Unhemmed Magazine by Unhemmed Magazine

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May2011 Volume 1, Issue 2

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www.hercampus.com/brown

staff

EDITORS路IN路CHIEF MJ Batson and April Zhang

STAFF WRITERS

Ivy Alphol1se-Leja -Chelsea English Michelle Frea /

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Tiffan,Y M/ndoza

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Camille Spencer Kade-Chanya Wi 掳lak

ART/PHQ:r.Q.. Eve Blazo

V'viall Carlson Cindy Oh Carolyn Shash

BUSIN SS

Dulm Altan Michelle Frea Hyoju Lim I..;ivNam Sally Rothman Carly Ruiz

COPY~ITORS

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Heather Goode

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Michelle Frea='--Kade-Chanya Wilailak

Fashion is difficult for me. I didn't grow up with Barbies playing dress up and planning my dream wedding dress. Even now, I run around wearing old t-shirts with holes and I'd rather be barefoot than in the latest heels. Despite this, recently I've found my life revolving around fashion. I spend more time sewing than reading, more time designing than socializing but I believe there's a reason I've ended up on this path--though I'm not exactly sure why... yet. Being an editor of a fashion magazine is far from what I ever thought I'd be doing. I have always been critical of the superficial side of fashion especially because I know I don't really belong, I will always be the girl in oversized plaid who is a little offbeat but I've never had rhythm anyways I suppose. fi(rJlo<- In our second issue, we've included more photographs of Brown students who may not necessarily be involved in fashion either or feel they don't belong. But it doesn't matter. Whoever decided that they dictate what is and isn't fashionable is wrong. We all have a style and whether or not that includes wearing holey t-shirts with The Far Side comics printed on them or the latest from Burberry every Brown student has style and Unhemmed has every intention of celebrating every aspect that we can. So, I hope you enjoy our second issue and good luck with finals!

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I would apologize for the timing of this issue, but let's be real here. You were going to procrastinate on all the papers and projects and studying anyway, and this magazine will only occupy a fraction of the time you'll end up spend in on Facebook or Tumblr. It's pretty depressing to be sitting in the stacks instead of on dle Main Green in the gorgeous spring weather. And maybe what you'll fInd in here won't make you much happier, because after all, you'll still be studying in a concrete library. After looking through the many stylish people in our ginormous street style section, you'll probably wish you were relaxing outside on the beautiful green grass, wearing a fabulous outfIt of your own, pink Froyo World cup in hand. Or maybe you'll want to shop on Thayer Street at a store like NAVA to fInd your next wardrobe staple and browse an unbelievable selection of cowboy boots. If you're feeling crafty, we've got a few DIYs to satisfy you. If you're an adventurous type, flying through the air with the Aerial Arts Society should totally be on your to-do list. Doing any of those things might be diffIcult right now, but I bet you're feeling inspired. And while we're on a roll here, there are some kickass photo spreads in this issue as well. The styling was perfect and the models were outstanding; I was absolutely blown away by their serious talent. This issue is full of incentives to fmish your schoolwork and start the summer, but procrastinate just a litde longer and read this issue, because we won't be back until the fall and school is probably making your life hell -- you're gonna need all the inspiration you can get. Much love,

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street style 7 fashion 49

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inside Clara's closet 50 lotus 54

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NAVA 59 royal wedding fever 64

beauty 66

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beauty in the imperfection 67

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sunkissed beauty 68

.diy 70

necklace & feather earrings 71 high waisted skirt 78

features 82 (

aerial arts society 83 cortazar 92 cocktail culture 96 Brown fashion show 98

hotography 116 ..

Cover model: katherine james photographer: carolyn shasha

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Blake Beavet' 14: ~ 1 de8 ne my style as gay 1950s retro. ~

Jennifer Sieber '14: "These shoes were my mom's, so they're vintage. My ring is from Israel- it was made by favorite jewelry designer, Ayala Bar."

Alexan ra Reyes '14: "My l~ today is military mixed with spring floral. My combat boots are from All Saints, a cool British brand. My bracelet is made from bullet shells."

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Bruk Addis '11 "Urban Outfitters earrings and skirt, Express Kors shoes, Zara sweater.

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and sunglasses frOlll a store in California."

Kate Brennan '14: "My dress is from the Urban Outfitters sale rack. I wear my shiny black Doc Martens every day-they're my staple".

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Maddy Sail '13: "My dress

from H&M. I love daisies. My bow and leggings are from American Apparel."

Stephanie Harris '14: "I'm wearing an Express dress and AIdo shoes."

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Ashtin charles '12: American Apparel V-neck and socks, DIY jean cutoff shorts, Clarks shoes, Burberry sunglasses. "1 like suspenders."

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Marjorie Palmeri '14:"1 usually wear dark colors but it was such a happy day today."

Amanda Lee '13: Dress from an Austrailian street shop. "It's a sunny day and prints are cool, bright, and happy."

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Qian Yin '12: "I'm wearing yellow shorts because it's sunny!"

Josette Souza '14: "My dress is from Taipei, Taiwan. I got these shoes for a dollar at the Vault, and I cut my hair myself."

