FAD Magazine Vol. 3 No. 2

+The Science of BeautySteve Jobs: The ArtistFashion Show Preview

Exclusive Interview with Tory Burch

The Elements of Stylethe junior issue

FASHION/ART/DESIGNHORACE MANN SCHOOLVOL. 3 NO. 2WINTER 2012

f.a.d. magazine fashion | art | design2

sponge 6

reviews 8

profiles 12

interviews 14

art + architecture 17

features 21

editorials 26

EDITORS’ NOTE

ollowing the death of Steve Jobs, futuristic Spring 2012 collections by famous fashion designers, and the overwhelming amount of recent technological innovations; science and technology seemed to be an absolutely rel-evant theme for this issue of FAD. We were all excited to get down to business and explore the integration of fashion, art, design, and

technology. This issueís release coincides with FADís annual Fashion Show Fundraiser on February 3rd. As the theme for the show is geometry, we strove to incorporate geometric and minimalist looks into the photoshoots. As the board for this issue consists of 10 editors, we were at first concerned that all our ideas would clash, but after the first meeting we real-ized that we were all in sync and excited about this theme. The photoshoots went on without a hitch. Our beauty shoot returns to natural science with make-up looks inspired by the four basic elements, while the FAD fashion show preview and our feature shoot, Fly Me to the Moon, look forward to modern and futuristic fashions. The content of the issue dis-cusses the relevant changes in fashion, art, and design. We hope you enjoy reading this issue of FAD as much as we have enjoyed creating it. Stay FADulous!

- The Junior Editors

FIn our post-modern world, thanks to characters like

Steve Jobs and Bill Gates, you can’t walk down a New York City street without seeing an iPhone in hand or a high tech contraption in a store window. Science and technol-ogy infiltrates our everyday lives, and has changed each aspect of our culture. Our world is forever interconnect-ed, for the better or the worse. Fashion is no longer what it was 10 years ago; art movements continue to change in order to keep up with new technologies; and the design world has taken on projects beyond anyone’s imagina-tion. As the creative realms start to move full throttle into the future, FAD is taking its next step forward along its side. For this issue we brought together ten eager juniors to take on the task of working together as co-editors. They had the responsibility to learn what it is like to take an idea from start to reality, and they definitely succeeded. After months of hard work, we present to you Vol. 3 No. 2, The Junior Issue. We want to ensure that we leave FAD in the hands of capable and talented students next year, and as you will see from the following science and tech-nology themed articles and photoshoots, we are confident that FAD will continue to thrive after we leave.

Baci WeilerCo-Editor in Chief

Rachel ScheinfeldCo-Editor in Chief

horace mann school | winter 2012 | vol. 3 no. 2 f.a.d. magazine 3

sponge 6

reviews 8

profiles 12

interviews 14

art + architecture 17

features 21

editorials 26

Spring ‘1

3 Trends

Objectified

Jeffre

y Cambell

TAG Galle

ries

Dan Flavin: King of Light

A Day at the MoMA

Subjective Architecture Steve Jobs

Through the Lens

Fashion + Technology

Fashion Forward?

Science of Beauty

Elemental Beauty

Fashion Show Preview: Shape Up

Fly Me to the Moon

Cover: Kylie Logan ‘14; photo by Jackson Siegal ‘14.Opposite page: from left: Cynthia Irobunda ‘14; photo by Gina Yu ‘14. James Ruben ‘12 & Jordan Berman ‘12; photo by Gina Yu ‘14 (also back cover). Kylie Logan ‘14; photo by Jackson Siegal ‘14.Digital editing by Seth Arar ‘12 & Aramael Peña-Alcántara ‘12. Beauty by Rachel Buissereth ‘13.

Tory B

uch

J. Cre

wIn

Fash

ion

2NE1

Manel Torres

Ricardo Nascimento

Hussein CHalayan

The Elements of Style*Science + Technology

*tableof

contents

Quick current culture fixes


Co-Editors-In-ChiefRachel Scheinfeld and Bathsheba Weiler

JUNIOR ISSUE EDITORSCreative Director Noah Margulis

Production Manager Veronica WilliamsonManaging Editor Anna Carroll

Beauty Editor Rachel BuisserethFeatures Editor Emma Garcia

Associate Editors ShaKea Alston, Paige Burris, Lauren CantorSpecial Reports Editor Julia Hirschberg

Media Coordinator Diana RheinsteinCopy Editors Michelle Kim, Edie Comas, Julia Pretsfelder

Assistant Production Manager Gina Yu

SENIOR BOARDProduction Manager Seth ArarFeatures Editor Anna Goldberg

Shoot Coordinators Lia Ehrlich and Chloe AlbaneseArchitecture and Design Editor Billie Kanfer

SENIOR STAFF PHOTOGRAPHERSOlivia Chigas, Lily Sands, Kim Sarnoff, Ella Landesberg

Junior EditorsAlex Vogelsang, Jessica Heller, Shinil Kim, Mihika Kapoor

CONTRIBUTORS + STAFFGeorgie Bonondona, Diva Gattani, Rachel Ha, Natalie Imamura, Rachel Kline, Maia Landesberg, Halle Liebman, Kylie Logan, Allison Malin, Florence Ngala, Savannah Smith, Julia Mark, Libby

Smilovici, Karen Shim, Allie Segel, Charlotte Chazen, Cece Glatt, Miranda Jacoby, James Ruben, Jordan Berman, Cynthia Irobunda, Rebecca Shaw, Gabrielle Reid, Sophie Levy, Hannah Fink, Lucy

Golub, Nicole Fortune, Amanda Zhou, Drew McCann, Chase Kauder, Sarah Fels, Andie Fialkoff

Faculty Advisor Alicia Hines

We would like to thank Ms. Hines, Dr. Kelly, Ms. Rubirosa, Mr. Do, Mr. Logan, Ms. Busby, Ms. Cassino, Dr. Delanty, and Dr. Schiller for their continuous support in the creation of

FAD!

PLEASE NOTE: As a policy, FAD never digitally alters photos to fundamentally change a model’s appearance, including body image and color. FAD only removes minor blem-ishes and adjusts lighting values at the discretion of the editors and the models them-selves. Digital editing, including the use of Adobe Photoshop, is credited where utilized.

THE JUNIOR ISSUE


F

BEHIND THE SCENESA

DW

INTER 2

012


How to Make It in America is a comedy-drama series that premiered on HBO in February of 2010. It is produced by Stephen Levinson and Mark Wahlberg, the masterminds behind Entourage. This show follows the characters through the streets of New York City, as they set out to make names for themselves, search for their souls, and look for their niches in the Big Apple.

The theme song, “I Need a Dollar,” by Aloe Blacc sets the tone as viewers watch Ben Epstein (Bryan Greenberg), and Cam Calderon (Victor Rasuk), hustle their way to the American dream. Ben and Cam work together to create a fresh, young, and hip brand that could be carried by stores such as Barney’s. Their buddies Kappo, played by Eddie Kay Thomas, and Domingo, played by none other than Kid Cudi, closely resemble the crew of Entourage. Though How to Make It in America lacks the glamour of Entourage, the characters still like partying. Ben and Cam run into trouble left and right, whether it is with girlfriends and exes or with Cam’s cousin, Rene, who is trying to promote his energy drink, “Rasta Monsta.” Through all their failures and successes, Ben and Cam never fail to show that bros come before business. They run into many problems with producers and buyers, giving a close look into the harshness of the fashion industry. Being a new brand they struggle to find people that will take them seriously and represent them. Throughout the process, both Ben and Cam keep their heads up. As the twenty-something-year-olds are finally ready to tackle the monstrous fashion industry, HBO decided to cancel the show, which disappointed many viewers. It was such a harsh way to cut viewers off from a show that could fill the hole in their hearts where Entourage used to be. Cam and Ben were just starting to make it in the big city.

