PATTERN Magazine Issue 4 FALL 2013 by PATTERN Magazine

ISSUE NO. 4_10 DOLLARS

FASHIONING A COMMUNITY. IN PERSON, ON PAPER.

m u t n e m o M

+ CONVERSATIONS WITH BEN CLEMENS, LESLIE TURNER, TRAVIS MOORE, JUSTIN LANE, TYRIE RUDOLPH , MARLENE THOMAS AND MORE

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THE BLUE HoUsE A PrivAte SALON by referrAL

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Keep moving forward. My husband Ben is a motivational speaker. He’s good. Really, really good. Like, travel all over the world speaking, good. Funny thing, though—in third grade he was diagnosed with learning disabilities and dyslexia. No one really knew much about A.D.D. then, but he had that, too. Teachers saw a boy who struggled reading, writing and paying attention. Other kids saw him go off to the special ed. classroom and called him names. He barely graduated high school. He dropped out of college. No one, least of all him, foresaw success in his future, or that his message of persistence in the face of hardship and failure would impact thousands of people. Man, I love me an underdog! Of course, success did not happen overnight. One does not build the skills, the expertise and the reputation for excellence quickly; it takes years of deliberate effort, patience and, often, massive sacrifices to see your passion bear fruit. My hubby’s been at it for almost twenty years, and though he has much success to his credit already, I believe that he’s just now hitting his stride. Recently, a theme has emerged in his presentations: KEEP MOVING FORWARD. Perhaps this explains why our fourth issue’s theme is dear to my heart. Momentum implies a forward motion, with force and deliberation. It encourages us, and sometimes, even forces us, to seize the moment. Ever since Ben and Janneane Blevins, Esther Boston and I returned from our trip to Paris last March, I’ve been quietly obsessing about our visit to La Gaite Lyrique. Originally a theatre built in 1862, it reopened in 2010 following a long refurbishing process, completely transformed into a community cultural center on steroids. The massive building contains exhibition spaces, artist studios, a co-working space, a coffee shop, a video gaming area, a boutique, three performance venues, and a resource center stocked with amazing publications. Of all the places we visited, La Gaite Lyrique left the biggest impression on me. I was inspired, but I had questions. How do we make a space like that happen in Indy? Is our community ready to support a similar endeavor, by buying a membership or renting one of the private studios? La Gaite Lyrique is funded primarily by the City of Paris in partnership with several corporate sponsors. Would the City of Indianapolis back such a project? A feasibility study would answer all this, and more. But who would fund this lengthy and expensive process? Cue crickets chirping. Earlier, I mentioned seizing the moment. This summer, we operated out of the Harrison Center for the Arts, enacting our own version of performance art in Gallery #2 as we clustered around a handful of tear-shaped tables, tapping away on our laptops until pizza lunches or visits by supporters and friends provided a welcome excuse to take a break. Joanna Taft, Director of the Harrison Center, asked us if we’d like to do our own show in the gallery space this August. I’m so grateful for her adventurous spirit because, as I write this, the B[IND]ERY, a pop-up co-working space for Indianapolis-area creatives, just opened its doors—our very own LIVE feasibility study! Today, even though the only remnants of the BINDERY are a couple small scratches on Gallery #2’s floor and, fingers crossed, good memories for those of you who utilized the space, my hope is that this experiment will help build an even greater momentum for the creation of a fantastic community space for our city’s design industry. Indianapolis has been on the receiving end of more than its fair share of name-calling; the good news is that there is a growing community of people who are tired of the put-downs, who are working hard to change the outdated perceptions that some people have of our home. We may not have started out as your typical “great city,” but something tells me that’s going to change—maybe not tomorrow, but definitely not too far in the future. The most important thing? KEEP MOVING FORWARD!

POLINA OSHEROV_EDITOR-IN-CHIEF

PATTERN ISSUE NO. 4

NIGHT LIGHT Interpreted by Jorge Pardo

Jorge Pardo, Plat 99. 2013 second floor, The Alexander

The Alexander. Hotel Reinterpreted. Art inspired us to think about hotels differently. The art hanging on our walls and our ceiling will inspire you to do the same. Stay somewhere stimulating, in downtownâ&#x20AC;&#x2122;s new CityWay neighborhood. thealexander.com 333 South Delaware Street Indianapolis, IN 46204 (317) 624-8200

EDITOR AND CREATIVE DIRECTOR Polina Osherov

DESIGN DIRECTOR Kathy Davis

SENIOR EDITOR Janneane Blevins

FEATURES EDITOR Maria Dickman

EDITOR AT LARGE Benjamin Blevins

EDITORIAL INTERNS Kate Newman Eric Rees

MARKET EDITOR Kelly Kruthaupt

MARKET INTERNS Rachel Box Malina Padgett

DESIGN ASSISTANT Julia Rickles

RETOUCHER Wendy Towle

CONTRIBUTING PHOTOGRAPHERS

CONTRIBUTING WRITERS

CONTRIBUTING STYLISTS

Esther Boston Steve Brokaw Gabrielle Cheikh Wil Foster Justin Lane Eric Lubrick Stacy Newgent Polina Osherov Michelle Pemberton Rebecca Shehorn Stephen Simonetto Chris Whonsetler

Kristian Andersen John Beeler Benjamin Blevins Janneane Blevins Maggie Connor Maria Dickman Mark Dubec Elizabeth Friedland Devon Ginn Madison Hanulak Michael Kaufmann Adrian Kendrick Kate Newman Petra Slinkard Danielle Smith Whitney Watt

Janneane Blevins Maria Dickman DaNisha Green Katie Marple Savannah Norris Michelle Pemberton Danielle Smith Jamia Smith Sarah Schendel

Pattern Magazine Fashioning a Community. In person, on paper.

www.patternindy.com PATTERN Magazine ISSN 2326-6449, Issue 4, Fall/Winter 2013 is published bi-annually by Pattern, Inc. 12664 Tuscany Blvd, Carmel, IN 46032

For advertising information, please email info@patternindy.com ÂŠ 2013 Pattern. All Rights reserved. The material of this magazine may not be reproduced, distributed, transmitted, cached, or otherwise used, except with prior written permission of publisher. All photography rights belong to each individual photographer.

A SPECIAL THANKS TO: Harrison Center for the Arts and all the great people who work there. Thanks for letting us move in and disrupt Gallery No. 2 for the summer! And all of you who come out to our meetups and believe in the dream of a thriving, style-savvy Indianapolis.

pattern ISSUE NO. 4

AD SALES Maria Dickman Polina Osherov Anna Ward

VIEW BEHIND THE SCENE

THE PERFECT MARRIAGE OF

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CONTENTS pattern ISSUE NO. 4 patternindy.com

departments EDITOR’S LETTER, 10 CONTRIBUTORS, 16 NEW AND NOTEWORTHY, 24 SEARCH, RESCUE, REPURPOSE: People for Urban Progress, 26 RETAIL NEWS: Haus Mix, 28 Q+A: TYRIE RUDOLPH, Model and Mom, 30 DRESS CODE: Where Geek Meets Chic, 32 DESIGNERS: Marlene Thomas, 36 JUSTIN LANE: Break on Through, 38 PERSONAL SHOPPERS: Beyond the Boudoir, 42 Q+A: TRAVIS MOORE, COO of MDG, 46 Q+A: LESLIE TURNER, Owner of LModelz, 56 INDYxPARIS, Benjamin Blevins, 76 CITY INSIDER: Kaufmann + Beeler, 78 BEN CLEMENS: Finish Line’s OCD BDC, 90 COMMUNITY: Velocity is #makingindybetter, 102 Q+A: KATIE OSBORNE, Sportscaster, 108 CHEERS, 110 OP-ED: KRISTIAN ANDERSEN, KA+A, 118

editorials COM[POSE], 18 photography by Gabrielle Cheikh NO MAN’S LAND, 50 photography by Michelle Pemberton EASTERN ANARCHY, 59 photography by Polina Osherov PHANTOM EXPOSURE, 70 photography by Stacey Newgent FLOAT AND STING, 82 photography by Polina Osherov TRIPLE VISION, 94 photography by Wil Foster ROCK HARD BODIES, 104 photography by Eric Lubrick RHAPSODY, 112 photography by Steven Brokaw ON THE COVER + THIS PAGE: Photographer: Stephen Simonetto Stylist: Savannah norris Model: angelina (Heyman talent) Hair: Irina Green Makeup: Kathy Moberly (Faces by KLM) Gown: Marie Gabriel Couture Cape: Beatriz Schlebecker All jewelry: Moyer Fine Jewelers Hair pieces: emilliner by emily Clark

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CARSON PIRIE SCOTT ALDO BANANA REPUBLIC COACH EXPRESS FRANCESCA’S COLLECTIONS H&M LOFT LUCKY BRAND NINE WEST OAKLEY SOLSTICE SUNGLASS BOUTIQUE SUNGLASS HUT SWAROVSKI TALBOTS VICTORIA’S SECRET

49 W. MARYLAND ST., DOWNTOWN INDIANAPOLIS SHOPPING LINE 317.681.8000 ®

CO NT RIB UTOR S

SAVANNAH NORRIS

StYliSt

COM[POSE], PAGE 16; EASTERN ANARCHY, PAGE 58. My contribution: i came up with the creative concept for the cover and styled the shoot. i worked with two talented local artists, as well as an amazing team. i feel it well represents indy’s fashion and arts community and its growing ability to support local designers, while allowing large couturiers to open and flourish. i also styled two editorials (eastern Anarchy, page 58, and Com[pose], page 16).

WIL FOSTER

PhOtOGrAPher

BEYOND THE BOUDOIR, PAGE 42; TRIPLE VISION, PAGE 94. My contribution: i feel blessed to have a few things going on: triple Vision (page 94), a cool ad for Nikki Blaine, and Beyond the Boudoir (page 42). My first PATTERN byline: A shoot with Michael Bricker for an article about People for Urban Progress—a really dope project! My other gigs: i’m a marketing director for the Salon Professional Academy and a very cool salon, believe it or not. How I got started: Years of making mistakes and never reading the manual. You’ll find me: hanging out with my crazy cool kids and my hottie wife. My (not-so secret) secret: i have been playing in bands since i was 17. i still make music with my best friend, Joe. Check us out: “the echoing Green” (only for cool kids). Momentum means: Push. Push forwards, backwards, boundaries, styles, techniques and treatments. Momentum is a change from where you were before. I’m inspired by: Cardboard guitars, pop culture and Duran Duran. But seriously, music plays a huge part in developing the mood of my work.

MARK DUBEC

Writer

TRAVIS MOORE Q+A, PAGE 46. My contribution: i interviewed travis Moore (Q+A, page 46). My first PATTERN byline: An interview with designer Nick Verreos for the website. My other gigs: i also work for…myself. i’m a freelance journalist, film critic, and marketing professional. How I got started: Many years working in television, reporting on a wide variety of topics. You’ll find me: Snowboarding, and hanging with my family and friends at concerts and on the golf course. My (not-so-secret) secret: i have been writing movie script outlines for years, but i never finish them. Momentum means: Constantly creating and moving towards your passion. I’m inspired by: there have been many inspirations, but a trip to the Museum of Modern Art in New York City is the most recent. it gave me the feeling that anything is possible.

ELIZABETH FRIEDLAND

Writer

FINISH LINE'S OCD BCD, PAGE 90. My contribution: A profile of the fantastic Ben Clemens, the local creative leading a legacy at Finish line (the Man Behind the hometown Giant, page 90). My first PATTERN byline: this issue’s Finish line piece. My other gigs: Working for the man—specifically, in public relations. How I got started: happy accident. i started as a journalism major, but when the time came to find an internship, all of the newspaper spots were taken. i settled for a gig at a Pr firm, fell in love with the industry, and never looked back. You’ll find me: All over the interwebs, at Ball & Biscuit, and visiting my former Brooklyn neighborhood (i was Williamsburg’s most unhip resident). My (not-so-secret) secret: i can keep a secret. i just usually choose not to. Momentum means: Constantly editing your life. Get rid of whatever doesn’t energize and excite you. I’m inspired by: Ben’s creative energy. After 25 years in the same job, he’s doing better work than ever, and he still has the enthusiasm of a new grad. that’s something to aspire to!

PAtterN ISSUE NO. 4

My first PATTERN byline: i’ve worked on various projects and photoshoots for Pattern since before Pattern was Pattern. i think the first official thing i did was a street style segment outside MoJoe coffee shop after a planning meeting for iFC (indianapolis Fashion Collective). that might be floating around cyberspace somewhere... My other gigs: i now work mainly as a freelance stylist, but i also do a bit of everything: tailoring, design, costuming, ghost writing, web design. My newest pet project is food styling. How I got started: i was Nikki Sutton’s assistant for almost a year. Under her tutelage i learned SO much about fashion, styling, and the tools needed to pull together a photoshoot. it takes an incredible amount of work before, during, and after; assisting her with prep and being on-set taught me much of what i now know. i also attend the Art institute, majoring in Fashion Design, which has expanded my skill set into fashion design and construction. You’ll find me: treasure hunting all over the city. i am constantly exploring and sourcing everywhere, from tiny secondhand shops to indian markets to generations-old personal collections. My (not-so secret) secret: i have the largest collection of fantasy novels in indiana. Also, i’m currently obsessed with the inner elbow area. Momentum means: Destroying protocols and beginning anew, over and over and over. it’s important to me to constantly re-imagine fashion and reinvent my own aesthetic, every single day. I’m inspired by: Porcupines, Sleeping Beauty, Farewell My Concubine, frozen Ukrainian brides a la Galliano, Saint-Saens, Vivienne Westwood, and my insanely creative Jesse lee.

