FM/AM Volume 6: The Color Issue by FM/AM

FM /AM FASHION MAGAZINE AT MARIST

FM /AM VOLUME SIX 2019–2020

VOL. 6 2019-2020

US $16.99 / CAN $17.99 / £ 10

THE COLOR ISSUE

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“I feel very lucky that I’ve had success doing what I believe in, and I think it’s important to give back to the next generation of innovators.” —Ralph Lauren We are proud to support the future fashion leaders of Marist College.

RALPH LAUREN

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THE COLOR ISSUE

MARIST FASHION PROGRAM

3399 North Rd Poughkeepsie, NY 12601 845.575.3000

marist.edu/fashion Facebook: @Maristfashion Instagram: @maristfashionmag

ON FRONT COVER

Photographer: Rachel Brennecke Designer: Sara Rexford ‘20 Model: Ira Pavlova

ON BACK COVER

Photographer: Rachel Brennecke Designers: Anna Cortese ‘19, Jontay Kahm ‘22 Models: Ira Pavlova & Epiphany Lee

Drawing by Sarah Ditterline VOLUME 6

MAIL BONDING

KINDECULIAR

CAN YOU READ THIS?

TAKE IT FROM ELAINE

SANS FORGETICA

COLOR THEORY

GIVE ME A COMPLEMENT

FM/AM DIRECTORY

LICKING THE CANVAS CLEAN

HONOR ROLL

BUSTING FREE

BASKET CASE

NEXT STOP

PRIVACY WANTS A FRIEND

FM/AM STAFF

FM/AM’s intention is to approach fashion, thoughtfully. We were inspired by the relationship between preservation and progress; that we can only move forward by understanding and appreciating the past. A secondary inspiration was color theory, and has been used throughout the magazine as an organizational tool.

Our teams are divided according to each individual’s passions and skills. However, skills don’t always fall into one category so all of the teams collaborate to achieve their collective goal. Below, each member of the staff decided to give our inspiration color, Pantone’s “Fiesta” a new name.

Art Direction The visual visionaries: photoshoots, creative direction, and styling.

Assets The control center: collectors and makers of digital assets.

Design & Layout The blueprint between the binding: typography, color schemes, and layout.

Editorial The connoisseurs of all things language: captions, grammar, and storytelling.

Talent The ultimate team of girl-boss aesthetes: hair, makeup, and model booking.

F M /A M

Erika Rothman Art Director

Abigail Hess Art

Hot Tamale

Blushing

F M /A M

Julia Meyer Art

Rachel Cyr Assets Director

Emily Larson Assets

Charlotte Martin Assets

Big Red

F M /A M

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Ladybug

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Red Velvet Cake

Sriracha

F M /A M

Amanda McAdam Assets

Katelyn Beebe Design & Layout Director

Sarah Ditterline Design & Layout

Caitlin Green Design & Layout

F M /A M

Grace Murphy Design & Layout

Frankie Ralbovsky Design & Layout

Catherine Sloat Editorial Director

Tess Cimino Editorial

F M /A M

Makena Gera Editorial

Michaela Olivero Talent Director

Shantelle Clark Talent

Nicole Sullivan Talent

Passion

Smolder

Firecracker

MC1R

Fire Lips

Sangria

Scarlet Fever

Taco Sauce

Cherry Bomb

Cayenne

Madder

Chestnut Mare

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Exquisite Corpse I Started as a parlor game in which guests collaborated on surrealist figure drawings, the exquisite corpse persists as a creative tool today. Here each student added their own images to a collage without the ability to see the work of their peers, creating a disjointed and bizarre expression of creativity. In this series, the â&#x20AC;&#x153;corpsesâ&#x20AC;? are placed into famous works of art, honoring the original pieces through humor and play.

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Nighthawks (1942) by Edward Hopper

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CONTENT & EDITORIAL POLICIES All content, including graphics, art, photographs, and written work, are products of fashion students at Marist College, unless otherwise stated. All editorial pieces in FM/AM are chosen in coordination with the faculty advisor. All attributions are given to the original author in their supporting bylines. All opinions expressed by the authors are original and in their own words. Graphics and illustrations accompanying the editorial pieces are by the Design/Layout and Assets Teams, unless otherwise noted. The clothing present in the fashion editorials are designed and created by Marist Fashion students, excluding “Kindeculiar,” where the garments were selected from the Marist Fashion Archive. Students submit their work during an open design call conducted by the FM/AM Art Director. All photo shoots are conceived of and produced by the FM/AM Art Direction Team.

THANKS TO STUDENT CONTRIBUTORS Katelyn Beebe Ashley Camuso Deivi Castro Teresa Cimino Claire Connally Rachel Cyr Whitman Davis Haille Dinger Makena Gera Nicole Grossman Anne Heffernan My Hoang Claudia Mangione Lindsey Marden

Charlotte Martin Corinne McGovern Nicole Merloni Julia Meyer Jennifer Oleary Michaela Olivero Rebecca Richardson Angela Richter Erika Rothman Catherine Sloat Maria Stephens Sarah Vermillion Margaret West

PROFESSIONAL CONTRIBUTORS Rachel Brennecke Jerry Pena

Text: 70# Finch 94 Cover:180# Endurance

BINDING Perfect Bound

TYPOGRAPHY (Body Text and Feature Titles Only) MADE Canvas Regular, Black By Made Type Helvetica Neue Regular 65 medium, Condensed Bold By Max Meidinger Learning Curve Bold, Regular By Blue Vinyl Fonts A Box For Regular By Junkohanhero Bebas Neue Regular, Light By Ryoichi Tsunekawa

DISTRIBUTOR

Bicoastal Model Management John Bridges Hyde Park Antiques Center James A. Cannavino Library Amelia Leon Marist College Greenhouse Marist Fashion Archive Team Marist Fashion Faculty and Staff

FACULTY ADVISOR Melissa Halvorson

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PAPER/STOCK

Neon Neon Regular By Bakoom Studio

SUPPORT

COLOPHON

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Pineapple Media

COPYRIGHT All content included in FM/AM is subject to copyright. No part of this magazine may be reproduced without the consent of the Marist Fashion Program.

PRINTER

MAIL Bonding The mailbox once symbolized a connection to the outside world. Depending on how remotely a person lived, perhaps the only one. A flag turned up or down just might have meant a message from afar; a letter, a check, a beloved magazine or a long awaited package.

BY RACHEL CYR

Poughkeepsie, NY

When free delivery expanded beyond U.S. cities and into rural communities, farmers used a number of random items, such as food containers, as makeshift mailboxes. Eventually, the Post Office Department required â&#x20AC;&#x153;Rural Free Deliveryâ&#x20AC;? recipients to choose a mailbox from one of their approved mailbox manufacturers.

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Poughkeepsie, NY

When the Post Office Department introduced postage stamps in 1847, and the start of “Free City Delivery,” letter carriers began hand-delivering mail to residential properties, creating the need for mailboxes. City-dwelling citizens no longer had to go to the Post Office to get their mail. By 1923, it became mandatory for every home to have a mailbox or letter slot if they wanted to receive mail.

Newburgh, NY

In 1915, the mailbox adopted the tunnel style recognizable today. Post Office employee and engineer Roy J. Joroleman created the style to adhere to U.S. Postal Service mailbox regulations. Mailboxes need to be large enough to hold letters and magazines and sturdy enough to withstand harsh weather. Joroleman’s model also included a small flag (usually red) on the side of the mailbox that was used as a signal between the resident and mail carrier to indicate outgoing or incoming mail.

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Peaks Island, ME

The growing preference among customers to use email and pay bills online has forced the U.S. Postal Service to remove tens of thousands of public mailboxes across America. After the September 11th 2001 attacks, the U.S. Postal Service and Homeland Security removed 7,000 mailboxes that posed a perceived threat to public safety in several cities.

Hyde Park, NY

The U.S. Post Office was considerably involved in the early history and development of transportation. During the 1800s, the demand for postal mail was increasing, which prompted the U.S. Post Office to launch and aid in the use of several transportation inventions. Trains, steamboats, and stagecoaches were used to deliver mail throughout the 1800s. By 1912, gas powered vehicles were used for postal delivery in eight different cities.

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Fishkill, NY

The U.S.P.S is currently working with housing developers to implement uniform clusters instead of free-standing, individual mailboxes. Cluster mailboxes would save them delivery time and payroll costs while their funds are steadily declining.

Peaks Island, ME

Nancy Pope, Head Curator of the History Department at the National Postal Museum in Washington, reports that when TV and movie producers want to create a scene that looks American, they use a mailbox or mail carrier.

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Fishkill, NY

Neither email nor cluster mailboxes are able reveal the individual personality that can be put into a stand-alone, residential mailbox. Mailboxes are an extension of the home and can compliment the house or yard. They can be a piece of art, a space to showcase creativity, or tell a story.

