Unhemmed December 2013 by Unhemmed Magazine

UNHEMMED

the green issue

December 2013

UNHEMMED

marissa bergman editor-in-chief

catherine gao managing editor

mo hy DIY editor

anna weyant layout editor

corrine szczesny street style editor

madeleine luckel, dominik halas & jasmine bala fashion features editors

caroline bologna entertainment editor

womenswear editor

marissa petteruti accessories editor

sophie blistein menswear editor chelsea english art editor

grace sun layout design

jennifer morgan beauty editor brittany hodges social media director

Contributors: Jahi Abdur-Razzaq, Brittany Comunale, Camille Coy, Loren Dowd, Marcy Huang, Tevin Jackson, Courtney Kobren, Aleksandra Lifshits, Andrew Linder, Tiffany Mendoza, Jessica Montes, Asha Owens, Ryan Rosenberg, Mallika Sahaya, Marli Scharlin, Taylor Schwartz, Danny Sobor, Tori Tamu, Jessica Zambrano

cover model: tori tamu photographer: brittany comunale

LETTER FROM THE EDITOR

here i bloom Since being appointed Editor-in-Chief of Unhemmed last spring, I knew

tal Studies concentrator, the core of my experience at Brown has revolved Unhemmed (in this position) would en“Ecowear” is an exciting fad in the style sphere, but I hope this magazine rience upcycling in our womenswear photoshoot, “Avant-Garbage,” learn about the environmental conscious behind the leather trend, and get an -

is currently experiencing a plethora of changes, and the fashion world There are simply no words to express how much this past year of being Editor-in-Chief of Unhemmed tounded by the exemplary work of my editorial team and issuely contribUnhemmed staff is vibrant, dedicated, brilliantly creative, and three years ago and eagerly await what further growth the future Edi-

lots of love, marissa

CONTENTS

UNHEMMED STREET STYLE fashion trends at Brown

FASHION FEATURES speakeasy vintage marcia patmos fast fashion sustainability green threads heading west: wharf leather trend carol christian poell

ACCESSORIES

ENTERTAINMENT people tree eco-tunes

ART

danny sobor m i l k s u p p l y c o. the dress show isabella giancarlo

EDITORIALS The Professor Avant-Garbage

staying glam in the snow

DIY

mason jar lamp winter s(mittens)

milk supply co.

STREET STYLE

Andres

Chang ‘

STREET STYLE

nin ‘1 a y N a p a a P

Nikhita Me

ndis ‘17

STREET STYLE

Yunqi Z h

ang ‘15

Doreen St. Felix ‘14

STREET STYLE

Gregory Stewart ‘17

Jo’Nella Q u

een Ellerb

e ‘15

STREET STYLE

ell ‘17

Luke O’Conn

Matt Wood ‘17

STREET STYLE

‘ Ariana Lee

fASHION

Speakeasy Vintage BY DOMINIK HALAS

“Walking into Speakeasy, one is transported to a different era. The store itself is unlike any vintage store I have ever been to before; it is unbelievably clean and so classy.”

hese are the words Jessica Novak, my girlfriend, chooses to describe Speakeasy Vintage, of Montclair, New Jersey. It’s easy

to see that walking into the store, which features vintage garments from the late 1800’s up until the 1980’s is a true experience anyone in the area should take advantage of. All of the clothing is cleaned and thoroughly inspected before ever hitting the shop completely designed by Johnny Petrozzino, who owns the store with his brother Frankie. In the spirit of Unhemmed’s “Green” theme, you can shop for eco-friendly vintage at great boutiques like Speakeasy Vintage.

fASHION

fASHION ALL PHO TOS BY

DOMINIK HALAS

fASHION

MARCIA PATMOS By Madeleine Luckel

n November 12th, the a wide variety of sources for her textiles, designer and RISD including Madres Y Artesanas, which Alum Marcia Patmos is a group of female weavers in Bolivia. came to give a talk in So far, Patmos’ new company has won the RISD Museum’s the prestigious Ecco Domani Fashion

auditorium. Patmos’ lecture was part of Foundation award and the Lexus Ecoa three-part series put on by the Cos- Challenge. Hopefully her sustainable tume and Textile Department on Process. Patmos was asked to come speak and companies with its success and inbecause of the “socially conscious and novation.

In her Lecture, Patmos said this sweater design was inspired by the Basquiat painting she saw in a New York gallery

eco-friendly” materials she is committed to using. Patmos has a wide variety of experience in the fashion industry. She worked at larger companies, including the GAP, before starting her own company called Lutz + Patmos, with fellow designer Tina Lutz. Lutz + Patmos was second year. M.Patmos is a recent and exciting solo endeavor. Patmos said she is continuously inspired by the world around her, especially art. Patmos has Jean-Michel Basquiat, “Untitled (Two Heads on Gold)”

