Spring 2016 / University of Chicago
LETTER FROM THE EDITORS:
TEMPORALITY
With fashion, one cannot escape time. The styles that adorn us mirror the world and period culture around us, or bring back to life those from the past. Every moment we exist in is at some point transferred to the past, while every future idea has the potential to be transformed into a present image. Our Spring 2016 issue explores the idea of time through a multifaceted lens. We begin with a twenty-four hour frame as Features Editor Meredith Esquivel shows us how to transition an outfit through the course of the day. Time expands and creates circular forms as we look into repetition in Alexia Bacigalupi’s article on patterns throughout history, and we try out a twist on ’50s style in The It Kid. Shayla Harris’ piece on Jaden Smith’s new gender neutral Louis Vuitton campaign, The Jaden Fluidity, explores the larger contemporary moment we live in and how it is redefining the expectations and norms of the fashion industry. The breadth of temporality present in the pages of our issue are expansive enough to make your time fly by while you flip through the pages. Every quarter we are continually amazed by the dedication, hard work, and creativity of the entire MODA Magazine Board and Staff, and we want to take this opportunity to thank everyone who makes this magazine possible. The effort put into taking ideas of fashion to the next level truly embodies the life of the mind, and we hope you enjoy what this issue has to offer.
Maya Hansen & Rachel Scheinfeld MODA Magazine Co-Editors-in-Chief
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MODA Magazine 2015-2016 CO-EDITORS-IN-CHIEF Maya Hansen & Rachel Scheinfeld EDITORIAL BOARD:
PHOTOGRAPHY EDITOR Albert Nam STYLING EDITORS Frances Chen & Ogonna Obiajunwa (Abroad) WRITING EDITORS Sucheta Kinger & Krishna Mukkavilli COPY EDITOR & MODEL MANAGER Maya Rodriguez VISUAL DESIGN EDITOR Lauren Han FINANCE DIRECTOR & PR MANAGER Amutha Muthukumar BEAUTY EDITOR Michelle DePorto FEATURES EDITOR Meredith Esquivel STAFF ENGAGEMENT DIRECTOR Sana Sohail ASSISTANT STYLING EDITORS Liya Khan & Rohit Satishchandra
STAFF:
LAYOUT: Lauren Han, Maya Hansen, Rachel Scheinfeld WRITERS & CONTRIBUTERS: Ada Alozie, Mahathi Ayyagari, Alexia Bacigalupi, Meredith Esquivel, Andie Fialkoff, Shayla Harris, Kathryn Hicks, Olivia Jia, Haley Kowalski, Mary Pierce, Sana Sohail, Andrew Song, Jen Teng, Jason Zhao STYLISTS: Liya Khan, Jasmin Liang, Alexis Matthews, Rohit Satishchandra, Kenneth Zhang, Keely Zhang MAKEUP & HAIR ARTISTS: Michelle DePorto PHOTOGRAPHERS: Daniel Chae, Albert Nam MODELS: Prestin Barnett, Thais Castello Branco, Aixin Chen, Olivia Clink, Brenton Desai, Jessee Fish, Madeleine Hazen, Hoda Katebi, Maira Khwaja, Louisa Richardson-Deppe, Nataly Rios, Kenya Senecharles
Special thank you to M2057, Penelope’s, and Mildblend Supply Co. for generously loaning us their clothing for our shoots.
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A DAY IN MY SHOES:
MODA Features Editor Meredith Esquivel shows the versatility of fashion by walking us through her day.
DINING THROUGH THE DECADES
The appeal of restaurants that take us to another time never fades, and we’ve found some of Chicago’s best ones.
CINEMATIC STYLE:
Cinema and fashion have forever been intertwined, with clothes we see in film influencing what we see in every day life.
THE ORIGINS OF PATTERNS:
Chevron, stripes, polka dots, houndstooth - we know their names, but we seldom know from where they came.
QUANTIFIED AESTHETICS:
How can you quantify something supposedly as objective as aesthetics? MODA Staff Engagement Director Sana Sohail finds out.
THE LUXOTTICA CONSPIRACY:
The company that has forever dominated the glasses industry has some newfound competition.
OLD IS THE NEW IN:
Mahathi Ayyagari talks style, and why they seem to be constantly repeating themselves.
ECO-FRIENDLY FASHION:
Brands respond to the demand for and push towards sustainability in the fashion world.
Photo: Jaden Smith for Wonderland Magazine.
CONTENTS
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THE JADEN FLUIDITY:
What it means for Jaden Smith to be the new face of Louis Vuitton womenswear.
CAPSULE COUTURE:
Steve Jobs is known for his black turtlenecks and lightwash jeans: MODA explores the “capsule wardrobe.”
OLD TRENDS, NEW FACES:
How celebrities like the Kardashians influence fashion designers, trends, and sales.
GENDER INEQUALITY:
Why an industry that caters to primarily women is dominated by male designers.
THE SARTORIAL ESCAPISM OF RAW DENIM: Jason Zhao on washing your jeans - or preferably, not.
TREASURE HUNTING:
The founder of Marteau.co, Ariana Boussard-Reifel, talks jewelry with Features Editor Meredith Esquivel.
DRESS UP, DRESS DOWN:
Beauty Editor Michelle DePorto gives us the day-to-night makeup looks for spring, playing dress up while dressing down.
AUTOPORTRAIT:
Inspired by the portraiture of Renaissance paintings, we bring clothing from M2057 to the studio.
THE IT KIDS:
Popular Hyde Park hangout Woodlawn Tap serves as a backdrop for our take on channeling the ‘50s.
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MODAfeatures
a day in MY
shoes
by meredith esquivel
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E
veryone has that one standby item that gets her through any occasion. It can often be spotted as the most worn and torn piece in their closet. For me, it is my black booties. It can be a challenge to style casual and practical shoes across seasons or times of day. Walk with me through a full day of looks, all styled around a classic pair of black boots. On an ideal weekend morning, I could get myself up and to the gym before brunch. But in reality, I roll out of bed just in time to get the Migas Omelette at Dove’s Luncheonette in Wicker Park. I pretend I’m active and throw on colorful leggings, but still feel snuggled in bed by pairing them with a simple, cozy sweater. My boots tie the athletic and cozy together so I am the picture of athleisure. Because it’s Chicago, I bring a practical bomber jacket to keep me warm when I inevitably go shopping for elegant basics at my favorite boutique, Penelope’s, and a large bucket bag to carry a Stan’s donut home. With or without a suit, balancing personal and professional style can be quite a challenge. To feel like a boss, I throw a classic blazer over a dress with appropriate coverage. In the dress, I look for something in a comfortable fabric, with a fun pattern or design like this Pixie Market dress. Simple accessories keep the outfit from being loud, so my voice can be heard. After a cup of Intelligentsia coffee, I’m ready to land the job.