Poughkeepsie, NY

Despite its decline, one use of postal mail is making a record breaking resurgence: mail-in voting. In 27 states, early voting numbers surpassed total voting numbers in the 2014 midterm elections, with a sharp increase in the number of people voting under age 30. With the tense political climate and increased voter education, over 40 million Americans voted early in the 2018 midterm elections via mail-in ballots

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indeculiar /kin-duh-kyool-yer/ n. an exceptionally eccentric relative

Edward St. John Gorey, also called the “Granddaddy of Goth,” was an American artist and writer whose pen-and-ink drawings take you deep into a part of your imagination that you never knew or may have forgotten. This limerick from the “Listing Attic,” offers a window into Gorey’s eerie world, “A timid young woman named Jane found parties a terrible pain. With movements uncertain, she’d hide in a curtain and make sounds like a rabbit in pain.” A genius and polymath, he drew his first sketch, The Sausage Train, at 18 months and learned to read 18 months later. His love of literature culminated in a collection of 25,000 books. His academic success led him to pursue a French Literature degree from Harvard. Throughout his career Gorey published roughly 100 of his own books and illustrated 300 for other people. Each book was short; filled with illustrations and minimal text. The often gruesome and morbid stories were rendered in fine pen sketches marked by tiny hashmarks and elaborate detail. His artistic style translated well to the stage, as Edward Gorey’s Dracula was nominated for scenic design and won in costume design at the 1978 Tony Awards. All of his drawings feature Edwardian, Victorian, and Jazz Age clothing. He used fashion of those eras to underscore his unsettling stories. The articles of clothing used in this story are from the Marist Fashion Archive which houses over 1,000 articles of vintage clothing dating back to the early 19th century. -Staff

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PHOTOGRAPHER Rachel Cyr MODELS (from left to right) Dillion Evans, Angela Richter, Arielle Rothman HAIR & MAKEUP Michaela Olivero and Nicole Sullivan

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PHOTOGRAPHER Rachel Cyr MODEL Arielle Rothman HAIR & MAKEUP Michaela Olivero and Nicole Sullivan

“The governess in the attic attempts to make a cup of tea; Her mind grows daily more erratic from cold and hunger and ennui.” -”The Fatal Lozenge”

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PHOTOGRAPHER Rachel Cyr MODELS (TOP) Arielle Rothman and Dillon Evans (BOTTOM) Arielle Rothman and Angela Richter HAIR & MAKEUP Michaela Olivero and Nicole Sullivan

“Life is intrinsically, well, boring and dangerous at the same time. At any given moment the floor may open up. Of course, it almost never does; that’s what makes it so boring.” -Gorey

“Ideally, if anything were any good, it would be indescribable.” - Gorey

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PHOTOGRAPHER Rachel Cyr MODEL Angela Richter HAIR Michaela Olivero and Nicole Sullivan MAKEUP Michaela Olivero

“My mission in life is to make everybody as uneasy as possible. I think we should all be as uneasy as possible, because that’s what the world is like.” -Gorey

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PHOTOGRAPHER Rachel Cyr MODEL Arielle Rothman HAIR Michaela Olivero and Nicole Sullivan MAKEUP Michaela Olivero

“Such excess of passion is quite out of fashion.”

-”The Listing Attic”

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Artwork by Katelyn Beebe

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Dedicated, with love, to the brilliant and beloved, Richard O. Kramer: costume historian, friend, professor and Edward Gorey Fan.

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(1944-2019)

Can You Read This? On the Love and Loss of Cursive

By Katelyn Beebe

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If “video killed the radio star,” the keyboard killed cursive. Perhaps ‘killed’ is too strong a word, but the curly, right-leaning script is bedridden in Handwriting Hospital, and it’s unclear if it will recover. The word “cursive” stems from Latin’s “currere,” or “to run.” Appropriately, this is the style where the pen only lifts in between words to create spaces or to dot I’s and cross T’s. Cursive originated in the mid-15th century in direct revolt against the harsh, Gothic type of Johannes Gutenberg’s printing press. Italians craved a more romantic script and developed the smooth, cursive form of writing we now know as Italic. From its origin, elegant script stood as a status symbol and was taught in specialized schools starting in the 1700s. Cursive once stood as a prominent part of the elementary curriculum, up until some foggy point within the last decade. Evidence dates to 2009 when the U.S. adopted the Common Core State Standard Initiative, which put students across the nation on an “equal” playing field for the purpose of college readiness. The Common Core includes different guidelines for every subject; among the fundamental skills for “English Language Arts,” cursive is nowhere to be found. Still, it’s strange as to why people have taken so long to recognize cursive’s absence. Despite the nebulousness around its time of death, small steps have been taken to resuscitate cursive. Fourteen of the 50 states commanded their State Boards of Education to secure cursive as a part of the curriculum once again, but 36 states and the U.S. territories have not made these strides to keep cursive within education. Last fall, the nation’s largest public school system located in New York City, with 1.1 million students, encouraged the teaching of cursive, specifically at the third-grade level. Cursive’s resurgence has been overwhelmingly supported by specialized programs that assist children struggling with dyslexia. Language specialists working with students across the U.S. have found that students with dyslexia benefit from learning cursive. Dyslexia specifically affects a student’s ability to read and sound out letter combinations. Since cursive integrates coordination, motor skills, and memory, the decoding process becomes less rigorous and more systematic. Cursive also assists in the appropriate spacing of letters, further helping these students with a structured decoding process. Apart from these examples, there remains a deficit of cursive teaching in the public-school system. How has the shortage of teaching cursive affected U.S. students? The most glaring example may be Americans’ reliance on electronic and completely impersonal signatures. It is not the same to type one’s name, as it is to craft it. Recently, during the November 2018 midterm elections, many Americans dealt with “handwriting disputes” regarding their applications for absentee ballots. The lack of consistency with some

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signatures has shut out tens of thousands of voters from this midterm election who actually are who they claim to be. Absentee ballot applicants are struggling to match signatures from previous government-filed documents within their state, causing difficulty in their quest to express their vote. Florida was riddled with lawsuits over the 2018 midterm election, as state officials “identified” 4,000 out of the 2 million mail-in ballots to be problematic, and thus, discounted them. The criteria for these ineligible ballots is questionable and could hinder voters from casting ballots at all. This is as much an issue for people who were able to successfully vote as for those who were not able. Could American democracy crumble because of the lack of proficiency in cursive? Merriam-Webster Dictionary defines a signature as “the name of a person written with his or her own hand” and something of a “characteristic mark.” If people are not adequately taught cursive in their early school years, the issue can span further than absentee ballots. Down the road, these students will have to sign a lease on a car, a mortgage, or banking agreement — even for the delivery of a package. These “signatures” that people claim to have are, often, a combination of one-time scribbles that are ever-changing. Appearing juvenile, these signatures pose the threat of easily being replicated. Without the knowledge of cursive, American citizens will not be able to craft a signature that is distinguishable enough to validate their identity.

Should Americans protect this

endangered art, or do we send

it off into extinction, with the dodo bird and Juicy Couture? A signature is a form of identification that people are not born with. It is not a fingerprint, genetic material, or a number sequence immediately assigned post birth. A signature is a learned skill that must be consistent in the way a fingerprint is: practiced until it becomes muscle memory. The glide of a pen must feel familiar and of one’s own, rather than a quick, illegible scribble to validate a simple coffee purchase. Every letter that builds a name must be inscribed the same and has to illustrate who the writer is every time. The composition of signatures is what validates that it is this person who signed off on that, not someone else.

Cursive is far too young to become illegible hieroglyphics, though one day, if we continue down this road, a Rosetta Stone of sorts may be required to decode what was once commonplace. The founding documents of the U.S. were written in cursive’s continuous style, underscoring that our vital rights and freedoms are similarly unbreakable. How free will we be if the documents that should mean everything to every American cannot be taught or read in their original form, but are instead, “Googled,” and formatted in 12 pt serif type in order to be comprehended? A typeface lacks some of the passion of a fine hand. Cursive handwriting has implied sincerity; one can give a part of oneself to the recipient or the reader. American artist Tauba Auerbach uses her cursive to fund the mission of protecting journalists and educating girls. Beginning with Daniel T. Ames’ Compendium of Practical and Ornamental Penmanship, she copied the word “persevere” in lowercase script; each letter engulfed by its own loop. She says, “The loops are all the same, but the letters are different, so the exercise teaches you to maintain a rhythm amidst otherwise varying circumstances.” Great advice for difficult times. Auerbach has since used penmanship to create a “calligraphy of resistance,” on posters, and large scale public installations. This reserved rebellion could never be achieved across a computer screen.

alternative that requires little time, writing by hand assists in processing what is being taught and drives stronger recall down the line. Undeniably, cursive is just as much a writing form as an artistic outlet of a personal identity. If we don’t know how to sign our names, do we exist? Cursive is thoughtful, individual, and fundamentally human. Even the coiled shape of a DNA molecule, two strands bound by the same axis, delivering each person their genetic uniqueness, looks shockingly like cursive. We must refuse to be defined by the mindless scribbles on the bottoms of merchant copies and reclaim our handwritten identities, which are as beautiful and varied as bodies themselves.

