FAD Magazine ISSUE 1

issue 1 / autumn 20091

f.a.d.fashion/art/design

issue 1fall 09

beginnings

INTERVIEWS!INTERVIEWS!INTERVIEWS!

withMadeleine von

FroomerKim Hastreiter

Eli Chess

+Marc JacobsDiane von FurstenburgCoco ChanelFrank Gehry

2 f.a.d. / fashion.art.design.

a note from

Welcome! f.a.d. is the premier fashion, art and design publication at Horace Mann. Don’t close the pages just yet—this is not a shopping magazine. We will review the fashion and art worlds and also create an outlet to display students’ own artwork. Writers and artists who contribute to f.a.d. treat fashion design, architecture and makeup as art forms like any other! You all know about Picasso and Monet, now we are here to bring artists such as Balen-ciaga, Chanel, and Frank Gehry into the spotlight. Hopefully after reading f.a.d. you will walk away with a new appreciation and awareness of art in all its forms. Everyone at f.a.d. has worked very hard to put to-gether this fall 2009 issue for the HM com-munity. Now enjoy!

welcome to the inaugural issue off.a.d.!

alice + zoe

the editors


we made f.a.d.staff

jazmine (11) rena (12) erika (11)

rachel (10) charlotte (11) daphne (11)

zoe (12) jennifer (11)(on left) justin (11)

Faculty Advisor: Alicia Hines


fashion6 marc my words by jazmine goguen7 style saga by rena branson8 diane von furstenburg by rachel scheinfeld12 trend around the bend by alice taranto10 fashion week review by zoe maltby14 california street style by daphne taranto

beauty22 autumn colors by jennifer lim

talk to me 26 madeleine von froomer28 eli chess30 kim hastreiter

architecture32 frank gehry by justin burris

what’s in the issue


what’s in the issueculture watch34 book worm by charlotte christman-cohen35 chanel movies by erika whitestone35 the september issue by rachel scheinfeld

your turn36 do-it-yourself feather headband by alice taranto38 my mini-notebook

Backcover sketches by (L to R) Zoe Kestan, Alice Taranto and Daphne

Taranto

Front cover by Jean Mariano. “A Face,” vectored photo. Jean says, “It was the most challeng-ing thing to finish of anything I’ve drawn.”


Marc Jacobs has continued to ex-pand his success in the fashion industry; numerous celebrities, including Chloe Se-vigny, Sofia Coppola, M.I.A. and Victoria Beckham, have mod-eled his clothing for ad campaigns. His spring 2010 line is both dra-matic and feminine, featuring billowing fab-rics, ruffles, sequins and tulle. The looks are modeled with bal-let buns and dramatic makeup paired with elegant flats and san-dals, a huge departure from the edginess of the looks favored last season. Jacobs often makes allusions to his beginnings in New York City, drawing from the people and experienc-es he had first starting

BIG TIME DESIGN

LEFT: Marc Jacobs

Spring/Sum-mer 2010

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Marc Jacobs has become one of the most influential and successful de-signers in the fashion industry, creating chic and innovative looks sold both in the U.S. and around the world. He designs for some of the leading brands in the fash-ion world, creating clothes and accesso-ries for Louis Vuitton, Marc Jacobs, and Marc by Marc Jacobs. His designs vary with each season, ranging from soft and feminine looks to colorful and bold theat-ricality; his vision changes with each show to reflect his creative influences and his interpretations for the coming season. Marc Jacobs, though arguably one of the most inventive designers in the industry, had decidedly humble begin-nings. At an early age, Jacobs was taught to knit by his grandmother, a beginning step in the discovery of his aspirations as a designer. At 15 he began working at New York City’s renowned Charivari boutique, where he was introduced to Perry Ellis. From there, Jacobs entered the Parsons School of Design, where he produced a line of hand-knit sweaters for the boutique during his time as a student. Jacobs demonstrated his tal-ent and dedication as a designer while at the school, and in 1984 he was awarded the Perry Ellis Golden Thimble Award for his designs. Upon graduating from Par-sons, Jacobs began working for Perry Ellis, where he designed a “grunge” col-lection for the label that received con-siderable attention and acclaim in the industry; despite this, the collection led to his subsequent dismissal in 1993. Marc Jacobs launched his own la-bel soon afterward, employing Linda Evan-gelista and Naomi Campbell; the models were so supportive of his designs that they agreed to work for free. In the ensuing years Jacobs devoted his time to designs put forth on his label, producing his first col-lection of menswear in 1994. With his ac-claim as a visionary new designer came his appointment as creative director of Louis Vuitton in 1997; under his leadership the label launched their first ready-to-wear line.

marc my wordsfashion

Where did this modern fashion giant start out? by Jazmine Goguen (11)

out in the fashion industry. “I like romantic allusions to the past: what I wore during my experimental days in fashion… It’s the awkwardness of posing and feeling like I was in, but I never was in. Awkwardness gives me great comfort.”


style saga We all have to start somewhere. For me, genesis occurred in the Arts & Crafts shack at summer camp, where my 12-year-old hands crafted what I felt sure was a masterpiece. A bunch of multi-patterned fabric strips with an awkwardly placed pocket, lopsid-edly sewn together and drizzled with appalling puffy paint, was something I surveyed with the pride and joy of a new parent. A skirt had been born. At least, I boldly ventured to call it that. I couldn’t wait to saunter through the halls of my middle school in that new garment, letting everyone know that I was singularly responsible for its invention. I would pair it with electric blue fishnets the same shade as my eyeliner, along with two com-pletely different shoes. This was my idea of fashion-savvy. Until 8th grade graduation, I excitedly stood each morning in front of my closet, wonder-ing what combination I would try to pull off that day. Later on, when I found out I would accompany most of my best friends to LaGuardia (a public high school for the arts), I figured not much would change about my dressing hab-its. However, my home answering machine foretold a different fate. Five days before what would have been my first day at LaGuardia, a message from Horace Mann announced that I had been accepted. My mother made it clear that I was not turning down the offer. Refusing to conform to what-ever vague notion I had of the way Horace Mann students would dress, I stood in front of a full-length mirror on the morning of my first day and gave my outfit a final once-over. I cringe to

recall it now: below my hot pink shirt was an electric blue, polka-dotted skirt with tiers and lace trimming, buoyed up to Little-Bo-Peep-esque volume by a poofy tulle slip—a glorified tutu. I smiled at my vintage finds and skipped out the front door of my apartment. As I quickly learned, I was not in Kansas anymore. Glares followed each swish and rustle of my skirt through Tillinghast. During the assembly at which new students were asked to stand, I reluctantly rose to my feet and wilted as all the eyes of judgment fell on my ensemble. I know my own paranoia was not wholly responsible, as peers later ventured to ask me, “What the ---- were you wearing on the first day?” Feeling like a character in a bad Disney movie, I succumbed to dull jeans and labels, trying to make friends. I’m a senior now, and over the past few years, I’ve started pushing boundaries again. While I no longer have any desire to wear an Ugg on my right foot and a Moon Boot on my left, and have not set aside time to sew in ages, I’ve reestablished a semi-loyalty to my audacious little middle-school self. I can honestly say that I’ve accumulated more compliments than glares thus far. As each protagonist in every Disney movie does, I have to deliver a predictable yet heartfelt moral. Here it is: Wear what you want.

