STITCH juneno !) 2011
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STITCH ONLINE fashion. beauty. culture. northwestern.
>>> w w w . s t i t c h f a s h i o n . c o m
contents: 4 5 6 8 10 12 14 18 40 42
letter from the editor contributors looks pleasures profile: Shelby Coleman Chicago: The Thrifty City feature: S&M Fashion June 2011: photo shoots to do last word
>>> LETTER FROM THE EDITOR
>>> On set at Three by the Sea (left) and Excess. For more behind the scenes coverage of these photoshoots, visit our website: www.stitchfashion.com
Nadina Gerlach editor-in-chief +Whole Foods Avocado and Spinach Dip +Nude pumps +The Wizard of Oz +Layered charm bracelets +Paper lanterns
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It’s no secret that Northwestern University is a hard school. We rank highly in academics, athletics, arts, and practically every other arena, but this success comes at a price— namely, the long hours and late nights put in by every Northwestern student. Every so often, we need a chance to catch our breath. Enter escapism. Such a strenuous workload practically demands time for our minds to rest and recharge. We need opportunities for purely pleasurable activity to liberate ourselves from the stress of reality. In our 10th issue, STITCH presents some of the many forms of escape. Whether indulging in the human form, lounging on a beach
paradise, or partaking in the greatest bender Northwestern has ever seen, take a break before you burn out (Excess 20, Three by the Sea 34, Mee-Ow Has A One-Night Stand 26). So as Spring Quarter draws to a close, don’t forget to make time for yourself. It’s called summer vacation for a reason. Whether you are working, studying, or spending time at home, take a breather and bask in the sunshine. The real world can wait.
yo u rs,
CONTRIBUTORS<<<
Diane Tsai multimedia editor
Erin Campbell director of photo shoots
+Macaroons +Blank notebooks +MUJI pens +The Princess Bride +Amaretto almond ice cream
+Penny Lane (not the song) +IMG models +Andrew Bynum +The Boundary Waters +The Miseducation of Lauryn Hill
Kathryn Cannady editor-at-large
Sophie Friedman creative director
+The word “aggressive” +Dolce & Gabbana F/W ‘11 +Chanel “Strong” Nail Polish +Isabel Marant Franklin boots +Maple brown sugar oatmeal
+Champagne cupcakes +Dior Fall 2011 +Zumba with Iida at EAC +Nixon acetate watches +High waisted jorts
Jaya Sah online managing editor +Thrift stores +The New Yorker +Brown leather purses +Jane Austen +Sweater weather
Ian Hendrickson blogger +J.Crew +Walking with a purpose +Cole Haan Shoes +Bones (TV) +Freja Beja Erichsen STITCH | 5
LOOKS
PREEN
ISABEL MARANT
Color is in this season, and Preen did not hesitate to use this to their full advantage. A lady-like tulip skirt is contrasted with a kaleidoscope of Aztec prints and a sheen that dresses up an already extravagant look.
This season, Isabel Marant tackled basics with a twist. A simple pairing of a black trench and white dress gets a dose of Marant cool with over the knee fringe boots. By playing with layers and fabrics, the label again earned its right to be labeled the epitome of Parisian cool.
TEXT: KATHRYN CANNADY ILLUSTRATIONS: EILEEN HINCKLE 6| STITCH
PROENZA SCHOULER
D O L C E & G A B A N NA
Proenza Schouler made use of one of this season’s most popular colors in this look, with complementary shades of orange. A more structured harem pant is made exciting with Aztec prints and woven high heel sandals. Topping off the look is an asymmetrically hemmed blazer, making this look work-friendly.
Domeneco Dolce and Stefano Gabbana’s fall show sparkled, literally. A demure dress is made anything but by teal sequins and contrasting green sequined shoes. The ‘80s got an update this season courtesy of Dolce and Gabbana, and now its all grown up. STITCH | 7
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SCHOOL GIRL SATCHEL $58.00, NEEDSUPPLY.COM
MODERN FAMILY: THE COMPLETE FIRST SEASON $24.95, AMAZON.COM
H&M CONSCIOUS COLLECTION JEAN JACKET $24.95, H&M STORES
COCKTAIL RINGS $10.00, NEEDSUPPLY.COM
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LUCHA KEY CAP - SET OF 2 $8.00, URBANOUTFITTERS.COM
MILLY BIKINI $200, NET-A-PORTER.COM
CAFE DU MONDE BEIGNET MIX $2.68, SHOP.CAFEDUMONDE.COM
FUJIFILM INSTAX MINI 7S $68.73, AMAZON.COM
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MODEL OF THE MOMENT: SHELBY COLEMAN by erin campbell
You have probably seen model Shelby Coleman before. Perhaps on an American Eagle billboard, in a New York magazine editorial, or on the Fashion Week catwalk. The 19-year-old Skokie native has launched a promising modeling career, booking jobs with industry elites like Giambattista Valli, Nicole Miller, Tory Burch, Tracy Reese, William Rast, and Christian Siriano. We caught up with her to talk about what it is like to be a woman of mixed race in the industry, who she is in love with, and her thoughts on Mr. Galliano.