Studies show that students are more attentive in class when they are comfortable, but not too comfortable. That’s why I trade the leggings for my most worn-in black jeans, a classic striped shirt, and my most unobtrusive jewelry on Mondays. Classic and confident with a twist: the leather vest adds some edge to stand out in the crowd. With silly socks poking out of serious black boots, this look will keep me content even on a day spent in a Reg cubicle.
I have a reservation at Maude’s Liquor Bar, so why not put on that party dress I never know when to wear? The low-heeled booties mean I won’t be rolling my ankles walking down those cobble stone streets in the West Loop. Likewise, a cool, yet practical leather jacket means I can save the Uber fare and walk from dinner to The Betty for a nightcap. Large gold hoops draw attention to my classic cat-eye makeup, and a tiny minaudière holds just enough to pay for dinner and to re-apply lipstick.
Whether you are staying in Hyde Park or going downtown to Three Dots and a Dash, there is always an occasion for giant earrings and a sassy top. This bell-sleeved top from Pixie Market puts me in the mood to dance, so it’s a good thing I’m wearing comfortable boots. I like to pair a going-out-top with a pair of fancy shorts so I can dance freely, but a classic black skirt works in a pinch. A small cross body bag keeps my phone safe and leaves me hands-free to belt my heart out to TLC at Slippery Slope.
PHOTOS: REDDIT. COM, POLYVORE
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DINING THROUGH THE DECADES
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1920s & 1950s by Andie Fialkoff ining through the decades has been a long enjoyed pastime for Americans across the country. The feeling of being taken back into time just by stepping through the doors of a restaurant is a magical experience. Who wouldn’t want to be swept back into the speakeasies of the roaring twenties while sipping a champagne cocktail? Here in Chicago, places like The Drifter and The Franklin Room are bringing the 1920s back to life. Their dim, sumptuous interiors mirror a Chicago marked by prohibition. It seems as though at any moment during your dining experience a flapper or the mafia could waltz right in and grab the booth next to you. Few decades can rival that of the 1950s when it comes to dining. The lively energy that permeated this decade is quite present in their restaurants. With World War II over and wealth circulating the country like never before, American citizens were hungry for something new. Diners and drive throughs reigned supreme as more and more Americans flocked to suburbia. In 2016, one can still step through the doors of Eleven City Diner or Ed Debevic’s and be transported back to the very era of hope and prosperity. The bubble gum pinks and bright blues that cover the interior are complemented by vinyl seats and shiny tables. Close your eyes, sip a milkshake, and be taken back into the 1950s.
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1920s
MODAfeatures
1950s Left: Top image: Franklin Room from timeout.com; Middle: Drifter from chicago.eater.com; Bottom: chicago. eater.com Right from top to bottom: Ed Debevic’s from chicagotribune. com; Elevent City Diner from Timeout.com; Yoshi’s Cafe from 10best.com; Lyfe Kitchen from lyfekitchen.com
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1990s & 2010s by Andrew Song
he Nineties saw the rise of fusion cuisine, combining recipes from across cultures and continents for a new perspective in cooking, with the use of avocado in a California roll exemplifying this trend. Fusion did not originate in this decade, but star chefs, such as Wolfgang Puck, popularized fusion cooking and made it more palatable to gourmands, introducing a variety of cooking styles never before seen in the West. Szechuan peppers in spaghetti, Thai curry with cheese, anything became possible with the wealth of ingredients and styles in the world. To explore the amalgamations of tastes and flavors of the 1990s, check out the French-Japanese restaurant, Yoshi’s Café.
1990s
2010s
Health-conscious eating has dominated the culinary world ever since the dawn of the new century. People became more concerned with not just where their food came from, but how it was grown. Organic ingredients filled shelves at the supermarkets, charging a hefty premium. Reduced-fat, low-fat, and fat-free became household terms. Vegetarianism became more sophisticated and broken down into further categories including pescetarianism and veganism. Gluten-free became something not just reserved for those with celiac disease. All this contributed to a variety of options for diners who craved something new. In Chicago, LYFE Kitchen, a modern American restaurant with organic and gluten-free options, exemplifies this decade’s fixation on healthy eating.
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cinematic style by kavya garikipati
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PHOTOS: THEDAILYBEAST, TWITTER, PLAYBUZZ, INGRIDSUNDBERG.COM, VOGUE, HERCAMPUS, WIKIPEDIA, PLAYBUZZ
C
inema has always offered a bizarre form of escapism. For a couple of hours, viewers are transported into a world that is not their own and are able to experience stories that are so removed from their own personal experiences. There are several ingredients contributing to the magic of the silver screen – the lights, the staging, the sound, and of course, the style. There has always been an inherent association between glamour and the movies. Because cinema has an appeal across demographics, cinematic style is a lot more accessible than say, the glossy editorials that inhabit the pages of fashion magazines. Everyone remembers Marilyn’s billowing, white halter dress from 1955’s Seven Year Itch, a quintessential example of a cinematic style moment that continues to live on as a pop culture staple. Films are promoted in such a way that we often know what to expect even before watching
them in theater. Posters with striking visuals are everywhere, trailers flood televisions, and promotional clips populate the Internet. When the “look” of a film is so carefully curated by the filmmakers, it’s not surprising that a huge amount of thought and resources go into styling. Watching movies is such an immersive experience that audiences leave wanting to be a part of that world. The easiest way to recreate the splendor of the big screen is by replicating some of the looks that were presented. A great example of this is Baz Luhrmann’s 2013 reinterpretation of F. Scott Fitzgerald’s The Great Gatsby. The stunning period costumes, that included bejeweled and bedazzled flapper dresses, feathers, and crystal embellishments spawned a resurgence of the 20’s aesthetic, as every one rushed to host their own Gatsby -themed parties and celebrations. The current period’s style choices heavily influence the cinema of that time. In many cases, movie serve as an endearing snapshot of the mode-du-jour. Mean Girls, for example, captured the early 2000’s glam-girl aesthetic, embracing everything
pink, short, tight, and embellished. Equally unforgettable is 1995’s Clueless, a modern revival of the Jane Austen novel, Emma in a high-school setting. If you ever wondered what the young fashionistas of the 90’s were wearing, just take a look at Alicia Silverstone’s wardrobe from the film. If her yellow plaid short-suit ensemble is any indication of movie style, the decade was an interesting time for fashion, to say the least. It’s certainly interesting to think of the relationships between cinema and popular style. Period films and epic fantasies contain costumes, which allow viewers to view style of times forgotten or imaginary worlds. On the other side, films can serve as a master-class in what the popular fashions and trends of the day are, in a medium that is widely accessible to all. It’s hard to tangibly measure the ways in which we subconsciously try to recreate what we see on screen into our own looks. Maybe the next time you put on a classic black dress for a night out, think about how the iconic Audrey Hepburn introduced the look to the world all those years ago in Breakfast at Tiffany’s. MODA Spring 2016
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THE ORIGIN OF PATTERNS