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Brent Sto 'es '14: "BDG top, Sperry topsiders, Levi's 511 k aki jeans. "My hat is from an

ebony arts and crafts store from my bometown in Virginia. It's imported from West Africa."

Tina Sankhla '13: "I'm wearing comfy shorts, my grandma's necklace, and Urban Outfitters sunglasses."

Quyen N go '12: "I buy everything on Ebay, including this dress."

Geraud Bablon:

"I rolled my pants because I was warm but it works."

Sofia Ruiz '14 "My skirt is from Anthropologie and I'm wearing a Moroccan pendant.~

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Raisa Aziz '11 ~Tllese are my friend's pants from Syria,"

Cbimso Okoji '11: Skagen watcb and Ray Ban aviators.

Alysse Austin '14: Vest from Flea market in Rome.

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Amy Sung '14: Flower elress from Macy's anel shoes from Target.

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Sophie Freedman '12: Skirt fromlstanbul boutique, Burks shoes, and cotton top with buttons.

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Utendahl '13

by Ivy Alphonu-Leja

It's obvious that Brown is full of truly stylish people. As a freshman, I am amazed evety day by the unique ensembles I see on my peers, whether they're casually walking through Faunce arch in an amazing pair of boots, or ordering coffee at Blue State in a great color block dress. Students here know how to dress in rain or shine. even when finals are looming on the horizon. In light of so much fashion inspiration, I thought it might be prudent to get into the heads -- and closets -- of the people who inspire me daily with chic basics and artistic accessories. I did not have to look far for my first muse, my neighbor and good friend Clara SternoffBeyer '14. Clara describes her style as "laid-back" but that does not do her any justice. One of the things I admire most about Clara's style is the way she pairs wardrobe staples with interesting, personalized accessories to make interesting, effortless outfits. She makes girl-next-door necessities look just a little bit edgy and messy, taking them to a whole new level. Her closet was a joy (and a privilege!) to rifle through. One of the first things I noticed was her enormous collection of sunglasses, with evetything from 50s Esther Williams inspired frames to the classic Brown-approved wayfarers. She also owns a lot of well-constructed clothing, like the faux leather jacket she is "obsessed" with, militaty inspired pullovers and simple white button-down shirts. It's always good to have a wardrobe full ofwell-made, ready-to-wear items that go with almost everything, because it won't require much fussing to put things together. Clara's laid-back vibe is rooted in a closet full of'throw it on and go' clothing. I also loved her art deeD inspired metallic accessories. For spring, it's best to steer clear of heavier chains, and instead go for pieces with thinner, longer chains in brass (not

gold) neutrals.

The first outfit was a new take on wearing All-American basics) inspired by a modern Minnie Mouse. I loved the rufHed polka-dotted dress; the combination of navy and white will always be fresh for spring. A white button-down is the perfect thing to throw over a spring dress in case it gets a little chilly outside. It will keep the outfit looking crisp, chic, and breezy without the heaviness of a cardigan or hoodie. Converse sneakers, when neutral-toned) can take a dress from date night to classroom. Plus, they are a whole lor easier to walk in than heels! White, round sunglasses, a must-have for those lazy days outside, complete the look.

For Clara's second look, I wanted to play with texture and patterns. Mixing different prints can be a daunting task, but as long as at least one of the prints is neutral, it's totally easy [Q do. Clara had a great nude lace overlay mini dress in her closet from H&M, which I paired with her favorite chocolate brown faux leather jacket and sweet navy Roral print Mary Janes from urban Outfitters. It's always nice when chic staples for fall, like a leather jacket, work in a spring look. And, Mary Janes are so versatile-they can be worn with virtually anything, they're useful to have in your wardrobe! Simple gold bangles and tortoise-shell sunglasses provided the finishing touches.

While rooting through Clara's closet, I caught sight of a fabulous asymmetrical white cotton tank dress by Cheap Monday. This simple silhouette is flattering on all body types, and white is always a go-to spring color. Clara also had a great pair of cocoa brown cork wedges which added that extra spice to the look. A khaki-green military inspired jacket provides the perfect counterbalance to the sweet simple dress and colorful Aoral sunglasses. A brass, watch-inspired necklace finished the look.