STITCH: How did you get discovered? SC: I was discovered at a casting for a Giambattista Valli trunk show at Saks Fifth Avenue in downtown Chicago. He liked me and decided to bring me to Paris to walk the actual show for Fashion Week in the fall of 2008. All of the other models were already experienced and established supermodels. I had just turned 16, so it was huge. A scout from IMG was at the show, and they offered me a contract to sign with them worldwide. STITCH: What is your dream modeling job? SC: My dream job would be any 10| STITCH
long-term beauty contract and even a contract with a designer like Calvin Klein. Thatâ&#x20AC;&#x2122;s my goal for my entire career: to get a contract and long-term money. STITCH: How do you stay fit year round? SC: I go to the gym. I try to go three times a week. I do abs and I do a little bit of lifting weights. Of course, I eat right. I try to stay away from cheeseburgers and cake and all the stuff that I love. I also eat fruit and a fair amount of vegetables. STITCH: Do you think that the fashion industry promotes a healthy body image? Do you feel pressured to maintain a certain size?
SC: I think the industry kind of expects girls to be unhealthily skinny, and I do feel pressured. But I never really fell into the phase where I wanted to become a stick and starve myself, or make myself throw up. I always wanted to have a strong body and look womanly and accentuate my curves, you know? But there definitely is pressure to go to the gym and eat right. STITCH: How has being a woman of color affected your modeling career, if at all? Do you think diversity is something that the runways are lacking? With the influx of editorials featuring all black models, such as in Italian Vogue, do you believe progress has been made? SC: I do think that there’s a lack of diversity in the industry and on the runways. Most of the agencies have black models, but in the shows there are only like one or two. It has gotten better in the past few years, but we need to continue to prove that we can be just as wonderful and sell just as many clothes. I think that [Italian Vogue] was great but I do think that it shouldn’t just be one issue. Why can’t every issue feature black models? Ultimately, I do think that it was great to raise awareness of up-and-coming black models by placing them alongside established ones. STITCH: How do you feel about the recent John Galliano scandal? Do you think his firing from Dior for anti-Semitic comments was justified? Would you feel comfortable walking in one of his shows? SC: I would feel comfortable walking in his shows just because I’ve heard great things about him. And obviously, he’s an amazing designer and a fashion icon. That’s more what I focus on with him. STITCH: What is your favorite thing about modeling? SC: My favorite thing about modeling is the people that I meet. Also, the outcome of my work—like when I get to see my pictures from a shoot, when I get to see my shows online or on TV, or when I see myself in stores. It’s
amazing because I never thought I’d see myself on a billboard. STITCH: What is your least favorite thing about modeling? SC: The worst part is the rejection. You take it personally, and as you go along, you learn not to. When I first came to New York, I’d go to all these casting and only hear back from a few. I’d wonder why I didn’t get that one. I thought I’d get it. I’ve had my days when I would cry and get discouraged. You have to remember that they’re looking for a specific look, and just because they didn’t choose you, it doesn’t mean the next person won’t choose you. The rejection is difficult, but it’s worth it when you get a yes for a job that’s just as good or even better. STITCH: Do you have any beauty tips for our readers? SC: Always make sure to moisturize, morning and night, your face and your body, especially in the wintertime. My skin always gets scaly in the wintertime, so I have to moisturize all the time. Also, keep the make-up more natural unless you’re going out. Save the crazy make-up for a night out or a party. During the day, I usually wear no make-up or some powder, blush, and mascara. STITCH: What blogs do you read? Who are your favorite people to follow on Twitter? SC: On Twitter, I follow all of the Kardashians. I also follow Tyrese Gibson because I’m in love with him. I follow my agency and Modelinia. I’m always on the Modelinia blog. STITCH: What does the future hold for you? SC: I just shot a Cole Haan campaign as well as Clinique and Laura Mercier campaigns. I’m excited because I’ve never done a beauty campaign. As far as the future, I hope to get a lot of clients under my belt and pave the way for other mixed girls and models. I want to show everyone that we can be just as successful as every other Caucasian model. I also want to be an inspiration for young girls and make my family and myself proud. I think I’m on the right track. >>> Photos courtesy of Vogue.com
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t h IC ri A ft G y O ci ty
H
e
C
th
by kendra vaculin
I have a really big crush on old clothing. I love the feel, history, and even the smell (sometimes) of something that wasn’t mine first, and I don’t see my affection waning any time soon. My mother is not amped about it. A woman who was all too pleased to buy me every modest sweater and matching cami that Abercrombie Kids had to offer, Frances Vaculin spent the first few months of my foray into pre-worn fashion wondering why, dear God, I would ever want a large knobby grandpa sweater or a layered denim dress that somebody else had already worn. Time has tamed this fear a bit – used shoes still freak her out, but you can’t win ‘em all – and she now addresses my latest purchases with the question, “It this a new new thing or a new old thing?” Undoubtedly it is her indifference about the piece’s origin that surprises me the most: to me, a 1960s maxi skirt is a treasure, but to my mother, it’s just old.