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BY ALEXIA BACIGALUPI
ometimes a striped shirt is more than just a striped shirt. Fashion has always been about more than just clothing and nowhere is that more evident than in the prints with which we clothe ourselves. Throughout history, the different markings on clothing were a way to distinguish different tribes, social status, even political allegiance. Prints developed and changed along with society, taking on new meanings and implications as cultures expanded and morphed. Through the ages and continents, patterns and prints have served as distinctive markers, connoting specific cultures and societies. An enduring and easily recognizable print is what is known in English as “paisley.” Its swirling feathery shape was adopted by designers of the 1960s, the dizzying interlocking of shapes embodying the psychedelic tendencies of the era. Paisley has its roots in a much older culture – the Persian Empire in what is today Azerbaijan, Iran and the Kashmir region. Used to decorate royal crowns and court garments, the design was known as “buta,”
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meaning, “flower.” Babylonians associated it with a date palm shoot, thus linking it to prosperity and abundance. The Persians linked the arabesque pattern to a floral spray and a cypress tree – major motifs in the ancient Zoroastrian religion of the empire. The Sultans of Kashmir in the 15th and 16th centuries used the gifting of beautifully crafted pashmina shawls decorated with paisley as a way to assert their dominance. Exchanged during political and religious ceremonies, these “Robes of Honor” were meant to pay tribute to the giftee, but also remind him that he was inferior to the sultan. In the 17th century, imports from the East India Company brought the pattern to Europe, where “Kashmiri shawls” became a major status symbol. With Europeans clamoring for more, and unable to supply the growing demand, production turned domestic. New loom technology of the Industrial Revolution allowed weavers to produce loom-woven fabric and printed textiles with the exotic design which became known as “paisley” in Europe, after a town in Scotland that was particularly skilled at pro-
PHOTOS: ALIGHIERO BOETTI, KENNETHWALTERBLOG.COM, ALEXHENKES.COM, PINTEREST, CREATIVEMARKET, CULTOFMAC.COM, WILLBRYANT.COM, PLUSHIEPATTERNS.
ducing it. Paisley would continue its journey from a symbol of royalty and status to something more humble and widespread, when it was incorporated into the design of the common cotton bandana, made famous by Hollywood cowboys. Members of some of LA’s most notorious gangs would also use the bandana, complete with its iconic paisley motif, as an immediate visual identifier - blue for the Crips and red for the Bloods. From Scotland also emerged the iconic tartan print. The classic design was so intrinsic to Scottish identity that when the Brits – in an attempt to subdue the Highland tribes after the Jacobite uprisings – passed the Dress Act of 1746, they banned tartan as a distinctive element of Gaelic culture. Although not originally associated with specific clans, the repeal of the act lead to the widespread embracing of tartan as the symbolic national dress of the country and specific clans and families identified themselves with exclusive tartan patterns as a result of mechanized production. The distinctive colored stripes of tartan made it useful in the development of color photography and the first modern color photograph, taken by Scottish physicist James Clerk Maxwell, was of a tartan print hair ribbon. The use of bold tartan stripes as a badge of asso-
ciation would continue as the punk rock movement adopted it. Taking a traditional symbol of British military and upper-class life, the movement wore it in unconventional ways to express their discontent and distaste for society. Pairing the Royal Stewart Tartan (the personal tartan of Queen Elizabeth II) with shredded jackets and spiky hair was the ultimate middle finger to the establishment. Out of the punk movement came famed British designer Vivienne Westwood who dressed the ultimate punk band – the Sex Pistols. Westwood has reimagined the traditional Scottish fabric in a variety of ways, from sculptural ball gowns to intricately wrapped handbags. Cultures are living, breathing things, and fashion is fluid enough to adapt to them. It spans both time and geography, taking on new meanings and nuance with every stop along the way. The lowly navy striped shirt has its roots in French sailors off the coast of Breton and has become an iconic staple in any well-curated wardrobe. Even the once royal velvet has gotten a makeover and been reimagined for crop tops, skater skirts, and even shoes. Clothes, as immediate visual markers by which we announce ourselves to the world, have a way of transcending cultures and linking people together.
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QUANTIFIED AESTHETICS
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BY SANA SOHAIL
ust as it has always been a reflection of a period’s transient cultural and social milieu, style has always adapted current fashions, turning trends into something far more personal and individualistic than the latest color palette or dress shape. However, the supposed subjectivity of aesthetics has recently been programmed into an algorithm by Raquel Urtasun and her team of computer scientists. They have developed software that analyzes a person’s photos to not only determine how stylish they look, but also provide constructive feedback to improve aesthetic appeal. Advice usually expected from a stylist, such as a change in shoes or lighting, would be readily accessible for any user. Designed to understand “fashion on a higher level,” the program brings up several questions about the growing intersection between neuroaesthetics, fashion, and technology. In the introduction of their paper, titled Neuroaesthetics in Fashion: Modeling the Perceptions of Fashionability, Urtasun and her team describe their hope that this software will be
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PHOTO: STYLOURBANO.COM
used for websites like Instagram and Facebook. Noting the growing emphasis on first impressions and appearances through the use of dating sites and social media, they hope that a computer-turned-stylist will help anyone and everyone put their best foot forward. Generating the algorithm was, unsurprisingly, complicated— factors like the type of outfit, clothing, and background would need to be reliably recognized. To do this, the software was given thousands of photos from a style website, where the number of votes each photo received served as a proxy for fashionability. Age, facial features, world location, and date were also factored in, as the team acknowledged that what is fashionable in Los Angeles may not be the same as in Manila, nor is fashion static from season to season or across age groups. The study’s inclusion of a person’s beauty as a factor provided some problematic conclusions that “younger and more beautiful users were…considered more fashionable” and that some ethnicities were favored over others in data-based estimates of beauty. Style, there-
fore, becomes far more than a creative or well-assembled outfit; a person’s looks and personality were also shown to play a role in what made a photo more appreciated than another. In terms of replacing the job of a personal stylist, the software has been met with some skepticism. Stylists doubt it will edge them out of their roles in the industry as it does not take into account someone’s personal taste, body type, or that style is much more than adapting trends that go out of fashion just as quickly as they come in. The algorithm removes the individuality behind style and the potential to push boundaries because it is entirely based on a recorded appreciation of past trends. Although the program’s potential to predict the direction of fashion is great, it has wider implications about how we perceive and understand beauty and style. Someone’s fashion sense should be able to be examined without having to consider equally subjective standards of beauty, but the question remains about just how much looks, personality, and style are intertwined and visually understood.
x x Kanye
Photo: Balmain.