fASHION

SUSTAINABILITY IN THE FAST FASHION MARKET BY RYAN ROSENBERG

he growth of the fashion industry and the emergence of the short

term, ‘fast fashion,’ (the clothing equivalent to fast food) is used to describe the globalized cycle of assessing new designs on the runway, and quickly copying these designs to distribute similar products in mass merchandising outlets. This cycle makes clothing a somewhat disposable product. The industry leaves a high pollution footprint and has stirred questions about the process and methods used. A major negative implication of ‘fast fashion’ is that manufacturers are creating cheap clothing to satisfy short-lived demand for designs and. Each year, Americans throw away over 68 pounds of clothing and textiles per person, according to the Environmental Protection Agency (EPA). Wide ranges of brands- from casual to haute couture, have made strides to become more eco-friendly. Since 1993, the outdoors clothing retailer, Patagonia, has been creat-

negative implications on the environment. Clothing prices are becoming cheaper, fashion trends are changing more rapidly, and the clothing industry is becoming more global. Our world’s economy has become more dependent on the clothing and textile industry. In 2000, consumers around the world purchased about $1 trillion dollars of clothing. Clothing and textiles comprise 7% of total world exports. (Developing countries produce half of the world’s textile exports, and about three quarters of the world’s clothshape this growing industry and to encourage behavior that promotes sustainability. Design, manufacturing and distribution of textiles are all areas with room for improvement. Consumers also need to change how they view the quick lifecycle of fashion trends. plastic soda bottles. Patagonia estimated that The demand for clothing has almost between 1993 and 2006 the company pre- vented 86 million soda bottles from being ures from the Technical Textile Markets. The

brand Versace has begun using the material Ingeo in their collections. Manufacturers create Ingeo using fermented corn by-products that are converted into polylactide. However, the push to make the garment industry more eco-friendly is ultimately in the consumer’s hands. It is necessary for consumers to become more mindful about how much and how often they buy clothing, and to be thoughtful about where and how what their purchase was created. Consumers can help reduce the negative environmental impacts of the clothing industry by purchasing second-hand clothing, washing clothing only when necessary at lower temperatures, and by disposing of used clothing through second-hand use.

GREEN THREADS

Tevin Jackson ‘13

icture this: underwear made from bananas, socks made from coffee, and jeans made from recycled cotton. No I’m not describing my out-

Man, I’m talking about the latest innovations in sustainable fashion. Earlier this month the creative minds at denim megaretailer Levi Strauss & Co. debuted a new project called the Dockers Wellthread process. This innovative design and production process is intended to reduce the company’s carbon footprint by employing specialized garment–dyeing to cut back on water and energy consumption. The Wellthread collection features tops made using cold-water pigment dyes paired with pants and jackets manufactured with salt-free reactive dyes. Traditionally the salt released from garment dyeing increases salinity in drain water stream which negatively impacts environmental ecology. Commenting on the company’s sustainability initiatives, Micheal Kobori, Levi’s Vice President of Social and Environmental Sustainability, stated “Our company has been guided by the same principles since its founding 160 years ago. We believe that we can use our iconic brands to drive positive sustainable

tion which featured durable jeans made from recycled plastic bottles. The production of 29 million Waste<Less jeans saved more than 360 million liters of water.

impurities to produce clean water. The captured odors are released after laundering, returning the socks to full capacity. Australian swimwear and underwear manufacturer, aussieBum, have also been thinking creatively about production materials. The company designed a line of underwear made of the plant), 64 % organic cotton, and 9% Lycra.

Up-and-coming fashion startups are also following suit. Ministry of Supply, launched in 2012 out of MIT, developed the groundbreaking concept behind the “Atlas” collection, a coffee-infused line of men’s dress socks. Coffee used in the production process was reclaimed from coffee roasters and shops, then treated by a pharmaceutical process which neutralizes the coffee oils (so that your feet won’t smell like

DNA.” Prior to this initiative Levi’s launched a produce the socks operate much like a sponge. project called The Levi’s Waste<Less collec-

use of banana in apparel production. With the increase in sustainable fashion there has also been a corresponding rise in ecofriendly retailers. One such online e-tailer is called Three Leaves: established in 2012, this online shop carries only the best in socially responsible, eco friendly, organic men’s clothing and vegan boots, shoes, and sneakers. The product carried by Three Leaves, as well as Levi’s, Ministry of Supply and aussieBum, are proof positive that style, quality, and aesthetic are not the enemies of sustainability.

FASHION

Heading

riven by his own aesthetic and a respect for craftsmanship, Rob Babigian has curated animpeccable collection of apparel, goods, and reads to feature in his DownCity menswear destination, Wharf Clothing & Wares. Striking among the tapas bars and cafes lining Westminster Street, Wharf’s window displays highlight classic New England style with a modernangle, attracting a wide variety of customers from the occasional east-sider to the downtown dweller. Fashion journals line the store’s tables, knitwear denim borders the store, hanging artfully from rope-and-plank ladders, all a part of the nautical prep style Babigian envisioned when creating the Wharf brand.

WEST

partment stores or Thayer Street hotspots here: Wharf’s collection showcases niche labels with reputations for quality and ranging from Alden of New England to Baldwin Denim. Though a big ticket often accompanies these high quality goods, Babigian recommends splurging on a few of these well made statement pieces as compliments to a wardrobe of affordable staples to create an elevated, casual style that can be adjusted based on occasion. Though a few customers are regulars looking for new seasonal wares, many visit the store with little idea of exactly what they’re looking for. Rest assured, that’s what Babigian and the rest of the Wharf team are there for.