In the San Francisco Bay Area, I grew up around a notable variety of used clothing stores. While some heralded themselves as “vintage” (Mars in Berkeley, for instance, with its infamous 80s prom section and incredible variety of ponchos), others, like the Buffalo Exchange chain of fashion recycleries, were simply “thrift”: newish styles at drastically reduced prices. I loved the exploration involved in sifting through the hits and misses of discarded, cast off, abandoned, resold or just plain old California fashions. Shopping, while never a spectator sport, becomes entirely more active and even competitive when it comes to used clothing: stores rarely have more than one of each item, and sometimes there is an incredibly well-structured and well-priced herringbone cardigan buried under 57 old baseball jerseys. The difference between leaving a store empty-handed and coming home laden with prized pieces you can wear forever? A little perseverance, and a lot of fashion chops According the Vintage Fashion Guild, “vintage” refers to any article of clothing produced between 1920 and 1980 (earlier than 1920 is “antique”). Most vintage clothing has been previously worn, but some, called deadstock, is still equipped with its original tags and is often more expensive than its used counterparts, regardless of the production flaws that may have originally rendered it unable to be sold. “Thrifted” clothing can come from any era, and always denotes
pre-worn merchandise. To me, the glory of a piece of used clothing comes from its history and not the vocabulary used to categorize it. Yes, I would love to own a lime green 1970s Versace trench coat, but the pre-owned items I tend to gravitate towards are usually lacking notable designer labels or four-figure price tags. I find a piece exciting if it is stylistically different from the designs that are currently trendy, and I can imagine that it lived an exciting life before I got my hands on it. I will never know who originally purchased the black and silver silk and beaded crop top that I found at Beacon’s Closet in Brooklyn, but in my mind she was the most fashionable belly-dancing teacher of all time, and it was probably her go-to first date shirt. Even before I discovered vintage shopping, I had been sneaking into my mother’s closet to play dress up. While it’s swiftly becoming less and less possible to steal from her (I outgrew her size 5 feet in 6th grade), I love her banished bulky floral shorts and sleeveless button downs, what I imagine to be the poster outfit for a young mom in the early 90s. I get legitimately angry when I see yellowed photographs of her when she was my age and of the prepster fashion mindset: high-waisted khakis, skinny belts, Lacoste polo shirts, Top-Siders. None of these articles remain in her possession; donated or given away over the years because she obviously was not planning ahead for her clothes-obsessed first-born. Though I doubt I would ever wear all of her items simultaneously (12 years in a Catholic school uniform can be scarring when it comes to collared shirts), I would kill to get my hands on those khakis and mix them with something modern to bring new life to an old piece. The few things that she has bequeathed me over the years –silk scarves, a leather Dooney & Bourke duck purse from the early 80s – are incredibly important to me. They are little bits of my mother’s fashion instinct that permeate my own daily discoveries of personal style. Each season, designers come out with updated new looks, paving the way for contemporary fashion and setting trends for the
KENDRA’S VINTAGE PICKS Viva Vintage 4222 N. Ravenswood, Chicago (showroom open by appointment only) vivavintageclothing.com Classy Closet Consignment 701 Washington St, Evanston theclassyclosetconsignment,com The Village Discount Outlet 3301 W. Lawrence, Chicago near Kedzie Brown Line stop Crossroads Trading Co. 1730 Sherman Ave, Evanston crossroadstrading.com Beacon’s Closet 88 N. 11th St, Brooklyn, NY beaconscloset.com Mars Vintage 2398 Telegraph Ave., Berkeley, CA upcoming year. Why is it, then, that we are fascinated with the styles of bygone eras? According to my roommate, who owns a bitchin’ pair of second-hand emerald kitten heels, used clothing is a manifestation of our generation’s inability to live in the moment. To my boyfriend, thrifting means finding bizarre t-shirts with phrases like “Happy 70th Birthday Tony!” written across the chest. To me, wearing old clothes is a testament to the fact that everything comes back in style, which I interpret to mean that I can wear whatever the hell I want. And you better believe that when my time with a great piece has run its course, it’ll find its way back to a used clothing store similar to where I found it in the first place. I can only hope that its next owner will love it as much as I did.