MICHELLE PEMBERTON

PhOtOGrAPher

NO MAN’S LAND, PAGE 50 My contribution: Mens fall fashion shoot— motorcycle style meets handmade. My first PATTERN byline: Styling on various shoots. My other gigs: As a photographer for the indianapolis Star. How I got started: intake Weekly. You’ll find me: Shooting 5-6 days a week all over the state. My (not-so-secret) secret: i like to save my cat’s hair to knit sweaters for my dog. Momentum means: hitting face first. I’m inspired by: the texture of all things old. there is so much beauty in the handmade, and older manufacturing processes.

How do YOU see #DowntownIndy?

downtownindy Tag your Instagram photos #DowntownIndy and your photo could be featured in our next Pattern ad.

@downtownindy

STUDY 1 HALF SLIP BLOUSE AND FULL PETTICOAT AT THE SWANKY FOX.

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COM[POSE]

PHOTOGRAPHY BY GABRIELLE CHEIKH STYLING BY SAVANNAH NORRIS HAIR BY TABBY BONHAM, MDG SALON MAKEUP BY KATE SHAW, FACES BY KATHY MOBERLY ASSISTANT JULIE LONG MODEL BROOKE TAYLOR, BMG MODELS

STUDY 2 SILK BANDEAU IS STYLIST’S OWN. LACE GLOVES AND SHEER PETTICOAT FROM A PRIVATE COLLECTION.

STUDY 3 LEATHER OPERA GLOVES AND SHEER HOOP UNDERSKIRT AT THE SWANKY FOX. SILK BULLET BRA FROM A PRIVATE COLLECTION.

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STUDY 4 SILK SLIP AT THE SWANKY FOX.

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STUDY 5 BLACK BULLET BRA FROM A PRIVATE COLLECTION. SILK AND ELASTIC GIRDLE FROM THE ROCKET DOLL REVUE COSTUME DEPARTMENT.

URES EDITOR NEW & NOTEWORTHY W/ FEAT

THE VERGE

LAST ISSUE, I WAS LUCKY ENOUGH to spend time with four students in Indiana design programs. In that same vein, meet two of the state’s brightest young stars, whose talents are only going to grow from here.

GREG DUGDALE

Known for: Reinterpreting, reusing, and up-cycling materials such as duct tape, pattern paper, and box ties into colorful dresses and jackets Accolades: Gold medalist at the 2013 Scholastic Art & Writing Awards; Recipient of the inaugural Zac Posen Scholarship for Fashion Design What’s next: Freshman year at Savannah College of Art & Design

NATHAN GERARD HOEFFEL

Known for: Utilizing bold color, rich materials, and strong graphic elements Accolades: Gold key recipient at the 2013 Scholastic Arts & Writing Competition; his most recent fashion show, What Are The Youth To Do?, featured fifty of his original designs

MARIA DICKMAN

FASHION

3.1 PHILLIP LIM AT SAKS

TECH

AROUND THE WORLD, FASHION and tech are colliding in some pretty awesome ways. Wearable technology is definitely having a moment—something Pattern recognized in our August Meetup collaboration with Verge, featuring Thiel Fellow and fashion tech enthusiast Maddy Maxey. Skeptical? Don’t be: several brilliant fashion tech collabs have hit the mainstream lately, including the Nike FuelBand and Google Glass. Apple just hired the former CEO of Yves St. Laurent, stoking rumors that they’re about to break into the wearables market. And as for myself, I can’t get enough of 3D printing—and I’m not alone, as several industry rags are hailing it as the next wave in textiles, while 3-D printed dresses and shoes have graced the runways overseas. I can’t help but see the possibilities for the fashion tech market here in Indy—start dreaming!

THEORY AT SAKSFIFTHAVEN UE.CO

URBAN OUTFITTERS

TREND

WATCH

What’s next: Designing his sixth collection.

THE FASHION SWEATSHIRT

LET’S FACE IT: SWEATS ARE UGLY. THEY look sloppy and hide a multitude of bodily sins, which is also precisely why I love them. So imagine my delight when sweatshirts began gracing the runway en mass.

ONE OF NATHAN GERARD

’S SKETCHES

PATTERN PAPER DRESS

PATTERN ISSUE NO. 4

FIFTH AVENUE

BY GREG DUGDALE

It makes sense, really. Consumers love comfort (despite our penchant for five inch stilettos), and designers are recognizing the commercial opportunity therein. After all, Juicy Couture began with “high fashion” velour tracksuits —although let’s not confuse those monstrosities with the sweatshirts of today. The new generation of sweats come with satin backing a la Jason Wu or covered in gorgeous little pailettes, as seen at Lanvin. My personal favorite comes from SSUR, indulging in cheeky wordplay with Comme des F*ckdown emblazoned across the chest in a nod to cult fashion fav Commes des Garçons. Also coveting: Brian Lichtenberg’s creations. Ballin.

REVAMPS & REDEVELOPMENT

WHILE I HAVE A LOT OF LOVE FOR the Fashion Mall, which, following a gorgeous renovation, has introduced retailers Michael Kors, Stuart Weitzman, Kate Spade New York, C. Wonder, and Free People to Indy, there’s a hole in my heart when it comes to Ci rcle Centre (and shopping downtown, in general). In Miami’s Design District, developers have managed to successfully draw crowds and retailers away from the luxurious Bal Harbour Shops (some of the highest sales per square foot in the world), into a gritty, decidedly less polished neighborhood. Increased foot traffic has spurred the openings of new restaurants, galleries, and condominiums, and, although the Design District is young, it benefits from investors with both vision and means. Imagine what might happen if we invest a little more of that into our downtown retail scene?

A measure of a home’s worth is not only in its size and location, but in the unique detail and design throughout. To market or locate a home requires uncommon knowledge and resources. As a REALTOR® with Encore Sotheby’s International Realty and success in selling more than $40 million in real estate in my career, I have the expertise to guide you through your next real estate transaction.

Tina Smith

DATES SEPTEMBER 6-21 “Thaw” Presented by Ellen and Richard Shevitz Bringing female playwrights to the stage

indyfringe.org Supporting Female Playwrights - Season presented by Ellen and Richard Shevitz, Lynn Lupold, Allan Mills

OCTOBER 11-19 The Dybbuk

FEATuring

Young Actors Theatre NOVEMBER 1-2 Frank Basile Emerging Stories Festival Sponsored by Frank and Katrina Basile NOVEMBER 29-30 | DECEMBER 6-7 Opera Shots Presented by Intimate Opera NOVEMBER 22-23

Chris White Thaw

Claire Wilcher Three Dollar Bill

Mackenzie Suter Dr.Phil Presents, Happily Ever After

Dr.Phil Presents, Happily Ever After Mackenzie Suter, Indianapolis DECEMBER 13-21 Three Dollar Bill Holiday Show

SEARCH, DRYING RACK RAW MATERIALS & SUPP LIES

JESSICA BRICKER CLEANING STATION

RACHEL WHITE

MAIN WORKSTATION

SUPER BOWL XLVI TOTE

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RESCUE, REPURPOSE PEOPLE FOR URBAN PROGRESS: MAKING IDEAS HAPPEN TEXT BY KATE NEWMAN + PHOTOGRAPH BY CHRIS WHONSETLER

SHOWROOM

BRADY GILLIAM

MEAGAN GARDNER

MEETING SPACE

ELIZABETH RONEY

MUCH HAS BEEN WRITTEN ABOUT PEOPLE FOR URBAN PROGRESS, AFFECtionately referred to as “PUP” by the local community. The organization’s dedication to preserving Indianapolis’ history, coupled with a keen awareness of urban problems and the desire to solve them, make PUP a valuable asset to Indianapolis’ downtown revitalization efforts. Beginning as a one-man operation founded by Michael Bricker in 2008, their mission is simple: repurpose pieces of the now-demolished RCA Dome and Busch Stadium into city bus benches, urban shade projects, and really well-designed consumer products. Today, PUP has ballooned into a staff of 15, including four interns. It is the designers, however, who crouch over four tabled sewing machines overlooking Fountain Square and produce the high-quality design goods for which PUP is renowned. Bricker attributes PUP’s success not only to good ideas, but also good business sense. “People think a nonprofit is supposed to operate entirely without profit,” Bricker said. “But the money we earn from our selling our products makes the grant money we earn go further.” Every PUP product is analyzed for profit margin, and those that don’t break-even are shelved or redesigned. PUP’s solid reputation has eased the once-painful process of sourcing materials for their projects. Five years ago, acquiring the RCA Dome to repurpose into products and community projects was a “long and not always pleasant” process, according to Bricker. Since then, though, companies and organizations like the NFL and EcoLaborative have approached PUP with donations. One of PUP’s most recent undertakings involved repurposing the city’s old, coin-operated parking meters into standalone donation boxes. The meters accept coins, but instead of paying for a parking spot, the user is donating to one of the many Indianapolis nonprofits working with PUP. Each donation causes the meter’s built-in lights to change colors, creating what is bound to be a beautiful field of light once the meters are installed around sidewalks downtown. Anthony Lavaderra, an Austin transplant who traveled from the Lone Star State to work for PUP, works as a Product Innovator and is one of the PUP staff working on the meter project. Like every PUP project, the meter donation prototype came about as an answer to PUP’s simple, central question: “What do we do with this old stuff that still works?” According to Lavaderra, coming up with answers to that question is PUP’s mandate. A typical PUP project begins in a dusty warehouse. There, PUP’s volunteers collect donated items (such as parking meters or Super Bowl banner fabric) and deliver them to the PUP workshop. Volunteer labor ensures that the materials are cleaned, sorted, and cut down before the designers take a look at them. From there, a member of PUP’s design team examines the materials, evaluates community need, and ultimately brainstorms a working design for a retail product or community project. After the product or project is designed and produced, PUP’s crack team of interns takes to the internet to promote PUP’s good work. From start to finish, the entire organization is committed to making its products useful, beautiful, and profitable and its community projects impactful, accessible, and sustainable. Operating under this philosophy, PUP has built a reputation for excellence and serves as a model for the kind of conscionable consumption that could put Indy on the map. ✂

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BOUTIQUES

HAUS MIX

HEIDI WOODMAN’S MIDTOWN STAPLE HAS A NEW LOOK WITH AN OLD NAME TEXT BY KATE NEWMAN + PHOTOGRAPHY BY GABRIELLE CHEIKH ANTIQUE PICTURE FRAMES HANG ABOVE A RACK OF ULTRA-MODERN GEOMETRIC JEWELRY. A fluffy white fur rug sits at the feet of a gorgeous distressed dining table. Frank Sinatra’s mugshot looms over a table piled with stationery. After spending a few minutes in Haus, it’s clear that owner Heidi Woodman knows how to tell a story without saying a word. The Eagle Creek native and Herron graduate is a master of the mix, pairing wellcurated vintage-inspired home goods with modern furnishings and beautiful clothing basics. Woodman’s vision of “artful, handmade, inspiring items” comes to life in her cozy dual-room boutique in Meridian Kessler. Woodman arrived on the scene in 2000 with Haus, a 600 square foot store on Westfield Boulevard. In 2007, she teamed up with her good friend Anne Branham and they changed the store name to Uber. In mid-August, she moved across the street and opened a new, more holistic lifestyle store under the Haus masthead, separate from the clothing-focused Uber, which continues to operate under Branham’s influence in Carmel. Woodman was inspired by a deep connection to her German heritage when naming the store. “I’ve always loved Haus,” she says. “My old customers still called it Haus [when it was Uber]!” And her German influence does not end in the name. As a girl, Woodman spent time in Munich with family and still visits often. “[German] design is really clean, but they still bring in some great vintage pieces.” The quirky, cozy boutique offers Woodman’s trademark cocktail of new and old, high and low, neutral and color. It’s the kind of juxtaposition you learn in art school, and like any good artist, Woodman’s vision is never static. “My philosophy changes; I love change. I’m constantly evolving in my mix,” she says. “There’s something to be said about classic, but I like to give it a modern edge. My biggest passion in design is keeping it livable—that’s where design is headed towards. Most of my clients have kids.” With a design manifesto like that, it’s not surprising that Woodman has expanded her design empire into private interior design. For years, clients had pestered her to lend her eye to their homes and offices. But ever the “typical artist,” she balked at the organization required of an interior designer. The calls kept coming, however, and in 2010 she finally said yes. She “fell in love” with the design side of the business. Every room she designs “[tells] a story about the client and what he or she loves.” Good design is her passion, but Woodman reveals that the people with whom she works make the job worthwhile. “I love the relationship that develops between my clients and me,” she gushes. “I’m a people person, and I’m friends with most of my clients. Their faces when they see their home makes it all worth it. A lot of my clients are moms, and they spend a lot of time at home.” A mother herself, Woodman brings an arsenal of practicality into her designs. She has one rule that mothers everywhere will recognize: no clutter. Woodman’s clutter-busting superpowers are evident in Haus’ clothing selection. Ruthlessly edited and strikingly elegant in their simplicity, the garment offerings are anything but basic. Woodman travels to New York, Los Angeles, and Atlanta to curate Haus’ collection of cotton staples. When asked to describe her buying process, Woodman waxes poetic on “an organic feel” which “goes back to my design aesthetic of clean whites and neutrals.” In a retail environment that is saturated with large corporations, Woodman stresses the importance of local boutiques and has been shopping at them for as long as she can remember.” I think any area needs great boutiques,” she says. “There are customers who like to shop in their local area and support their community. I think that is very important.” With the new shop and a loyal client list, it looks like Heidi Woodman will be dressing the Indianapolis community for a long time to come. ✂ Heidi at her Broad Ripple store. Visit her new location on College Ave, next to the new Ambrosia Restaurant, opening this fall.

TYRIE RUDOLPH. MODEL. MOM.