1he delicate and pure lotus flower defies its surroundings by emerging from a mud pond. Consequently, the lotus can be seen as a representation of Vietnamese women, who have had to overcome many struggles while remaining beautiful and strong. It was with this idea in mind that Brown's Vietnamese Students Association (VSA) hosted their appropriately titled fashion show "Lotus." One of VSA's co-presidents, Cherilyn Tran '11, brought the event back after a three-year hiatus, saying, "I feel like it's necessary for VSA to display our national dress and history of identities. Vietnamese women have always been strong, and the clothing they choose to wear has a way of showing it." The VSA fashion show, held on April22nd in Alumnae Hall, was divided into three parts: past, present, and future. Performances by members of VSA separated each section, and Vietnamese food was served during intermission. In the past, present, and future segments, traditional Vietnamese dresses (called "<i.o dai") were modeled, and an evolution of dresses was shown. Tran '11 compares this evolution to the lotus flower. In this beautiful plant, the fruit and flower can be seen at the same time. Similarly, after the Vietnam War, many changes took place, and thus the differences in generations were revealed in dress and culture with the different generations representing the fruit and the flower. Traditionally, .10 dai are made from either cotton or silk, but a few of the dresses in the show contained velvet. A special aspect of "Lotus" was that of the forty dresses displayed, ten were custom made for the show. Members ofVSA picked out the designs, bought the fabric, and then had them tailored. VSA member and "Lotus" model Dan Chinh Nguyen '14 stated, "the designs were all inspired from magazines, sites, catalogues and everyday life." This was different from the last show, when a designer flew in with pre-made dresses. While all of the dresses were beautiful, the light blue one worn by model Cortney McCoy stood out the most. It featured a gold collar and waistband, and was in the "future" part of the show. Like most of the other .10 dai, this dress had deep slits to the waist on the sides, and was paired with white pants underneath. Overall, VSA did a fantastic job of exhibiting Vietnamese culture and beauty all in one night. The atmosphere was great, the food was delicious, the entertainment was phenomenal, and of course, the dresses and models were stunning. 1he incorporation of the lotus flower into the theme was carried out perfectly, and the runway was even surrounded by large handmade lotus flowers. This annual event showcased the fashion of this vibrant culture beautifully.

photo: Larry Au pictured (left to right): Dan Chinh Nguyen, Luisa Robledo

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photo: Wu Ka Ling pictured: Cortney McCoy

NAVA:

New and Vintage Apparel by Tiffmy MendoZll

Come the end of this month NAVA (New And Vintage Apparel) will celebrate its three-year anniversary. Located on Thayer Street, NAVA remains true to its name by offering affordable vintage items as well as new stylish trends. The store carers to both women and men of various ages. Upon entering, the wooden floors, dim lighting. and iodie music playing in the background create the perfect ambiance for sifting through the racks of timeless treasures. Ir's almost like exploring your granny's closet, that is, if your granny was really into urhan, hip, and chic fashion. The counters are covered with antique rings. bangles. earrings, and necklaces. Vintage cowboy boors adorned with fringe and Aoral outline the store's perimeter. Racks of lace scarves, headbands garlanded with bows, and sequin dresses dazzle the eyes. The store's aesthetic charm is enchanting. It warms rhe soul of anyone with giddiness for vintage goodies. On a sunny Saturday morning, Ali Burns-Nachwalter, the owner of NAVA, has just opened the store when 1 walk in for our interview. She's wearing a silk blouse with a black high-waisted skirt-a look that could easily be seen on one of rhe well-dressed mannequins in her display window. Wirh a coffee in hand, she sirs behind the counter and is preparing for rhe day ahead. Lisztomania by Phoenix begins to play on her Pandora station as she begins to tell me about herself. the store, and her love for vintage fashion.

NAVA:

New and Vintage Apparel

How would you describe your store? It's an eclectic mix of new and vintage looks. At first, the business plan was just to foclls on vintage items and I realized we could reach a broader spectrum of customers by offering new items roo. We really want to keep the good fashion affordable and accessible. What was the process for creating your own business? I've collected vintage items for a really long rime. It starred when I was working at a camp one summer in a really small town in Vermont. There was a store where a guy had a huge vintage department, but there wasn't really a market for vintage in the town so he was going out of business. He offered to just sell his entire vintage things in bulk for really cheap. It was right then when I thought, "this stuff is so great, it would be great to have a store." So I bought all his stuff and I started collecting pieces with whatever extra money I had over the couple of years. I got more serious about it after I took a women's small business program.

"What are some of the dlfficulties you've run into? There are a lot of decisions need to be made everyday in such a broad spectrum. It can be overwhelming at times. And running the store myself can definitely be tiresome as well. My best ftiend from high school who went ro RISD moved back and is now an online business parmer. So ovet the years things have become a lot more fun and interesting.

What goes on behind the scenes of tunning NAVAt Aside from being here on a daily basis, I'm constantly spending time looking for vinrage pieces. I check out a lot of estate sales, different collections, and vintage warehouses. We go to Las Vegas twice a year for an apparel show called MAGIC. We also go to New York four or five times as well for FAME, an apparel and accessory show. How do you select the clothes and accessories in the store? It's very instinctual. We keep our eyes out for what the bigger trends are. We take into consideration the colors and the cuts for every season. Bur really, you never know what there is going to be out there. The selection is really more in the moment, what grabs the eyes.

Well, everything here definitely grabs the eyes. So, what is your favorite thing about your job? Working for yourself. Although it is very stressful, it's so very rewarding. It's self-motivating. Also, it is great being able to have a partner who's your best friend. We actually live in the same house. We have an attic, which is where our warehouse and phoro studio is. There are constantly dress up moments, photoshoots, and new ideas happening. Moreover, everything is always changing-it's nor just the same thing everyday. Plus, we have a pretty loyal following. It's super amazmg. What are some trends or items you would recommend for summer? I love cowboy boots. I wear them with everything. They are great with summer dresses. And we have a ron in srock. We have been reconsrructingvintage dresses, making them a bit more modern. As for accessories, the feather trend is really killing it. We will be overAowing wid, feathers, beads and all sorts of tribalinspired jewelry! Be sure to check out NAVA on www.shopnava.com !

by Michelle Frea

noun:

an intense obsession with the nuptials of Prince William to Catherine Middleton; you know you have "Royal Wedding Fever" when you wake up at 3:30 am to catch the live news coverage of the event.