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FEATURE
S&M
FASHION AND SEX by Sierra Tishgart Sadomasochism is now a trend.
Blame it on Rihanna, Marc Jacobs, or even Professor Bailey. What was once associated with pain, misogyny, and excessive latex leather is now considered fashionable. Despite the rise of minimalistic clothing and elongated hemlines, the Fall 2011 runway collections spotlighted S&M-inspired fashions. It seems appropriate that fashion would couple with S&M: both are controversial, provocative, and a bit absurd. But what are the modern day implications of looking like S&M, or even sex? Sexual freedom remains a contentious topic for women. Weâ&#x20AC;&#x2122;re supposed to be in the throws of the sexual revolution (thank you Playboy, Carrie Bradshaw, and Lady GaGa), but there remains a sharp double-edged sword. As women are increasingly seen as free, sexual beings, they risk 14| STITCH
being viewed and labeled as skanky and classless. This juxtaposition is played out most in what we wear. Fashion and S&M have long collided. You may associate the ‘90s with Beanie Babies and boy bands, but Gianni Versace put out a collection inspired by dominatrix, and Madonna released her famous book Sex, an exploration of S&M and bondage. S&M has recently been glamorized in fashion and entertainment. No longer dark and scary, it is now depicted as playful. It seems acceptable to look overtly sexual, as long as you are sporting a Marc Jacobs police hat, and not one purchased at a village sex shop. Never shy to controversy, Marc Jacobs most recently took the plunge and created S&M-inspired designs for both the Louis Vuitton and his namesake collections. Jacobs said that the public’s insatiable, irrational desire for everything with the LV logo inspired the Louis Vuitton presentation. “It’s all about fetish,” he told Women’s Wear Daily. “The definition is an unreasonable obsession with objects or things. Which is sometimes Vuitton bags.”
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Jacobs created an alternative uniencrusted padlock necklaces. We rightverse during the 9:30 a.m. Louis Vuitfully praise Jacobs, Pugh, and now ton runway show. An elevator bank Borgo for their creative genius. Their rose from the ground, delivering fashdesigns are bold and ion editors their obsesdaring, which is just sions, model by modhow fashion should el. Uniformed maids Fashion can help be. They give women served vodka shots a means to express in a faux hotel foyer. women feel like they their sexuality. Bustiers, patent leath- have gained control over The truth is, it can er, sheer fabrics, and feel empowering to the sexual politics of thigh-high stockings look like sex. Wearall made appearances. modern day culture. ing something that is Models wore hand- skin-tight, low-cut, cuffs with their LBDs. or with a short hemKate Moss closed the line elicits a feeling show with an after-sex of sexual agency. cigarette in hand. Yes, this kind of out For his namefit is often worn to sake collection, Jaimpress men. But it cobs toned it down a can feel good to do bit. A French boudoir away with whatever served as the backdrop man-repelling rompof his show, with pader/harem pants/ ded columns and mirflatform get-up and rored walls to set the wear something that mood. The clothes were screams come hither more subtly sensual for a night out on the than sexual. Stiff bodytown. You feel like conscious pencil skirts you are in control. hugged curves, but hit You are not waiting past the knees. Only Jacobs could sex around passively for a man to gaze up the new longer hemline. or objectify you. You know what you Jacobs isn’t the only one with sex want, and you are not afraid to pursue on the brain. Industry favorite Gareth that goal. Pugh experiments with form and vol Wearing an outfit that is sugume to distort the human body. Intergestive of sex is provocative enough for view magazine recently profiled New most, but the most daring of women York jewelry designer Eddie Borgo, go one step further by evoking S&M. who creates princess-punk jewelry Rihanna, a victim of domestic abuse, items such as pave crystalsings about turning pain into
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pleasure in her hit single. In the tongue-in-cheek video for “S&M,” she is depicted enjoying acts of dominance and submission as she is bound, gagged, and objectified. It is her way of asserting that although she has suffered trauma, she is as sexual and as tough as ever. Her signature red carpet look is now fiery red hair and a suggestive, body-conscious outfit. Arousing apparel serves as a means for Rihanna to regain control over her sexuality on her own terms. As part of the “hooking up” culture, it has become increasingly acceptable for young women like Rihanna to openly discuss, sing about, and look like sex. Yet there is a blurry line of what is considered appropriate behavior.