How to Make It in America is a comedy-drama series that premiered on HBO in February of 2010. It is produced by Stephen Levinson and Mark Wahlberg, the masterminds behind Entourage. This show follows the characters through the streets of New York City as they set out to make names for themselves, search for their souls, and look for their niches in the Big Apple as fashion designers.

The theme song, “I Need a Dollar,” by Aloe Blacc sets the tone as viewers watch Ben Epstein, played by Bryan Greenberg, and Cam Calderon, played by Victor Rasuk, hustle their way to the American dream. Ben and Cam work together to create a fresh, young, and hip brand that could be carried by stores such as Barney’s, the store where Ben previously worked. Their buddies Kappo, played by Eddie Kay Thomas, and Domingo, played by none other than Kid Cudi himself, closely resemble the crew of Entourage. Though How to Make It in America lacks the glamour of Entourage, the characters still like partying hard and having a good time. Through all their failures and successes, Ben and Cam never fail to show that bros come before business. They run into many problems with producers and buyers, giving a close look into the harshness of the fashion industry. As a small, new brand, they struggle to find people that will take them seriously and represent them. Throughout the process, both Ben and Cam keep their heads up. Though HBO decided to cancel the show, which disappointed many viewers, I highly recommend turning on HBO and catching some reruns or buying the season on iTunes. -JULIA HIRSCHBERG ‘13

HOW TO (REALLY) MAKE IT IN AMERICA

LISTEN UP

THE ICON AND THE PEA: WILL.I.AM

f.a.d. recommends you check out these quick current culture fixes.

WE ABSORB CULTURE

WE ABSORB CULTURE

Aside from his popularity and suc-cess in the music industry, Black Eyed Peas member Will.I.Am is a well-renowned style icon. Prior to his suc-cessful music streak, he attended the Fashion Institute of Design and Mer-chandising in Los Angeles. His fash-ion debut was in 2001, when the artist commenced his own clothing line, I. Am. The line first showed at the Magic Apparel Trade Show in Las Vegas in 2005. Two years later, Will.I.Am col-laborated with Blue Holdings Antik Denim Collection to design the line I. Am Antik, a premium denim collec-tion; he later went back to his original clothing line I. Am in collaboration with new partners. The website to his latest line, http://www.iamclothing.net/, introduces shoppers with his clothing line logo, music and the quote “I am me, you are you. Feel good about it.” His funky retro style is manifested in his collection. The clothing in the collection ranges from stylish denim jeans and nylon jackets to cotton sweaters and duffle bags. The collec-tion also features other snazzy pieces of clothing such as an asymmetrical military S jacket. Will.I.Am receives most of his inspiration for his cloth-ing from today’s youth. In an interview with David Lackie from the Weekend Post in Toronto, Canada, Will.I.Am said he specially admires the hip-hop dance culture in Japan and is inspired by the Japnese youth.-VIVIEN IKWUAZOM ‘13

Real/Surreal is a mind-boggling new exhibit at the Whitney Museum in Manhattan. The exhibit displays works of art that show the connection between Realism and Surrealism. Essentially, the exhibit displays the connection between the world around us and imagination and the distortion of our world. One work in the exhibit, La Fortune by Man Ray, shows an everyday object, a table, in a world similar to but noticeably different from our own. The most noticeable difference between the worlds is that the clouds are not only white but also, red, blue, green, orange, and yellow. Real/Surreal displays art that questions the stability of the world around us by showing the relationship between what we see in our everyday life and our imaginations.

The New York Times proclaimed the exhibit “marvelous” and compared it to “visiting your grandmother’s attic and finding it loaded with forgotten treasures.” An apt comparison as all the works belong to the Whitney’s permanent collection but have been re-installed by curator Carter Foster. Real/Surreal shows the need of artists to break free of their restraints, such as financial insecurity that is parallel to the economic insecurity felt today by many.

The exhibit is on display from October 6th to February 12th at the Whitney Museum of American Art on 74th and Madison Avenue. Make sure to check it out before it leaves! -ANNA CARROLL ‘13

SEE ITUNVEIL THE REAL &

THE SURREAL

WATCH ITSPONGE*SPONGE*WATCH IT


GET THISLibby Smilovici ‘15 Fash-

ionable Furniture

GET THIS

Design Within Reach (DWR) produces sleek furniture that incorporates design and fashion at reasonable prices. Their furniture displays many aspects of modern design such as precise lines, geometric shapes and minimalism. Many DWR designers attended universities to study modern design. How people interact in spaces contributes heavily to the furniture they craft. What appeals to us as consumers is much more than putting a price tag on an item. It displays our interests, style and ultimately, a sector of who we are. -LIBBY SMILOVICI ‘15

FASHIONABLE FURNITURE

MIUCCIA PRADA AND ELSA SCHIAPARELLI STEP INTO THE MET

FLY HIGH WITH PAN AM

Among the frenzy of new shows that debuted last September was ABC’s costume drama, Pan Am. The show revolves around four young flight attendants based in New York in the 1960s, each with her own individual background and subplot. There’s Maggie Ryan (Christina Ricci), who is the purser of the flight crew; she is spunky, sarcastic and rebellious. Margot Robbie stars as Laura Cameron, who at the beginning of the series runs away from her wedding to be a Pan Am stewardess with her sister Kate (Kelli Garner). Kate probably has the most complicated and important subplot of the series. She works as a stewardess, but doubles as a spy. Finally, my personal favorite, Colette Valois (Karine Vanasse) a French woman, was orphaned at the age of three during the German Occupation. Throughout the beginning of the series she and Captain Dean Lowrey (Mike Vogel) have a flirtatious relationship. They face challenges because of Dean’s ex-girlfriend, Bridget (Annabelle Wallis).

The show has been called “the Mad Men of the skies” because of its time period. Pan Am is a romanticized account of the 1960s with lots of sparkle. It has gotten many mixed reviews, from both critics and viewers alike. Personally, I am a huge aficionado of the show, but reviews range anywhere from “most notable for its mile-high mediocrity” to a “soapy guilty pleasure” But despite the criticism the show receives, the styling is praised for bringing forth the “essence of the 60s.” -GINA YU ‘14

Following on the heels of the victorious Alexander McQueen exhibit, the Metropolitan Museum’s Costume Institute aims to equally wow its audiences with its upcoming “Elsa Schiaparellia and Miuccia Prada: On Fashion” exhibit this spring. The show, inspired by Miguel Covarrubias’ “Impossible Interviews” in Vanity Fair, will feature a fictive conversation between Schiaparellia and Prada, covering intellectual topics such as art, politics, and creativity in an attempt to portray their views on the relationship between culture and fashion.