The first step is to admit you have a problem, so I'll confess.. .! have been struck with Royal Wedding Fever. Over a week has passed since I watched William (finally) take Kate as his lawfully wedded wife, yet I cannot stop thinking about the ceremony, the bride and groom, the best man, the maid of honor, and especially the fashion. I live on Pembroke Campus, yet trekked over to Wriston in the wee hours of the morning so that I could watch the guests file into Westminster Abbey on a bigger TV screen. A5 an American, I was fascinated by the strange hats that the guests wore. One hat that I won't forget was worn atop Princess Beatrice's head. 1he beige concoction, designed by Philip Treacy, was compared to antlers and even an octopus. It garnered fierce criticism, but also had a lot of support -- a Facebook page was dedicated to this original hat! Also wearing Philip Treacy, Victoria Beckham wowed in her posh dark creation, while her dashing husband, David Beckham, channeled his more ritzy side in a top har.

Once Kate Middleton arrived in the Rolls Royce, all eyes were transfixed on her and her gorgeous gown. Unlike her mother-in-law, the late Princess Diana, Kate kept the information about who was designing her wedding dress closely guarded. Once K1.te stepped out of the car outside of Westminster Abbey, it was revealed that she collaborated with designer Sarah Burton of Alexander McQueen to create the ivory satin dress. Burton also designed Pippa Middleton's maid of honor dress, which was also ivory satin, but was form-fitting and simple, with a cowl front. The dress was gorgeous, and caused many to speculate that Pippa took attention away from Kate. Kate's stunning wedding gown of the century was reminiscent of Princess Grace Kelly's 1956 wedding dress. It was elegant, regal, yet understated all at once. Rather than going for an ostentatious billowing gown with a twenty-five foot train as Princess Diana did, Kate opted for a sleeker version of Grace Kelly's lace long-sleeved dress. While both dresses had the intricate lace on the bodice, the full skirt, and relatively short train, Kate's dress was more modern, with a deep V-neck rather than a high neckline like Grace's. She managed to look like a princess without appearing too unapproachable and stuffy. Overall, Kate's wedding dress was a timeless piece, and has created quite a stir in the fashion world. Replicas of the dress have been designed, and many brides will surely rush to buy them to create a fairytale wedding of their own.

Beauty in the Iinperfef1tion by Meric Ozgen I waited for them to open the bandages. With a petsisting urge to stop them in the process because I did not want to see. I did not want to see five inch scars. In an attempt to cheer me up, my dad was telling me that I could blame my scars for not having to become a model. Yeah, right. The doctor, on the other hand, was busy giving suggestions for tattoos large enough to cover them. That is, only after the second surgery and yes, there would have to be a second one to remove the titanium

plates. Wonderful. The blood-clotted stitches, not much different than a poorly stitched coarse fabric, scared me more than anything else. And always, there were people who stared. I wasn't on good tenns with my scars at all; we did not like each other. They would tum a dark purple when I was cold, making me stand out more than I wanted to. Obviously they didn't like me. And I didn't like them either. Who would? I always thought there were be things that you just wouldn't be able to get used to. Not everything could be accepted and they didn't have to be. However, the secret lied in dose observation. I was obsessed with them because I strived to understand. At some point I became fascinated with them, they were so unreal. Then I began to understand why people stared at them. 1. They were an imperfection after all. That caught the eye. A fault. Something that disrupted the symmetry, the usual way of things. But it was, in the end, a definitive feature. It was like recognizing your laptop from that big scratch on its back, or a notebook stained from that huge splash oflatte on its cover. 2. They were ugly. Let's face it. But wasn't it fascinating to see how the body recovered? This admiration changed the way I saw them. They were more than hastily drawn lines now. They were signs that in the end, no matter what, pain was going to subside and wounds would heal. 3. They were mine. Permanent. Like a tattoo you didn't choose to have. To be there and to stay with you your whole life. No matter how unpleasant the way I got them, I had gotten them after all. And it is easier to stare at others' wounds than to see your own. And wonder the story behind it. They were curious, that's why. My scars were grotesque at the start. Yet, they have grown beautiful with time, as they became a pattern on my skin just like a birth mark rather than an abrasion. Even though we tend to conceive imperfections as bad, I have leamed to embrace mine. Because it was only then that I could live with them, live with the fact that I had to have this surgery and what had led to it. Even though I hadn't personally chosen to carry it on my skin, I would always carry it in my mind as a memory. Now that I have this scar on my arm, I have a physical reminder. Maybe you cannot see how they can be beautiful, but it's okay. The beauty is in the eye of the beholder.

â&#x20AC;˘ Revlon Super Lustrous Lip Gloss in Lilac Pastelle a hint of color but lots of shine!