For Practice

Minimal emotion is required or conveyed by even the dearest “I love you” text message. Imagine a grandmother sitting down at her kitchen table writing a “Thinking of You” card to her granddaughter, a heartfelt hello, who will have next to no idea what it says. There’s an emotional disconnect, and now a child may never know about the November weather in South Jersey, the outcome of a recent surgery, or her grandmother’s wishes to her for the end of the semester. Tenderness and warmth are intrinsic to cursive. A writer’s hand skims across the page when they want you to know and feel something. Is this reading too much into cursive, or is it dying for a good reason? Perhaps it is demanding or difficult or dated. In a day full of electronic signatures, Chromebooks in classrooms, and e-Thank You cards can make cursive seem that way. Is basic handwriting next on the chopping block? Notebooks, pens, and pencils may soon disappear. Should Americans protect this endangered art, or do they send it off into extinction with the dodo bird and Juicy Couture? It has been shown that those who learn cursive have a better understanding of the English language and spelling; cursive forces us to think of writing as a continuous rollercoaster as opposed to being constructed in individual letters and parts. More legible writers are also found to be better at writing composition and clarity. Cursive also acts as a speedy method in note-taking. While typing notes is an

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Illustrations by Sarah Ditterline, Emily Larson & Charlotte Martin

Take it from

Elaine By Julia MeyeR

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Elaine is her hairdresser’s favorite client. Every month she has an appointment to get a new colored hair extension spliced into her silver pixie cut. A guiltless gossip, she reports back to her family all the goings-on at the salon and in the town. Her best cosmetic is her optimism, but still, she won’t venture as far as the mailbox without her hair and makeup done. Her laugh surprises you; it’s loud, but its sound makes you feel as though you are in on the joke. Elaine’s youth is preserved through her husband and family; they keep her laughing and give her an outlet for her generosity. The most important things in her life, her children, are now raising their own families. She is no longer a primary caregiver, but involved in her grandchildren’s lives almost as much as if she was. It isn’t uncommon to fool her grandchildren’s friends into thinking she is the “cool aunt.” On most days, she can either be found in the kitchen or in her sunroom with her husband and two dogs. Elaine’s life is filled with happiness and abundant love, and because of her family she has always been, in most ways, content, except for one. Her parents gave her a traditional upbringing with little opportunity for rebellious self-expression. But with their passing, and the loss no longer a new wound, Elaine began to consider fulfilling a long-held yearning. Around the age of 65, Elaine got a tattoo of a butterfly on her ankle. A trendy choice at the time, the butterfly was done simply for aesthetic purposes and to free herself from the stigma she had attached to it in her mind. Elaine now has a hibiscus blossom on her other foot, and an explosion of exotic flowers creating nearly a full sleeve on her left arm. She fulfilled a youthful desire to rebel and got addicted. She now considers adding to her sleeve simply for cosmetic purposes. If an appointment with “her guy” is not available, she is not discouraged. Adding to her personal collection of ink has now become a fun activity to do spontaneously. Her decisions no longer controlled by old fashioned conventions, Elaine developed the ability to design her own life. Now, her only concern is not if, but what to get. While up-to-date on the latest trends, Elaine gravitates toward the bright, bold florals, and playful motifs that fit with her personality and won’t go out of style. Trends are followed in hair, clothing, music, and even food. Tattoos are no different, but Elaine’s lotus flower isn’t likely to become the regrettable cliché of a barbed wire bicep band. Of course, it’s her wisdom and experience that allow her to make permanent body art decisions with such confidence and ease. If you’re not quite there yet, consider these questions:

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Are you trying to make a statement, political or otherwise? Do you want the tattoo to serve as a reminder of something important to you? Do you want to show support for a larger goal? Is this a rebellious act?

Are you the type of person to get this tattoo? Do you want a tattoo to prove something to other people? Will the design be accepted by others? Do you care what other people think? Is there anyone who may not want you to get this tattoo? Will the design provoke anger in certain people? Is there a possibility that someone will confront you about their aversion to your tattoo? Will the tattoo effect where you work or plan to work?

Is there potential to regret the design as you get older and gain more wisdom? If you are underage, do you have permission to get the tattoo? Does the design represent a person who may be temporary in your life? Will this area of your body look different as you age and change the appearance of the tattoo?

What colors will the design consist of? Are there any stereotypes about the placement of the tattoo? Is fading or stretching more prone on this body part?

Is the design dependent on color? What if the color fades?

Are you consciously choosing whether or not the tattoo will be visible? If the tattoo is deliberately visible, why do you want it to be seen? If the tattoo is not visible, why is it hidden? Are you trying to hide the design from certain people and not others? Some artists refuse to tattoo fingers or toes because they know it will fade; will your artist tattoo the area you want?

Do you want someone to go with you? If so, who?

Will this part of your body hurt more than another?

Who is the most qualified to do this particular design?

Is your pain tolerance high enough to get tattooed on this part of your body?

Is this tattoo artist specialized to work on your type of skin?

What time of year do you want your tattoo? (It canâ&#x20AC;&#x2122;t be exposed to direct sunlight)

Are you okay with the artist potentially taking artistic license and changing your design? Will you have the courage to speak up if you donâ&#x20AC;&#x2122;t like the artists initial sketch? Are you willing to travel to find an artist who will do your concept justice? How much will the tattoo cost? Will the tattoo take one sitting or will you have to return to finish it or to get touch ups? Is there any physical preparation in the days or hours leading up to the tattoo?

Do you want to follow a popular tattoo trend?

Will the parlor be sanitary?

Will the design go out of fashion?

Will you have the courage to choose another place if it is not clean?

Is the placement of the tattoo a trend itself?

What should the scale of the design be? What should the stroke weight be? Will the artist change the scale or stroke weight?

If you have considered all of these questions and have satisfactory answers to each, only one question remains:

? Ready?

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Sans Forgetica A recently developed typeface that encourages memory. https://sansforgetica.rmit

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PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNER Sarah Rexford â&#x20AC;&#x2DC;20 HAIR & MAKEUP Michaela Olivero & Erica Di Santi

PHOTOGRAPHER Rachel Brennecke MODEL Epiphany Lee DESIGNER Jontay Kahm â&#x20AC;&#x2DC;22 HAIR & MAKEUP Michaela Olivero 30

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PHOTOGRAPHER Rachel Brennecke MODEL Epiphany Lee DESIGNER Olivia Spathakis â&#x20AC;&#x2DC;19 HAIR & MAKEUP Michaela Olivero VOLUME 6

PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNERS (dress) Anna Cortese ‘19, (mask) Jontay Kahm ‘22 HAIR & MAKEUP Erica Di Santi & Michaela Olivero

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PHOTOGRAPHER Rachel Brennecke MODEL Natalia Bukley DESIGNERS (top and bottom) Anna Cortese ‘19 (mask) Jontay Kahm ‘22 HAIR & MAKEUP Erica Di Santi & Michaela Olivero VOLUME 6

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PHOTOGRAPHER Rachel Brennecke MODELS Ira Pavlova & Epiphany Lee DESIGNERS (dresses) Anna Cortese ‘19, (masks) Jontay Kahm ‘22 HAIR & MAKEUP Michaela Olivero & Erica Di Santi

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PHOTOGRAPHER Rachel Brennecke MODEL Epiphany Lee DESIGNER Olivia Spathakis â&#x20AC;&#x2DC;19 HAIR & MAKEUP Michaela Olivero

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PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNER Jontay Kahm â&#x20AC;&#x2DC;22 HAIR & MAKEUP Erica Di Santi & Michaela Olivero

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By Catherine Sloat In 1666, Sir Isaac Newton began performing a series of experiments on the relationship between color and light. By drilling a hole in the shutter of a window, he allowed a beam of light to shine in and pass through a glass prism that revealed a rainbow-like reflection on the opposite wall. What he discovered was the science of color. Through this experiment, Newton not only established proof that color comes in the form of wavelengths, but also distinguished seven colors: red, orange, yellow, green, blue, indigo, and violet. This scientific discovery led to the creation of the first-known color wheel.

the ocean. Typically, if it’s a bright sunny day the blue color will appear more saturated and lighter as it is reflecting off the light blue of the sky, but appear darker on a day that is overcast. Earth’s atmosphere is a compilation of wavelengths that are constantly in motion. Humans are able to see, smell, and hear because the body detects these wavelengths. The perception of what color a particular object is, comes naturally to us. In the same way the heart constantly pumps blood throughout the body, or the way a person breathes without having to tell themselves to do so, our eyes instinctively detect color.

from ultraviolet to infrared, and between the two is what is visible to humans. The higher end of the spectrum begins with infrared and red, which have longer wavelengths and emit less energy. The spectrum moves along like the colors of a rainbow: beginning with red, then flowing to orange, yellow, green, blue, and violet. Violet has the shortest wavelength and releases the most amount of energy. When a particular wavelength hits an ultraviolet wavelength, the human eye can no longer perceive the color because humans don’t have the specific cones to detect the light at that frequency.

Color isn’t innate to objects. The ocean itself isn’t blue or turquoise, only when light-waves hit the liquid mass we’re able to identify it as a color. The ocean’s surface is reflecting the “blue” wavelengths and absorbing all other colors that hit the surface of

While the human eye can detect a plethora of different colors, it is actually only a very limited range of colors on the electromagnetic spectrum. This spectrum is a visual representation of the visible and invisible light wavelengths that exist. The spectrum ranges

To detect these colors the retina in the back of our eyes are engulfed by millions of microscopic cells that are “light-sensitive,” and are known as photoreceptors. These little cells take on two forms: rods and cones.