Context and environment define acceptable female conduct, and the standards are often contradictory. Despite the progress toward sexual freedom, we continue to endure a discerning gaze from both men and other women if we are too overtly sexual. Women are constantly challenged to negotiate their sexual agency, and fashion can help women feel like they have gained control over the changing sexual politics of modern day culture. Bondage may be in style, but women are still tied up by gender roles. >>> photo credit: Louis Vuitton for Vogue.com and Def Jam Recordings STITCH |17
June
2011
Excess
by Justin Barbin
Mee-ow Has a One Night Stand by Justin Schuman
Three by the Sea
by Justin Barbin
THIS PAGE: Fallon Jewelry Bib Spike Necklace, $320.00. Fallon Jewelry Earrings. Carolina Amato Classic Driver lamb-skin gloves, $48.00; All at GAVIN Evanston, 1939 Central Street, Evanston (847) 328-7407. Victoria’s Secret black lace bra; victoriassecret.com. BCBG Max Azria Silvie Power skirt, $138.00; bcbg.com. OPPOSITE PAGE: Fallon Jewelry Infinity Fringe necklace, $255; GAVIN Evanston, shopgavin.com. Chain bracelet, stylist’s own.
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EXCESS by justin barbin
models: Justan Vaughn (SoC ‘11) SC Schlossberg (SoC ‘12)
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THIS PAGE: Erickson Beamon Age of Beauty ivory bangle, $340.00. Erickson Beamon for Zac Posen bangle, $508.00; All at GAVIN Evanston, shopgavin.com. OPPOSITE PAGE: House of Harlow Cabachon Bangle, $65.00; GAVIN Evanston, shopgavin.com. Rebecca Minkoff Fling leopard calf hair clutch, $195.00; bluefly. com. Victoriaâ&#x20AC;&#x2122;s Secret bra and panties; victoriassecret.com
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THIS PAGE: Vestal white watch; overstock. com. H&M belt; H&M (312) 640-0060. White plastic earrings; GAVIN Evanston 1939 Central Street, Evanston (847) 328-7407. Victoriaâ&#x20AC;&#x2122;s Secret white silk slip; victoriassecret.com
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Mee-ow
(has a one night stand) >>> NUâ&#x20AC;&#x2122;s premier comedy group takes you from fantasy rager to the morning after.
by justin schuman
THIS PAGE: On Marie: Zac Posen for Target skirt, $12.50. Elephant ring, $15.00; All at Crossroads Trading Co.,1730 Sherman Avenue, Evanston (847) 492-9400. Shirt, modelâ&#x20AC;&#x2122;s own. OPPOSITE PAGE: From left: On Isabel: Kimchi Blue shirt, $15.00. On Nick: BDG shirt, $13.50; All at Crossroads Trading Co.,1730 Sherman Avenue, Evanston (847) 4929400.
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Last night’s hook-up gets awkward at a chance meeting at the Tech bus stop. Maybe stealing his roommate’s shirt and scarf wasn’t such a good idea… OPPOSITE PAGE: On Isabel: BDG scarf, $13.50. Kimchi Blue shirt, $15.00. Two-finger ring, $10.00; All at Crossroads Trading Co., (847) 492-9400. BCBG Max Azria Silvie Power skirt, $138.00; bcbg.com. Free people wool tights; freepeople.com. Zara black leather purse, stylist’s own. Heels, model’s own. On Ryan: On Ryan: H&M grey coat, $20.00. Purple t-shirt, $9.50. H&M tan pant, $14.00; All at Crossroads Trading Co.
