SPRING ISSUE
LETTER FROM THE EDITORS:
FEATURES AMERICAN BEAUTY FROM WHAT I NEED TO WHAT I WANT GALLATIN GOES GREEN UNIFORM PROJECT THE EVOLUTION OF FLORAL SPOTLIGHT S/S 2010 DREAMS OF KENTE DESIGNER SPOTLIGHT: AASUPERTRASH IS ANYTHING BUT LOVE DBM EDITORIAL THE NEW CANVAS THE REBEL THE BLACK WIDOW A FASHIONABLE LIFE THE GIRL WHO DID A GAZILLION INTERNSHIPS CAMILLA HORI ON BEING HAPPY STOP. SMELL. SUCCUMB.
It’s been an incredibly tumultuous semester (although isn’t it safe to say that every semester is filled with it’s own unique hurdles?) and since returning from London, I’ve begun to fully assume my position as co-editor of NYChic. From frantically pulling from designers, coordinating models and photo-shoots, and researching articles, this issue has finally come together. I feel honored and blessed to have been able to work with extremely talented make up artists, photographers, designers, and writers that have made this issue of NYChic the best yet! I’ve gained so much insight from this past semester and have rigorously honed my editor-in-chief skills so that every subsequent issue will be more exciting and innovative than the last. In my opinion, fashion has become rather stale in the past few years, but from what I’ve seen there’s a new crop of artistic talent and they’re ready to voraciously tear the conservative edge off fashion and bring innovation and raw creativity back to the industry. I would like to thank my co-editor and mentor Andrea Ng for sharing my vision and passion for edge and innovation, and supporting me when I find myself on shaky ground— and of course, all of you for being fierce and fabulous! XOXO, Tina Liu Co-Editor in Chief Hurdle after hurdle, the end seems near but yet more obstacles are thrown at us. It seems as if Anna Wintour, Editor-in-Chief God, is out there making sure that endless obstacles are constantly thrown at all the wannabes in order to make them breathe, sweat, and live their magazine. Each issue, we hope to outdo the previous one and this issue, we have definitely exceeded our expectations. However, being perfectionists, our team will never be satisfied. Special thanks to my other half, Tina Liu, for always being on the same page and keeping up with the pace and many thanks to the NYChic Design Team for being so creatively innovative and working so efficiently in such a short period of time. Stay tuned! The best has yet to come! Andrea Ng Co Editor-in-Chief
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Photos courtesy of The Museum at the Fashion Institute of Technology, New York
By
Allison
f you haven’t visited American Beauty: Aesthetics and Innovation in Fashion, an exhibition being held at the Museum at FIT, it should be added to your agenda. The event is an enchanting display of America’s finest works of fashion. Masterfully selected and arranged by the Deputy Director of the museum, Patricia Mears, the pieces – 75 in total – illustrate America’s contributions to the world of fashion; they show a juxtaposition of old and new, classic and innovative. France and Italy are the countries that come to mind when thinking of pioneers in fashion, but this exhibition displays America’s own tremendous contributions. “If there were a single word to describe American fashion, it would be ‘functional’,” states an introductory plaque. American fashion undoubtedly found its roots with Europe (that is, more specifically France). Nevertheless, in their designs, Pauline Trigére and James Galanos displayed a fundamental element of American fashion – “ready-to-wear garments that fuse quality with accessibility” – which would help pave the way for a style all its own: the American style. This mix of “quality with accessibility” is seen with the “hybrid garment.” America took London’s masculine tradition of tailoring and melded it with the feminine, haute couture tradition of dressmaking, resulting in one its
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greatest contributions to the fashion world. The exhibition’s area for mitering, an innovative technique used by American designers to blend dressmaking and tailoring, particularly stood out due to its striking, geometric prints. Other sections not to be missed are the Geometries section – which displayed works by Maria Cornejo and Halston – and the Embellishment section, which illustrated the daringly avant-garde designs of Rodarte. Touring through the exhibition, certain looks such as the shimmering grey satin gown by Ralph Rucci, the boldly patterned cloqué dress and coat by Pauline Trigére, and the American Beauty Rose Dress – which coincidentally bears the same name as the exhibition – by Halston, are immediate eye-catchers. Also on display are pieces by one of the world’s best known tailors, Thom Browne, and film noir-esque women’s dress suits from the 1940s, designed by Gilbert Adrian. If the stunning visual display and accompanying informational plaques aren’t enough to satisfy your fashion palate, a video will be playing in the entrance room. The video – shot in black and white – presents comments by Patricia Mears and several of the featured 25 American designers being displayed in the exhibition, giving a miniature tour of the place. The video can be found on www.yoox.com/FIT. 3
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Need I
By
Kelsie
It
Want
It
Pelletier
A Parsons Exhibit Traces the Evolution of Workwear
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t first glance, the Workwear exhibit presented by the Parsons MFA Fashion Design and Society is underwhelming. At second and third glance, too. The exhibit consists of eight installations by designers, artists, and directors. The word “workwear” calls to mind images of young professionals, chic in their fitted suits and stilettoed heels. Garment district and Midtown types who work in high-rise buildings and bring home six-figure salaries. The exhibit, however, focuses on the more literal use of the word. Undercover police officers’ XXL t-shirts are displayed in museum cases, and New York City’s white collar workers’ distinct uniforms are showcased in Shelley Fox’s Office, 2010. Utility is stressed, in the exhibit’s message that one’s job defines one’s sartorial choices. This is showcased most strongly in a “utility suit,” which was a collaboration between Norton & Sons and Jeremy Deller. The jumpsuit is a rugged khaki, belted high on the waist with beige, utilitarian buttons up the front. Patches adorn the shoulders and cascade down one thigh, patches that proclaim slogans like “lone star council.” Deller says he wanted to create a “hardwearing outfit that was practical
and gave the impression that I looked like I knew what I was doing on my travels through the Southern United States.” However, by looking at this piece the fashion aspect of Parsons’ exhibition begins to emerge. The jumpsuit is impeccably tailored, fits the mannequin like a glove, and wouldn’t look out of place on any of the adventurous fashion mavens of the Lower East Side. Workwear seems to be tracing the evolution of fashion from a necessity to a deliberate choice, a choice that is no longer singularly defined by one’s profession. To reinforce this transition, Donna Karan’s video installation A System of Dressing translates white-collar workwear into her high-fashion runway aesthetic. Karan harnesses the colors of the pavements of New York and infuses her basics with “fashion drama.” She emphasizes that her workwear is “all so simple and all about the woman.” In her tailoring, she calls to mind the structure of the utility suit. However, in her accessorizing choices, Karan injects a “strong, sophisticated, and powerful” feminine sensibility. From need to desire, Workwear provides a comprehensive examination of the evolution of fashion. Though the exhibit may appear underwhelming
at first, it is in its subtleties that the workmanship of the craft of construction shines through.