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Rods are photoreceptor cells that work best in less-intense light, because only one type of rod detects light or low light. Do you ever wonder why children are so afraid of their room in the dark? In a dark room we use the rods in our eyes to see our surroundings. Rods are unable to detect color, making you “colorblind” to your surroundings and leaving you submerged in a sea of grey shapes. This absence of color gives a child’s imagination the ability to see a monster in the yellow sweater draped over the back of their desk chair. Cones are primarily used when there is light present. They give us the ability to see in color and are most sensitive to red, green, and blue. The majority of cone cells are located in the center part of the retina, known as the fovea. In a matter of seconds, when a particular wavelength hits the cones in your retina, it sends messages to the ganglion cells in your eye. That message is then passed on to your optic nerve where the message is finally sent to your brain to be decoded. Animals are particularly interesting in the way they see color, as they can see different ranges of color on the spectrum. Unlike humans, dogs don’t have red cones in their retina and only have blue and yellow. This leaves them colorblind to the distinction between their bright green tennis ball and a baby’s red toy ball. To dogs, a ball is just a ball. Other animals have multiple cones that allow them to see beyond the colors that humans can. The bluebottle butterfly, for example, has 15 different photoreceptors. The cones in this butterfly’s eyes consist of ultraviolet, violet, three different shades of blue, one blue-green, four green, and five red, allowing it to see colors far beyond what the human eye can perceive. Just like every human has a favorite color, our eyes have a preference as well. More than half of the cone cells react the strongest to red wavelengths. Why? Typically the human eye has the most “red” cone cells, which is why red is one of the most dominant colors that humans perceive and why warm tones cause a stronger reaction than cool tones.

GLOSSARY Primary colors

Three different colors that are the base of all colors. They are red, blue, and yellow.

Tint

To make a color lighter by adding white.

Shade To make a color darker by Secondary colors

Colors made by the mixture of two primary colors. They are orange, violet, and green.

Tertiary colors A mixture of one primary and one secondary color. Complementary colors Colors that lie opposite to each other on the color wheel. Typically extremely pleasing to view because of high contrast.

adding black.

Tones The lightness or darkness of a color that can be changed by adding grey. Chroma Helps identify a particular saturation of a color or the intensity of the color and where it falls on the color spectrum. A higher chroma makes a more intense, rich color. Lower chroma results in a more subtle, duller color.

Triadic color scheme

Three colors that are evenly spaced out on the color wheel to form a triangle of completely different colors. Most popular is the triangle of primary colors.

How to USE the Following TOOL

Split-complementary scheme

Any base color on the wheel and the two colors adjacent to its complementary color.

Analogous color scheme Colors that lay next to each other on the wheel. This color scheme is usually the most aesthetically pleasing because it is so commonly found in nature. Monochromatic colors

This scheme originates with one base color and varies by adding different shades, tints, and tones.

Each participant in a recent Creative Theory class was given a slice of the 12 part color wheel and asked to explore the hue from warm to cool through Smartphone photography, with subject matter unimportant. The colored dots pictured next are a portion of the students’ massive collaborative color wheel. So, how do you read the graphic? Each column, from top to bottom, represents a monochromatic color scheme.

Value

The the amount of light a color embodies.

Each row, from left to right, represents an analogous color scheme.

Hue

Now, when the top or bottom pages are flipped, the color matches up with its complement.

The physical pigment of a color.

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VOLUME 6

The goddess Venus, emerges from her sea-birth, fully grown.

exquisite corpse I I

Birth of Venus (1486) by Sandro Botticelli

PHOTO, CONCEPT, STYLING AND LAYOUT Rachel Cyr, Emily Larson, Charlotte Martin, Amanda McAdam

GIVE ME A COMPLEMENT

PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNER Kiersten Litton â&#x20AC;&#x2DC;19 HAIR & MAKEUP Erica Di Santi VOLUME 6

PHOTOGRAPHER Rachel Brennecke MODEL Natalia Bukley DESIGNER Dylan Skinner â&#x20AC;&#x2DC;21 HAIR & MAKEUP Michaela Olivero

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PHOTOGRAPHER Rachel Brennecke MODEL Nicholas Beebe DESIGNER Peggy Chiang â&#x20AC;&#x2DC;19 HAIR & MAKEUP Michaela Olivero

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PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNER Keshet Levine â&#x20AC;&#x2DC;19 HAIR & MAKEUP Erica Di Santi

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MODEL Epiphany Lee DESIGNER Madyson Gabel â&#x20AC;&#x2DC;19 HAIR & MAKEUP Michaela Olivero

PHOTOGRAPHER Rachel Brennecke

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PHOTOGRAPHER Rachel Brennecke MODEL Nicholas Beebe DESIGNER Peggy Chiang â&#x20AC;&#x2DC;19 HAIR & MAKEUP Michaela Olivero

PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNER Madyson Gabel â&#x20AC;&#x2DC;19 HAIR & MAKEUP Erica Di Santi

VOLUME 6

PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNER Kiersten Litton â&#x20AC;&#x2DC;19 HAIR & MAKEUP Erica Di Santi

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VOLUME 6

licking THE CANVAS CLEAN

By Haille Dinger

Molecular gastronomy is a sensual experience; through sight you are educated, through scent you are fascinated, and through taste you are captivated. The dish is transported from the palette of the plate onto its new canvas—the tongue and palate.

TRIP TO LA HAVANA Cigar smoke-infused ice cream extruded into a cylinder of dark chocolate; served with a take on the classic “mojito.” PHOTO El Celler de Can Roca

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Jordi Roca in conversation Spanish pastry chef, Jordi Roca, considered the “World’s Best” by Restaurant Magazine and featured on Chef’s Table, explains the importance of the interplay between taste and appearance along with his favorite creations . World renowned chef and molecular gastronomist, Jordi Roca, developed an interest in pastries after recognizing that cooking didn’t have to be a chore; it could be an experience, it could tell a story, it could defy social norms. Roca’s restaurant, El Celler de Can Roca, ranked No. 1 on “The World’s 50 Best Restaurants” list, twice, holds three Michelin Stars and continues to re-imagine dining as more of an artistic experience than simply a means to satisfy hunger. For Chef Roca, food has evolved beyond taste alone. Appearance plays a key role in creating a successful dish. “The way you invite the guest’s senses to approach the dish is going to define the taste experience,” says Roca. He is a craftsman, finding his inspiration from childhood experiences, the world of art, and other scientists. Roca states, “It’s like jazz—rather than sketching or having a mind picture, it just happens.” By blowing sugar the same way a glass artisan manipulates hot glass into graceful designs, Roca creates an edible floral arrangement captured in a transparent shell of sugar. Called Flower Bomb, it’s supposed to taste like a flower shop.

Childhood is a common theme among Roca’s dishes, because, often, those memories represent the playful side of life. Rainy Forest, a tree shaped dessert made from carob cookie, ice cream, fennel, and fir tree granite, incorporates a distilled dirt that is meant to transport the diner back to when they were a child, running through the grass barefoot, climbing up trees, unafraid of the world. When that whiff of moist dirt enters the nostrils, the reality of present day temporarily fades and the emotions evoked, engender both trust and curiosity. Molecular gastronomy is a mind game resulting in isomalt-encapsulated olive oil, glass potato chips, and transparent ravioli. Such techniques give a strawberry the ability to taste like a tomato or ice cream to taste like tobacco; changing the identity of something we thought we understood. The science behind progressive cuisine is like an artist’s paints— the medium of storytelling.

RAINY FOREST Inspired by Roca’s childhood. PHOTO El Celler de Can Roca

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HD: Give me your own definition of molecular gastronomy.

HD: Do you think of yourself as a scientist or an artist?

HD: What dish of yours took the longest to perfect?

JR: It is the way that most people refer to contemporary or “avant-garde” gastronomy, a term that a scientist used that became popular very fast. Rather than molecular, for me, the term “modern” or “avant-garde” is more appropriate.

JR: I consider myself a craftsman doing his crafts the best he knows. Sometimes I find inspiration in the world of art, other times in science. It helps me to understand the changes in the food and helps me to advance.

JR: Anarkia— it’s a dish with more than 40 different elements. It has been worked on for 10 years and it keeps evolving and improving, as it is deliberately imperfect.

HD: How did you become interested in taking food apart?

HD: Growing up what was your favorite dessert?

JR: While eating I became interested in the different textures that were in one spoonful.

JR: Crema Catalana.

HD: Are there any techniques you would consider to be out of fashion or out of date? JR: I don’t consider any technique out of fashion. Any way of cooking can be very new in the right context. We are now doing macerations and distilling as they were done centuries ago. HD: Some believe that the taste of food is what matters most. The appearance and experience of eating does not play an important role. Do you agree? JR: To me, everything deserves attention—So does the presentation, so does the taste. The way you invite the guest’s senses to approach the dish is going to define the taste experience.

HD: Have you tried to replicate that dessert or evolve it in any way since you have become a pastry chef? JR: Yes, now I’m doing a tangerine dessert very similar to it. I always reinvent it. HD: What are you working on this week? JR: On a dessert that tastes like pencils and erasers— a jump to childhood school times. HD: Speaking of childhood, how did you make the flavor of moist dirt for Rainy Forest? JR: With real moist soil from the woods that surround the restaurant [El Celler de Can Roca] and a still that allows us to capture aromas that we can turn into flavors.