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Nothing gets in the way of true love, except maybe a hangover in class. THIS PAGE: From left: On Danielle: Barlow black sweater, $53.50; Crossroads Trading Co., (847) 492-9400. On Aaron: Twentyone grey sweatshirt, $16.50; Crossroads Trading Co. Sunglasses, $10.00; All at Crossroads Trading Co. OPPOSITE PAGE: From left: On Danielle: American apparel beige sweatshirt, $32.50. Barlow black suede jacket, $53.50. Brower hat, $10.50; Crossroads Trading Co., (847) 492-9400.
models: Cast of Mee-ow: Danielle Calvert (SoC ‘11) Aaron Eisenberg (SoC ‘11) Nick Gertonson (SoC ‘12) Caroline Goldfarb (SoC‘12) Sam Fishell(SoC ‘13) Ryan Nunn (SoC ‘11) Isabel Richardson(SoC ‘11) Marie Semla (SoC ‘11) not pictured: Tucker May (SoC ‘12)
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Three by the sea Two sisters’ coastal excursion heats up with hits of sultry color, summer silks, and a gratuitous male companion. Models Ali White (SoC ‘12), Arielle Berens (SoC ‘12), and Marcus Shields (Bienen ‘12) star in the beach novella. Photographed by Justin Barbin
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THIS PAGE: from left: On Arielle: Urban Outfitters yellow lace bra, $16. Lark & Wolff striped shirt, $29; All at Urban Outfitters, 921 Church Street, Evanston (847) 492-8542. On Ali: EcotĂŠ dress, $59; urbanoutfitters.com. Ray-ban sunglasses; rayban.com. On Marcus: Bolle sunglasses, stylistâ&#x20AC;&#x2122;s own.
THIS PAGE: from left: On Ali: La Blanca swimsuit, $109; swimnsport.com. Sunglasses; Urban Outfitters, urbanoutfitters.com. On Arielle: Pins and Needles straw hat; Urban Outfitters, 921 Church Street, Evanston (847) 492-8542. J.Crew bandeau bikini top, $56; jcrew. com. . Kimichi Blue shorts, $29; Urban Outfitters, 921 Church Street, Evanston (847) 492-8542. Balenciaga gladiator sandals, $575; mytheresa.com. On Marcus: Diesel shorts, $140; diesel.com
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THIS PAGE: from left: On Arielle: Pins and Needles straw hat; Urban Outfitters, 921 Church Street, Evanston (847) 492-8542. J.Crew bandeau bikini top, $56; jcrew.com. Love! True Love! bikini brief; Rincon Designs, 805-684-7260. On Ali: La Blanca swimsuit, $109; swimnsport.com. OPPOSITE PAGE: lil silk maxi dress; Anthropologie, anthropologie.com. Elizabeth and James Fairfax Sunglasses, $185.00; shopbop.com Makeup by Brianna Keefe 38| STITCH
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The Antlers
2 DO
Despite exhibiting such a disparate array of temperaments, Burst Apart is held together – though just barely– by several consistent stylistic decisions. The omnipresence of distantly humming electronics connects all of the songs to the same sonic realm. Those faint drones are also a chronic, nagWhen you listen to The Antlers, take ging reminder of what prompted such a deep breath and prepare to bear the frenetic moodiness in the first place. weight of something emotionally subThe cavernous amounts of space crestantial. ated throughout the album serve to Two years after its breakthrough occupy all of its emotional discrepanalbum Hospice, an introspective cies. This, however, produces one of comparison of terminal illness to a the albums few flaws: Burst Apart remoribund romantic relationship, the quires concerted listening, but it also Brooklyn-based trio has attempted to embraces obscurity and begs to be regroup. And now on Burst Apart, we heard as background music. Coping find The Antlers in a post-traumatic with trauma requires room for error reality. and open space to heal, so The Antlers Burst Apart may not adhere to the have crafted a large enough soundsame creative parameters of its prescape for recuperation. decessor, but that does not mean On the final track, “Putting The Dog The Antlers have shied away from To Sleep,” Silberman finally overconstructing another concept album. comes the isolation that plagued the Rather, each of the album’s ten tracks beginning of the album as he sings, catalogues the volatility and disjoint“Put your trust in me / I’m not going to edness they have endured after the die alone.” Although regaining former events of Hospice. happiness may not be a realistic goal Declarative opener “I Don’t Want of Burst Apart, The Antlers establish Love” is a creed masked by shimmerthat some semblance of stability is ing guitar chords and Peter Silberpossible despite the discontinuity of man’s falsetto. This hyper-introvereveryday life. - Matt Grosinger sion quickly transitions into the more even-keeled groove of “French Exit” before exploring the percussion-driven anxiety of “Parenthesis.” The climax of the LP arises over the course of its two central tracks, “Rolled Together” and “Every Night My Teeth Are Falling Out.” On the former, you can imagine Silberman keeping himself awake at night by repeating the lone refrain of the song: “Rolled together with a burning paper heart / Rolled together we’re about to The warm weather makes us crave cerburst apart.” After the song combusts tain foods: juicy cheeseburgers, waffle into a throb of looped instrumentals, cones with vanilla soft serve and jimyou are propelled into Silberman’s mies, and hearty Maine lobster rolls. subconscious, wherein restlessness Burgers and ice cream are pretty easy to come by, but lobster rolls—not so and mania prevail.
