Dimensions of Glamour The University of Chicago // Spring 2015
LETTER FROM THE EDITORS
MODA Magazine 2014-2015 CO-EDITORS-IN-CHIEF
G L A M O U R There are some words we use so frequently that we almost become immune to their meanings. In fashion, the word “glamour” is one we instinctively grasp for - to describe a collection, a hairstyle, a film, a soirée. Yet when we step back and consider the meaning of the word, what “glamour” signifies becomes both arbitrary and complex, in part because glamour is such a personal concept. This issue uncovers dimensions of glamour, from the very history of the word to the various forms glamour can take. Writer Krishna Mukkavilli explores the nuances of red carpet glamour in his article “Seeing Red,” representing an unattainable aesthetic removed from everyday life. However, in “Icons of the Wifi Generation,” Shayla Harris delves into the selfmade glamour of Instagram megastars, founded on a platform accessible to all. Sometimes the most fascinating type of glamour is one that accompanies an unstudied, casual demeanor; photographer Luke White captures the effortless beauty of emphasizing a single feature in “La Vie En Rose.” Glamour has the power to shape how we want to present ourselves, in both the echelons of our imagination and in our everyday lives, but it’s simply a matter of pinpointing the glamour that speaks to you the most.
Alexandra McInnis and Rachel Scheinfeld
MODA Magazine Co-Editors-in-Chief
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Alexandra McInnis & Rachel Scheinfeld
EDITORIAL BOARD:
PHOTOGRAPHY & CREATIVE DIRECTOR Ivy Zhang STYLING EDITORS Frances Chen & Ogonna Obiajunwa FEATURES EDITOR Carmin Chappell BEAUTY EDITOR Lucie Fama VISUAL DESIGN EDITOR Maya Hansen FINANCE DIRECTOR Amutha Muthukumar ASSISTANT PHOTO EDITOR Albert Nam ASSISTANT FEATURES EDITOR Stacey Chiu PR MANAGER Lily Ting STAFF ENGAGEMENT DIRECTOR Sana Sohail COPY EDITOR Maya Rodriguez
STAFF:
WRITERS & CONTRIBUTERS: Maddie Anderson, Chaillé Biddle, Alexa Bieler, Justin Donnelly, Kavya Garikipati, Tobi Gbile, Shayla Harris, Connie Huang, Sucheta Kinger, Spencer Moy, Krishna Mukkavilli, Ellen Swicord, Angie Wan STYLISTS: Claudia Benz, Jane Chang, Cynthia Mao, Yady Rivero, Kenneth Zheng MAKEUP & HAIR ARTISTS: Claudia Benz, Fatima Khan PHOTOGRAPHERS: Albert Nam, May Silverstein, Luke White, Ivy Zhang MODELS: Mary Coomes, Fiona Fong, Hannah Jacobs-El, Zahra Jooma, Liam Leddy, Samara Renovato, Megan Tang, Romane Thiebaut, Brooke White, Chase Woods
We would like to express our appreciation to The Center for Leadership and Involvement for graciously allowing us to use their office for our production purposes. Special thanks to the Apache Motel, Azeeza, ESQ Clothing, and Soñador Boutique.
TABLE OF CONTENTS
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GLAMOUR THROUGH THE DECADES:
From Cleopatra to Harry Styles, MODA staff writers bring you an evolution of style.
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SEEING RED:
Krishna Mukkavilli talks red carpet and how it’s changed fashion in recent years.
FEMME FATALE:
Editor-in-Chief Alexandra McInnis covers the persistance of dark aesthetic throughout time.
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THE ETYMOLOGY OF GLAMOUR:
Glamour means many things to us now, but staff writer Angie Wan gives you the origin of the word.
ICONS OF THE WIFI GENERATION:
Shayla Harris explores how social media helps to create the new trendsetters of this day and age.
STEP ASIDE FERGIE: UNCOVERING ‘GLAMOROUS’
How modern-day conceptions of glamorous as portray through pop cultur defy the origin of the term itself, as told by Alexa Bieler.
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GONE GOURMET:
College cooking meets sophistication as Editor-in-Chief Alexandra McInnis discovers her mother’s old issues of Gourmet Magazine.
DESIGNER BOOT CAMP:
Spencer Moy and Kavya Garikipati go behind the scenes with the designers for House of MODA.
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LA VIE EN ROSE:
Beauty editor Lucie Fama does simple sophistication in our makeup shoot.
VIOLET HOUR:
MODA models go from dusk to dark, transforming unbranded scenes into beautiful ones.
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Twigs and Stones
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TWIGS AND STONES:
Inspired by icon FKA Twigs is a new take on ethereal: revitalized and reimagined.
Photos from top: La Vie en Rose by Luke White, Violet Hour by Ivy Zhang, Twigs and Stones by May Silverstein.
