Fringe
One Last Dance This issue is an ode to the moments that only fashion can capture: the awkward photo shoots, the first dances and the unforgettable memories.
Letter From the Editor Maybe you were prom queen, or maybe you didn’t go to prom at all. Maybe you went with a date, or maybe you flew solo with a big group of friends. For many of us, senior prom seemed like the biggest night of our lives — the moment that defined our past four years. Looking back, however, maybe it’s just the first night you got drunk, and it’s not all that special in the grand scheme of it all. So many of the special moments in our lives that we anticipate with ardor turn out to be simple, hazy memories chronicled across who-knows-how-many Instagram feeds. This Fringe is a contemporary take on ’80s nostalgia and our own hazy memories of prom. The makeup is reminiscent of the bold colors of the decade with a twist in the form of the glowy skin and glitter of today. The outfits take classic elements of prom attire and adapt them to eclectic styles, promoting distinct self-expression. Thank you to Beacon’s Closet in Greenpoint for lending us the many dresses, blazers and accessories that suited my vision. Thank you to all of the WSN staff members who generously lent many incredible pieces from their personal collections. Thank you to Justin Hwang for last-minute contributions of his black trousers and only belt, and to Adam Moritz for his marvelous floral suit. Thank you to our lovely models: Thea Nickolas, Soyoon Lee, Imani Arnett, Michael Miles, Caroline Prokos, Caira Blackwell, Ashley Sidoryk, Ellena Eshraghi, Joseph Kim, Tickle Mhlambiso, Kindi Frey, George Matsuo and Thomas Paparella. I’m so grateful you all took everything in stride and sat patiently as I painted your faces. To Katie Peurrung, our Under the Arch Multimedia Editor, thank you for all of your brilliant ideas and stunning photos. You always know what I want even before I do. Thank you to our Creative Directors Sophia Di Iorio and Priya Tharwala for the beautiful layout and design; I’m glad we were able to reconcile our creative visions. Thank you to our Under the Arch Deputy Multimedia Editor Justin Park for creating such a masterpiece of a fashion film. You truly channeled your inner La La Land. Thank you to our Video Editor Min Ji Kim for the lovely behindthe-scenes videos and the laughs we shared on set. Thank you to our Voices Editor Maxine Flasher-Duzgunes for your patience, hard work and exquisite choreography. Thank you to Harry Teardrop for graciously allowing us to use your wonderful music in our fashion film. Thank you to my emotional support team and fellow Culture Deputy Editors Arin Garland and Anna de la Rosa for your incredible articles and creative spirits. Thank you to our Deputy News Editor Mansee Khurana for your organizational skills. Thank you to our Under the Arch Deputy Editors Anna Muratova and Joel Lee. Anna, thank you for being my human thesaurus and bravely blowing up all of those glitter-filled balloons. To Joel, this issue would not have gone as smoothly as it did without your tireless efforts and unshakable enthusiasm. Thank you to our Under the Arch Editors Yasmin Gulec and Natalie Chinn for your hard work behind the scenes and our sparkling conversations. And lastly, a tremendous thank you to Pamela Jew, my queen. You have truly been my rock throughout this semester, and I am constantly in awe of all you do. I’m so grateful to have been able to work with you this semester. We will miss you. And with that, I invite you into this issue. May I have this dance?
CAROL LEE Beauty & Style Editor
Studio Photography By
KATIE PEURRUNG
Under the Arch Multimedia Editor
SWEETHEARTS
Michael (right) wearing Stafford white button-up shirt, holiday red tie and Zara black dress pants, and Caira (left) wearing Intimately spaghetti strap gold sequin dress.
Glitter, Glitz and Golden Years Moonwalk with confidence at the club wearing these four modern renditions of ’80s makeup looks. CAROL LEE Beauty & Style Editor
A Little Extra — in a Good Way Warm up your skin with Glossier’s Cloud Paints in “Dusk” and then layer “Storm” on top, blending both from the apples of your cheeks to your temples. Supplement your moisturizer-given glow by smoothing Cover FX’s Custom Enhancer Drops in “Moonlight” over the high points of your face, such as the cheekbones or brow bones. Now on to what you’ve been holding your breath for: the eyes. Take the cobalt blue shade in Estée Lauder’s La Dangereuse Blue Dahlia Eye Shadow Palette and sweep it across your lid. Blend, blend and blend some more. Place “Bon” from the Masquerade Palette by Juvia’s Place along the lash line, making sure the two shades meet. Pat MAC’s Glitter in “Reigning Riches” over “Bon.” While the shining star of the show, Glossier’s Glitter Gelée in “Bijoux Bijoux,” should be placed wherever there is eyeshadow. For the lips, the goal is not to distract from the eyes. NYX’s Soft Matte Lip Cream in “London” comes to the rescue.