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Designer: Posture Magnetic
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umping on the environmentally friendly bandwagon, Gallatin organized its first ever Eco-Fashion week. For three days from January 25th to January 27th, the Gallatin School of Individualized Study hosted an exciting mélange of events running the gamut from informative lectures to dynamic discussions to most importantly, a fashion show featuring “green” designs by Gallatin alumni and current students.
n i t a l l Goaes Green
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The terms “eco-friendly”, “green” and “sustainable” have recently become as much a part of our fashion vocabularies as Louboutin’s and Kate Moss. But what does all this really mean? The aim of Gallatin’s eco fashion week was to take research conducted by the Gallatin community and educate NYU’s fashionable student body on environmentally and socially responsible fashion. The look book for the show was shot at New York City’s first eco-friendly night
By Alix Turoff Photographed by Rebecca Yale
club, Greenhouse. Built from recycled materials and with an environmentally conscious construction and design, this Soho hot-spot provided the perfect backdrop for Gallatin student Rebecca Yale’s photo shoot. The photos can be seen on her blog, “Tourist in Reality” (http://www.rebeccayale. com/2010/01/gallatin-eco-fashion-week2010.html). The week commenced with a panel discussion called “Eco Chic: Art Representation & Green Living”. The next day was occupied
by a the “Gallatin Galleries Exhibit” which featured eco-inspired art work by Gallatin students, more discussions and a fashion workshop aimed at teaching students how to work with sustainable materials. The final day brought a fashion workshop for aspiring designers interested in sketching as well as one focused on the “up-cycling” of accessories which is the process of taking waste materials and making them into products of a better quality. The day ended with the “Haute Eco-uture” fashion show. The fashion industry is no stranger to ecofriendly fashions and everyone wants a piece of the action. A recessionista favorite, H&M, is debuting their first organic collection this Spring using materials like organic cotton, linen and recycled polyester. Environmentally friendly veteran, Rogan Gregory of Loomstate designed an environmentally conscious collection for Target last April, merging wallet friendly prices with 100% certified organic apparel.
Model Lauren Bush is also on board with the social consciousness trend. The goal of her company “FEED Project” is to provide food for hungry children through the sales of their 100% organic cotton and natural burlap bags which are created in certified fair labor facilities. NYU favorite, American Apparel has come out with “the sustainable edition” which is a selection of some of their most popular styles in 100% certified organic cotton. Their plan is to eventually integrate organic cotton into every American Apparel garment and are constantly looking for new ways to lessen the negative impact of cotton cultivation. Clearly, environmentally conscious fashion is no longer just for your crunchy friends who sip fair trade coffee at Think Coffee while donning Birkenstocks. Fashion is moving toward an increased awareness of the environment and leave it to NYU to be among the first to join the trend.
Designers: Amia Yokoyama (left); Posture Magnetic (right)
THE UNIFORM PROJECT By Elaine Lee Photo Credit Sheena Matheiken www.theuniformproject.com
Well, seven identical dresses, anyway. Sheena Matheiken, the creative director at an interactive ad agency in NYC, has pledged to wear the same little black dress every day for 365 days. She just had her friend, Eliza Starbuck, make seven identical ones for every day of the week so that she wouldn’t have to go through laundry every night. Early last year, Sheena sparked an idea to challenge herself creatively, while getting involved for something of importance. Recreating the outfit every time with recycled or donated accessories, she seeks to push the limits of sustainability in fashion 7
with some flare. To add to the challenge, she is raising money on her online blog to donate to the Akanksha Foundation, a grassroots, non-profit organization dedicated to providing education for underprivileged children in India. She calls this the Uniform Project. “I knew I wanted something of consequence, something that mattered. ‘Cause without that, it would just be another Look-at-Me exercise and narcissism. Nothing wrong with that, but there’s plenty of that on the web already.” Recalling her schooling days in India, Sheena named this the Uniform Project
because her and her peers could only exude personal taste with accessories, and subtle adjustments to their public school uniform. Only this time, the accessories are coming from participating designers, avid fans, vintage boutiques, and eBay. Day 1, May 1st 2009, started out with simple, black wool tights, and booties. Then, experimenting with splashes of color and unusual – often DIY – accessories (like shipping package wraps, handmade silk headscarves, duct tape, and stockings made into rosettes), Sheena began churning out everything from the whimsical ballerina ensemble, a retro-inspired 60s girl’s outfit, to a dramatic haute couture-esque garb, and even a funky costume for the Coney Island Mermaid Parade. Undoubtedly, what is most amazing is Sheena and her supporters’ ideology of making this happen with pure recyclables, and eco-friendly products. Not only is Sheena pushing the limits to how far one can go with one simple accessory or dress, she is also
encouraging her followers to learn how to save money and the environment. The money raised so far, close to $55,000, is well on its way to supporting more than 150 children in the slums of India to receive a holistic education. This past January, Sheena even visited Pune, India, to meet some of the kids who have been able to enroll in schools funded by the Akanksha Foundation. The best part is, there is still three more months to go until Sheena reaches Day 365 to raise even more money and craft even more gloriously experimental fashion. To follow Sheena on her blog or donate to the Uniform Project, visit www.theuniformproject.com. The official website for the Akanksha Foundation is www.akanksha. org.