Article by Ada Alozie
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hen Olivier Rousteing was twenty-four, he took over as creative director of Balmain in 2011 after Christophe Decarnin left the position. The fashion world knew very little about the direction he was going to take the noted French house down. Although young, Rousteing had made his name as the lead designer and creative director at Roberto Cavalli for the women’s ready-to-wear collection. As the youngest creative director of Balmain, he came to Balmain on the cusp of change as the ostentatious and flashy clothes advanced by Decarnin launched Balmain into the celebrity and star-led brand it is today while steering it away from its more traditional and classic roots that its founder, Pierre Balmain, strived to propagate. Rousteing has found a way to reconcile the timeless and elegant intentions of the brand with the extravagance needed for a highfashion brand in the age of celebrity culture and immediate brand recognition. In his almost five years as Creative Director, he has
built on Decarnin’s celebrity influence while taking Balmain back to its more French influences. He has expanded Balmain both as a clothing house and as a brand experience. His youth inspired him to launch the “#BalmainArmy,” a collection of A-list celebrities who publicize the Balmain brand on Instagram. #BalmainArmy, a unique endeavor from a couture house, has increased its audience and has made the brand more accessible for those who normally would not consume the brand. In continuing his mission to turn Balmain from a French couture house to an internationally recognized brand, Rousteing partnered with Kanye West and his wife, Kim Kardashian-West, to be ambassadors for his brand. Kanye is the menswear ambassador while Kim takes pictures alongside him. Both Kanye and Kim promote Balmain on their Instagram accounts as part of the #BalmainArmy trend. Their promotion as official print ambassadors was inevitable as Balmain credits them as symbols of the “new modernity,” representatives of “love, beauty, and diversity.”
The association of such high-profile celebrities with Balmain coincides with Balmain’s progression as an international rather than a Parisian brand. Although Rousteing has extended Balmain’s presence into a more popular sphere, he maintains the high-end nature that Balmain represents. His professional relationship with Kanye emphasizes Balmain’s grasp on pop culture and the Creative Director’s use of social media to capitalize on this age’s obsession with celebrities. With Kanye as his brand ambassador and their collaboration on Kanye’s newest fashion collection, Yeezy 3, the sales of menswear has increased. Therefore, Balmain is starting to be recognized as both a men’s and women’s wear couture house. Rousteing’s continuing work with Kanye signals Balmain’s recognition as a brand that reaches the brand-name recognition of highfashion houses such as Chanel and Givenchy without sacrificing the luxury of the brand. They are able to alter their brand to fit the current culture of the world without compromising the integrity of the brand. MODA Spring 2016
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The Luxottica Conspiracy Two different glasses distributors, two different missions.
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BY MARY PIERCE
arby Parker is the trendy and charitable eyewear startup that began in 2010. While studying at the Wharton School of Business, four students realized how expensive it was to replace their prescription glasses, which led to the creation of Warby Parker. By taking out the middleman and directly interacting with consumers online and through Warby Parker stores, the company has been able to cut costs and sell prescription glasses for $95 (while pledging to donate a pair of glasses to those in need for every pair purchased). A 2013 New York Times article suggested that the innovative Google Glass would be designed in partnership with socially responsible Warby Parker. So, in 2014 when Google released that they were partnering with Luxottica for the new Google Glass, everyone was shocked. Who is Luxottica? Leonardo Del Vecchio started Luxottica in 1961 as a manufacturing business. Since then, the company has become a vertically integrated, independent company that designs, produces, and distributes eyewear. The enormity of the firm makes it easier for Luxottica to lower production costs and sell glasses at a lower wholesale price, which is why fashion houses like Dolce & Gabbana, Prada, and Chanel use Luxottica. By controlling all aspects of the eyewear industry, Luxottica has
been able to keep the price of eyewear for consumers very high, that is, before Warby Parker came along and stirred the market. As a socially responsible startup, Warby Parker seems very different from Luxottica, but both companies use similar organization to cut costs. The difference is that Warby Parker uses their vertical integration to donate eyewear to those in need. Luxottica, on the other hand, uses its company organization to increase profits. In the announcement about the Google Glass x Luxottica partnership, Google claimed that the partnership was due to that fact that “Luxottica’s retail and wholesale distribution channels will serve us well when we make Glass available to more people down the road.” It is true that Luxottica has a wider global reach than Warby Parker and their partnerships with fashion houses will be a strategic way for Google Glass to gain credibility (i.e. DVF’s Google Glass Fashion Week presentation). Yes, Luxottica can give all of that to Google Glass, but at the end of the day, Warby Parker uses its profits for good, providing glasses for thousands of underprivileged people. Apparently, Google is more interested in Luxottica’s respect in the fashion industry and their monopolistic pricing control over the worldwide eyewear business than the populations Warby Parker has made eyewear available for today.
Photos courtesy of Warby Parker, Luxottica, and Google.
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MODA Magazine & The State of the Publishing Industry
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BY MAYA RODRIGUEZ
ashion publications are not simply about clothing and trends anymore. Elite fashion magazines, like Elle and Glamour, and student publications, like MODA and STITCH, are showing just how much they have changed. Of course, the household names still include models wearing contemporary clothing in odd and mesmerizing poses, and tips on what styles flatter each body types; this has been the core of the fashion magazine for decades. But take a closer look and see how these publications have changed and grown to their current state. The focus on contemporary fashion issues shows how prominent current movements and ideas have become. Writers for these magazines report on social issues and events that impact our world alongside typical interviews of fashion designers. Besides this, topics on gender and race inclusion make for an important conversation as these topics play a critical role in various aspects of current society as well as the fashion world. By promoting discourse on these subjects, we are able to see their true influence in our world. Even with this movement, fashion magazines are not perfect as they still come under heavy scrutiny at times. There is often critique on how they tend the focus on an “ideal beauty,” like how fad diets to get the “beach ready body” are still published every year. Models used in the magazines sometimes show a lack of racial, gender and body diversity and outdated feminine archetypes are referenced in photo shoots. Take LeBron James and Gisele Bundchen in Vogue where they mimicked both beauty and the beast roles as well as bring on speculation of how their posing invoked
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racial caricatures. But, the overall increasing trend of more of a conversation on these issues in fashion and in-depth analysis of these problems are markers of the change we are seeing. The importance of these topics make for a better magazine as they highlight readers desire to learn more about what is an effect of the fashion world today. The increased writing on subjects like the costs and benefits of consumerism in fashion show that readers are interested in the issues and influences of fashion reflected in more and more magazines. As the elite publications shift their focus to satisfy readers, others have followed in their footsteps. MODA Magazine has been active and publishing since 2003 but the core of MODA has changed from pages of pictures to student writers addressing the current subjects that influence fashion today. Other magazines such as Northwestern University’s STITCH and Syracuse University’s ZIPPED show that student fashion magazines have headed in the same direction and are working to also push boundaries like global publications. As members of the fashion world, we look to move forward by talking about the controversial and eye-opening topics that fashion influences and exploring cutting edge styles that can change our outlook on style. MODA and other student magazines are trying to follow this lead from well-known fashion publications and push the boundaries as well. We have an opportunity to share our perspective by discussing what is at the heart of fashion. By exploring these issues, we have the chance to change the direction of fashion publications and address the prevalence of global topics in the fashion world.
