everything still left on your to-do list. The day will start off with breakfast at a nice café that was frequented by Ernest Hemingway and F. Scott Fitzgerald. Next up is the Musée D’Orsay, a train station that was transformed into a museum. Next you will attempt to see the Mona Lisa at the Louvre, but because it’s Saturday, the line will be ridiculously long, and you and the group will settle for taking tourist-y pictures of the glass pyramid. For the last night in this stunning city, you and your group will splurge on dinner at Ladurée and melt over the legendary macarons. It will truly be the perfect ending to an unbelievably wonderful trip. Two days later: You will be back on campus in Poughkeepsie, and for a while, everyone will come up to you saying, “How was Paris?” I loved all your Instagrams. I can’t believe there were attacks while you were there, how scary!” And every time someone brings up the trip, you will smile genuinely and try to explain that the trip was so amazing it’s almost indescribable— there aren’t adequate words.
Day 9: You get to see Chanel tweeds, before they are Chanel tweeds at the fabrication house that makes them. Later you will take a trip to Galleries Lafayette, for more “project research.” You shop here and find most of your souvenirs. Day 10: You present your big project to the Marist College Fashion Program director, your academic advisor, and various teachers from Mod’Spe. You realize that in the span of a week and a half you learned an incredible amount. You return to the Left Bank and take a boat tour around Paris trying not to focus on the fact that you only have one more day in this surreal, beautiful city.
Sometimes, shared memories are the most powerful. You will find yourself with six new friends; you have classes with some of them, live with some of them, and hardly see others. When you do meet up, the conversation is filled with inside jokes and nods of recognition, more subtle reminders of Paris. You won’t need to find the words—they will know exactly what you mean.
kiana MARKO ON RANDOMNESS: “Last year I drew the words ‘arty’ and ‘sex’ out of a hat. That’s the title of my senior collection.” Photography by Rachel Brennecke
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erin McCANN
Photography by Rachel Brennecke
PRE-PACKAGED A History of Feminine Culture Set Ablaze Through Shopping BY KYLE-ANNE BELL
Erin McCann, a soft-spoken senior fashion designer found inspiration from one of the darker corners of literature, a narrative that was festering under the polished surface of the Victorian era— a time when upper and middle class women were expected to remain within the walls of their households. These walls take on a character role in Charlotte Perkins Gilman’s 1892 short story, “The Yellow Wallpaper,” which follows the odd relationship that develops between the narrator and the wallpaper of her room. The woman’s husband, a doctor, has diagnosed her with “temporary nervous depression,” and the prescribed treatment is to rest in the upstairs room of their summerhouse. She is to take a break from social engagement, from being a mother, from writing, from anything that provokes thought or emotion. However, the narrator revolts by finding intellectual solace in studying the wallpaper. This morphs into an obsession, and she begins to imagine a woman trapped in the pattern. Here lies Gilman’s comment on the oppression of women; the wallpaper is emblematic of a patriarchal social pattern. Nails tearing into the paper, the narrator propels herself into a state of insanity that
proves uncontrollable by her husband—and what a unique mode of rebellion. This once perfectly postured woman is McCann’s muse. “She took a strange path to liberation,” commented McCann, with an unassuming brilliance, during the five minutes she allowed herself to put down her work. This candid remark may expose a truth about women’s progress. In Europe and North America, late 19th Century women of action were outliers, with their suffragette agenda just gaining momentum. Average, privileged women started more cautiously; first, they had to venture outside their home. And so they did—they went shopping. At one point, shopping was perhaps a vehicle of liberty. However this vehicle, so fueled by consumerism, has placed women into another wallpapered room not easily escaped. 21st Century consumerism has a gender, and it is female. It’s been determined that women make 85% of all US consumer purchases. In 2010, Time magazine published a story about this economic power in a piece titled, “The Rise of the Sheconomy.” This notion of women and their manic spending tendencies has been so in-