BY TAYLO

R SCHWA

RTZ

fASHION

Boots

eather has become a major trend, especially this season. And why not? It’s gorgeous! From jackets, to bags, to boots, to gloves, leather can be worn with any clothing item, and it never fails to make a statement. While we all want to look fashionable, it’s very important to make sure that the products are worth more than the cost of purchasing the product, both environmental and monetary. Every shopaholic knows the importance of quality; it’s always better to spend a little extra and get something nice and durable than something cheap that won’t last the weekend. Adhering to this mindset, it’s only natural to be attracted to real leather. Not only is it smoother and nicer to touch, it lasts 5 times longer than faux leather, which is essentially plastic. Faux leather develops cracks and easily fades, while real leather just develops a patina over time. If someone asks for the price difference between the two kinds of leather, the natural response would be $400. In reality, the answer is somewhat different. Real leather costs way more than just money: it costs lives.

The Leather Trend Mallika Sahaya

Bag Type: Faux leather thigh-high boots with woodenplatform Designer: Stella McCartney Original Price: $765

Here are some of the ways leather substitutes are better than real leather

Effect on animals The leather industry slaughters more than a billion animals every year in the process of making tans and skins, PETA reports. Many of these animals

Type: Lamb-skin thigh high boots Designer: Chanel Original Price: $2800 approx.

Here’s our guide to sustainable leather products

deprivation and unanaesthised castration. Faux leather, on the other hand, is an animal-free product, made solely from plastic and its variations.

Effect on the

environment

1 tonne of hide or skin leads to the production of 20 to 80 metric cubes of foul-smelling wastewater, including chromium levels of 100–400 mg/L, sulphide levels of 200–800 mg/L along with high levels of fat and other solid wastes, as well as notable pathogen contamination. Though PVCs can be environmentally harmful, faux leather is more eco-friendly than authentic leather.

Type: Calvin Klein tote bag faux-leather Designer: Calvin Klein Price: $159

Type: Moto Leather Jacket Designer: Calypso Price: $895

Leather DO’S and DON’TS 1. Check the tag! 2. Stay informed and speak up! 3. Double check the fabric 4. Choose Polyurethrane over PVC

Type: Faux-LeatherSleeve Wool Coat Designer: Michael Kors Price: $195

Jacket

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P N TIA

S I HR

C L RO

L L OE

CAROL CHRISTIAN POELL MAY NOT BE as famous to you as the likes of Ralph Lauren and Coco Chanel, but he is undoubtedly one of the last remaining artists in the industry. To those who view fashion as a stagnant and money-driven waste of time and thought, I dare you to not change your feelings after seeing Poellâ&#x20AC;&#x2122;s work. His creative output challenges not only the norms of fashion and consumerism, but also social awareness for a greener earth. In particular, readers may be shocked by his unconventional usage of animal and human products, but the ultimate statement behind his work is of insurmountable value to anyone concerned with fashion.

BY DOMINIK HALAS INTERVIEWS CONDUCTED IN COLLABORATION WITH CAMILLE COY

fASHION

T’S BEST TO INTRODUCE Poell with some background information on his methods and practices. Having apprenticed as a tailor since the early 1990’s, Poell started designing men’s collections in the mid 1990’s and added a women’s line at the end of that decade. He does not subscribe to the usual ways of the fashion industry, choosing to only design one collection per year and usually through just a look book video (although for one season he threw his models into the Naviglio River in Milan as his annual presentation.) You won’t see advertisements from him anywhere, and it’s unlikely that you would read about him in Vogue or Harper’s Bazaar. Poell’s work does not thrive on mass appeal, trends, hype, or editorial approval; he is creating art for art’s sake, and to push fashion forward. As Winston Churchill famously said, “without innovation, it (art) is a corpse.” So how exactly is that that Poell executes his vision? It is under the combination of traditional tailoring techniques and craftsmanship but with a very progressive design and theme. For example, his but oftentimes their seams are taped rather than sewn, or jeans are made with a special but time-consuming chain-stitch seam. You ing out of the elbows and knuckles of his leather jackets. His overall look is very dark but somewhat tailored and undeniably edgy.

His most controversial pieces are probably the ones Poell makes out of animal and human parts. His famous handbag is made out of an entire taxidermied piglet, and only two have ever been made. The piece is functional and obviously one to turn heads, although both existing examples are allegedly behind glass in museums. Poell’s usage of pig products extends to sweaters too, particularly his dried pig intestine woven jumper. He also made hats and bags out of whole cow udders. Poell is probably unique in the fashion world for using human products as clothing materials as well. He has made earrings out of human teeth, and a tie out of human hair. My friend and Poell’s compatriot Austrian designer Leopold Bossert was kind enough to inform me that the hair for those ties was purchased at a human hair market in the Netherlands, and that Poell also spun the hair into thread to be used for coats. Bossert is one of few people to have ever seen Poell in person, and since there may only be one or was able to tell me some interesting features about his physical appearance, like his silver tooth and close to 2.0 meter stature.