A fashion epic by Rena (10)

SKIRT STYLE: LEFT: Rena in her “electric blue” first-

day of school skirt. BELOW: Rena shows us her master-piece, equipped with all that puffy


Diane von fashion

A profile of the famous wrap dress’s maker In 1972 the legendary Diane Von Furstenberg made her debut into the world of fashion. Her “icon-ic” wrap dress, as described by many sources, was the begin-ning of her successful career. She was born in Belgium in 1946 into a wealthy Jewish family, a year after the end of World War II. Von Furstenberg, then know as Diane Simone Michelle Halfin, attended the University of Geneva in Swit-zerland and studied economics. She met her husband, Prince Egon of Furstenberg, at the age of 18 and married him in 1969, to be divorced after just three years. They had two children together; a boy Alexander and a girl Tatiana. After she and the Prince split, Von Furstenberg moved to New York and was re-married to Barry Diller in 2001. Although her life was com-plicated, Diane’s fashion career was booming from the time she introduced her line of wrap dress-es in 1972 that were “to symbol-ize female power and freedom to an entire generation,” according to dvf.com. This simple dress has transformed into “a global luxury lifestyle brand.” After this, she created the fragrance Ta-tiana, named after her daughter, which became an immediate ne-cessity for all women at the time. Diane then took a break from the fashion world, even

Furstenbergthough she was known as “the most marketable woman since Coco Chanel” as described in Newsweek in 1976. She returned in 1997, and began to sell the cotton jersey wrap dress once again. She created a new line of clothing from ready-to-wear to swimwear, and her re-launched business began to thrive again. Her style then and now incorporates very unique patterns with simple silhouettes. In 2001 Diane hired Designer Nathan Jenden to help her as creative director for her brand. He gave a bit more edge to the company look, but the 40s glam was still alive within ev-ery piece. Over the years the company has joined together with other organizations and groups for special projects. For example In 2008 DVF and H.Stern created together the Sutra Watch col-lection. The two companies had also worked together in 2004 when DVF presented a line of jewelry sold only at H.Stern.

The most amazing attribute of Diane Von Furstenberg is that through divorce, company failure, and changes in the styles of people within society, she has maintained true to her-self. She has consistently given the public clothing and ac-cessories that are bold, feminine, and classy. Her wrap dress was an inspiration to many designers and a different varia-tion of the dress is still featured in every collection she shows. Currently housed in the Metropolitan museum of art is one of Von Furstenberg’s famous wrap dresses. This printed green dress from around 1976 is almost completely identical to some dresses in her Fall 2009 and Spring 2010 collections. The colors and prints used for her clothing in the 1970’s are as vibrant as the ones used today. Her clothing is sold in stores world-wide, with twenty-nine of her own Diane Von Furstenberg stores. The main head-quarters of the Von Furstenberg house is presently in the heart of the meatpacking district with the main store right below. Personally I believe that Diane Von Furstenberg is one of, if not the greatest, designer of all time. Her cloth-ing is not just another dress on a rack. Each piece is unique in its own way and was inspired by a greater idea. She is a role model for young designers and is an inspiration to all. DVF has been a muse to the fashion world for the four decades of which she was a part and will constant-ly continue to surprise the world with her creative designs.

“[von Furstenberg is] ‘the most market-able woman since Coco Chanel.’”

by Rachel Scheinfeld (12)


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A POWER WOMANTop: The de-signer herself. Bottom left: The DVF logo.Bottom right: A 1975 DVF jersey wrap dress current-ly displayed at the met. The designer’s successfully classic style has remained much the same over decades.


FASHION WEEK! FASHIO N WEEK! FASHION WEEK!Zoe Maltby (10) reviews everyone’s favorite week of the year in New York, London, and Paris

PROENZA SCHOULER: Lazaro Hernandez and Jack McCollough’s response to Recession dressing was to produce a collection that was bright, fun, and eminently wearable. Proenza’s designs seemed to be aimed at a kind of surfer-hipster chick who transitions easily from the beach to the street. Standouts included easy leather shift dresses, vibrant tie-dye pieces, and a skinny pant-blazer combo, all infused with a scuba aesthetic that made added a freshness to even those basic pants. Proenza’s CFDA-winning accessories line continued its winning streak with graphic shoes and bags that echoed the beachy, surf-rat motif.

ALEXANDER WANG: Alexander Wang’s Spring collection was, at its core, a tribute to sports-wear in its most traditional form—literally, the gear worn on the field. This theme manifested it-self in everything from a reworked Varsity jacket to a sweatshirt dress complete with leather shoulder pads. That doesn’t mean the collection lacked practicality; in addition to all the football wear, Wang showed his signature skintight dresses and subtle reincarnations of classic out-erwear including a slightly deconstructed leather jacket. Although not really a departure from his previous work, and occasionally bordering on the repetitive, Wang’s collection is still likely to be a bestseller in a season that desperately needs a blockbuster.

RODARTE: Sisters Laura and Kate Mulleavy presented a collection that was simultaneously disturbing, beautiful, and technically stunning. The Mulleavy sisters always have a story behind their clothing, and this season’s did not disap-point. According to style.com, the Mulleavys were inspired by the concept of “a woman burned alive who is transformed into a California condor. Forced to scavenge for existence in a barren, war-torn landscape, she pieces together her attire from rags that, as Laura Mulleavy pointed out, only serve to expose her wounds.” This concept of a woman who can “be scarred and still beautiful” played into everything from shredded minidresses dyed and draped to look like bruised skin to ropey, sinuous gowns with sequined tendrils creeping around models’ legs like raised scars. Everything about the collec-tion bordered on extreme, from the distressing techniques the Mulleavys applied to every textile

to the dirt-strewn, foggy runway that served as their back-drop. There were echoes of the short-skirt-complicated-top motif Rodarte used for Fall ’09, and some of the draped pieces evoked their Fall ’08 collection, inspired by Japa-nese slasher films, but ultimately this was an entirely new, undoubtedly astonishing collection from two of fashion’s biggest tastemakers.

