METHOD SEVEN MAGAZINE | page 2
METHOD SEVEN MAGAZINE
EDITOR IN CHIEF Adriana Solis EDITOR Jordan Mills CREATIVE DIRECTOR Leah Leybovich ART & LAYOUT DIRECTORS Alberto Alvarez Parnia Tahamzadeh FASHION DIRECTOR Meghan Forest ASSISTANT FASHION DIRECTOR Patrice Jackson PHOTOGRAPHY DIRECTOR Kelsey Newkham BEAUTY DIRECTOR Shawnee Leonard BUSINESS DIRECTOR Edi Assamoi MARKETING DIRECTOR Karim Jahangir ACCOUNTING DIRECTOR Magdel Frias BRANDING DIRECTORS Rachel Hart Tracy Harwood VIDEO DIRECTOR Eric Parsons EVENT PLANNING DIRECTOR Donitha Musgray BLOG DIRECTOR Varissa Campos SOCIAL MEDIA & WEB DIRECTOR Ashley Bonner
W
elcome to the second issue of M7M! In this issue, we explore the concept of being gilded, which often refers to covering an object in a thin layer of gold leaf in order to make it appear more valuable than it really is—a lie of sorts. You might have also heard this word used in describing the famous ‘Gilded Age’ crooked politics of the late 1800s. Today, we cast away all of the negative connotations and choose to view things from a different angle. To be gilded, figuratively speaking, is to take the first step towards becoming truly golden. If we can believe ourselves to be ‘golden,’ then we can one day truly lead self- actualized lives. We can strike pure gold. The key to uncovering our true value lies in a journey of personal transformation and perseverance that we will all some day be brave enough to take. Why not now? Taken from the photo shoot ‘Natural Selection,’ our cover pays tribute to the theme. Although there is no trace of the precious metal there, we bring an image of one of the oldest cross-cultural symbols of transformation and hardship— the desert. This land of immense trial represents the many obstacles and challenges we must overcome in order to reach our golden state. In the following photo shoots, we invite you to explore methods of capturing the excitement of fashion in your closet without sacrificing the integrity of your wallet. We also share the stories of the glimmering individuals who inspire us to reach for the moon, and the gilded young men and women who are well on their way to the gold. Thank you for reading and being part of the M7M story.
Adriana Solis Editor-in-Chief
METHOD SEVEN MAGAZINE | page 4
TABLE OF CONTENTS METHOD SEVEN MAGAZINE | ISSUE NO. 2
ARTICLES KEEPING IT GILDED
15
CHANGING MINDS, CHANGING WAISTLINES
29
THE FLUX OF FUR IN FASHION DESIGNER SPOTLIGHT
41
INFORMED PERSPECTIVE
55
VISIONARY: A CONVERSATION WITH RUTH CROWLEY PATTY LOUNIS D.I.Y.
35
71
82
89
TEXAS NEXT TOP DESIGNER
97
EDITORIALS 07
EQUINE STATE OF MIND VICTOR VICTORIA
17
BROKE BAROQUE
25 31
GLINT IN THE WOODS OFFICE OCCURENCES 49
WORK OF ART
MAD MONOCHROME LOOKBOOK
37
59
65
CHIAROSCURO BALANCING ACT
75 85
KALEDISCOPE EFFECT NATURAL SELECTION
91 99 METHOD SEVEN MAGAZINE | page 6
EQUINE STATE of
MIND Lead singer of Aprilemade, Annalise Bush, showcases how equestrian gear can go from the stables to the streets.
Photography Kelsey Newkham Styling Meghan Forest
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Right: Pants from Dover Saddlery in Dallas, TX | Location: Hidden Lake Farms in Bartonville, TX | Model Annalise Bush
METHOD SEVEN MAGAZINE | page 14
Gilded
Keeping it
Written by Alayne Ballantine Photography courtesy of The House Vintage
D
id you know that on any given day,
Town are all great stops to make when traveling out of
there is an average of $2 million dol-
little D and into the big city. With resources like these,
lars worth of pennies lying on the
it is nearly effortless to pair inexpensive with unique
ground throughout the U.S.?
and still come out looking a la mode. Try slipping into
In Denton, we embrace the philosophy of taking
a vintage fringed leather jacket, or warming up with a
something that has the potential of a penny and really
handmade scarf to express your personality and make
making it shine. Every day is an opportunity to paint our-
a thrifted find all your own. You can find the closet of
selves in the best and brightest way we can, all while
your dreams for a fraction of the price right down the
being conscious of our wallets. After all, at the end of
road.
the day there still has to be money left for Fry Street.
Though Denton’s no New York City, our sidewalks
This means that it’s never a bad day to visit some
turn to runways with local finds for pennies and dimes.
of the best budget-friendly shopping spots in Denton.
And let’s face it: We all want to look great, and still be
We can feed our fashion-fueled souls thanks to stores
able keep the lights on. So the next time you pass up
like Denton Thrift, Circa 77, The House Vintage, and
spare change on the sidewalk, remember this lesson:
some of the best neighborhood thrift stores in the me-
Every penny has potential, and you don’t have to be
troplex. Dolly Python, St. Vincent de Paul, and Thrift
dripping in gold to be golden. 7
METHOD SEVEN MAGAZINE | page 16
Victor
Victoria Strong lines and tough exteriors are not just for the guys.
