contributors EDITOR IN CHIEF // VINCENZO CALVI CREATIVE DIRECTOR // CRIS CORDERO MANAGING EDITOR // ELYSE DA SILVA DIRECTOR OF FINANCE // RICHARD ROMAN JR. PRODUCTION MANAGER // ROCIO ALQUATI SENIOR ART DIRECTOR // SERAPHIM OSIAKWAN COPY EDITORS
ART DIRECTORS
HALEY CASTUERA SAMANTHA KELLEY JENNA LAVIN FRANCES LOWN
CLEMENCE PLUCHE ALMAZ MESSGNA MICHELLE CHIU KATIE BARRY ERIN MCCARTHY CALVIN CHIN
WRITERS ARIANNA DAVIS EDEN MARCUS TIA GALLINARO OLIVIA SIMONSON
HAIR AND MAKEUP ANDRIANA TODOROVIC NIKO COHEN ZARAH KAVARANA
PHOTOGRAPHERS ANGELA FRANCIS NICKI GITTER CHRIS SANCHEZ FREEMAN WOOD HANNAH KIM SARAH SILBIGER ALENA ADAMS
STYLISTS HELEN PENA-SMICKER LINDSAY HIGGINS DAVID LOWE MICHAELA CARTER ALICE GAO WINDSOR WONG ELISSA FEIST ADELYNN BOYD CARLI SCHMIDT
ADVERTISING CHAIRS RACHEL PICKUS REA SOWAN REANNE VILLONGCO
EVENTS CHAIRS RACHAEL ANGELOFF JEMMA DOUGLAS SARAH ARCH
PUBLIC RELATIONS CHAIRS CRYSTAL HERMOND ALANA SCHWARTZ SOCHEATA HUY
FINANCE CHAIR MONICA COYLE
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LETTER FROM THE EDITOR THE FABULOUS FEMINIST BIG CAMPUS, SMALL WORLD MEN’S SHOES, WOMEN’S FASHION IN WITH THE OLD ALL THAT SHADE READ BETWEEN THE LINES THE HATS WE WEAR CITY CHIC THINK BIG
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LETTER FROM THE EDITOR
Anyone who knows me personally knows I’m the king of non sequiturs, so don’t be surprised when I say when I think about this issue the first thing to pop into my head is Ariana Grande. Yes. Ariana Grande. Off the Cuff doesn’t have powerhouse vocals, a background with Nickelodeon, or a beef with Mariah Carey, but what makes Ms. Grande resonate with me and Off the Cuff is her last name. Grande. And no, not the medium-sized beverage from Starbucks, but what it really means–large. Off the Cuff has grown so much in the last two years I sometimes sit back and I just think, “Wow.” Off the Cuff has become an institution at Boston University for anyone who wants to pursue a career in the fashion industry. We’ve become a real magazine. Over the last two years, the entire Off the Cuff team has built a foundation for a long, bright future for anyone thirsting for a fashion outlet here. This semester, I was nervous to be the last of the founding members running the show with visions of Dante’s 9th Circle of Hell coming up and destroying everything we’ve built–the exact opposite happened. I’m confident that no matter who is involved in Off the Cuff in the future, a strong template is in place for us to thrive for years to come. I want to thank the entire team, both new and old, for consistently going above and beyond everything we could expect. Special shoutouts to Helen Pena and Isabelle Epskamp who have shown their Executive Board support from overseas while they’re studying abroad. Another special thank you to Cris Cordero, Richard Roman & Seraphim Osiakwan, three new Executive Board members this semester who shined and really pushed us to the next level in all respects. Our Production Manager, Rocio Alquati, has also done an amazing job as the youngest member of our Executive Board, and I am confident in her ability to continue the Off the Cuff legacy. And lastly, a shout out and farewell to our current Managing Editor and one of my closest friends, Elyse da Silva. Your dedication and love for this magazine transcends anything I ever initially expected when you first applied to join us in the very beginning. You’re really been a cornerstone to all of the success Off the Cuff has seen. Your creativity, attitude, and work ethic are incomparable and I know amazing things are coming your way. We dedicate this issue to you. “Such fun!” And now that all the tears are dried up, read Off the Cuff’s Spring/Summer 2015 issue. I hope it’s just as much fun to read as it was for all of us to make. Stay Stylish, VC
THE FABULOUS FEMINIST OLIVIA SIMONSON
Tucked into the March issue of Vogue, underneath over 250 pages of editorials and several world class articles ranging from an inside scoop on the white house events director, to a spread on the power friendship of Taylor Swift and Karlie Kloss, lies an advertisement for Barney’s New York. Across four frames of the foldout ad are glossy photos of women being surrounded by gorgeous men. The women are powerful and seductive sirens that the men cannot resist. The fashion industry is no newbie when it comes to power, and in particular, powerful women. However, as modern feminism andgender roles have become more prevalent issues over the past several years, the fashion industry has changed. Individuals have found themselves more inclined to break preexisting stereotypes and rules in search for fashion that allows them to look as empowered as they feel.