FOR INDIANAPOLIS MODEL TYRIE RUDOLPH, ONE MOMENT OF REJECTION SPARKED A FIERY SUCCESS STORY. TEXT BY WHITNEY WATT + PHOTOGRAPH BY POLINA OSHEROV IN THE PAST FOUR YEARS, TYRIE RUDOLPH HAS WALKED the runways at Mercedes Benz Fashion Week in New York, modeled in photo shoots for major brands like Macy’s and Tiilly’s, and broken into the acting industry. On top of that, she’s also raising her 3 year-old daughter. WHITNEY: First big break or moment you felt you made it as a model? TYRIE: When I went to New York City for the first time, my picture was over Times Square on the big screen for American Eagle. I remember standing there looking up and thinking, “That’s me, it’s really me!” It’s an indescribable feeling to achieve something that once seemed so intangible. It was in that moment I realized my potential. WHITNEY: Tell me about balancing being a mom and having a modeling career. TYRIE: Being a great mom and a model is very difficult. It’s definitely something that requires a lot of focus, preparation, and sacrifice. My daughter is my greatest blessing. I just want to make her proud and create a foundation that she can build upon. She gives meaning to everything I do. WHITNEY: Describe your best modeling memory. TYRIE: [It] would have to be when I was rejected from America’s Next Top Model. At the time, I was heartbroken. I wanted to be a part of that experience so badly. I cried for days. I wanted to give up. It was actually a blessing in disguise. “When God closes one

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TYRIE: There is so much to love about Indianapolis! Indianapolis raised me and made me. Here in Indy, I get a sense of authenticity that I can’t find anywhere else. I embrace the traditional lifestyle Indy offers. It keeps me grounded. You don’t have to live in Hollywood to live the American Dream. It’s what you make it. I’m a very proud Hoosier!

TYRIE: One of my favorite quotes is from Bishop T.D. Jakes. “If you can’t figure out your purpose, figure out your passion. For your passion will lead you into your purpose.” When I can wake up in the morning and do what I love, I know that I’m fulfilling my purpose. Even though I’m not quite sure what that is yet. I always say, “Happiness is a state of being, not a destination.” Striving for success can be stressful, but striving for success while hoping to find happiness makes no sense. Embrace the bad days and cherish the good days. Take a second to forget about everything, and get lost in a moment in time. Those are the only chapters in life worth reading a second time.

WHITNEY: What are some ways to get your foot in the door if you are interested in a fashion career?

WHITNEY: What are some tips for new models to help them succeed or avoid pitfalls?

TYRIE: Traveling to where the fashion and networking are the most obvious way to get your foot in the door, but that’s not always possible. I would say reaching out to agencies, photographers, designers and fashion magazines like Pattern are great ways to get in the loop. There are so many talented fashion professionals in Indy. Researching and networking is key. Running to a major city before you explore what’s right here in Indy is foolish.

TYRIE: The best advice I can give [anyone] is be sure of yourself, or else no one else will. The same goes for the modeling industry. Confidence goes a long way. The best way to build up your confidence is to have knowledge. Knowledge of the industry and knowing yourself, what it is you have to offer. Embrace whatever it is that sets you apart from the next person. They may be tall, dark and beautiful, but they don’t have that one thing you have that makes you different from them. Avoid promoters—they are a huge distraction but sometimes a fun one!

door, expect something greater.” So true! What I’ve experienced since I was rejected from the show cannot compare to what the show had to offer me. That is the highlight of my journey thus far. WHITNEY: What do you love about Indianapolis?

WHITNEY: With any dream you pursue, you have to chase it until you reach your goal. My mom tells me “If you believe it, you can achieve it.” Are there any inspirational people or quotes that help you stay on your path?

WHITNEY: What are your future goals? TYRIE: My future goals are to keep doing what it is I’m doing and perfect it, stay humble, do everything with passion and purpose, and simply take my career as high as the atmosphere will allow. ✂

<DRESS CODE/> WHERE GEEK MEETS CHIC

PHOTOGRAPHY BY POLINA OSHEROV AS TOLD TO MARIA DICKMAN

1 <MATTHEW ANDERSON/> 23, FOUNDER & HEAD INTERN, ADPROVAL

I would describe my style as magnanimous. The world needs more magnanimity. My power accessory is definitely my rotation of temporary tattoos from Tattly. I’ve found that investors take me much more seriously when I’m pitching to them if I have what appears to be a tattoo on my arm—kinda gives me that mental edge. Plus, it gives me that classic bad boy image that I’ve heard chicks dig. Indy has a lot of young adults moving here because it’s cheap and has jobs, which is good. I’m just afraid they’re going to be pretty lame people, although I’ve been making some great RL friends (RL= real life).

3 <SANTIAGO JARAMILLO/> 23, CEO, BLUEBRIDGE DIGITAL

I always knew I wanted to run my own company. I’m living my dream much earlier than I thought I’d be, which is unexpected and fun. My work is really fulfilling. I don’t try to separate work and life as much; it’s all one big passionate thing.

2 <LAUREN BACON/>

23, ACCOUNT MANAGER, KA+A I have a “grab bag” kind of style - call it Modern Midwestern. I wouldn’t say I’m very classic or progressive, more like a mix. I can’t live without my phone; it’s kind of sad. But my power accessory is definitely my watch—it’s heavy, it keeps me on time, and it helps me remember everything I have to do in the day. Personally, I’m excited to be figuring out my passions and love for Indy. The tech community is finally getting the recognition it deserves, and I’m also involved in the growing local music scene, which is hosting two music festivals this fall: WARMfest and Wheelhouse.

6 <FUTUREMAN/>

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My style changes with the seasons: more layered and folksy in the winter, and very clean, toned-down preppy in the summer; salmon shorts happen. I like to keep my outfit simple, but go fun on the socks. When I’m speaking, I like a red pocket square. I always wear a wristwatch —it’s my favorite tech accessory. I just bought a Skagen.

4 <LAUREN WEATHERALL/>

25, SENIOR MARKETING MANAGER, TINDERBOX

I won’t lie—there’s a bit of a closeted hippy in me. I like simplicity, but I also like eccentricity and lots of color. My Bose noise-canceling headphones help me get into my focus bubble — those wimpy white Apple headphones just don’t cut it anymore. I’ve devoted this year to rediscovering my ability to create—and no, that’s not referring to a startup. I just wrapped up two months living vegan, and I’ve never felt better. What’s next? Gluten. I love the city’s renewed focus on green public transportation. I can’t wait for our city bikes - who would’ve thought we’d adopt that so early on? Way to step it up, Indy!

5 <AVRAM RAMPERSAUD/>

25, FOUNDER AND CEO, POCKETCAB

My style’s really casual. I try to avoid collars at all costs, but even if my shirt says casual Friday, my Hugo Boss watch says I’m not here to f**k around. I’m constantly listening to music, so if I leave my JBL Flip Bluetooth speaker and Phiaton Bluetooth headphones at home, I feel like I’m missing part of my team. Moving back here from Chicago made sense — I saw what was being built, and I wanted to be a part of it. I’ve had to adjust a lot of what I thought I knew about Indy in regards to technology, arts, community development, and nightlife. It’s been a really cool experience rediscovering my hometown.

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3 <MATT HUNCKLER/>

26, VICE PRESIDENT, SOCIAL REACTOR FOUNDER, VERGE My style is comfortable, but very trim. It’s hard to shop because I’m 6’4,” so I usually shop at Banana Republic. I’m always in jeans; they’re the uniform. I wore this tie when representing the local tech community at the White House, but socks are definitely my power accessories. I like Happy Feet in different colors and patterns. Indy is improving at having more diverse things to do: having something around fashion, having something around the arts, having something in tech, and then providing a kind of community home for those interests. The momentum can only grow from here.

4 <DAWN DEVIRGILIO/> 30, GLOBAL SOCIAL MEDIA MANAGER, EXACTTARGET

Shoes are my standout staple—in 2010, attendees of ExactTarget’s user conference had to find the girl in the orange heels to get a VIP ticket to the Midnight Show. Handbags are a strong second. I’d call my style chic traditional, inspired by Kate Middleton and Jackie Kennedy. I’m loving the progress we’re making in tech innovation, but the momentum is everywhere: in transportation with electric car shares, UBER, and city bikes, and in developments like the Cultural Trail. We’ve even upped our foodie game! We’re less apologetic of our Midwestern city and have more pride in calling Indianapolis home.

1 <DENVER HUTT />

25, EXECUTIVE DIRECTOR, THE SPEAK EASY I love to wear yellow—it’s a happy color, just like me! I dress very playful and easy, perfect for going from relaxed environments like the Speak Easy to more professional ones. That’s also why I can’t live without my phone. It keeps me connected for work, personal reasons and fun. I enjoy building connections throughout the community and creating deeper and stronger relationships, both from a work perspective and the bigger Indianapolis one, with people who see themselves here both today and tomorrow. As a city, we’re doing a better job embracing future opportunities and working towards the next generation of Indianapolis.

5 <DEREK PACQUE/> 24, FOUNDER, COATCHEX

My daily uniform is very comfortable: a dress shirt with jeans, a watch, and nicer shoes. My favorite watch—my power watch—is orange and grey. My iPhone is my favorite tech accessory. Everything’s on it— it’s my second heart. We’ve got a lot of momentum right now as a company; we’re doing more, and bigger, events, like Mercedes Benz Fashion Week. We’ve moved a lot of our operations to New York, but we started here. Indy is definitely making strides in the startup community. A lot more people are trying to start companies; it’s an exciting time.

2 <MIKE LANGELLIER/>

31, CEO & PRESIDENT, TECHPOINT I tend to dress very utilitarian, but with a little fun, like my People for Urban Progress bag. I always pair my red tie with red shoes. The Indiana belt buckle is my favorite, by my friend Chris Foster at Fosterweld. He’s a welder by trade, but he has an artist’s eye. I had to have it. Indy is making great strides in culture development and connecting creative builders— creators who want to take ownership of the city and turn it into something special and uniquely theirs. There are a lot of young people who say hey, this is my city, and it’s going to be cool.

DESIGNERS

MARLENE THOMAS CAPE TOWN. CHENGDU. FORT WAYNE. COUTURE.

TEXT BY ADRIAN KENDRICK + PHOTOGRAPHY BY WILLYUM BAULKEY NOT EVERY STUDENT IS APPROACHED BY THE PRINCIPAL OF FASHION LINEA ACADEMY, ONE of South Africa’s leading design fashion institutes, and told “Your work is exquisite. There is nothing more we can teach you” after only six months of schooling. Then again, not every student is Marlene “Marli” Thomas. Thomas’s precocious talent drives Fort Wayne-based Marlene H’ Couture, known for its elaborate yet feminine designs. Marlene H’s soft flowing lines, beading and embroidery, and high quality fabrics feel radiant and effortless. By creating couture pieces, Thomas places herself in a long line of fashion artisans. Couture garments, derived from ready-to-wear pieces, are custom made pieces of wearable art. The word is derived from haute couture, a French phrase that means “high dressmaking.” Couture construction dates back to the mid-1800s. There are no limits on the types of fabrics that may be used: silks, furs, leathers, or cashmere. Detailing on a couture piece, such as beading and embroidery, is done by hand and takes hours or even months of labor. Colors and patterns are unique, designed for a specific dress or client. Couture garments are customized to the client’s body, movement, and personal style. “I am not just making a garment for the sake of it. I love designing. I am creating a piece of art for my clients and others to enjoy,” Thomas says of her creations. “It’s exciting to unveil a new collection and see the huge interest.” This “huge interest” spans the globe. After representatives from China’s Chengdu Fashion Week found Thomas’ designs online, they invited her to show her collection on Chengdu’s stage among big names like Nicholas K. and Maggie Norris. “Chengdu was so impressed with my collection that they asked me to showcase again on the last day as one of only two designers,” she explains. “My designs were selected by Chengdu Fashion Week to be the last show in the second week, essentially the show stopper.” Thomas says being a designer has exceeded her expectations. In addition to her international showings, she has traveled throughout the country to showcase her designs. Marlene H’ has graced runways at Midwest Fashion Week and Plitz’s New York City Fashion Week. Urbanite, a boutique in the Los Angeles area, also showcases her gowns among classic lines like Valentino and Armani. “I am not even searching for Fashion Weeks; they find and invite me and cover most or all expenses. My designs are all about quality and true couture that is well received in any country,” she says. “It’s exciting to unveil a new collection and see the huge interest.” When she is not creating and showing her designs, Thomas also sits on the board of the Cape Town Fashion Council, whose vision is for the Western Cape’s fashion design sector to be nationally and globally recognized. The Council represents over 900 members, including fashion brands and industry stakeholders within the clothing and textiles value chain. How does Marli Thomas do so much and still find time to create? Thomas suggests that thick skin is the key to surviving and thriving in the fashion industry. “Don’t take negative comments personally, but as a means of growth and improvement. Reach for uniqueness, and stay true to yourself, your skills and vision.” ✂ Marlene Thomas’ Great Gatsby inspired collection shot by photographer Robert Coppa.