Photography Kelsey Newkham Styling Rebecca Nevarez
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Hair and Makeup by Nida Muhammedi Models Alberto Alvarez and Sawyer Neilson
METHODSEVENMAGAZINE
TEAM LISTING I S S U E
Fashion/Styling Aarica Jefferson Aiyana Zihuatanejo Arielle Antwine Armando Najera Brittnee Lavender Calli Buckelew Chelcie Guidry Cyril Pope Emily Hoffman Emily Robinson Marlee Plummer Michele Crow Nichole Fallis Rebecca Nevarez Tony Picciolo Victor Ramirez Whitney Roundtree
Photography Brittany Shaban James Coreas Jelisa Carroll
I I
Jessie Kuruc Kaitlyn Holt
Faye Morris Nida Muhammedi
Event Planning
Branding
Chrystal Ayati Melissa Hollis Rebecca Renteria Subrina Hossain
Writing
Alayne Ballantine Alex Hall Epiphany Ciers Hannah Overstreet Jeniffer Baca Sharae Rogers Tre Keys
Beauty
Ashley Whitby Britney Hall Charis Orr
Brea Wade
Marketing Briatni West Shena Ly
Blog
Jonathan Masiki Julio Santos
Art & Layout
Jenna Hernandez
Volunteer
Alexa Nelson Katelyn Patrick
METHOD SEVEN MAGAZINE | page 24
Broke Baroque
No doubt ‘baroque’ emerged as a major trend this season. You won’t be needing Louis the XIV’s wardrobe to pull off this look. Photography Jelisa Carroll Styling Emily Robinson
Shirt and Pants from Dillard’s at Vista Ridge Mall Blazer and Necklace from The Limited at Vista Ridge Mall METHOD SEVEN MAGAZINE | page 26
Left: Dress and Belt from Dillard’s at Vista Ridge Mall, Sequin Shawl and Necklace from The Limited at Vista Ridge Mall Right: Pants and Necklace from The Limited at Vista Ridge Mall, Shirt and Metallic Jacket from Dillard’s at Vista Ridge Mall Model Gabrielle Gilliam
METHOD SEVEN MAGAZINE | page 28
CHANGING MINDS, CHANGING WAISTLINES Do you measure up? Written by Sharae Rogers Illustration Brittnee Lavender
W
hat is beauty? We’ve all
ette. With the freedom to choose, women have
fashion, but is it enough? The latest letter sent
heard that: beauty is in
inadvertently created an entire system in which
to members of the CFDA by president Diane
the eye of the beholder;
we never win. In the past, women who were
Von Furstenberg and CEO Steven Kolb, urged
it’s only skin deep; it’s
too thin were deemed unhealthy and unfit to do
the industry to remember that “Health is Beau-
what’s inside that is true beauty. So why aren’t
their womanly duties, but in today’s society, it
ty”—sounds like we may be moving forward...
all of these interpretations of true beauty rep-
seems the same goes if we’re too “big.” What
My question to you, the reader, is this: is it
resented in our magazines, ad campaigns, and
does that say about the value we place on our
enough? Do you care that you, the everyday
other forms of media? If we open a magazine
bodies?
woman, is underrepresented in an industry that
fresh from the press today, we might be mis-
Today the average woman is 5 feet 4 inches tall
you basically fund? Is it enough to just slap on
lead into thinking that true beauty is shockingly
and weighs 140 pounds, but the models used
a new label telling you what a woman is sup-
thin, tall, flawless...and did I mention thin?
to depict the “average” are more than double
posed to be? We were supposed to be fertile
Throughout history, beauty—feminine beau-
her height and about 20 pounds lighter? How is
with wide hips and large breasts. Then we were
ty—was mostly attributed to health and fertility.
that supposed to inspire us to feel good about
supposed to lose our shape and focus on de-
Will she live long enough and will she be ca-
ourselves while staring into that ever-critical
veloping our minds and integrity, and now we
pable of producing tons of babies? Beauty was
fitting-room mirror, let alone get out of bed in
are supposed to be “healthy?” The problem
initially associated with function, then some-
the morning?
with deeming what a woman is supposed to be,
where along the way, one little Betty had a
How does the fashion industry come into
is that those who don’t fit the mold are left out—
thought: “Maybe I am more than just my child-
play here? By choosing to ignore the impli-
and in reality all of these labels are relative and
bearing hips!” With that, everything changed.
cations of the messages it sends to women,
completely subjective to one’s heritage, culture
Women went postal and demanded the right to
across all generations, it can purposely lead
and morals. Perhaps we should instead focus
vote, to have successful careers, to be sexually
them to believe that if it’s not on the runway,
on being exactly who we are and dropping the
free...and the notion of marriage and childbirth
then it probably doesn’t matter (it being you,
labels, preconceived notions and historical ex-
fell to the wayside. What became of this was
the consumer). But what if you don’t fit into that
pectations. What if body policing ceased to ex-
not only a shift in mind, but in body as well.
predetermined beauty box?
ist and every woman was glorified?
Women today, thanks to our foremothers, have
In recent years, the fashion industry has tak-
M7M would like to hear your opinion on this
the right of choice. Yet, it seems that with a
en some crucial steps in the right direction. In
topic, what do you think? Is it enough or do you
general decline in expectations to marry and
2007, the CFDA, Council of Fashion Designers
deserve more? Will you ever measure up to
have children, women may have chosen some-
of America, began a health initiative in attempt
what an industry and society has deemed you
thing with even harsher expectations—vanity.
to deter the use of underweight and underage
are supposed to be, or will you simply choose
Our hips, thighs and breasts have now been
models in the industry. This promotion helps to
to be who you are and relish in every minute of
reduced to a primarily unrecognizable silhou-
alter the current beauty ideals represented in
it? The choice, thankfully, is yours. 7
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G L I N T IN THE W O O D S A closetﾂｭ窶田hanging trek into the wilderness.
Photography Brittany Shaban Styling Aarica Jefferson
Left: Both dresses and white jacket from Francesca’s Collections at The Shops at Highland Village Right: All garments from Francesca’s Collections at The Shops at Highland Village
METHOD SEVEN MAGAZINE | page 32
Top Left: Sequined Skirt from Francesca’s Collections at The Shops at Highland Village | Top Right: Shirt from Francesca’s Collections at The Shops at Highland Village | Location: The Lodge at Pecan Creek Apartments in Denton, TX | Models Nichole Fallis, Kimberly Connor, Eric Perkins
Dress from Francesca’s Collections at The Shops at Highland Village
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f
the
lux o ur in ashion Written by Tre Keys Wilson Photography Jelisa Carroll
W
hether fur makes you think of flawless celebrities or the death of animals, fur has been around since the Neanderthals. Not only is fur present in hunting communities and circles of high society, it
also has a special place in the fashion community and its runway. We’ve seen them all: Kanye West, Beyonce, Naomi Campbell, Sarah Jessica Parker and even Cruella Deville donning fur. But the question remains: How exactly does that fur get from the wild and into their closets?
be of higher quality is made from animals like wolves, foxes, rabbits, ot-
Simply enough, before heaters and insulation, people needed fur to
ters and mink. Their fur is valued for its glossiness and unanimous color,
survive the harsh winters. Ancient hunters used animal pelts to make
as well as depth and texture. Laws require sellers of fur to identify and
coats for themselves and their families. Fur then eventually became a
include labels that state the type of animal, the country of origin, and
sign of high rank or royalty. As time progressed, the demand for fur in-
what part of the animal was used regardless of whether it’s been altered,
creased in the Old World and travelers sailed to North America to find
dyed or otherwise. Animals are typically chosen for their fur when they
more. From well-regarded huntsmen to wealthy merchants, fur has al-
reach maturity and grow their heaviest coats for the winter. So it seems
ways been profitable.