MARC JACOBS: Fashion’s celebrity designer turned out a collection that once again confirmed his status as one of the most important designers of this generation. Like his collec-tion at Louis Vuitton which showed a couple weeks later in Paris, Jacobs’ namesake collection defied easy categoriza-tion. There were strains of the “underwear as outerwear” trend popularized by John Galliano’s collection for Dior Haute Couture last season (Although the trend, like most, can actually be traced to Jacobs—his 2007 spring collection featured numerous slip dresses and sheer tops paired with intricate intimates), as well as menswear and sportswear influences, many decked out in layers of frills and pleats. There was also some of the old-school Americana Jacobs explored so successfully in his Mary Poppins-meets-pioneer collection last Spring. Style.com compared to styling to Japanese kabuki performers, complete with slick topknots and stark white foundation. Several of the tiny, glittering minidresses, adorned with sea urchin-like spirals of color, even had an unexpected aquatic feel to them. But while Ja-cobs’ collection was undoubtedly a pastiche, it still managed to feel cohesive, and taken on their own his separates are surprisingly wearable.

LondonCHRISTOPHER KANE: For Spring, Kane showed a series of plaid pieces that were more Lolita than Dorothy Gale. The elements of masculine suiting running through the collection were, Kane said, inspired by Jeremy Irons’ wardrobe in the screen adaptation of Nabokov’s classic. The collection was intentionally repetitive, centered mainly around a series of variations on the iconic plaid dress with more straightfor-ward menswear-inspired looks spliced in between. All of this segued into a finale of pastel, flower-printed dresses with the same strangely semi-disturbing vibe as the plaid. While each piece in the show was innocently wearable on its own, together they had a weird kind of creepiness—which is completely Kane’s intent. Kane has made a name for him-self as that one-of-a-kind brand that can appeal to both the conventional and the risk-taking; he combines the technique and wearability of de la Renta with the originality that is a hallmark of London Fashion Week.

New York:


FASHION WEEK! FASHIO N WEEK! FASHION WEEK!Zoe Maltby (10) reviews everyone’s favorite week of the year in New York, London, and Paris

ParisALEXANDER McQUEEN: McQueen’s freaky, fishy spring collection already has equally fierce defend-ers and detractors. Its basic structure was nothing new—succession of printed mini-dresses parading down the runway, each accompanied by towering heels. The twist? Each dress was patterned with blown-up photos of reptiles, while the shoes resem-bled nothing so much as sea-monster hooves. Much like the Mulleavy sisters at Rodarte, McQueen had a clear storyline governing his entire collection, which he described as an expression of a post-apocalyptic world in which mankind has been forced to return underwater due to global warming. Even the mod-els themselves resembled undersea creatures, their hair spiked into horns and eyebrows virtually erased. McQueen’s collection was also similar to Rodarte’s in its fixation with reworking something repulsive—in this case, scaly sea creatures and reptiles—into something beautiful. Nowhere was this more evident than in the final piece, a silver mini-dress-as-spacesuit that seemed to glow from within.

BALMAIN: At Balmain, designer Christophe De-carnin continued to make the case for his unique brand of high-end trashy-cool with ripped, sequined bandage dresses, slouchy shredded tees, and lots of gold leather. The incredibly influential peak-shoul-dered band jacket of last Spring was reincarnated as a tattered khaki military frock coat complete with tasseled epaulets, which also put in appearances on dresses and leather tops. Style.com labeled the overall look “disco cavewoman goes to the front,” and it is indicative of Decarnin’s talent that that was meant as a compliment. The house has become completely unrecognizable since Decarnin took over from the conservative Oscar de la Renta, but is, if anything, better for it—Decarnin has used the legacy and resources of Balmain to keep his collec-tions safely out of the tacky zone, and his tenure so far has been a huge commercial success as well as a lesson in rebranding.

BALENCIAGA: Nicholas Ghesquiere’s past inspi-rations have been all over the map. For fall it was gorgeous, couture draping; last Spring, a futuristic alien being; before that, a Hitchcock-ian femme fatale. For Spring ’10, Ghesquiere seemed to start somewhere much humbler—the first look that ap-

peared on the runway essentially consisted of jeans and a sleeveless hoodie. But this being Balenciaga, each hoodie was actually made from “engineered from molded leather, woven jersey, and nylon foam,” according to Style.com, while the jeans were “vegetable-dyed leather.” The whole look was set off by chunky shin-length peeptoe boots similarly com-posed of compacted liquefied leather. The whole look was undeniably futuristic in tone, hearkening back to last Spring’s collection without ever repeat-ing it. After several variations on the jeans-hoodie look, Ghesquiere moved into more recognizable territory with color blocked shift dresses, leather-paneled tops, and shimmering mesh-like miniskirts. While Ghesquiere’s collections may vary wildly in their starting point, they never fail to explore those ideas in ways that are fresh and compelling.

COLORBLOCK:

left:a look from Balenciaga’sSpring ‘10 show in Paris.

All photos from Style.com


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What to expect for Spring/Summer 2010 by Alice Taranto (11)

rip torn

be a shoobie

Let the moths out + take your scissors to your clothes to make a statement.

Try sandals + socks for a new way to let summer footwear in on the chilly days.

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SaraNew Mexico Senior

WHERE DO YOU GO TO HIGH SCHOOL? COMPARE YOUR HIGH SCHOOL WITH THE W. COAST SE-MESTER PROGRAM.I go to high school in Al-buquerque (that’s in New Mexico). Being at oxbow or an art school, people ex-press themselves or are more comfortable express-ing themselves through their style...People are weird...ina good way! We all just understand that that’s okay.

ART SCHOOL vs. NORMAL SCHOOL?art school, duh!

BIGGEST INSPIRATION?For art: pushing your com-fort zone.

WHAT IS YOUR FASHION

AESTHETIC?My style changes with my mood, but I really like a kind of street style - leather jack-ets, etc.