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“HOWEVER, AS MODERN FEMINSIM AND GENDER ROLES HAVEBECOME MORE PRELEVANT ISSUES IN THE PAST SEVERAL YEARS, THE FASHION INDUSTRY HAS CHANGED. Fashion has adopted masculine elements, such as loafers, blazers, and button downs, while men’s fashion has embraced softer elements, like vibrant florals and a spectrum of pastels. This has not promoted cross-dressing so much as it has expanded, and in some cases, done away with, fashion boundaries, creating a greater variety of expression. Therefore, instead of relying on the previously outlined gender specific “rules,” both men and women can select pieces that they feel are the most accurate means of self-expression. Additionally, one must note that being feminine and being a feminist are not mutually exclusive. In the fashion world feminism is not about sacrificing the bold floral prints of spring or the ethereal
white dresses of summerfor structured suits or oversized jeans. One flip through most fashion magazines and you’re guaranteed to catch a glimpse of Dior’s floral footwear or the fairy book-esque designs of Oscar de la Renta. Instead, what is important to note is the variety of the fashion, from these feminine advertisements to Céline’s couture grandma and Lavin’s grungy spreads. The femininity has not been lost, so much as the medium has become more all encompassing. The fashion industry has embraced these variations in all of their forms, whether they are feminine and conventional, or masculine and unorthodox. What this variation yields is an empowering means of expression, which is giving women a sense of power that did not previously exist. As women are feeling more able than ever before to accomplish and conquer, their clothes are becoming an expression of their empowerment. However, it is no longer about a woman feeling powerful by wearing a pair of stilettos or a pantsuit. Instead, the power is represented in the strong woman who wears her clothes with the same pride with which she holds herself. The power and feminism in the fashion industry lies in the modern day fashionista who has a style that is as powerful and potent as she is.
“THE FEMININITY HAS NOT BEEN LOST.” One could argue that over the years the behind the scenes elements of the industry have been ruled by males, while the female ruled the aesthetic, without much fundamental input. Yet, some of the strongest names in fashion belong to women, and what’s more, women who never took no for an answer and built creative empires on principles, rules, and designs that made them feel the most themselves. (Take Coco Chanel and Donatella Versace, for example.) While there is always room for more powerful women behind the scenes, the significant and revolutionary change is that women on and off the runway are feeling powerful and individual in a way that we have not necessarily seen before. This female power is refreshing, unique, and utterly empowering. As fashion continues to be a revolutionary form of expression, may the powerful women who dress themselves each morning wear not what is right, but what makes them feel their best selves. What this variation yields is an empowering means of expression, which is giving women a sense of power that did not previously exist. As women are feeling more able than ever before to accomplish and
conquer, their clothes are becoming an expression of their empowerment. However, it is no longer about a woman feeling powerful by wearing a pair of stilettos or a pantsuit. Instead, the power is represented in the strong woman who wears her clothes with the same pride with which she holds herself. The power and feminism in the fashion industry lies in the modern day fashionista who has a style that is as powerful and potent as she is. One could argue that over the years the behind the scenes elements of the industry have been ruled by males, while the female ruled the aesthetic, without much fundamental input. Yet, some of the strongest names in fashion belong to women, and what’s more, women who never took no for an answer and built creative empires on principles, rules, and designs that made them feel the most themselves. (Take Coco Chanel and Donatella Versace, for example.) While there is always room for more powerful women behind the scenes, the significant and revolutionary change is that women on and off the runway are feeling powerful and individual in a way that we have not necessarily seen before. This female power is refreshing, unique, and utterly empowering. As fashion continues to be a revolutionary form of expression, may the powerful women who dress themselves each morning wear not what is right, but what makes them feel their best selves.