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GLAMOUR Through the Decades Cleo pa
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Cleopatra, one of the most powerful figures in history, had a style that still impacts the world over 2,000 years after her death. Of Macedonian descent, Cleopatra wore a mix of Greek and Egyptian styles. Ancient busts and paintings of the queen show her wrapped in long, flowing white dresses. Her accessories included thick winged eyeliner, elaborate headdresses, and an excess of gold jewelry and hair ornaments. Costume designers for the 1963 film Cleopatra won an Academy Award for their vivid re-imagining of Cleopatra’s opulent style, which cost over $190,000 to produce for the film. Ancient Egypt’s last active pharaoh not only let her mark in politics, but also in fashion – next time you rock your winged eyeliner, remember that Cleopatra did it first. By Ellen Swicord. Photo via fashionandhairstyles.com.
1800s
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Queen Victoria not only ruled England from 1837 to 1901 but also ushered in her own age of fashion. Victoria herself was physically unprepossessing—she was stout, dowdy and no more than five feet tall—but she succeeded in projecting a grand image. She used style to project a glamorous persona, even when her physical being didn’t seem “glamorous.” She popularized dresses structured with close-fitting bodices and bell-shaped skirts. Women gravitated towards a style that incorporated extravagant dresses, overloaded with lace, ribbons, and bows, and abundant amounts of jewelry. Glamour meant extravagance; women sacrificed comfort daily to dress to the nines. The Victorian era’s concept of beauty starkly contrasts ours. Today, women prioritize function just as much as form. For a fancy night out, however, they might take a cue from the Queen of glamour herself. MODA Spring 2015 By Maddie Anderson. Photo via besottment.com.
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1920s 1920’s glamour was a lifestyle and a look. The United States emerged from the First World War as a new economic superpower with a market that revolved around the consumer. The film industry was overflowing with new talent, and these new images of glamour were ubiquitous thanks to magazines like Photoplay and American Magazine. People listened and danced to bold, eclectic jazz music. The Harlem Renaissance and similar movements brought new ideas to art and style. Urban women in particular underwent a style evolution: they applied bold, black eye makeup and bright lipstick to match sleek, straight dresses. They slipped their feet into higher heels and lit up rooms with cigarettes and long, pearlescent strings of beads. Society began to pay attention as women won the right to vote and shrugged off Victorian modesty and silence. Coco Chanel brought the world the Little Black Dress. The 1920’s were a dazzling stage, and the image of glamour was a leading woman. By Chaille Biddle. Photo via Pinterest.
1940s At a time of shortages and war, the world was hit with a new type of style: ration fashion. Throughout World War II, model-turned-designer Claire McCardell heavily influenced the fashion industry during the years when affordability was the top priority. She designed mass-produced clothing that was comfortable yet colorful; casual yet sophisticated; resourceful yet feminine. Her trademark designs featured padded shoulders and loose fitting dresses in subdued hues like gray and blue. McCardell’s biggest breakthrough was in 1942, when she created a loose, denim dress called the Popover that capitalized on the availability of common fabrics. Her influence pushed glamour in the 1940s to be less about opulence and more about practicality. Even today, McCardell is the inspiration for many designers, including Donna Karan and Calvin Klein, and she is widely thought of as the creator of the “American Look.” By Sucheta Kinger. Photo via Ravishing Rita. MODA Spring 2015
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Pictures from left to right: October 1967, March 1970, February 1980, January 1993, August 2002, December 2014, February 2015. All photos courtesy of Vogue UK and France archives.
GLAMOUR
Through the Decades 1950’s/60’s The cultural rifts of the 1950s and 60s had a decided effect on the American perception of glamour. Audrey Hepburn was one of the last embodiments of “old glamour”, her willowy, elfin look standing in stark contrast to the more bosomy “Hollywood bombshell” aesthetic of her fellow icon, Marilyn Monroe. Hepburn has been called the most beautiful woman of all time and was placed on the International Best-Dressed List in 1961. She worked with several designers including Italian shoemaker Salvatore Ferragamo, who described her aesthetic as one of “clean lines, simple yet bold accessories, [and a] minimalist palette”. Her most famous collaboration with Hubert de Givenchy brought the little black dress to the silver screen in her role as Holly Golightly in the 1961 classic Breakfast at Tiffany’s. As a testament to her enduring appeal, the dress was sold for nearly $1 million in 2006. Hepburn’s demure, classic opulence is the definition of 20th century Hollywood glamour. By Justin Donnelly. Illustration by Hayden Williams.
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2010’s Although Harry Styles’ claim to fame is his role in the ubiquitous boyband One Direction, he has also made headlines off the stage thanks to his sartorial choices. Styles has become the epitome of 2010’s fashion, which revolves around the idea of stripped down style that effortlessly incorporates affordable chains like H&M, Zara, and Asos with high fashion houses. Styles achieves this understated form of glamour by sticking to the basic jeans and tee uniform, but also donning statement pieces such as chelsea boots and printed head scarves. His signature curly hairstyle has also made him stand out amongst this generation’s teen pop stars. This commitment to simplicity has allowed Styles to win the British Style Award and obtain a front row seat at numerous fashion shows. Long live Harry Styles (and his great style.) By Tobi Gbile. Illustration by purushu.com
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MODAfeatures Pictures from left to right: Cindy Crawford in Versace, Wikipedia; Halle Berry in Valentino, InStyle; Jennifer Lawrence in Calvin Klein, Huffington Post; Rihanna in Azzedine Alaia, Smart Mag; Lupita Nyong’o in Ralph Lauren, Daily News.