BLUES AND HUES Tickle wearing a vintage deep teal fringe dress and Pixnor silver tiara.
Copper Evening Dust Zesty! Create a neutral base with Glossier’s Cloud Paint in “Dusk.” Bring the warm nude shade from your cheeks to above the brow. With a light hand, delicately sweep “Cairo” from Juvia’s Place’s Masquerade Palette over the same areas, concentrating on the center of your cheeks. Next, smush Kylie Cosmetics’ Creme Eyeshadow in “Copper” all over the lids and lashlines, including the inner corners. Amplify the sheen using Cover FX’s Custom Enhancer Drops in “Moonlight” on your cheekbones, cupid’s bow and the bridge of your nose. Finish it off with Bobbi Brown’s Crushed Lip Color in “Bare.”
LIGHTHEADED
Caroline wearing Vestire white off-the-shoulder prairie dress.
Emerald City With Gold-Tinted Lashes Go peachy with Glossier’s Cloud Paint in “Beam” dabbed on your cheekbones, and add to the dew with Colourpop’s Super Shock Highlighter in “Flexitarian” on the high points of your face. Blend “Egypt” from Juvia’s Place’s Nubian 2 Eye Shadow Palette on your lids and lash line with a brush, and using your finger, dab the same shade on the center of your lid to get an extra metallic sheen. Coat both the inner corners of your eyes and all of your bottom lashes in Lush’s Eyeliner in “Fantasy.” They’ll be drippin’ in gold and finesse. The last touch: glossy nude lips courtesy of Fenty Beauty’s Gloss Bomb Universal Lip Luminizer in “Fenty Glow.”
JADED DISGUISE
Ellena wearing All That Jazz gold and black spaghetti strap dress.
No-Makeup Makeup’s Older Sister Layering is key. With your fingers, delicately dab onto your cheeks, temples and outer half of your lids Glossier’s Cloud Paint in “Dusk.” Next on duty is Glossier’s Cloud Paint in “Puff,” which you should place on the same areas. Apply Glossier’s same blush tint in “Storm” onto the apples of your cheeks and the outermost corners of your lids. Mix all three shades and tap the glorious result on your lips. Catch the disco’s light with Cover FX’s Custom Enhancer Drops in “Moonlight” on the cheekbones and Glossier’s Glitter Gelée in “Phantasm” on the inner half of your lids. Email Carol Lee at clee@nyunews.com.
Makeup By
CAROL LEE
Beauty & Style Editor
GLITTER GLARE
Ashley wearing a rust satin half-sleeve tea-length dress.
FIRST IMPRESSION
Below: Joseph wearing Uniqlo black faux leather jacket, Stafford white button-up and H&M tapered black trousers.
FALLEN STARS
Above: Caroline wearing Vestire white off-theshoulder prairie dress.
BLOW A KISS
Right: Soyoon wearing IGWU burgundy velvet dress.
WHAT’S GOOD
Below: Thomas (right) wearing Stafford white button-up shirt and ASOS flower suit jacket. George (left) wearing Issey Miyake black suit and Uniqlo white T-shirt.
FEELING HAZY Above: Thea wearing vintage gold medallion earrings and Richard Warren floral balloon sleeve peplum top.
DISCO QUEEN
Left: Ellena wearing All That Jazz gold and black spaghetti strap dress and Nine Weblack strappy close-toed heels.
How a Prom Gig Turned Into a Career This freelance makeup artist went from her sister’s prom makeup to Estée Lauder. ANNA DE LA ROSA Deputy Culture Editor
With T-minus three hours until prom, Lindsay Karchin had a daunting task ahead: her sister’s prom makeup. The clock was ticking. They debated the pros and cons of having her hair up versus leaving it down. Then, they had to make sure the makeup would match the color scheme of her light orange and blue floral dress. After serious debate, Karchin finally came to a decision — she wanted her sister to go big and bold with a smokey eye. The bedroom transformed into a studio. Karchin, who wears minimal makeup on her poreless and freckled skin, hardly looks like the type to be skilled at the ever elusive smokey eye. Her drawers of eyeshadows, creams and glitters emptied as she emerged with a brush and product in hand. She applied black eyeshadow along her sister’s lash line, blending the pigment out toward her crease to create a gloomy, sky-like gradient. To add dimension and a pop of color, she packed a bit of shimmer on the center of her eyelid. “She has beautiful hazel eyes,” Karchin said of her sister. “I wanted to bring out the green so I had a metallic-y purple to highlight that and even a little bit of copper as well.” While she is an artist with her hands, her vision and many Urban Decay palettes, Karchin got her start in makeup through another art form — dancing. Beginning at the New Jersey School of Ballet at the age of three, she went from baby bunhead to serious student when the American Ballet Theatre accepted her into its Jacqueline Kennedy Onassis Pre-Professional Division when she was 12 years old. Karchin worked her way through the ranks of the school and studio company and finally achieved the status of apprentice. She then transferred to Tulsa Ballet’s studio company and eventually moved to Germany as a company member with the Stuttgart Ballet.