WHEN DID YOU GET IN-TERESTED IN ART?Freshman year of high school - it happened by accident! (Laughs) I had transferred out of another class into an art class and re-alized I was kind of good at it, and en-joyed it.

WHY OXBOW?I heard about it be-cause my art teacher/former students who have gone here who’ve loved it recommended that I would like it too.

LEFT FOOT OR RIGHT FOOT OF PANTS FIRST?(tries it out...) It depends... (Laughs.) My right!

californiastreet style


WHAT MUSIC MAKES YOU WANT TO DANCE?Really bad techno of any kind…Especially European.

LEFT FOOT OR RIGHT FOOT OF PANTS FIRST?(pause)….Well this morning I put them on backwards so I had to take them off and try again, but I think right leg, generally.

GLASSES OR CONTACTS?Depends on the person. I wear neither because I’m perfect.

RAW OR COOKED FISH? One fish 2 fish red fish blue fish?

HOW DOES OXBOW, AND ART SCHOOL, COMPARE TO YOUR NORMAL SCHOOL?Really great, really busy, a lot less fo-cused which is weird but it’s a lot more intense, and emotion-ally wearing.

What are the cool kids up to at The Oxbow School in Napa, California?

Miranda NY junior

street style


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Daphne (11)...is off from HM and is at The Oxbow School in Napa, California for the 09-10 school year’s first trimester.Oxbow is "an innovative, in-terdisciplinary semester pro-gram combining visual arts with academics" that "provides high school students with the skills necessary to negotiate and suc-ceed in an increasingly com-plex and interdependent world, " according to the website. Fewf! That sounds harsh, or heavy, or "hella heavy," as the word goes on the west coast. It's located in wine country, about five minutes from rolling hills of vineyards. Classes here are a cou-ple hours long. Basically we are on a 2-day rotation, with 4 blocks - English/History con-nections class, Science focus class, art class, and "not-gym." We have four studios that we now can choose between - printmaking, sculpture, new media (photography), and paint-ing. (At first we were given which studio we worked in so we could check them all out). Being here has made me realize that being creative or going to art school does not mean that you become pigeon-holed as a freelance artist or something of that sort - not that that's bad! Just that there are professional careers you can have in the art world. In terms of fashion, there are several people who are interested, and there's a thrift store in town where

we go sometimes ("glitz + glamour" day was fun - se-quins and leather and ul-trasuede, oh my!) but no-body's too trendy. Because it is warm mostly (at least compared to New York), peo-ple dress for fall or sum-mer depending on 10 degree change. But mostly it's a sunny 72 degrees here :)


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WHAT’S THE DIFFERENCE BETWEEN THE E AND W COASTS?On the east coast I dress nicer. Here, I grab whatever’s clos-est.

WHEN DID YOU GET IN-TERESTED IN ART?At the beginning of sophomore year. I’ve always been interest-ed in art, but that’s when I got serious about it.

WHAT ARE TWEAKERS?Tweakers are these little hairs that stick up when you have a ponytail – the fly away hairs.

WHAT’S YOUR HALLOWEEN COSTUME?I’m going to be Momo from avatar.


ConnorVT Junior

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E COAST W COAST DIF-FERENCE?There’s a different lingo like “hella” and “legit.” And “hella legit.” Those are both west coast wannabees if you say it on the east coast. In Vermont we just don’t pro-nounce our t’s. Ver-mon. Did you see htat? Vermon.

5 WORDS TO DESCRIBE YOUR OXBOW EXPERIENCE?freeing, busy, three, more, words

WHAT MUSIC MAKES YOU WANT TO DANCE?Any good music. Some james brown, I’ll go crazy with some james brown. “SAY IT LOUD!... YOU”RE KIL-LIN’ ME!”

MARKER OR CRAYON?Is it a magic marker…?


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WHY DID YOU COME TO OXBOW?Art!

HAVE YOU EVER TIGHT-ROPED BEFORE?No - it's so much harder than it looks, though!


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fashion

HOW DOES NAPA COMPARE TO WHERE YOU LIVE?i think that in some ways it's really simi-lar, but where i live is a little more coun-try-ish, tradition-al, mormonville, and there's more diversity here.

WHAT MUSIC MAKES YOU WANT TO DANCE?techno or rock. i like electronic music, too.

HOW MANY CUPS OF COF-FEE DO YOU DRINK PER DAY?i don't know, i'd say it ranges from five to...nine.

MILK + SUGAR?yup. sweeter after dinner.


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LukeNY Senior

E COAST W COAST DIF-FERENCE?Palm trees. (There are palm trees here, right?)… Actually, the usage of the word “hella.” That’s pretty much it.

WHAT’S YOUR CURRENT PROJECT?I’m making prints right now - I did re-search on palm read-ings and what I think it’s about.

ROLLY CHAIR OR REGU-LAR?Depends on the con-text…..

CRAYON OR MARKER?Oh, crayon.

WHY OXBOW?Art!


Jennifer Lim gives us her take on Fall 2009Make up by Jennifer LimPhotography and Assistants: Zoe Kestan and Alice Taranto Student Models: Nicole, Frances, and Yasmin

I’ve been doing fine art for a while but I

first got interested in makeup about a year ago when I realized

how similar it is to fine art. I realized

that all the same ideas applied, such

as shading and plac-ing darker colors in farther deeper parts while bringing lumi-

nance to closer things to make them stand

out. Makeup is definitely an art - it is just

a unique way to show one’s artistic abil-

ity. It can transform one’s look and make a

person look completely different. Makeup can also help to bring out

the best features in one’s face and give

people confidence. Makeup is almost al-ways associated with

fashion because of how well it can complete a look. In fashion,

makeup is crucial because it can dra-matically intensify

a look by using bold colors like a siren

red lipstick or it can be used to emphasize

the theme of a fashion look.

Jenny says...

falling all over yourself


Jenny says...

This photo shoot was in-spired by the season change to represent a fun transition into autumn. For each look, we concentrated on em-phasizing one feature in each of the mod-els’ faces. The col-ors used in the first look were inspired by the color change in the leaves. This look emphasized the eyes which is why the face and lips were kept nude.

jenny’s face chart

falling all over yourself


This makeup look was made to

accentuate the lips and

eyes. We used the color of

purple and pink dogwood

trees for the colors

incorporated in the look.



This look was created to bring out the cheekbones. The cheeks are very contoured and highlighted on the cheek-bone area to make them pop. In addition, we added a granny smith apple light green hue on the eyes and lips to repre-sent the trees.