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The Evolution of the Floral by May Wang
Many runway trends are as fleeting as a last hookup—you’re obsessed for a few days before you decide that it no longer looks good on you. Prints are especially dangerous waters to tread—what happened to the tie-dyes and argyles of yester-seasons? Or polka-dots, always fluctuating in and out of fashion?
One day, you may look like a total trendsetter and the next, in the same garment, youÕ re archaic. But there is one pattern that always seems to escape the fate of being out of fashion. One pattern that always seems to get it right, and has always been forecasted as in-trend season after season, changing a little bit every time along the way. And that would be the floral. Yes, floral is a trend that doesn’t seem to go away. You could call it the mother of all patterns, in fact, since it really has been a pattern that has been around since our motherÕ s timeÑ our grandmother’s time, even. The floral of the olden days was often tapestry-like, embroidered on carpet bags and corsets that are still very much coveted in the vintage world today. They were also printed on silk and a variety of other feminine fabrics, once again back in fashion despite all granny-backlash, as re-interpreted by vintage retailer Noir Ohio. One of the most recognizable floral prints in the fashion world has itÕ s own nameÑt he liberty floral, dating back as early as the 30s and 40s. It’s tiny, delicate flowers in an arrangement of pastels were elegant, girly, and the exemplification of good taste. The print is still largely interpreted and incorporated into ready-to-wear today, like these modern Topshop shorts. Likewise, floral was an important print during the hippie movement of the 70s, inspired by the love of nature and peace. Girls wore daisy chains about their heads and sang along to rock songs at
Woodstock, and nostalgia for this age of love is reflected in D&G’s spring 08 ready-to-wear line . Moving forward a little bit, who could forget the jewel of the 90s, the close cousin of the floral, the Hawaiian print? Believe it or not, the Hawaiian print has influenced a lot of jet set, resort floral. Designer Betsey Johnson, definitely one of floral’s strongest advocators, re-invents the Hawaiian in a sexy, contemporary satin slip dress, and Tommy Hilfiger goes the preppy route with a red and white tropical print. The 21st century is an even more exciting age for florals, with new, more daring prints popping up, like the bold photographic floral series from Topshop that debuted spring of 09, or in contrast, the more understated, sophisticated floral dresses from brands such as Lover that still keep in line with the minimalist aesthetic. No matter what, nothing can take away from the sheer prettiness and girliness of the floral—the delight in how it brings us back to a certain simpler, happier timeÑe ven if we have no memories of jumping about in a field of daisies in our youth. Floral has a way of highlighting a womanÕ s best features and giving a soft, fresh beauty to her appearance. And that is why it is one trend that will never fade into oblivion.
Photo Credit: Kimchi and Blue April Dress Urban Outfitters; Modern Floral Playsuit Pixie Market ;D&G Spring 08 Return to Hippie; Betsey Johnson Hawaiian Floral
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S/S
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2010
Illustrations by Ariel Zucker-Brull
NudesÑ
Haider Ackermann
Isaac Mizraah
Collette Dinigan
Lingerie as OuterwearÑ
Mixed PatternsÑ
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Balmain
Lanvin
Dressing Up T-shirtsÑ
DraperyÑ
kente
dreams of W
hen I was notified about my interview for an internship at Hemma, it was only one hour from the designated time. In that one hour, I changed, got lost, ripped a map apart, took the subway, and finally arrived at 146th street, where Hemma’s showroom was located. In the midst of the flurry, I mentally rehearsed answers to generic interview questions, as well as contingent reasons to explain my lateness. I also tried to recollect what I had read about the brand – an independent fashion line that uses Kente, a fabric used by the royalty in 17th-century Ghana. So when I managed to reach the showroom on time, I felt that I had probably exhausted all my luck for the day. But as I opened the door with a key that Edna Bissoon – one of Hemma’s designers – had thrown out of the window, I was already starting to see that my prior apprehension might have been unneces13 sary. Indeed, when I finally met my would-be
by Justina Lee
bosses in person, I understood what the ad meant when it emphasized a “warm, friendly, and professional working environment.” The two designers, Edna and Cindy Gaston, were both very genial and talkative. Besides, there was also the almostcreepy connection that we discovered during the interview. Not only are both designers recent NYU alums (they graduated from CAS in 2008), Edna also found out that she had lived – during her freshman year – in the exact same room I am now living in (we later confirmed that we were at least on different beds). FROM GREENWICH TO GHANA The subject turned to that room again as the two best friends recollected how they first met each other. “Was it when you first came over to my room?” An unsure Edna turns to her partner for confirmation. The story that later