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TEXT BY PETRA SLINKARD + PHOTOGRAPH BY JUSTIN LANE A FINE ART PHOTOGRAPHER, STORY TELLER, SET DESIGNER, DRESS MAKER, teacher, trespasser and magician, shape shifter. An artist by definition, Justin Chase Lane creates strange and often ethereal photographs of people, places and things. Most people are likely to have seen Lane’s work at the IDADA TURF installation (during the 2012 Superbowl) or at galleries such as Christopher West Presents or Big Car. One can now also catch him on a First Friday at his new studio in the Circle City Complex. Beyond Marion County, Lane’s exhibition history reaches from New York and Chicago to New Mexico and soon, Paris. It was while working on his MFA at the University of New Mexico (after attending IU’s Radford Hope School of Fine Arts) that, Lane says, he first connected to the desert. While looking at the work made during his time in the Southwest it is no wonder why. Many of Lane’s earlier works evolved from interactions with the arid topography and vast horizon line. Using false lighting and costumed muses, he began to experiment in natural settings with the concept he refers to as “controlling environments”. Ephemeral conceptual spaces—manufactured or natural—are usually the subjects of his evocative and beautiful photographs. Scouting locations came to Lane instinctually and became progressively habitual (e.g. upon entering my apartment, he mentions a Romeo and Juliet-inspired theme he can envision for my stairway). When Lane is inspired by an idea or happens upon the right location, he puts it on paper. “It all evolves from sketches,” he says, showing me his notebook. The page depicts an idea for an artificial space he would like to build for a future sleep deprivation project (an idea which, of course, he would record through his lens). A builder and sculptor with an extraordinary imagination and the eye of a film director, Lane hand-fabricates these detailed (and often intense), site-specific, false interiors. Each is “a space in reality that feels like painting” or “a drawing in which one will lose their sense of proportion and dimension.” This tension is what makes his work so compelling. Lane creates scenes that are disturbing while comforting, dark while whimsical and expressive while stoic. Within his work, you aren’t sure where you are going or what you might find… but you can’t help but follow. One image that stands out is based on The Yellow Wallpaper (by Charlotte Perkins Gilman, 1892). This feminist short story bravely addresses women’s mental health challenges of the period through the perspective of a woman restricted by her physician husband to an upstairs bedroom adorned with yellow wallpaper. Her confinement, intended to cure a false prognosis, soon creates a deep and real psychosis. Lane uses Gilman’s story as foundation, but he alters the narrative by inserting himself, a frequent practice, into the scene alongside the female model. For Lane, it’s all about “creating visual conversations between people” and leaving them openended, never answering any questions. (He mentions removing people for his later work: inevitably “people end the mystery”.) Like Gilman’s tale, these conversations and false realities are short. The interiors fabricated by Lane for his shoots are each “built for the camera and then demolished.” Each installation’s existence is temporal, remaining only as “psychological spaces” and photographic records. Lane’s narratives are enlivened with objects & props (found in dumpsters or unique home interiors), extreme lighting and paper cut-outs. Even more evocative is the similarity between his manipulation of props and people. For his most recent series, Lane is seated across from a female model at a kitchen table, with a painting centered above by Indianapolis artist Casey Roberts. While only two people occupy the frame, the woman’s clothing (animated by unseen gusts of wind) acts as if a third occupant is present. At a table where movement should be minimal, it’s big; in a setting where there should be no Armani, there is; and where there should be food, there isn’t. The visual cues are jarringly unnatural (rationally impossible), and that is exactly how Lane prefers it. The dress and Burberry scarf worn by the female were both borrowed from Nordstrom as well as Lane’s Armani ensemble. “A step up,” Justin quips: for many of his previous shoots he either hand-constructed dresses or altered second-hand clothing. Looking forward, Lane hopes to work more with professional designers. He welcomes collaboration, whether it’s with an assistant, model or in this would-be case, a fashion designer. Colors, shapes, space and narrative are the driving forces behind every image, and for Lane, additional sets of eyes (or hands) are always appreciated. A recent recipient of the Indianapolis Arts Council’s Creative Renewal Fellowship, Lane plans to work on his printing in Paris… That is, just after he finishes a residency in Brown County, Indiana. During the day he will teach photography, and at night will be “forced to sit alone in a cabin in the woods” – an uneasy experience for most, but for Lane, one that will likely spark new questions, offer few answers, and inspire him to keep creating (false, real, fleeting & permanent) images that evoke and enliven. ✂ 38

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BREAK ON (TO THE OFF-CAMERA SIDE) Justin Lane’s temporary constructs, un-finished stories and permanent images.

THROUGH

PERSONAL SHOPPERS

BEYOND THE BOUDOIR FOUR PERSONAL SHOPPERS HELP CLIENTS FIND THEIR INNER STYLE

BY MADISON HANULAK + PHOTOGRAPHY BY WIL FOSTER

For many of us, shopping is a zen, solo experience. So it’s not surprising that the most frequently asked question of Indy’s personal shoppers seems to be: Why would one need a personal shopper? What do they actually do? It was a unanimous consensus among the four profiled here that personal shoppers not only help clients find new pieces for their wardrobe, but also help them discover a clear outlook on what makes them feel and look radiant. It’s all about feeling well by balancing mind, body, soul, and style. “That is why people hire me... to help them figure out who they really are and they want their wardrobe to reflect,” said Pamela Kane. Far from a normal rack-browsing experience, a session with a personal shopper is a journey of self-discovery. I got together with four local personal shoppers to find out what it takes to guide Indy’s shoppers to a higher fashion plane.

MURPH DAMRON (THE STYLE GURU)

WORDS TO LIVE BY: “If you have any pieces that have been in your closet for more than a year, and you’ve never worn them—get it out of here.” Style pioneer Murph Damron has been dressing some of the most influential women in Indianapolis for over thirty years. She has truly mastered the art of the closet makeunder. In her clients’ closets she creates new outfits, adds fresh pieces to existing outfits, and unearths some pieces that haven’t been seen in years. For the people with the kind of over-the-top closets who could use a tough critic like Damron, how do you even begin to make a dent. “Many women have a wardrobe that is just too overwhelming and sporadic, so they’ll ask me to come into their closets to straighten out their thought process. First off, during the telephone conversation or email, I ask numerous questions about their lifestyle, family, work, position, company, and what size they wear. Then we set a time for me to go to their home and begin working with what exists in their working wardrobe, as that is generally the most important. I also have many clients who have left the work place and they say, ‘What do I wear now?’ This is also great fun, to see what there is to incorporate into a more relaxed, casual wardrobe and get rid of what is not needed any longer and taking up space.” With over three decades of experience, Damron knows just where to go to find the staple brands and designers that work best for her clients. “Brooks Brothers is a great place to find blouses. Talbots has wonderful crisp French Cuff white shirts with an open neck that I always find success with. Many clients prefer Worth, Carisle, Doncaster, etc., which are bridge-priced lines sold in the homes of an agent representing the company. Otherwise, Marshalls, T.J.Max, Target, and J.C.Penny offer a lot of amazing pieces.” Damron gives each client a well-rounded wardrobe that can be edited to suit her lifestyle. These old school ways have stood the test of time and are thought by many to be the only way to do things correctly. With that kind of history, she will most likely continue to influence the Indianapolis fashion community for years to come. She is the style guru.

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PERSONAL SHOPPERS

SEAN J. BUCKNER

(THE PREFECT GENTLEMAN) WORDS TO LIVE BY: “Fit is everything. I always tell my clients that just because it might look good on someone else doesn’t mean it will on you. What you wear should reflect your personal style and fit your body type. With those elements combined, you’ll ultimately feel confident and always look your best.” For some people, shopping can be a difficult experience. From the moment you meet Sean J. Buckner, however, you know you’re in the right hands. With his Tom Ford meets Don Draper aesthetic, Buckner makes dressing look easy. As a personal shopper, Buckner’s main objective is to have happy, well-dressed clients who walk the Indy streets feeling great. The men who seek out Sean Buckner often want to walk that walk but are strapped for time. “Simply, if one doesn’t have ample time to do shopping and would like a certain look, they would then bring in a personal shopper to obtain everything they’re looking for. The personal shopper would either bring it to the client or have him come see it at his convenience. Other times, clients call me for a closet or seasonal revamp, which happens to be my personal favorite. In this instance, I am brought in to re-build their wardrobe piece by piece.” One of the best parts about inviting a personal shopper into your wardrobe is being able to delve into their knowledge of different brands. Buckner finds it truly important to know what designers and brands fit certain clients best. “For suiting and casual dress, I prefer working with Hugo Boss, Armani, Zegna, Valentino, Hickey Freeman, and Ike Behar. For casual and contemporary needs: Hugo, Ralph Lauren, Burberry, Michael Kors, Diesel, Hudson, AG, J Brand and Sand. For footwear: Cole Haan, Ferragamo, Bally, Gucci, Prada, and Giuseppe Zanotti. What’s great about the brands I listed is that each one is at a different price point, which gives me more of a variety to work with, which allows me to work with clients of varying incomes. Also, these brands have different cuts and sizing which allows me to fit anyone from the slim, tailored European gentlemen to the gentlemen who might need a little room in his jacket or trousers.” Buckner is not only known for his personal shopping skills, but also for his personal style, which is top notch. If you take a walk through Saks Fifth Avenue, you can’t miss his sharp suit paired with trendy men’s accessories and the finishing touch, his loafers. He is, one could say, the perfect gentleman.

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PAMELA KANE (THE CLOSET THERAPIST)

WORDS TO LIVE BY: “Figure out who you are, and be yourself when it comes to life and fashion. It’s powerful!” Pamela Kane’s mission is to eliminate the chaos from the shopping experience for her clients, and her Closet Therapy has made the once-taxing task into a relaxing, therapeutic adventure through their wardrobes. “I worked at Gantos, a women’s boutique, in undergraduate and graduate school and learned how much I love to dress women to succeed and feel good about themselves. After graduation I was a counselor for many years, and then I started Closet Therapy 10 years ago.” One of the biggest challenges for shoppers today is knowing where to go to find just what they’re looking for. Kane enjoys shopping locally and nationally for her clients’ pieces. “Some of my favorite brands are Ohm, Clu, Joie, Haute Hippie, Jeffrey Campbell, and Jill Duzan Jewelry. I love shopping at 14 Districts, Von Maur, Nordstrom, Bloomingdales, and Barney’s.” When Kane begins her work with a client, she looks to take out the old, bring in the new, and create looks that compliment an individual best. “Any given day is very different, depending on what aspect of my business I am doing. Phase one, I am in a person’s closet assessing and purging. Phase two, I am shopping or teaching them how to shop to create a wardrobe that fits their personality, lifestyle, coloring, and silhouette.” Providing her clients with unique pieces, interesting designs, and fashion forward trends is what Kane is all about. For people in need of some peace for their wardrobe, Pamela Kane is your closet therapist.

PERSONAL SHOPPERS

KARINA RESKE (THE FASHIONISTA)

WORDS TO LIVE BY: “Being positive is not just a choice; it’s a lifestyle. I believe that what you throw out there is what you will get back at you, so I try to always ‘wear’ my best and most positive behavior!” Like the friend you watch in wonder as she throws together the perfect ensemble, Karina Reske brings a sense of effortless cool to her clients’ wardrobes. Reske tries to help each client find her inner style, a brilliant combination of classic looks and modern styling. Truly a personal shopper, Reske sees the time she spends with her clients as an indispensable part of her job. “I try to book just one per day so I can dedicate all my time to the client. Typically I have had a conversation with the client about her needs for that particular appointment, say a work trip, a vacation, a series of meetings at work, etc. After that I start selecting clothes, shoes, and handbags. I always try to put outfits together to make it easier for my client to visualize everything. After we select the outfits of choice, I offer other pieces to go together and make the most out of what she selected. I always take notes documenting what she’s taking so I know what her closet will look like, which makes so much easier for the next appointments!” Reske believes trust between a client and her personal shopper is the key to a successful shopping experience. “When the relationship develops, it’s easier for the client to try on things she thought once were a no-no and simply fall in love with them. Once that trust is established, they tend to be more open to new things and understand what works for their body types.” It’s that signature self-awareness that Reske tries to impart on her clients. For Reske and for Indy’s other personal shoppers, the old adage rings true—If you look good, you feel good. ✂ www.karinastylediaries.com

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Home is where

Art the

is.

Special Homes. Special Clients. Special Agents.

MacDuff Realty Group | Real Estate in Central Indiana | Joe Shoemaker, Broker and Owner 317 413.8501 | joe @ macduffrealty.com | MacDuffRealty.com

TRAVIS MOORE. COO, MDG.

MERIDIAN DESIGN GROUP HAS A LONG-STANDING AND WELLDESERVED REPUTATION FOR EXCELLENCE. ON THE HEELS OF A HIGHLY PUBLICIZED REBRAND AND THE GRAND OPENINGS OF TWO BEAUTIFUL NEW SPACES, MARK DUBEC TALKS MDG’S INNOVATIVE DIRECTION WITH THE FAMILY BUSINESS’ NEXT GENERATION. TEXT BY MARK DUBEC + PHOTOGRAPHY BY ESTHER BOSTON TRAVIS MOORE WANTS TO CHANGE THE WAY clients experience their favorite salon. As Chief Operating Officer for MDG salon/studio, he’s overseen a complete revamp of the popular hair design establishment that his parents, Joe and Sue, built almost thirty years ago. The revamped MDG boasts airy, David Yeagerdesigned spaces in Carmel and downtown Indy, and an innovative mix of open and private workstations offers diversity for both salon professionals and their clients. With vendors such as the Naked Monkey and Niche taking advantage of the salon’s new retail opportunities, Travis’ vision is paying off.

MARK: You are doing this as a collaborative effort with your parents. Do you feel a lot of pressure for the new MDG to be a success? TRAVIS: I think my parents probably feel more pressure for me than I do. I want to make the salon as good as it can be. They worked really hard at establishing Meridian Design Group, so I was under a lot of pressure to make it as strong as when they first opened the doors in 1985. When they opened a salon of that size, it has never been done in this city, at that level. They were full the day they first opened, and everyone was getting their hair done at Meridian Design Group, so they were at the top. But as the years have gone on, they became one of many, so this latest transformation definitely put a lot of pressure on us as a family and in the community, because as an older company reinventing themselves and getting back up on top... there was pressure from all over. MARK: Why the new name? TRAVIS: It’s an acronym of our former name, Meridian Design Group, which worked beautifully for almost 30 years. But there is a lot of power in brevity these days (LOL, OMG, etc.); people don’t have time to write out the whole name anymore. And with search engine optimization, it was necessary. Searching online for Meridian Design Group didn’t result in anything about hair or the salon, so we needed this change.

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MARK: What is the mission of MDG Salon/Studio? TRAVIS: Provide options for stylists and a variety of other vendors, like the Naked Monkey, for example. We started thinking of this as an opportunity for hairstylists, but once we saw how the floor plan worked with the private studios, it gave us an opportunity to step outside the box, reach out to other companies, and really bring a more comprehensive product to the client. We want to provide hair service and other badass services. The mission is to partner with the best hairstylists, to help them grow and succeed, but also be an outlet for other companies that are looking to do the same. MARK: What is your involvement with the local fashion Industry? TRAVIS: Most of my involvement is here, broadening our people. The last year my whole life has been dedicated to my son and the salon—developing our people, helping them grow and expand their horizons, and opening their eyes to what is happening in the fashion industry. We are working on two projects right now— downtown and here in Carmel. We have two teams doing a photo shoot for fall. It’s really interesting because when I worked for Kenra, I used to do mood boards and storyboards and a lot of forecasting, so showing them how to do this stuff and generate and cultivate ideas is my contribution, helping create stronger, more diversified stylists.