Aft

d n a r r e

y l om

v r e t in

g n i iew

several Brown students and showing them images of Poell’s work, it’s clear that responses to it are varied. Some individuals thought the piglet handbag in particular was animal cruelty and degrading, while others appreciated the craftsmanship and thought that went behind his work. It should be noted that Poell likes to use every part of the animal he makes something out of, as not to leave any waste. This seems like a greener approach to creating garments out of animal products (which the vast majority of humans consume through leather for shoes and handbags) because it takes into consideration to aftermath of the animal’s remains that went into making it. Interestingly, others pointed out that Poell is conceited because of a jewelry piece he made in the form of his own thumb, and that his more radical garments like the piglet handbag are just a form of seeking attention. The majority of respondents found his pieces very thought provoking though and seemed to take the stance that he is an artist and his work has substantial meaning in a variety of contexts.

Accessories

the EYE CATCHING HAIR BOW has certainly made a statement this year, and it is one of my favorite styles. Hair bows are great because they are very versatile. They’re easy

American Apparel has come out with a great line of wintery, velvet bows, in colors ranging from emerald green to tin gray. These bows are understated, adorable and incredibly affordable at only $10 each. Cream hues are just as popular this season – the Providence Place Mall has myriad off-white, lace bows at very reasonable prices. Forever 21 also has cute and stylish red polka dotted and plaid hair bow clips for just under $2 this season, which would make

How to Stay Glam in the Snow

PATTERNED HEADBANDS

From wintery bows to patterned headbands, this campus has seen it all. While hair accessories can – and should – be worn all year long, there is great variety of winter styles to look forward to this holiday season.

ARE an-

other great option for winter hair accessories. There’s a vast array of popular styles, particularly in regard to fabrics. Trends range from knit, to chiffon twist scarf, to a more standard elastic, embroidered with lace. During these frigid Providence winters, many stores in the area carry knit headbands that are perfect for a fashionista who wants to stay warm. These headbands are usually fairly priced and embellished with designs like bows or has unique knit ear-warmers that are recognizable by a braided or knotted band. If you’re searching for a different type of look, American Apparel has great chiffon twist options,

accessories include felt hats and beanies. Felt hats are a relatively recent fad, but are sold at most retailers. forever and have been evolving for years. They often change with the season, but retain their functionality. You can buy a million different types from a million different stores, but whichever you choose, you can feel

a wider variety of lacy, embroidered headbands that are both classic and fashion-forward.

the dark months r te en e w d an e g As the seasons chan r a vibrant hair accessory to er to wea of winter, rememb ren ney Kob

By Court

D I Yf

or a

Celebrate the snow in style with these enviromentally friendly DIY creations.

BY MO HY

MASON JAR LAMP YO U W I L L N E E D : Mason Jar Light cord kit Hammer Nail

The days are getting shorter and the nights are getting chillier. To keep your spirits glowing bright, repurpose a mason jar into a lamp to illuminate even the darkest of nights.

Using the circle you traced as a guide, hammer a nail into the lid.

Lightbulb

Unscrew the lid from the mason jar and trace the onto the lid.

Continue this all the way around until you can punch kkkkk the hole entirely kkk out of the lid.

T I P: Poke a few additional ventilation holes around the hole to prevent overheating.

into the hole, screw bulb, and get cozy!

place your hand with

Flip the sweater over and repeat steps 1-4, this time tracing the mitten instead of your hand.

thumb separated and bottom edge of the sweater

nd. Trace your ha ve Be sure to lea

YOU W I L L N E E D : t an ol d s we ater t a hot g lue gun t t hre ad or yar n t ne e d l e t marker t s ciss ors

for sewing!

Got an old, sad sweater gathering dust in your closet? Upcycle it into some cozy s(mittens) to brave the cold

WINTER S(MITTENS) By Jessica Zambrano

3 4 5

Cut out.

Laying the sweater

Glue along the cut edge of the mitten (to prevent the sweater from unraveling).

A fter allowing th mittens to dry, e glue on both m two sides and atch up the sew nnn n th em together.

her hand. R epeat steps 1-6 for the ot

people tree Jessica Montes

eople Tree is a unique organic clothing line that is recognized worldwide by both costumers and the fashion industry as a leader in Fair Trade and environmentally sustainable fashion. For twenty years People Tree has worked with artisans and farmers in the developing world to create “ethical and eco fashion.” The premise of Fair Trade is to pave the way for opportunities and markets for people living in the developing world. It is the remolding of business. Since 2010 People Tree has collaborated with Emma Watson to create a new line of fashion. She now models and designs for the company and even traveled to Bangladesh to see locals make the collection. When asked about her trip to Bangladesh, she stated, “It was an incredible and life-changing experience. I wish everyone had the chance to see the difference Fair Trade makes.” People Tree is different. They provide the world with an alternative to

most clothing lines, which are fueled by demand for cheap apparel and accessories. This type of fashion has a detrimental effect on the developing world as it gates inhumane labor practices like sweatshops and can even contribute to global warming. People Tree is part of “slow fashion.” Slow Fashion stands against all of these things. It represents a movement against “exploitation, family separation, slum cities, and pollution…” People Tree is a clothing line that shows consumers and industry leaders that it is possible to create clothes without harming our world. And they produce beautiful delicate clothing that mirrors their values. People Tree created

developing world. It also works to guarantee sustainable methods of production to lower environmental impact. Their cotton is certiand their clothes are dyed using safe and natural dyes. People Tree also sources many products locally, choosing natural products over toxic non-biodegradable materials. They even go as far and ensure their products are shipped by sea instead of air and woven by hand, going great lengths to decrease their impact on global warming. People Tree is a glimpse into the future. It is a clothing line that is as conscious as its consumers aspire to be. Now that it has collaborated with Emma Watson, it will continue to garner the attention it deserves.