emerged even seemed to be a hint of their now intertwined fashionable lives when they began modeling together for FBA. “She would always stand behind me ‘cause we were arranged according to our sizes. We would help each other,” Edna recalled. “Not many people would,” Cindy added. “People were catty even at that level.” Off the runway, both designers chose completely fashion-unrelated majors: Edna majored in History while Cindy picked Africana Studies and Philosophy. Despite their academic choices, in retrospect, they could see their NYU selves as budding designers already. Both of them would alter their own clothes to suit their styles. Cindy, who had a sewing machine even back in her NYU days, said, “A lot of the things offered [in stores] were not my style. So I altered them myself.” Fashion was their creative outlet, but was never a definite career path. It was their Study Abroad experience together in their junior year that turned them from two fashion-savvy students amongst many others, to two designers with their own brand. And this life-changing location was not Paris, London or even New York – it was Ghana. In Ghana, they came across Kente, an intricately hand-woven fabric now used in all of Hemma’s designs. There, Cindy and Edna began making their own clothes with Kente, and when they returned to New York, they found that their products of a mere hobby were hotter than they had thought. “People were like: ‘Whoa!’ They hadn’t seen anything like it,” Cindy recounted. “It was something that just came out organically with…the realization that there was a market that had not been tapped. We might as well fill that void and have fun while doing it.” And so Hemma began. On June 8, 2008 (it was obvious as Edna casually blurted out the date that neither designer
would ever forget it – ten years later, it could be the day of their anniversary!), they had their first meeting in Think Coffee (another coincidence: I had just been there a few weeks ago), where they threw out all their ideas and decided to realize the lofty dream of starting their own fashion line. GHANIAN DREAMS The first step the new designers took was to defer their admittance to Columbia – Cindy for law school and Edna for medical school. As they then dove into the cutthroat competition of the fashion industry, they began to define exactly what sort of a brand Hemma would be. Indeed, it was never only about luxury or market share. Its mission – both in terms of design and charity – takes us back to the subject of Ghana, where the Kente used in Hemma’s designs is hand-woven by locals even until today. When I brought up the obvious concerns of time and money, Cindy explained, ““[It is crucial that we are upholding] that history and that tradition and showing everyone outside of Ghana what Kente is really about.” It is no wonder that when I wound up the interview by asking what their wildest dreams for Hemma are, “Ghana” was the buzzword. Cindy began by describing the Hemma empire she dreams of: womenswear, menswear, children wear, jewelry – in short, a lifestyle brand that embodies African luxury. But the designers’ ambitions are beyond that. “Another daydream of ours is to change the psychology of society at large, erase the stigma that exists about products that come out of Africa, and really make people proud of products that come from the continent,” Edna said. “Even if it’s not your immediate tradition, it’s still a piece of art to be valued.” 14
+A Ameet the designers
By Valerie Chan
You would have to live under a fairly large rock to deny the fact that our economy has been just slightly off kilter for the last couple of years. Recession is the new black, and heavy hitters from all corners of the fashion industry have been affected by this not-so-cute economic kink.
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From Lacroix to Luella, fashion goliaths from all across the luxury spectrum have been struck down due to lack of funding. If you think it’s hard for major fashion houses in this economy, think about how hard it must be for new designers in this day and age.
Those who dare attempt to launch a new label under the recession need to possess a few things: raw talent in their trade, intense passion for what they do, a little bit of luck, and a massive amount of courage. Thank-
fully, both Andrew Lane and Andres Gonzalez of +AA(pronounced Plus AA Negative, or just “Double A” for short), have these traits in the bag. Originally from California and Puerto Rico respectively, the duo met ten years ago while still students at FIT. The two instantly became friends and have been inseparable since. After graduation, Andres went back to his Puerto Rico, where he worked as an eveningwear designer, creating one-of-a-kind creations for clients. Andrew meanwhile went straight to work as a lingerie designer for brands such as Narciso Rodriguez and Vera Wang. Lane ultimately landed the position of head designer of Vera Wang’s lingerie department, “I needed a right hand man, and [our aesthetics and ideals matched up so well] that I knew that I had to call Andres up.” The two worked for a while at Vera Wang, and then moved to Donna Karan lingerie together. But then the recession hit, and by February 2009 the whole lingerie department at Donna Karan unfortunately got the pink slip. “It was twenty-two people, from the interns to the pattern-makers to the seamstresses. The whole division was cut…” says Lane. So what is a pair of unemployed designers to do in a recession? Why, start a label of course.
ItÕ s not the conventional or reasonable thing to do, launching a brand from scratch in the midst of a bad economy; however, there is some weird counterintuitive logic behind the twoÕ s seemingly illogical behavior. “No one wants to [start a new brand] when times
are bad…so maybe we’re launching at the perfect time.” Andrew explains. “It can go either way, but it can’t hurt to try.” Andres assures. +AA-‘s spring/summer collection for 2010 definitely does not reflect the hardships that the two went through
these past couple of months. The collection is soft, feminine and almost dream-like, all so without being effusively girly. Says Andrew of the two’s overall aesthetic “We are similar in overall style, but I would have to say that Andres is a bit more eccentric, it’s the Spanish in him…he has that evening-couture feel, and I’m a bit more minimal. We both love good fabric and good color.” The collection mirrors the designers’ style to a T, a seamless mesh between Andrew’s minimalism and Andres’ eccentricity. Only the best materials are used: luxurious silks, soft chiffons and intricate laces are prevalent in all the pieces. The clothes all seem simple, but look closer and you’ll find traces of the designers’ influences in high-end lingerie: a little pin-tucking here, some tiny accordion pleats there. “There are a lot of those lost techniques [from lingerie] that are starting to go back into ready-to-wear now.” And with a price point hovering between $250-$350 per piece, the design duo are definitely designing with the average girl in mind.