MARK: What is your take on the Indianapolis fashion industry?

MARK: How do you deal with clients who are unhappy after a service?

MARK: How do you stay in touch with the latest trends and techniques?

TRAVIS: I think it’s come a long, long way. I’m really proud of the scene here. Just in the last three years I have seen a huge shift, with people being more and more hip to what is going on. I think it’s a combination of the city growing and the sharing of information with social media. We have faster access to more and more trends via platforms like Instagram, Twitter, and Facebook. Instagram is my favorite—it’s amazing.

TRAVIS: Our clients are our walking billboards. If they are not comfortable with our service, then I have to do something to make it right. There is definitely a difference, though, from someone who nitpicks just to nitpick, and someone who is really upset.

TRAVIS: Social media—Instagram and rifling through the minutia of Facebook. You have to filter out what’s relevant from what’s not. There are a lot more ads popping up, versus real content.

Obviously, I would like to see more people care about their hair. In places like New York, Los Angeles, and Dallas, you see a lot of blow dry bars where clients go once a week for a blowout. Hair is the first thing that people see, and I think it sets the tone for everything.

MARK: What hair trends are you tired of? TRAVIS: Ombre, which is when a girl has lighter ends than her base. It’s been around a long time. It seems like it hit the West Coast and East Coast simultaneously and then filtered to the Midwest. I was writing about it four years ago, and we still see a lot of it. It’s cool when it’s done correctly—looks really great, but I feel like it’s kind of had its day.

MARK: What can you tell me about the local hairstylist culture?

MARK: Which celebrity hairstyle gets the most requests?

TRAVIS: I would say that the community is small, and it’s becoming more and more cohesive. You see more people at hair shows and fashion events. Generallyspeaking, it’s a pretty tight knit group of people—but competition has never been stronger, which forces companies like us to step outside of the box and offer different things—but I’m really proud of the scene.

TRAVIS: Over the years it was Jennifer Aniston. Then Reese Witherspoon cut her fringe for the Academy Awards a couple years ago. It seems around award time that the pictures start coming in, but now with the access and photography out there online, like on Instagram, you are seeing looks brought in from people you have never even seen...which is really cool.

MARK: What does the perfect haircut feel like from the stylist’s point-of-view?

MARK: What makes a good hair model?

TRAVIS: There is no better feeling. A lot of stylists are perfectionists by nature, and we are never 100% happy. But it feels good when a client is like—not sure how you word it.. but you just know—you can see it on their face. There is nothing better than giving a good haircut.

TRAVIS: A lot of times when you do shoots you need versatility, but one thing I find is that overprocessed hair is really easy to work with when you are doing big avant-garde hair. It’s easier to manipulate than natural or really dense hair. Because it has so much texture, it stays really well. But it’s funny those are the people that come in and we want to correct their hair.

MARK: What are some challenges that come with working with clients? TRAVIS: As an industry, we battle with the stereotype that we are laid back and flexible, but this is how I pay for my kid’s school. Canceling the day of or at the last minute of an appointment, or just not showing up puts a gap in a stylist’s day, sometimes for several hours. That’s time that could have been scheduled, and the money earned in those hours could be going towards their kids’ college fund. We struggle as an industry to fight for professionalism. A salon is not the typical office culture, but it doesn’t mean our time is any less valuable. MARK: Favorite band or genre of music you play while styling? TRAVIS: We listen to everything. Today, it’s an Andre 3000 station on Pandora. When I’m here by myself I play Phish Radio - because I know I won’t get threatened! For my last haircut ever, I’d play something from The Grateful Dead. ✂ http://mdgsalons.com

Photo Courtesy of: Greg Perez | Studio

MDGSALONS.COM

355 Indiana Avenue Indianapolis, IN 46204 317.237.5353

820 East 116th St Carmel, IN 46032 317.843.5353

PHOTOGRAPHY + STYLING BY MICHELLE PEMBERTON HAIR BY DAVIN TESTERMAN MAKEUP BY ABBY PRATHER MAKEUP ASSISTANT COLLEEN BENSON PHOTOGRAPHY ASSISTANT ABBY BLASZCZAK STYLING ASSISTANT KATIE MARPLE MODELS BRANDON MINTON, INDEPENDENT, AND TANIA, LMODELZ.

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ABOVE: T-SHIRT AT URBAN OUTFITTERS. CAMO BLAZER BY DIESEL AT SAKS FIFTH AVENUE. RIGHT: PANTS BY JIMMY ALESSANDRINI. VINTAGE BOOTS ARE MODEL’S OWN.

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THIS PAGE: HIM: PANTS BY JIMMY ALESSANDRINI. BELT BUCKLE BY FOSTERWELD. VINTAGE BOOTS, MODEL’S OWN. HER: PANTS BY LUCKY BRAND JEANS. RINGS, SURVIVAL CLAWS BY STACEY HOLLOWAY. VINTAGE BOOTS AND TOP, STYLIST’S OWN. OPPOSITE PAGE: PANTS BY JIMMY ALESSANDRINI. BELT BUCKLE BY FOSTERWELD. COYOTE SKIN ON EBAY.

LESLIE TURNER. MOTHER AGENT.

WORLD-CLASS MODELING TALENT, IN INDY? DEVON GINN CHATS PORTFOLIOS AND THE “IT FACTOR” WITH THE WOMAN WHO’S DISCOVERED SEVERAL OF THE INDUSTRY’S RISING STARS. TEXT BY DEVON GINN + PHOTOGRAPH BY REBECCA SHEEHORN DEVON: Where did you get the inspiration to open a modeling agency? LESLIE: From my own personal passion for wanting to be in this industry. I pursued it a little; I knew about modeling in my hometown Fort Wayne, but all they had there was a finishing school, and my mother (a single mother of three) could not afford it, so I just dreamed about it for years. When I got older and moved to Indianapolis, I looked in the phone book for agencies and went to a few open calls and was told no or got no response. I stumbled upon a few photographers and just did shoots for fun and to feed the passion for getting close to modeling. Finally, a light went off; I asked myself, “How do you go from a small-market model to modeling on a larger scale?” I decided to take a backseat and learn the business by reading every book I could find, studying models and agencies, and slowly but surely started with a few friends as models. Then came LModelz. DEVON: What are some of the benefits of housing your modeling agency in Indianapolis? Some of the costs? LESLIE: Indianapolis is the perfect place to start. Everything is about 15-20 minutes away. Midwest people are warmer, more welcoming and have more patience than you would find jumping straight into the big city. One of the main obstacles that came with managing models in Indianapolis was the “show-and-prove” game. When approaching clients, agencies, and directors from a larger market, they just weren’t too receptive once they heard that I represent models in Indiana. Some were not hesitant to say in an arrogant, boastful way, “We only work with the big agencies like Ford or Elite.” That was one of the main slams in my face. Not so much now. I feel that I have developed a stronger eye and sense of what works. 56

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DEVON: When scouting models at an open call or off the street, what exactly do you look for? LESLIE: Of course, the obvious: a “unique” or “approachable” beauty. But aside from those, [I look for] personality and a true energetic passion for the business. DEVON: What separates LModelz Model Management from other modeling agencies? LESLIE: I’ve learned that it’s not so much the name; it’s who is behind the name. You could be with the greatest, largest agency in the world, but if you don’t have someone who truly believes in you and who you can make a true connection with, it won’t work, no matter who you are signed to. This industry is so unpredictable. One of the main things I feel makes LModelz unique is the diversity of the models; we have a nice variety of ethnicities and sizes. Also, for some clients, it is their first experience with working through an agency, so it’s a little more personable. There’s a learning curve for some. DEVON: What does success look like for models in your agency? LESLIE: Success is a journey. Some have no clue what they really want, so they come in open to the experience of everything. Some prefer to just do local modeling. Others work towards national and international placement. Success for each individual can be something completely different. Some of the younger girls’ (ages 13-16) parents use the modeling as a tool to help their daughters build self-confidence, grow as a young lady, improve their image and expose them to fashion while they are close to home. DEVON: Where do you see LModelz going in the future? LESLIE: [I see] an office in a few other markets, more national and international exposure and jobs for the girls.

DEVON: Everyone talks about an “it” factor in the fashion industry and how it can make or break a model’s career. So, Leslie, how would you describe the “it” factor? LESLIE: Sometimes I see “it” right away. It’s a natural, effortless, but strong presence. Sometimes I don’t see it immediately, but over time; as a girl develops, it surfaces more. Hard to describe what“it” really is. DEVON: When selecting images for your models’ portfolios and comp cards, what do you look for? LESLIE: [We look for] images that capture what the girl truly looks like, images that showcase all sides of her personality, images that showcase her assets. Also, it’s important to understand what the client needs to see so that when the model goes to specific castings or go-sees, the client can actually visualize her representing their brand. Her book and the images in the book reflect that she can go there. DEVON: How often do you hold open calls? LESLIE: It tends to be once a month. Sometimes more, but mainly by appointment only. If a submission is received, and I get that “got to see this one in person” feeling, I will personally set up something right away. DEVON: How do you prepare your models? LESLIE: Depending on where they are when they start and what their goals are (if they even know), I have people in the industry come in to coach them. Also, any of the seasoned models who have traveled and have worked for well-known clients help coach and train the girls. I do a lot of it myself, too. Some need that one-on-one time, so we do what needs to be done to make it happen. ✂

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CUT THE CHAOS. REJECT COUTURE. PHOTOGRAPHY BY POLINA OSHEROV MAKEUP BY ELLA HATTERY (MELODY INN) & KATHY MOBERLY (STUDIO) HAIR PHIL SALMON STYLING BY SAVANNAH NORRIS MODELS AT MELODY INN JULIA AND KARRINGTON (FORD CHICAGO) MODELS AT STUDIO ANGELINA (HEYMAN TALENT) & TREVOR (BMG) ASSISTANTS ESTHER BOSTON, MARIA DICKMAN SPECIAL THANKS TO MELODY INN

REFASHIONED DRESS, STYLIST’S OWN

5959

ABOVE: MESH HOODIE, T-SHIRT, PANTS, AND RED MINK STOLE, ALL STYLIST’S OWN LEFT: REFASHIONED SWEATER AND SHORTS, STYLIST’S OWN. CHAIN MAIL BANDANA, HEAVY METAL BY BRADY LAUGHLIN. OPPOSITE: CHAIN MAIL BANDANA AND JOCKEY ARM BAND, BOTH HEAVY METAL BY BRADY LAUGHLIN. DRESS, LADY LAUREN.

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BELOW: T-SHIRT BY METZ. ROBE, STOCKINGS, HAIR STICKS, AND CHAIN BELT, ALL STYLIST’S OWN.

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ABOVE: BLACK FLAG T SHIRT BY LUX & IVY. LEATHER BUSTIER, BELT, SCARF, PANTS, SOCKS, ALL STYLIST’S OWN. SHOES, MODEL’S OWN. RIGHT: REFASHIONED DRESS AND BELT AND HAIRPIECE, STYLIST’S OWN. STOCKINGS BY LUX & IVY.

BELOW: CAT EYE GLASSES, VINTAGE GIRL SCOUT UNIFORM, AND GLOVES, ALL STYLIST’S OWN. CHAIN MAIL COLLAR, HEAVY METAL BY BRADY LAUGHLIN.

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ABOVE AND BOTTOM LEFT: REFASHIONED TUXEDO SHIRT & PANTS, ALL STYLIST’S OWN. TOP LEFT: CHINESE HALF-JACKET BY LADY LAUREN. T-SHIRT BY METZ. NECKLACE BY LUX & IVY. HAIR STICKS, STYLIST’S OWN.

BELOW: VINTAGE CHEONGSAM DRESS, STYLIST’S OWN. SHOES AND STOCKINGS, MODEL’S OWN. BOTTOM RIGHT: REFASHIONED DRESS, STYLIST’S OWN.

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BELOW: JACKET, TIE, VINTAGE CHEONGSAM DRESS, ALL STYLIST’S OWN. HAIR PIECE, HEAVY METAL BY BRADY LAUGHLIN.

Road_Pix_Pattern_half-page.pdf

7/3/13

10:45 AM

At Road Pictures, effective communication is always in fashion. Efficiency is always in style. And creativity is the uniform of the day.

Filmmakers for Television | Online | Corporate Video | DVD www.roadpictures.com

OM NTUM Fashion either has happened or will happen.

By happening, it is no longer momentumâ&#x20AC;&#x201D;it becomes a moment. Then, a sequence of moments. Momentum is an infinite series of definite moments. Fashion is a collection: Moments viewed as one. Momentum as the presentâ&#x20AC;&#x2122;s potential.

phantom exposure phantom exposure erusopxe m otnahp phantom exposure

PHOTOGRAPHY BY STACY NEWGENT ART DIRECTION BY SARAH SCHENDEL STYLING BY JIMIA SMITH + SARAH SCHENDEL HAIR BY ALLISON RUTLEDGE + MAKEUP BY ASHLEY SKIRVIN MODEL KATIE CLEMENTS CLOTHING IS ALL STYLIST’S OWN.