Elsa Schiaparelli (1890- 1973), dubbed “Schiap”, was a highly regarded Italian fashion designer. Her designs were influenced by Surrealism, and highlighted the constituents of surprise and abrupt juxtapositions. Schiaparelli’s collection began with graphic knitwear with surrealist tromp l’oeil depictions, or extremely realistic images which had the ability to appear three dimensional, such as her shirt which made it seem as if the wearer was sporting a scarf. Her collection expanded to include bathing suits, ski-wear, and linen dresses. Schiaparelli closed her business in 1954 after she returned to Paris at the end of the war between Germany and France and realized that her designs did not meet the changes in fashion that the war had engendered.

Miuccia Prada, born in 1949, inherited her family’s luxury goods business founded by her grandfather in 1913, which she transformed into a fashion

powerhouse adopting Jil Sander, Helmut Lang, and Church & Co. The Italian fashion designer expanded Prada’s range of goods to shoes, fragrances, and apparel for both men and women. Prada created Miu Miu, which she named after her sobriquet. She was given the Council of Fashion Designers of American International Award, symbolizing her significant impact in the fashion industry. Prada is known for her ability to combine comfort, chicness, and her minimalist views to create understated and evocative apparel.

The triumph of the Alexander McQueen show raised audiences’ standards for costume exhibitions. The MET hopes to receive equally as positive feedback for “Elsa Schiaparellia and Miuccia Prada: On Fashion”. -CHARLOTTE CHAZEN ‘15

GET INVOLVED

WATCH IT


AROUND THE BENDWhat will you be wearing this spring?

TREND

BUSTIER ON ITS WAY Many designers showed retro-style bras worn as tops, often paired with a pencil or flared skirt.

CIRCLE UP

Ric

k O

wen

s

The classic 50’s and 60’s couture silhouettes of Dior and Balen-ciaga have circled their way back to the 2012 collections.

Jil S

ande

r

Prad

a

Dol

ce &

Gab

bana

by Noah Margulis ‘13

Prada

Louis Vuitton

Jil S

ande

r

“A lot of times we live in the future or

the past, and we for-get to be present.”

—Rachel Roy


PEPLUM PUNCHTops and jackets flared with spunk from peplum waists, a look that flatters any woman.

PRETTY PASTELSSorbet hues are available in every flavor this season, especially without the toppings.

FLOWER POWERSpring sprung early with hyperbright floral prints that made their way into the collections of many esteemed designers.

BLACK + WHITE

Car

olin

a H

erre

ra

The ultimate color contradiction made many appearances: White looked super-crisp, especially when accented with bold black.

Gar

eth

Pugh

Pete

r So

m

Altu

zarr

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3.1

Phill

ip L

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Cha

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Gio

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Arm

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Jaso

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Jeffrey Campbell

ObjectifiedChase Kauder ‘17 reviews one of a documentary trilogy about one’s sub-conscious relationship with design.

Any adjective used to describe contemporary fashion in the past decade can apply to Jeffrey Campbell’s architectural, studded, and strappy

shoes. Since starting in Los Angeles ten years ago, the company’s objective has been to combine vintage and modern styles to make footwear for a modern woman. Even though the company updates a Tumblr account daily with images of inspiration that include innovative professional photographs and high fashion ads from brands like Celine and Prabal Gurung, the brand takes pride in really getting to know the modern woman on the go, at work, and in everything she does in order to create awe-inspiring footwear women to wear in everyday life. The Tumblr also includes photo-blogs about women on the go and amateur fashion forward styles. Additionally, the @JCshoes Twitter account has the quote, “SHOES THAT WILL MAKE YOU WORK...no, I mean...WOOOOOOORK” in its bio section, further reminding followers of the brand’s playfulness. Today, Jeffrey Campbell shoes are featured on some of the most popular fashion forward websites like Nasty Gal, Urban Outfitters and Polyvore.

Sarah Fels ‘12 explores the motivation for Jeffrey Campbell’s super-modern shoe designs.

REVIEWS

Objectified is the second part of a three-part documentary by Gary Hustwit. The documentary reveals that we develop a subconscious relationship

with our everyday objects, and, by extension, with the designer of an object. It explains how each object has a face or an expression in our own minds. When someone tries to change the look and expression of the object, the object may have a different expression to us. We may like or dislike this “new expression”. Objectified proposes that every object we use and have is a form of self-expression.

The film is about how objects have a certain design to provide convenience and may have a more complex evolved design than we realize. Designs develop for a practical reason, but, as products evolve, objects don’t have to be designed in the same way. Despite this, many products retain their original designs.

The film documents the whole creative process of some of the world’s most influential designers and re-designers. From questioning the design of a toothpick, to the shape of a camera, these designers look back in the evolutionary history of objects. According to the movie, there is a growing awareness that the earth is being filled with garbage, and that sooner or later most of today’s well-designed products will end up in landfills. The film explains that there is a need for sustainability for products that will “wear in.” In this industry, Everything is eventually planned to look like “the old thing” because the “new thing” will look different. For instance, one can tell which iPhones are older by their rounded edges, by making the older phone look outdated, consumers will want to buy the new one. This is a tactic used for profit and not sustainability. However this tactic is not acceptable anymore; we have to keep in mind that everything we make will be disposed at one point.

Many people do not realize that as they look at an object they are consciously and subconsciously judging it. It cannot be helped. After, seeing the documentary Objectified by Gary Hustwit, one will not be able to stop thinking about the messages it presented. One will start paying more attention to the everyday items that surround us in our lives, questioning whether or not they are necessary, and asking oneself how one became attached to them in the first place.


TAG Gallery

REVIEWS

Gina Yu ‘14 reviews one of NYC’s newest galleries run by, and featuring art by, teenagers just like you.

Thomas P. Campbell, the Metropolitan Museum of Art’s director and chief curator, is nearing fifty years old.

Barry Bergdoll, the chief curator of the Museum of Modern Art, is in his mid-fifties. Audrey Banks, the founder, director and curator of TAG (Teen Art Gallery), is seventeen. The gallery was based at the New York Open Center last year in Manhattan, with works of art created by thirty-eight young artists between the ages of twelve and nineteen. In an article in The New York Times last July, Sonja Tsypin, who attends the same school as Audrey and helped coordinate the gallery said, “The whole idea of it being run by young people is what makes it so special, and very much a sanctuary. We’re creating our own rules and standards for art. Everything we stand for is flowing through it.”

The goal of the gallery is essentially to display the creativity and capability of teenagers without being shadowed by the

art giants of the world. The gallery mission statement states,

For some youngadults, the art world– full of white walls, art dealers and established artists–can be intimidating. We may have difficulty approaching this world even if we are well endowed in both maturity and talent. Our difficulty is partly due to the lack of knowledge that coincides with the limiting environment assigned to us because of our age. T.A.G.’s goal is to eliminate this limitation when present and provide fellow teenaged-students with the opportunity to take part in displaying their works in a gallery. T.A.G. reaches out to all young artists so that they are not alone in figuring out the process of showing their work in a gallery setting. Many teenagers are immensely talented and sophisticated in their use of techniques, such that their place in a gallery is beyond well deserved.

The gallery itself is very well-organized and professional. It is “[r]eally not a

dumbed-down gallery for kids,” said Mr. Slonim, a sixteen-year-old junior at Hunter College High School. “It’s very serious. That’s one of the great things about having people our age run it. People are going to be taken more seriously by people our own age.”