Hollywood isn’t the only one who prizes youth in beauty.
Fur coat production entails removing the skin from the animal and
Faux fur, which has been available since the Great Depression, is
submitting it to intensive chemical treatments. Fur that is considered to
made of synthetic fibers that are processed, dyed and cut to match any
kind of real fur in an indistinguishable manner. The best kind of faux fur
and hemp to make fur more ‘real.’
uses acrylic fibers that are easily dyed to replicate the animal’s fur. With
When it comes to the topic of environmental impacts, neither faux fur
the help of pioneering science, fur may truly be a thing of the past in the
nor real wins the contest. Although some of the materials utilized to pro-
future.
duce faux fur are nonrenewable, animal raising and trapping also con-
Since faux fur is produced with the help of polymer scientists, it’s gen-
sumes energy and affects natural ecosystems. Going faux won’t guar-
erally cheaper. However, prices can sometimes exceed those of real fur.
antee the same softness as the real thing, but it will help save animal
In 2010, Chanel based its fall fashion show around the idea that faux can
lives. Studies are inconclusive as to whether one or the other is more
be fabulous. According to Mr. Lagerfeld himself, “Technical advances
environmentally damaging.
are so perfect that you can hardly tell fake fur from the real thing.”
This places the buyer in a position to evaluate his or her own morals
Scientists have even begun experimenting with natural fibers like cotton
and ethics in order to choose. Will you go faux or keep it real? 7
METHOD SEVEN MAGAZINE | page 36
0
ffice ccurrences
This winter, classic English heritage style jumps across the pond and makes waves.
Photography Kaitlyn Holt Styling Marlee Plummer
Top: All garments from Dillard’s at the Golden Triangle Mall, Purse and Bracelet Francesca’s Collections at The Shops at Highland Village | Bottom: All garments from Dillard’s and The Limited at the Golden Triangle Mall
METHOD SEVEN MAGAZINE | page 38
Left: Earrings and Red Top from Francesca’s Collections at The Shops at Highland Village Right: Dress Dillard’s at the Golden Triangle Mall, Hat and Purse from Francesca’s Collections at The Shops at Highland Village | Assitant Stylist Emily Robinson | Hair and Make up Shawnee Leonard and Faye Morris | Models Angelica Valadez and Ryne Thrash
METHOD SEVEN MAGAZINE | page 40
Arielle Antwine Hometown: San Antonio, TX Age: 21
Designer Spotlight
Method Seven Magazine: When did you begin designing and why?
home that night and doodled that dress over and over until I got it right.
Was there a defining moment for you?
Never looked back.
ArielleAntwine: I began designing as soon as I could hold a pencil. My
M7M: Describe your design aesthetic in one word. Why is this the word
sister, who is 10 years older, is an artist and a lot of my first memories
you chose?
are of watching her draw for hours on end. When I picked it up I just
AA: Character. Whenever I begin a project I don’t think of the fabric, or
gravitated towards drawing clothes. I didn’t even know it was a real
the silhouette, or the occasion. Instead, I create a character; another
job until about 5th grade! This is super cheesy, but if I had to pick a
identity that can take the vague image in my head and translate into
defining moment it would be when I was 5 years old and saw Titanic in
something with utility.
theaters for the first time. When Kate Winslet was at the stairs in her
M7M: What inspires you the most, and how does this translate into
burgundy beaded dress— it LITERALLY took my breath away. I went
your work?
AA: Cinema inspires me the most. This comes back to the ‘charac-
M7M: What are your plans after graduation? What long-term goals do
ter’ bit I mentioned earlier. A lot of times my ideas play out like a vi-
you hope to accomplish?
gnette or movie, where I can see the final image and exactly the per-
AA: Generally, I would love to work on styling and costuming in tele-
son I want wearing it. This is sometimes a very watered-down first
vision and film. Eventually I would like to zero-in on performance art
image, other times it’s crystal clear. Scratchy doodles turn into more
costuming for shows like So You Think You Can Dance, then perhaps
precise illustrations (I always enjoy the pen-to-paper part the most),
Broadway. A long-term goal I hope to accomplish is to gain some kind
and next it morphs into design details like shape, fabric choice, etc.
of notoriety among Hollywood costume design— specifically for period
Then I’m onto fabrication. I also really enjoy making up names and
films. I have a much more humble dream of opening up a small dance
stories that help me work out the fine details of an idea—it’s a very
studio and having a joint dance wear costume shop.
‘day-dreamy’ process. METHOD SEVEN MAGAZINE | page 42
Brittnee Lavender Hometown: San Antonio, TX Age: 22
Designer Spotlight M7M: When did you begin designing and why? Was there a defining moment for you? Brittnee Lavender: I’ve always been a creator and illustrator— a crafter. I wear my heart on my sleeve in a literal way, and fashion design gives me an outlet to be a bolder individual. As a child, I remember being glued to a computer for hours when I got ahold of Barbie’s “Cool Looks Fashion Designer” software back in the day. The rest is history! M7M: Describe your design aesthetic in one word. Why is this the word you chose?
fashion history, my work certainly carries faint reminders of the past.
BL: Retrospect. I respect what was. I take moments to look back and
I like to convey that old-school can most definitely hang with the new.
take note from the mistakes and victories alike. I love it all!
M7M: What are your plans after graduation? What long-term goals do
M7M: What inspires you the most, and how does this translate into
you hope to accomplish?
your work?
BL: The closer I get to it, the more I hate being asked. The world needs
BL: I love discovering old images of ethnic beauties and black Ameri-
to understand the thick fog that accompanies pursuing this industry!
cana—especially the restricted 40s, “nifty fifties” and civil rights 60s.