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BIG CAMPUS, SMALL WO R L D By A r i a n n a D av i s
Take a stroll down Commonwealth Ave, and you’ll find a diverse mix of styles: lacy Lolita skirts, shawls and hijabs, printed dresses—you name it, you will see it. Because BU ranks ninth among American universities with “Most International Students” [according to usnews.com], a variety of fashion subcultures inhabit this campus. A large percentage of international students hail from Asia, so it is no surprise that they are a major influence on campus fashion. Throughout campus, you will see Asian students carrying flashy, studded bags and donning trendy, namebrand threads. Twenty-year-old Alice Longyu Gao, though born and raised in China, embraces the aesthetic of Japanese style. “I never identify my style by a term. But I got inspired by Japanese culture so much, and I lived in the [former] capital of Japan, Kyoto, during the summer last year.” The wild, color-splashed styles of Japan click with Alice’s taste.
However, Alice differentiates her style from the majority of Chinese exchange students. To her, “Wearing clothes is the way [she] expresses [herself], and that is the way she differentiates [herself] from other international students.”
In China,
“materialism is [an] ideology that people worship...” according to Gao. This is why so many Asian international students wear a variety of luxury brands.
“They
don’t want to express themselves with what they wear. What they wear is [their way of showing] how much money they have. I don’t think that is a bad thing, but I am different.”
“ I A M D I F F E R E N T.”
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For Raha Alzahrah, a freshman from Malaysia, style is all about comfort. “I’m kind of a simple person. In the winter, I prefer putting on just, like, sweaters and stuff. But I usually wear jewelry.” Raha mentions that, back in Malaysia, the multicultural nature of the country has created a style influenced by Malaysian, Chinese and Indian culture. “One thing about the fashion scene is that it’s very colorful. You can see I am wearing these colorful shawls. If you go back to Malaysia, don’t be surprised [if you see] so many colors. It is very nice.” Although the style in Malaysia has recently become westernized, the “buju kurung” is still the official attire. “It is to your knee, and you have a skirt. It’s colorful or has a lot of patterns,” says Alzahrah.
Like Malaysian style, both Brazilian and Indian fashions include vibrant pops of color. In Brazil people consider it
“the norm” to show a lot of skin,
especially because of the hot weather. According to Brazilian-born freshman Bruna Luniere, this is a huge cultural difference from The States. “Here, when you go out, if the girl is wearing something short, it is trashy. But, for us… It’s almost like people stand out more when they’re showing less skin than the other way around.” Bruna is still surprised to see how freely Americans express themselves through dress. “[In Brazil], you’re taught that you always have to be dressed as best as you can. People don’t appreciate you 14 OFF THE CUFF MAGAZINE
being different.”
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In recent decades, Indian fashion has embraced a fusion of traditional and Western elements. Although saris and ghangras are still widely popular, Indian sophomore Sravya Vatram says the style is “A mix of western wear and traditional Indian-wear…like jeans and a kurta top or a kurti top–that’s what they are called. Flats are really in back home with kurta tops and skirts.” It all depends on what area of India you visit. “In my generation, we wear camis and walk around and still have no issue. If you go to the more traditional parts of India, it is mostly, strictly traditional Indian-wear.”
“A MIX OF WESTERN
AND TRADITIONAL
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L INDIAN WEAR.”
The climate of Russia calls for a different style.
Warm sweaters and long pants are
closet staples.
But Ekaterina Propokeva, a
Russian sophomore, says that Russian girls always want to look their best.
“Russian girls use more makeup [than American girls do]...You go to Russia, and you see girls walking outside and wearing high heels and dresses—even just for everyday life…[and] Russians iron everything, usually.” While studying in America, Ekaterina’s biggest culture shock came when she saw what some students wore to class. “In Russia, it is disrespectful if you go to a class in sweatshirts and sweatpants because you have to show your respect to the professor. People try to dress more classy there [Russia].”
The BU fashion scene cannot be
described in one term. Some universities are preppy, while others are up-to-date with the latest trends. The influx of international students has shifted the culture of clothing in Boston. As long as this continues, it will remain diverse and ever changing.