What exactly do you do at Sophomore NYC? Please tell us about how Sophomore began, how Sophomore hit it big and where the name “Sophomore” came from.I am a designer at Sophomore. Chrissie [Miller] and I start each new season by going to the picture library, watching movies, going vintage shopping, etc. to get inspired and then we sit down and talk about what we are feeling for that season. Then I stay home for a few days and sketch and sketch and sketch. Then we sit down again and edit the sketches. Chrissie started Sophomore in 2004 with her then partner Shawn Regruto. They de-signed one graphic on a whim and it took off from there! It was Shawn who suggested the name Sophomore, which means “wise fool”, by the way.

Who are Sophomore’s stockists (stores that sell Sophomore garments)? From the start, what kind of press attention has the label garnered, and how so?Stockists include Opening Ceremony, Dover Street Market, Selfridge’s, American Rag Ja-pan, Steven Alan, Confederacy. In the begin-ning the press was more celebrity-based, but now we are getting press on the actual clothing and design which is very exciting.

Where do you live? How do you think your surroundings and location affect your style and art?I am right in the middle of a crazy move!! I have been in Chinatown for the past 5 years which was VERY inspiring. It’s a mix of crazy dollar stores, men’s undershirts shops, beautiful fruit stands, stinking fish, and Chinese wedding posters. It’s awesome. I think it does contrib-ute to my eclectic style. I like to mix all different kinds of clothing styles and try new things to keep myself interested.

What are your other influences or inspirations?I think fashion is really about fantasy. I dress to match an idea I have in my head of some other woman I would like to play at being, and who that woman is is always chang-ing.

Is there a style icon of today that you feel represents the mood or spirit of Sophomore, and what is that mood? Why do you feel that Sophomore has a decid-edly New York City, specifically Lower East Side from the 1970’s, vibe? We are really into Linda Manz right now. I really love her dark side. She’s hard and tough, but she also has a vulnerability that makes her so seductive. It’s that same mix of hard and soft that gives Sophomore its ny vibe – the clothes are boyish yet sexy at the same time. I think an-drogyny is super sexy (back to Linda Manz). Sophomore has a simplicity and sexiness that is so 70’s. I also think the graphics bring a Lower East Side 70’s vibe.

At what age period did your interest in art begin, and how old are you now? Did you ever have a specific turning point when you realized you had to do some-

Madeleine vonQ + A with the designer behind Sophomore Interview conducted by Alice

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FroomerTaranto and Zoe Kestan


FRESHMAN, JU-NIOR, SENIOR...Far left: Madeleine von Froomer, left, with col-league and co-designer Chrissie Miller. Right: From Sopho-more’s Spring 2009 lookbook, photographed by Cass Bird.

thing creative?I just turned 30! I was interested in making art from the very beginning. I remember making my mother a “garden” by filling a soda cap with little twisted paper tissue flowers at 4 years old. I had a little easel set-up and I was always painting and drawing. I still paint to this day.

Where did you grow up and go to high school? Can you recall your high school experience with art and style, both in school and on your own time?I grew up in Mississippi/ New Orleans and went to high school in New Orleans. I went to an art high school for half a day and regular high school for the other half. Which was awesome! I was really into surrealism and was very angst-y and dark, even though my personal style was ripped straight out of the Woodstock video. I went barefoot around school and painted flowers on my jean shorts (embarrass-ing). Even more embarrassing were my rave days, but I’m not going into that here.

Please recall your experience working at Proenza Schouler. How did that designer contribute to or mold, if at all, your design aesthetic?Working for PS was a fantastic experience, stressful most of the time, but well worth it. It was the first time I was really exposed, from the inside, to high fashion and working with these amazingly talented design-ers and patternmakers was invaluable. I learned so much - about fabric and how it moves on the body, patternmaking, the design process, and even build-ing a business. I have definitely carried over the luxe aesthetic and classic design principles into the work I

do for Sophomore. I just have to find a way to bring it more down to earth, and more affordable.

Tell us about your biggest moment or most excit-ing project in your career so far.Once Chrissie and I had a little collection together for Spring 2008, we were dragging it all around town looking for a decent showroom. When Opening Ceremony took us after seeing just a few t-shirts, we were so excited! That’s when we knew it was on.

Please explain how your idea process works for your shaping of a lookbook each season.Chrissie is really the force behind the lookbooks – together with our photographer, Cass Bird (who is amazing). We all sit down and talk about what the mood and story will be for that season, and which people will fit that mood. We never use professional models from an agency, we find real people around ny who are interesting for us. Most of the time its friends of ours anyways! When Chrissie and Cass collabo-rate, the result is always mind blowing.

What advice do you have for budding high school artists, designers, fashionistas or bloggers?My advice would be to give yourself the freedom to fail. When I was in high school I had this tunnel vi-sion where everything I made had to be perfect, and if I didn’t know what I was doing when I went into a project, then I wouldn’t do it. Looking back I see how much freedom I really had, artistically, that I didn’t take advantage of. Don’t be scared to make some-thing ugly.

And lastly, bus or subway?Subway!!

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Can you explain to us exactly what you do at Alabaster + Chess? How does your business work, and can you explain your branching out into wom-enswear?I am a co-founder (with fellow HM alum Ysiad Ferreiras ’01) and Managing Partner of Alabas-ter & Chess. I run the day to day operations of our NYC, Bos-ton and Albany NY offices; man-age our overseas operations, and work with Ysiad and our other staff on all ongoing de-velopment and growth projects. Alabaster & Chess makes custom made men’s clothing that are based on helping our cli-ents find their own style based on the greater trends in cur-rent men’s fashion.

We meet with our clients individually to help guide them as they choose fab-rics and styles that accentuate their personal style and use a matrix of physical measure-ments to construct clothing, hand-made to match each cli-ent’s body and personality. We work hand in hand with our cli-ents to help them build a mod-ern infused wardrobe of classic staples with a fit that is not possible via off-the-rack shop-ping.

Women’s clothing is vastly different from men’s lines; especially in the custom world. Our nascent women’s line is being developed to serve the vastly underserved market for affordable custom made clothing. We are working very hard to develop mea-surement and construction systems that can provide our potential women clients with the same quality and detailed construction as our male clientele. We have worked on a few occasions with women looking for Male-style formal-wear constructed to fit women and have held a soft launch of a women’s blouse/shirt line. We hope to follow up these ef-forts with a hard launch of our shirt line and in-troduce an overcoat line this winter. Where do you live? How do you think your surroundings and location affect your style and art? Our company bridges the line between fashion and a typical custom clothier. Although I cannot claim to be a true fashion mogul, we pride ourselves in keep-ing abreast of men’s fashion and style trends and informing our client’s clothing creation via our Web/Facebook newsfeed/blog and during fittings with our fashion consultants. Living in the DUMBO neighborhood of Brooklyn and West Village neighborhood of Manhattan, both areas filled with highly creative people and business dur-ing the formative years of our company certainly influenced our forays into the fashion world.