Nothing is certain, but I’m going to claim an internship in hands-on pro-
They’re all quite controversial eras. I celebrate these rare sights be-
duction and work my way up. Eventually I will design women’s apparel
cause, as a young black woman, I never got to see them in my middle
and venture into the plus size market.
and high school textbooks. Due to my growing love of thrifty vintage and
METHOD SEVEN MAGAZINE | page 44
Johanna Verngren Hometown: Ystad, Sweden, lived in U.S for 4.5 yrs Age: 22
Designer Spotlight M7M: When did you begin designing and why? Was there a defining moment for you? Johanna Verngren: I’ve always expressed myself through what I wear. I never liked what ‘everyone else’ was wearing in middle school, so I naturally started to make or redo my own clothes. The time that I really felt like fashion design was something for me was when my friends’ band had an opening show and I designed and made all the stage wear for them. I had a lot of fun hot-gluing peacock feathers and cording spray- painted gold to a brown
else in life, you have to use it or lose it. I used to feel like something was
corduroy military jacket that I made from an altered commercial pattern.
wrong with me as a designer because I wasn’t able to “find inspiration ev-
M7M: Describe your design aesthetic in one word. Why is this the word
erywhere and in everything” like you hear many talented people say. What
you chose?
does inspire me is to be surprised. And that can be a hard one to seek out
JV: I don’t try to categorize my work. I’m still young and inspired by too many
for myself. I tend to get sick of everything that I see one too many times,
different things to feel like I have one clear aesthetic. One week I’m crazy
and it is frustrating as an artist and a designer to not be able to have a set
about minimalism and obsess about removing every unnecessary detail;
place to go for inspiration. I also find inspiration in things that are beautiful
next week I want to use every color of crayon in the box, add all kinds of
from far away, but when you get closer to it you realize that something re-
beads and foreign objects to a design then dump ten buckets of feathers
ally grotesque made up all that beauty. I guess I’m just high maintenance
on it. What’s important is to not take myself too seriously. I am still learning
when it comes to inspiration. I take my inspiration and try to come up with
what I like, and I work hard to produce good craftsmanship, but you will
something unexpected; I want people to see my work and expand their
always see an element of humor in my work.
views. I want to show them that fashion can be cool, funny, and scary at
M7M: What inspires you the most, and how does this translate into
the same time.
your work?
M7M: What are your plans after graduation? What long-term goals do you
JV: As I said: too many things and nothing. Inspiration is like everything
hope to accomplish?
JV: I plan to apply to a fashion design program in Stockholm, which has
for an established designer sewing thousands of beads onto beautiful
been the path of many of my favorite Scandinavian designers and fash-
garments, or come up with silly designs at a screen-printing studio. I
ion illustrators. My short- term goals are to truly learn more about my
ache to make, and all I can ask for is to be able to make a living while
own designer profile and myself. I also want to travel, and to be able to
doing it. My long-term goal is to get to where I know myself well enough
work with someone who inspires me. What I love apart from designing
to put out a clothing line that I truly feel represents who I am and where
is the craft of sewing itself. I would love to be able to work in a studio
I stand in the world. METHOD SEVEN MAGAZINE | page 46
Elizabeth Villere Hometown: Galveston, TX Age: 21
Designer Spotlight M7M: When did you begin designing and why? Was there a defining moment for you? Elizabeth Villere: I began designing women’s apparel when I was very young, and I’ve just recently started designing menswear. I really enjoy the utilitarian element of menswear design. There was never really a defining moment for me because designing clothes is just something I’ve always done. I feel genuinely happy when I’m doing anything menswear related, but that could just be because I’m jaded from only
I’m almost unhealthily obsessed with the Lady of Guadalupe, behav-
being allowed to design dresses up until my senior year.
ioral science, and post-apocalyptic and dystopian societies. I typically
M7M: Describe your design aesthetic in one word. Why is this the word
research these topics when I can’t find inspiration in my surroundings.
you chose?
M7M: What are your plans after graduation? What long-term goals do
EV: Utilitarian. Consider me Amish, but if it doesn’t perform a function,
you hope to accomplish?
it’s useless.
EV: Honestly? Just finding a job at this moment. I haven’t experienced
M7M: What inspires you the most, and how does this translate into
much of the corporate world, so I don’t have a very developed purpose
your work?
yet. I entertain more entrepreneurial ideas, like joining a small to me-
EV: I love interesting textiles. I’m a very tactile person, so the touch
dium sized company that I can help grow and develop into a household
and feel of a fabric really intrigues me. I also like anything that is a
brand name. That would be awesome. 7
challenge, and menswear provided itself as such. On a lighter note,
METHOD SEVEN MAGAZINE | page 48
W W A A A ORK OF RT
Fashion and art have always walked hand in hand. We pay tribute to some of the most noteworthy artists of the past century: Basquiat, Kahlo, Hirst, Klein, Lichtenstein and Dali by wearing their art on our sleeves.
Photography Brittany Shaban Styling Chelcie Guidry
INSPIRED BY Roy Lichtenstein
All garments from Dillard’s at the Golden Triangle Mall
METHOD SEVEN MAGAZINE | page 50
INSPIRED BY Jean-Michel Basquiat
All garments from Macy’s at Vista Ridge Mall Right: Dress from Macy’s at Vista Ridge Mall
INSPIRED BY Damien Hirst
METHOD SEVEN MAGAZINE | page 52
INSPIRED BY Yves Klein
INSPIRED BY Frida Kahlo
Left: Dress from Dillard’s at the Golden Triangle Mall, Skirt from The Limited at the Golden Triangle Mall Assistant Stylist Cyril Pope Hair and Makeup by Charis Orr and Britney Hall Models Cameron Lucks, Ashley Jarvis, Shannon Peffley, Nazzi Eghbal,Bethany Wallace, Chelcie Guidry, and Emilia Gaston
INSPIRED BY Salvador Dalí
METHOD SEVEN MAGAZINE | page 54
INFORMED PERSPECTIVE An inside look into the fashion business
Written by Hannah Overstreet Photography James Coreas
I
n popular culture, the image we hold of the fashion
Psychology from Ohio State University, and worked in the
industry is one of glamour, luxury, and status. Many
luxury sector of the fashion industry in Europe. Regardless
people flinch or smirk when I tell them, as a college
of her position, she maintained a hunger for history and the
student, that I am pursuing a career in fashion. To
inner workings of human nature in relation to consumption.
many outsiders, fashion is an ‘easy’ or trivial industry, as
According to Dr. Strübel, “A lot of the fashion industry is
opposed to neuroscience or mechanical engineering. Of
pure luck and nepotism, especially when you’re talking about
course, ‘easy’ is subjective, and is based on each individual’s
these high-end designers. I happened to be living [in Eu-
strengths and weaknesses. Regardless of opinion, success
rope]; I was working on my dissertation.” Through network-
in the fashion industry is not easily obtained, and those that
ing with friends in Paris, she became involved in freelance
achieve a position of success did not happen upon it without
merchandising, while still pursuing her own interests. “You
years of hard work.
have to be assertive; they are not going to come to you. How
Dr. Jessica Strübel-Scheiner agreed to expound on what
I met Helmut Lang was by knocking on the door of his home,
she considers necessary for success, and to provide insight
and inviting myself in. I liked him— he’s a fabulous person.
into her personal experiences in the fashion industry. Dr.