Lancome Paris L'Absolu Nu in #29 Beige Tulle for an irridescent, summery lip

Revlon Color Burst in Hot Pink summer's IT color and our favorite, hottest pink

GiorgioArn in Grani line your eyes

highlight with t and be datinl

Revlon Top Speed Nail Enamel in Peachy perfect for when you're rushing off to a summer picnic

Revlon Top Speed Nail Enamel in Cupid the built-in topcoat means the color sets in 60 seconds!

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by Heather Goode and Kade-Chanya Wilailak

Essie Nail Polish in Aruba Blue so blue you'll be seasick! or Turks & Caicos for Airty, tropical nails

nani Eyes to Kill ite Turquoise with the dark blue, he luminescent grey,

Givenchy Le Prismissime 9-Color Eyeshadow looks flashy in its case, but Ratters rhe skin as well - plus, it includes 3 different brushes!

g with bright blue

Revlon 2-in-l CustomEyes Mascara adjust the bristles to go from long

and sexy to thick and defined lashes

Gem Necklace 8e Feather Earrings by Camille Spencer

A peek into Urban Outfitters says that this spring we like feathers and smooth gems as the main elements in our jewelry. They have an earthy, easy feel to them. But if you'd rather not spend quite as much as popular stores want you to, we're here to help.

Gem Necklace &: Feather Earrings

What tools do I need? The only real specialty items you'll need are a pair of flat-nose pliers for bending wire and opening up chain links, which you'll use to connect different pieces of jewelry together. You'll probably want two - one to hold small pieces together, and one to actually manipulate them. The wire you use should be thin enough to clip easily with scissors.

Where can I find these materials? Check out the RISD store and/or the RISD 3D store (both on South Main St). Thayer is an odd street full of specialty stores where you might find these supplies - for instance, the dream catcher came from Spectrum India, but you could also try Pie in the Sky. You can use old necklaces for chain loops.

Gem Necklace

1. You'll need a few feet of thin wire in any color that pleases you, something to string it on (chain or twine or string) and a pendant. I chose this purple stone from Spectrum India, but any knickknack would do. Look around on your desk - got any small and charming but useless items lying around~ (Llama figurine, you're next.)

2. Make a cradle for your pendant to sit in without slipping our. Wrap it around the bottom. Crisscross it multiple times - this will accomplish both looking cool and holding it together. You'll need about twelve inches of wire to do this comfortably. Leave about one inch of free wire at the apex of your pendant - you'll use this later.

3. Wrap until you have about two inches of wire left. Twist these with the other end of the wire a few times, rhen make a loop. Twist the remainder of the wire around to secure it. 4. Clip off extra wire as closely as possible and make sure rhe loop is closed.

Gem Necklace

5. String it onto whatever you'd like. Smile and enjoy your cool points.

Feather Earrings

I. You'll need fearhers (rhese fortunately came held togerher by a wooden bead, bu r you could also use a short lengrh of wire ro hold several feathers together. You'll also need two earring hooks, about a yard of craft chain, jewelry pliers, scissors, and about an hour of free time.

2. Harvest your feathers! If you're going the 'dismantle a dream-catcher' route, clip them off while leaving about two inches of cord attached. I used three sets of feathers for each earnng.

3. Open up one chain loop with your pliers and lise the extra string to tie the feathers to

rhe loop. Close rhe loop.

Feather Earrings

4. Repeat five more times.

5. Attach a few chain links to an earring hook - just a few if you're going for a cascade effect. Attach one of the pairs of feathers. This will be your shortest one.

6. For a thoroughly dramatic look, attach a slightly longer length of chain to the earring and then close another feather-pair loop onto it. Repeat with your longest chain

length - about twelve links.

Feather Earrings

6. Do it again! Secure the knots that attach the feathers to the chain with a little clear nail polish.

Wear your new earrings out. Let them blow in the wind, you bohemian.

thritted shorts to high-waisted skirt -by April Zhang

1. Hit up a thrift store for cheap, pleated, granny shorts. Pick one that fits you at the waist.

3. Cut open the inseam. 2. Turn them inside out.

thrifted shorts to high-waisted skirt

4. Lie flat to create a front seam and back seam of the skirt. 5. Pin and sew along indicated lines.

6. Trim excess fabric.

7. Iron seams, shorten and hem skirt if desired. Done!

Vault is a student-run thrift store and upcycling initiative. Come browse our collection of quality, gently used goods, or donate your own for store credit.

Vault is a Brown Student Agencies Program. To learn more, visit http://bsa.brown.edu/

ociet!) by Mo Hy and Camille Spencer

If you've ever passed by Ashamu Dance Studio during the evening hours of the weekend, perhaps stumbling over to Wriston Quad or running to Jo's, you might have had the chance to see your fellow students doing something entirely different with their Saturday night. These are the members of the Brown Aerial Arts Society. Performing impressive feats on equipment that include single and double trapeze, the lyra (an aerial hoop), and silk, which allow performers to use the movements of their bodies to suspend themselves midair. Created almost a year ago by two Brown students, Alexis Shusterman '13 and Zack Bodinger '13, the club was born after the co-founders mutually discovered their passion for aerial arts. They agreed to create a space where they and others could share their love of defYing gravity. After generating strong interest at the Students Activities Fair and performing in the Fall Dance Concert, they convinced the UCS that Aerials was a clear and growing presence on campus. Thus, the dub made an unprecedented jump from category 1 to category 3 recognition as a campus organization. We had the chance to speak to Zach Bodinger, one of the co-founders, about the weekly thrills and perils of the Aerial Arts Society.

