MODA Magazine Summer 2014 by MODA

MODA

The University of Chicago // Summer 2014

MODA

LETTER FROM THE EDITOR

MODA Staff 2013-2014 EDITOR-IN-CHIEF Alexandra McInnis

EDITORIAL BOARD:

t UChicago we learn never to settle for neat answers, but rather to synthesize different ideas to arrive at a richer conclusion. Sometimes we are faced with conflicting viewpoints, but this clash can yield some provoking results. This issue of MODA is dedicated to exploring contrasts, which can take the form of debate on controversial topics. “Changing the Face of Fashion” discusses the resistance towards new pressures demanding more diversity in the fashion industry, while “Is Print Journalism Dead?” asks whether we’re ready to abandon conventional methods of experiencing fashion as we embrace the digital age. Our photo shoots explore visual contrasts; the eye-catching quality of multiple prints is celebrated in our “Fresh Prints” spread, and in “Gridiron Glamour” rugged sportswear is juxtaposed with high-impact fashion. Finally, we spotlight the work of a newcomer to the fashion scene, School of the Art Institute student Amanda Vaeth. Vaeth’s intricate and surprisingly wearable garments promise to shake up how we think of everyday style. It’s been a long Chicago winter, and we’re all in need of a bit of clash to revitalize our mood, stimulate our minds, and of course, revise our wardrobes.

Alexandra McInnis MODA Editor-in-Chief

MODA Summer 2014

MANAGING & LAYOUT EDITOR Rachel Scheinfeld PHOTOGRAPHY & CREATIVE DIRECTOR Ivy Zhang STYLING EDITORS Hannah Howcroft & Rebecca Liu FEATURES EDITORS Joy Cho & Carmin Chappell BEAUTY DIRECTOR Lucie Fama MARKETING MANAGER Amutha Muthukumar ASSISTANT LAYOUT EDITOR Maya Hansen ASSISTANT STYLING EDITOR Frances Chen

STAFF:

WRITERS & CONTRIBUTERS: Natasha Chandler, Daphne Chen, Stacey Chiu, Jenn David, Nealey DuVernay, Emily Espinel, Rebecca Liu, Miranda Means, Mary Pierce, Ellen Swicord, Angie Wan STYLISTS: Catherine Chen, Krystal Li, Amanya Maloba, Nadine Menna, Ogonna Objoajunwa MAKEUP & HAIR ARTISTS: Caterina Gleijeses, Emily Polner, Isabelle Langrock, Kayla Mathisen PHOTOGRAPHERS: Albert Nam, Luke White, Kaiwen Luan MODELS: Fili Bogdanic, Brandon Bolock, Spencer Byrne, Fanele Chester, Paul Comet, Joe Eroyan, Ana Jimena, Kyle Kunze, Ana Lanier, Helen Dongyue Li, Andrew Mandato, Schuyler Montefalco, Nikitha Murali, Zak Ross-Nash, Adia Sykes, Lily Ting, Bryan Tisdale We’re grateful to ORCSA for providing us with a space to produce our magazine. Special thanks to Matthew de la Pena of the Harris Theater, Akira Chicago on 53rd, Amanda Vaeth, Chef John Vermiglio, UChicago Athletics Department, and all of our contributors for helping with MODA Summer 2014.

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TABLE OF CONTENTS 04

Think Chicago is an early city? Think again! We bring you places to check out when the sun goes down.

It’s the question on the entire fashion industry’s mind.

Despite recent improvements, the industry still has a long way to go.

BUILDING IN STYLE:

The intersection between fashion and architecture is explored.

CASASWOOP:

Meet the two UChicago students behind the new music blog, CasaSwoop.

DAY & NIGHT:

Beauty Editor, Lucie Fama, shows you how to bring your beauty look from day to night, always looking ready for what’s ahead.

FRESH PRINTS:

Spruce up your summer look with some mixed prints, flirty florals, and bold colors to add something extra to each day.

IS PRINT JOURNALISM DEAD?

CHANGING THE FACE OF FASHION:

Styling Editor, Rebecca Liu, chats with famed choreographer, bringing a new spin to the classic Snow White.

The debate over can food be art continues, and we bite in to figure out the answer.

ANGELIN PRELJOCAJ:

FOOD AS ART:

Get the scoop on the hot summer Chicago events you don’t want to miss! Plan your adventures with MODA.

CHICAGO AFTER DARK:

SUMMER SNAPSHOT:

ON THE WATERFRONT:

We take a stroll at the Osaka Gardens at the MSI, featuring work from SAIC student, Amanda Vaeth.

GRIDIRON GLAMOUR:

Grit meets glamour in this shoot featuring members of the UChicago Football Team.

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SUMMER SNAPSHOT MODA Staff writers share the very best that summer in Chicago has to offer. Find out where to eat, go, shop, and more with us! BINGSU EAT: Summer means one thing: ice cream. Instead of the usual scoop of chocolate, why not try something more exotic and exciting? Bingsu is a delicious and summery Korean dessert that’s sure to satisfy your ice cream cravings. The three main types of bingsu – red bean, green tea, and fruit – all consist of frozen yogurt over a bed of milky shaved ice, but have different toppings. Red bean bingsu contains sweet red beans, squishy rice cakes, and some fruit, while green tea bingsu consists of green tea frozen yogurt with a sweet sauce and a smattering of chopped almonds. Fruit bingsu, as the name implies, contains multiple fruits sprinkled with crunchy cornflakes and almonds. Bingsu is a perfect “first date” food, and a fun new experience for those who have not been exposed to Korean cuisine. Try hitting up Tozi Korean BBQ Restaurant in Wicker Park or Outdoor Café in North Park for this summer necessity. (by Ellen Swicord)

photo from commons.wikimedia.org

SEE: This summer, the highly anticipated film The Fault in Our Stars, based on the book of the same

THE FAULT IN OUR STARS

name by author John Green, will premiere in theatres across America on June 6th. Starring newcomers Shailene Woodley and Ansel Elgort as protagonists Hazel Lancaster and Augustus Waters, the film promises an inspiring teen love story with a twist. Sixteen-year-old thyroid cancer patient Hazel meets amputee Augustus – Gus – at a support group at her local, and a complex and compelling relationship ensues. For the uninitiated, the book is a definite must-read before attending the movie. Witty, intelligent, thought-provoking and touching, The Fault in our Stars deftly spans multiple genres while anchored in the deep personal connections between its main characters. (by Ellen Swicord)