lobster rolls
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much. Good news is we have found the top three lobster rolls in Chicago. Throw on a floppy straw hat and some L.L. Bean boat shoes and enjoy one of the best seasonal sandwiches. You may live in the Midwest, but you can still eat like a New Englander State and Lake, $16 A traditional lobster roll is made with boiled lobster meat, lemon, a touch of mayo, and a toasted bun. This roll follows the classic model, and that’s a good thing. Chef Michael Torres adds a touch of Old Bay remoulade to the mix, and says he tries to stuff as much lobster as possible into the buttered New England hot dog roll. Try and save room for the accompanying side of hand-cut fries. 201 N. State St. on the ground floor of theWit Hotel, 312-878-7297 http://www.stateandlakechicago.com The Fish Guy Market, $20 The Fish Guy Market offers the freshest lobster roll in town. Customers used to have to place orders for rolls 24 hours in advance and pay upwards of $40, but the restaurant just began to sell individual rolls on a daily basis and is surveying customer demand. The chefs keep live lobsters on the premises (sorry, Larry), and put lobster meat, herb mayo, lemon zest, salt, and pepper on a brioche bun. You have the power to better Chicago: help make the lobster roll a permanent fixture on the daily menu. 4423 N. Elston Ave., 773-283-7400, http://www.fishguy.com/ Fish Bar, $18/Market Price You’ll find one pound of seafood in Fish Bar’s Maine lobster roll. Tail meat, claw meat, it’s all in there. Sit back, sip some of Fish Bar’s rum and pineapple punch, and enjoy. 2956 N. Sheffield Ave., 773-687-8177, http://www.fishbarchicago.com/ -Sierra Tishgart
steve martin My love for Steve Martin transcends that of the typical “I really like his movies” type of affinity. I’ve read most of Steve’s novels (yes we’re on a first name basis), including Shopgirl and The Pleasure of my Company, and liked them both. He can write. He’s funny. He’s a skilled banjo player, and even released his own album in 2010. It won a Grammy for Best Bluegrass Album. He rocks glasses like a boss. I picked up his newest novel, An Object of Beauty, and I started to get worried about my Steve Martin obsession reaching potentially creepy new highs. But An Object of Beauty proves, yet again, how cool of a guy Steve Martin really is. Intelligent and smooth, An Object of Beauty is the story of twentysomething It-girl Lacey Yeager, an attractive, charismatic, and ambitious woman. She jumps from menial jobs in the basement of Sotheby’s to the glamorous center of the New York art world. Steve writes with authority about the idiosyncrasies of the art world, a world with its own celebrities and peculiarities quite similar to the New York fashion world. Steve’s focus on the mysteries and politics of the New York art world sacrificed some of the potential depth of Lacey’s character. Reading about the art world was fascinating, but there was a lack of emotional connection or narrative tension. I heard too much about the Marilyn Monroe Warhol that Lacey bought instead of the inner psychological reasons for why she chose to pay hundreds of thousands of dollars for a painting on a twentysomething budget. - Corinne White STITCH |41
2 DO
SIZED TO FIT
By Kathryn Cannady
I am not a size double zero, zero, two, or on most days, four. I love my body, but I’m just not model-sized. As a college student, there isn’t always time to eat healthy foods or spend three hours at the gym everyday. And if there were, I wouldn’t really want to. Despite my fluctuating size (which awkwardly mirrors exam scheduling), I like to think that if I could afford it, I could make most designer runway looks work for me. I love almost anything Karl Lagerfeld, Miuccia Prada, Marc Jacobs, or Alber Elbaz sends down the runway. Yet this season I have a big issue with the aforementioned designers. These are the “big” collections; the ones that always make the “best season” lists and are celebrated worldwide as the “top” designers. These are the shows that