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MEN’S SHOES, WOMEN’S FASHION By Eden Marcus
While fashion has developed over time, the industry itself constantly brings back certain trends and adapts to the ever-changing modern world. 20 OFF THE CUFF MAGAZINE
Similar to the Tim boot, the oxford One trend that’s currently working its way into women’s fashion is men’s shoes. One way you’ll see women incorporating men’s shoes in their wardrobe is with the iconic Timberland waterproof boot. According to Timberland’s website, the company, founded in the 1950s, developed
shoe, considered one of the more elegant shoes for men, have become popular in women’s fashion. In 1825, students at Oxford
announced and included women’s apparel in their line. The boot was originally made for the hardworking New Englander, according to an article on Timberland’s website, “The Original Yellow Boot.” When the boot was first introduced 40 years ago, it was associated with the all-American male who needed a sturdy boot for work outdoors. The “original yellow boot” has become much more than that, and it is now a fashion statement. Danielle Prescod of Elle magazine wrote “All cool girls are wearing Timbs” —even famous children like North West and Blue Ivy have been spotted in the fashion boot. As a gender neutral look, one can dress-down an outfit or present a more casual appearance with these boots. The Timberland comeback makes sense, since 2015 has seen several trends from the 1990s making a reappearance in the fashion world. While some may say the chunky and classic sand-color of the Timberland can categorize them as an unfeminine shoe, they offer something that a lot of other women’s shoes styles do not: comfort and a statement. Celebrity stylist Alex Longmore wrote that the boot gives those who don them an “off duty model” look.
presented
this
“half-
boot” style shoe as an alternative to the traditional boot most men were sporting at the time.
its original waterproof boot in the 1970s. It wasn’t until 1990 when Timberland first
University
While oxford shoes for women were not very comfortable at first, they can now
be
seen
everywhere.
Contrasting
the street, utility style of the Timberland, oxfords add an element of sophistication to
any
outfit.
This
shoe
is
a
perfect
combination of both masculine and feminine features, which makes it clear why style is
becoming
so
prominent
in
women’s
fashion. The oxford can either be paired with tights and a dress or used to add elegance to jeans and a tee-shirt. Maggie Ethridge of
The
Budget
Fashionista
attributes
this diversity of the shoe to “the simple science of low color contrast” which makes them easy to pair with pieces and with the individual styles. Within the last year, companies like Nike have opened women’s-only stores creating another female outlet for an originally male shoe. Nike has adapted their original style to meet the needs of women, and unisex athletic shoes have been seen prominently on both men and women in the fashion world. Shoes of all styles, whether industrial, sophisticated, or athletic, have all adapted and succeeded in both the men and women’s fashion world. Men’s shoes in women’s fashion is no longer an exception, but the norm.
In with the By Grace Weinstein
When the topic of style mavens is inevitably broached whilst at coffee with friends, we always discuss the usual suspects: Alexa Chung, Danielle Bernstein, Kanye West. But this age range is rather limited; there is a whole perspective on style that is too often forgotten. The aged eyes of fashion gurus who have seen more than a few Paris Fashion Weeks and New York Times Style Sections are frequently overlooked when it comes to defining what is trendy.
There seems to be a certain age when a lot of women and men pull themselves out of the fashion game because they either lack the interest in trends or the energy to believe that style is ageless. In my lessseasoned fashion perspective, style grows with age (as we all may know from the outfit atrocities of our 12 year old selves). There is no reason this hunger has to stop when the first wrinkle appears. There is a category of fashion elite that everyone looks to in order to forecast what is going to be in and what is going to be absolutely out. We praise the greats– Anna Wintour, Karl Lagerfeld, and Carine Roitfeld to name a few– but what about the rest of the age defying trendsetters? Here’s a rundown of some icons who are often pushed into the backseat of the forward moving fashion industry.
Old Iris Apfel
Iris is known for her trademark spectacles that are as big as her personality. She drapes herself in vibrant-colored fabrics and is never without boundless amounts of beads. Apfel epitomizes New York chic, but always with a kick of whimsy and a twist. To her, style comes from the inside but exists on the outside.
Tziporah Salamon
For Tziporah Salamon fashion is far more than just limp clothes hanging on a body– it is art. She styles herself with finesse that puts her into a category of her own. She is the style muse to the legendary street style photographer, Bill Cunningham. If that doesn’t solidify her as someone to look to for inspiration, we really don’t know who would.
Nick Wooster For all the men out there, look no further than Nick Wooster for all of your fashion needs. Nick has amassed a following of 500k followers on Instagram, and he is known for his clean, put together aesthetic that any man would want to emulate. His tailored suits and cuffed chinos are a timeless statement of great taste.