He’s an artist now, and I think that’s why I liked him so much.
Strübel is a well- loved and respected professor at the Uni-
I loved him in the nineties—that’s why I was banging on
versity of North Texas, who moved to Texas from Manhattan.
his door. But I saw a lot of the superficiality, and it’s even
She received her doctorate in Fashion Studies and Social
more pronounced in the United States than it is in Europe.
METHOD SEVEN MAGAZINE | page 56
In Europe, it is still an art form; here it’s more about who
One of the purposes of this article is to debunk a few mis-
you know.” Dr. Strübel agrees that actions speak louder than
conceptions about the fashion industry. From her perspec-
words when it comes to determination. “Being passive is not
tive, “It’s definitely not all glamorous. I know a lot of young
going to get you anywhere in this industry. You know, even
people who went to Manhattan, thinking they were going to
when I moved here, I didn’t know anybody. I heard through
live the Sex and the City lifestyle, and they ended up running
word of mouth about people like Jan Strimple, and I reached
back home to their parents. It’s unfortunate.”
out to her.”
“Another misconception is that New York is the center of
The point is this: the time to prepare for what we hope to at-
fashion. It’s a fashion hub, but there’s just as big of a fash-
tain in the future is now. We should not be afraid to approach
ion epicenter [in Dallas]. It’s probably even more so here be-
our heroes—they are human, just like us. Getting in touch with
cause what we have here is more mainstream, and it’s going
people we admire, and attempting to learn from them allows us
to be more profitable. It’s the majority. When you say you
to gain knowledge and connections that may benefit us later on.
want to work in fashion, it doesn’t mean you have to work for
high-end designers. It’s okay to work for a mainstream manu-
events. One of the things that employers find most discourag-
facturer. It doesn’t mean you’ve failed. I guess that’s one of
ing is when they can’t have a simple conversation with some-
the biggest misconceptions a lot of people have. You don’t
one. If young people do not know what’s going on around
have to go work for a design house in Europe. You do have
them, it shows a lack of worldliness, and a lack of awareness.
to work hard, and you have to be persistent. If you are one of
That’s not my own personal preference, that’s what people
those people who are determined, you’re going have to work
want. They want you to be aware; they want you to get out-
hard to get it; it’s not going fall into your lap. Nepotism is alive
side your bubble and understand what’s happening.”
and well everywhere; it’s who you know.”
This advice is not just applicable to fashion students; it’s
Lastly, I asked her advice for young people who hope to
for all of us. Regardless of what we pursue in life, we must
break into the world of fashion. “Know what’s going on in the
keep our eyes on the bigger picture. Our efforts are a piece
world around you. There is no bigger turn-off to a potential
of something greater, and we should seek to make a positive
employer than for a young person to not know about current
impact on the world by being conscious of its current state. 7
METHOD SEVEN MAGAZINE | page 58
MAD
Photography Jessie Kuruc Styling Victor Ramirez
MONOCHROME
METHOD SEVEN MAGAZINE | page 60
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Assistant Stylist Armando Najera Models West Buchanan and Sean Preston
Aéropostale Limited
time to shop.
Express Bath & Body Works Charlotte Russe Hollister victoria’s secret The Children’s Place Brookstone Cinemark Theatre
visit VistaRidgeMall.com and Facebook for more information about events
conveniently located at the crossroads of I-35E and the Sam Rayburn Tollway in lewisville call 972.315.3641 for store listings
METHOD SEVEN MAGAZINE | page 64
LOOK LOOK BOOK Photography Jelisa Carroll Styling Leah Leybovich
METHOD SEVEN MAGAZINE | page 66
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Models Leah Leybovich and Sonny Bonds METHOD SEVEN MAGAZINE | page 70
VISIONARY A conversation with Ruth Crowley Written by Jordan Mills and Adriana Solis Photography courtesy of Ruth Crowley
M
7M had the honor of interview-
to continually enhance the experience for every
will be in Latin America with plans for other
ing Ruth Crowley, an incred-
guest. Crowley has also worked in the airport,
key destinations including Russia, the Middle
ible leader, philanthropist, and
entertainment, and destination retail channels
East, and Asia. Creating concepts for interna-
inspirational role model with a
as well as department and specialty stores, hold-
tional markets is both exciting and challenging,
heart of gold.
ing positions across Operations, Merchandising,
but allows us to put all of our prior experience
Crowley has been a leader in the retail indus-
Product Design, Visual Merchandising, Store
and expertise to work, to create innovative so-
try for over 25 years. Her diverse career and
Design, Concept and Portfolio Development.
lutions for the global marketplace and to bring
fascinating journey have resulted in a wealth of
To put it simply, Ruth Crowley is remarkable.
the brands to life for fans around the world.”
experience, knowledge, and a tremendous im-
Today, Crowley is an independent consultant
Method Seven Magazine: Where did you grow
pact on the successful growth of both domestic
working within the retail sector, licensing and
up and how did this impact who you are today?
and foreign business. In the past, Crowley
brands, objective feedback, brand guidance and
Ruth Crowley: I grew up in Ireland, one of nine
served as President for Motorsports Authentics,
strategic insights. She is also the Executive Vice
kids—I think it helped form who I am today. I had
developing key partnerships and production pro-
President of International Business and Brand
to learn to be independent, inter- dependent and
cesses along the way. Prior to this experience,
Development for Summit Resources Interna-
a team player. I had to create my own identity.