FINISHING TOUCHES
Gallatin senior Lindsay Karchin applies highlighter on Ashley’s cheekbone.
APPLY YOURSELF
Karchin works as a freelance makeup artist on experimental and editorial projects. itrjlt-
Backstage in the dressing rooms, underneath the vanity lights and behind racks of tulle costumes, Karchin first learned the art of stage makeup. The basic looks include a pancaked face, bold red lips and thick false eyelashes to ensure the dancer’s facial features can be seen under harsh fluorescent lighting and from the nosebleed seats in the balcony. Before each performance, dancers paint their faces with layers of liquids and powders that can endure the hours of sweat and possible tears — it’s a bonding experience, to say the least. Karchin remembers feeling lost when she sat down with the slew of brushes and products. She knew what stage makeup was supposed to look like but was confused about the mechanics of creating a look specific to her face. “You’re on your own about how to accentuate your own features,” Karchin said about applying makeup for the first time. “You gain an intimate knowledge of the cosmetic industry in that way.” A Gallatin senior, Karchin first came to NYU knowing she eventually wanted to break into the beauty business. Her concentration in Marketing and Social and Cultural Analysis and minor in Gender and Sexuality Studies have allowed her to dive deep into the social, economic and psychological aspects of cosmetics — she brags about how one of her class assignments consisted of going into Sephora and talking to customers.
However, Karchin craved more concrete classes in makeup education and application. In 2014, she completed a brief certification program with Make Up For Ever that launched her freelance job. Her work and studies brought Karchin to a summer internship with Amazon, which later offered her a job after graduation. However, after learning about an opening with Estée Lauder and going through a few rounds of interviews, she knew she had found her dream job. In September, she’ll join the company as a Presidential Associate, working on its digital team where she’ll learn about different brands under the Estée Lauder umbrella. Karchin’s journey wasn’t free of imperfections. She learned the importance of thinking on her feet — or with her hands — on the first day of her first job working for Tisch alumnus David Chasmar on his film thesis, “A Mormon Story.” Karchin arrived on set prepared to do clown makeup — which she thought was required. She was thrown a curveball when told that the female lead required natural makeup, as she had filled her kit with white foundation, bright rouge and graphic eyeliner. But with her talent and calm demeanor, she turned the neon into something natural. “[It’s about] learning to work with what you have,” Karchin said. “Learning how to take an incredibly
pigmented eyeshadow and diffuse it and blend it with other things to make it a beautiful shimmer [and a] natural glow.” Karchin looks back on her first project with amusement. She now arrives at every job prepared with a kit that boasts 20-plus brands. As a freelance makeup artist, she is part of both editorial and experimental projects. Her work varies, allowing her to partner with designers like Iva Pfeiffer and Gallatin junior Selly Djap and dance photographer Rachel Neville, paying homage to her ballet roots. The fluidity in her job allows her to break boundaries instead of prioritizing being on-brand. “Experimental [work] can push the bounds of what we want this person to look like and kind of redefining beauty in that sense,” Karchin said. “That notion of what is ideal and what is valued is very fluid in experimental work.” Karchin plays it safe when she works on her closest clients — her friends and family. To ensure they are comfortable, she typically works only one or two steps beyond their typical makeup routine to enhance instead of obscure their facial features. When she is home in New Jersey, however, Karchin uses her own face as a blank canvas. She is free to play; experimenting with techniques and product combi-
nations is easy in her makeup mecca. She brings the looks she created back with her to the city but leaves behind the numerous makeup products that would otherwise fill her suitcase. From her inventory of Urban Decay eyeshadows, Bite Beauty lipsticks, Bourjois and Fenty Beauty foundations, Anastasia Beverly Hills brow pencils and Sephora Collection eyeliners to name a mere few, Karchin may appear to be a maximalist. However, she doesn’t wear makeup on a daily basis. Maybe she is too busy running around Manhattan and Long Island City for work, or maybe she is making the conscious choice to let her skin breathe; whatever the case, with her classic features reminiscent of brunette beauties like Disney Princess Belle and Audrey Hepburn, she certainly doesn’t need it. Karchin’s belief is that no one really needs makeup. From being a rite of passage as a young girl to a memory of friendship backstage, makeup for her today is a means of empowerment through enhancement. “[Your face] is another aspect of yourself that is open to experimentation,” Karchin said. “It’s really powerful when you can use something to accentuate what you already have and feel that much more beautiful.” She also stresses that the simple can still be stunning — the trends of glitter and glam night looks will come and go, but “no-makeup makeup” will always be in style. When Karchin talks about makeup, her brown eyes grow bigger and her smile widens. Her voice takes on a dreamy cadence when she says that makeup is “so subtle, but so impactful.” Lindsay Karchin herself — her modest features and soft voice, her extremely crafty hands and eclectic vision — is subtle yet impactful. Among the bloggers, gurus and artists, Karchin is just one of the many who prove that makeup isn’t a cage but a playground. Born into a society that pushed makeup as a prerequisite to facing the world, we now play in the mess of colors, textures, creams, powders and concoctions not out of necessity, but by choice. Email Anna de la Rosa at adelarosa@nyunews.com.