We at Off the Cuff aren’t the only ones pushing for people to find inspiration in our elders; brands are catching on fast. For serious “fasholes,” Joan Didion’s Céline campaign broke the internet in a way that Kim Kardashian never could. She embodies the “cool girl” aesthetic with her oversized signature Céline sunnies and look of ambivalence to her star power. Who wouldn’t want to age with the grace and undying chicness of Joan Didion? As if one veteran wasn’t enough, Saint Laurent released a series of ads featuring folk goddess, Joni Mitchell. Photographer Hedi Slimane captured her ethereal essence to a T.
But these ads raise the question what are these major fashion houses trying to tell us? This is a lesson to all of us in the effervescence of style; it is undying regardless of age. These ads are funneling our vision to never overlook a wiser, more aged opinion. These men and women are the Varsity players while we are still on JV. This is a chance to revamp what is old, take a step outside the comfort of what’s in, and live life with a little injection of color.
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Styling by Rocio Alquati Makeup by Andriana Todorovic, Niko Cohen Photography by Chris Sanchez, Nicki Glitter Featuring Xualanda Thorpe, Calvin Chin, Isaiah Tharan, Katie Barry, Sophie Heyman
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“To read between the lines is to see that there’s more to stripes than meets the eye.”
Stylist: Elissa Feist, Adelynn Boyd Make-up: Rocio Alquati Photo: Sarah Silbiger Models: Sarah Wu, Clare Stonich, Aniekan Inoyo, Elisha Machado
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Wearing Wearing stripes stripes doesn't doesn't mean falling falling in in mean line with the line with the Plain Janes. Plain Janes.
The Hats
article by Tia Gallinaro
Photography by Alena Adams, Angela Francis, Chris Sanchez Styled by Carli Schmidt, Alice Longyu Gao Makeup by Niko Cohen Featuring Abby Kass, David Hunt, Denae Wilkins, Jordan Fessenaie, Calvin Chin, Josh Hinnant, Aniekan Inoyo 44 OFF THE CUFF MAGAZINE
We Wear
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Today, historians typically label society’s earliest hats as forms of headdresses used to display one’s social rank. During the 15th century that hats became an essential part of men’s fashion with the main purpose of displaying one’s rank and occupation. A rise of technology and mobility increased the accessibility of exotic materials like feathers, velvet, taffets, and tulle that further helped grow the popularity of hats. On the other hand, women only began wearing hats in the 16th century, but they were exclusive to the wealthy middle and upper classes and often replicated masculine styles. It was not until the late 18th century that milliners began designing hats with women in mind with feminine designs and decorative accents.
Shot on location at iconic Boston University Charles River Campus spaces including the BU Pub, Questrom School of Business, CityCo, the George Sherman Union, the College of Arts and Sciences, and the Castle.
Milliners or makers of women’s hats were derived from the “Millaners” or Milan suppliers of fine ribbons, gloves, and straws at the time. By the mid 1800s, millinery became a coveted profession in the world of fashion, on par with haute couture. By the Late Edwardian period, milliners were at the height of fashion as many women used their intricate and elaborate designs to show off their social status. Even Coco Chanel, one of the most iconic female designers of all time, started her couture career as a milliner in the early twentieth century before expanding into clothing. Sadly, there was a steady decline in demand for milliner’s quality craftsmanship by the 1950s when ready-to-wear clothing became mainstream and wartime rationing left many with less disposable income to spend on fashion.
There is no specific event to account for the dwindling in popularity for both men and women’s hats during this era, yet some historians believe John F. Kennedy initiated the decline when he decided to forgo a hat at his inauguration. His trivial choice seemed to have branded hats “uncool” to the American public. Ironically, his wife, Jackie Kennedy, became a style icon for her classic style and pillbox hats, but the rise of wigs, hairdressers, and more relaxed social standards for formal attire no longer required a need for hats to complete an everyday outfit.
BONNET:
Hats are still a part of our wardrobes today, but they no longer create the same political, religious, cultural, or fashionable statement they once stirred. While celebrities have revitalized some of the most iconic styles of hats, society has seemingly lost an interest in not only the fashion, but also the pure artistry behind a single hat. The sight of a fine hat in society is now a lost tradition left behind in the mid 1950s and rising questions as to what else fashion might lose in the mid twenty-first century.
By the early 19th century, bonnets were the most popular style of hat for women in Europe and the US. The rise in technology made exotic materials like silk, feathers, and trims accessible for gaudy decoration while the brim size and veil of the bonnet helped block the sun and hide a woman’s identity. When thinking of bonnets, Jane Austen comes to mind.