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INTERNATIONAL

INDYxPARIS

TEXT BY BENJAMIN BLEVINS + PHOTOGRAPHY BY POLINA OSHEROV, ESTHER BOSTON, JANNEANE BLEVINS & BENJAMIN BLEVINS

(PART I): OH BONDAGE, UP YOURS: FLEE TO STAY HERE, WE FLED—AN EXERCISE IN ANTI-ESCAPIST (Temporary) expatriation. “Living local” is the urbanite’s sacred mantra (and the ever-ambiguously-defined “hipster” grail): the serene battle cry of sustainability and so-called city-building. Yet, left unchecked, the postive potentiality that localism offers creates a tunnel-visioned, nearly-isolationist obsession with here 1 (not always, but precariously close…). So, we2 fled. Not to escape, but to return. I love my community, specifically, my Indianapolis one. And loving requires work. At Pattern (and IndyHub, KA+A, IndySpectator, Verge, Factory IV and others), we’re building with both hands while borrowing from those communities and cities that have already figured out how to optimize some part of our vision for this place. That was the impetus behind our Parisian expedition. We didn’t leave out of dissatisfaction with Indy; we left to bring back practical ideas (and maybe a few absurdly impractical ones) which, when implemented, will hopefully imbue us —Hoosiers, Midwesterners, Indianapolitans, cornfed & farm-raised fashionistas—with a sense of satisfaction.3

(PART II): OH BONDAGE, I’M YOURS: COMMUNE AS INDIVIDUALS, EACH OF OUR ENDEAVORS ALWAYS ENDS UP looking & feeling like ourselves (you know: that whole “in your own likeness” thing). This isn’t just narcissism or egregious egocentrism; it’s because we create things4 that tend to mirror their makers. We build from what we know best; and, regardless of any self-proclaimed selflessness, you will always inject you into your work. We talk about “community” as if it were a singular entity5 instead of what it actually is: a multi-headed creature that sometimes gets its disparate minds to work in concert with itself/themselves… and just as often, it can’t quite get them to harmonize. And that’s the beauty of community: it isn’t a solidarity that eschews divergence and dissent; it’s unified through (& because of) the acknowledgment & inclusion of visions we don’t understand yet.6 INDYxPARIS was an experiment in discovering my/our lack7. We observed what was lacking in our own projects, studying what’s missing in the Pattern (and Indianapolis) community. We took note of the lapses that existed in their admittedly more established and better-funded structures. And now, we’re trying to sublimate the two—synthesizing the lacks & lapses of Paris & Indy into something with less gaps and more overlaps. (Unneccessary addendum)8

1 With regard to here-ness: Yes, the ever-present connectivity of networks & smartphones (the instant-incessancy that is now a prerequisite of considering oneself a functioning member of society) has redefined here as a space, rather than a particular physical place. And sure, we’ve all read (or pretended to have understood) Friedman’s flat-world-pseudo-manifesto bestsellers, but immediacy and accessibility don’t negate the significance of spatial distance. Traversing this distance (distance being actuallyexisting separation, of course) is what makes fleeing-to-return distinct from mere escapism (whether that escapist urge sends you into the bowels of myriad Instagram feeds and midcentury modern Pinterest boards, etc ad nauseum). It also carries a heavier risk: the possibility of impending, unwittingly incidental permanence is always nearby, e.g. “what if this new place is where I should be?” or “their arts are so much ____,” their opportunities twice-infinite… and all that tourist-astransplant/new-resident-novelty mental sidebar spam. 2 We being: Polina Osherov & Esther Boston for the first week, Janneane Blevins & myself for the rest of the month. See: www.INDYxPARIS.com. 3 Caveat: Not “satisfaction” in its contented, couch-ridden connotations; it’s a proud satisfaction, invigorating and adamantly anti-complacent. It’s a disorienting education that mandates action, inspires subtle and drastic changes/ alterations/iterations, clings to established methods and embraces alternatives that we don’t yet understand. Fashion, fact and faction, exists through funneling impossibly exclusive opposites through its aesthetic funnel. 4 things being the entire gamut of building: from homes to communities to companies to our carefully (deceptively?) curated online “selves”. 5 with regards to momentum: We too often think of it as… an it. Momentum isn’t a movement; it’s a series of individual moments that – from a distance – looks as if it is one coherent line. We can’t see the segmented, distinct minutiae within. 6 or, even better: ideas we disagree with and therefore must choose whether to reconcile seemingly incompatible minds or willfully alienate them as anti-us apostates. 7 lack: which, should be lacks since they’re as numerous as Georg Cantor’s countable infinities will allow… 8 …that I may or may not agree with, but was a part of the INDYxPARIS project thought process: It’s not a “home away from home” or home-is-where-the-heart-is, or “taking home with you wherever you go” sort of thing; It’s not about bringing back a piece of place or bringing a bit of one city to another; It isn’t acculturating or assimilating; nor is it rejecting those opportunities when they manifest themselves; I’m not “diving into something new”. I’m not nostalgically pining & brooding to myself about bygone eras & foregone movements & long-lost persons. I’m, we’re… moving…∞

PATTERN

Congratulations Kendall! In a National Competition among some of the country’s hottest bartenders including competitors from New York City, Los Angeles and San Francisco, Kendall Lockwood took home top prize with her Magic City inspired creation “The Hooch.” Be sure to visit The Ball & Biscuit at 331 Massachusetts Avenue Indianapolis, IN 46205 to enjoy this delicious cocktail creation.

Photo by Michael Anthony

CITY INSIDER

MOMENTUM IS REACHING FOR THE IMPOSSIBLE.

TEXT BY MICHAEL KAUFMANN + JOHN BEELER JB: When I think of momentum, I think of that magical moment in movement when something suddenly shifts. We see it when a tennis player stretches her arm back in preparation for a winning stroke. And in hockey, too, when a team down by five goals regroups at the bench, then skates out on the ice, brows furrowed and resolve renewed, to win an impossible game. And when your daughter or son swings at the park, reaching for the sky with every big push. We yearn, aspire and reach for the impossible — stretching to achieve even the absurdly impossible. MK: And this is what the fashion runway teaches us: No idea is too absurd to parade out: clothes made from cardboard, fungus, bubble wrap, projected light or paint. There is a boldness to fashion. It plunges into the impossibilities of what is wearable; it is this overreaching that propels the industry. Then, later, comes strategic compromise. The industry normalizes these bold ideas into the practical, the wearable and the applicable, in order to appeal to a broader consumer base. The impossible informs the practical. JB: Right. We need to think of momentum as a process, where the reach — the dream — is not necessarily the end but a means. There’s a confidence intrinsic to that moment of momentum, like the women and men who walk the fashion runway, the best of whom model absolute absurdities with supreme confidence and make it work. MK: The momentum we are currently experiencing in the city is a result of previous investments of time, energy and resources in Indianapolis. And the tangible results of these previous investments will continue to pay off and spawn new momentum. The Indianapolis Cultural Trail is a perfect recent example.

Some of our older investments might be reaching the end of their impact. They need to be rethought or reconsidered, without classifying them as failures. The Circle Center Mall is a great example -- a success, but one that might have run its course. Our momentum is only as strong as our vision. Are we dreaming big enough, reaching far enough, for radical and lasting positive change for all of our citizens? Or have we resigned ourselves to limits, to commodifying only a limited downtown experience with new places to eat, shop and live, while ignoring alternate possibilities and the rest of the city? Let’s dream big, let’s overreach. Better to envision something so huge that even a gross compromise would still be bold by all standards. JB: Might be duly noted that going big might mean big failure. Science fiction author Neal Stephenson wrote a piece called “Innovation Starvation” for the World Policy Institute, where he argued that what we’ve gained in certainty and prediction and data, we’ve lost in ambition. “Today’s belief in ineluctable certainty is the true innovation-killer of our age,” he writes. Ouch. It’s go big, or go home. We must make a leap of faith. We have huge problems looming that we’ve been timidly passing down the ice for decades. At some point, we have to swing back hard and take a slapshot. We have to don the silvery thermal-wear neon wings and oversized diamond-shaped helmet and step out onto the stage (or runway). Without reaching for the impossible there is no practical, and we are left with what has been done before: the paradigm. The status quo. The usual. None of that will suffice for the complexity and severity of the problems we, as cities, face in the 21st century. MK: So, Indianapolis, put down your small thoughts and meager ambitions. Dream big, be bold, and strike a pose on the international stage, even if you aren’t totally sure about what you are wearing at the given moment. Let’s create new momentum by wearing our big ideas with confidence and pride. ✂

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BOOKMATCHED & BACKLIT GREEN MULTICOLOR ONYX

(317) 632-9494 http://www.santarossa.com

AS TOLD TO DANIELLE SMITH + PHOTOGRAPHY BY STEPHEN SIMONETTO BY MOST PEOPLE’S STANDARDS, I’M A “sneakerhead.” But I’m just trying to get better, one shoe at a time. I like talking to people who are aware and appreciate the sneakerhead culture. You can resell your shoes but still appreciate the sneakers, or you can hoard every shoe you buy and despise people who resell. I just enjoy people who know and have an informed opinion about sneakers. I wouldn’t say there is a number of shoes you have to own to be a sneakerhead, because money may prevent people from buying as many as they want. I think it’s more of an attitude. There are plenty of people who can’t play basketball but love the game and have informed opinions about the sport. They could be considered basketball junkies. The same holds true to sneakers. I will say this, though — please don’t buy your first Jordans in 2013 and then try to hold a conversation with me proclaiming you are a “sneakerhead.” The conversation may not end well. The first pair I remember buying was the Air Jordan Flint 13s. That was in 1997 or 1998. I helped open a local FootAction in Indy, and I was a junior in high school. I probably have 200-300 pairs of sneakers in my collection. Over 100 of those are Air Max 1s. This photo only displays about 25 percent of my collection. I keep most of my shoes in storage, but I keep all my Air Max 1s in clear containers in my basement for easy access. After I wear a rotation of five to six sneakers, I typically clean them with Jason Markk sneaker cleaner. It’s a specialized formula combined with special brushes, depending on the material. I have always had a love for running shoes for some reason. I gravitate towards the lower profile look. As I got older, I started to appreciate more colors and styles, and my funds corresponded accordingly to be able to buy what I wanted. Nike is my favorite brand, by far. They make the best products and typically have the best stories behind their shoes. Locally, I shop at gotSOLE, which is owned by Mike and Diana Watson. It’s my go-to spot. Otherwise, I’m an extreme eBay hunter. I find deals all the time while looking for missing pieces for my collection. I’l probably never stop collecting sneakers. I would compare that to reaching the end of the Internet, which is essentially impossible. ✂

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SNEAKER

HEAD

KEVIN “AIRMAXMILES” MILES, 33, INDIANAPOLIS

AN EXERCISE IN BARRE & RING

PHOTOGRAPHY BY POLINA OSHEROV STYLING BY JANNEANE BLEVINS HAIR BY ADRIANNA ZARAGOZA, FRENCH PHARMACIE MAKEUP BY KATE SHAW, FACES BY KATHY MOBERLY MODEL MARIEL GREENLEE, DANCE KALEIDOSCOPE ASSISTANTS ESTHER BOSTON, MALINA PADGETT SPECIAL THANKS TO FACTORY IV CLOTHING PROVIDED BY MOTIONWEAR, SUGAR & BRUNO, UNITED STATE OF INDIANA AND DOPE COUTURE.

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INDUSTRY INSIDER

FINISH LINE’S OCD BCD. BEN CLEMENS, THE MAN BEHIND THE HOMETOWN GIANT. TEXT BY ELIZABETH FRIEDLAND + PHOTOGRAPHY BY STEPHEN SIMONETTO A RETAIL GIANT LIES QUIETLY TUCKED INTO THE FAR EAST side of Indianapolis. True to its Hoosier roots, this giant is humble, letting its accomplishments do the talking. And there’s a lot to say these days. The Finish Line, Inc., which operates more than 650 stores in 47 states, in addition to a thriving e-commerce destination, boasts annual sales upwards of $1.4 biliion. Recently, a new deal with Macy’s has energized the company further, making Finish Line the exclusive athletic footwear partner of the department store. So, if you didn’t notice Finish Line before, you won’t be able to miss it any longer; the deal puts the company in nearly 700 Macy’s stores over the next year and a half. Yet it wasn’t long ago when Finish Line was a local operation. In 1976, Alan Cohen, David Klapper and John Domont, three friends who shared a passion for running, decided to chase their dream of bringing high-quality athletic footwear to then—sleepy Naptown. They purchased franchise rights from The Athlete’s Foot in the greater Indianapolis and Louisville areas and soon after opened the first storefront in Indianapolis. The trio took over 11 more stores, but that wasn’t enough for the ambitious friends. They developed a competing concept, giving birth to The Finish Line in 1982; by 1986, all of The Athlete’s Foot stores converted to The Finish Line brand. In 1992, a mere 16 years after first dipping their toes in the retail waters, the friends took the company public. Around that time, Finish Line began looking for its first creative hire. With a nationwide presence to manage and top-tier brands to promote, it was time to give advertising a more serious look. Enter Ben Clemens, then a young designer who had graduated from Vincennes University.

Starting at Finish Line as the first designer the company hired, Clemens has stuck around for some 22 years, now leading the company as Brand Creative Director. “At the time, I was the only one doing everything—from ideation to production to trafficking —for 140 stores. It was hectic, but I loved it. I mean, sneakers everyday? You can’t beat it,” Clemens said. Of course, “sneakers everyday” is an oversimplification of his role in the company. Clemens is tasked with promoting some of the best known brands in the world — Nike, Under Armour, Puma, adidas and Reebok, to name just a few—while providing Finish Line with its own unique brand voice and presence. “To boil it down, anything creative is supposed to pass over my desk—that’s about 250 projects going on at one time. I work with our major brands to tweak their ad campaigns to fit in our store environment. I oversee creative for all of the store change outs, in-store advertising and all direct mail programs. I work closely with the Finish Line’s Senior Digital Creative Director in Boulder [Colorado] to manage our brand look and feel, making sure our brand identity is consistent. And I organize, manage and supervise our photo shoots. “ Lest you think managing a photo shoot sounds like a sexy part of this job, think again. “Our last shoot was in L.A. I worked on planning it for six months, and once we’re on set, it’s waking up at 4:30 in the morning and not getting to bed until after midnight. We shot over 8,000 photos over a four-day period. It’s exhausting and not nearly as glamorous as people think, but there’s nothing else I’d rather do.” Clemens’ creative process may seem at odds with the image of a stereotypical free-spirited stereotypical creative director. A meticulous planner, Clemens says his anal-retentiveness gives him the security to play with a concept until it feels right.