Seeing Red Staff writer Krishna Mukkavilli talks red carpet politics.
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he red carpet has always been a glamorous display of style. The golden age of Hollywood placed a special significance on the event, for it was a rare occasion when actors were featured to the public during an era that lacked a tabloid- and Internet-dominated media. The stars dressed simply and elegantly, and the focus was on their filmography. This began to change with the inception of People magazine; a newfound interest in celebrity culture incited a shift towards standout style. As televised events became more prominent, the press placed even more emphasis on the fashion of stars as they entered these award shows, posing the essential question, “Who are you wearing?” This inquiry, first spoken by Joan Rivers in 1995, focused the attention on designer reputations rather than personal expression. When Halle Berry arrived at the 2000 Golden Globes in a luxurious, white Valentino dress, her stylist Phillip Bloch remarked that the ensuing buzz “began the time when a dress could ac-
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tually make a career.” The relationship between designers and celebrities is a symbiotic one. A recent, notable example is Lupita Nyong’o: while there is no doubting her phenomenal acting talent, she garnered a massive amount of attention after her red carpet debut at the 2014 Golden Globe awards. From the moment she donned that scarlet Ralph Lauren caped dress, Nyong’o has been in the spotlight; she became the face of multiple fashion campaigns (including Miu Miu and Lancôme) and received the title of “Most Beautiful Woman in the World” by People magazine. Her stunning entrance on the red carpet rocketed her career to an entirely different level and shaped her public persona. A single red carpet outing by a rising star garners more attention for a designer, through television and social networks, than an entire feature in a fashion magazine. Social networks like Twitter and Tumblr create a new sphere in which high definition red carpet
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photos are circulated widely for days after the event. By using stars as their personal models, clothing companies take advantage of this new technology and its massive reach, which usually exceeds the subscriber count of print publications. Moreover, “the red carpet has become an event in itself, with channels like E! running three-hour-long programs reporting on the clothes and interviewing the celebrities about their outfit,” says InStyle editor Charlotte Moore. The intense focus on the images of celebrities propels fashion into an unprecedented spotlight where previously avant-garde brands can enjoy mainstream publicity. Fashion has not only created celebrity interest but profits from it as well. For example, Jennifer Lopez’s arrival in a striking green Versace dress at the 2000 Grammy Awards garnered an enormous amount of media coverage, and many credit this event as the turning point in Donatella Versace’s career after her brother Gianni’s death. Lopez herself referenced the dress while presenting an award that
night, announcing, “This is the first time in five or six years that I’m sure that nobody is looking at me.” In a kind of paradox, Lopez’s attire, which only entered the spotlight thanks to her celebrity status, actually usurped her own iconography. This exemplifies how collaboration between fashion designers and the stars of the red carpet has proven to advance both parties. Donatella Versace pinpoints the overlap between the red carpet and the fashion house in a quote from V magazine: “Today, creative people don’t limit themselves in what they do. If they’re rock stars, they’re thinking about their image. It’s part of their character, how they express their true selves. For designers like me, the passion and energy of music is always feeding my design process. Why keep isolated and pretend these worlds aren’t completely connected?” When a single outfit can generate overnight fame, it only makes sense that celebrities and fashion brands utilize the red carpet together, creating a synergy that benefits all. MODA Spring 2015
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FEMME FATALE
Research by Nealey Duvernay Text by Alexandra McInnis
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he femme fatale is an archetype so familiar to us that we recognize her the second she steps on-screen. Clicking stiletto heels, a feline walk, and an alto voice to utter her impossibly clever words. But before we see anything else, we see her makeup, and she’s no fresh-faced girl next door. Her lips are carefully outlined and strong, and her eyes are enshrouded in layers of liner and shadow as if to hide dark secrets. It’s a look that conveys her experience, her intrigue, and her ability to get whatever she wants. Yet during the heyday of this femme fatale character, the look was far from familiar. In 1914 Vogue featured images of Turkish women with their eyes outlined in henna, bringing a look to the Western world that seemed exotic and new. At the same time, the developing film industry was cultivating a fascination with vampires as a metaphor for beautiful and dangerous women. Inspired