SLOW DANCE
Ashley wearing a rust satin half-sleeve tealength dress.
SIDE EYE
Caira wearing Madewell velvet lavender mock neck dress.
Take It Back to Prom Prom night is full of expectations and sometimes complete left turns. Hear from this year’s Fringe models on how they fared during the “best night” of high school. KINDI FREY
CAS junior
Prom was awesome. I got to wear a tuxedo for the first time and go with the girl I had a crush on for the entire year — cheesy, I know. Two of my friends decided to flex and rent a limo for us and our dates, and we popped champagne during the ride. The only issue was that my friend’s cousin was driving the car. I thought I’d never make it to prom alive.
GEORGE MATSUO
CAS junior
My prom was at The Fonda Theatre on Hollywood Boulevard. All I remember is a bunch of kids getting thrown out for sneaking in drugs or showing up plastered. They had free donuts, but the music sucked. The after-party was a good time.
CAIRA BLACKWELL
Gallatin senior
I didn’t want to go to prom, but I was expected to anyway. My parents threatened to make my cousin take me if I didn’t agree to go with a boy — any boy — from school. So I went. The best part was leaving. My date, male best friend and I sped down the highway in my dad’s sports car with all the windows down as music blasted and my hair flew everywhere. I dropped them off at a party and made it blissfully home by midnight.
TICKLE MHLAMBISO Tisch first-year
Buried beneath the blinding light of the chandelier hid an unpleasant surprise. My date stood bathed in light as the music vibrated beneath our feet, hips trying to match mine but they were unmatched. Hiding behind this perfect facade stood a man with deeply rooted prejudices — he was a racist. But nothing could stop me from shining that night. My eyelids coated in gold and my lips ruby red, I swept the crowd as I walked.
THOMAS PAPARELLA Steinhardt junior
A bunch of my friends were supposed to get white dinner jackets with me to change things up. I was the only one who showed up with a white dinner jacket and frankly, I looked like a proper fool. I spilled a mysterious beverage on it even before I got to the prom. Sad.
IMANI ARNETT Tisch sophomore
I’d like to think of it as an overdressed homecoming, a horrible DJ, “eh” food and all eyes on you. It was the day I realized we were all five-year-olds pretending to be 23. This event was nothing like what we observe in the movies, but somehow magical in its own right. I managed to spend over $2,000 on makeup, hair, nails, hair accessories, body lava, a dress, a dress tailor, mink lashes and jewelry simply for three hours of buffoonery. But I’d do it all once more.
SPECIAL THANKS Beacon’s Closet
Justin Hwang, Adam Moritz Sam Smith, Harry Teardrop, Jaap Deinum, Celia Tewey Thea Nickolas, Soyoon Lee, Imani Arnett, Michael Miles, Caroline Prokos, Caira Blackwell, Ashley Sidoryk, Ellena Eshraghi, Joe Kim, Tickle Mhlambiso, Kindi Frey, George Matsuo, Thomas Paparella
EDITORS
Sakshi Venkatraman Editor-in-Chief Sam Klein Managing Editor Bela Kirpalani Deputy Managing Editor Akshay Prabhushankar Deputy Managing Editor Pamela Jew Under the Arch Managing Editor Yasmin Gulec Under the Arch Editor Natalie Chinn Under the Arch Editor Joel Lee Under the Arch Deputy Editor Maxine Flasher-Duzgunes Voices Editor Anna Muratova Under the Arch Deputy Editor Katie Peurrung Under the Arch Multimedia Editor Justin Park Under the Arch Deputy Multimedia Editor Alana Beyer Multimedia Editor Jorene He Deputy Multimedia Editor Alina Patrick Photo Editor Julia McNeill Deputy Photo Editor Min Ji Kim Video Editor Sophia Di Iorio Creative Director Priya Tharwala Creative Director Carol Lee Beauty & Style Editor Faith Marnecheck Culture Editor Anna de la Rosa Deputy Culture Editor Arin Garland Dining Editor Mansee Khurana Deputy News Editor