HD: What is the best mistake that you’ve ever made that had a positive impact on a dish? JR: Putting cigar smoke into a dish. It opened up the door to volatile aroma. HD: How long did it take to master the complicated technique of spherification? JR: I guess you mean the technique of “blowing sugar.” Spherification is a technique developed by Albert Adrià. It took me some time, but when you practice a new technique that does not exist yet in cuisine, you aren’t concerned with time. HD: What do you think the next major innovation is in molecular gastronomy? JR: Enfleurage and distillation. These are two processes that allow us to turn things that are not edible into something that is. HD: What is a culinary trend that you don’t like or don’t want to work with? JR: Adding avocado to a toast.

ORANGE COLOUROLOGY This dessert cleanses the palate with both sweet and fresh flavors. PHOTO El Celler de Can Roca

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Q. Foam or gels? A. Creams. Q. Brittle gels or fluid gels? A. Brittle ones. Q. Spherification or powdering? A. A bit of each. Q. What is your favorite ingredient? A. Cocoa. Q. Lemon or lime? A. Lime. Q. Parsley or cilantro? A. Cilantro. Q. Strawberries or raspberries? A. Strawberries. Q. Sweet or savory? A. Savory.

SOURDOUGH ICE CREAM With cocoa pulp, fried lychee, and a sherry vinegar macaron. PHOTO El Celler de Can Rocaca

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HD: What a cool job—food artist? TO: For me, food is art. It conveys more than just good and sustainable meals. I create unique and memorable experiences using science, art, and a pinch of madness. But, it wasn’t until I started my Instagram in March 2017 that my interest in food styling began. Before that, I had no idea that I could make dishes in this way. I started my business in June 2017 because companies started wanting my help to develop vegan fine dining dishes. All my food creations are plant-based, (vegan). I challenge ideas of vegan cuisine by creating beautiful, tasty and entertaining dishes that aren’t just salads. This is to normalize and show that plant-based food is for all of us to enjoy. HD: What ingredients and techniques did you use to make “Summer Snow?”

SEA BREEZE Fuschia cauliflower, bright green asparagus, and Haricots Verts are garnished with flowers and vegan cream cheese.

Tora FLORA Q& A Tora Olsson, a Swedish food artist reimagining vegan dishes, shares her creative process and favorite techniques. All photography by Tora Olsson

Olsson, known professionally as Tora Flora, holds a Bachelor’s degree in Gastronomy and a Master’s in Food and Meal Science. She defines the term molecular gastronomy as: “[A collaboration] between chefs and scientists who create high-quality foods with specific sensory characteristics that will satisfy the consumer…Through different combinations of ingredients and different cooking methods, the original shape and consistency of the food can change, which can create new experiences…[The practice] also has the purpose of entertaining consumers through the social, artistic and technical components of cooking.”

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TO: The ingredients I used to create summer snow was water flavored with wild strawberry, maple syrup, and a pinch of soya lecithin powder. Then I use something called a foam machine, a tool used in molecular gastronomy to create bubbles. The machine blows air through a hose, and when you put this hose in the liquid, which is mixed with lecithin powder, the bubbles are created. HD: What is your creative process like when you create art from food? Is there anything that inspired the “Summer Snow” dish? TO: It’s time consuming to create my dishes. I need time to get inspiration, which can be different. I get the most inspiration from nature where I love to go out walking and analyzing everything around me. When I have an idea in my mind, I start to develop the recipe. Once everything is developed for the dish, I get to start with the styling, which is the best part. It’s almost like a meditation for me.

Which dish is your personal favorite? “Mermaid Lake.” It is elegant, beautiful,and so tasty.

SUMMER SNOW A delicate flower immersed in a strawberry pearl rests next to an array of marinated rhubarb twists, strawberries, and caramelized maple syrup., then topped with wild strawberry snow-bubbles. VOLUME 6

MERMAID LAKE: Wheat berry risotto lies at the base of this dish and is completed with mushrooms, truffle, carrots, and thyme.

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BLOODY SNOW WHITE: A snowball inspired dessert filled with a sweet mixture of cashew-nut dough and white chocolate sits atop a vibrant red pool of strawberry-raspberry sauce. Strawberry bubbles are added for decoration and flavor.

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glossary MOLECULAR GASTRONOMY:

SPHERIFICATION:

A sub-discipline of food science that enables chefs to experiment with unusual flavor combinations and cooking techniques through the knowledge of physics, chemistry, and/or biology.

A technique that enables one to imbue a flavorful liquid, with the appearance of being solid.

DISTILLATION:

Created by trapping air in a solid or liquid substance.

The action of purifying liquid through the process of heating and cooling.

GEL:

FOAM:

The technique of turning a liquid into a solid. Gels have a jelly like texture.

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BRITTLE GEL:

DRYING & POWDERING:

A gel that is firm in nature, yet fragile at the same time. Brittle gels crumble and create a melt-in-your-mouth feeling.

Drying food intensifies its flavor and changes its texture. Food can be dehydrated and transformed into powder for a textural experience.

FLUID GEL:

ENFLEURAGE:

A controlled liquid that is both thick and spreadable at the same time.

The practice of extracting perfumes and oils from flowers through the use of fat.

iSOMALT: A sugar substitute used for its sugar like-properties.

OLD BOOK Earl grey tea-infused cream is accompanied by layers of phyllo, caramelized pasta sheets, and drops of “old book essence.” This dish was created as a tribute to the book In Search of Lost Time by Marcel Proust. PHOTO El Celler de Can Roca

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MODEL Carty Caruso SHIRT AND VEST Roger Seifert ‘21 (fashionmeansfreedom.com) PANTS Lauren Schottenfeld ‘21 HAIR AND MAKEUP Michaela Olivero

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HONOR ROLL ALL IMAGES SHOT ON KODAK PORTRA 400 FILM BY JERRY PENA

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MODEL Carty Caruso SHIRT AND VEST Roger Seifert ‘21 (fashionmeansfreedom.com) PANTS Lauren Schottenfeld ‘21 HAIR AND MAKEUP Michaela Olivero 68

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FROM LEFT Hartley Walker-Money ‘21 Whitman Davis ‘21 Roger Seifert ‘21

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Roger Seifert ‘21

MODEL Aviona Carrigan DRESS Alexa Wisnieski ‘19 SKATESOCK Erika Rothman ‘19 HAIR & MAKEUP Michaela Olivero 70

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MODEL Aviona Carrigan DRESS Alexa Wisnieski ‘19 SKATESOCK Erika Rothman ‘19 HAIR & MAKEUP Michaela Olivero VOLUME 6

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MODELS (left) Carty Caruso (right) Xhris Watson SWEATSHIRT Jess Lisa ‘19 PANTS & JACKET Leander Trotter ‘19 HAIR & MAKEUP Michaela Olivero

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MODEL Aviona Carrigan SWEATER Alexa Wisnieski ‘19 PANTS Lauren Schottenfeld ‘21 HAIR & MAKEUP Michaela Olivero

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MODELS (right) Aviona Carrigan (left) Janine Tondu SWEATER Alexa Wisnieski â&#x20AC;&#x2DC;19 JACKET Joanna Musacchia HAIR & MAKEUP Michaela Olivero

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MODELS (left) Janine Tondu (right) Aviona Carrigan DRESS Keshet Levine ‘19 JACKET & PANTS Kayla Torter ‘19 HAIR & MAKEUP Michaela Olivero

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MODEL Janine Tondu TOP Keshet Levine ‘19 PANTS Raina Rosario ‘19 HAIR & MAKEUP Michaela Olivero VOLUME 6

Whitman Davis â&#x20AC;&#x2DC;21 78

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MODEL Janine Tondu DESIGNER Keshet Levine â&#x20AC;&#x2DC;19 HAIR & MAKEUP Michaela Olivero VOLUME 6

By makena gera

Busting Free 80

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Oftentimes, the disparity between what a woman wants and what she gets can be striking. “I’m sitting here, and I’m wearing a fancy suit with designer shoes and a designer handbag, but underneath it all is this torn, ripped, five-year-old bra from Target,” noted Jane Fisher one day in business school. To her, the contrast seemed almost comical. There was a stark difference between her clothes and her bra, and she noticed a wide gap between what she wanted and needed, and what she had. When it came to bras, the only options available to consumers were astronomically priced, impractical, and uncomfortable—or, they were inexpensive and cheaply made. Obviously, something needed to change. Bras have historically been advertised for how good they can make women look, not how good they can make women feel. Extra padding that squeezes and pushes, materials that look great on a shelf, but not under a shirt, and features that make little sense, (who can even reach a strap that adjusts in the back?) do not constitute a good bra. Unfortunately, bra companies just haven’t seemed to get that. Until now. As women begin to demand fit for all tastes and body types from their bra companies, the industry is slowly starting to rise to meet these needs—and there’s one brand at the forefront of the revolution. Founded in 2016 by Jane Fisher and her business partner Jenna Kerner, Harper Wilde is creating a new breed of bra. Made by women, for women, their bras are what women truly want. They’re affordable, comfortable, and free of frills, injustices, and absurdities. Better yet, customers can try their selections on at home, at their leisure, returning those they don’t want. Frequently referred to as the “Warby Parker of Bras,” Harper Wilde recognizes that given privacy and time, bra shopping can be so much less painful. Fisher and Kerner focus on “Lifting Up The Ladies” and changing bras (and bra shopping) for the better—whether that means becoming CEOs in an ironically male-dominated industry, supporting the next generation of young women with opportunities for education, or physically holding up the “ladies” of every woman who wears their bras. The brand is backed by the motivation to challenge every aspect of the hypersexualized and humorously absurd bra industry. Named after Harper Lee and Laura Ingalls Wilder, female empowerment is at its core. From revolutionizing a bra’s smallest design detail, to infiltrating the highest rungs of the corporate ladder, these women are changing everything from how bra straps