Why did you start the aerial arts society? After Alexis, who has been involved in aerial choreography for about 12 years, emailed me freshman year because she'd found out through a mutual friend that I'd been involved in trapeze, I decided to dedicate myself to this club. It was the closest thing I could get to doing what I loved. I spent six summers at camp where I learned flying trapeze (similar to what you might see at the circus). At twelve, I was catching people 30 feet in the air. Now, I spend my summers teaching a class on the Hudson River doing just that. Anyone can sign up. You learn a trick within two hours, and we work you up to flying. Even my mother did it.

What sort of physical conditioning do you need in order to do trapeze? OUf practices last for two hours. The first half hour is a warm up, where we might do floor acrobatics with partners. The next half is structured practices where more experienced members teach beginners on the lyra, the silk, or the trapezes. The next half hour is practicing wha t they already know, and there are also instructional stations. The last part is conditioning and core and upper-body work. "What sort of mentality do you need to do aerial arts? When you're working on aerial arts, it's hard to focus on anything but exactly what you're working on because you have to be so involved in exactly what you're doing in that moment. Doing aerial arts forces me to remove myself from everything else. It reminds me of the motto of the summer trapeze school in New York I work for: "Forget fear. Worry about the addiction."

"What is it about aerial arts that attracts you to it? I love climbing, the freeing feeling of being in the air - it's like controlled chaos. "What sort of people are attracted to aerial arts? 1here's really not a specific type. Most members have no experience. We're just looking for people who have a positive attitude and are looking for ways to de-stress and play around, people interested in improving themselves physically and emotionally in a controlled environment. Here, they get to push the boundaries of what they think they can do on a weekly basis. "What aspects of the dub do you think make it attractive? It's a lot offun but also a great way to de-stress. You work on accomplishing a goal while strengthening your body as well as your confidence and trust; you're learning not only with your mind but also with your body. Not a lot of strength is required for a lot of the moves. We stress that form is very important... it's about making the moves smoother, not checking another off your list. We want people to learn to express themselves on this equipment. Has aerial arts helped you in other ways in your life? Definitely. It's made me more confident and able to stay calm in situations that may othenvise be stressful. It's given me a strong understanding of my body and a respect for its limitations. You also gain a group of people you learn to trust. It's a good way to bond with others and learn to support one another - literally. If you're interested in getting involved in the Aerial Arts Society, email Zachary_Bodinger@brown.edu or Alexis_Shusterman@brown.edu.

Colombian Fashion's New Golden Boy by Luisa Robledo

pink

maxi

skirt

that

alludes

Valentino's ballerina aesthetics flows over a

tight black dress with ripped-out sleeves srrikingly feminine while daringly chic. Esteban Cortazar's clothes for El Exito, rhe Colombian equivalent of Wal Mart compile a myriad of styles and trends into onc cohesive collection that exudes coolness. Loose t-shirt with vibrantly colorful prints

of indecipherable shapes stand out in the racks, luring women from allover town. His clothes have become decently priced coveted jewels.

Cortazar used to be the mastermind behind Emanuel Ungato. After Peter Dundas' brief and fairly unimpressive three collections, the house needed someonc who wasn't afraid to innovate. With his perfectly tailored mini-dresses. vivacious colors and avant-guard silhouettes. Cortazar revamped the brand's identity. At the time, he was only a 23-year-old with a minuscule clothing label based in New York, but he was up for the challenge - he wanted recreate the brands identity, inject it with a modern take on femininity.

"As the beautiful Hanne Gaby, Cortazar's muse and the face ofhis collections, strutted down the runway wearing cutout jersey dresses"

In 2009, however, Corrazar parred ways wirh the Parisian house. A bold (and utterly ludicrous) choice from the management team to hire Lindsay Lohan as a crearive director caused the schism berween the brand and designer. Corrazar refused to work alongside the reckless actress, which incidentally got him fired a mere rwo years after joining the brand. (Needless to say that Lohan's five minutes in the fashion industry were rather disastrous, and the actress left brand months later without much explanation.) He then decided to return to his home country, Colombia, to bring what he had learned in Paris and merge it with local trends. To do so, he stemmed away from creating a high-end label and instead parrnered with El Exito, paralleling the footsteps of Karl Lagerfeld and Lanvin's Alber Elbaz, who created affordable yet incredibly chic lines with H&M. His first collection in 2010 received raving reviews and women flocked to the nearest store to buy his clothes. He had become Colombian fashion's new golden boy.