Crowley oversaw the MotorClothes and licensing
tional. “We are actively engaged with Viacom
‘Home’ is where my values are based, and my home
businesses with revenues of approximately $1
International Media Network, working on the
life made me stronger and able to face anything.
billion world wide for the iconic Harley-Davidson,
NICKELODEON and MTV brands. We are in
M7M: Where did you attend college? How accu-
and also acted as a member of the Functional
the process of creating customized assort-
rately do you think college prepared you for the
Leadership Group and Create Demand Group,
ments and retail solutions across channels for
‘real world’? Is there anything in particular you
setting company direction and brand positioning.
key NICK properties such as Sponge Bob, Dora
think graduating students should be aware of?
As Senior Vice President at Universal Studios,
the Explorer and Teenage Mutant Ninja Tur-
Crowley: I attended college in Ireland and also
she collaborated with teams around the world
tles, amongst others, for launch in international
in America, and I did an internship with a dress
to bring the parks to a higher standard in order
markets beginning in 2013. The initial launch
designer. I am a big fan of continuing education
METHOD SEVEN MAGAZINE | page 72
and learning along the journey of life. I actually
operations, buying, marketing, and everywhere
lationships are a two-way street and require
just finished a course with the National Asso-
in-between to develop my skill set, build diversity
continual investment.
ciation of Corporate Directors, and I am always
and have a broader business understanding. I
M7M: What do you believe are the quintess–
learning new things. I consider myself a work in
am still dreaming, still learning, committed to ful-
ential components for building a personal brand
progress! College prepares the foundation for
filling my potential and helping others grow along
and making yourself more marketable?
what lies ahead. The trick is learning to apply
the way. Dreams evolve over time as life evolves.
RC: Passion, integrity, hard work, resourceful-
academic learning to the professional environ-
You can’t be stationary, you have to keep up—
ness, experience, tenacity, honesty, values,
ment, and to work effectively with people. People
you have to be optimistic. Keep dreaming.
currency, ‘stick-to-it-ness,’ intuition and a strong
don’t always play ‘fair’ and people aren’t always nice—you can’t expect that. You have to navigate landmines in personalities sometimes. Stay far away from gossip. Gossip is destructive, but rampant in the corporate world. Maintain your
work ethic. The ability to work collaboratively, to
u have to be “Nothing worthwhile is easy.Yo
able to think through obstacles, and find a solution that is mutually beneficial...”
values, learn to recognize difficulties, and crate
listen and to hear is essential. M7M: Tell us about your involvement with the College of Merchandising at the University of North Texas? We know you are a fundamental member of the merchandising Board of Gover-
the framework to perform effectively in your role.
Dreams can only come true if you are true to your
nors, but what motivated you to be a member?
Focus on you.
dreams.
RC: I started 10 years ago—I can’t believe that.
I also think that you can’t expect there will be
M7M: Networking and building relationships can
Time flies! Dr. Forney asked me to speak at an
the perfect job when you leave college. You may
be a launching pad for any career. Can you tell
Executive in Residence, and I was honored.
have to start somewhere else or at a lower lev-
us how these concepts influenced your life and
I was at Harley-Davidson at the time. The fact
el—just do it. You can’t go in believing that you
aided in reaching your goals?
that I showed up in leather and brought a motor-
are ‘entitled.’ That is destructive and an inhibitor.
RC: It is all about building relationships at all lev-
cycle (thanks to the local dealer) caused a bit of
Keep in mind that this is a journey, and it may take
els, about being a valued partner and respecting
a stir! But I was lucky—I think I connected with
a few detours to get there. Follow your dreams,
people at all levels. You should not be naïve.
the students and realized they needed some re-
keep learning, and believe in
ality amidst the struggle
yourself. Approach work con-
of studies. It’s not easy,
fidently, but not arrogantly and
and it doesn’t get easier.
always do your best. You are in
Students
the driver’s seat—you are the
reinforcement,
navigator.
casionally, help. I didn’t
M7M: What were your initial
have that, and realized it
dreams for your career and
would have helped, so I
life? How did you fulfill them
committed to spend more
and how did they change over
time. It is an honor to be
time?
involved with the Board of
RC: Such a big question...I
Governors, to be honest.
spent time in the music busi-
The faculty members are
ness and design area, but
an amazing group, and
always loved retail and brand-
our collective commitment
need
hope,
and
oc-
ing. I function best in a creative environment,
Don’t believe that because you have a work-
makes it all worthwhile. We have added value
and I am intensely interested in ‘customer experi-
ing relationship that people are your friends.
through teaching and participation, granting
ence.’ I made a point to learn department stores,
Business relationships should be treated as
scholarships, helping with internships, and fund-
specialty stores, brands, etc. I have worked in
business relationships first. Also know that re-
raising. As long as we continue to add value, I will
keep dedicating time.
or handle challenges that will come up as the journey continues. I believe
M7M: You’ve had a very exciting and diverse career. Can you discuss what
that nothing worthwhile is easy. You have to be able to think through ob-
paths have been your favorite, why you enjoyed them, and make a few sug-
stacles, and find a solution that is mutually beneficial—it has to be good
gestions for those who wish to pursue similar careers?
for you and good for your co-worker or client. You can’t just push forth your
RC: I have enjoyed every experience, as each has paved the path to the
point of view. Seek what I call ‘the next right answer.’ Work through it and
next opportunity. I started at the bottom, which has helped me appreciate
then let it go. Move on to the next challenge.
rising to leadership roles. It also helped me appreciate what it takes to
M7M: What do you believe is the next step for you? What else would you
lead. I improved as I grew, but I am still imperfect! I loved my role at
like to accomplish?
Host Marriott, as I was constantly growing. I loved my role at Universal
RC: I have no defined step, per se. I want to keep growing and contributing.
theme parks building retail products and concepts for new parks around
I am involved in a pretty big international business and brand development
the world. At Harley-Davidson, I got to put all of the elements together to
initiative now with Summit Resources International and Viacom (Nickel-
work with an iconic brand, a great team of people to grow the business
odeon and MTV), so that is my focus. We want to make it exceptional.
and strengthen the brand in a sustainable way across consumer demo-
Maybe in the future, I will work within a corporate environment again.
graphics. All of those experiences have made me better today, but I still
Later, I would like to work with international charities, especially in Africa.
have a ways to go. Every day brings something new.
Currently, I do a lot of work with kids. Kids inspire me to be a better adult.