All photos courtesy of Harper Wilde VOLUME 6

are adjusted to who’s running the show. But changing an entire industry doesn’t happen in a day, and it takes more than just envisioning a world where every woman—no matter her size, shape, or occupation—has a comfortable bra to wear. It requires challenging the way that women (and men) view the bra industry, changing the way bras are advertised to women and young girls, and a passion and dedication to making a difference in the lives of all women. Jane Fisher, one half of Harper Wilde, shares how she channeled that passion into a company that does all of the above. Jane Fisher and Jenna Kerner began their careers in psychology and neuroscience, respectively. But, a fascination with the intersection between human consumer behavior and business led them to business school. They learned about companies like Warby Parker, Casper, and Dollar Shave Club— all of which sell relatively boring commodity products online— and realized that one product was missing from the scores of companies using this unique, direct-to-consumer selling model. Why aren’t bras, an essential product worn by millions of women, sold that same way? Glancing down at her outfit, Jane saw beautiful designer clothes, but underneath was a cheap, tattered, and ripped bra. She quickly realized that something was out of place. “[Jenna and I are] two women who care about what we look like, we have enough disposable income to buy nice things for ourselves, and we’re living in a world where it’s cool to buy mattresses online. It’s so crazy that this common product is one that we’re not shopping for, and one that we’re not replacing.” It was with this realization that the two found their niche; an empty space in the market that was dying to be filled. Neither of them had ever thought about entering entrepreneurship or retail, and they definitely didn’t set out to begin their careers on the path of industry

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disruption—although that’s exactly what they did. Their idea wasn’t simply to create and sell a comfortable, durable bra that can be ordered online and tried on at home. It was much more than that. After living with uncomfortable and expensive bras for years, the two women decided they were fed up with the industry. “[In the 70s], women were in a place where sexuality wasn’t talked about, and the form of empowerment at the time was over-sexualization,” says Jane. But over-sexualized ads don’t have a place today. However, with Victoria’s Secret--full of push-ups, frills, and unbridled sex appeal—leading the $16 billion bra industry today, over-sexualization is the norm. “Victoria’s Secret had a moment where it made sense. But in 2018, or [even] in 2016 when we were in school, it just doesn’t.” Today, the bra industry is just out of touch with the modern woman. Women no longer want to face a barrage of hypersexualized models, excessive ornamentation, and $70 push-up bras covered in diamonds when they walk into a store. “The modern version of sexy is much more of a career-oriented, funny, smart, and driven woman who is powerful and amazing,” Jane says, “I’m looking at my friends who are lawyers and doctors and they’re running board meetings, and they just need a bra for functionality. They don’t want diamonds and roses on them. They don’t want them to be lacey and black and red because that just shows through your shirt during a meeting.” The modern woman wants something that lasts; something that’s comfortable, affordable, and functional. But this is something she’s never been able to have. All she does have, according to Jane, is “a really shitty bra,” and it isn’t what she deserves. After collecting survey data from thousands of American women, the Harper Wilde duo found that there’s a huge disparity between what women want and what they’re getting. For decades, bra companies have been making and marketing bras based on what the world wants

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to see women in, not what women actually want to be in. Most women want something other than lacy, red and black lingerie to wear on a daily basis. One overwhelming trend in the data showed that, overall, women don’t want to spend their entire paycheck on a bra—a garment that almost no one besides themselves, and maybe their close friends or intimate partners, will ever see. “When you think about it, it’s not like your purse or your shoes or your glasses where someone is like, ‘Oh my God. That’s such a nice bra. Where’d you buy it?’ There’s no reason, other than if you’re getting really good quality, to spend so much money [on a bra],” says Jane. They also found that the little design details, the functional aspects, and the things that only women notice or care about (which male, non-bra-wearing CEOs often miss), are the most important. It’s the difference between back bands lying flat against a woman’s back or cutting into it; it’s the difference between straps that adjust in the back—where no one can reach— or adjusting in the front; and it’s the difference between soft, durable fabric that can be put in the laundry or fabric that has to be washed by hand. “We started to figure out what mattered to women,” says Jane, and once they did, all they had to do was sell them. And they were very intentional about the way they did it. It turns out the perfect foil to the stone-cold seriousness and hypersexuality of today’s bra advertisements is humor. “We know the modern woman. She is smart and funny; she doesn’t need to be shown these really serious women in lingerie and serious poses. No. We’re fun and we can relate to funny stuff.” From models posing with cucumbers over their eyes, to throwing up peace signs, or using a homemade bra slingshot, Harper Wilde’s promotional photos and videos are a far cry from the sultry, serious ads of lingerie companies like Victoria’s Secret. “Overall, women hate bras and they hate bra shopping,” says Jane, “Normally when you start talking

about it, these horrible stories or experiences surface. So part of it was just [finding a way to talk] about it in a fun, relatable way.” Women are tired of looking at unattainable bodies lounging on beds in expensive and uncomfortable lingerie. They want to see real women wearing really nice bras, and a little humor mixed in there doesn’t hurt. But Harper Wilde’s humor isn’t just any humor. “We think long and

hard about what our humor is. There isn’t just one version of humor; there’s crude humor, there’s slap-happy humor, and there’s smart, sophisticated, and witty humor. There are ways in which it can be empowering, and ways in which it can poke fun that’s, in our minds, crossing the line a bit,” says Jane. Harper Wilde uses humor to mitigate the negative impact of traditional advertising on body image and self-objectification.“ We make sure the humor is

done in an empowering way that’s sophisticated. It’s not crude and it’s not at all cutting anyone down, but rather it’s lifting everyone up in a way that we can all laugh together.” When a young girl sees a Victoria’s Secret ad, the first thing she notices is not how comfortable the bra looks. What she sees is an object of desire, staring her down through tousled hair and skimpy lingerie. In a Harper Wilde ad, she sees a woman who looks like her sister, her friend, and even herself,

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who’s comfortable in her skin and having a good time. Whether the model is posing with a pair of googly eyes, sitting in front of her computer giving herself a manicure, or taking a nap with a bra as her sleep mask, a young girl can see herself in Harper Wilde. She can laugh with the model who’s using a bra slingshot and feel empowered to do the same. But Jane and Jenna are focused on empowering women in all aspects of Harper Wilde, not just through their promotional photos. Starting with their supply chain and ending with every last one of their customers, their “Lift Up the Ladies” initiative supports women in every way possible. “Customers are becoming more savvy and intentional about the brands they buy from— understanding who’s behind the brand and what the brands actually stands for,” says Jane. For Jane and Jenna, success isn’t solely about selling a “shit-ton of bras.” It’s about “something bigger than just selling bras every day. It’s about empowering the women in our lives—our friends, our family, our colleagues—who are these badass women who are wearing really shitty bras.” Fundamental to the company’s core values is the desire to not only physically support the current generation of women, but also to lift up the next generation of leading women as well. In partnership with The Girl Project, Glamour Magazine’s social impact initiative, Harper Wilde helps provide girls in over 100 different countries with access to education. In terms of supply chain, their factory helps its female workers become financially independent with their program Go Beyond. Jenna and Jane pride themselves on maintaining a company that’s entirely values-driven— they know that only with an unmoving, core set of beliefs can their company be successful. They also know that being a strong, female-led company rooted in the right set of values with a focus on women’s empowerment

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means nothing if not every woman can benefit from it. “It breaks my heart every time I see a customer comment that we don’t serve them yet and they wish they could buy our bras. [So] one challenge that we’re starting to work through now is how we [can be] an inclusive brand, and really stand for that, when bra sizes have almost an exponential sizing chart because of all the permutations of brands and cups. It just goes on forever,” says Jane. From waking up at 5 a.m. for fittings and working a six-person company around the clock to meet the needs of their customers, making sure they create bras for everyone is a big challenge. “It’s a big, ambitious goal. But when we talk about being values-driven, it’s the right one.” Countless aspects and features need to be taken into account when designing bras for as many sizes as possible; sacrificing quality and fit just to get a bra out there quickly isn’t what Harper Wilde is about. “Some people think we’re just choosing not to make them, but it’s

It turns out the perfect foil to the stone-cold seriousness and hypersexuality of today’s bra advertisements is humor. just that it takes some time and some money. We’re a small company...this is a huge priority for us, we’re working on it right now and we’re trying to get it out [to our customers] as quickly as we can, but we want to make sure it’s done right,” says Jane. Changing an industry that has historically not catered to the needs of women of all sizes takes time.