The team that determines the artwork chosen to be placed in the annual gallery is determined largely by a group of high schoolers, save some from NYU. Their gallery has been featured on Project Runway, Paper Mag, Art Net, and The New York Times. The submissions deadline for this year was February 1st, but I am sure that there will be many successful years to come for this gallery. However, there will be a one night showing labelled “Unseen Artist Event” in Soho, with profits going to charity along with the normal gallery showing in May. So if you are an art aficionado, go check out their website: teenartgallery.org.


manel torres

gerry mckay

Twitter, Facebook, and shoes. Which of the three doesn’t belong? None, thanks to Gerry McKay, a Scottish web designer who designed the “Adidas Twitter and

Facebook Superstars.” To celebrate the 35th anniversary of the Adidas Superstars, the recognizable lace up basketball shoe with three stripes along the side, Adidas released a limited edition collection. Gerry McKay said, “I thought it would be interesting to see what it would look like if Adidas also released a limited edition Twitter/Facebook Superstar, so I worked on my own design of the shoe.” McKay combined Twitter’s bird, blue, and bubbly fonts with the timeless Adidas trainer to create a one-of-a-kind design. His Facebook shoe features the Facebook’s colors and insignia, as well as its slogan, printed on the inside of the shoe. Although this prototype will never get past the design stage, the Facebook and Twitter integrate technology and fashion, showing that Facebook and Twitter are a part of this generation, right down to our very shoes! iner to create a one-of-a-kind design. His Facebook shoe features the Facebook’s colors and insignia, as well as its slogan, printed on the inside of the shoe. Although this prototype will never get past the design stage, the Facebook and Twitter integrate technology and fashion, showing that Facebook and Twitter are a part of this generation, right down to our very shoes! in order to create a one-of-a-kind design. His Facebook shoe features the Facebook’s colors and insignia, as well as its slogan, printed on the inside of the shoe.

In 2003, Manel Torres established Fabrican Ltd in partnership with Professor Paul Luckham. Born in Catalonia, Spain, Torres was drawn to fashion at a young

age, learning how to sew, tailor garments, and pattern-cut when he was just a boy. In 1995, while studying at the Royal College of Art in Fashion Women’s Wear, Manel Torres founded the idea of “Spray-On Fabric,” a spray-able fabric that comes from an aerosol can. Torres obtained his PhD at the Royal College of Art. While he was studying there, he partnered up with Professor Paul Luckham. Together in 2003, in collaboration with Imperial College London, they established Fabrican Ltd; Torres’s official role in the company is Managing Director.

Through his frustration at the slow process of making garments, Manel Torres discovered and invented spray-on fabric. Manel’s vision was to create a material that would fit to the body like a second skin and also have the utility and appearance of clothing. The idea began with Torres formulating a sample fabric made from cotton fibers sprayed with paint. Realizing that more scientific involvement and approach was needed, Manel turned to the guidance of Imperial College London. The fabric created and used today is made using glue, cotton fibers, polymers (plastic bits that hold the cotton fibers together), and solvents. The solution can be sprayed right on to the body. The product is a thin, wearable article of clothing that can be re-worn and washed. The article of clothing can also be dissolved and reused to make something new. Torres’ work shows the potential of the combination of fashion and technology. With the use of science, Torres is able to create beautiful clothing without even sewing a stitch or cutting a single yard of fabric.

by Lucy Golub '15

by Sophie Levy '14

Check out some of the hottest new artists whose work embodies technology’s impact on

fashion and design.

PROFILES

Gerry McKay designed a limited-edition collection of shoes based on the most influential social media sites on the internet—Facebook and Twitter (shown here).


2NE1

hussein chalayan

2NE1 (pronounced 21) is a well-known South Korean hip-hop girl group founded by YG Entertainment. Their first debut was in May of

2009, and they have grown to a huge extent since then. The group consists of four members: CL, the leader, is known to express spunk and sass on stage. Minzy, the dancer, is confident and fierce. Park Bom, the sweet vocal, presents a lovely side when she hits the high-pitch tunes. Sandara, the youngest of the girls, portrays the sweet side of the group. The name, 2NE1, represents the ‘New Evolution of the 21st Century.” Throughout the past couple years, they have became a huge success in South Korea. They debuted in Japan during September of 2011 with multiple successful singles and are planning on an upcoming album for February 2012. 2NE1 also visited America with the assistance of Will.I.Am., the lead rapper in the Black Eyed Peas. Later, 2NE1 won the MTV Iggy Award for their recent single, “I Am The Best”, which gave them a chance to perform in New York City on December 12, 2011. Although

2NE1 first appeared only three years ago, the girls have clearly proven that their popularity will not diminish any time soon.

Commercially, the girl group has become associated with some designers and clothing brands to their marketable position in society. 2NE1 has displayed the costumes of the American fashion designer, Jeremy Scott, in several music videos. This esteemed dressmaker has designed for Madonna, Rihanna, Kanye West, Beyoncé, Katy Perry, Justin Timberlake, Nicki Minaj, Lindsay Lohan, Britney Spears, Lady Gaga, and many more pop-culture stars in America. Jeremy Scott has a renowned sense of fashion, varying from Lego® jewelry to winged shoes. His styles are always finalized with a new, engaging design, completely different from his last season. By donning Jeremy Scott’s clothing and many other remarkable garments, 2NE1, has made a huge fashion statement in Korea, and whether the theme is leather and punk or modern and classy, they will never leave the stage forgotten.

Hussein Chalayan, the internationally known fashion designer with a futuristic style, is famous for his use of pattern

cutting, materials, structure, and progressive technology. As a child, becoming a fashion designer wasn’t a priority. Chalayan told Designboom in an interview that his dream was to be “a hairdresser, then a pilot, then an actor, then an architect and then a fashion designer.” He went to school in Cyprus and London, currently residing in the latter. In 1993 he graduated from London’s St. Martins College of Art and Design and has since twice earned the British Designer of the Year award. He takes inspiration from architectural theories, science, and technology. “I like to be inspired by other sources [not magazines or other designers], by seeing other visual things, by things that don’t necessarily relate to my world so much,” Chalayan explained in an interview. One of his well-known collections, from 2000, included tables and chairs that morphed into the garments themselves right in front of the audience: his “table dress” began with a plain round brown table with a hole in the middle; a model stepped into the hole and began to lift the hole, revealing layers from the inside that became a skirt. Chalayan has created costumes for operas and dance performances, and his work has been featured in many museums, such as the Victoria and Albert Museum in London and MOMA in New York. He was recently appointed Creative Director of Asprey and of TSE New York. He has also designed capsule collections for

Topshop, Marks & Spencer, and has worked with J Brand Jeans.

So how did this Turkish designer earn the moniker “the fashion world’s mad scientist”? It’s likely due to his ingenious yet quirky collections, which feature the fluid integration of technology into the garment industry. An audience sat in awe at Fashion Week in Paris, October 2008, as Hussein Chalayan presented his idea of fashion through the 20th century. The models walked the runway, showcasing his more conventional designs, until suddenly one model stopped, standing still. The crowd held its breath as the sleeves on a 1920s-era creamy peach gown curled themselves inward, the collar curled itself outwards, the zipper down the front unzipped, and the hem rose up to create a basic 1940s shift dress - a completely different look, from a completely different time, all in the span of 20 seconds. The highlight of the show, was when one of his pieces left the model entirely naked, as her outfit was pulled upward into her hat! Chalayan has been featured in magazines such as Vogue, and his works span fifteen years in a collection at the Design Museum in London. He has been worn by superstars such as Katy Perry, Jennifer Lopez, Sarah Jessica Parker, and Lady Gaga. Gaga and her stylist, Nicola Formichetti, collaborated with Chalayan to create her famous egg ensemble for the 53rd Annual Grammy Awards. Without question, we can all say Hussein Chalayan is changing and influencing the fashion world as we know it today.

by Amanda Zhou '14

Nicole Fortune '15 & Hannah Fink '15

PROFILES


Who is the biggest influence in your life?My parents.