Ò WeÕ re creating these clothes with the cosmopolitan girl in mind, the girl who has a fierce eye for style but doesnÕ t necessarily have the means to afford a $5,000 jacket.Ó
The designers have big plans for +AA- in the future. However, though they are extremely optimistic, the two remain starkly realistic “We’re unemployed, we’re pulling this out of our ass…it’s like, okay another pasta and tomato dinner for us because we have to pay for that [bolt of chiffon]…It has been a hard year for us…we’re definitely sacrificing.” However, even in this bleak present, there is no doubt that +AA- has an extremely bright future. Little by little, the pieces are falling together for the label. The fledgling brand already has already sparked interest from boutiques around the Manhattan area, and a few have already gained enough confidence in the label to starting placing orders. “When I go back to my baby book, everything that I did from six months old to three years old had to do with fashion…” says Andrew “This is the first time that we’re really living our dream.” “We’re doing what we love, which is great,” Andres follows, “It’s tough working in the bad economy because everything goes so slowly and [everything is so risky], but there is a good side, because people are always hungry for something new, even when times are tough.” From what we can see from the collection so far, our appetites are definitely whetted for the official launch of +AA-. We are sure the fashion masses will agree. 16
SUPERTRASH IS ANYTHING BUT by Delaney Butler
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ew York’s latest European transplant has hit the fashion scene and stolen the hearts of fashion mavens. Olcay Gulsen is the creative force behind Supertrash, a brand that garnered immense praise for its Autumn/Winter collection at Amsterdam International Fashion Week at the end of January. Supertrash is a collaborative effort between Olcay and her sister, but there’s no sibling rivalry here. In fact, Olcay says that working together is “the best fun ever!” and that the two are “so the same…so that makes working together so much easier.” The line was inspired by one of history’s earliest and most notable fashionistas: Queen Cleopatra. One can imagine that the celebrated and notorious queen would be extremely proud to serve as the inspiration for such a fearless collection. She would presumably also identify with the idea that the collection was based on this one thought: “Dare to show yourself.” Olcay’s inspiration for her clothing, however, can come from almost anywhere. When beginning a new line she said “I start by travelling a lot to empty my mind and just sit outside looking at the
crowd, visiting museums, going to new spots. Then I come back to my studio and print out all the pictures I made whilst travelling. Then I start sketching my first ideas. Funny enough I always end up making the concept of the collection with my first sketches.” Clearly Olcay’s habit of trusting her initial instincts has worked well so far. At a recent press breakfast, I had the chance to meet Olcay and learn the story of this exciting new line, and the exciting woman behind it. Given the early hour, and the blizzard picking up speed on the streets below, the turnout of industry insiders was a testament to the brand’s potential. While the recent runway show played on a large projector, the clothes came to life as models gathered for photographs. It was against this backdrop of excitement that the story of the brand began to unfold. Barred from attending design school by her parents, Olcay initially attended business school in the Netherlands, but never gave up on her dream of becoming a designer. Upon graduating, she took her knowledge of business and began living her dream. At only 29 years old, she is the owner and creative director of Supertrash. When asked about coming to New York from Europe, Olcay
responded with refreshing honesty: “I don’t want to say people in Europe dress better, but I mean…they do.” Coming to an entirely new city in a new country can be a bit of culture shock, but Olcay seems to appreciate the contrast of the two cities. She feels that “the biggest difference between New York and Amsterdam is that NY is the city that really has a constant buzz and huge creativity, if you walk on the streets you get inspired constantly, Amsterdam is more laid back and edgy in a alternative kind of way.” Olcay was candid and insightful, and even amidst the rush of photographers, models, editors, and stylists all buzzing around the room, she never seemed distracted or overwhelmed. Following the trend of stores like H&M, Supertrash launched a magazine to complement their clothing. The synonymous magazine is an example of the way with which a fashion brand needs to cover all aspects of life in order to be successful. Making beautiful clothing is no longer enough (although it is an excellent starting point). The culture of the clothing and the people who wear it, are just
Designer of Supertrash, Olcay Gulsen (top); Supertrash Fall 2010 collection (right) (photos courtesy of WWD.com)
as important as the technical choices that go into creating a collection. The celebratory first issue of Supertrash Magazine highlights the hottest emerging trends in art, music, food, beauty, and social life around the world. This issue’s cover girl, British singer Pixie Lott, was an obvious choice to represent the brand: young, multi-talented, passionate, and devastatingly hip. When asked who she would want to where her clothes in the future, Olcay responded with “Rihanna or Gaga. I think both of them are true style icons on a complete other level than any other performers/artists.” Although this is only the beginning for Supertrash, Olcay is already thinking about the future. Her “ultimate dream is to open flagship stores in every big city in the World so people can really understand the DNA of our lifestyle.” With an unstoppable creative team and a burgeoning international fan base, there is no limit to where Supertrash can go. The fashion world will continue to watch this up-and-coming brand on its rise to notoriety.
loveDBM by Eunsan Huh
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elissa Wong is the bubbly eighteen-year-old designer behind LoveDBM, a cheeky contemporary jewelry line based in Miami and New York City. Together with her younger sister Alexis, she designs, produces, and promotes LoveDBM, all while being a freshman pre-med student at New York University. elissa has loved fashion and jewelry all her life. In fact, the business license for Misa Inc., the company behind LoveDBM, was purchased by her parents as a birthday present when Melissa was only thirteen years old. Since then, she has been designing and creating her own jewelry. In 2010, she established
M
the LoveDBM brand. Ò
LoveDBM is a mix of the natural, bohemian vibes of Miami and the fast-paced, urban vibes of New York,Ó she explained. Melissa uses materials like wood, playful
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gold and silver charms, as well as sparkling beads, to fuse the spirits of the seemingly bipolar cities. Each piece is handmade by Melissa, and she donates a portion of the proceeds from every item to Saint Jude Children’s Research Hospital. Currently, LoveDBM offers a variety of
bracelets, but Melissa plans on expanding the brand to include necklaces in the near future. oveDBM has been an instant hit among fashionistas, and has even caught the eye of celebrities. Fans of Melissa include Ms. Miley Cyrus herself. Miley has been spotted wearing the LoveDBM Buddha bracelet in LA, New York, and even across the pond in England and Scotland at various media events. n top of being a student and entrepreneur, Melissa is also an avid dancer and a member of a dance team at New York University. So how does she balance a social life, dancing, school work, and running her own business? “Sometimes it gets tough,” she revealed, “I will have to study for a midterm or write a paper even though the order has to get out the next day.” The key is in time management and passion for your craft.
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Ò To me, making jewelry is fun Ð I wouldnÕ t be able to do this if I didnÕ t love it,Ó she revealed.
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ou can check out LoveDBM at Melissa’s Etsy shop at www.loveDBM.etsy.com. Don’t forget to follow her on Twitter (/LoveDBM) and on Facebook (/LoveDBM).