To students, I would say, be willing to learn (you never know it all),
M7M: What do you value most in life? What legacy do you wish to leave
but have a plan. You can change the plan based on what you are most
behind?
passionate about. You may start in buying, and decide you like product
RC: What I value most in life is my family. I value health and well-being,
development or planning. Be open to change. All of the skills are relevant
values, sincerity, and integrity. I love to work. I love to travel. I love to ex-
and very useful. What would you do if you knew you couldn’t fail?
perience other cultures and am ‘curious.’ I like to look at things objectively
M7M: Were there any challenges you faced along your journey? How did
and find solutions. I like to study brands and tell stories that connect peo-
you overcome them?
ple. As complex as life is, my legacy would be relatively simple. I would
RC: Oh my gosh—so many challenges. I would honestly tell you that every
like people to believe that, at heart, I was a good person. 7
challenge has made me better or stronger, or better equipped to anticipate
METHOD SEVEN MAGAZINE | page 74
is the strong contrast between light and dark, affecting an entire composition. Sometimes it is only through the recognition of darkness that we can discover our inner light. Photography Kelsey Newkham Styling Leah Leybovich
METHOD SEVEN MAGAZINE | page 76
METHOD SEVEN MAGAZINE | page 78
METHOD SEVEN MAGAZINE | page 80
Editing Sonny Bonds and Jenna Hernandez Hair and Makeup Ashley Whitby Models Shelby Librach, Andrew Bancroft, Cameron Lucks, West Buchanan, Christin Workman, Sandra Cifuentes
Patty Lounis A lesson on the importance of versatility. Written by Michele Crow Photography James Coreas
I
n the constantly evolving world of fashion, an intense
to be a clothing designer. In high school, I would make and
amount of passion and hard work is necessary to
design clothes for myself. I would also take orders from
carve out a career. Patty Lounis is one of those in-
teachers.” Even after recognizing her potential, her teach-
dividuals, whose work ethic and desire to learn have
ers advised her to pursue something other than fashion, as
carried her into a successful profession in the apparel indus-
they didn’t consider design to be a realistic profession. “I went
try. She is a woman of many talents, and possesses a crucial
to school for fine art, and discovered that the University of
ability to adapt within the many sectors of the industry. Today,
Wisconsin, Madison had a reciprocal program with FIT. That
Lounis is a specialist in knit, and has made the dynamic shift
was the first time I realized that you could actually really do
into the craft industry. Her journey has led her to Michaels,
that [design] for a career, so I got myself up there, put myself
where she is a Director of Private Brands and Global Sourc-
through the program, and did it.”
ing for kids, tweens, impulse, and apparel categories.
After some time working as a designer, Lounis was ap-
The spark that ignited Lounis’ desire to pursue design
proached about an opportunity with a sweater company.
occurred when she was merely a child. “I met a woman at a
“When they wanted to hire me for the sweater job, I had a
craft fair who designed clothes for Barbie, and was inspired
little bit of a panic attack, because I didn’t know anything
METHOD SEVEN MAGAZINE | page 82
about sweaters. So I took knitwear design
as a Director of Product Development for Mi-
see patterns emerge of what is happening out
classes from Parsons and FIT. I went back
chaels. “The process of product development,
in the market place. It keeps you very inspired
and re-educated myself on all of the as-
design, and global sourcing is not directly de-
and interested.”
pects of sweater design and manufacturing.
pendent on a single product category. Once you
Lounis has ample advice she’s willing to share
In order to be a sweater designer, you have to
understand the fundamentals of how a product
with students. “There is so much unlimited po-
understand yarns completely. You have to un-
is made, it is amazing how easy shifting from
tential for great careers, and you don’t really
derstand the sizes of yarns, the stitches, the
one product to another is, due to the similari-
see that when you are in college. You have this
machines, and the fit among many other things.”
ties. My transition was easier than I thought it
limited idea of what you want to do. For those
As a cashmere buyer for Lands End, Lounis
would be.” Lounis also developed another
people who don’t know what to do—just be open
traveled to the source of the fabric in Mongolia,
important skill: predicting and developing trends
to ideas, and let life take you. I just followed one
and learned about the process of making
into products that are alluring to the consumer.
little thing I loved. I didn’t know where it was
cashmere and the goats it comes from.
“I do a lot of traveling, a lot of reading, and I’m
going to lead me, but it has led me to places I
Lounis’ extensive experiences and the les-
always visiting stores and museums. I really
never could have dreamed of. When you have
sons learned throughout her travels
try and keep my fingers on what is happening
perseverance, a strong resume, a hunger to
allowed her to easily make
through a lot of different channels, in order to
learn, and a good work ethic, you have the tools
the switch from apparel
make sure that the ideas that we bring in are
to succeed.” 7
to the craft industry
always fresh. When you do that, you being to
METHOD SEVEN MAGAZINE | page 84
B a la n c ni gc At
It’s all about finding the perfect balance.
Photography Kelsey Newkham Styling Nichole Fallis
METHOD SEVEN MAGAZINE | page 86
Previous page: Black Jacket and Electric Blue Top from Milk + Honey in Dallas, TX | Left: Dress from Francesca’s Colletions at The Shops at Highland Village | Below: Both Dresses from Milk+ Honey in Dallas, TX | Hair and Makeup by Nichole Fallis and Meghan Forest | Model Shelby Flach
METHOD SEVEN MAGAZINE | page 88
D
I
Mary Walton | Emily Hoffman | Michele Crow
Y
Written by Alex Hall Photography James Coreas
M
any define creation as a sim-
than anything. I like to cut hems, cut sleeves
tive outlet, or as an alternative to shopping, both
ple task of putting one’s self
off, and add embellishments rather than make a
stylists and designers agree that patience and time
into an idea or project and
garment out of the fabric. I’ve always loved thrift
commitment are stitches holding the fabrics that
sharing it with the world. How-
shopping because its like I’m finding stories be-
are DIY together. “You really have to take your time
ever, a question of cost often arises amidst
hind every piece.”
with it. You also have to ask ‘am I going to be using
such moments of self-expression. With wallets
To maintain a sense of originality, inspiration
this piece long term?’ because then it’s worth the
gripped tightly and diminishing bank accounts,
is essential before a DIY project or styling ses-
extra money to buy,” Crow advised. According to
many have referred back to the original idea of
sion begins. “I’m extremely eclectic as a person,
Walton, mastering the sewing machine is essen-
creating what they need versus purchasing what
and so I like to add my own twist to it. That is
tial. It is not wise to assume that ‘figuring it out
they want. Those who have taken on the task
where I get the inspiration for DIY,” Michele
along the way’ will lead to satisfactory results.
of personal production have embraced a trend
Crow expressed. DIY designer Mary Walton
Alongside the individual desire to create, the
known as DIY— Do It Yourself.
creates her pieces from scratch and agrees, “It’s
revelation of personality is a hallmark of DIY.