MODAthinks
OLD IS THE NEW IN What Reappearing Trends Mean for Future Fashion
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ollow any fashion blog or observe the many fashionable people around campus and you’ll see the current trends: suede, fringe, wide leg jeans, turtlenecks, knee-length boots, midi-cuts, bell sleeves, and denim, denim, denim. Remember any fashion history and you know that these trends right now are very similar, if not exactly the same, as the trends from the 70’s. Fashion in the disco-dancing 70’s reflected the social climate of the time, of emerging diversity and sexual expression. This was especially true for women as the feminist movement spurred an empowering change in female fashions. Right now, it’s the perfect time to raid your parents or grandparents closet for that vintage find. But why is it that more than 40 years later, these fashions are reappearing? The reemergence of fashion trends follows a cycle, starting with the emergence of the trend. There’s something uniquely special about it, whether it be a byproduct of a social revolution (the flapper persona of the 1920’s), the outcome of historical circumstance (the movement towards “masculine,” less restrictive clothes for the working women during WWII), or a truly novel fashion idea (you can be the judge of that!). Soon, everyone starts wearing it. It’s featured on models and magazine, and designers really capitalize on the popularity of the trend. But soon, people start to get bored of the style- either because everyone is wearing it or because fashion designers are looking for their next wave of inspiration. Soon, the trend
slows down, but the style comes back again when enough time has passed that wearing it is considered daring. So, yes, there’s a cycle of trends, but what does that mean for new fashion ideas- trends that aren’t a “fresh take” on a past style, but rather are fresh in and of themselves? By repeating 70’s clothes, or even ruffles and lace from the Victorian era, are we actually continuing and improving a trend or just reverting back to it? Back then, there was significance to the change in fashion, a social meaning and statement to be made. Now it seems like current styles are fashion for fashion’s sake, in a mindless drone of mainstream conformity. It seems as if designers are fixated on past styles, watered down from past years and lacking originality. As Miranda Priestly says with her dead-pan face, “Florals? For spring? Groundbreaking.” This cycle inherently isn’t wrong, but when there are so many style possibilities to be explored out there, in our age of technology and social change, we owe it to ourselves to push boundaries and design fashions that are instead imitated years down the road. The fashion world is rooted in creativity and culture that reflects the world around us. To revert back to the fashions of a different time seems like we’re discounting the current progress or trials that define our decade. Hopefully, our generation will create a remarkable, truly new style that is indicative of the ideas and spirit of our peers - I look forward to wearing that trend!
PHOTOS: BLOG.TRENDIN.COM, VALENTINO, KENNY DAVIS, RASPBERRY-ROUGE.COM
BY MAHATHI AYYAGARI
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Eco-Friendly Fashion
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by Kathryn Hicks
ith climate change as a very real problem in the limelight of the past years, much of the public attention has been shifted to a more environmentally conscious mindset, fashion being no exception. Brands like Urban Outfitters and H&M have taken up the initiative to promote recycling old clothes, with H&M offering discounts for donated bags of clothing and Urban Outfitters’ Urban Renewal line up-cycling vintage pieces. In the local sphere, buying from second-hand shops and having clothing swaps with friends aid in the effort of reducing the fashion industry’s impact on the world’s environment.
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In addition to the reduction of the production of new clothes through second hand shopping, the push for eco-friendly fashion is also realized in the use of easily regenerable and fairly sourced materials. Organic cotton, linen, hand-dyed fabrics, and recycled materials create less waste and have a smaller impact on the environment. Designer Tara St. James at the up-and-coming brand Study NY strives for minimal waste and maximal ecofriendliness in her street style chic designs. Locally produced in NYC’s Garment District, St. James focuses on ethically sourced and sustainable materials, and collaborates with many independent artisans across the world. She sets a model for other eco-friendly players in the push for increased sustainability and lessened environmental
Photo credits: Left: neemic.asia,; Right: blog.urbanoutfitters.com
impact in the fashion industry, with focus on ethical and sustainable materials as well as minimized waste. Similarly, the push for eco-friendly fashion extends on a global scale, with many brands and designers giving back to the sources of their textiles and materials. With companies like Toms and Warby Parker using a buy-onegive-one model, there is evidence of social consciousness and responsibility in other larger players in the fashion industry. Compared to the controversial violations of labor laws in many of the “fast-fashion” corporations, numerous small and socially-conscious companies strive to give back to their manufacturers and suppliers. For example, Awamaki Lab partners with impoverished Quechua women workers in Peru by sending young designers to be inspired by the traditional textiles and weavings of indigenous Peruvian villages. Profits go directly back to the women of the Sacred Valley of Peru who hand-weave the fabric used for the items, creating a sustainable income for these women. Awamaki Lab also focuses on environmental sustainability, in addition to economic, as the fabrics are hand-woven from wool, requiring no electricity and
minimally impacting the environment. The charitable and economically sustainable aspect of eco-fashion allows the fashion industry to positively impact both the environment and the people who inhabit it. Ultimately, the combination of organic, sustainable materials and a charitable and economically tenable approach to sourcing materials epitomizes the current push for eco-friendly fashion. A large scale change will enable the fashion industry to reduce it’s environmental impact and make for a cleaner and more sustainable approach to fashion. However, due to the large-corporation domination of the industry, such a change will require a large initial push. The corporate desire for huge profit margins hampers the positive contributions of eco-friendly fashion. Even when more sustainable methods are implemented, the economic desires of large corporations favor marketing rather than the global good. To make changes and reduce the fashion industry’s global and environmental impact, a shift is required in the mindset of the dominating companies, otherwise eco-friendly fashion will be restricted to niche markets and designers.