What are your other influences or inspirations? One of our main influences in our Men’s line and a first read for any of our employees is “Dress-ing the Man,” by Alan Flusser. He has compiled an incredible collection, description and articulation of the time tested lines, contours and complimenta-ry colors/ patterns that have historically and al-ways will be the basis of men’s fashion. The subtle modifications of these themes are what drives men’s fashion and are imperative to constructing a classic wardrobe albeit with personal variations and with an eye to new trends. We also keep an eye on the red carpet, major men’s fashion publications and brands for inspira-tion, influence and ideas for our clients.

Eli Chess ‘01talk to me

“We work hand in hand with our clients...[for] a fit that is not possible via off-the-rack clothing.”

Q + A with the HM Alum/entrepreneur behind Alabaster + Chess. Interview conducted by Alice Taranto and Zoe Kestan


At what age period did your interest in style or art begin, and how old are you now? Did you ever have a specific turning point when you realized you had to do something creative?I have always been interested in the cre-ative process, though I admit that I came to fashion later in life. It was only after a post college journey around and exploration of the world that I fully ac-cepted and pursued my true calling as an entrepreneur. Learning through experience and trial and error was a tremendous les-son taught to me by my partner, Ysiad, an entrepreneur from the womb, and has guid-ed the development of my fashion sense, Alabaster & Chess and all my other under-takings.

Can you recall your high school experience with art and style, both in school and on your own time? During my years at Horace Mann, you would be hard pressed to find someone who considered me fashionable or particularly artistic. Although I spent quite a few hours in Prawat Laucheron’s printmaking studio (some of my work still adorns my mother’s house!), it definitely came to me later in life that khaki pants and a polo shirt was not the epitome of men’s fash-ion.

What advice do you have for budding high school artists, fashionistas or bloggers? The greatest opportunity that you have today is the incredible fusion of social media and technology with tradi-tional mediums and the strongest network of friends, teachers and parents of any high school student in America. Never before have so many resources been so prevalent or user friendly on the internet and blogosphere with more oppor-tunities to experiment and develop your creative/artistic/business horizons. It presents every young person with an out-let for expression and an audience for your work beyond your immediate environ-ment. Finally, I cannot overstate the value of the relationships and contacts

you have cultivated at Horace Mann. It was not until I ventured into the world of small business that I fully appreci-ated the breadth and value of the myriad resources of my friends, their families, and of Horace Mann itself. It will open doors and give you opportunities that are unparalleled.

Where do you see yourself going in the future?At Alabaster & Chess, we have spent the past two years of depressed economic ac-tivity to develop our product and brand, and position ourselves for a rapid expan-sion as the economy turns around. I look forward to helping guide our growth, cre-atively and geographically, into the pre-mier custom clothing/fashion hybrid in the country.

And lastly, left or right sock first?I suppose I generally start with the left, though my main goal of a successful outfit is remembering to zip my fly before I leave the house!

“...I spent quite a few hours in Prawat Laucheron’s print-making studio.”

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BESPOKE:Left: Chess shows a suit tailored and made by Alabsaster + Chess.


Kim Hastreitertalk to me

A drawing of Haistreiter by Daphne Taranto

Where do you live?On Washington Square Park, Greenwich Village NYC

How do you think your sur-roundings andlocation affect your style and art?I live in a wonder-ful little penthouse apartment overlooking Washington square park and all of my beloved downtown NYC. I have an amazing garden and sur-round myself with amaz-ing art and design of people I love and ad-mire. My house reflects my life so far. Full of inspiration.

Can you please explain the mission of Paper to us?PAPER is a magazine that celebrates cre-atives and shines a light on the best up-coming art, fashion style and pop culture we can find around the country and around the world. We are cultural anthropologists. We explore, discover and love to spread the word of the fantastic creative stuff we find to everyone. We also love to create cul-ture instead of just reporting on it. We do this by finding great talents and collaborating with them on ideas in or-der to inspire our readers.

What are your other influences or inspirations? I am inspired by creative people. I am inspired by my dog Romeo. I am in-spired by art. I am inspired by beauty. I am inspired by bright colors. I am in-spired by smart people. I am inspired by humor. I love to laugh. At what age period did your interest in style and art begin, and how old are you now? I am 57 years old now. I was always

Q+A with the editor and publisher of PAPER magazine. Interview conducted by Alice Taranto and Zoe Kestan.


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interested in art from when I was young and coveted magenta crayons and used to trade all my colors away to get more ma-genta. I began making art in art school. I went to three of them. (Washington Uni-versity, Nova Scotia College of Art and Design, California Institute of the Arts, where I got my MFA). After college in my twenties as a young aspiring artist I got a job in a clothing store on Madison av-enue and fell in love with fashion. I met photographer Bill Cunningham who used to photograph me on the street because I dressed crazily. He got me my first job at a newspaper called the SOHO NEWS where I was the style editor. As an artist with a job called “style editor” I began asking artists to do pieces for me. Robert Mappletho-rpe shot fashion for me, Keith Haring did drawings for Vivienne Westwood designs at my suggestion, Ann Magnuson produced amazing creative pieces for me. This set the tone of what I would do with PAPER in the future. I love working with artists to collaborate on fashion or art pieces on the pages of PAPER and do this often. Did you ever have a specific turning point when you realized you had to do something creative? I never wanted a normal job. So I just made up my own world where what I do is creative. I do not like corporate thinking because I think this is the en-emy of creativity.

Can you recall your high school experience with art and style, both in school and on your own time? Not really. High school was so far away. I really grew wings and flew in col-lege and not in high school. High school did not encourage individualism (at least the one I went to when I was growing up).