MILLENIUM PARK FILM SERIES ADVENTURE: Looking for something fun to do this summer in Chicago? Look

no further than the Millennium Park Film Series, a completely free event series sponsored by the Chicago Department of Cultural Affairs. From June 24 to August 26, you can watch a different film each Tuesday evening at 6:30 p.m. Seats go fast, though, so be sure to arrive early to secure your spot. Films will be screened at the Jay Pritzker Pavilion, home to the latest and most sophisticated outdoor screen, with sound projected from the Pavilion’s state-of-the-art sound system. Selected films range from popular classics, such as Funny Face (what a great way to get your Audrey Hepburn fix!) and Singin’ In the Rain, to newer favorites like Moulin Rouge and Dreamgirls. The Millennium Park Film Series is sure to be a hit this summer, so don’t miss out! (by Emily Espinel)

photo from cityofchicago.org

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VINTAGE GARAGE CHICAGO

SHOP: Vintage is always in style, and Vintage Garage Chicago is the

perfect place to score a retro find. Located in the Uptown neighborhood, Vintage Garage has a large collection of vintage pieces from over 100 vendors and a variety of eras, so there is always something for everyone. For a $5 entry fee, visitors can browse through hundreds of vintage items, including—but definitely not limited to—furniture, clothes, and even records. Unfortunately, Vintage Garage is not open every day, but they have several special events throughout the year. Some upcoming events include Record Ramp on June 15th, Rockabilly and Tiki on July 20th, and Refound Art on August 17th. So if you are staying around Chicago for the summer and looking for a unique day trip, Vintage Garage Chicago is definitely the place to go. Who knows what unexpected vintage bargain you’ll discover next? (by Nealey DuVernay) photo from vintageguidechicago.com

CHICAGO FASHION FEST GAWK: If you’re looking for a hot fashion event to attend this summer, head to the

Chicago Fashion Fest, taking place in Chicago’s most vintage neighborhood, Wicker Park, on August 23-24. The Fashion Fest will include over 20 unique outdoor runway shows (each 15 to 20 minutes long) and feature both live music and DJ performances. For all you night owls, stay past 8:00 p.m. to experience Wicker Park After Dark, the high-end, red carpet runway shows hosted by various Chicago charities. These evening shows tend to attract paparazzi and celebrity guests, so don’t forget your camera! Between shows, head to Division Street and visit the Shopper’s Row booths, which house over 50 local Chicago boutiques and salons. And to satisfy those stomach grumblings, swing by food tents for gourmet platters from a variety of nearby restaurants. For more information, go to www.chicagofashionfest.com or “like” the event page ‘Fashion Fest’ on Facebook. See you there! (by Natasha Chandler) photo from chicagofashionfest.com

CHICAGO NEIGHBORHOOD FESTIVALS GO: If you’re like the typical UChicago student, you’ve probably told yourself that you were going to “explore more of Chicago” this

past year. It’s not long, though, before those midterms, papers, and extracurricular commitments start rolling in and you quickly lose motivation to head out of Hyde Park. If you’re staying around Chicago this summer, there’s good news: you have a chance to redeem yourself (or multiple chances, rather). Take advantage of the lovely weather and journey out to the Chicago Neighborhood Festivals, going on from May to September and taking place in various places such as Lakeview, Southport, Wicker Park, and River North. The wide range of festivals offers food, entertainment, music, and practically everything else that is characteristic of a summer festival. Eat quality patties at the Roscoe Village Burger Fest, experience a bit of Mexican culture at the Festival de La Villita, or shop for local goods at City Made Fest. You’ll come away knowing Chicago a bit better, and best of all, most of the events offer free admission. (by Joy Cho) photos from pinterest.com, continentalicecream.com, blogspot. com, wrenees.tumblr.com, and weheartit.com

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CHICAGO AFTER DARK MODA Staff Writer,Miranda Means ,explores where to go for some late night fun in our very own Chi-Town.

1. EXERCISE - THE RINK FITNESS FACTORY: For those bursting with late night energy and a desire to groove to soul music, roller-skating at The Rink is unbeatable. One of the oldest skating rinks still open on the South Side, The Rink features a variety of events designed for every skill level. On JB Skate Nights, skaters can dance to James Brown music and watch some of the more skilled skaters incorporate impressive splits and jumps into their repertoire. For those whose skating skills aren’t quite up to par, the skating rink features open skate nights on Fridays, so you can humiliate yourself on roller skates in front of skaters of all ages. If you really want to up your game, The Rink offers adult lessons during the week. But be warned, if you don’t have skating experience, it’s a lot harder than it looks. The Rink Fitness Factory: Sundays and Thursdays 9pm-1am JB Skate (18+), Fridays 7pm-11pm Open Skate. 1122 E. 87th St., Chicago, IL 60619. 2. COMEDY - TJ AND DAVE: TJ Jagodowski and Dave Pasquesi are two of the most impressive long-form improvisers in the world, and luckily for us, the duo performs regularly right here in Chicago. Over years of training, the two have developed a unique rapport that makes for unbeatable improv. They consistently produce performances that are

MODA Summer 2014

hilarious and moving—performances that showcase complex relationships, friendships, and characters, instead of merely relying on jokes. Each week, TJ and Dave perform a flawless forty-five minute play, and because the show is improvised, you can go back again and again. The short show times also allow you to easily squeeze a comedy showing into an evening of exciting Chicago activities (or studying at the Reg, for all you summer school students!) TJ and Dave: Wednesdays 11 pm at the Cabaret Theatre. For tickets, contact iO Chicago. 3. PERFORMANCE - THE CHICAGO LYRIC OPERA: The Chicago Lyric Opera is a magnificent, world premier opera company that runs an array of operas as well as special events, plays, and performances. The company’s recent productions have been extraordinary: the soprano, Renée Fleming, was particularly impressive as Blanche DuBois in the recent production of André Prévin’s A Streetcar Named Desire. This year, the Lyric Opera is currently showing The Sound of Music and has extended its run time until May 25. Though opera season ends in the summer, Don Giovanni begins playing in September, so you can fit some quality opera in before the quarter begins. Whether you come for the music or for the costumes, the Lyric