Did your parents encourage your zeal for fashion?Absolutely. My father had great style and often designed his own clothes, and my mother is always effortlessly chic. My design team and I often reference photos of them from the 60s and 70s.

What was your earliest design?Our first design was a tunic, which was inspired by a silhouette I found in a Parisian flea market. We update and modernize it each season.

After Oprah Winfrey endorsed your brand, was it a defining moment for you as a designer?It was beyond anything I could have imagined. The day after it aired, our website had 8 million hits. We are so grateful for Oprah’s support.

What are some of your new favorite trends?For spring, I love that so many designers channeled the Twenties in different ways, from minimal to embellished looks. There are a lot of cool eclectic prints as well.Pink and orange seem to be colors that are prominent throughout your brand, are those your two favorite color combinations?I love many different color combinations, including unusual mixes that seemingly don’t go together. Orange has been my favorite color since I was young.

When you are designing do you focus on selling to a specific age? If so which age?Our customers are multi-generational. We strive to design a variety chic, timeless pieces that women of all ages want to wear.

Where is your favorite place to travel to?It would be impossible to choose just one. I love Morocco,

India, Thailand — and of course Italy. I traveled there with my parents growing up and now take my boys.

Do you have any tips for girls who are aspiring to be a designer?

Have a unique idea, focus and always follow through.

What is one thing that people may not know about you? I have loved needlepoint ever since my father taught me when I was young. It’s been an inspiration for handbags, coats and shoes in our collection.

Madison Avenue is home to the most well known top designers, how do you feel about your opening of Tory Burch on Madison Avenue?It was always a dream of mine to open a store on Madison Avenue. Walking into the finished space for the first time was definitely emotional.

Do each of your stores interiors have the same design theme, or did you have a unique design for each of them?Our boutiques share a common feel — orange lacquer doors, Lucite and brass — but each store has different elements that reflect its location and make it unique.

If you could meet anyone historic who would it be?Henri Matisse.

Burch is famous for her accessible, high-class designs, marked by her recognizable logo.

CeCe Glatt ‘13 interviews iconic fash-ion designer Tory Burch about her inspiration and life as a designer.

Have a unique idea, focus, and always follow through.

INTERVIEWS

“ ”

Tory Burch


How did you get involved/become interested in fashion?My parents were very fashionable when I was young. They always dressed up and dressed my sister and me very nicely. I knew I wanted to do something art related but my passion for fashion won out. I took as many art classes in high school as I could and enrolled in Parsons after high school.

Why did you choose to work at J.Crew?I went to Parsons with Jenna Lyons and we bumped into each other in Paris and she reached out to me soon after. I have always loved J.Crew and thought it would be a great fit and opportunity.

What does a typical day as head of women’s design look like?Well, there are lots and lots of meetings. Touch bases with different teams, open issues and fittings take up a huge part of my day. I also see many print and fabric appointments daily.

Do you have any advice for someone trying to get involved in the fashion business?Go to college and learn the craft. There are many celebrities that have fashion labels but have really no idea what really goes into designing. Listen and learn. Be patient and dedicated... fashion is a lot of fun buts it’s also a huge amount of work.

The theme for this issue is science and technology. Are there any special ways J.Crew uses either science or technology to design or operate?I think the biggest way I utilize technology is through fabric. It is amazing the things that are being achieved.

How do you stay ahead of the trends and make sure J.Crew is on par with the latest fashion?If you follow your instincts you will always be ahead of the curve. I also try not to worry about trends...we are in the business of making beautiful and timeless clothing, which is always on trend.

Ice cream or frozen yogurt?Vanilla ice cream.

Anna Carroll '13 & Edie Comas '14 talk with Head Designer of Women’s Fashion and soon to be Vice-President of J.Crew

Tom MoraJ.Crew Vice-President

Top: Tom Mora, VP of J.Crew.Bottom: Mora’s sketch for the Kate Middleton wedding dress contest.

We are in the business of making beautiful and timeless clothing,

which is always on trend.“ ”

INTERVIEWS


What impact did your schooling have on your decision to become a lawyer? I was on the debating team and The Record, so I did a lot of speaking and writing at Horace Mann, and now I do a lot of speaking and writing as a lawyer. I took a Constitutional Law course at Princeton and I think that clinched it.

Exactly what type of work do you do? I’m a litigator, which means I handle disputes people have, sometimes in court, sometimes in arbitration. Many matters don’t wind up going to trial, but there’s a lot of work involved in developing a theory for a case, obtaining evidence through a process called discovery, and getting decisions on legal issues from the court.

How did you enter into the world of fashion? I could say I grew up with designer neighbors – Ralph Lauren grew up in the same part of The Bronx – but in fact it was much more accidental. About 15 years ago I began handling trademark infringement cases for fashion clients. Over time, that work expanded to include other intellectual property work, such as copyrights, trade dress, trade secrets, reputation, publicity, and privacy rights, as well as anti-counterfeiting work for U.S. and foreign clients. More recently, I’ve spent a lot of time dealing with issues raised by on-line commerce and the Internet.

What is InFashion, and how are you involved in it? InFashion is a quarterly newsletter my law firm, Schiff Hardin, has published in connection with the Accessories Council, an industry group, for more than four years. You can see all the issues at www.schiffhardin.com/services/industries/fashion-and-luxury-goods. We try to keep our readers around the world up to date on legal issues affecting fashion, luxury

goods, design, marketing, and retailing, particularly if they involve intellectual property. Along with Judy Roth (a double Horace Mann parent), I write a lot of and edit InFashion.

What’s in store for the next issue of InFashion? The winter issue leads off with our take on ten top trends for 2012, including the growing role of online and mobile technologies and the deepening linkage between fashion and museum art. We have an in-depth look at a major shake-up of the Internet domain name system that’s going to start mid-January when applications will be accepted for new generic top-level domains. Instead of just a handful of terms like .com or .org, it will be possible to apply to have almost any word, in any language, as the part of the domain name to the right of the dot. That’s going to have a

big impact on protecting trademarks and existing websites, even if everything goes smoothly. Some people are worried the changes may not go smoothly and that the changes may aggravate problems like phishing. Then we have some other items on naked licensing – which is lawyerese for licenses to use trademarks which don’t keep quality controls in place -- and a new anti-fur ordinance in a California town.

Turtles, or trains? I like trains.

Miranda Jacoby ‘13 talks with David Jaco-by—lawyer, HM grad, and father—about the intersection between law and fashion.

David Jacobyof InFashion

INTERVIEWS

The winter issue leads off with our take on ten top trends for 2012, including the growing

role of online and mobile technologies and the deepening

linkage between fashion and museum art.

“”

Jacoby writes for InFashion, a newsletter on news related to fashion and law.