chain for organic cotton nization to achieve Global Organic Textile Standard

ENTERTAINMENT supply chain entirely in the

ENTERTAINMENT

ECO-CONSCIOUS MUSIC Caroline Bologna

When considering the intersection of entertainment and environmental consciousness, the images that immediately spring to mind are of celebrity activists or successful documentaries like An Inconvenient Truth. But there’s another important area where entertainIn honor of this issue’s green theme, here is a list of eco-conscious

“Big Yellow Tallxi” – Joni Mitche s songs about concern for the

ou This is one of the most fam ” and ise to put up a parking lot rad pa d ve pa y he “T nt. me environ purpose ay that DDT now” make its “Hey farmer, farmer, put aw nces ly sentimental sound enha ral ne ge the d an ar, cle ly express e was . Mitchell has stated that sh the power of this message ng visiting Hawaii and witnessi er aft ng so the ite wr to inspired untains ition of beautiful green mo the disheartening juxtapos resurYellow Taxi” experienced a and giant parking lots. “Big sed a cover the Counting Crows relea gence in popularity when ooh, Vanessa Carlton (Those oo of ls ca vo the ing tur fea , version eetness.). ole dimension of sugary sw bop bop bops added a wh

“Mother Nature’s Son” – The Beatles

The lyrics of this Fab Four classic make you want to explore and marvel at the wonders of our Earth. With lines like “swaying dai sies sing a lazy song beneath the sun” and “sit bes ide a mountain stream—see her waters rise,” it’s hard to dislike the sweet melody. There’s a clear sen se of appreciation for our natural environment, an inspir ing message that can impel to action. The Sheryl Crow cover from the 2001 I Am Sam soundtrack is also lovely.

er” h t a e W r e t a e “Sw ood h r u o b h g i e N out the - The e explicitly ab

b song may not themes Okay, so this rtainly evokes e c it t u b , se l per environmenta ange and of climate ch ell. Also, is catchy as h merican the band is A “Neighbut they spell e Britbourhood” th we love ish way. And Like British things. Love Actually.

“Oh Moth Anthem)” er Earth” (A N – Neil You atural In his “natu ral anthem ng ,” Neil You you giv ng

e and not wonders, “How long receive an d feed this can The folk s world rule inger also d a ppeals to th by greed?” with “Moth e pathos o er Earth” a f fa milial rela nd the spir tions the song a it of patrio n anthem. tism in ca lling

“Never T On Mothurn Your Ba - Neko C er Earth” ck ase The title says it all. Prea

ch, Neko

Case.

The Rap – Tracy Ce of the Worl d hapman With the combina tion o

f Chapm and the s an’s impa trong lan ssioned v g u a ge of the that man oice lyrics, it’s y conside h a r r dly surpr this song sionate c ising to be one alls for a o f the most green rev pasolution.

“Society” – Eddie Vedder

Set against striking images of the breathtaking Alaskan landscape, this Eddie Vedder song from the Into the Wild soundtra ck condemns the destructive nature of contem porary Western society. The Pearl Jam lead singer was honored by Rock the Earth environmental group along with his band for their efforts in lowering carbon emissions and other eco-co nscious initiatives.

(no pun intended), there are countless other examples of songs that exhibit environmental consciousness, across various genres and time periods, and hopefully this sampling will impel you to explore this category of music further.

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DANNY SOBOR An interview with

TELL US ABOUT YOURSELF – ANYTHING AND EVERYTHING YOU’D LIKE TO SHARE. ’m a 21 year-old Chicagoan. 5’9”, brown hair and eyes. My hair used to be curlier. I’m a Libra. I love long moonlit walks on the beach and my -

that sank; it was pretty crazy. In all serifeel like my life has a trajectory. I decided this year to make a serious attempt at pursuing art as a career. With Milk launched and increasing exposure as an artist, I feel like I can make the dream of be-

coming a designer a reality. I’ve woken up each morning since Milk’s September 26th launch excited and thrilled to be doing what I love and getting better at it every day.

started making t-shirts when I was 15. I learned how to screen print and would hand cut and print designs on my downstairs ping-pong table (my mom wasn’t always too happy about that). This actually ties into what draws me into fashion, because my initial inspiration was to make shirts that 1) were completely unique and 2) inexpensive, primarily for myself. I would see a cool shirt for $50 and think to myself, “I could make something like that for like, $4, and it might even be cooler because it would be original.” I would make a few extra shirts and sell them to friends in high school and a few were pretty popular. I made hand-made shirts for years and during that time, in the back of my mind, I would always think to myself that

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it’d be so cool to have a more organized ly acquired enough business-savvy and tech-knowledge by last summer to make

I grew a deep personal, possibly spiritual, connection with my hometown, and I tried to echo that in my work: psychedelic streetwear.