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Photos from top, clockwise: blogcdn.com, Just Jared, Louis Vuitton, i.ytimg.com, i-d-images.vice.com, Instagram.com/ChristiainGrey
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Article by Shayla Harris
ashion has always been one to push the envelope. Designers often make unique statements through clothing and break some rules in the process. Despite the integral role creativity plays in fashion, the industry has been overwhelmingly conformist when it comes to the gender binary. In fact, fashion has frequently propagated gender norms by framing ideas of femininity and masculinity. Consumers have become so normalized to this rigidity that they rarely think twice when limiting themselves to one side of a store. The dichotomy between male and female strictly confines our idea of what is appealing, attractive, and trendy. Consequently, we leave a large amount of creative expression untapped. Jaden Smith and Louis Vuitton portray the artistic possibility that arises when the gender line is blurred and reveal the arbitrariness of gender roles in the process Jaden Smith has long pushed back against strict gender norms, like when he rocked a skirt at actress Amandla Stenberg’s prom. Jaden’s nonconformity became more than personal creative expression when he was named the face of Louis Vuitton’s womenswear. Smith appeared alongside female models, sporting a black skirt, a fringed crochet top, and a leather jacket. The contrast between the typically feminine top and skirt with the versatile, unisex jacket highlights the creative possibility for gender fluid fashion. Departing from strict gender norms gives designers greater freedom to explore by pairing soft, delicate, typically “feminine” aspects of designs with structured,
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rigid, “masculine” aspects of design. Not only does this approach to fashion usher in a new creative potential for designers, it also gives consumers more freedom in their own self-expression. Gender roles not only stifle designers’ creativity, but also restrict buyers who wear the clothing. How can fashion truly be used as a form of self-expression if it forces complex individuals to fit into a limiting dichotomy? While some pragmatic concerns of this gender-fluid approach to fashion are the difference between the female and male figures, the fit looks as phenomenal on Smith as it does on the women posing beside him. Breaking down distinctions between which gender wears form-fitting clothes and which should go for a looser fit is again another opportunity for added creative potential. Furthermore, it is body positive as it encourages shoppers to wear what they feel most comfortable in. Smith has received major backlash from segments of the Black community who claim that Smith’s new title is another attempt of the White population to emasculate Black males. This argument not only shows how restricting our understanding of gender identity is, but also how arbitrary the distinctions can be. What about wearing a skirt or crochet top threatens the power of Black men? Understanding fashion as a mode of expression allows not only for creativity, but also fluidity in the way we understand gender identity. Contrarily, using fashion as a way to define gender roles misses the complexity of gender identity and the creative process.
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MODAfeatures
CAPSULE COUTURE Staff writer, Haley Kowalski, explores some of the most influential people in fashion and tech, and their iconic capsule wardrobes.
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rom the tech industry to the fashion world, major influencers such as Steve Jobs, Karl Lagerfeld, Carine Roitfeld, and Alexander Wang have all faithfully adhered to their own adaptations of the capsule wardrobe. Often referred to as a uniform, a capsule wardrobe is a curated collection of a few timeless quality pieces that can be mixed and matched to form an outfit for any occasion. When Donna Karan launched her “Seven Easy Pieces” collection in 1985, first popularizing the idea, the key pieces consisted of a black bodysuit, black tights, a versatile skirt, trousers, a fitted jacket, a cashmere sweater, and a white skirt. The ease and practicality of a capsule wardrobe are readily apparent. However, the reason why some of the most creative people adopt this style is more nuanced. The power of a capsule wardrobe is in its simplicity: its beauty is timeless because it frames and enhances the beauty of the individual. Trends cycle in and out, but true beauty does not fade. A piece that can go from “beautiful” to “outdated” from one season to the next is not inherently beautiful but only beautiful because of that historical context. The capsule wardrobe is not about following these types of societally imposed trends; it is about cultivating a lasting personal style and finding the delicate equilibrium between intentional, unique fashion choices and simplicity. The role of our personal wardrobe is to frame our actions, expressions, and natural
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features. It should not be an overpowering and distracting factor, but should complement our true identity through outward display. Thus, clothing is intended to facilitate and reflect our lives. It should act as a tool to supplement our beauty and showcase our individuality rather than the other way around. This is why one of the most important considerations when creating a capsule wardrobe is finding the perfect pieces, in terms of quality and fit, to suit your distinct body type and personality. As highly complex beings with enormous capacities for adaptability, our self-identities are constantly in flux. The combination of consistency and simplicity that accompanies the capsule wardrobe helps to define and lend stability to how we choose to be viewed by others. The core pieces of a capsule wardrobe are lasting and, through careful selection, can serve as a foundation for a consistent public and personal image. The consistency of the capsule wardrobe refocuses attention from the minute details of dress to the greater, more meaningful work of the individual. Daniel Radcliffe chose to wear the exact same outfit each day leaving the theater he was currently working at so that the paparazzi’s pictures of him became worthless. Although a humorous anecdote and extreme example, Radcliffe’s decision reveals how consistency and simplicity empower the transcendence of superficiality. The capsule wardrobe highlights an individual’s identity through their creations rather than through their appearance.
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OLD TRENDS, NEW FACES.