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Opera is a beautiful, awe-inspiring experience that you really shouldn’t miss. Take advantage of your student status and get $20 tickets. The Chicago Lyric Opera: 20 N. Upper Wacker Dr., Chicago, IL 60606. 4. ARCHITECTURE - THE BAHA’I HOUSE OF WORSHIP FOR NORTH AMERICA: If you’re willing to venture outside of the city of Chicago, head to the auditorium and gardens of Chicago’s Baha’i Temple, located just north of Evanston. The Baha’i temple is a remarkably large piece of Chicago architecture, featuring a twenty-story-high dome in its center and ornate white lace-style detailing across its façade. The temple, while a place of worship, is welcoming of the curious visitors that come to look and explore; it actually became a popular tourist attraction after it was named one of the “Seven Wonders of Illinois” by the Illinois Office of Tourism. The gardens are also a must-see, particularly as the weather becomes nicer. The temple is open late, so if you have access to a car and want an adventure, or if you want to feel like you’ve left the Midwest without really leaving Chicago, the Baha’i Temple is the place to go. The Baha’i House of Worship for North America: 100 Linden Ave., Wilmette, Illinois, 60091

5. ART - LATE NIGHTS AT THE MCA AND ART INSTITUTE: Every first Friday of the month, the Museum of Contemporary Art (MCA) hosts an exciting late night event open to the public. In March, the museum threw a spring-themed event that included figure drawing throughout the museum and a showcase of eclectic dance music. In April, the museum threw an apocalypse-themed dance party, incorporating music and a variety of interactive stations, artistic performances, and even dance lessons. If the Art Institute is more your thing, it also opens its doors late once a month for its After Dark in the Modern Wing series. Each event focuses on the rotating exhibit currently on display, and features tours of the exhibit, music, a bar, and appetizers. Musem of Contemporary Art: 6pm-10pm every first Friday of the month. 220 E. Chicago Ave., Chicago, IL 60611. Art Institute of Chicago: 9pm-12am. 111 S. Michigan Ave., Chicago, IL, 60603 Photo sources going clockwise: wikipedia.com; youtube. com; yourcity.betterafter50.com; welltempered.wordpress.com; www.flickr.com; michiganavemag.com

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INTERVIEW

Angelin Preljocaj

M on stage?

While ballet conjures up images of tutus, nutcrackers, and sugary-sweet sensibilities, French-Albanian dancer and choreographer Angelin Preljocaj’s own company, Ballet Preljocaj, is anything but the typical aesthetic. Ballet Preljocaj stopped by Chicago this spring to perform Preljocaj’s rendition of Snow White, which explores stark themes of sexual awakening, Freudian envy, and the humanistic implications of science all with an Evil Queen strutting around in a custom-made dominatrix costume by Jean-Paul Gaultier. MODA Styling Editor, Rebecca Liu, speaks to the visionary about his inspirations, life experiences, and advice. ODA: Ballet Preljocaj performs Snow White in Chicago’s Harris Theater this Spring. What drew you to depicting the story of Snow White

ANGELIN: I like to work sometimes in very abstract theme and topics. I also like to tell a story. I think everyone is drawn to storytelling - at first, I was thinking of doing an-

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other version of Cinderella or Sleeping Beauty, but I decided to invent something new. I was reading a lot of different fairy tales at the time, and found Snow White to be very relevant to our modern world. Now, people live longer and youth is celebrated. That’s where the Evil Queen comes in. She’s old and beautiful, and she’s powerful and full of seduction. It made sense to portray the story on stage because our period is really about that.

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Images going clockwise: The evil queen takes the stage in her custom Jean-Paul Gaultier bodice-gown. Image from dressuprabbit.com. Headshot of Angelin Preljocaj from artmony.biz. Image of dancers in air and the apple scene both from dressuprabbit.com

MODA: What inspires you as a choreographer? A: I think life inspires me. Life is movement, and movement

is life. Dance is movement, and dance is life. Everything can inspire me. I have no limit for that.

MODA: You like working with abstract concepts; how

does this translate to bodily movement in dance? A: I enjoy the freedom you have to concentrate on the movement, space and energy. The movement you find during the process of creation in an abstract field can be used for narrative projects. That’s what I like; that kind of exploration that works on abstract concepts. After that I come back to a narrative project, I can use some material that can be found in another field. And I like to go from one to the other; from narrative to abstraction and back to narrative again. It’s like in science; you have the fundamental research, and you have people working in terms of abstraction and equations. In certain moments, a choreographer needs to jump around to find his own choreographic material. What I don’t like in narrative material is pantomime. So I find movements that can give these narrations but not in a literal sense.

MODA: Following your classical ballet training, you trained with Karin Waehner and Merce Cunningham, and also did some work in Japanese Noh theatre. How has your diverse training affected the way you see ‘classical ballet’? A: I like to open the field of creation. I used to do judo when I was young; that used to feed my creativity and invent movement. If you are a choreographer this is your transcendental wish. My research is to find new movement of the human body. And this is what Merce Cunningham and a lot of contemporary choreographers do; they want to invent a new language of the body.

MODA: How do you collaborate with companies, such as

the New York City Ballet and Paris Opera, that are more focused on a traditional style of ballet? A: I try to find the best compromise between my work and the physical capacity of the dancer. I try to set half of the task in working towards them, and I want them to bridge the other half by coming to my style. I work more on the

idea of an encounter between two languages to see how we can share something. This is what I did with the Paris Opera and the New York City Ballet. The idea is to do the best ballet possible. The idea is to make something like a couturier would, someone who makes a costume on the body. For me the choreography is really like a costume that has to fit the company. I try to find the right one. For example, with the Paris Opera, I did Le Parc which which has really been done for them. For the New York City Ballet I created new pieces. I always need to find something special for these people. I don’t want to impose something onto these dancers from the outside, I want something that fits them.