'/1 bold and absolutely

ludicrous choice to hire Lindsay Lohan " His latest line showcased the versatiliry of his talent. As the beautiful Hanne Gaby, Cortazar's muse and the face of his collections, strutted down the runway wearing cut-out jersey dresses, rompers and asymmetrical jackets, it became clear that this man wanted to change the way Colombia interacted with fashion. In contrast with the rest of the major designers who usually created bubble dresses in all colors and stick to the more classic feminine aesthetics' Corrazar brought downtown coolness and rough sophistication. He redefined sexiness with his rocker chic tunics and turned something as simple as a t-shirr into a mesmerizing piece of clothing. His creativity will continue to bring the unexpected to the runways, revamping Colombia's fashion industry, which had been static for way too long.

''Cortazarbroughtdowntown coolness and rough sophistication.

by Chelsea English

When I turned the corner to enter the Cocktail Culture: Ritual and Invention in American Fashion 1920-1980 exhibit at the RISD Museum, my eyes grew large with delight. All the dresses, jewels, and other cocktail-related objects were displayed as if they had been pulled out of the home of the most fabulous woman on the planet. The draft from the air duct was transformed into a light breeze that played with the fabric of the outfits and made them come alive, and from that point on, the connection between all of the things on display and the roles they played in the lives of real people over the years was apparent. It was tempting to simply rush around the whole exhibit, moving from one delectable dress to another. The combination of objects created a feeling of desire. This partially stems from the love affair so many people have with Audrey Hepburn, especially as Holly Golightly in Breakfast ar Tiffany's. The audio from the projector in the opposite room periodically featured Moon River, referencing the the film and the iconic Givenchy little black dress Hepburn wore in it. The LBO has become a staple, especially in terms of cocktail parties. The black Dior cocktail dress in particular made me want to abandon my life as a college student and somehow travel back in time to experience what it would have been like to be at a cocktail party of the past, wearing a dress from the exhibit of course. The little blurbs that accompanied individual pieces as well as groups of objects did a splendid job at delivering the conrext for the different types of apparel and accessories. If you're not careful, though, it's easy to miss the depth of the exhibit, which goes much further than well designed objects. At first glance it may seem as if the world of cocktail parties is an elite and superficial one. Though the affluent playa major role in the culture) it is very in tune with what was happening in society in general. The 1920s had flappers, prohibition, and jazz, which were all directly involved with cocktail culture. Yet in the years ofWWII, when there was rationing and therefore less availability of fabric, the slinky dresses of the thirties had to be abandoned for simpler suits that could go from day to night. Hippie culture of the 60s even made its way into cocktail, and is evident in the Chanel tunic on display. To wander around the space and create a timeline in my head involving the history and the objects was wonderful and enlightening. When it comes down to it, though, cocktail culture is not meant to be focused on the events of the time period. It's about the alcohol. There's a sprinkling of glasses and seltzer spritzers around the exhibit, as well as an adorable penguin cocktail shaker, that all help to remind the visitor that drinking was a major part of the whole ambiance. Across the decades, the vi be of a cocktail party is largely influenced by the presence of liquor. The feeling offreedom that cocktail parties provide comes from drinking a well-made cocktail while dressed with the intention of reaping the benefits of (tipsy) socializing. The homage to the cocktail party that has been setup is too glamourous to miss out on. If just being in the presence of the Balenciaga pillbox hat with a feather cascade made me swoon, imagine the effects of the entire exhibit. It's serious fashion at its most fun.

Brown University's First Annual Fashion Show by ]elena ]elusic photos by Michelle Frea

Vivian Carlson

The show opened with Vivian Carlson '14. Carlson's dresses combined soft shapes and soft materials and effectively balanced girly and feminine styles. As if they were made for modern princesses, Carlson's dresses were glamorous with a perfect dose of elegant functionality.

Austin Snyder

Austin Snyder's '13 white dress vowed the audience with its unique combination of soft and sharp shapes and unusual yet effective materials. As he does not believe in trends, especially not in his own work, Snyder's inspiration came initially from the materials he used - recycled floral nets. He comments: "After establishing a medium to work with I began using the work of Frank Lloyd Wright as a jumping off point, thinking about his use of the fragile and sturdy, especially in his stained glass work. This juxtaposition mirrored a time in my life when I fluctuated between strength and vulnerability, which is where the silhouette came from; a strong shield-like front with a fragile zippered racer back." Snyder mentions Riccardo Tisci of Givenchy and Nicolas Ghesquiere of Balenciaga as his role models. A tribute to the ideas of these two major designers can certainly be felt in Snyder's playful synthesis of the traditional and the avant-garde. Snyder had several months to work on his piece and he describes that he felt fine before the show, but that he felt like he was" on top of the world after."

]ina Park

Jina Park' 11 describes her designs as intended for the contemporary woman who is elegant yet down to earth. Her dresses were inspired by the materials they were made of and the models who were wearing them. Because of that, the femininity and elegance of Park's designs seems effortless. The effective simplicity of the dresses is reminiscent of Yves Saint Laurent's ideals that Park greatly admires. However, the bold details, for example a big bow on the back of one of the dresses, add a dose of edginess to the simple elegance of the dresses and make them intriguing and unique. As someone who enjoys making clothes that people feel good in, Jina was especially flattered by the positive comments she got after the show.