TOP HAT:
The over the top, plush, and gaudy top hat became one of the first popular widespread hats for men in Europe and America during the 19th century. The hats became a sign of wealth and social standing while their exaggerated height of the hat made the owner seem taller and seemingly more refined. London hatter, John Hetherington, was almost jailed for creating such a hat with the intent of “frightening timid people,” but the hats quickly became popular among respected men such as President Abraham Lincoln. Perhaps the most iconic top hat wearer is Alice in Wonderland character, the Mad Hatter. Mad Hatters Disease was actually coined after the character in Lewis Carroll’s novel, which correctly depicted the Mad Hatter with the physical and mental disorders many hat makers suffered from. Toxic mercury fumes generated during the felting process used in the making of top hats damaged the milliner’s lungs and also led to loss of memory and mental derangement or “madness” as depicted by Carroll’s infamous character.
CLOCHE:
During the early twentieth century, women began to sport more dramatic short haircuts. Women at this time were embracing a new age of daring, haughty fashions and the cloche hat was deeply rooted in this flapper style. To properly wear the hat, the brim had to be pulled over the eyes to make the user tilt her head up to snootily look down or see the world. Women such as Zelda Fitzgerald were avid fans of this style. OFF THE CUFF MAGAZINE 49
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FEDORA:
While the fedora is considered one of the most popular mainstream unisex hats today, men predominantly wore the wide brimmed, indented crown style hat in the twentieth century. In the mid 1920s, Prince Edward of Britain adopted the style over the favored bowler and started a trend that reached across the pond. Fedoras became the favorite among the Prohibition gangsters of the 1920s and were later revived by Hollywood actors and actresses like Humphrey Bogart and Greta Garbo who gave the hats an air of manliness and mystery. Ironically, the name “Fedora” actually comes from the female heroine in French playwright Victorien Sardou’s 1882 drama, Fédora. Today, the fedora is one of the bestselling hats in fashion and has been revived by icons including Kate Moss, Michael Jackson, and Harrison Ford in Indiana Jones.
BASEBALL CAP:
This hat has become a symbol of American style since the first one was created in 1849 out of straw for the New York Knickerbockers. The cap soon caught on both as a component of baseball uniforms and served as a form of sun protection for baseball players. Sports fans began sporting them to support their teams, but their functional nature has made them popular among men and women of all ages and occupations around the globe today.
PILLBOX HAT:
Modeled after small containers that held medicinal pills, Pillbox hats became popular in the 1950s for their small, simplistic elegance. US First Lady, Jackie Onassis Kennedy, became a fashion icon with her refined high fashion style with included her choice of pillbox hats. Bob Dylan even wrote about them in his 1966 hit “Leopard-Skin Pillbox Hat.”
BOWLER HAT:
Sir Winston Churchill had one, Clockwork Orange character Malcolm McDowell wore one, and Prince Harry still wears them to this day. We also can’t forget the bowler hat that tied together Charlie Chaplin’s signature look. Originally sold to the Second Earl of Leicester in 1849 for a mere twelve shillings, the bowler hat was originally created to protect gamekeepers’ heads while riding under low hanging branches. By the 1950s, it was improper for businessmen to be seen without them in the city of London. The bowler lost popularity in the 70s, but it’s still worn for its stylistic aesthetics by many young American men and as a part of traditional military uniform by British men today.
HALO HATS:
Starting the 1980s, there was a revival in millinery largely due to the late Princess Diana’s enthusiasm for wearing halo hats also known as sculptural headgear or “fancy British hats”. As a result, sculptural headgear has found resurgence at formal and cultural events with the most popular and expensive made by British designer Philip Treacy. Treacy’s hats take days to weeks to create and cost over $1,000; however, his fanbase of royal family members and celebrities like Kate Middleton, Sarah Jessica Parker, and Lady Gaga don’t seem to mind.
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CI T Y C HI C Men’s fashion takes on many forms in the big city we know and love.
Styling by Helen Pena-Smicker, Lindsay Higgins Photography by Nicki Gitter Featuring Abby Kass, Miles Jordan, Richard Roman
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TT HH II NN KK
BBIG IG
Styling by Alice Gao, Windsor Wong Make-up by Zarah Kavarana Photography by Hannah Kim, Freeman Wood Featuring Olivia Simonson, Lisa Kaucher, Risa Hagigal
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“IN A WORLD OF TIGHT BODY CON DRESSES AND SKINNY JEANS, IT’S TIME TO BROADEN YOUR HORIZONS”
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WWW.OFFTHECUFFMAG.COM
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