PHOTO: HUFFPOST
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he idea of fashion trends started hundreds of years ago in the fifteenth century. It began as an expression of conspicuous consumption, or an outward display of wealth, as well as an imitation of powerful leaders, such as kings and queens. Royalty were the celebrities of the day and people flocked to mimic them. Looking back, some of these trends seem ridiculous, such as mouches popularized during the reign of Marie Antoinette. The members of court would wear fake beauty marks in the shape of hearts, diamonds, or even animals. The monarchy doesn’t exist in the United States, but fashion trends are more prevalent then ever. Why? Humans are social beings and trends are most noticeably followed in early adulthood, when social validation is most sought after. The economic implications of celebrity trends have
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changed the fashion industry.. Designers fight to dress the biggest stars at movie premiers; the payoff is enormous. Juan Carlos Obando recalls how after Kim Kardashian wore a dress, the same piece sold out at all Barney’s locations within two days. Fashion executives have taken the same marketing strategy to the runway, one of the reasons why the gap between socialite, model, and celebrity has also diminished and is now being taken over by the “itgirl,” a term defined as a “young woman who has achieved celebrity because of her socialite lifestyle.” Kendall Jenner is the epitome of this new super celebrity. She rose to prominence on the show Keeping Up With the Kardashians. Starting off as the adorable younger sibling of the Kardashian sisters, America has watched Kendall transform into a star in her own right. As a world-redound model, she most recently gained a pair of coveted angel wings in the Victoria’s Secret Fashion Show this past win-
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ter, and with giants such as Marc Jacobs and Chanel. In some senses her life is the modern versions a fairytale. In other ways she is extremely relatable to millenials. The combination creates a public figure that is endeared by the public and highly marketable to retail companies. Fashion magazines and online blogs targeting adolescents have article upon article on how to dress like celebrities. Along with reality television shows such as Keeping Up With the Kardashians, social media sites such as Instagram, Snapchat, and Facebook are given a glimpse into the everyday lives of the stars of our time. Silly videos of family and pets, along with pictures of personal moments, now are shared by the stars and are accessible to the masses. Kendall has a huge social media presence. The 5’10” model can boast the most popular Instagram photo at 3.1 million likes. Following the fashions of celebrities allow the masses to tap into the aura of these celebrities, who are synony-
mous with beauty and success. Even off the runway and social media, Kendall’s hand in fashion is strikingly clear. Kendall and her sister Kylie launched their own fashion line through the California-oriented, teen focused retail line PacSun. Due to the success of that collection, the duo launched a jewelry collection through PacSun dubbed Metal Haven by Kendall and Kylie. A year later, they launched a shoe line through Steve Madden. The commercial success of their products, where items often sold out within days, led to the launch of the sisters’ newest line. This year, they officially launched their most recent collection through Topshop. Kendall and Kylie’s ideas on fashion nods to their California culture, including crop tops, off the shoulder tops, and bohemian inspired skirts and flowy-pants. Yet, even here their “it-girl” status shines through with the thematic hints of glamour pervading their clothing lines. MODA Spring 2016
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MODAthinks
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igh fashion labels have always catered to powerful, independent women. It comes as a surprise, therefore, that in an industry so dependent on a female consumer base, men head most major high fashion and couture labels. Karl Lagerfeld, for instance, has held the reigns at Chanel for over thirty years and Dior and Louis Vuitton have never had a woman as Creative Director. So why are there so few women at the helm of major high fashion brands? While the likes of Diane von Furstenberg or Miuccia Prada have firmly established their place in the upper echelons of the fashion world through the continued successes of their own brands, statistically speaking, older, established labels have been less inclined to support qualified and talented female designers. Male colleagues are chosen in their place, under the assumption that they can contribute something fresh and new to the brand that female designers are incapable of bringing to the table.
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PHOTOS: ELLE NZ, THE GUARDIAN, TIMEOUT, THE GUARDIAN
Many of the most lauded young and emerging designers are predominantly male as well, such as Public School designers Maxwell Osborne and Dao-Yi Chow, who were recently installed as DKNY’s new creative design team. A visible tension has emerged between “those who feel they are discriminated against and those who feel somewhat favored by a perception, largely unexamined, that men are better designers than women, and gay men are the best designers of all (New York Times).” Despite the fact that these successful male fashion designers have an acute understanding of the female form, it’s impossible to ignore the fact that “when the majority of these products are designed by teams of men, how can they properly meet the needs of women (Morrama)?” For a long time, consumers and members of the fashion industry have adhered to the belief that woman want men to tell them what to wear, and it appears as if this mentality has contributed to gender inequality and disparities in the high fashion and design workforce. Designer Tom Ford famously attributed the success of male designers over their female counterparts to their objectivity; “We don’t come with the baggage of hating certain parts of our bodies (DailyLife).” Bill Blass designer, Michael Volbracht’s ignorant claim, “Women are confused about who they want to be. I believe that male designers have the fantasy level that women do not (New York Times),” also comes to mind. The notion that women are inherently trapped by their own conceptions of themselves and that these insecurities inhibit their capacity to be creative is clearly flawed. One only has to reference the ethereal, inventive and imaginative designs of Iris van Herpen, Simone Rocha or Ulyana Sergeenko for inspiration. Clearly, the problem of systemic inequality in the fashion industry stems not from a lack of creativity and confidence on the behalf of female designers, but from a lack of visibility, the notion that women are threatened by the successes of other women, and the misconception that women involved in the fashion industry are vapid and materialistic (Forbes). Unsurprisingly, the need for role models to motivate young, female designers to enter the field is at an all time high. The burden thus falls on industry leaders in the fields of fashion journalism, design, and marketing, as well as consumers, to seek out and foster the potential of talented young women in the industry and encourage gender equality in the workforce. MODA Spring 2016
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MODAfeatures
The Sartorial Escapism of Raw Denim by Jason Zhao
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ell, we’ve done it. Raw denim has officially hit the mainstream. After years of explaining why you aren’t washing your jeans for four more months, you can finally at least expect a decent fraction of people to have an idea of why, even though they’ll still judge you for it. What is raw denim? Well, it’s denim that hasn’t been washed as part of the manufacturing process. (“What happens if I spill some red water or red wine on them?” Carrie Fisher Brownstein asks Kumail Nanjiani on Portlandia. “Put them in a bathtub full of rice, wait twenty minutes and throw them out. They are ruined.”) Washing your jeans, after all, would ruin those “siqq fadezz” you’ve been working on. Raw denim culture is part nostalgia circle jerk, part quasi-spiritual journey. The former is rather intuitive. The early 2010s saw a hugely popular movement towards “heritage” and “Americana.” Men’s fashion, (and raw denim is largely a menswear affair), was suddenly inundated with promises of buy-it-for-life manufacturing and of heritage, with Horweens and Chromexcels, with waxed cotton and fathers’ boots and leather jackets, and, yes, with raw denim. All of a sudden, people wanted to know where their fabric came from and how it was made. They wanted their selvedge fabric rope died and woven on vintage shuttle looms. Denim wasn’t just denim anymore—it was ounces per square yard, warp color and weft color, sanforized or unsanforized. And while the jeans were better constructed and more varied, wasn’t just as much of the appeal that there lies, behind those rose colored glasses, the promise that this was how things were made in those long-gone better days? Surely mid-twentieth century America was a better time, a simpler time of green lawns and white fences, of handsome crooners and drive-in theaters. Post-war Japan certainly thought so. And now the best of those most American of garments, the blue jean (never mind that denim is French in origin), are made in Japan. When America moved away from those shuttle looms to more efficient, higher-volume methods of manufacturing, Japan was happy to buy and preserve. Now, in 2016, we have a nation thousands of miles away to thank for preserving the sartorial dream of 1950s America. But, like I said, the heritage aspect is only part of the appeal. The other part, is, of course, the fades. As you wear your jeans, and as you refrain from washing them, they mold to your body. The dye fades in a way that is unique to you. Stains? Tears? No problem. Ostensibly, these things are all meant to be remembered, signifiers of memories experienced in your $200 jeans. Here, the Westerners in forums cite the Japanese philosophy of wabi sabi, without really knowing what it means. People obsess over the idea of the ideally faded jeans. They freeze their jeans when they smell so they can avoid washing. They soak their jeans in the ocean instead of using a washing machine. And months later, when it’s finally time to wash, they examine their fades and hope it was all worth it. Is it? I myself own several pairs of raw, selvedge denim. And while I neither feel like I’m wearing a piece of history nor feel a spiritual connection with my pants, when I do look at the faded spots and the honeycombs on the backs of my knees, well, it’s kind of neat I guess.