influence every single piece of clothing manufactured in the following season. If Chanel makes it, you can bet that in a few months, you can buy it - or something exactly like it - from stores like Saks to Forever 21. And I love this. Realistically, I can’t buy real Chanel. And that’s fine. But here’s the thing, what they make affects everything in fashion - the color, hemlines, patterns, and most importantly, the cut. So, when Chanel walks a quilted jumpsuit, or Louis Vuitton brings back jodhpurs, you can bet I get a little nervous. Enter my discontent. Never in my wildest dreams can I imagine a day where I’ll want to wear pants or skirts with hips built in (cough, Vuitton and Lanvin), a triangle shaped coatdress (why, Prada?), or a rectangular quilted jumpsuit (no words, Chanel). But that is what has been produced this season in large quantity; looks that aren’t made to flatter anyone. If a model looks 50 pounds heavier than I know she is, I’m terrified of what the same piece could do for me. Why make anything that is essentially unwearable? These are the top designers in the world, and they’re designing for body types and people that don’t even exist. Realistically, these looks did not even do much justice to the models. Everyone in the fashion world seems to be preaching that all body types are beautiful. Plus-sized models are featured more frequently, and magazines have launched “feelgood” campaigns to appeal to readers. Though can anything be done when it is not the models, but the clothes themselves that have become the issue? I used to love the elasticity of fashion: how I could take a runway style, copy it, and make it work for me. Yet silhouettes have become outrageous to the point that I only want to run and hide in my go-to skinnies, t-shirt, and blazer. I think its time for a change. Designers, women are your audience. Flatter us. When a trend is revolutionary and flattering then its all the more cutting edge, like when Mary Quant created the mini skirt (my short legs thank you endlessly). For me, it’s about seeing past all the accolades and looking a bit harder to find the designers that create new silhouettes and looks that flatter a normal-sized person. And no, you are never as heavy as you imagine, but it’s still nice to know that some designers understand that real women - like college students - need clothes that are cute, functional, and that above all, make us feel good about ourselves and our appearance. Hopefully this season can be considered a fluke, and we can wake up from our ill-fitted pant, puffy shouldered nightmare in time for next season. 42| STITCH
LAST WORD
STITCH Editor-in-Chief Nadina Gerlach
Creative Director Sophie Friedman Senior Editor Sierra Tishgart Online Managing Editors Deborah Kim & Jaya Sah Assistant Editor Corinne White Online Assistant Editor Emily Ferber Director of Photo Shoots Erin Campbell Director Public Relations Logan Daum Director of Fundraising Alexandra Shanahan Director of Advertising Alexis Gui Treasurer Catherine Ning Online Design Editor Nicole Herman
Staff Photographers Justin Schuman, Gus Wezerek, Matt McDonald, Can Efeoglu Staff Writers Hanna Howard, Brenna McLean, Kendra Vaculin, Matt Grosinger Creative Team Catherine Clark, Belinda Daniel, Kirk Morrow, Kelley Schneider Online Design Alexandra Sifferlin, Rosalind Mowitt, Taylor Thomas Bloggers and Staff Emerly Soong, Erin Ku, Ian Hendrickson, Brianna Keefe, Deanna Pai, Sara Chernus, Sameeraa Pahwa, Jazmyn Tuberville, Kathryn Cannady, Jessica Kane, Alia Wilhelm Print Design Sandra Song, Zoe Maltby, Sophie Jenkins, Jenna Fugate, Christina Arreola, Eileen Hinckle
Street Team Editor Justin Barbin
Business Team Alexandra Davis, Zhongying Jiang, Alice Lin, Alison Lin, Alisha Varma, Tim Hughes, Clarke Humphrey, Gina Chang, Alyssa Clough, Danielle Pierre
Editors-at-Large Kathryn Cannady, Emma Roberts, Nelson Fitch
Copy Editors Emily Ferber, Simone Slykhous Gabrielle Hurwitz
Photo Shoot Coordinators Maggie Gorman, Gabrielle Hurwitz
Special Thanks To: John Meguerian & Sam Hilson
Multimedia Editor Diane Tsai