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We’re living in a world where inclusivity has become the top priority, and movements around body confidence are stronger than ever. But the rise of #FreeTheNipple and the acceptance of bralessness might not be as inclusive as they seem. There are certain instances where women can get away with going braless, but there are certain body types that just can’t (and it’s not for lack of trying). “Some women are smaller-chested and have the luxury of not needing, out of true necessity, the support of a bra. But a lot of women really do need the support and it’s not even an option for them,” says Jane. Unfortunately, the people currently running the bra industry don’t have the capacity to truly understand this need, or a woman’s complex love-hate relationship with her bra—and that’s because they’re almost all men. “When I pitch our company to men, their eyes glaze over. When I explain, ‘There are front adjustable straps that become racerbacks that sit flat against your back,’ they’re like, ‘What?’ But, I get it. Why should they know how front-adjustable straps can change their life? They’ve never had to deal with that,” says Jane. But every woman has. Every woman can relate to the experience of contorting her body to adjust her straps, and a select few have even had the pleasure of pulling a muscle in the process. Many know the feeling of underwire cutting into their skin and a too-tight bra crushing their chest, which are two things most men can’t say they’ve endured. But even though top-tier male investors didn’t get it on a personal level, Jane and Jenna were determined to make them understand in any way they could. To get the fundraising they needed to take the brand from a business school dream to a viable company, the two had to put bra shopping in men’s terms: What if boxer shopping was the same as bra shopping? “We started to say, ‘Okay, well, what if you had to get yourself measured to fit exactly into your boxers, and you went into a dressing room and someone came in there

and made sure everything was fitting in there just perfectly, and then when you checked out you paid $70 for one pair of boxers?’” said Jane. That definitely got their attention. But the duo went a step further than simply telling them what it would be like. With a video parodying the excruciating experience of shopping for bras, Jane and Jenna showed investors what it would be like for a man to be poked, prodded, and measured to get a perfectly fitted pair of wildly expensive boxers. Upon entering “Dick’s Drawers: The Ballsiest Undergarments in Men’s Fashion,” an unassuming man is asked what kinds of boxers he wants to buy, he’s offered “Everyday Boxers,” “Extra Cushion Boxers,” and “Specially Padded Boxers.” Another man then sifts through the messy bin of boxers labeled with the slogan “Make Her Happy for Under $299.” It seems a bit absurd at first. But if you were to substitute the male customer for a woman, and the boxers for bras, it feels much more familiar. Eventually, the male investors in the room with Jane and Jenna came to the conclusion that they just wouldn’t put up with that. But the video didn’t just get the attention of wealthy investors—it grabbed the attention of hundreds of everyday women as well. “What we found with the video was that it opened womens’ eyes [to how absurd the industry is]. They were like, “Oh my gosh, why am I dealing with this? This is total bullshit. I’m not going to do this anymore.” Changing the way that bras are marketed, bought, and sold needs to happen from the top down—and it needs women at the helm. For years, bras have been marketed by men, and the male gaze has been the primary target. But now, women’s underwear is being marketed from women to women, cutting out the unnecessary middleman.

“It used to be that you were selling men on women’s underwear. Now it’s women to women. I think that when you’re selling to the same person that’s going to be wearing it, that’s when it becomes more about functionality.” When women are designing and selling bras that women want to, need to, and functionally have to wear, that’s when the real progress is made.

Unfortunately, the issue of a lack of women in powerful, corporate positions is about much more than just bras. There, historically, has always been men at the top, and it takes a lot of work to make a change. “If you’ve been able to see someone ahead of you in a position of power, it makes it so much easier for women beneath them to see themselves in that way and actually follow a path in that direction.” Women have not often had these powerful figures to emulate, but now they do. The intent and desire for change is evident, and Jane and Jenna are starting the revolution. “There’s a lot of stats out there that show that when women are leading businesses it’s more successful in a lot of ways,” says Jenna,

and she’s not wrong. A 2015 study from Quantopian compared the performance of Fortune 1000 companies with female CEOs against the performance of S&P 500 companies with male CEOs. It found that the female-led companies produced 226 percent better equity returns than the male-led companies. Just imagine what the statistics would look like if it were comparing only the companies that make products for, market to, and thrive off the desires of women (specifically, bras). The numbers of those run by female CEOs would surely be overwhelmingly higher. It’s not that hard to envision, because that’s what Harper Wilde is doing. They’re making bras for women, by women, with comfort, utility, and empowerment at their core. Hypersexualized ads, frills and excess, and designs that fail to meet the needs of all women are being rendered obsolete as the bra industry continues to evolve. Eventually, bras will no longer be advertised as symbols of sex but rather symbols of comfort and support. Companies like Harper Wilde will make bra shopping enjoyable rather than isolating. Bras will be functional, comfortable, and affordable, and women will actually want to shop for them. Jane Fisher and Jenna Kerner are determined to make these changes, but it’s not just for their own comfort. “This is a tough thing for women to talk about; it’s not something that they generally want to open up about. Overall... they hate their bras,” says Jane. But by injecting humor into an industry that can often feel exclusive, objectifying, and uncomfortable, Harper Wilde is developing something that women actually want to talk about. They’re taking an essential component of a woman’s life and reshaping it into something she doesn’t fundamentally hate—because badass women don’t deserve to wear shitty bras.

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exquisite corpse I I I One of the most recognizable pieces of American art. For decades, artists have wondered about the subject: What is she reaching for? What is she looking at?

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Christinaâ&#x20AC;&#x2122;s World (1948) by Andrew Wyeth VOLUME 6

Basket CaSe By Rebecca Richardson Miguel de Cervantes said in the novel Don Quixote, “It is the part of a wise man to keep himself today for tomorrow, and not venture all his eggs in one basket.” Young women are practicing this wisdom in great numbers, but they’re ditching the basket and trying the freezer instead.

Oocyte cryopreservation, also known as egg freezing, is the process by which women have their eggs extracted, frozen, and stored with the hope of preserving them for reproductive purposes later in life. Previously, this procedure was intended for women who were experiencing complications reproducing naturally. Now, this procedure is targeted toward women in their 20s and 30s as more and more of them delay starting a family until later in life. A woman’s eggs are considered to be at their prime from 22 to 26. But now, young adults are maturing emotionally and socially at a different rate than previous generations and aren’t entering into early adulthood until 28 or 29. A multitude of women are seeking out this procedure because of three major life factors: finances, career, and perhaps most importantly, the nebulousness of Millennial dating. Growing numbers of people want to delay “settling down” until later to figure out what they want to do, where they want to be, and who they really want to be with—if anyone. One of these women is Jennifer Lannon, co-founder of the company Freeze Health, the Yelp of egg freezing clinics. Reflecting on young women her own age, Lannon said, “I feel like we have decision paralysis—we don’t want to commit to one idea just yet.” Lannon’s own self-growth through her early twenties led her to discover where she wanted to live, who her true friends were, the things that brought her happiness, and a career that would fulfill her. However, Lannon says there is one puzzle piece she has yet to understand: the dating world. Lannon says, “I still think if I found my person tomorrow and got pregnant, I wouldn’t want that. I still would want to explore and do more before making that commitment.” Since 2012, when the American Society for Reproductive Medicine (ASRM) and the Society for Assisted Reproductive Technology (SART) announced that they would no longer consider oocyte cryopreservation to be experimental, the popularity of this procedure increased exponentially. Social egg freezing is the clinical term used to describe the

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process of egg preservation for non-medical reasons, but it also has an ironic double-meaning. It has become a legitimate social trend, with clinics throwing lavish parties in New York and other major cities, allowing women to get an idea of the benefits of egg freezing. Women all across the United States have been researching and booking their own appointments. Celebrities like The Bachelorette’s Kaitlyn Bristowe and actresses like Olivia Munn, Sofia Vergara, and Whitney Cummings have taken to social media announcing that they have had the procedure done because, in Bristowe’s words, “[They’re] taking control of [their] future.” Before even starting the process, women must undergo blood tests to screen for infectious diseases, and for ovarian reserve testing to determine the quantity and quality of their eggs. Then, the process moves on to ovulation induction, which requires the patient to inject herself daily with synthetic hormones at the start of her menstrual cycle. The synthetic hormone stimulates the body to produce multiple eggs for the cycle rather than just the single egg that is normally developed each month. Throughout this part of the treatment, the patient has several appointments with her doctor for vaginal ultrasounds and blood tests to evaluate how her estrogen levels and body are responding. The next step is egg retrieval; which is done under sedation, either in the clinic or doctor’s office. Typically, transvaginal ultrasound-guided follicular aspiration is a process in which a probe is inserted into the vagina to identify the follicles with eggs, and then a needle with a suction end is inserted into the vagina to remove the eggs. This process of removing the eggs from the follicles can take anywhere from 10 to 20 minutes. After this part of the procedure, the side effects can include severe cramping, and pressure in the lower abdomen because the ovaries remain enlarged. The grand finale of this process is the freezing. Once the eggs are harvested, they are immediately placed in liquid nitrogen to stop all biological activity, preserving them for future use. From beginning to end, the whole process takes about three weeks. Just like any surgery, egg freezing is risky. One of the main risks associated with this type of procedure is mild to severe ovarian hyperstimulation

syndrome. The side effects of these syndromes can include fatigue, nausea, headaches, abdominal pain, irritability, and tenderness. In severe cases, it can cause blood clots, shortness of breath, dehydration, vomiting to the point of hospitalization, and death. Just because a woman freezes her eggs doesn’t mean she may not still get pregnant naturally without them. According to Lannon, women don’t often come back for their eggs. However, there is no age limit to when you must use them. Lannon explains, “As long as the womb and those parts of the body are still working, it should be good. The main reason older pregnancies have risks involved is because of the age of the eggs themselves and the risks on that egg, like Down’s Syndrome. Usually with a younger egg that isn’t the case.” After attending many conferences on the topic, Lannon recalls a story about a woman in her fifties who used frozen eggs to start a family and had a healthy baby. Each pregnancy is different, and there are always risks, but egg freezing is meant to allow other options and safer pregnancies at any age; if that is what a woman decides.