Left to right Art Director Jason Steiner, Clemens, and Senior Designer Kendra Smith review one of the 250 projects Clemens oversees daily.

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INDUSTRY INSIDER

“I’m very OCD for a creative director, but I still like to wing it. The best creations come out of those unexpected moments.”

“There’s a lot of comfort working for this company. If business goes south for a bit, you’re still okay. In an agency, you’re laid off if you lose your biggest client.”

Many of those “unexpected moments” happen right on the set of a photo shoot for an ad campaign.

While the job security makes Clemens comfortable, he’s not one to rest on his laurels and direct the team from his office.

“Our main age demographic is 16-25, so sometimes it’s the models themselves that show me a new way of wearing something. On our last photo shoot, the models were all wearing tall socks, so we played with that,” Clemens said. “What we may think is cool in Indiana may be different than what a model from Soho or L.A. finds current.”

“Even though I’m seasoned, I keep up on trends. I encourage my art directors and senior designers to people watch in the cool parts of town. I go to high school and college basketball games to see what teens and college students are wearing. Our creative team calls Facebook our unofficial focus group. We like to run ideas past nephews, nieces, cousins and kids, watching for what trends they are seeing and are actually playing out.”

While it’s cliché to talk about the coasts being fashion-forward while the Midwest waits for trends to trickle inward, Clemens finds a kernel of truth in the platitude—especially in regard to young professionals. “Creative talent is afraid to come here, and creative talent that is here is too quick to move away. Everyone thinks, ‘I gotta go to Chicago, I gotta go to New York.’ But when you move to those big cities, you compete against thousands of others. Maybe you’re working for bigger brands or larger companies, but your role is probably smaller [than in Indianapolis.]” After a quarter of a century working with and mentoring up-and-coming Indianapolis creatives, Clemens has much to say on the topic of recent graduates. “Most of the designers coming out of school don’t have a real perspective of the design profession. They think they’re going to change the world, that it’s all about them, that everything they do is going to be worthy of being in some coffee table book. They think the design world and advertising is all going digital, but it’s not. There’s so much print, billboards, magazines, windows clings, cardboard and foam core.” For designers looking for a career in the retail industry, Clemens stresses the importance of being well-rounded. “Students need to have classes in print and print production. They need to learn more basic business skills like accounting, scheduling and marketing. And they need to learn to draw! I drew all the time as a kid, and I often still sketch out campaign ideas. It’s not enough to just know the digital tools. Drawing by hand lends itself to a creative thinking you can’t replicate on the computer.” He also believes young, creative talent is afraid to take an in-house role, instead seeking the glamour of working in an agency setting. “There’s the perception that if you’re in-house, you’re stifled. But my creative team treats Finish Line like a client, so that’s not true at all. We’re always presenting our client with new, fresh ideas. We have our own little agency in here.” Creative freedom aside, Clemens sees in-house role as a way for creative talent to find job stability in an industry rife with turbulence.

Ben Clemens in front of the in-office V6 store model, which launched in prime retail locations last year.

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Though his focus may be athletic apparel, Clemens draws inspiration from everyday experiences others might overlook. “I walked into this barbeque place a few weeks ago, and they had an old record player and a stack of vinyls playing. Ten years ago, that would have just looked old, but now it’s hip. That’s an idea we can incorporate in a fresh, purposeful way.” As for what’s new with Finish Line, Clemens describes a new approach to marketing. The company, which used to produce campaigns that centered around holidays (back to school, Christmas, Memorial Day, and so on) is now looking toward a seasonal focus, allowing the campaigns to have more longevity in the marketplace. Longevity is something Clemens know well—but it’s clear he hasn’t lost his edge, nor is he slowing down anytime soon. Just talking about his personal passions is enough to exhaust the average person. “My wife and I are big into eating healthy and working out. I have a trainer I work with, and I wear a pedometer (provided by Finish Line as part of our health plan) to make sure I’m getting in enough activity throughout the day. We’re empty nesters, so we’re traveling a lot. We just went cave diving in Cancun—I love snorkeling—and I’ve taken up photography ever since our self-guided and planned trip to Alaska. I love remodeling and construction. I’ve redone our entire house—our kitchen, the floors, the bathroom. Now I’m working on my man cave garage.” When asked why he still seems so energized about his work after such a long tenure with The Finish Line, he cites his mental flexibility. “I think my secret to success is being willing to adapt and change. It can’t always be my way or the highway.” He leans back in his chair and—always the creative director—thinks of a way to richly illustrate his point. “Picture yourself standing in the ocean. If you dig your feet into the sand when a wave comes, you’re going to get knocked over. But if you ground yourself yet swag with the rhythm of the ocean, the wave will roll past you. It’s the same in your career. You have to stand firm and believe in your design ideas, but you have to change and move toward what is best for the outcome and the customer. You have to move past your ego.” ✂

IN STORE : ONLINE luckybboutique.com

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TRIPLE VISION TRIPLE VISION TRIPLE VISION

PHOTOGRAPHY BY WIL FOSTER, ROCK CANDY STYLING BY DANISHA GREENE HAIR & MAKEUP BY AMANDA SCHROEDER MODEL SOPHIE SECHLER, INDEPENDENT 94

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THIS PAGE: VINTAGE VEST ALTERED BY STYLIST. VINTAGE PANTS BY THE SILK FARM DESIGNED BY ICINOO. SHOES BY SIGNATURE SHOES. OPPOSITE PAGE: VINTAGE BLAZER AND TROUSERS BY TAHARI. TANK AT L’HISTOIRE DE FAYONNER. SHOES BY SIGNATURE SHOES. HAT IS STYLIST’S OWN.

THIS PAGE: SWEATER BY ST. JOHNS SPORTSWEAR. VEST AT MARSHALL’S. VINTAGE PANTS BY MARLENE AND STEPHEN BAUM FOR LES HALLES NY. ACCESSORIES BY RUNWAY DIVA. SHOES BY SIGNATURE SHOES. OPPOSITE PAGE: VINTAGE BLOUSE BY SARAH TAYLOR. LEGGINGS BY BGALS COUTURE. SHOES BY SIGNATURE SHOES.

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THIS PAGE: VINTAGE CAPE AT BEDAZZLING BOUTIQUE. VINTAGE BLOUSE BY NEW YORK STUDIO. VINTAGE PANTS ARE STYLIST’S OWN. HAT AT TARGET. SHOES BY SIGNATURE SHOES. OPPOSITE PAGE: VINTAGE SKIRT BY WINLIT. VINTAGE BLOUSE BY CALVIN KLEIN. BLAZER BY DANIE’LE O. VINTAGE LEG WARMERS, ALTERED BY STYLIST. SHOES BY SIGNATURE SHOES.

THIS PAGE: VINTAGE DRESS BY GIORGIO SANT ANGELO. VINTAGE BLOUSE BY BETHANY. ACCESSORIES AT L’HISTOIRE DE FAYONNER. SHOES BY SIGNATURE SHOES. OPPOSITE PAGE: CAPE BY O’NEIL OF DUBLIN, IRELAND. PANTS BY KASPER. BLOUSE AT L’HISTOIRE DE FAYONNER. SHOES BY SIGNATURE SHOES.

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COMMUNITY

VELOCITY ACCELERATING DOWNTOWN’S VISION.

Vibrant Economic Development

Housing, Neighborhoods & Livability Downtown Environment & Experience

Multi-Modal Transportation Solutions

TEXT BY JANNEANE BLEVINS IF YOU’VE SPENT TIME IN DOWNTOWN INDY RECENTLY, YOU’VE FELT MOMENTUM. It hangs precipitously in the air — a feeling of something about to happen, while appreciating something that already did. From the Cultural Trail, to the City Market, the Super Bowl, the Canal, urban gardens and a host of new restaurant and housing options, our downtown is pulsing. These efforts did not happen overnight and perhaps are most directly the result of downtown advocates such as Indianapolis Downtown, Inc., founded 20 years ago to develop and promote a strong, relevant and vibrant core. Even that was predated by earlier dreams, planning and realizations. Regardless, we’re excited to keep that momentum, and even accelerate it forward. With the creation of Velocity, we’re about to have a plan to do exactly that. Velocity was conceived as a five year strategic action plan designed to maximize the efforts of multiple task forces and 4,000 perspectives throughout the process. Striving to collaborate, connect, and calibrate, action is a defining hallmark of the Velocity plan. Earlier this summer, we met up with Krista Skidmore, the steering committee chair of Velocity, to learn more about Indy’s plan to accelerate and activate downtown. Leaping off of IDI’s roadshow conversations, Velocity issued a public survey, co-hosted neighborhood roundtables and empowered experts and community leaders to participate in advisory groups and a steering committee.

“There has been tremendous value in the breadth and depth of community engagement during this effort. We’ve learned some best-in-class practices from peer cities and have been inspired by our own community’s leadership to think boldly about our future—and it’s a bright future!” — Skidmore

PRELIMINARY RESULTS OF THESE CONVERSATIONS INDICATED:

With an enviable array of green spaces compared to peer cities, we can create additional amenities that would make the spaces more attractive. Underpasses and railroad viaducts create a perceptual and physical mobility barrier to various areas around downtown. With a repaired infrastructure and enhanced lighting, we can improve safe connectivity between our neighborhoods and the downtown core. Indianapolis has a walkable downtown and we can celebrate that asset by improving the availability and use of all transportation modes.

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Public Spaces & Activation

Arts, Culture & Attractions

Indy has long been a great place to visit and a great host to everyone from Future Farmers of America and Comic Con to the Super Bowl. We also want to be a great place to live. A livable and vibrant city should capture the hearts of both visitors and residents—we need to engage both audiences to reach our potential. Look for the launch of the Velocity plan this fall. Remember: action is the key. How can you help, not only in maintaining our momentum, but in accelerating our city? For more information, visit www.indyvelocity.com and subscribe to their bi-weekly stakeholder updates. See what your neighbors are saying at #indyvelocity and tweet your ideas to @indyvelocity. ✂ www.indyvelocity.com @indyvelocity #indyvelocity

ROCK HARD BODIES

PHOTOGRAPHY BY ERIC LUBRICK STYLING BY MARIA DICKMAN MAKEUP BY JENNIFER TRAPPE MODELS ANNA & BLAISE, HELEN WELLS AGENCY 104

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THIS PAGE: VINTAGE FILIGREE BANGLE AND RAINBOW MOONSTONE STERLING SILVER BRACELET BY THOMAS J CHRISTENSON CUSTOM JEWELRY DESIGNS OPPOSITE PAGE: WHITE GOLD JOSEPHINE DIAMOND RING BY PENNY PREVILLE. PLATINUM BLACK DIAMOND RING BY MICHAEL M AT REIS NICHOLS JEWELERS. BLUE STONE RING IS STYLIST’S OWN.

ON BLAISE: BLACK DRUZY CUFFLINKS BY REIS NICHOLS JEWELERS. ON ANNA: GREEN AGATE AND DIAMOND WHITE GOLD RING BY REIS NICHOLS JEWELERS. OPPOSITE PAGE: VINTAGE WHITE GOLD DIAMOND CROSS BY THOMAS J CHRISTENSON CUSTOM JEWELRY DESIGNS.

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KATIE OSBORNE. SPORTSCASTER.

REPORTER. PUBLIC RELATIONS COORDINATOR. EMCEE. WORLD TRAVELER. AND THOSE ARE JUST A SAMPLING OF HER DAY-TO-DAY RESPONSIBILITIES. MAGGIE CONNER CATCHES UP WITH INDIANA’S MOST ENTERPRISING SPORTSCASTER—WHO JUST HAPPENS TO BE A BLONDE BOMBSHELL, TOO. TEXT BY MAGGIE CONNER + PHOTOGRAPHY BY ESTHER BOSTON TO SAY THAT KATIE OSBORNE IS A BUSY WOMAN IS QUITE the understatement. The Hoosier native recently added Director of Marketing and Communications for Global Rallycross (motorsports) to her already enormous list of job responsibilities as a sports broadcast freelancer, holding positions as a TV reporter and host for the Indianapolis Colts, Indians, and Pacers, as well as the Columbus (OH) Blue Jackets. We caught up with the ambitious blonde on her way to Munich, Germany, to talk about her demanding global gig, her favorite Indy go-tos, and her plans for the future (watch out, Erin Andrews!). MAGGIE: You seem incredibly busy! What are you doing in Munich? KATIE: I’m the director of marketing and communications as well as the PR person for Global Rallycross. We’re all wearing like twelve hats. On top of that, I keep up with all my freelance work, too, so it’s so crazy! In Munich I’ll be reporting on the X Games with Global Rallycross, but I’ll also be doing all the PR and marketing, too. MAGGIE: So where else has Global Rallycross sent you? KATIE: They’ve sent me to Foz do Iguaçu, Brazil and Barcelona, Spain, and we’ll be at the LAX Games in Los Angeles in August.

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MAGGIE: So do you get to enjoy any of those trips at all? KATIE: No! (laughs) It’s frustrating because you would think so, but it’s so business-y. But I still try to get out and explore. My thought is, you only live once! I’m a softie for global spots and coffee shops and cupcake stores and restaurants and wine and all that. I figure if I’m there, I might as well try and do it! MAGGIE: You do this and work for the Indians, the Pacers and the Colts—what made you switch from modeling to sports hosting and PR? KATIE: So, the stuff I do for Global Rallycross is just because I wear that hat for them. I never want to claim marketing, communications or PR. How it all started, though, is through modeling—I’ve been doing modeling all my life. It helped pay for my school. But, I was also always an athlete. I swam at University of Iowa. Sports came naturally for me because that’s what I knew growing up, and I was always around competition. I graduated in sports broadcasting, as well, so I knew that was my major, and that’s what I was going into. But it wasn’t an easy decision, necessarily. I was in sports marketing management at first, and then I tried straight journalism, and then I realized more and more—I’ve done TV work and modeling and acting and I love sports—why not try the two together? Which is how I ended up in sports broadcasting. And I think, for me, I never wanted to be that girl who was a model, and then that’s why I went into sports broadcasting, because there’s so much credibility that’s lost from that. I want to be someone who’s knowledgeable in sports and know what I’m talking about and not just do it because I’ve modeled before.