Seth Arar ‘12 reminds us that buildings are more than just brick or steel—there is room for a creative mind to shape the spaces you walk through every day.

SUBJECTIVE ARCHITECTURE

ARCHITECTURE

Have you ever walked past a building? I’m sure you have. You’ve prob-ably also thought a little bit about it too. Maybe you’ve noticed that it’s really tall, or has a plethora of doorways, or even that it was built in the neoclassical American style, reminiscent of William Thornton. If you have not recently walked past and pondered a building, then perhaps you should stop texting as you walk and pay more attention to the world you live in. Architecture is an art, much like sculpture and painting, but unlike the two, it must also be functional.

If you’ve ever strolled past the Guggenheim Museum in Bilbao or the Walt Disney Concert Hall in Los Angeles, you’ve seen some exceptional works of architecture, but these two buildings, designed by Frank Gehry, are anything but functional. A quick google search can show you just how unfriendly his buildings can be. From snow falling off of the Bilbao Gug-genheim to reflected sun from he Disney Concert Hall burning passers-by, Gehry only appeals to the form side of the architectural balance.

Another Frank, this time Lloyd Wright, was more practical than Gehry. His beautiful structures, from the classic Fallingwater to the lesser known Robie House or Unity Church, dramatically illustrate the power that archi-tecture can hold over the eye. Many Wright buildings do not survive time, as they were not built for that purpose. Wright imagined that they would be replaced by something better in the future, but alas, as nothing more pro-found than his work has been designed, many of his houses have had to be restored.

Santiago Calatrava, superstar architect, designs those white bone struc-tures. You may know him as the designer for the World Trade Center Hub. Calatrava was once a sculptor and has gained his design skills from this en-terprise. But as you may or may not notice as you amble past his bridge spanning the Grand Canal in Venice, the steps are too steep and there is no wheelchair accessible ramp.

Even the grandest of architects has made grievous mistakes. When you’re on said street, don’t take for granted the quality of the work. Watch with a critical eye. Being able to consider small details, such as the steepness of steps, or the entire design of the building is integral to any design initia-tive. I use these examples to beseech you to contemplate architecture, if not the world around you as you stroll down your daily path. Consider choices that the engineers of these grand designs have made. Reflect on the datum, wonder about the precedents, put your phones away and just look. It’ll be worth it, trust me.


a day at the MoMAART

Jackson Pollock

with veronica williamson '13

& anna carroll '13

Marcel Duchamp was the iconic leader of Dadaism, a movement that both challenged what is con-sidered to be art and acted as an anti-war movement from the 1920’s. Duchamp is famous for his readymades, common objects that he would elevate to the status of art. By creating readymades, he broke every rule that had previ-ously been set for art. The Bicycle Wheel seems to be two randomly placed objects, a bicycle wheel on a stool, but can resemble a human form with a head, neck, and legs. The Bicycle Wheel may be the most well known of Duchamp’s readymades and finds its home at the MoMA.

Jackson Pollock was an American abstract expressionist, famous for his unique style. Pollack used a style of “drip” painting where he would walk around and drip the paint wherever he wanted, in a state of control but also subject to the paint’s randomness. In One: Number 31 the whole painting is full of energy from the large looping lines that fill the 9 foot by 17 foot canvas. Pollock broke artistic con-ventions with his chaotic lines; instead of directing the viewer to recognizable, understandable shapes, he let the lines stand for themselves.

Andreas Gursky’s Bahrain 1 is a mind-boggling photograph. Aside from knowing that it is a photo of a series of roads, it is hard to tell exactly what or where it is. The perspective that this photo was taken from is what makes it confusing – but at the same time fun – to look at. Looking at the title, Bahrain 1, we realize that it is actually a famous racetrack in Bahrain. Gursky manages to abstract the image by showing it to us in a way that we nor-mally would not see.

Edward Hopper was a realist who painted daily life. This painting, Gas, depicts a lone gas station attended on a road at dusk. It evokes a sense of loneliness and melancholy solitude. Hopper was one of the more modern American Realist painters of the early 20th cen-tury, interested in capturing the time period and using his art to comment on it. In this piece there is a tension between nature and technology, modernity. In the context of the time period’s tech-nological revolution, one can see how Hopper was trying to make sense of a rapidly changing world.

The MoMA’s giant collection can be intimidating, but FAD is here to help! Don’t just walk by these pieces—they’re worth a longer look.

Andreas Gursky

Marcel Duchamp

Edward Hopper


The Islamic Galleries in the Metropolitan Museum of Art are truly breathtaking. Deep tones of turquoise blue, clean porcelain

vases, and ancient rugs of deep red, all fight to catch the attention of your eyes. Strolling under the intricately designed, pale white arches and between limestone pillars in the newly renovated wing transports you to a complete different, almost divine space. Although there are a wide range of colors and patterns on each art piece, the entire set-up is surprisingly not overwhelming or cluttered. From inspecting each fragile tile of the textiles to reading the archaic stories drawn on scrolls, there is much to absorb in this wing, which has become my favorite in the entire Metropolitan Museum of Art.

The “Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia” underwent an eight-year renovation that cost $50 million, creating the most beautiful and engaging wing in the entire museum. The newly- revealed wing encompasses Islamic influences featuring pieces from the Middle East as well as Spain, Central China, and India. Also the collection features artworks that span over thirteen centuries. The new refurbishing has added 5,000 square feet of exhibition space and even a recreation of a Moorish courtyard. More images of the

Prophet have been added to the collection of Islamic art. Curators plan to display only some depictions of the Prophet at a time due to their value and delicate conditions. The wing features nearly twelve thousand objects reflecting the vast diversity, tradition and expansion of Islamic culture. It holds many secular and sacred objects and reveals many of the ancestral practices such as elegant calligraphy, religious motifs, and geometric patterns. Being in the largest and most renowned museum in New York City, naturally this wing is the most extensive and detailed arrangement of Islamic art in the world.

After two hours of deep concentration, having viewed every piece in the gallery, I encountered one specific work of art that was truly remarkable. The Mihrab, a Mosaic from Isfahan, Iran in 1354, captured my eye, and I could not look away for a good fifteen to twenty minutes, just staring at the medium-sized niche. Mihrabs are in mosques to indicate the direction of Mecca, so Muslims can face that direction during prayer. This Mihrab has ornate decorations and carefully placed small glazed tiles. Geometric shapes, curvilinear and rectilinear lines, and Arabic inscriptions make up this mesmerizing element in the wing. While the piece has mixed and varied patterns, altogether, it does not look disorganized, but rather serene. I was

mesmerized by the bold, complementary colors of turquoise, white, and gold of the tilework. Although the beautiful aesthetics cause the piece to be awe-inspiring, the Arabic Inscriptions are just as significant. There are quotes from the Qur’an, the Holy Text of Islam, referencing the Prophet Muhammad. Overall, this fascinating architectural prayer niche displays the divinity of the religion and culture of the Islamic world.

The artifacts displayed in the Islamic wing clearly emphasize the attraction of the different societies and their arts. There are many other works of art including manuscript pages from Iranian books, polished jewelry, and thick carpets. The various stylistic methods are special and distinctive to each artwork as well. One can see the incredible precision in the carefully carved, sketched, or sewn Islamic art. While the Metropolitan Museum is closed on Mondays and still lively every other day, this wing makes up for some of the long lines because of its entire ambiance of beauty. Enter the galleries and you will be physically and mentally transformed into a space overflowing with cross-cultural perspectives in art. As a wing created not solely for Muslims or by Muslims, anyone can fully embrace the customs of the Islamic world together by this educational and awe-inspiring showcase.