Besides Freeze Health’s current core customer, most women can’t afford to pay for the entire procedure, or even part of it unless they have it covered by their insurance plan. The industry is trying to tackle this issue and make egg freezing services attainable to all women, so there is more equality of choice in their futures. With egg freezing in such high demand, it is no surprise that companies like Freeze Health have emerged to guide women who are considering this procedure as they compare clinic pricing in their area. Freeze Health provides women with the resources to find the information they need when deciding where to get this service done. The company website shows the pricing of each clinic and whether or not they accept insurance. Freeze Health pulls information from a database run and monitored by the Society for Assisted Reproductive Technology (SART) for clinics that offer this

Each round of egg freezing costs between $10,000 and $12,000 with the majority of women needing to undergo three rounds of egg collection. On top of that, the average annual storage rate to keep them at freezing banks is $800. As of 2016, the American egg freezing industry brought in roughly $1.9 billion alone; a number that has only increased in the last two years. Lannon says that Freeze Health’s core customers are high-earning women,18 to 42 years old, who pay out-ofpocket. Lannon also says, “These women aren’t always freezing their eggs because they have a need to be mothers. Most are just freezing in case they want to be [mothers] later, but haven’t really thought about it.”

Illustration by Sarah Ditterline VOLUME 6

procedure, as well as information about the clinic. Freeze Health provides answers to patient’s frequently asked questions by doctors who have performed the procedure. Lannon says, “We want to provide a service to women to help save them time, save them money, and to provide more options. Some busy women don’t have time to wait on the phone for an answer. Some women would rather be able to access the information whenever they want it.” In the last few years, large companies like Google, Apple, and Facebook have started offering egg freezing as a part employees’ health benefits. With such large companies investing in support of their employees’ personal choice to map out their family timelines, it comes as no surprise that advisory firm Willis Towers Watson reported “of 400 companies representing 7 million employees, 66 percent of the employers expected to offer fertility benefits by 2019 as compared to 55 percent in 2017.” The procedure itself is expensive, but having and raising kids costs more. According to CNN, as of 2015, the average cost of raising one child until the age of 17 is $233,610 in the United States. (Yes, thatexcludes college tuition.) That is more than the average amount someone pays to attend a private university for four years, and young adults are just beginning to pay off those loans. Who has the financial means to pay more than $230,000 for each child? Not many people. This is why many young women want to pursue freezing their eggs, so that whenever they decide to start their family, they’ll have healthy eggs. Achieving financial stability is not the only reason women may be postponing motherhood. Dating sucks— now more than ever. Before, all you needed to worry about was going out to a bar or a coffee shop to find a prospective match, then whether or not they would call for a date. Now, we swipe. That is just the start of it, though. Now, you have to be casual when talking to someone, but not too casual. Available, but not too available. You aren’t dating, you are simply “talking:” the ultimate grey zone. For Lannon, like many Millennial women, there were various factors in deciding to have her eggs frozen, but one of largest reasons was her relationship status. When asked how the dating world impacted her decision to freeze her own eggs, Lannon said, “I have always been that person in my friend group who was looking for something serious romantically. Looking at my sister, who is already married and has two kids and she is only four years older than me, I realized it wasn’t happening on the timeline I expected. So, I really

looked into egg freezing and decided to hedge my bets and take the stress away. I realized even if I met my person today, I would still want time to explore and get to know them before I even began to think about kids. I still don’t really know what I am doing, [because] dating is confusing and complicated. I don’t think that will really change much, but at least this way I won’t have that worry. I have options.” Since having her own eggs frozen, Lannon has noticed a change in the way she views dating. “I had my first, casual relationship after [freezing my eggs],” she says. “We were in two different cities. Eventually, he realized he didn’t want anything serious but still wanted to hang out and be casual. Previously, if I’d heard that, I would have cut my losses and left and moved on, but I was open to seeing what happened. Before, if after the first date I couldn’t see myself marrying that person, I wouldn’t have continued. Now, I am more accepting of seeing what happens.” The majority of Millennials aren’t in committed relationships. They are simply “talking” to someone who they could maybe end up in a relationship with, but they are “casual” in case they find someone better. The Millennial generation has adopted the perspective that there is always something better out there. Whether it’s a better apartment, a better job, a better coffee shop, or even a better person to date. With the rise in activity on social media and a new world of dating apps, people think that with a few swipes there could be a hotter, nicer, kinder person out there to date. Knowing that you can be dropped by the person you are talking to in a second without warning has created new levels of anxiety and uncertainty. This lack of certainty in the world of dating has driven a lot of women to freeze their eggs, even if they are in a serious relationship. At the end of the day, they don’t necessarily know if this person is “the one” or if their relationship will work out; they want their options open. Reflecting on what egg freezing means for young women, Lannon says, “This is a very exciting time. Don’t let others influence what you do with your body. There is no guarantee that by doing this you will get pregnant, but it is definitely an option we didn’t always have before.” Social egg freezing is just another example of women being unapologetically in charge of their own bodies, and their own reproductive decisions. Is it wise for a woman to keep herself today for tomorrow, and not put all her eggs in one basket?

Illustration by Sarah Ditterline 90

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MODEL Janine Tondu DESIGNER Joanna Musacchia â&#x20AC;&#x2DC;19 HAIR & MAKEUP Michaela Olivero

next stop SHOT ON KODAK PORTRA 400 FILM BY JERRY PENA

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MODELS Janine Tondu in Alexis Alexander ‘19 Xhris Watson in Leander Trotter ‘19 HAIR & MAKEUP Michela Olivero

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MODELS Janine Tondu in Alexis Alexander ‘19 Xhris Watson in Leander Trotter ‘19 HAIR & MAKEUP Michela Olivero 94

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MODEL Xhris Watson DESIGNER Leander Trotter â&#x20AC;&#x2DC;19

VOLUME 6

PRIVACY WANTS A FRIEND By Ashley Camuso

Privacy wants a friend. Her bare skin radiates innocence, and the look she has when she catches a glimpse of her frail body is one of discomfort. Privacy needs a friend. She is dependent, grasping onto those with strength and beauty. When Privacy meets Social Media, a mere smile from Social Media gives Privacy a sense of security. Everything from her deeply contoured cheeks to her toned hourglass figure is likable and enticing. Social Media exudes confidence and attractiveness. Seductive words spill from her perfectly painted lips. She begins to invite Privacy to parties, lunches, and sleepovers. She gives Privacy strict orders knowing that Privacy will follow. She tells Privacy exactly how to wear her makeup and get her way with guys. She tells her what to eat to make herself skinnier. She tells Privacy what editing tools she needs to alter her body in pictures to make herself look hotter. When the two are not

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physically together, they are texting and FaceTiming. They are never truly apart. Privacy has a friend. Social Media begins to express mixed emotions about Privacy. Empty compliments and obsessive behavior begin to consume their conversations. Social Media isolates Privacy from other people in her life. Social Media must know where Privacy is, who she is with, and what she is doing. Inspirational comments like, “You are so pretty and talented! You’re gonna kill it this week!” are followed by savage ones like, “Are you actually gonna eat that? LOL!” In the same breath, Social Media builds Privacy up and tears her down. Privacy absorbs her influential words and lets them take control, even though she knows better. Social Media’s opinions command Privacy’s constant attention. As Privacy gets dressed, as she brushes her teeth, and eats her breakfast, she wonders what Social Media will think. Yet, each day, Privacy still feels

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Drawing by Sarah Ditterline

comfortable enough to tell Social Media intimate things—secrets and confidential information that she hasn’t told anyone else. Social Media doesn’t just know Privacy’s address and passwords—Social Media knows everything. She knows her fears and insecurities. Her interests and passions. She knows exactly what she wants to hear and exactly what she doesn’t. Social Media feeds the ever-growing hunger that Privacy has for attention and companionship. Privacy provides an outlet where Social Media can express her sadistic and calculated tendencies. Privacy has become submissive. She is completely drained. She thinks to herself, “Social Media is secretive. She has no emotion. She has control of my information. She has control of me.” Privacy is naked and bare. Privacy is lost. Social Media feels no regret. Hollow apologies and frustrations flood the final conversation between them. Privacy wanted a friend. Privacy has nothing left.