NYU’s Daily Student Newspaper
WASHINGTON SQUARE NEWS Vol. 43, No. 2
THURSDAY, JANUARY 29, 2015
nyunews.com TRANSPORTATION
MTA to increase fares in March By MAGGIE O’NEILL Staff Writer
STAFF PHOTO BY CALVIN FALK
The Metropolitan Transportation Authority will be raising subway fares and increasing tolls starting on March 22. The fare increase, the third in the past five years, will impact commuters and students using the subway for internships, work or school. FILM
Kanbar returns with first screening By ALEXA SPIELER Arts Editor
The Kanbar Event Series is set to host a screening of “Little Accidents” on Thursday, Jan. 29 at 7 p.m. NYU alumna Sara Colangelo wrote and directed the film, which stars Elizabeth Banks and Josh Colangelo. A question-and-answer session, moderated by Michael Burke with Andrew MacLean and Sara Colangelo will take place after the film. “Little Accidents” takes place in a small American town, shortly following a coal mine accident. A mysterious disappearance brings together disparate characters to try and unravel the town’s secrets. “Little Accidents” marks the Kan-
bar Event Series’ first screening for the spring semester. Following the screening of Colangelo’s film, the Kanbar Event Series host Sight & Sound Spring 2015 on Feb. 6 at 6 p.m. The Undergraduate Department of Film & Television hosts the Sight & Sound showcase, screening faculty-nominated films from the Tisch School of the Arts’ Sight and Sound classes. The Kanbar Event Series hosts screenings at 6 p.m. on Mondays in Theater 006 in 721 Broadway, and Thursdays, and Fridays at the Cantor Film Center’s Theater 200 at 36 E. Eighth St. Email Alexa Spieler at aspieler@nyunews.com.
The Metropolitan Transportation Authority announced on Jan. 22 it will raise the fare for riding the subway or bus from $2.50 to $2.75, among other pricing changes being made. The new fares and tolls will start March 22. In a statement, the MTA said it plans to make major spending cuts and raise their fares and tolls by 4 percent over the next two years. “The MTA has cut $1.1 billion from its annual spending, with more cuts planned every year to bring annual savings to $1.6 billion by 2018,” the statement read. MTA chairman and CEO Thomas F. Prendergast said the MTA is able to limit the fare hike because of its
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FASHION
John Galliano returns to fashion By SAM DEL ROWE Staff Writer
When controversial designer John Galliano took over as creative director of the legendary fashion house Maison Martin Margiela, the industry was skeptical, but anticipation was high. Galliano, who has served as head designer at both Givenchy and Christian Dior, was dismissed from the latter in 2011 on account of ethnically disparaging remarks for which he has publicly atoned. In the aftermath of this controversy, Galliano lay low until the late Oscar de la Renta offered him temporary residency at his design studio in 2013. Surprisingly, in October 2014, Galliano
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became creative director at Margiela, marking his formal return to fashion. On Jan. 12, Galliano debuted his first collection for Margiela at London Collections: Men. Aside from the obvious worry surrounding Galliano’s history, a lot of the anticipation surrounding his assignment at Margiela stemmed from how odd the pairing seemed. Galliano’s designs are dramatic and ornate — qualities that initially seemed incongruous with the avant-garde approach of the Margiela fashion house, which built upon the work of Japanese designers such as Rei Kawakubo of Comme des Garçons. Furthermore, Margiela himself was an enigmatic person who remained backstage
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after his shows, whereas Galliano has a history of favoring nightlife. These incongruities made the announcement all the more intriguing. Galliano’s debut collection for Margiela makes it obvious that he is not seeking to emulate the brand’s historical style. The question then becomes whether or not one would want a reproduction of Margiela’s iconic work, especially since the designer departed his namesake label in October 2009. The new collection, with its voluminous, exquisitely detailed dresses, is distinctly Galliano, yet elements of Margiela’s deconstructivism are also
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