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THE NEW CANVAS Photographed by Hannah Khymych Make-up by Casi Reali & John Waldron III Hair by Casi Reali Modelled by Catherine Frances Scott & Leah Barton Art Direction by Andrea Ng & Tina Liu
Tomas Sarceno. Galaxy Forming along Filaments, like Droplets along the Strands of a SpiderÕ s Web, 2008. Make-up artist: Casi Reali
Guggenheim Bilboa. Bilboa, Spain. 1997.
Make-up artist: John Waldron
Cai Guo-Qiang. Inopportune: Stage One. 2004
Make-up artist: John Walkdron
Jackson Pollock. Number 1. 1950
Make-up artist: Casi Reali
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THE REBEL Photographed by Yoni Goldberg Styled by Andrea Ng Hair and Make-up by Jina and Carol at JAC Model: Anna Kiefer
Blouse|ÊZar a Dress|Ê+AA-,Ê$1200 Bag|ÊBal enciaga BootsÊan dÊBe lt|ÊS tylistÕ sÊ own 29
Leotard| Silence + Noise, $48 Leggings| Eryn Brinie, $55 Scarf| Alexander McQueen, $265 Boots and Necklace| Stylist’s own
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Leotard|ÊS ilenceÊ+ÊN oise,Ê$28 FurÊV est|ÊS ly Headband|ÊJ enniferÊBe hr,Ê$228
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Dress| Topshop, $80 Slip| +AA-, $350
Dress| Topshop, $80 Slip| +AA-, $350
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Bustier| Topshop, $40 Bracelets| loveDBM, $30 each Headpiece| Jennifer Behr, $525 Tulle| Stylist’s own
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Tank| Topshop, $20 Top| La Senza Trenchcoat| Eryn Brinie, $215
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The Black Widow
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C Le hiff H at on G air her Dr Th arte Fas Bu ess ig r B cin sti To h e H elt ato r Z psh ig H r oe op h & Ka H , $ St M ra o 9 oc , n 0 ki $1 Sta g, $ r ng 5 z, 4 sR $4 00 0 ick y’s N YC ,$ 9
On Scott: Suit Dior Homme, Price Upon Request Glasses Model’s Own On Rebecca: Trench Coat Eryn Brinie, $200 Ruched Cream Dress Topshop, $80 Midnight Premiere Hair Fascinator It’s the Little Things, $65
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h ig et Th ck 15 Ja ow , $ 00 e B n M $4 ic w & ng, icor ’s O e m lt H o L list om Be oe H lack , sty r H er Z B le io rt er 5 o D Ga sti , $6 th C u e t: ot 30 B pl ne Sc 0 9 a en n $1 , $ M K O HI, YC & ves N th o s P ’s gh Gl oe ky Ei 0 Sh ic ce $3 a: s R la s, cc ng ck ing be ki e Re oc 0 N Th n St 5 tle O gh , $ Lit i e H &M s th H It’
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Corset Bebe, $80 Garter Belt H&M, $15 Louise Brooks Feather Clip Deanna DiBene, $26
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the girl
who did a gazillion
internships
by Justina Lee
A
t the staff meeting that hatched this article, Donna Kim was referred to as the girl who did Ò a gazillion internships.Ó When I finally met her in person and busily typed up the list of internships she had acquired, it was evident that although “a gazillion” might be hyperbolic, her rŽ sumŽ is nothing short of her reputation. Her experience includes magazines (Elle, at which she is currently an intern and Shape Magazine), TV stations (WCBS News, Entertainment Tonight), a website (poshglam.com) and public rela42
tions (Zing Public Relations). Not to lay it on too heavily, but it certainly musn’t be forgotten that in addition to all of her internships, she is also the Beauty Director of NYChic. A 22-year-old Media, Culture and Communications major, Donna is clearly ahead of the game. But she still remembers where it all began – paradoxically, a sartorially restrictive Catholic school she had attended. “I consider myself artistic in many ways, and I think I had a knack for clothes. I think that when you’re kind of confined,
when you’re restricted, you have more imagination. So that sparked my interest in fashion.Ó That interest led to her first internship, which took place during the summer before she began her sophomore year. The internship was with Zing Public Relations, where she discovered her Ò knack for media, culture and fashion.Ó But at the same time, it was also there that she confirmed that public relations was not her cup of tea. This element of self-discovery, she stresses, is embedded in the experience. Ò One part of an internship is learning what you want to do and what you don’t want to do.” Such self-discovery stems from the fact that hands-on experiences can paint a picture that is often quite different from the glamorous and effortless one seen by an outsider. Donna’s biggest surprise about the fashion industry is the process of production that she witnessed first-hand as an intern at fashion companies. “When you’re watching TV or watching a fashion show, you don’t think about [how] it comes to that. [I was like:] wow, [look at] how much work went into a five-minute fashion show, or a one-page layout of a magazine.Ó The realities of her internship brought her not only such practical realizations, but also her most unexpected and perhaps also most glamorous task as an intern: modeling. Her superiors at Shape Magazine knew that she was interested in acting and modeling, and gave her opportunities to tap into her unexplored potential. But it was not her brief modeling stint that she was most proud of. For WCBS TV, she was given her own
M O R F TIPES MASTER TH
#1 You don’t have to ask questions.
“I’ll just be like, ‘When do I expect to hear from?’ I don’t ask anything specific about their company. What I noticed about the fashion industry is that they just want to do things quickly. I know the urgency of the company. It’s about you – not the company.”
#2 Always follow up.
Ò Within two hours of the interview, send an email. Say that ‘it was great to meet you,’ ‘thank you for the time,’ ‘if you need any more information please let me know.’ If you don’t hear from them within two weeks, you can ask again. Don’t be worried about being persistent and needy. The worst you can hear is ‘we’re not interested.’ ”
#3 Prepare for tough questions. Ò The hardest question I was ever asked was: ‘What would you say was your biggest mistake in your [past] internships?’ If there’s any question you should prepare for, it’s that one.”