“DIY is a great way to save money, that’s my
hard to come up with original designs because
“Don’t be afraid to show your personality through
favorite thing about it,” Emily Hoffmann said. DIY
there is so much already out there, but it’s
what you’re doing,” Hoffmann encouraged. “There
stylists often find themselves searching for vin-
exciting when I have an idea and think no one
is no reason to hide my personality through the
tage accessories and altering existing garments.
else has done it.”
way I dress, because I think it’s a direct represen-
“When I am DIY styling, I make more alterations
For those who wish to embrace DIY as a crea-
tation of who I am.” 7
(
Cropped Out
)
1.
Lay your sweater out on a flat surface, cut along the bottom seam, carefully separate and adjust the fabric to find the desired length you want to crop it to.
2. 3.
Turn your sweater inside out, and fold the newly made front panel upward to create a crisp hem.
hirt s t a e Sw vamp Re
(
)
Using your needle and thread, sew along the new hem, and sew an additional line about 1 inch above that. Do the same to the back panel (or leave it alone for a hi-low look).
1. 2.
Take your sweatshirt and decide what style you're going for. Pin lace or doilies to the area you want decorated, be sure to secure the lace tight so sewing will be easier.
3.
Using your needle and thread, begin sewing along the outer edge of the lace, then focus on central parts of the lace for added stability.
METHOD SEVEN MAGAZINE | page 90
KALEIDOSCOPE
EFFECT What’s the formula for fashion? We embrace the beauty of math and the technology that changes the face of fashion more each day.
Photography Brittany Shaban Styling Victor Ramirez
METHOD SEVEN MAGAZINE | page 92
Previous page: Jacket from Circa 77 in Denton, TX and leggings from Dillard’s at Vista Ridge Mall | Left: Top from Dillard’s at Vista Ridge Mall | Right: Top from Dillard’s at Vista Ridge Mall METHOD SEVEN MAGAZINE | page 94
Left: Coat from Circa 77 in Denton, TX | Hair and Makeup Ashley Whitby | Model Rebecca Nevarez
METHOD SEVEN MAGAZINE | page 96
TEXAS NEXT TOP DESIGNER dreams become a reality Written by Epiphany Ciers Photography courtesy of Texas Next Top Designer
D
esigners know the struggle all
party in honor of their achievement in design.
nity to display their work. Clothing designer
too well. Many designers stay
In 2012, models presented the finalists’ work at
Abi Ferrin and jewelry designer Rachelle Dau-
up day and night perfecting a
DISH on October 24, introducing them to the
phinée are both protégés of TNTD. Ferrin’s
piece in their collection only
world. Each January, a gala and fashion show
design career took off after she won TNTD in
to face the criticism of others, and some find
is held with nearly 400 people in attendance
2007. Her collections are now sold in major
it difficult to balance design and their personal
where competitors are given the opportunity
retailers such as Nordstrom and Stanley Kor-
lives. While most fashion designers dream of
to showcase 3 pieces. The gala and show al-
shak. Dauphinée competed in TNTD in 2007 as
their own clothing line and await the day that
lows the board of directors to narrow it down to
well, and was named a finalist. Dauphineée’s
it will become a reality, the Texas Next Top Designer competition provides regional designers with the opportunity for those dreams to come true. Founded in 2006, Texas Next Top Designer is a non-profit organization that is dedicated
jewelry designs can also be found in retailers
ional e competition provides reg
“Th
designers with the opportunity for those dreams to become a reality...”
such as Saks Fifth Avenue and Stanley Korshak. Though both designers worked tirelessly for years, TNTD played a major role in their climb to the top. Board Member of TNTD Diane Reeves (also
to helping designers and entrepreneurs in the
the top 10 contestants. The winner of the com-
president and owner of D. Reeves Productions)
fashion industry. Though it began as a fashion
petition is awarded a trip to New York Fashion
advises those with similar dreams to focus on
incubator, the organization has developed into
Week, along with a variety of resources like
education, learn the business side of the fash-
a competition that is held once a year to once
networking opportunities with industry leaders,
ion industry, gain knowledge of fabrics, and
every other year.
and press from both local and national media
learn the art of tailoring among many other im-
The process works like this: contestants
channels. This competition influences finalists
portant skills. She encourages hopefuls to be
from all over the state of Texas submit an ap-
to focus on innovation, construction, quality,
involved in as many internship opportunities
plication, and the TNTD board of directors in-
marketability, production processes and a clear
as possible in order to use those experiences
terviews designers, and reviews their written
financial plan for their line. They gain a wide
to reach the goal. “If you are a college student,
and oral presentations. Judges look for con-
variety of knowledge on the fashion business
you are in the best position a person with pas-
testants that bring ‘newness’ and excitement
including proper presentation, public relations
sion for a certain field could be in. Knowledge
to the fashion world, as well as a great verbal,
and networking.
is power and networking is the key to success.
written, focused, and realistic presentation.
Many types of designers participate in the
The combination of both can make your dreams
Contestants that are chosen as finalists attend
competition. Jewelry, contemporary women’s
a reality.”
many events in the City of Dallas planned by
apparel, menswear, formal wear, swimwear,
For more information about Texas Next Top Designer visit the
the organization, including an announcement
and even shoe designers have the opportu-
website: http://www.texasnexttopdesigner.org
7
METHOD SEVEN MAGAZINE | page 98
Evolution is inevitable. Here, we capture the progression and adaptability of a garment to fit any occasion or environment.
Photography Kaitlyn Holt Styling Patrice Jackson
METHOD SEVEN MAGAZINE | page 100
METHOD SEVEN MAGAZINE | page 102
METHOD SEVEN MAGAZINE | page 104
Makeup by Shawnee Leonard | Model and hair by Patrice Jackson
Visit us online
Follow us MethodSevenMagazine
@M7magazine
METHOD SEVEN MAGAZINE | page 106
METHOD SEVEN MAGAZINE