MODA: Speaking of costumes, you worked with Jean-

Paul Gaultier in developing costumes for Snow White. How did that partnership come about? A: When I was thinking about working with a fairytale, I was also thinking about who could do costumes for the project. Jean Paul Gaultier came to mind because the last thing I saw from him was his Little Mermaid collection. It was fantastic because it was completely inspired by the Little Mermaid. I was thinking, “Wow, this guy would be really wonderful for a project concerning a fairytale.” When I met him and talked with him, it turns out that he had already seen some of my choreography. When I told him I wanted to work on a fairy tale, he was very shocked but in a good way. We decided to work together, and it was very fast; he works incredibly quickly. I told him the story and the vision I had of the ballet, and he brought me 200 sketches of costumes a week later. From those sketches, we decided to build some costumes.

MODA: Do you have any advice for our readers who are

interested in pursuing careers in the arts? A: I think the best advice I can give is to be interested in the different fields of the arts. Go to museums, see some choreography, listen to music. Sometimes some young choreographers are very into their work, and they don’t want to look around. I think it’s important to be fed by life and not just dance. Dance is the language and not the final point. The language has to be used for something; dance has to be used for something also. MODA Summer 2014

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MODA Staff Writer, Daphne Chen, searches to find the answer to the modern, hot debate: can food be art? Through talking with Chicago restaurant insiders, she brings us some insight almost good enough to eat.

n total, the performance takes seven minutes. Small porcelain bowls are set at the edge of the tablecloth. The chefs pick one up in unison, and with large broad strokes, paint ribbons of chocolate across the surface with dance-like movements. Two blocks of frozen chocolate mousse are set on the design, and with spoons, the men crack the blocks open, releasing tendrils of smoke that cover the table. With the addition of perfect crème brûlée circles, they step back. “Thank you, Chef,” the on-lookers murmur, pulling out their cameras. The performance is one of the dessert courses at Alinea, the world-renowned restaurant in Chicago. Restaurants like Alinea seem to be built on the premise that food is something more than just food – rather, that it can be an artistic, all-encapsulating experience. Food did not always play this role in American society; the shift in culture largely accompanied the rise of social media in the early 2000s. While gourmet cuisine has existed long before our time, food started to take on a heightened image of indulgence, appreciation, and complexity. People began to self-identify as “foodies,” supermarkets stocked fifty varieties of olive oil, and photos of intricate plates plastered social media. The movement toward this “foodie” culture was also fueled by what journalist Michael Idov refers to as a

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“grassroots revolution in fine dining.” Many restaurants, such as Avec in the West Loop, shifted away from formal atmospheres and embraced the casual, hip vibe with communal tables and waiters in denim. They began to experiment with a wider audience, playing with fusion cuisines, hybrid foods, and molecular gastronomy. With its increasing popularity and accessibility, gourmet food seemed to reach the new status of an art form. Of course, not everyone agreed with the trend. Last year in a New York Times Op-ed, William Deresiewicz criticized the application of the word “art” to food. He warned of the dangers of mistaking the two, writing, “But food, for all that, is not art... It is not narrative or representational, does not organize and express emotion.” He concluded, “Here in America, we are in danger of confusing our palates with our souls.” Others joined the debate, arguing passionately for the merits of food as art or resisting such notions altogether. In all the fuss, there seemed to be surprisingly little input from chefs themselves. So, what do chefs in Chicago think? A10, the much-hyped restaurant that opened last November on 53rd Street, is a contemporary French-influenced restaurant that many “foodies” in Chicago have on their “to-visit” lists. Since its opening, A10 has received plenty of praise, including a recent mention in

MODAfeatures Pictures from left to right: Interior of Avec: image provided by Avec PR; Chorizo-stuffed medjool dates, image provided by Avec PR; Interior of Hyde Park A10, image from zagat.com; table of small plates from Avec, image from Derek Richmond at Avec. Dessert from world class Chicago restaurant, Alinea, image from tripgorilla.com.

Chicago Magazine’s “Best New Restaurants” rankings. Chef John Vermiglio, a veteran of Table 52, G.E.B, and currently of Billy Sunday, mans the menu and kitchen at A10. When Vermiglio was a child, he experimented with different art mediums – pottery, painting, and photography – but didn’t find his passion until he started working in a kitchen at age fourteen. He says, “When I did realize that it could be through food, that was the ultimate to me – because not only could it be art, but it was also immediate satisfaction. I make the dish, I serve it to you, we find out if you like it or not.” Vermiglio comments that there are certain considerations unique to food as an artistic medium. For example, he can’t be in the kitchen all the time, and has to train his cooking team to execute his dishes when he’s away. “It does make for an interesting dynamic,” he explains, “because you not only are creating this piece of art, but then you have to be able to consistently create that piece of art through someone else’s hands.” But for him, the difficulties and obstacles are what make food worthwhile. “You’re never gonna see [my dish] the same way that I do, you may have your own interpretation of it. That’s the beauty of the art world, that everyone can take from it what they want, and it’s endless – the possibilities, the different mixture of feelings and emotions that you can evoke.” Though Vermiglio is reluctant to call himself an artist, and even to call himself a chef, he readily acknowledges the potential overlap between food and art. Another relatively new venture, the Pierogi Wagon food truck, was launched last May. Food trucks face a unique environment – they are constantly on the run, interacting with customers, and pitching their products. Damien Warzecha, one of the owners, says that being in close contact with the outside world changes the entire experience of food. “All of it is part of an art,” he says. “You put your

heart into what you’re doing, your experiences, your emotions…” In many of the criticisms of food as art, dissenters seem to focus foremost on presentation. When aesthetic construction takes precedence over taste, both food and art are for the worse – a valid point. In order for it to be evaluated as a medium, then, food has to be considered on its own terms. Taste, temporality, and agency are unique (and perhaps the most important) aspects of food. Fancy plating is an enhancement, not necessarily a priority. Other critics mention pressure from business considerations and the replication of dishes - but what about concert tours, Broadway shows, or literary magazines? Aren’t marketability and consumer reception part of these artists’ priorities, too? As for Deresiewicz’ original claim--that “[Food] is not narrative or representational, does not organize and express emotion” – it’s not difficult to think of counterexamples. Food is indeed one of the most important pillars of culture, and can express history and tradition through a single dish. Food pulls people together, gives them a space of connection, and acts as a vehicle of emotion. It seems that America is not in danger of confusing its palate with its souls – but rather, that the two are becoming more and more intricately connected, woven together by the versatile thread of art. And that, quite frankly, is delicious. MODA Summer 2014

MODAthinks

Is Print Journalism Dead? MODA Staff Writer, Mary Pierce, explores the question that’s on the minds of everyone in the fashion industry. Get the scoop!