#4 Be yourself.
“…but don’t be goofy. Show a bit of your personality, but don’t act like you’re talking to your best girlfriend. Think from [the interviewer’s] shoes.Ó
#5 Bring what you need.
Ò Bring a black folder. On one side, put a rŽ sumŽ Ð or more, since there might be a panel Ð a nd a cover letter directed to that company.”
#6 Dress to impress.
Ò Wear all black. A pencil skirt, a nice blazer, pantyhose, heels – look professional even if it’s a high fashion place. You can have fun with your wardrobe later. It’s about your intelligence and willingness to work, not your fashion sense.”
#7 Think of what to say.
Before the interview, “look at your résumé and mentally write down what your best traits and skills are. Even if you’ve never done anything, name-drop some designers or stylists who’ve inspired you.”
#8 Be confident.
“Remind yourself that these people already see that you’re qualified. That’s flattering. They only want to know more about you.”
#9 Bottom line: don’t feel dejected when you’re rejected.
“You never know what they’re expecting. Don’t take it personally. Maybe there was someone more heavily connected, or maybe they just didn’t need an intern anymore. Just keep on applying everywhere.”
blog on their official website, where she wrote about young entrepreneurs in New York City. “I loved that freedom – you know – that creative freedom… They didn’t even have a fashion or beauty section on their website, but they knew that was what I was good at, so I wrote about that.Ó Such trust in an intern takes time to build, our intern expert reminds us, and interns should be mindful of the timing before they begin to assert themselves. So when is the right time to express an opinion? “Don’t do it right away,” Donna explained. “You’ll know when they know your opinion. [Tell them] when they ask for it. Don’t be overpowering.Ó So if outspokenness is not a top intern’s key ingredient, what is? “Work hard. Don’t be a brat. Don’t complain. Suck it up. Do your work. You signed up for this. Just keep on working and you’ll see. Even if your entire internship sucked, [one day] you’ll look back and see something goodÉH ard work takes you places. Patience takes you places.” So where does Donna want her perseverance and diligence to take her? She dreams of being a TV personality, a style expert, and founding an organization dedicated to improving the selfimage of young girls. Needless to say, she is not the kind to indulge in fancy daydreams while slouching on a couch. She is already publicizing her thoughts on fashion on twitter (www.twitter.com/ donnadaily) and planning her own personal website (www.donnadaily.com). And I have a hunch that Donna will be a tastemaker beyond the blogosphere.
44
on
t is exactly 6:58pm and I’m wandering around the 6th floor of Kimmel, hopelessly lost. The goal: to seek out the elusive room 609, where guest speaker Camila Hori of Bluefly.com is hosting a Q&A session. After circling the floor twice I finally give up and surrender myself to the information desk, where the man subsequently tells me that room 609 is actually a broom closet. The room I seek is actually 906. ursing my mild bout of dyslexia, I run up to the 9th floor as fast as my platform Emma Cook boots will allow me. The meeting had begun exactly four minutes ago, a meeting I was supposed to cover for NYChic (and a meeting I was supposed to be on time for). Now on the 9th floor, I mutter obscenities to myself as I pass room 904…905…and finally!— Room 906. As I reach for the handle, I feel the usual palpitations threaten to rupture my ribcage. I can see the scene unfolding in my head: I would try to walk into the room inconspicuously (with no success), unfashionably and shamefully late. Camila, no doubt a Brazilian glamazon of the Devil Wears Prada-type, would stop mid-sentence at the sight of me skulking in. She would glare at me for having the audacity to be so rudely late. t was 7:09 when I finally decided to suck it up and go inside. I held my breath, anticipating a wave of shame that, surprisingly, never came. Camila did not stop talking. She did, however, smile and acknowledge my presence
as I walked into the room. I found my seat, and the meeting went on. I was unscathed. s. Hori is very much the paragon of the modern woman. She is intimidatingly stylish, extremely ambitious, and incredibly successful. As the creative director of a little site called Bluefly.com, she holds artistic control over the entire site, doing everything from photo shoots to upholding the overall “image” of the company. Though Bluefly has, in recent years, become kind of a big deal thanks to an extremely aggressive marketing campaign (ie. sponsoring big-name television shows such as Project Runway and Gossip Girl), Ms. Hori maintains that the entire Bluefly operation is in actuality relatively small. hough small in manpower, Bluefly boasts incredibly impressive numbers, having reported gross profits of $35.5 million in 2008. According to Ms. Hori, the designer discount site can call luxury retail powerhouses such as Saks and Neiman Marcus its main competitors. Camila (visually) matched my preconceived notion of her to a T. She was indeed the ultra-glamorous fashion wunderkind that I had imagined her to be in my mind’s eye. Dressed sharply in a black blazer, pencil skirt, and fierce heels, the ex-Voguette oozed personal style and confidence. But there was something about Ms. Hori that I hadn’t expected: she was not standoffish, nor was she condescending. In fact, she seemed to be the exact antithesis of the typical— excuse my language—frigid bitch that the media generally portrays women working in fashion, and looked genuinely happy to be spending her Monday night answering questions about herself in a small room full of admiring college students. nd she did focus most of her talk on being “happy.” Starting out her career as an editor in Vogue Brazil, Ms. Hori had an extremely promising future in fashion from the start. “It was a very exclusive, very glamorous circle of people,” said Hori of the Vogue world “You get access to the top photographers, the top models that you probably would not have access to otherwise].” And though Ms. Hori had the job that she thought she most desired, she could not help but realize that she was not content. She found that she was working long hours every day. There were little to no vacation days, and she soon found that relationships with loved ones became strained. She also found that there was not enough space for her to grow professionally in the
company. Thus, Hori began to seriously re-evaluate her career plan while still in her mid twenties. Her decision to leave Vogue Brazil was a “scary and difficult decision” she said, “…but at the end of the day you have to ask yourself: am I happy?” idway through her talk, she slips in an extremely personal anecdote of her former boss and the late editor-in-chief of Vogue Brazil, Andrea Carta. Frequently named in columns as one of the most influential editors in all of Brazil, Carta was a powerful man with an even more powerful personality. Hori tells of how the late editor would review the magazine layouts mere days before the issue went to print, deeming certain spreads utterly unworthy of publication. “He would [pull the spreads] three days before the issue went into print, because he would think that it was not good enough for the magazine…he would then host these elaborate parties in his house full of top models, photographers and [people of the fashion industry], and [through this, he would] somehow create a new spread in three days. It was amazing.” Tragically, Carta decided to take his own life in 2003. “It shows you, [even if you are an important figure], like the editor-in-chief of Vogue Brazil, and you can’t be happy [then is it really worth it]?” hough many of her friends and colleagues viewed her leave from Vogue Brazil as a foolish move, in her heart she knew it was the right move for her. She is, however, in no way spiteful towards her time at the powerhouse publication, emphasizing that the time that she had at Vogue really gave her experiences in life no other company could have provided. “No matter how big or how small the company, what matters are the experiences you get out of them.” owadays, Camila says that she is extremely content with her job as creative director at Bluefly.com. Though she says she sometimes misses the artistic freedom she had working at a high-end publication like Vogue, she enjoys the managerial responsibilities that come from working as a creative director. Through her direction, Bluefly.com has been able to stand its own against tough new competitors, such as GiltGroup and Yoox. She left us with these words of wisdom: 46
Stop. Smell. Succumb.