ART

ISLAMIC ART GETS A NEW HOME

After its closing in 2003, the Islam exhibit at the Metropolitan Museum of Art is finally open for viewing. Michelle Kim ‘14 dishes on the awe-inspiring display.


Dan Flavin was a native New Yorker who was known for his use of lighting in sculpture. He was worked briefly as a meteorologist until his early 20s when he began taking

art history classes. Despite having had no formal training, he had his first show, consisting of a collection of watercolors and small sculptures. Shortly after, his first work that involved light, “Diagonal of May” was featured in the Jewish Museum of New York, ironic since he grew up as a Roman Catholic in an Irish and German household. His way of using store-bought lights to make art was reminiscent of Duchamp’s Readymades (manufactured objects that were chosen and then slightly modified by the artist.) But, its simplicity brought it closer to the modern style of art at that time; minimalism. Flavin used lights of a variety of colors and sizes. This gave his pieces, which were now consistently made of fluorescent lights, distinctions between one another. To keep his installations from being unrelatable and too industrial, many were named for other artists and close friends.

The debate about Flavin’s work comes in when we

ask the question that commonly plagues modern art. “Why is this art,” and “What about this would I be unable to replicate?” These questions always lead to wondering; when you stop trying to replicate exactly what you see, what’s left? The answer we get from Flavin’s work is composition, color, and a scale of proportions. Flavin figured out how to create very specific patterns and colors with light using his limited materials, lights coming only in standardized lengths, colors, and diameters. By thinking about the lights as lines, he was, through experimentation, able to essentially paint with light. The shape of the lights provided perfectly straight lines that Flavin was able to manipulate like an artist would be able to manipulate paint. Flavin composed and manipulated lines on paper first so that it would be exactly as he wanted and fit the space that it was meant to go in. The result was that he took simple and unnoticed objects and filled rooms with their aura so that you couldn’t go without paying attention to them. Using single lights he immersed rooms with striking colors and painted the walls with a glow.

DAN FLAVIN:

Veronica Williamson ‘13 and Anna Carroll ‘13 look into the fluorescent world of the iconic minimalist artist’s work.

The King of Light


ART


Apple, an international icon and prestigious brand, is renowned for its sleek and simplistic style, which facilitates consumers’

ease of use of technology. As ex-CEO and founder of the company, Steve Jobs is credited with introducing trendy, user-friendly designs. The company’s products have not only risen to fame due to the innovative technological advances they introduce, but also due to their minimalist, contemporary designs that have restructured the stylistic expectations of the technological world. Apple commodities are instantly identified by their slim cuts, large icons and of course, the apple logo, which once again simplifies a common household fruit into a classy and distinctive shape.

Trends in technology seem to be growing synonymously with those in the fashion industry. Straight lines rather than curves and sleeker cuts rather than detailed features have ushered in a new era in fashion be it for technology, designer wear, architecture, home interiors and retail space. Geometric shapes are gaining

popularity, and we can see them in the fabric of clothes we wear, interiors of buildings, and art work by contemporary artists. There is a drive to decrease clutter and excess extravagance in the modern world.

Designing aside, Steve Jobs’ intuition allowed him to know what the consumers

wanted even before they did. By inventing the iTouch, he essentially sought to create an mp3 player with a way to organize the music it holds. With iPads, he looked to create a lighter version of a laptop. The same insight is crucial in the advancement of the fashion industry. How else would new trends start?

Steve Jobs even endeavored to increase the straightforwardness of its commodities, by taking away buttons. Apple adopted the “touch” technology for all of its products to minimize features that would protrude. It is present in iTouches, iPads, iPhones, and recently in the new desktop mouses. The company zealously

works to lessen the weight and size of its products, as well as make them easier to use, aiding the wide range of consumers from elementary school children to those who are not so technologically advanced. Its computers are also used by a growing number of schools, due the simplicity of their designs.

Steve Jobs revolutionized the face of technology, expanding the market for stylish devices and introducing easy access to the

technological world. Apple products are a rage all across the world, and the company still prospers today. His insight proved revolutionary for bringing new ideas and innovations to the table, and his legacy lives on in the realm of today’s technology.

“ ”Designing aside, Steve Jobs’

intuition allowed him to know what the consumers wanted even

before they did.

FEATURES

innovator. visionary. artist.

-Mihika Kapoor '14


With one simple click of a button, an entire scene—its mood, its essence—can be captured and replicated. The

camera acts as a way of documenting history and as a medium of art. Before photography, memories and events were portrayed through drawing, painting, writing, and other forms of art and documentation. Today, capturing those experiences is easier than ever because technological advances have allowed cameras operate almost independently of people. As a result, while a camera works to capture an image, a photographer can concentrate more on the composition and other aspects of it.

The camera is made up of various components that all work together to create a photograph. The primary job of any camera is to capture light. Images are formed based on the way the light reflects off the subjects. Whether the photographer shoots on manual or automatic, the settings on the camera adjust to be compatible with the amount of light in the image. The basic parts of the camera are the viewfinder, the shutter, the lens, and the aperture. The viewfinder is pretty self-descriptive, allowing a quick judgement of the scene’s composition and balance. The shutter is crucial—it controls the amount of light that actually hits the film. If the shutter remains open for too long, more light hits the sensor and the image will be brighter, or over-exposed. A slow shutter-speed also causes blurring

of motion. The lens acts as a tunnel for the light, and creates a path to the next step in the process. The aperture, the opening inside the lens that allows the light through, varies in size depending on how much light is to be allowed into the camera. It acts the same way a human pupil does, contracting in greater light and expanding in darker settings. The shutter speed and the aperture are the main variables in controlling the amount of light that hits the film. The camera’s settings are governed by both the constraints of the environment—day or night, indoors or outdoor—and the photographer’s artistic

preferences. All of the elements work together to capture the light and translate real life into an image on a piece of paper.

For the light from the scene to be recorded on the film, it must pass through the aperture and lens. It then will reach a mirror that is temporarily tilted at a 45-degree angle, which directs the light through a pentaprism glass and out the viewfinder—instead of onto the photosensitive film. When the photographer is ready to take the picture, he or she presses

down on the shutter button. With the release of the button, the mirror moves out of its previous 45-degree tilt so that it is no longer in the way, the shutter opens, and the light moves through the camera. The light exposes the film or the camera sensor, forming the photographic impression. The shutter closes, and the mirror moves back into place. The image is now stored in the camera on the film. If working with film, the photographer must wind the film in order to move it over and place the next bracket in position for exposure. In digital cameras, the images are converted into discrete signals. They

are stored on the internal memory before the data is transferred to the memory card. The camera is now reset and ready to capture the next image.

While the camera may seem complex, it manages to operate in a fraction of a second—a huge advance from the hours-long sessions of two centuries ago. In an age of digital photography, taking photographs has become a regular and familiar

practice to people everywhere. From iPhone “muploads” to Photobooth snapshots, the role of photographer as artist seems to have diminished while technological advances have grown. The future of photography as an art form depends on whether this trend continues. Take, for example, the recent comeback of Polaroid pictures—nostalgia for a bygone mode of recording memories, or just another fad? We’ll have to wait for the picture to finish developing.