MAGGIE: So speaking of modeling, how has that helped further your career? KATIE: In my career, it’s been so helpful because you have to know how to connect with the camera. If I had never done modeling, I probably never would have done sports broadcasting. I think modeling is such an ebb and flow that at this point, sometimes there’s really great work and other times, the market’s off and it’s hard to find that work. Having been a freelancer my whole life, you get used to that environment where you never know if you’re going to get that work again; it can be scary. It’s a grind. I think modeling has prepared me for the freelance world of reporting and hosting, too, because you’re not sure what could happen when the season could be over, unless you sign a contract, which happens in modeling, too. So there’re a lot of things that have an overlap that, I think to a small-scale, modeling has prepped me for my work. MAGGIE: Modeling and fashion go hand and hand. What kind of role does fashion play in your life, if any? KATIE: Obviously, as a woman I love fashion. I appreciate fashion. I appreciate everyone having their own style and their own sense of who they are. Their creativity can be seen through their clothing. In 2011, I bought a one-way ticket to New York City after a bad breakup. My ex and I had bought a house and we had three dogs and we lived together in Indianapolis, and then we broke up. He and I were so dependent on one another and spent so much time together, I was like, who am I? So I bought a one way ticket to NYC a couple months after and had $900 to my name, and I slept on a futon of a 41 year-old woman whom I had only met a couple of times in Indianapolis.

MAGGIE: So how did that work out for you? KATIE: It was the best, most life-changing decision, actually. I landed in NYC – this is kind of hilarious – and I get in a cab. There was a commercial that was finishing and then the next commercial that played was a commercial that I was in. And I thought, This is a sign. And the first casting I went on I booked. So I thought, this is what I’m going to try and do right now and see what happens. Well, I realized the kind of people who can be in New York City. I respect those who can be a waitress in a restaurant and work until five in the morning and try to make the best of it, but that’s not me. So I got a temp job at an apparel company called PVH. After three weeks of temping there, a VP came up to my desk where I was a temp worker and said, “I’ve been told I need to create you a position.” And I walked into his office and without a thought, I accepted a position as sales coordinator and designer of the men’s underwear division of PVH and designed underwear for seven months of my life. It was so eye-opening, not only for the fashion side and what goes into it, but I also realized how much I loved men’s fashion. But I resigned because I realized I missed my modeling and broadcasting work. I really missed connecting with people in that way, and truthfully, I’m not an office girl. I don’t sit well at a desk; that’s just not me. But I still loved men’s fashion, so I started consulting for men and I had my own personal shopping and styling business called Project Man. I still try to work with people, but now that I’m all over the place with my other work, it’s kind of hard to stay consistent with that. But yeah, so truthfully, fashion is something I’m extremely passionate about, and I had no idea until I moved to NYC and worked in underwear that I actually loved men’s fashion. It was crazy. It was life changing. I consider New York to be the place that helped create me. It’s really strange. You know, it stands for something more… it’s just awesome. MAGGIE: So what made you leave New York exactly? KATIE: I came back from New York because the Indianapolis Indians offered me an emcee position. I turned them down, but told them I would be willing to get back on camera full-time to really build my tape if they could offer me something else. So I created a position with them as the pregame reporter for the Indians on WRTV/HTSN. I created my position at the Colts, too. I sent a proposal in; next thing you know my position was created after some production meetings. And actually, the same things happened at the Blue Jackets, and at Global Rallycross. I created my position at all of them. That’s what brought me back to Indianapolis– it was realizing my passion and realizing that the opportunity was right there to take it and see where it could go. MAGGIE: It seems like you have had some high profile relationships. How do you deal with your private life becoming more and more public? KATIE: I’m a pretty transparent person. And I would have to say that I learned a lot of lessons in my last long-term relationship that I had. I’m a lot more private than I’ve ever been, and that was pretty hard to learn. When my ex and I broke up, it was all over the Internet,

which was really stupid. And it hurt really badly. Outside of Indianapolis, no one cared, but inside Indianapolis some people concerned themselves with it, and it was really stupid for people to care about that. It was really hard to know that no one knew the real story. People were saying things, and I really wanted everyone to know what happened! But I kept my mouth shut. And you know, my ex at the time unfortunately didn’t keep his mouth shut. And he was the one who (laughs) put it out there. And it’s actually kind of funny because we still have a friendship, but I don’t think anyone should care what goes on in my personal life because it’s really not that exciting. However, sometimes people do talk about that, and it is what it is. I can’t really change it, so I learn to deal with it. MAGGIE: What’s the most memorable experience you’ve had working as a sports host? KATIE: When I was on the Colts pregame show as a reporter and host analyst, putting on a headset and walking onto the field to emcee for the first time. This sounds so stupid, but just thinking, “Is this really happening?” Emceeing is very small scale for reporting work because it’s camera work, not TV work. But I’ve never been more nervous in my life. My knees were buckling, I almost dropped the mic. I probably talked way too fast. I don’t know what happened! It was a big blur. It was by far the scariest moment of my life to walk on the field knowing that I was in my old hometown when I had just moved back from New York, and I hadn’t been in front of that many people. There were so many things going through my head. It was just one of these big experiences where I’m thinking this is my hometown and this is who I represent. This is what I love – I love Indianapolis. And that was a really cool feeling to do that. Putting on the headset and being on the pregame show with the Colts was really fantastic conversational-type TV work that I really enjoyed. And working for the Indians – I’m a softie for kids and family stuff and working for them is just a blast. Nothing beats a day at the baseball park in the summer time.

MAGGIE: Where are your favorite places to shop in Indy? KATIE: I usually find myself at miscellaneous boutiques like Niche. And I love Uber, love Uber. I’m a boutique shopper. If I go to department stores, it’s usually Nordstrom, but I like to find special articles of clothing. When Frankey’s was around, I would shop there. I shop at Lululemon, even though it’s commercial. I always wear sweats when I don’t have to put myself together. I don’t like to wear makeup that much! MAGGIE: I just have one more question for you before I let you go. Where do you see yourself in five years? KATIE: I want to be a mom. I want to have a family. I can’t say that’s going to be in five years, but I want that to happen. I want to have a morning show – a lifestyle show that incorporates fashion, sports, news, and entertainment. I love how morning shows can impact people and help people and influence people. And I would never turn down a job in sports when it comes to reporting and sideline reporting, but I think I could see myself eventually going into a talk show, so that I could also have a family because I would be in one place at one time and really be able to hone in on that. Yeah, if you know anyone who needs a morning show host, you let me know! And sports have been an awesome outlet for me and it’s really shown me that I still have a lot to learn. However, I’ll say that I just know what I’m passionate about and that’s people -- connecting with people and understanding them. ✂

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CHEERS

PHOTOGRAPHY BY POLINA OSHEROV + AS TOLD TO MARIA DICKMAN ON ANY GIVEN DAY, THESE WOMEN are mothers, students, managers. But on game day, they take on the added responsibility of entertaining thousands of spectators and fans. These current and former NBA and NFL dancers do it all with bright white smiles on their faces, and have even formed their own dance troupe to keep the beat going off the court. Whoever said cheerleading wasn’t a sport, never met the Betties and Belles.

1 TESSA

OCCUPATION: Assistant, Community Service and Events & Intern Program Manager YEARS PERFORMING: 3 years, NBA Dancer, 2 years, NFL Cheerleader, 2011 Pro Bowl Cheerleader WHAT WOULD PEOPLE BE SURPRISED TO KNOW ABOUT YOU? I have a 19 month old son named Jacob.

2 LEANDRA

OCCUPATION: Grad School student YEARS PERFORMING: 3 years, NFL Cheerleader WHAT WOULD PEOPLE BE SURPRISED TO KNOW ABOUT YOU? I may look like an angel but I’m a speed demon when it comes to driving!

3 ASHLI

OCCUPATION: Director of Patient Care Services, Facial Plastic and Reconstructive Surgery & Piloxing Instructor YEARS PERFORMING: 6 years, NFL Cheerleader WHAT WOULD PEOPLE BE SURPRISED TO KNOW ABOUT YOU? I faced my fear of flying and flew in a F-15 fighter jet, B-1 Lancer Bomber and a military rescue helicopter overseas while on an Armed Forces Entertainment tour.

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4 KRYSTAL

OCCUPATION: Store Manager YEARS PERFORMING: 5 years, NFL Cheerleader, 2008 Pro Bowl Cheerleader WHAT WOULD PEOPLE BE SURPRISED TO KNOW ABOUT YOU? I have a best friend named Louie... and heâ&#x20AC;&#x2122;s a cat.

5 SEAZUN

OCCUPATION: Case Manager for individuals with developmental disabilities YEARS PERFORMING: 6 years, NFL Cheerleader, 2 years, NBA Dancer, 2003 Pro Bowl Cheerleader WHAT WOULD PEOPLE BE SURPRISED TO KNOW ABOUT YOU? I am Cherokee Indian and recently discovered that I have the opportunity to be granted Native American citizenship.

6 BREANNA

OCCUPATION: Human Resources Coordinator YEARS PERFORMING: 5 years, NFL Cheerleader, 2013 Pro Bowl Cheerleader WHAT WOULD PEOPLE BE SURPRISED TO KNOW ABOUT YOU? I used to go hunting when I was younger.

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DRESS AT HAUS. HARNESS BY HOUSE OF 5TH. BOOTS ARE MODEL’S OWN.

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in Texture, poise, and embroidery.

photography by Steve Brokaw styling by Katie Marple hair by Tiffany Holmes Makeup by Danelle French Model Aziza, The Rock Agency 113

SHIRT AT JOYRIDE6.COM. SKIRT AND BOOTS AT FLAXEN FATALE VINTAGE. CUFFS BY HOUSE OF 5TH.

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VEST AT JOYRIDE6.COM. TURTLENECK AT FLAXEN FATALE VINTAGE. BOOTIE AT FOREVER 21. DRESS BY ULLA JOHNSON AT HAUS. CUFF BY HOUSE OF 5TH.

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DRESS AT TROVE VINTAGE. BELT AT FLAXEN FATALE VINTAGE. HEELS ARE STYLIST’S OWN.

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VEST AND SHIRT AT FLAXEN FATALE VINTAGE. LEGGING AT FOREVER 21. WEDGE BY KIMICHI BLUE AT URBAN OUTFITTERS. EARRINGS AT TARGET. NECKLACE IS STYLIST’S OWN.

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OP -ED

The Utility of Fashion. TrUe conFession: i don’t really care about fashion… at least, not in the conventional sense. now, don’t get me wrong – i don’t want to come across as some provincial rube who revels in the fact that he lacks any discernible level of refinement or taste. To be frank, i probably possess an inflated view of my own sensibilities in these areas. What i mean, more specifically, is that i don’t venerate fashion for the sake of fashion. rather, what intrigues me about fashion is the power it bestows upon those that truly understand its boundless utility. Fashion is a Tool. a tool that, in addition to clothing our bodies and protecting our modesty, allows us to shape perception... and ultimately, reality. There is no doUbT ThaT someThing very special is happening WiThin The local Fashion commUniTy. The wonderful thing about indianapolis is that, as my friend michael Kaufmann says, it is a participatory city, not a spectator one. There is no other city in the country, operating at this scale, where it’s as easy to get involved, to have a voice, and to make an impact. While the mayors of many “important” cities are commissioning studies and assembling task forces to drive their fashion-sector agendas, and while other cities are launching fashion incubators and building temples of consumption to house every global design label known to man, indianapolis has quietly been building one of the strongest grassroots, community-led fashion scenes in the country. What is truly unique about what is happening here is the fact that it didn’t start with a mandate from mayor’s office or a study commissioned by the agents of economic development; rather, it was group of crafts-persons, practitioners and general lovers of fashion that took it upon themselves to galvanize and grow the fashion community. Fashion has alWays been inexTricably linKed To ciTies. The city inspires particular trends, and in turn, fashion influences the city (and the perception of those cities). i’ve never liked the term “World class city,” but it’s an important construct to wrestle with, and fashion plays a huge role in determining which cities get a seat at that table. it’s as important to shaping a city’s identity as transit, sports, politics, etc. it’s very difficult to identify a “world class city” that doesn’t possess it’s own unique fashion identity; Tokyo, london, nyc, and rome all have points of view that are expressed through the different fashions crafted, sold, and worn there. i think what is happening in indianapolis is a reflection of that. our city is quickly becoming more global and more visible; the rising interest in fashion and creating a sustainable fashion community is a reflection of that. iT’s imporTanT To UndersTand ThaT Fashion is arT, and, liKe oTher branches oF The hUmaniTies, iT is a poWerFUl lever ThaT empoWers Us To boTh shape and reFlecT cUlTUre. Fashion is a form of storytelling, and there is no better way to communicate values, influence opinion, and ignite passion then through storytelling. When we dress ourselves, we are telling ourselves (and those around us) a story about who we are and who we want to be. likewise, fashion plays a similar role in the life of a city. We like to think of fashion as the ultimate symbol of individualism, but it’s not. Fashion is communal – an individual’s style is merely one brush stroke on a community’s cultural canvas. The way a city celebrates, supports and relates to fashion is a telling barometer of it’s self-worth and civic ambitions. as indianapolis continues to emerge as a formidable force on the national (and increasingly global) stage, our historically complex relationship with the marriage of style and substance will be challenged. it’s time that, as a city, we collectively embrace the role that fashion can play in shaping who we are and who we can become.

KRISTIAN ANDERSEN

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