MODA Summer 2014

nce, magazines like Vogue were the best places to advertise. Having an ad in Vogue meant that your brand was in style and on trend. But, in recent years, Vogue has lost pages of advertisements and readers. Today, you can subscribe to Vogue for twelve dollars and get a free subscription of W as well - the drop in price perhaps signifying a drop in demand for the once-fashion authority. High fashion brands are noticing that readership is down for magazines and have shifted their focus to other routes of advertisement. As a result, high caliber publications have sacrificed their fashion integrity to get lesser brands to buy advertisements. Recently, Harper’s Bazaar has sold pages to Meijer, a huge superstore in the Midwest. Fashion editorials in Harper’s Bazaar consist of clothing that resemble nothing one could buy at a Meijer store, but because advertising sales in high fashion magazines are down, brands like Meijer are gaining a greater presence. This does not necessarily mean that Vogue and Harper’s Bazaar have completely fallen from the graces of the fashion gods, but it does say something about their relatability. For a brand, to be featured in an editorial styled by Grace Coddington and approved by Anna Wintour is still a meaningful event, just not so much for advertisers anymore. So, where are advertisers going? In recent years, the fashion industry has seen an advertising flight to the internet. With the creation of style blogs like Fashion Toast and

Left: Image of Burberry Runway from http://www.fibremagazine.com. Right: #BeautyBooth backstage at Burberry with VogueUK handle and models Karlie Kloss, Cara Delevingne, and Jourdan Dunn. Photo from http://stylerumor.com.

Style Bubble, brands were able to make their way into the homes of more people than ever before. The fashion blog became a platform for relatable sartorial advice. Many fashion bloggers began by styling their own relatively cheap thrifted or vintage wardrobes. After garnering virtual success via their follower count, high fashion brands started to take notice. It is unabashedly cheaper for a company such as Prada to send a pair of shoes from their latest runway collection to Susie Lau from the Style Bubble than to buy ad space in Harper’s Bazaar, Vogue, or W. These fashion blogs are not only cheaper for designers, but also much more accessible for potential customers. Online fashion journalism is a new route for the general population to engage in unmediated fashion. Social media platforms are quick, cost-efficient, and interactive. Creating and editing a magazine takes extensive amounts time. Transitioning to a web platform allows fashion magazines to keep up with current trends and get a clear picture of reader response in real time. The quantification of readership also enables magazines to sell more advertising space in the form of links and banners on websites, since they can give real numbers of their following and influence. The death of the print fashion magazine is coupled with the birth of new social media platforms, which have revolutionized the consumption of fashion. Fashion editors are flocking to Instagram to create a “personal” connection with their audiences through advertisements. Take Burberry for example. They have recently started using the #BeautyBooth hashtag prior to their fashion shows to create buzz on Twitter and Instagram. The pictures of models taken in the photobooth are immediately posted on social media sites and serve as a more direct channel to anxious fashionistas. Through this hashtag, Burberry’s Twitter followers were able to see the looks before they appeared on the runway in London Fashion Week. Fashion Week used to be a place solely for buyers of high end department stores. The Fall/Winter collections are shown in February because it gives buyers the opportunity to choose certain looks and then produce them in time for customers to wear the clothes for the fall and winter. Now, with Instagram and Twitter, people do not have to wait for the entire magazine to be shot, printed, and shipped to their homes to see the trends. Instead, they can get up-to-the-minute images of what’s happening at a

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multitude of runway shows while lying in their beds. Vogue and other high fashion magazines intend to create an image of the lifestyle that comes along with owning high fashion brands. But nowadays, fashion blogs and Instagram perform the same function at a faster pace and cheaper price. Although the seemingly personal bond between brands and customers through these online platforms is ultimately just an illusion, it is resilient enough to drive advertisers, the true influencers and decision makers in the fashion world, away from paper and ink.

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CHANGING THE FACE OF FASHION MODA Staff Writer, Stacey Chiu, explores the ongoing issue of diversity in the fashion industry.

Images, from left: Jourdan Dunn (blogspot.com), Liu Wen (fashionspot.com), and Jillian Mercado (via Myspace, Twitter).

MODA Summer 2014

MODAfeatures

t first, the advertisement seems typical for a fashion magazine - the model’s platinum hair is perfectly disheveled, her eyebrows arched to the ideal angle. But, there’s also something rarely seen in the fantasy world of advertising, where flaws are airbrushed away: a wheelchair. The model who sits regally upon it is 24-year old fashion editor and blogger Jillian Mercado, who suffers from muscular dystrophy and is the face of Diesel’s new ad campaign. On the next page, there’s a spread for Barney’s New York that features seventeen transgender models, their sharp features appearing exceptionally stark in the black and white photos. From these two advertisements alone, it seems like the representation of disabled and transgendered people in the fashion world has improved immensely. So, shouldn’t the lack of racial diversity be an almost outdated problem in print ads and on the runway? The answer, plain and simple, is no. In recent years, the fashion industry has struggled to alleviate criticism over the almost nonexistent diversity on the runways of major designers’ shows. It isn’t a surprise that the modeling world has been dominated by willowy, pale-skinned, honey-haired models since the late 1990s, but in an era where audiences are much more aware of what they’re seeing, the industry should be much more inclusive. Although there have been attempts to rectify the problem, ultimately not enough improvements have been made. According to a study by women’s website Jezebel, while the amount of black models at New York Fashion Week has increased from 4.9% in Fall 2008 runway shows, for Fall 2014 the proportion was still a measly 7.67%. Edward Enninful, fashion and style director of W magazine, says in an interview with the New York Times, “What is happening on the runways is the result of a very Eurocentric aesthetic that has taken over for the last 10 years and that has excluded other races.” It’s true, and moreover, the industry is not just defined in black and white – models of all racial minorities, including Asian and Middle Eastern, are severely underrepresented in the industry. Like Enninful mentioned, part of the problem is that many of the designers’ narrow artistic visions don’t accommodate a diverse array of models. Frequently, the addition of non-white models is the result of an attempt to dissuade criticism rather than a desire for wider representation - an example of the tokenism frequently seen in the entertainment world. Moreover, designers say that modeling agencies don’t send them minority models, and agencies say that designers don’t request them. As the fashion industry becomes more international, reaching people in all corners of the world through the internet, one would think that it should be easier for designers to celebrate different types of people. However, the conversation of diversity isn’t just confined to race. Representation of a number of minority groups in the fashion industry has increased, going against the industry standard of white, thin, able-bodied, and cis-