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by the Rudyard Kipling poem “The Vampire,” the 1915 film “A Fool There Was” starred Theda Bara as a “vampire woman” who casually ruins lives, earning her the title of “the vamp.” Shocking for its illicit romantic trysts, the filmed was banned in the U.K., but Bara’s signature look of kohl-lined eyes and meticulously drawn dark lips became a visual reference for other silver-screen vamps. Beginning in 1915 French actress Musidora became a vamp in her own right in Louis Feuillade’s serial The Vampires; with her shadowy eyes, dark lips and skintight outfits, Musidora appeared onscreen as an object of both fear and desire. The carefree zeitgeist of the post-World War I world ushered in a new wave of silver screen vamps such as Louise Brooks, Greta Garbo and Marlene Dietrich. Yet women no longer wanted to observe the vamp look from afar, but rather wanted to incorporate the aesthetic into their own lives. At a time when wearing makeup was
still a taboo practice associated with actresses and other women of perceived little virtue, adopting the heavy makeup look was a sign of a rebellious woman writing her own rules. Against the backdrop of recklessness and changing sexual mores, makeup became a vehicle for women to transform into femme fatales in their everyday lives—or at least in their imaginations. There’s no clear explanation for the end of the vamp look. Perhaps it was the wartime practicality of the 1940s that left no room for visual excesses. Whatever the reason, the new femme fatales of Hollywood represented a subtler approach to makeup: winged eyes, a lighter red lip, and rosy cheeks as embodied by Veronica Lake, Rita Hayworth and Marilyn Monroe. But after decades of being told to emphasize either the eyes or the lips, women are reclaiming the full-on mysterious glamour of 1920s stars. From the runway to the red carpet to Instagram, kohl-smudged eyes are paired
with every lip shade from berry to burgundy, some almost black. The success of the 2014 Pantone Shade of the Year—“radiant Orchid”—brought a spectrum of purple lip hues to the makeup counter, creating a new daring look for the modern woman. The vamp look will always be rooted in a bygone era, but worn today the makeup is far from stodgy. The dark lips and eyes combo brings a sophistication to younger stars such as Cara Delevigne and FKA Twigs, while Eva Green confidently applies it with an almost gothy, enchantress effect. The vamp look is infinitely customizable, but never any less enigmatic. Pictures from left to right: Ava Gardner noirwhale.com; Lorde x MAC Cosmetics vibe.com; Lana Del Rey directlyrics.com; Cara Delevigne www.reveal.co.uk; FKA Twigs www.theguardian.com; Louise Brooks selvedgeyard.com.
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THE ETYMOLOGY Article by Angie Wan
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hen you think of glamour, what comes to mind? Models strutting down runaways, Louboutins, red carpets, the eponymous popular magazine? While these ideas of glamour seems intuitive to us today, a quick inspection of the major dictionaries will reveal a more magical definition. Glamour in the original sense specifically refers to an illusion that affects the eyesight and makes objects appear different than reality. It is often used as a disguise for demons, witches, fairies, and other supernatural beings to conceal their true nature, and this façade is usually aesthetically pleasing. Alfred Tennysen in the Idylls of Kings references this meaning in his line, “That maiden in the tale, Whom Gwydion made by glamour out of flowers.” So too does Charles Reade in The Cloister and the Hearth with the quote, “He knows father and daughter both. They cast their glamour on him.” There are two primary origin theories for MODA Spring 2015
the word. One is a Scottish corruption of the word “grammar”, which referred to any type of learning. The second theory arose from the word “gleem”, which means “to shine” in archaic English and also produced the words gleam and glimmer. Even in the 20th century, the association with Hollywood and advertisement carried a hint of that original meaning through the fantasy and illusion of film. Glamour as it is used colloquially today has its origins in the 1930s. The term “glamour girl” was applied to a new type of woman who emerged on the eve of World War II. They ventured out from the domestic sphere compared to the old-fashioned girls of the 1910s, but weren’t too wild like the “unabashed sluts” of the 1920s. However, before the term became positively associated with such Hollywood classics such as Jean Harlow and Rita Hayworth, Mademoiselle magazine made mention of “horrible grimacing pictures of the Glamour Girl” in their 1935 December Issue at a time where being glamorous was considered too artificial. (In an ironic twist
of fate, Mademoiselle magazine closed in 2001, and their remaining staff moved to Glamour.) A similar appraisal is found in Silver Screen magazine from 1936: “[film stars] are so glamorized and vaporized and made to appear in print as somebody they aren’t at all…”. As Hollywood became a hallmark of American popular culture, so did the positive connotations of glamour we see today. Although the modern and original definitions of the word may seem to be complete opposites, in actuality the history of the word “glamour” is not particularly unique. In fact, many of the words we use to describe beauty – charming, enchanting, bewitching, alluring – have connections to magic and witchcraft. In the Middle Ages, the elaborate makeup and fashion looks we revel today were also considered “glamorous” then, though in the context of Satanic influences and tricking honest men with false beauty. Lipstick in particular was considered to be magical in the 1500s, and not in the sense that a perfect shade can be magic for your complexion.