stilled into popular culture that novelist Sophie Kinsella could attribute her series, “Shopaholics” to it. There is an idea that the desire to accumulate things is embedded in the female psyche—to be drawn to fashion is to be feminine. Imagine if the narrator of “The Yellow Wallpaper” was a Victorian male. This obsession over the pattern, shape, and color of a wall covering seems unlikely. Perhaps the advent of shopping was to engage women’s supposed frivolous nature. This, however, is inaccurate from a historical viewpoint. The female shopper did not initiate the commercial market; she altered it. According to gender studies expert Jennifer Jones, until the late nineteenth century upper class shoppers were predominantly male. The main draw to the shop in the 17th and 18th centuries was not the merchandise, but typically the young and beautiful shop girl. As a man perused the shop for his cravats and hats, there was a flirtation going on. So, if shopping was primarily a man’s sport, what ignited the female shopper? After the French Revolution, men did not want to appear aristocratic—the powdered faces, and flamboyant use of color. The dark colors and simplified uniformity of menswear took hold, and the frockcoat was born. Marist professor of costume history, Richard Kramer explains that the bourgeois man had to find a way to display his wealth, so that role was delegated to the woman of the house. The simplicity and functionality of menswear was juxtaposed by the adornment of his wife and daughters, in which opulence trumped the practicality of clothing. Shopping was no longer a man’s game, and with the addition of the “second sex” retailers felt they had to make the space more comfortable. Retailers became more concerned with the idea of merchandising. Lighting, décor, layout, and inviting displays combined to create an environment that became central to the shopping experience. Thus, this new escape for women was never far-removed from the comforts of home, pretty wallpaper included. In 1899, Thorstein Veblen’s The Theory of Leisure Class criticized the role imposed on women in the English middle class. He explains that in society “propriety requires respectable women to abstain more consistently from useful effort and to make more of a show of leisure than the men
of the same social classes…her sphere is within the household, which she should ‘beautify,’ and of which she should be the ‘chief ornament’.” While France was in revolt, industrialization and mass production swept through England, ultimately evolving into the fast fashion experienced today. Not only was the woman encouraged to “beautify” herself, now fashion could be attained and consumed at a rate never seen before. Consumption and waste was introduced into our experience in the 19th Century, and has yet to be purged from it. Historian, Erika Rappaport offers a study of the Victorian shopping culture in the West End of London in her book, Shopping for Pleasure. Rappaport argues that shopping helped create a feminine culture outside the private home. Accompanying this flurry of retail in the district was the rise of women’s clubs. They became platforms for feminist debate. Within this feminine culture progressive minds collided, and soon women were pressing for power outside their husbands’ wallet. The Pioneer Club resided in this district and set out to further the Women’s Suffrage Movement. Rappaport also hints that while many of these clubs saw their activities as alternatives to shopping, the money needed to gain membership made it difficult to include women of all classes. Retail and feminist platforms intersected not only geographically, but also through how they mutually benefited each other by luring wealthy women into the area. Together they perpetuated the feminine model of being the “big spender” of the household, and the idea that true influence lies in one’s buying power. In the mid-1800s there was a difference in opinion among feminists when it came to shopping. Some detested the commercial culture; others were more pragmatic. They focused on getting the woman involved in the city, never mind what brought her there. But what brought her there—into the public sphere—does have serious repercussions for today’s woman. Consumerism and women’s progress bleed into each other so profusely it often stings. If feminine culture has been plagued by consumerism, then the marks of femininity found in clothes make the wearer susceptible to being read as frivolous. Today the woman’s “power suit” does not only evoke the power of masculinity, but also disables consum-
Photography by Anna Zhylyak erist indicators—it is deemed the “smart” choice. Perhaps the most frustrating component is that these indicators are not clearly defined. Lace, ruffles, winged eyeliner? What exactly steps over the “too feminine to be taken seriously” line is a mystery. McCann is aware of this affliction, and confronts it head on in her collection. She describes her collection as having contrasts of masculine and feminine characteristics. For her surface manipulation, she is using artificial flowers and coating them in plaster of Paris. This use of
plaster not only alludes to the walls in Gilman’s story, but as McCann explains “it’s about taking something traditionally feminine like a flower and making you feel uneasy about it.” Encasing a flower, a complex organism, in a hard shell is a provocative choice by the young designer. Her collection is infused with questions that rip into prepackaged ideas of femininity. Over 150 years after Gilman’s The Yellow Wallpaper, the story continues, and it is completely ours. We decide what happens next. 197
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Friday, May 8, 2015 Mid-Hudson Civic Center Afternoon Show - 3pm Evening Show - 7pm
Purchase your tickets at ticketmaster.com Email fashionatmarist@gmail.com for more information
MARIST FASHION 2015