gendered, but it seems like diversity will continue to be a topic of conversation for the upcoming years. People like Jillian Mercado and the transgender models of the Barney’s ad campaign barely scratch the surface of increasing diversity. A huge luxury retailer like Barney’s should be commended for bringing visibility to trans people and portraying gender-variance in a respectful manner, but one instance of promoting diversity doesn’t mean the rest of the industry is allowed to slack off. Body type is another huge looming issue in the fashion world, where both unrealistic size zeros and perfectly sculpted curves are portrayed as ideals women should strive towards. Fashion is ultimately about appearances: it is, in its essence, a fantasy that is being sold to the richest (and frequently the whitest) populations in the world. Through advertisements and runway shows, the targeted demographic needs to visualize itself in a designers’ clothes. It might be harder for them to believe if the clothes are presented on non-white models, although racial minorities have had to relate to people who don’t look like them for decades. Since fashion is so determined to hang its clothes on a sliver of humanity, it neglects to appeal to the rest of the population. Fashion magazine sales are steadily declining, and perhaps the reason for this is that our multicultural world is tired of not seeing itself represented within the pages. A simple solution: let different types of people close out runway shows and cover magazines – it’ll captivate the attentions of people around the world and serve as a source of pride for those who can finally see someone who looks like them. However, the emergence of China as one of the world’s biggest markets for luxury goods has bucked the white ideal. Half of the all global luxury purchases are being made by consumers from China, Japan, and Korea; the huge influence of China’s affluent shoppers have motivated brands like Fendi and Louis Vuitton to hold fashion shows in the country and driven magazines to cater directly to the Chinese population by printing shopping guides in Mandarin. Rosie Bendandi, bookings editor for Elle magazine, says, “It’s the major drive for the change in catwalk and advertising casting. In an effort to reach the Asian audience, the industry is employing girls who the customer can identify with.” But, the influx of Asian models into the fashion spotlight might not be as beautiful as it seems - the fashion industry isn’t necessarily embracing Asian beauty but is, instead, capitalizing on the rise of China as an economic power. The bottom line is that there needs to be more diversity of all kinds in fashion, and it is disappointing how outdated the industry is in this regard. Fashion is so accessible in the current era that everyone can practically be a part of it, so it seems unfathomable that fashion’s visual representations can be so monolithic. Diversifying the modeling and fashion industry will diversify the audience fashion reaches, ultimately creating new customers and fans.

“Designers say that modeling agencies don’t send them minority models, and agencies say that designers don’t request them.”

MODA Summer 2014

MODAfeatures

Building in Style

The interesection of fashion and architecture may not be something we think about everyday, but is at the same time unavoidable. MODA Staff Writer, Angie Wan, presents her angle.

hat do Tom Ford, Gianni Versace, and Gianfranco Ferre have in common? Not only are they some of the biggest names in fashion, but they all started in architecture. Ferre in particular, known rightly as the “architect of fashion,” claimed of fashion and architecture: “The concept of construction is the same. Architecture is a search for a solution of form, shape, and color. So, too, is fashion.” It is unsurprising that fashion and architecture are so intertwined in today’s world, for they both began with the same humble roots. Clothing and shelter are basic, practical needs of human beings, yet fashion and architecture have far surpassed such beginnings. Beyond the common search that Ferre noted, the way fashion and architecture carry out that search has consistently been similar throughout history due to the necessities required for transforming 2D plans and sketches into 3D functional objects. Yet there are valuable differences between the two, highlighted by Peter Marino (lead designer of several LV, Chanel, Celine, and Zegna boutique buildings across the world from Boston to Tokyo to London and more) in a part-lecture, part-conversation with Marc Jacobs on the subject of design, architecture, and fashion for the Architecture Foundation (UK). “I consider fashion designers as the antennae of what the zeitgeist is. They are able to express the changes in our sentiments much faster than an architect,” Marino says, clad in full-leather reminiscent of 70s gay subculture. He keeps up with all of the big shows,

MODA Summer 2014

not only to watch the rabbit-quick pulse of culture strut down the runway but to attempt to distil it down to the essential elements of design. After all, a building must remain fashionable for far longer than a collection, though even then, the best collections are those that outlast a season, such as the iconic SS71 YSL collection. Jacobs echoes the sentiment of exchange and inspiration, classifying both fashion and architecture as part of the “art of living” instead of art itself. “We don’t need fashion, we don’t need beautiful buildings,” but we want them because they add colour to our existence beyond mere subsistence. With the extent of the exchange between the two disciplines, it is hardly unexpected that even with the differences, the line separating fashion and architecture is becoming blurred. In 2006, “Skin + Bones: Parallel Practices in Fashion and Architecture” opened to audiences in London, Tokyo, and LA. Featuring forty-five contemporary fashion designers and architects, Skin + Bones spotlighted the massive exchange between the two fields. Common techniques, and indeed vocabulary, such as wrapping, folding, draping, pleating, printing, structure, and suspension were examined in both contexts. Historically, the exhibit began in the 1980s and traces the evolution of the two fields from that point to modern day. Indeed, in some ways the 2006 exhibit was the spiritual heir to the 1982 MIT exhibition “Intimate Architecture: Contemporary Clothing Design” which featured Gianfranco Ferre, as well as the work of Giorgio Armani, Claude Montana, Issey Miyake (whom you can