Fortunately, we no longer live in those dark yesteryears, but implications of the original meaning of the word still persist today. According to a recent study by Harvard professor and author of Survival of the Prettiest: The Science of Beauty Nancy Etcoff, women wearing a “glamorous” look, defined in the study as a typical Friday night out look, were deemed less trustworthy than women with a “natural” look of minimal makeup. Yet, the original definition of glamour doesn’t have to be all bad. We’ve all had that moment in our favourite outfit where we felt transformed - sexier, more confident, powerful. Fashion can change how we present ourselves to the world, and that is magic indeed. Photos left to right: Glamour fashionscansremastered.com; Rita Hayworth listal.com; Mademoiselle fashionmodeldirectory.com; Factory Worker pixgood.com; Audrey Hepburn hdw.com; Elizabeth Taylor basilicacoutureblog.com. MODA Spring 2015
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Icons of the Wifi Generation Written by Shayla Harris
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hat do the girl who’s always instagramming a platter of sushi and Audrey Hepburn have in common? They are both glamour icons. Glamour was once a lifestyle reserved for the elite. It took not only wealth but status also. Yet in today’s digital age, you don’t have to be an actor, singer, or model to hold this title. Millenials are mainstreaming glamour: all you need is a camera phone, Wifi, and an eye for aesthetics. With Instagram, and sites like Lookbook.nu, regular people can garner huge followings typically only reserved for celebrities. Instagram is a main channel for promoting a glamorous lifestyle. There are filters that can take a photo from ordinary to brilliant, but it’s really all about location. Instagram’s location feature, which allows users to share where their photo was taken goes a long way in painting a glamorous lifestyle, as users know who has hit the hottest clubs and lounged at the coolest vacation spots. While those are all very cliché ideals, glamour is no longer con-
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fined to a certain look: icons have a diverse array of passions and pastimes. Ever need some motivation to get off your bum, and start working it out instead? There’s a glamour icon for that too! Today, fitness and glamour converge more than ever. Exercising is hardly a glamorous task—beauty and sweat don’t sound compatible. Yet today Instagram users dedicated to fitness inspiration are all the rage. A healthy lifestyle is indeed a glamourous one! Jen Selter has secured 5.2 million Instagram followers by sharing her athletic journey (and rocking bod). What her almost too perfect muscles have in common with typical glamour icons is a certain level of unattainability that many covet and strive for. Additionally, the public has rarely paid much attention to the makeup artists that style our favorite celebrities. However, in the information age, makeup gurus are getting immense publicity. Check out BeatFaceHoney, Nicki Minaj’s makeup artist. With social media like Instagram and Youtube, they no longer need a celebrity to flaunt their
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The ‘social’ element of social media allows anyone to react to a trend or look with the click of the button. Glamour is thereby constantly in motion, redefined with each shared outfit.
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skills. Since they share photos and tutorial videos using their faces, they are getting recognition for their ability and beauty. Emily Weiss, beauty expert, even launched her own cosmetic line, Glossier, via Instagram. What would glamour be without fashion? Social media provides a platform for individuals to share their sense of style with complete autonomy, unlike celebrities who must deal with the unflattering shots captured by the paparazzi. The ‘social’ element of social media allows anyone to react to a trend or look with the click of the button. Glamour is thereby constantly in motion, redefined with each shared outfit. Celebrities and magazine editors are no longer the only force in glamour. As a new voice arises, the simple breakdown between producers and consumers is becoming decreasingly relevant. While I can’t guarantee that social media will make you the next Marilyn Monroe, you can use it as tool to share (and glamorize) your lifestyle, and perhaps even leave your mark on the fashion world.
Photos from left to right: Glossier on Instagram.com; Lookbook.nu Style Stream; Instagram photos going clockwise: @biancamaycheah; @jenselter; @camtyox; @thebeautycrush
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Step Aside Fergie: Uncovering ‘Glamorous’ Article by Alexa Bieler, Illustration by Connie Huang
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G-L-A-M-O-R-O-U-S. Anyone who listened to the radio in 2007 could not avoid hearing the synthfilled hit song by Fergie. The song is rife with intimations of a privileged life regularly associated with glamour: first class air travel, champagne, expensive clothes, and a trove of other lavish indulgences. Yet, Fergie’s anthem cannot be said to embody its title. While our obsession with materialism lets us judge (and sing about) the symbols of glamour on a superficial level, the true essence of glamour defies monetary acquisition and is often missed by those such as Ms. Stacy Ann Ferguson. The original meaning of the word glamour depicted a spell cast by witches to make the victim see something different from reality, and this sentiment remains the same today. Glamour is not the truth: it is a misrepresentation packaged in the facade of a lifestyle, a distortion of reality just clear enough that we can imagine ourselves as that person. Blinded by the ostensible dazzle, most fail to note
Which brings us back to Stacy Ann. Why is Fergie anything but glamorous in her song? Yes, she has the money. She has the exposure that a successful pop star possesses. She has the aesthetic appeal and even the confident attitude. Fergie fails to attain the status of glamorous because she is far too relatable. Mystery is an essential ingredient of glamour. It gives the viewer space to project what she truly desires onto the object, scene or person and see that idea reflected back. The air of being above the crowd captivates the audience and keeps them wondering and guessing. But, most importantly, mystery conceals that which is imperfect and enhances that which is covetous, all while suggesting such qualities are intrinsic. Oscar Wilde even says in his famous novel Pictures of Dorian Grey, “Ordinary women never appeal to one’s imagination...No glamour ever transfigures them. One knows their minds as easily as one knows their bonnets. One can always find them. There is no mystery in any of them.” Both Fer-
that glamour is defined ultimately not with mere image but by an allure and magnetism that radiates from within. Virginia Postrel, a prominent columnist with published books on glamour and style, wrote, “Glamour is, rather, a form of nonverbal rhetoric, which moves us and persuades not through words but through images, concepts, and totems.” Glamour in its truest form engages the viewer while simultaneously bewitching them into longing for that very lifestyle. The image of wealth alone is not enough to elicit such a response. Wealth can certainly be, and is often, a part of glamour, but if the heart of the image does not touch on something deeper - respect, power, and honor, to name a few - it will not create the essence that separates glamour from mere spectacle. Take martial glamour as an example, where the thrill and glory of war is venerated, the majestic conquests of the heroic obscuring the vagaries of battle. The movie American Sniper plays to this very idea, acclaiming a soldier based on an image of idealized patriotism rather than his brutal actions themselves.