photos clockwise from top left: blog.haberdashmen.com; www.twoeighteenbybr.com; betabrand.com; esquire.com
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MODAinterviews
Treasure Hunting Features Editor Meredith Esquivel sits down with Marteau.co founder, Ariana Boussard-Reifel
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othing stands the test of time like well-crafted jewelry. “Diamonds are forever” does not only mean that they are durable physically, but also that the memories, stories, and sentiments tied to the piece span time and space. Decades and generations later, a necklace, bracelet, or ring will always reflect and carry a history. To unite past and present around beautiful baubles, Ariana Boussard-Reifel founded Marteau.co, a collection of “found adornments and hand-produced jewelry.” Inspired by her studies in art, her travels, and her work with all things vintage, Marteau.co brings a unique, global perspective to jewelry shopping. MODA sat down with Boussard-Reifel to find out more about running her own online business, finding rare pieces, and what it really means to be “timeless.” MODA: What is Marteau? Ariana Boussard-Reifel: Marteau is a collection of rare vintage and antique jewelry. I search for unique pieces with a global perspective. I’m particularly drawn to indigenous jewelry be-
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cause of the significance it carried for the original wearer. More than just a sign of wealth, it was a sign of cultural identity. Marteau as a name has a long back story, but the short version is that Marteau means hammer in French. I love that it alludes to strength, a can-do attitude and, of course, women and tools are always a good combination. Hammer also is a word that speaks to the way jewelry has been forged over the ages. MODA: How did Marteau begin? What was your inspiration? ABR: I went to school as a sculptor and then owned a vintage clothing business in NYC for nearly a decade. When I felt like it was time for a change, I looked at these two passions and thought of how to combine them. The result is a vintage jewelry shop (jewelry is really just tiny, wearable sculptures) and a line of jewelry that I design. MODA: What is your favorite part about how the site has evolved? ABR: It took some planning to transition a thriving clothing business into a jewelry business and my site has gone under major renovation:
a new domain, new design and new products. I love the usability of the current site, it puts the jewelry front and center. I’ve been lucky to work with some amazing photographers to produce gorgeous images that set the mood of travel and curiosity. MODA: How do you decide what vintage pieces to sell on your site? ABR: I sell only pieces that I love and want the wear and that I don’t think you’ll find anywhere else. MODA: Where do you find them? ABR: I’ve discovered that once you start looking you’ll find the thing you seek all over. I’ve bought amazing Georgian brooches from old ladies selling on street corners here in NYC, and I’ve purchased whole collections of turn-of-the-century tribal silver out of shipping containers at the docks. But the majority of pieces come to me either through estates or through dealers who have connections in far-reaching corners of the earth, where I don’t get to travel as much as I’d like. MODA: What makes a trend or a piece “timeless?” ABR: A big part of my fascination with old jewelry is that it is one of very few human artifacts that can last centuries to millennia and be used the whole time; architecture, weaponry and sacred objects are some of the only other ‘hardgoods’ that really can bear the test of time. So everything I collect and sell I look at through that lens. Will it still be beautiful and intact in a few generations? So I think for something to be timeless it really starts with the quality of material and craftsmanship and then moves to design. MODA: What designers, artists, or people do you feel transcend time? ABR: There are so many, I love the way Frida Kahlo created her own visual language that was both exceedingly personal and somehow universally emotive. I think Kate Moss has a way of oozing cool not though the luxury of her clothing, but through the way that she puts things from different places and times together. Millicent Rodgers also is an inspiration to me. She was a socialite who left New York for the desert and was an early
supporter of Native American craft jewelry. She wore turquoise with 5th Avenue fashion and made it look chic and fresh. MODA: Is there a trend you want to return? ABR: One you hope never surfaces again? I don’t think much about trends, I only think that it is important for a piece of jewelry to speak to you, and all the better if the bloggers and celebrities aren’t wearing the same thing. Jewelry had the power to really express your individuality. It lives close to your skin and can last many lifetimes, so I always say to just choose the pieces you love and forget about what is trendy. MODA: Do you own a piece of jewelry that takes you back to a certain time? ABR: Nearly all my pieces have a memory associated with them. I think that is one of the special things about how jewelry relates to its owner. I have a locket that contains my grandmother’s ashes that I wear every day and I touch whenever I’m on a plane. I think if her as my protection in travel. Over time I’ve added a French St. Christopher medallion and a gold Mano Figa pendant to the necklace. All these charms are for protection. MODA: Where do you hope to see Marteau go in the future? ABR: Everywhere! We have a really busy year ahead. I’ve just launched a jewelry collection of my own design under my own name. It will be sold on Marteau.co, but also in boutiques around the country. Building a production and wholesale business is a completely different animal than the antique business, which is more about a oneof-a-kind retail experience. But the two things really inform one another. All of my designs are inspired by antique or ancient pieces I have collected. So I’m wearing lots of hats these days. The website keeps growing as well. My new year’s resolution was to collaborate more, so we are working with other designers and collectors as well as retail partners like One Kings Lane and Iconery to share our treasures. To learn more about Marteau, and to find your new favorite unique bauble, go to Marteau.co. All photos courtesy of Marteau.co. MODA Spring 2016
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U P DRESS D O W N Photographed by Daniel Chae Hair/Makeup: Michelle DePorto Models: Thais Castello Branco, Jessee Fish, Maira Khwaja Assisted by Meredith Esquivel
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Autoportrait
Photographed by Albert Nam Clothing from M2057 by Maria Pinto 833 W. Washington Boulevard Modeled by Aixin Chen, Olivia Clink, Hoda Katebi, Kenya Senecharles Styled by Liya Khan, Alexis Matthrews, Kenneth Zhang
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THE IT KID PHOTOGRAPHER: Albert Nam WOMENSWEAR: Penelope’s, 1913 W. Division Street MENSWEAR Mildblend Supply Co., 1342 N. Milwaukee Avenue MODELS: Prestin Barnett, Brenton Desai, Madeleine Hazen, Louisa Richardson-Deppe, Nataly Rios STYLISTS: Jasmin Liang, Rohit Satishchandra, Keely Zhang LOCATION: Woodlawn Tap
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“SOMETHING YOU LEARN AT A VERY EARLY AGE LIVING IN CHICAGO IS THE IMPORTANCE OF LAYERING.” STORM TAFT FIRST YEAR ECON 55 55
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