MODAfeatures

Left page: Quote from http://daily.artspace. com. Right page: Image from Skin + Bones: Parallel Practices in Fashion and Architecture: http://www.detnk.com and image from “Intimate Architecture: Contemporary Clothing Design” http://www.eyemagazine.com

thank for Steve Jobs’ signature black turtlenecks), and four others. The exhibit, photographed by Robert Mapplethorpe, marked the very first time an exhibition had looked at fashion from an architectural point of view. Miyake stated at the time that ‘’the exhibit proves that fashion no longer has to be separated from the other design fields...That M.I.T. has staged this show validates fashion and may inspire students here not to become electrical engineers but engineers of fashion.’’ Though the show may have not convinced any M.I.T. students to pursue fashion design, it was incredibly influential in the fashion world, drawing attention to its growing interest in architectural inspiration. However, the reverse was not immediately true. Sartorial influence on architecture has been limited until recently by technological barriers that hindered the construction of the more elaborate, advanced, and delicate works we see today. Now that such designs are possible, though, architects such as Marino and Shigeru Ban have taken cues from the fashion world. For example, Ban – the 2014’s Pritzker Architecture Prize winner known for his humanitarian work in constructing temporary shelters for natural disaster victims – has had his works described as positively fabric-like by the NYT: “airy, curvaceous, balletic”. Even his more conventional projections bear the mark of the

exchange between the two disciplines; the roof of the Pompidou Centre’s satellite museum he designed is inspired by a woven bamboo hat. Ultimately, as Brooke Hodges, the curator for “Skin + Bones,” remarked, “The point of origin for both fashion and architecture is the human body.” Fashion and architecture protect and shelter us, but also provide a means for us to express our individuality and identities. The practicality and consumption of both fashion and architecture alongside a lofty goal of functional aesthetics is perhaps enough to unite these two fields – past, present, and future. MODA Summer 2014

MODAinterviews

CASA SWOOP MODA staff writer, Jenn David ,chats with two University of Chicago students, NICOLAS ZULETA & TONY PAPADOPOULOS who provide you with a “Home for All Your Remix Cravings.”

n just four months, University of Chicago third year Tony Papadopoulos and second year Nicolas Zuleta’s music blog Casa Swoop has received over 6000 total views from 50 different countries. Their reviews of electronic music remixes range from chillwave to electropop, and display an impressively acute awareness of each element of a song and music production as a whole. Yet, their posts are as hilarious as they are informative, laughing about drunken college nights while analyzing rhythm and beats, simplifying this technical information for the casual listener. MODA sat down with Tony and Nicolas to discuss their website’s founding, purpose, and why they’ll never run out of content.

MODA: Tell me about CasaSwoop. Tony: Well some Monday night, [Nicolas] Zuleta and I

were in Ex Libris talking. At this point we’d realized that he and I have the same taste in music. We’re both super interested in new disco, electropop, chillwave - this new style of electro that a lot of people don’t really listen to. We love that music, so we wanted to write reviews. You can go anywhere and read a review on an album or a song, but we realized that reviews for remixes had not really been done.

MODA Summer 2014

I was really interested in that movement from original song to remix. What are the changes that go into it? What does a remix artist look for to take an original and turn it into a remix? We added the concept of posting new music, “New Swoops,” and we also post all of the upcoming shows in our genre in Chicago. It’s been super rewarding so far. I think that we have very different styles between us, which makes it more fun.

Nicolas: Even though it’s the same music, the same genre, the songs we choose are different. The way that we write about it is fundamentally different; it complements really well. Even within the niche genre, the sub-genres we choose are crazy different.

Tony: But he’s never posted a song that I don’t like. Not

one. But, the thing is we don’t want people to know who posts what, even if it’s super obvious because of our writing styles. We leave it anonymous because it doesn’t matter. We don’t want people to read reviews because of who wrote it. We want them to read because they want to learn about the music. Every time I write a review, I want the listener to get a better understanding of the song because there’s so much

MODAinterviews

going on in every single one. I want to highlight the things that I think are interesting.

Nicolas: Also, the actual artists read our reviews. We

tweet them after we post. We’ve had some of them read the review and retweet us and they’re like, “Spot on, this is exactly what I intended for it to be.” A lot of people think that electronic music is for partying, that it’s repetitive. They think that there’s a formula, an algorithm that you plug in, but that’s not the case at all.

Tony: But the reality is, the music that we look at is a very,

very small slice of the music pie. We are a subset of a subset. We are a subset of electronic music, which is a subset in and of itself, sort of like dance style. Sometimes I wonder if we’re gonna run out of stuff.

Nicolas: We’ll have days where we won’t post anything, and we’ll have days where we post five things between the two of us. That happens pretty often, actually. MODA: How long does it usually take to write a post? Nicolas: Twenty-five minutes. It just flows, but getting

to that stage where you can write it takes a long time. I’ve listened to a song so many times, I forget what the song actually is - you get caught up in the details.

Tony: The longest I’ve spent writing a post was the Baths

MODA: Where do you find your music? Nicolas: We have an email account, and if a producer or a person who remixes is going to launch a track, sometimes

[New Swoop]. Baths is probably our favorite artist right now. His music is so complex. It is chaos and beauty at the same exact time. You’ll have these moments where you don’t understand how this is music, and then for a split second it’ll turn into something beautiful. That’s something you can only get in this genre of music. There are

A lot of people think that electronic music is for partying, that it’s repetitive. They think that there’s a formula, an algorithm that you plug in, but that’s not the case at all. they’ll email us the track before they launch it so we can review it. That doesn’t happen very often, but that’s one of the ways. We also connect with other small independent websites and blogs, and we email them if they have an interesting track.

Tony: Then there’s the more conventional means: being

online, knowing to go on Hype Machine or SoundCloud or Indie Shuffle; these are huge websites, and stuff falls through the cracks all the time. Since we started, I’ve gotten a lot better at finding music. If I really like an original, I’m going to try to find a remix for it because chances are the remix is going to be pretty good.

things that are being done musically that you can’t do with a four-piece band—there’s no way you can get a guitar, a keyboard, a vocalist and drums to be as complex, to have as many parts and moving elements as you would have on an electronic set. That’s why I love it so much. That’s why we’re never going to run out of content; there’s always going to be new stuff to do.