What advice do you have for budding high school artists, fashionistas or bloggers? Go and be an INTERN for someone you admire. Work for FREE for your dream job and show them how hard you want to work and you will eventually be hired. Tell us about your biggest moment or most exciting project in your career so far. Every day a new big moment comes along. It was exciting when we did our first book, “From Abfab to Zen.” Then we did

our second book, “20 Years of Style.” Then when I finished my book about GEOF-FREY BEENE last year. That’s why I love coming to work every day still. The big exciting moments/projects continue to come to us. [One] week’s big moment was when Mayor Bloomberg sent over a procla-mation that Sept. 8, 2009 was PAPER MAGA-ZINE DAY in honor of our 25th anniver-sary. Later that night we celebrated at a party for 1000 people at the NY public library. This was a moment. But I’m sure there will be another one coming as soon as I turn around. I cant wait to see what it is.

Where do you see yourself going in the future?I want to continue to seek out and dis-cover inspiring people in order to col-laborate with them to inspire others.

And lastly, glasses or contacts?Glasses. ALWAYS. BIG RED ONES

Above: Designer Betsy Johnson (L) with Hastreiter.Below: May 2005, Kelly Obsbourne (L) , and April 2009, Katy Perry (R), PAPER Magazine covers.


The neologism “starchitect” applies to no individual more aptly than Frank Gehry. Gehry has carried tremendous influence in the field of architecture while ob-taining worldwide ce-lebrity status. Gehry’s reputation is so power-ful that hiring him to design a building prac-tically gives the prop-erty a “stamp of approv-al.” He pioneered and popularized the style of deconstructivism and has inspired a whole genera-tion of architects. He has achieved such in-ternational renown that nearly every architec-tural critic has written about and analyzed all of his projects, but the most important question remains; what factors shaped this architectur-al genius? What mundane occurrences and activi-ties are responsible for providing Frank Gehry with a mind so vision-ary that the man remains unrivaled in his fame by other architects. The best way to identify the formative moments of one’s life is by examining that per-son’s childhood. Frank Gehry was born as Ephraim Goldberg in 1929 in To-ronto. He grew up in Tim-mins, a small and modest mining town in Ontario. Gehry’s father, Irving Goldberg, was a former

boxer who eked out a living selling pinball and slot machines. He accompanied his father on sales calls from a young age, teaching him about the art of the sale. Gehry later used his selling skills to pitch his ideas to prospective clients. Perhaps Gehry’s ability to acquire commissions even early in his career stemmed from his early experience in sales.

Two other determinative figures in Gehry’s early life include his grandparents. His grandfa-ther owned a hardware shop, where Gehry would often play. He would combine scrap metal and corrugated steel into outlandish shapes that almost certainly inspired some of his later designs, including the Guggenheim Musem in Bilbao. His grandfather, who was also a Talmudic scholar, also taught the young Gehry about the lessons of Judaism. Gehry claims that these teachings have shaped the way he inter-acts with people to this day. His grandmother owned a small carpentry business, and often left wood scraps strewn across the floor. Gehry loved building model cities and buildings out of these chips. In the mid-1940s, the Goldberg family lost most of its money due to bad investments and the family hard-ware business floundered. Irving Goldberg became very ill, and a doctor recommended a change in scenery, causing the family to move to Los Angels in 1947.

Once there, Gehry took a job as a truck driver while trying to make money for college and decide what to do with his life. When attempting to decide on what to major in for college, Gehry fondly remem-bered the times he spent playing with the wood scraps and the steel from his grandparents’ workshops. It is because of his youth, he reminisces, that he decided

Frank Gehryarchitecture

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Where did this mega-architect start out?by Justin Burris

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forced to serve in the army designing furniture. These furniture designs later proved to form the basis for Gehry’s furniture portfolio. After his yearlong stint in the army, Gehry returned to Gru-en and Associates, but grew tired of its strictly utilitarian designs, and decided to sojourn with his wife to Paris for two years to study Le Cor-busier’s work. He later applied the internation-alist style that he learned from Le Corbusier to many of his buildings, notably the InterActiveCorp Building in New York which contains long, unbroken windows, but has a deconstructivist twist to it through its angled faces and iceberg-like form.

“He would combine scrap met-al and corrugated steel into out-landish shapes that almost cer-tainly inspired some of his later designs.”Gehry then returned to Los Angeles and founded the firm Gehry and Associates, which at first received only minor single family commissions in Cali-fornia. Before long, Gehry’s innate creativity burst through, and he decided to design his own home according to some of the fantasies that he had harbored since his childhood. He used corru-gated metal, plywood, and other bizarre materials that drew worldwide attention and launched him to fame. He began receiving coveted commissions, and created designs that drew both on his youth and on his time studying Le Corbusier. He merged styles and used new materials. He developed his basic thesis- that a building could be deconstructed and rebuilt in an infinite number of ways- into dozens of the world’s most recognizable struc-

This page: Walt Disney Concert Hall (top), Danc-ing Hall (bottom). Opposite page: The architect himself. ht

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tures, including the Guggenheim Muse-um in Bilbao, the Walt Disney Concert Hall, the Dancing House in Prague, and the Experience Music Project. Gehry’s whimsical designs have inspired and delighted people of all ages around the world, and architec-tural critics have lavished unpar-alleled praise upon his works. Who would have thought that the experi-ences of an imaginative youth could have spawned the world’s greatest ar-chitectural genius? Maybe the reform that the American education system needs is a class in block-building.

to become an architect in the first place, and enrolled in ar-chitecture courses at Los Angeles Community College, before fin-ishing his education at the University of Southern California. In 1952, Gehry married his first wife, Anita, who convinced him to change his name from Goldberg to the less-Jewish Gehry. He then apprenticed at the Los Angeles firm of Gruen and Associates, but was drafted and


What better for the first issue of FAD than to discuss a book explaining the spread of social epidemics? In Malcolm Gladwell’s book, “The Tipping Point,” Gladwell explores and explains the tipping point phe-nomenon, which is the point at which “an idea, trend, or social behavior crosses a threshold, tips, and spreads like wildfire.” In his book, Gladwell de-scribes the people who are re-sponsible for the spread of trends: “Connectors”, and a sub-group of Connectors called “Ma-vens.” As described by Gladwell, Connectors are extremely social people who have wide circles of friends. Connectors are respon-sible for bridging everyone in the world together, making this truly a small world. Mavens, who are Connectors as well, are re-sponsible for passing informa-tion along through their friends. Gladwell does a great job of explaining how trends spread by using the example of the Hush Puppy revival trend that oc-curred in the late 90’s. “…Per-haps the shoes caught the at-tention of Connectors precisely because they weren’t part of any self-conscious, commercial fash-ion trend. Maybe a fashion Ma-

eye candyFAD culture watch

ven went to the East Village, looking for new ideas, and found out that you could get these really cool old Hush Puppies at a certain thrift store, for a very good price, and told his friends, who bought the shoes for themselves because there is something about the per-sonal, disinterested, expert opinion of a Maven that makes us all sit up and listen.” For anyone interest-ed in how ideas and specifically trends spread, this is a great book with some fascinating ideas that may just change your perspective on how the world works.