Arlando Battle

Arlando Battle' 12 describes the themes of destruction, rebuilding and starting over as central to his designs. Jean Michel-Basquiat and zigzags inspire the decadent style of his designs. Howevet, Arlando is also very much interested in new modes of expression in fashion - "I do think the next step in fashion will be environmentally-reactive-clothing or human-interactive-clothing which we can interact with by use of computers. I am interested in the avant-garde and the cutting edge of fashion. I like to look at things that make me see items being used in new ways. For instance, Martin Margiela's Duvet Coat seems really stupid but there is something silly, magical, and childish about it that makes the coat special." Arlando says he felt the same before and aftet the show, but describes that he was feeling ecstatic! He explains that fashion is not a one-night thing, and for him designing means constantly working to express his vision.

April Zhang

April Zhang' 13 says she "lives in a technicolor world full of right triangles and smiles." April's color palette for the show was inspired by random people she saw on the street - she noticed that many of them combined orange and teal. The colors of April's designs are always in a joyful contrast, and that is what makes them so effective. Combined with them, right angles provide an unconventional pattern that emphasizes the colors and adds to the joyful contrast because, after all, the shape of the right angle is somewhat reminiscent of the shape of a smile. The geometrical aspect of April's design is further balanced by romantic, yet elegant designs of the dresses. Such a combination of elegant and playful is unique to April as she tells us - "If you can pull something off, then wear it, no matter how crazy others might think it is. It's all about owning your look, not following trends." Right before the show, in the spirit of her energetic collection, "excitement and joy outweighed the nerves" so that right now April is experiencing Brown-Fashion-Show-withdrawal- a condition familiar to many of its participants.

Jonathan Chung

M] Batson

batson

Circuses, clowns and their potential to slip from funny to creepy inspired M] Batson '13. Her collection has its narrative - black balloons signify the first clown's transition from good to evil, off-stage laughter becomes scary rather than comic and the background music changes to bass-dominated electro. As the runway becomes the metaphorical circlls space, that circus is no longer the safe space of our childhood. Three jugglers are the only ones we see in the dark, as Batson's show becomes an almost theatrical experience that prepares the audience for the fascinating designs that come after. Except for the first one, Batson's clowns seem morally ambiguous to us - they are attractive and confident women, but there is something about their performance that disrupts the vision of the happy clown from our childhood. The designs themselves are playful and unpredictable - they change the traditional goofy clowns into beautiful women and it is the interplay of the contrasts of adult and childlike, good and evil and funny and creepy that articulates the dynamics of Batson's performance, at the same time a theatrical and a fashion experience. Batson explains that she does not think about trends. Rather, she came up with the idea for the narrative of the show while mixing the music for it. Her designs, story, performance and music are all connected into an artistic structure that creates meaning in and for itself. Batson emphasized the great work

of her models - Christina Berry' 13, Analise Roland' 13, and Courtney McCoy' 14 and the jugglers Guillaume Riesen' 12, Patrick Till' 13, and Jinaabah Showa '11.

Alexandra Schultz

At the same time a designer and the main organizer of the show, Alexandra Schultz' 11 presented her collection, "Ragamuffin," which she describes as "an unapologetically girly, fuffiy, whimsical, layered, lacy, voluminous, sweet, cheerful, charming street urchin fairytale." She aspires to create clothes that can be timeless, and this was especially apparent when she presented her first design - a colorful shirt with a bow. Just like the rest of her collection, the shirt is very detailed, bur somehow does nor seem to be specific to a season or a specific trend. Schultz's combination of urban and romantic is intriguing precisely because it does not adhere [0 any specific norms or regulations. At the end, Schultz invited everyone to participate and get involved next year to design, model, advertise, do hair and makeup or help backstage. The kind of show Brown had this year definitely lived up to its tide of the "most fashionable ivy," not only because of rhe clothes rhemselves, but also because of the unique experience we had to explore and redefine our concepts of fashion through interacting and working wirh others.

BEHIND THE SCENES: Brown Fashion Show by Kade Wilailak and Meric Ozgen photos by Cindy Oh

Before 4.30pm The designers finish the last touches on their clothes.

4:30 pm The coordinators, hair stylists and makeup artists get together in Studio 4 of the Granoff Center. The tables, clothes racks, cosmetics, and hair materials are prepared.

5.00pm The models starr coming in. Designers start to dress their models and finalize styling with hair and makeup artists.

5:30pm A5 designers and models arrive, the coordinators explain rhe style and concept of each designer's aesthetic. 1he models read magazines and chill while everyone else freaks out!

5:45pm Styling begins. The hairstylists start straightening, curling, blow-drying, pinning, and hairspraying the models' hair; rhe makeup artists apply foundation, eyeshadow, lipstick, and mascara. Models start to stress our now too!

6.30pm Everyone drops everything and hurries to Studio 1 for a run-through. Nerves are high.

7:15pm After working our the kinks during the run-through, designers, models and stylists run back to Studio 4 (0 finish up hair and makeup.

8:20pm The show finally starts!

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