Nicolas: People also email us with re-

quests. If you happen to find a track that you think is pretty good, you can email us the link; if we like it, we’ll review it. Photos by Ivy Zhang. CasaSwoop logo from http://casaswoop.com/

MODA Summer 2014

DAY & NIGHT

MODABeauty

With MODA Beauty Editor, Lucie Fama.

Summertime is a recipe for a makeup disaster. Itâ&#x20AC;&#x2122;s hot. The air is humid. The days are long. Your eye shadow is bound to end up on the side of your face. But before you scrap it completely, hear me out. Summer is also the perfect time to have fun with your looks. From lazy days in the sun to seemingly endless nights in the city, changing your look between day and night can make your adventures more exciting. The key is to use long-lasting products. A little technique, a lot of sunscreen, and youâ&#x20AC;&#x2122;re in business.

MODA Summer 2014

MODABeauty

ummer days are carefree. And when the sun is beating down, the last thing you want to do is put on a heavy foundation. Go minimalistic. I like to make my own tinted moisture: just mix a dab of your foundation with some of your sunscreen and voilà: dewy coverage! Use a high impact concealer for spot-coverage in the places that need a little more help (for example, Tarte Maracuja Creaseless Concealer, $24.00). Set it with a light dusting of translucent powder to keep it sweat-resistant (I like E.L.F. Translucent Matifying Powder—it’s only $6). Even though you can’t go to the beach every day, it sure feels nice to look like you do...right? Fake it! A bronzed glow is perfect for summer. To achieve it, apply pearlescent bronzer to the cheekbones, temples, sides of the nose, and brow bone. Use a liquid highlighter on the tops of the cheekbone and the bridge of the nose to seemingly radiate from within (try Benefit High Beam Luminescent Complexion Enhancer, $26.00). Maybe it’s just one of those days where you want to go full-on Grecian goddess? We all have one of those. Take the few extra minutes to apply eye shadow in golden hues. Start with an eye shadow primer to make the look last all day (Urban Decay Eyeshadow Primer Potion, $20.00). Then add a coppery, bronze hue to the lid. Pop an iridescent white

shadow on the inner corner of the eye to make your peepers look bright and awake. From the blooming flowers to the crystal waters, summer is full of color. Use makeup to reflect this brightness. Apply a wash of lavender to the lids—its subtle enough to wear anywhere, work or play. A pink lip gloss with violet undertones will make the look even more fun. The sun has set and night wraps you in shadows, lingering with warmth left behind from the day. Summer nights are all about adventure. Nights of dancing, outdoor concerts, and festive dinners all call for fun, daring makeup. With the lip balm you’ve been applying, lipstick is bound to smear off. Instead, bring the attention to your eyes and don’t be afraid to be dramatic. A cobalt lid with a high ponytail is such a simple look; you can throw it on as you leave the door, but still be the fiercest girl at the party. For even higher drama, apply a high pigment mint shadow (it compliments a tan perfectly.) And add winged eyeliner, the bigger the better. Think Brigitte Bardot meets mint chocolate chip ice cream. Summer just got way more exciting. Hair by Isabelle Langrock. Models: Fanele Chester & Lily Ting. Photos by Kaiwen Luan. MODA Summer 2014

Photographer: Ivy Zhang Stylists: Ogonna Obiajunwa and Amanya Maloba Models: Nikitha Murali, Ana Jimena, Adia Sykes’ Makeup: Caterina Gleijeses Clothing: Stylist’s own.

SUBTLETY IS OVERRATED THIS SUMMER IT’S ALL ABOUT CONTRASTING PRINTS.

MODA Summer 2014

ROYAL PRINTS: Adia sports a printed headwrap, perfect for turning any look into a 2014 regal2affair. MODA Summer 5

MODA Summer 2014

GO BOLD OR GO HOME: Make a statement with bold color blocking and a touch of floral fun. MODA Summer 2014 27

On the Waterfront.

MODA Summer 2014

Geometric shapes meet the idyllic Osaka Garden. Clothing by SAIC Student, Amanda Vaeth. Photos by Luke White. Styled by Krystal Li Makeup by Emily Polner Models: Ana Lanier and Helen Dongyue Li

MODA Summer 2014

PLEATS PLEASE: Necklace by Megan Vaeth.

MODA Summer 2014

SECRET GARDEN: Amanda Vaethâ&#x20AC;&#x2122;s designs are the epitome of wearable avant garde.

MODA Summer 2014

GRIDIRON GL

MODA Summer 2014

LAMOUR

Athletics and fashion converge on UChicagoâ&#x20AC;&#x2122;s Stagg field. Lead the charge in sleek silhouettes and bold accessories from Akira Chicago. Photos by Albert Nam Styled by Catherine Chen and Nadine Menna Makeup by Lucie Fama, Hair by Kayla Mathisen Models: Fili Bogdanic, Zak Ross-Nash, Spencer Byrne, Patrick Ryan, Brandon Bolock, Joe Eroyan, Paul Comet, Bryan Tisdale, Andrew Mandato, Schuyler Montefalco, Kyle Kunze Clothing from AKIRA, 1539 E 53rd St., ShopAKIRA.com

MODA Summer 2014

SCORING ON STYLE: Left: AKIRA Distressed Denim overalls, [$54.90], AKIRA Bukowski Jacket, [$119.90], shoes stylist’s own. Right: AKIRA Palm Tree Crop Sweater [$39.90], AKIRA Fit and Flare Circle Skirt [$39.90], shoes stylist’s own.

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37 41

VICTORY LIFT: AKIRA Zipper Detail Pencil Skirt, [$44.90], AKIRA Perforated Detail Box Top, [$34.90], AKIRA Boy Hat [$10.00], Shoes and MODA Summer 2014 bracelet stylistâ&#x20AC;&#x2122;s own.

MODA Summer 2014

PERFECT CATCH: AKIRA Colorblocked Midi Skirt, [$24.90], AKIRA Colorblocked Crop Top, [$24.90], AKIRA Melody Sunglasses, [$10.90], shoes stylistâ&#x20AC;&#x2122;s own.

MODA Summer 2014

TEAM ON THREE: AKIRA Web of Life Maxi Dress, [$119.90], AKIRA Gold Simple Lines Cuff, [$12.90], shoes stylist’s own.

MODA Summer 2014