gie’s humblebrags about her wealthy and fast-paced lifestyle, as well as her Taco Bell confessions, dissolve any form of mystery. In one lyric, she proudly proclaims, “I’m still real, no matter how many records I sell.” Because of this fundamental authenticity, Ms. Ferguson, the name of the song is flatly wrong. It may seem unfair to harp on Fergie, but she offers a good example of the subtle difference between those with glamour and those without. Yet, the elusive quality of true glamour does not negate the powerful impact of glamour on a more superficial level. Striving for this status drives our desires for material objects like a new iPhone, a beautiful home, or designer shoes. Corporations also play into the idea that sophistication and attitude can be bought, misleading us into believing that they have the ‘secret ingredient’ that separates the glamorous and the commoner. But, it also fuels our longing for committed love, a fulfilling career and a dynamic, exciting lifestyle. Striving for glamour and perfection can have a positive effect, motivating creativity, inspiration and passion. If we reach for the unknown, perhaps the illusion will become a reality.
Mystery captivates the audience, keeping them wondering and guessing. But, most importantly, mystery is invaluable in the illusion of glamour. It conceals that which is imperfect and enhances that which is covetous, all while suggesting such qualities are intrinsic.
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earning to take care of yourself is an art form in its own right. Other students living off campus will sympathize: you perfect the language that will force your leasing office to acquiesce your urgent demands, you tactfully encourage your roommates to do their share of the cleaning duties, and you discover the exact amount of groceries that will get you through the week. And with groceries, you learn how to cook. Disclaimer: one year ago my cooking expertise was limited to boiling pasta and scrambling eggs. Prior to moving into my apartment I spent a semester in Paris, admiring the abundant (and costly) culinary delights surrounding me but at a loss as to how to replicate them. Yet through necessity, curiosity, and eventually enthusiasm, I now boast a more extensive repertoire of recipes, as well as the ability to cook meat without fear of food poisoning. And accompanying me along my journey has been my mother’s goldmine of vintage Gourmet magazines. To flip through Gourmet is to enter a gastronomic
paradise whose treasures are at once fantastical and accessible. Fantastical because each issue contains a carefully curated multi-course menu, accompanied by a photo shoot that puts iPhone food photography to shame. A beachside dinner in Miami featuring grilled snapper with mango salsa and raspberry-passion fruit mousses? Done. Austrian fried chicken and Kaiser torte served in an elegantly austere Viennese apartment? But of course. Fourth of July festivities on the roof of your Upper East Side apartment? The possibilities are endless as food becomes a means to drive our aspirations. Meanwhile the magazine’s thoughtful, elaborate travel writing most blatantly transports the reader to a different world. Drawing on intellect, wit, and of course a passion for all things culinary, these pieces describe Colette’s Paris as seen through the food mentioned in her works, or a writer’s attachment to certain Indian recipes that represent her childhood in Mumbai. While the articles demonstrate the possibilities for food as a meditative subject, they ad-
PHOTOS COURTESY OF EPICURIOUS.COM
BY ALEXANDRA MCINNIS
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mittedly appeal to the elite audience of magazine: worldly, well-read, and perhaps even jet-set. It’s a world of sommeliers, international vacations, and, according to the advertisers, luxury cars. Nevertheless, Gourmet held fast to its goals of bringing fine dining into the average kitchens. The recipes generally avoid exotic ingredients and professional chef vocabulary, rendering them possible to even the college students among us. In the regular “You Asked For It” column, readers wrote to Gourmet describing a memorable dish at a particular restaurant, and Gourmet would obtain and print the recipe. Sometimes the best fantasies are the ones just within reach. My mother’s Eighties stock are also loaded with fun tidbits, such as Grand Marnier ads telling you how to impress a woman at 20,000 feet, and the discovery that Abercrombie & Fitch at one time made picnic baskets. Contemporary foodies will smirk as the writers dip their toes into “ethnic” cuisines such as Mexican and Thai. As Kim Severson wrote in the New York Times, “Although it was easy to paint Gourmet as the food magazine for the elite, it was
a chronicler of a nation’s food history, from its early fascination with the French culinary canon to its discovery of Mediterranean and Asian flavors to its recent focus on the source of food and the politics surrounding it.” Gourmet was founded in 1941, and enjoyed mainstream success from the post-war economic boom to the decadence of the Eighties. However, the magazine eventually lost its way as it failed to cope with the rise of the internet as a recipes database, or the preponderance of its less sophisticated sister magazine, Bon Appétit. When Gourmet finally ceased circulation in 2009, it appeared that the old-world culinary glamour has finally lost its luster. Occasionally there are rumors that some editor might resurrect Gourmet and adapt the former gastronomic authority to modern life. While this could be a nice compliment to Buzzfeed’s “31 Grilled Cheeses That Are Better Than A Boyfriend,” I’m not sure if it’s likely. Meanwhile I’ll hold onto my mother’s trove and keep making my Swedish stuffed potatoes with smoked salmon and dill. Not so bad for a college student, if I do say so myself.