May to August I worked in the day as a mural painter for the city of Chicago and at night I would get home and design. I

in a culture of passionate and ambitious people, I’ve been inspired to spend the rest of my life making art, which is what I love most and makes me happiest; I have Brown and its students to thank for that.

made dozens of preliminary sketches and concepts - each took around 8-10 hours strongest. The minimalist aesthetic of my never have before. In hip-hop, if you look site and my designs echoes the fact that at Chance the Rapper’s Acid Rap or the Flatbush Zombies’ discography you can see an increasing promotion of psycheand a coloring book. Nothing can be perfect, but my goal was to make designs as clean, perfect, and powerful as I possibly could at the time. In terms of the mission behind the work, I wanted to bridge the psychedelic with the urban. My designs have an acid-edge combined with minimalist principles of modern art and streetwear. I’m trying to create this bridge visually because I think psychedelic drugs are permeating urban culture in a way they

years ago in rap. On a personal level, a lot of people I grew up with back home were urban trippers. We would take psychedelics and walk through the city. We’re like the Facebook generation hippies. We trip and believe in universal oneness and all that jazz, but instead of going into forests walk through downtown and take trains. Same thoughts as 60s counterculture, different environment. Tripping in the city

have too many inspirations to count. I’ll power through a few. A lot of my feel blessed to be on a campus surfriends back home are doing great rounded by ambitious, driven young things. Some of my friends are rappers or people. Brown has a serious start-up are in bands that are gaining buzz, a few of them are gaining national recognition to TeeSpring, there have been numerous people my age doing amazing things in their free time and watching their projects up with suddenly on TV and in the papers grow is inspiring and encouraging. The makes me realize that it isn’t that hard to - make it if you work hard and are talented. man was chock full of tech kids, musiI’m also inspired by the notion of cians, and writers, and seeing them strive constant improvement and mastery. I subto make a name for themselves and work- scribe to the belief that doing something ing towards their passions was another for 10,000 hours makes you an expert. I huge inspiration. To give you an idea, I feel like I become a better artist with every came to Brown thinking I wanted to go to new piece I make and every new concept graduate business or law school (when I I see or learn, and the knowledge that I tell that to people who know me now they need to keep putting in work is a huge usually laugh). Having been immersed driving factor in my creative output. SINCE

BECOMING

STUDENT

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One of my biggest inspirations: with brain cancer last December. He was a month younger than me and we were pretty similar: same neighborhood, same advisory in high school, same taste in music and girls, he even got into Brown. I can’t help putting myself in his shoes and vice versa. He was the strongest, most positive person I’ve ever known. His passing made me reassess everything I was doing with my life. He would probably give anything just to be healthy and to have more time on the planet. If I’m going to be given the time he wasn’t, I’m going to make the most of it at every waking hour. DO YOU HAVE A FAVORITE MEDI- in the belief that people, and oftentimes artists, are becoming too reliant on techWALK US THROUGH YOUR WORK nology and not enough upon technical skill. Keeping these philosophies in love to draw and stencil, which is the method I used to create all of the de- I liked that spoke to me and cutting them signs for Milk. I had two major phi- out by hand with a razor on contact palosophies in the process of designing and working with these mediums: the paper, stick it to a screen, and hand I would erase nothing. I never used screen print onto poster paper. Then, I pencil, only ink and razor, meaning would pick the best iteration of the print and go over parts of it with a sharpie to a way to incorporate it into the piece. I honestly didn’t erase a line for four months working on Milk. The philoso- toshop and prepare it to be printed on phy is rooted in the belief that you have clothing. The process was as organic and to learn from your mistakes and improve rooted in my touch as I could possibly upon them, be it in life or on paper. make it. Everything needed to be touched by my hand, so I eliminated as much computer-work as possible. This is rooted

broader audience in a more intimate sets I mentioned before, I initially ting. It’s one thing to look at a drawing, wanted to make clothes for myself it’s another to wear one. that were affordable and unique. I still stand by that, but my feelings towards fashion have gained some depth. I love art, I love making art, I love sharing my art. Sometimes, however, a painting on canvas or a drawing feels a bit isolated. I can only show those pieces to people in a gallery or if they have the piece in their home. Social media is a possibility for sharing, but it doesn’t always do a live piece justice. A shirt or decorated shoes, however, are canvases that can go any-

a gallery. And cheaper. I see fashion as an opportunity to share my art with a much

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DO YOU HAVE A CLEAR VISION OR helps to unify me with people so we can OBJECTIVE WITH YOUR ART AS A collectively share our experiences and get to know each other’s thoughts a little y objective for the last few years better. has been to create beauty for the sake of beauty. I’m not trying to make broad political statements, I just eep learning, keep working. I’m want to create images that are gorgeous. already working on a second colI believe my art to be a two-dimensional physical representation of my thoughts. My process is loose and stream-of-con- and I’m learning how to sew. As an artist, scious; I usually just let the pen go. When I’m in the zone, I lose track of time and in late January. I’m thinking about doing feel like I leave my body and don’t know a dance collaboration in the spring. I’m at what I’m doing. When I step back and a point now where awesome opportunilook at what’s left, I see the manifestation ties are starting to come my way and I’m - along for the ride. All I know is I’m going selves on paper. I see art as a means of sharing individual perception. I look at a get better as I keep working. From there, piece made by someone else and think, “cool, beautiful, that’s an aspect of how that it’ll be awesome. you see the world.” In turn, sharing my art with someone else connects them to my thoughts. In this way, I think my art