book worm

The Tipping PointIn this book, trendsetters get a new name--the virus.by Charlotte Christman Cohen

culture watch

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The September Issue, the new documentary featuring the intricate life of Ana Win-tour gives an outsider a real inside look of the life at Vogue. The real star of the show was Vogue Creative Director, Grace Coddington, who bewilders us all with her great eye for fashion and unique ideas. The entire movie basically repeats the same idea that Wintour is an unpleasant boss. Yes, she always has the final say and what she says goes, but how many times can we hear that in a movie? Other than that, the “real devil wears prada” shows the exces-sive planning and photo shoots needed to make a new fabulous edition of vogue. The movie also showed that there is more of a person behind the oversized sunglass-es and dirty blond bob. Wintour’s family life and the story behind how she came to be Editor-In-Chief of Vogue, the premiere magazine in the world, is exhibited. It is definitely a must see for fashionistas.

video update

The September IssueAn inside look at the mega

fashion mag, Vogue.by Rachel Scheinfeld

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NO ANNA BANANA Right: The no-funny-business Anna Wintour surveys a fashion show. Wintour is renowned for wearing dark specs at fashion shows to hide where she is looking. Top: The September Issue’s movie poster. Note the subtitle!

“Coco Before Chanel” stars Audrey Tautou, who is a famous French ac-tress known for the movie Le Fabu-leux Destin d’Amélie Poulain. This foreign film portrays Coco Chanel be-fore she became the rich, famous, idolized designer we all know her to be. The movie starts showing Ga-brielle Chanel, Coco’s real name, as a young girl in an orphanage with her older sister. Soon after Chanel begins working as both a seamstress and a performer. Chanel meets Baron Balsan, who introduces her to the cream of the crop of French society. She starts creating exquisite hats that become quite popular. Coco falls for an Arthur Capel and life is more complicated. The acting and French fashion are both very realistic. But the movie spends too much time fo-cusing on Coco’s love life instead of how she makes her name in fashion. Lifetime’s “Coco Chanel” is

the story of Gabrielle Chanel an orphan who rises to become one of the most significant fashion icons. It stars Shirley MacLaine, Malcolm McDowell and Barbora Bobulova. Although this film doesn’t go into as much detail with how Chanel gets the nickname Coco or how she is introduced to the French upper class, it goes into great detail of her hardships to get to the top both physically and mentally. It even has the story-line of her English love. In addition, this movie was not in French, and had awful French accents, which detracts a little from the overall effect of the film. On the contrary, the movie is happens in flash back, which makes it much more enjoyable because you can contrast the young Coco versus the old and how time has changed her, but not her views on fashion. If you are interested in learning about Cha-nel’s love life most definitely see Coco Before Cha-nel. But if you want to see more of her fight to become an unbelievable talented fashion design-er then watch Coco Chanel. Whichever you choose you will enjoy the show with a nice bag of pop-corn and your favorite pair of stringed pearls.

KooKoo for CocoCompare + contrast recent Chanel-based movies by Erika Whitestone

video update

Opposite page: Tatou on the “Coco Before Chanel” poster.


1.About 35 inches of feather fringe (or however much you need to wrap a little more than twice over your headband).

a.A great place for fringe is the Mood Designer Fabrics store (In Manhat-tan on 37th street between 7th and 8th avenues). They sell feathers pre-sewn into a silky band for extra-easy craft projects at prices between $7 and $13 a yard.

b. You can buy feather fringes on-line at www.mood-fabrics.com.

c. Alternatively, you can buy indi-vidual feathers, but this makes ev-erything very dif-ficult.

A feather fringed headband! These are sold at Intermix and other stores, but it’s always fun to have an arts and crafts project ready for a rainy day.by Alice T.

1.Take your feather fringe and cut 2 sections, each long enough to cover one length of your headband. (This will usually be about 15 inches)

2.Get your glue and follow the in-structions on its box to glue your feathers to the headband (being care-ful not to glue your fingers together!).

You may be gluing two layers of feathers onto the headband, depend-ing on the thickness of your feathers or the desired look (with thinner feath-ers, 2 layers. With thicker feathers, 1 layer. For a fuller look, 2 layers).

a.If you’re doing 2 layers,...the first layer should be glued about ¾ cm from the edge of the headband....The second layer of fringe should be glued right on the edge of the headband. (This staggering will make your headband appear fuller.)

2. Scissors

3. A cheap head-band—it doesn’t matter what it looks like since it will be covered! Just make sure it doesn’t give you a headache. ☺ Try Forever 21, Delia’s, H & M or J. Crew.

4. Crazy glue or strong craft glue.

5. About a dozen small binder clips.

Optional: an additional 2 larger binder clips.

What you will need:

(do it yourself)

1.

your turn


b.If you’re doing 1 layer, it should be glued right on the edge of the headband.

3.Use your binder clips to secure your glued feather trim in place. Use a clip every 1-2 inches along the headband, using your op-tional large clips at the ends of the headband for extra security.

4.Read the instructions on the glue box and wait the required amount of time for the glue to dry, but try to be patient and wait several hours just to be safe. ☺

5.When you have waited, remove your clips from the headband.

6.Use your scissors to trim the feathers from the ends of the headband. If you don’t trim down end feathers, they will be bent under-neath the weight of your hair and fall off any-way. Do a gradual cut for about 2 ½ inches coming in from each end.

7.Shake out your headband, and wear it as much as you can! (Feathers can face for-wards or backwards.)

Variations:1.Be creative! You can do whatever you want on your headband. The thicker the headband, the more space there is to work on. You can make flowers, spi-rals or zigzags with your feather fringe.

2.Check out other trims. Go to www.MoodFabrics.com or the Mood Designer Fab-rics store and look at fun sequin, fur, bead, lace and other trims.

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my fashion croquis

now that

you’ve enjoyed the

your turn

sketch it!


Alexander

McQueen AW 08inspiration:

style.

com


F.A.

D MAGAZINE

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ce Mann School

231

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Rive

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contactalice taranto or

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Documents

FAD Magazine ISSUE 1