GONE GOURMET
THE ENDURING GLAMOUR OF GOURMET MAGAZINE MODA Spring 2015
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DESIGNER BOOT CAMP Article by Kavya Garikipati & Spencer Moy
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tephenae Searles is a fourth year in the college who entered as an economics major but dropped out to run her own business for three years. “When you create something, it’s like your baby, and I realized I should have felt so much more passionate about my baby than I did. I would just want to go home and sketch!” explains Stephenae on why she decided to come back to school, this time as a Romance Languages and Literature major. Her newfound commitment to following her passions is also what drew her to the Designer Boot Camp program. To those unaffiliated with it, Designer Boot Camp is somewhat of a mystery. Even many students currently involved with the program admit to knowing next to nothing before actually being accepted. The Boot Camp is a 33-week immersion course in fashion design and garment construction. Students learn from the best in Chicago, including The Logan Center for the Arts, local designers and entrepreneurs, and this year, The School of the Art Institute of Chicago (SAIC). “This
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year’s creative process is very different,” says fourth year Harrison Yu, director of Designer Boot Camp. He’s enrolled in a design class at SAIC, and brings what he’s learned back to Hyde Park to give DBC participants “a real framework”. The experience culminates in the annual MODA Spring Fashion Show, where each designer showcases a three-piece collection. Every designer enrolled in the course enters with varying levels of experience in design and garment construction. For every Stephenae who knew that she definitely wanted to be a part of MODA when she returned to school, there’s also a Tilly Colin - a second year student who applied simply because she likes to draw and sketch, without knowing anything about the organization, While Tilly and Stephenae both have no sewing experience, Kenneth Zheng, another Designer Boot Camp student, has done costuming for the Classics department’s play and has worked under a fashion designer. Along with their vastly different technical backgrounds, the designers also turn to a variety of sources
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Photos by Albert Nam for inspiration. While Kenneth finds his inspiration in music, scouring SoundCloud to find an emotion he can build a design from, Tilly looks to movies and ballets she watched as a child living in Prague. “Costumelike” is the word she chooses to describe her designs, which are theatrical blends of Eastern and Western influences that mirror Tilly’s own French and Korean heritage. Lines and geometric shapes inspired Stephenae’s pieces, and her collection incorporates asymmetrical hemlines and structured silhouettes. In one piece, strips of leather, interwoven and dripping down like paint, add edge and excitement to her minimalistic designs. First year Jenna Yang draws from a visit to Lincoln Park Zoo’s stately conservatory. “I was really inspired by those big greenhouses and the glass structure, and the nature around it. I thought the contrast was something I wanted to put in my collection” The designers have also developed perspectives on glamour, fashion, and style throughout the program. “When I think about glamour, it’s like Great Gatsby: big, sparkly, extravagant, and unattainable sheen,” says
Jenna. “Simplistic, with a hint of bold and sexy edge” is how Stephanae chooses to describe her perception of glamour, underscoring that it’s not necessarily about makeup or crazy hair, but rather the small touches that elevate even the simplest looks. Second year McKenzie Coker echoes this sentiment, saying, “You certainly can’t look glamorous without the internal aspect. It’s about confidence and confidence to sell what you’re wearing. That belief is what makes other people look.” Tilly, on the other hand, sees glamour as “something inaccessible, something shiny”. She admits that she’s not personally striving toward this deal and would rather create something glamorous than be glamorous herself. Kenneth sums up the discussion: “Glamour is a way of presenting and carrying yourself. It’s being yourself and not caring what anyone else thinks”. In a sense, that’s exactly what the Designer Boot Camp allows these students to do. It provides them with the framework and tools to take their personal ideas of glamour and style and present them – unabashedly – on a grand stage.