By Gillian Wong The minute that you enter Kunjip, a Korean restaurant on 32nd street near Herald Square, you can smell the food. The line of people that waits inside is a testimony to the restaurant’s culinary delights. It is anything but quiet, and there is a mixture of languages making its way around the room. The wood that surrounds us gives the place a friendly ambiance. The fragrance that hangs in the air of that restaurant makes your stomach realize how empty it is. The gentle—and highly insistent!—aroma attracts you, and you are forced to stay in the restaurant until you try the food that you eventually order. You stop. You smell. You succumb. When the food arrived for me, I realized that surrender had been a good move. My friends and I had ordered the Sagol Haejang Guk (a mildly spicy stew with ox meat and blood in it), Goong Joong Dduk Boki (pan-fried Korean rice cakes with a mixture of vegetables and strips of beef ) and Daegu Jiri (a light stew with both codfish and vegetables). Both stews had come with rice, and a circle of side dishes completed the little array. Admittedly, my favorite dish of the three was the 47
pan-fried rice cakes. The sauce was sweet, but not overpowering, and the textures of the dish fitted well. Although the beef stew was wonderfully warm — and for the spice-wary, not too hot either! — the ox blood was a little too coarse for my taste. The codfish stew, on the other hand, seemed perfect for the exam-weary soul. Clear and simple in its taste, it seemed to be the Asian counterpart to the American chicken noodle soup. An ideal comfort food, I highly recommend it to anyone dropping dead on their feet (fashionista interns, this is you). Kunjip is, all in all, a great place for the fashionista to keep in mind. Perfect for informal gatherings with friends, it is also a good restaurant to take any need-to-impress acquaintances to. The best thing? The restaurant is open 24 hours a day — you can go and voluntarily surrender yourself whenever you wish! Other details (such as the menu) can be found at: http://www.kunjip.net/
Another little place, that has recently opened its doors, is slightly nearer to NYU. Spot Dessert Bar, a new café on St. Mark’s Place, is an innovative location with innovative desserts. Decorated with long dark bars of wood and a strip of mirror along its perimeter walls, it is a perfect place for friends to share and indulge in delights. Small candles are lined along the windows, for a nostalgic effect. We waited only a little while before a waitress came over and asked us what we wanted. A few minutes later, their “soft cheesecake, walnut, huckleberries,” and “yuzu, oreo” made its way to our corner. Beautifully presented in a glass tipped over onto its side, the cheesecake was light and fluffy, tinged with walnut crunch. Scooping deeper into the glass, we descended into a gradual progression of flavors: the mascarpone flirted with the slightly sour taste of passionfruit before building into the sweet taste of huckleberries and finishing off with the tart, mildly bitter burst of grapefruit we found hidden at the bottom. Their yuzu was just as good, if not better. With the pastel yellow contrasting against the deep dark brown of the Oreo, the yuzu washed our mouths with a light, but sharp, tangy taste. The strip of pressed, ground Oreo was perfect as a foil—sweet and crumbly, but not overpowering. Although newly opened, the bar already has quite a few customers crowding into its space. If you’re afraid to spend too much money on dessert, you can always try the cookies or the cupcakes, $1.25 for a cookie that competes with Insomnia’s in size. A wonderful experience and a must-go. What are you waiting for? Kunjip is on 9 W 32nd St. Tel: (212) 2169487. Spot Dessert Bar is on 13 St. Mark’s Place.
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CONTRIBUTORS Editor-in-ChiefÊ AndreaÊN g TinaÊLi uÊ NEWS nychic.news@gmail.com DabinaÊG imÊN ewsÊDi rector GillianÊW ongÊC opyÊC hief Writers DelaneyÊBut ler ValerieÊC han EunsanÊH uh ElaineÊLe e JustinaÊLe e AllisonÊLe u ShireenÊLe ung KelsieÊPe lletier AlixÊT uroff MayÊW ang GillianÊW ong DESIGNÊ nychic.design@gmail.com MiaÊY ooÊC reativeÊ Director ToddÊH anlonÊW ebmaster JustinaÊLe e AllisonÊLe u PRÊ nychic.pr@gmail.com DanielÊM cKinneyÊPRÊDi rector FrancescaÊd eÊF uso SamanthaÊK han