WHAT DO YOU THINK ABOUT YOUR ROLE AS AN ARTIST IN THE CONTEXT OF SOCIETY, OR DO YOU HAVE A MORE INDIVIDUALISTIC

y role model as an artist is Shepard Fairey. He started out as a street artist, then did clothes, then started to use his art for social good. Along with the Obama Hope posters, he did the visual campaign for Feeding America. I would want nothing more than to follow that trajectory. Right now, I’m trying to establish myself. After that, however, I want to be able to use art to help the world, be it by exposing people to art who may never otherwise have gotten the chance to see it or by working on a national charity campaign. It would be and my end goal, the light at the end of the tunnel, the way I’ll know that I made it, is the day I know that in some way my art is or has helped someone. WHAT IS THE MESSAGE YOU’D ULTIMATELY LIKE TO LEAVE OUR

hanks for the support so far and stay tuned. I have big plans for Milk and I’m dedicated. Just know this is in the works: gold printing. Oh, and check out milksupplyco.com and follow me on instagram @sannydobor. Thanks! -Chelsea English

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MILK SUPPLY CO.

Editor: Chelsea English Designer: Danny Sobor Models: Marli Scharlin & Jahi Abdur-Razzaq Photographers: All of the above

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The designer: Danny Sobor

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ART

The Dress Show

BY TIFFANY MENDOZA PHOTOS BY JASMINE BALA & TIFFANY MENDOZA

“The French word, déshabiller, is interpreted in a multitude of ways: to undress, to denude, to uncover.Alternatively, it may also refer to the title of Jennifer Avery’s exhibit, Déshabiller, or the Dress Show.”

n October 25th, Avery, a sophomore visual arts concentrator, unveiled the exhibit—a production one year in the making. From September 5th, 2012 until September 5th, 2013, Avery wore a different dress, everyday, culminating in a project that Avery describes as part performance art, part obsession, part sculpture, part fashion line, part thrift shop, part protest, part celebration, and part material culture. There were two rules Avery followed: the dresses had to cost under ten dollars each, and she An entire year of Avery’s wardrobe was displayed like an archive in the List Art building. At the exhibit’s closing reception, held Halloween night, guests were invited to try on the dresses. Dresses of all styles— from slips to evening gown—and of all materials and patterns—sequined to striped— were hung from two very crowded racks. Between chatting with guests, wearing one of her acquisitions, Avery opened up about the inspiration for the project, as well as what she gained through the experience, besides 365 dresses.

“T

his is a celebration of

consumerism, collecting, both personally and in museums, and unique forms of self-expression as much as it is a critique of them,” Avery said. The inspiration for the endeavor stemmed from a need to explore various identities and perceptions and “wanting to turn something pleasurable and voluntary into something mandatory.” Avery, who is a contributor to Brown’s feminist magazine, Blue on ideas and questions of gender and found the project to address certain relating issues. “I have a hard time with gender and gender roles…I An artist statement Avery prepared for the exhibit partly explains these questions are far-reaching. She states, “I was bald for a very long time. People thought I was a boy. My mother dresses. I still think gender is a performance. Everyone is in drag.” Avery’s project tested artistic boundaries, as well. “This body of work also protests generalizing art into ‘paintings and sculpture’ and challenges proper behavior in an art gallery.” As such, accessibility and immersion were important features for her exhibit. “I get very excited when I can touch, immerse or be-

come a piece of art, and want everyone to feel this sometimes intense pleasure and discomfort, this exploration of nontraditional art and behavior in the very traditional space of an art gallery,” Avery said. es aesthetically pleasing to her individual taste, Avery’s selection process transcended her own personal tastes and contemplated larger cultural trends and patterns. “Part of me approached the wardship of these garments as a fashion archaeologist,” Avery said. “What could this color or cut or material say about our culture? Why did these go out of style… become in style?” Many of the dresses are mon appeal of the thrift store. Thrifting has become a craze in recent years, and Avery explains why these stores appeal to her on an individual level. “I am lower middle class, and I never have much money, aside from not being interested in garments that are new I just cannot afford them. Thrift stores are amazing places with amazing customers and employees. They are like cultural compost heaps,” Avery said.