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LA VIE EN ROSE Photographed by Luke White Makeup: Lucie Fama Hair: Claudia Benz Models: Fiona Fong, Zahra Jooma, Romane Thiebaut, Brooke White
Glamour, epitomized as the painted lips and pristine curls of Old Hollywood, is getting a makeover. Sometimes, the most glamorous makeup is the makeup that is barely there—the makeup that exudes nonchalance. With a sweep of mascara, a gloss on the lips, or subtle glow on the cheekbones, makeup enhances rather than masks, complimenting the real you. Nonchalant beauty has a focus. Whether that be a focus on the skin, the lips, or the eyes, bringing out one feature is more subtle and alluring than a full-face of products. A berry stain on the lips is even more pronounced when there is no eyeliner. A wash of cream eyeshadow keeps the spotlight on the eyes when there isn’t an overwhelming splash of blush. Braided hair seems natural, not overdone, when the face is left bare. When it comes to beauty, less is more. Most days, there isn’t enough time to apply makeup perfectly. But that is the beauty of makeup—it doesn’t need to be perfect. With a laissez-faire approach, and a nonchalant touch, makeup is just another accessory to enhance what is already there. Let yourself show through. That is truly glamorous. - Beauty Editor, Lucie Fama
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VIOLET HOUR And I will show you something different from either Your shadow at morning striding behind you Or your shadow at evening rising to meet you T.S. Eliot, The Wasteland
Photographed by Ivy Zhang Men’s clothing from ESQ Clothing, women’s clothing from Azeeza Stylists: Claudia Benz, Jane Chang, Cynthia Mao Hair/Makeup: Fatima Khan Models: Mary Coomes, Liam Leddy, Megan Tang, Chase Woods
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TWIGS & STONES
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Clothing: So単ador Boutique 1006 W Armitage Ave, Chicago, IL 60614
Stylists: Ogonna Obiajunwa, Yady Rivero, Kenneth Zheng Models: Hannah Jacobs-El, Samara Renovato Make-up: Lucie Fama Photographer: Maybelle Silverstein Photographed at the Winter Garden of the Harold Washington Library
inspired by FKA Twigs
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BOARD Co-Presidents
Morgane Richer La Flèche Austin Ward
Blog Editor-in-Chief Maura Connors
Events Manager Ioana Tesliuc
Magazine Co-Editors-in-Chief
Marketing Manager
Asst. Backstage Manager
Graphic Designer
Asst. Events Manager
Alexandra McInnis Rachel Scheinfeld
Sophie Critchfield-Jain
Sumati Mehta
DBC Deputy Director
Sponsorship Manager DBC Director Harrison Yu
Backstage Manager
Lilly Astrow
Nabila Lotayef
Shayla Harris
May Silverstein
Finance Manager
Asst. Sponsorship Managers
Grace Beitler
Ugur Kocak
Fiona Fong Samantha Hom
DESIGNERS Alicia French Anastasia Chatzka Celia Yuen Christopher Kloves CLEONS
Connie Huang Domitille Colin Emma Madden Harrison Yu Helen Li
Howard Chiang Jack Phillips Jena Yang Kenny Zheng Mackenzie Coker
Maggie Sivit Tori Borengasser Miranda Wei Trevor Ly Ray Li Steph Alisse Sumaya Mulla-Carrillo
MODELS Avra Mouzakis Abby Erdman Alex Opechowski Alex Theodosakis Amy Risk Ana Lanier Anule Ndukwu Anya Marchenko Ariel Burnett Arielle Mourrain Ashley Xu Atticus Ballesteros Beth Minney Caleb Lugo Courtney Prentiss
Dani Wieder Darrian Robinson Elizabeth Woo Eloise Hyman Em K Reishus Emily St. Marie Emma Almon Emmalina Glinskis Erin Kim Erin Risk Hannah Zinky Harrison Kioko Heeyoung Sim Hyebin Park Jade GoodwinCarter
Jennifer Teng Jessica Avva Jessica Suplick Jessica Zhang Jiani Chen Jing Miao Jonathan Lim Joyce Sun Joyce Zhu June Huang Katherine Oosterbaan Kavya Garikipati Lauren Meckelberg Louisa Richardson-Deppe
Louise Simpson Lucie Fama Maira Khwaja Manuel Anderson Mary Blair Coomes Matt Staab Mattie Renn Maya Handa Maya Scheidl Morgan Robinson Nadine Yeatman Natalia Grudzien Nick Watson Patricia Oigo-Nyaega Priyanka Mehta
Rachel Lander Rachelle Koch Renee Cai Romane Thiebaut Sabina Vilogorac Samantha Buck Sarah Landes Sneha Kasuganti Sonia Chakrabarty Sonia Chou Spencer Moy Victoria Huang Xanthe Gallate Yiru Luo Zoe Levine MODA Spring 2015 43
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