ART

Schnabel, green silk for Bruce High Quality, Copper and black for Le Sarc Du Primtemps, Black Velvet and Lace on a ice Skating date with my love Michael, The green and white go on and on and on and will someday when

Addie Mitchell and Jasmine Bala dawn Avery’s dresses

“I

like how thrift stores feel, smell and organize themselves. I like searching, the repetitive gestures of the body. I love trying on clothes, staring at myself in my underpants in a tiny room covered with mirrors. This is my happy place. It is art.” With most of the dresses coming from these cultural compost heaps, Avery was also intrigued by the secondhand nature of the dresses, or as she describes, “the lost history.” “Sometimes there would be a perfume smell or a stray hair,” Avery said. “These ghosts do little to clarify the lives of these objects. And now, many have evidence of my everyday

In addition to the artistic appeal, thrifting inevitably brings up themes of consumerism and its implications, themes Avery’s project deals with directly. “We live in a culture of waste, a culture of consumption lacking thoughtful action. Wear-once-andthrow-it-away fashion, or even purchase and just never wear.” Dealing with this issue, Avery herself is offering to hand off her dresses to interested parties and in doing so, continuing the project. “Dresses must be replaced by a dress, purchased for under ten dollars that worn for a day. I will need snap shots of both the new dress and the one leaving the collection,” Avery said. Déshabiller will be in the Granoff Center in the spring, and Avery can be contacted through email. To view more of Avery’s art, visit https://m.facebook. com/profile.php?id=157785990898084&__ user=1417502500

a safety pin, a clump of orange or white cat hair, a stain of paint, plaster, coffee or blood, a rip or a burn.” The dresses acquired more than just alterations and stains, though. The dresses also served as vessels of memory. “I actually have a weird recall ability when it comes to garments, and when I pour over it I have a unique, hectic and eventful life,” Avery said. The red Lacey square dancing dress I wore in Ferdale, California trappecing about cemlength navy blue with rhinestones I wore to the bluestockings open mic at AS220, the polyesa plain day in the studio, red silk for Julian

an intervie w with Sara Erkal and Jennifer Avery

Isabella Giancarlo

ART Tell us about yourself –anything and everything you’d like to share. I’m an ENTJ (my Briggs-Meyer analysis) with an abundance of productive optimism and enthusiasm. I’m a senior studying Environmental Studies and Visual Arts. I work part time as a graphic designer for an all-girl, Brown-alumna started venture called Dear Kate that makes high-performance lingerie. Oh, yeah! I’m also a feminist!

Why are you involved with A Better World by Design? What have you learned from it? Are there any really cool projects/people you encountered? BWxD has probably been the single so far. That seems dramatic, but it’s totally true. Not only has being on the committee given me serious reallife skills (i.e. the art of e-mail, phone calls, and fundraising) it has been an people involved both as facilitators, participants, and even the committee are working on projects with real impact on both local and global scales. There are a lot of broken systems both in the US and otherwise that need reevaluating-tough stuff like climate change and health care reform--and these people are using thoughtful design and strategy to innovate solutions.

ART

People often think of design as the creation of things that are neat and nice to look at. In this way, design becomes unapproachable. Instead, through a multidisciplinary approach, BWxD shows that everyone IS a designer and that sometimes designed solutions aren’t beautiful and pristine, but more importantly they’re practical and implementable from an economic and social standpoint. And by getting biologists and politicians, athletes and artists together, more thoughtful, holistic solutions can be formulated and hopefully implemented. This possibilities for thoughtful, more holistic problem solving--design--as a tool to construct a better world and has What inspires you more generally? gender roles - stefan sagmeister - liza lou - degas - line drawings - jezebel mary oliver - typography - femininity & masculinity - hand lettered type -

Do you have a favorite medium to work with? I adore silkscreen. I have always had a graphic aesthetic (which is probably why I work as a graphic designer) which school art class, I was criticized for my drawings. In theory, to master drawing, you’re supposed draw in terms of lights and darks, but i just wanted to outline everything. This love affair with blocks of color and big, bold, black lines, are quite compatible with the process of an individuality with each print, which I love as well. What are your plans for the future? Kick ass and take names. I’m not quite sure how this will manifest itself yet, but I see myself working for an innovation for a start-up doing meaningful work and some day be HBIC of something awesome. What is the message you’d ultimately like to leave our readers with? “Be happy with what you have while working for what you want.” - Helen Keller or maybe just, “YOLO” - Sylvia Plath. — Chelsea English

the

PROFESSOR P

rofessor Josiah S. Carberry is an oft-mentioned

bulletin board in the Classics Department in January chaic Greek Architectural Revetments in Connection couldn’t possibly be coming and inserted the word Professor Carberry has made a name for himself study of cracked pots) as well in the particular exercise of failing to show up to lectures he promised to present. His absence has continued

the academic year. A letter arrived instructions to create a fund known as the Josiah S Carberry Fund to purchase books for the Brown libraries. He also stipulated fortunates may toss our spare change in and support this great institution. As the last Carberry Day of the year is upon lack thereof) and his doubtlessly superb style. Of

Photographs: Loren Dowd ‘16 Model: Andrew Linder ‘17 Director: S Blistein ‘16 Assistants & Styling: Tevin Jackson ‘13 & Taylor Schwartz ‘16

keep an eye out for notices for lectures. It’s always good to know when the Professor won’t be coming.

Don’t forget to pot so you can donate your loose change.

iconic ion of an t a e r c e r A

always off on his next adventure.

AvanteGarbage A literal and metaphorical take on the â&#x20AC;&#x153;Green Issue.â&#x20AC;?

UNHEMMED

December 2013