FEATURES

“ ”While the camera may seem complex,

it manages to operate in a fraction of a second—a huge advance from the hours-long sessions

of two centuries ago.

*click*t h ro u g h t h e len s:T h e i n n er wo r k i n g s o f a ca m er a

BY gabby Reid '13


Technology is becoming more and more embedded into our day-to-day lives. As our generation continues to focus intently on the

developments in science and electronics, businesses and industries are forced into an overwhelming competition for our attention. Enter the world of fashion. This is one of the only institutions able to keep up with the innovations in technology because it, too, is so fast-paced. It’s no surprise that fashion is so greatly influenced by technology. Cutting-edge designers and companies like CuteCircuit and Seth Aaron Henderson embrace the progressions in technology by incorporating tech-inspired designs in their fashion pieces.

Seth Aaron Henderson literally heats up the runway during “Project Runway Night” at Portland’s Fashion Week with his solar-powered inspired fashion creations. Henderson, the most recent winner of the hit show “Project Runway,” partnered with the SolarWorld team to design a runway collection influenced by solar-power technology. Solarworld.us reveals the designer’s thoughts:

“I’m interested in leading a high-fashion interpretation of this powerful source of future energy. I’m taking inspiration from the technology but not mimicking it.” Henderson merges leading fashion trends with cutting edge advancements in solar-energy technology to construct his critically acclaimed works of art. One of his groundbreaking creations features a high-tech twist on the classic “little black dress.”

This spin-off design of the traditional piece is made of sleek, shiny material resembling a solar panel. Henderson explores the opportunities in solar-energy and aims to reflect new developments in his designs. He also aims to personally bring the fashion industry forward. “I like to be the leader. So does SolarWorld,” Henderson says, “We’re both leaders in our fields.”

CuteCircut was co-founded in London in 2004 by Francesca Rosella and Ryan Genz. The company’s website, Cutecircuit.com, says they use “smart textiles and micro electronics” to create the designs that aizakbuyondo.com labels “amazing, wearable, technology and interaction fashion.” Rosella and Genz, whose work can be found in many design books, speculate about the innovation and future of fashion

and design around the world. Two of their most popular pieces are the “Twinkle T-shirt” and the “M Dress.” In May 2011 CuteCircuit hit the fashion scene when Katy Perry wore a light up dress to the MET Ball in New York City. The dress contained over 3000 LEDs that gave the plush colored dress a rainbow glow. Critics at glamour.com described the dress

as “a natural progression of fashion to merge with technology in this way.” As CuteCircuit and Seth Aaron Henderson continue to develop as fashion and technology gurus, more and more fashion companies will also be inspired to center their creations around technology.

“ ”

TECHNOfashionology

Fashion is one of the only institutions able to keep up with the innovations

of technology because it, too, is so fast-paced.

by Claire Hayes '14 & Rebecca Okin '14

FEATURES

fashiond es i g n ers at t h e t ec h n o lo g i ca l fro n t i er


The aspect of fashion that is most noticed by designers, critics, and the bulk of the population is the constant repetition of

styles, looks and trends. Most recently 1970’s-style fashion was everywhere this past summer. This phenomenon can be credited primarily to two factors. Firstly, designers tend to use previous styles for inspiration while creating new collections. Secondly, technological advances can facilitate the once costly production of certain garments, allowing for the revival of previously exclusive styles by making them available to the masses. As a result, the basis of today’s fashion industry is the same as when the industry originated.

The Boho look, a style that draws together various Bohemian and Hippie influences, is a recurring style that can be dated back to the mid- 1960s and greatly flourished in the 1970s. Halston, a well-known designer today, made his first mark on the fashion industry in the 1970s with his free flowing halter dresses that started a trend then and continues to inspire designers today. The trend made its most recent comeback in the early 2000s and was embraced by many celebrities and designers. Clothing involved in this trend included maxi skirts, faux fur, embroidered tunics, slouchy hats, and flared pants. Major fashion houses such as Gucci, Yves Saint Laurent, Marc Jacobs, Ferragamo, and Michael Kors incorporated this trend into their Spring 2011 collections. They seemed intent on returning to a period of fashion known for its originality and self-gratuity. People of that era were extreme, ”but there was magic in their extravagance,” said Marian McEvoy, a fashion editor. “People in the 70s seemed a little more care-free, a little less complicated,” said Tory Burch, whose collection was full of period references, including a tuxedo reminiscent of the influential YSL “smoking suit,” a look her mother wore. The 70s were years “when

FASHION FORWARD?QUESTIONING THE VALUE OF LOOKING TO THE PAST

by Andie Fialkoff '15

& Noah Margulis '13

FEATURES

women were coming into their own,” Ms. Burch said. People then “were a little freer in the way they dressed and lived their lives. I wanted to celebrate that.”

Many new software programs have been created in the recent past to assist manufacturers and retailers of fashion. Specifically a software named DeSL has been designed to solve the problems that are encountered in the manufacturing and distributing process of the fashion industry. Many advances have been made in fashion over the years but designers keep building off of the same classic styles and ideas which make fashion interesting.

Every season designers begin to revive a past style that defined an era of not just the fashion industry, but the lifestyle of people who lived then. It is so intriguing to see the new spring designs each year and see how those styles are seen from season to season.

Fleetwood Mac’s Stevie Nicks, far right, and others who portray pure bohemian style from 1976. Photo from latimes.com


FEATURES

The sociological study of beauty is diverse and varied due to different cultural perceptions of beauty. What we find beautiful

today would not be beautiful to people 200 years ago, or even to people living halfway around the world. The Chinese used to bind the feet of young girls because they found small feet beautiful. Today there is a tribe in northern Africa that uses brass coils to lengthen the neck to match what their culture finds beautiful. Most conceptions of beauty were formed to match the ideologies present in their respective cultures, which have changed over time. During the 17th century, pale skin was considered beautiful because it was a sign of wealth; those who had money did not have to work out in the fields, and thus did not develop a tan. This bias toward the fair skinned changed in the early 1900s. Coco Chanel, along with many others of the famous French elite of the time, came back with tans from vacations in the south of France. Nowadays, having bronze skin shows that one has enough leisure time to go on vacation and get a tan. This shows yet another way that wealth influences our perception of beauty. With so many different standards of beauty ranging from country to country and century to century, scientists were surprised to find that there is a unifying trait in one’s

perception of beauty, facial symmetry. This theory is especially evident in

advertising and in our own culture. Kate Moss, arguably one of the most famous supermodels of our time, is one of the only people on record with a perfectly symmetrical face. Although absolute facial symmetry is rare, enough evidence has surfaced that the more symmetrical a face is, the more attractive it is to the opposite sex. A 2000 study conducted by Brandis University in Massachusetts concluded that persons

whose faces are more symmetrical appear healthier than those whose faces are more asymmetrical. In a 2008 study conducted by British and American psychologists and anthropologists, test subjects were given 500 faces of females and males and were asked to pick the most attractive ones. Upon examining the faces selected, the researchers discovered that the faces chosen had high

levels of bilateral symmetry. Furthermore, male faces exhibiting high facial symmetry were found to be more masculine, and female faces more feminine. But why the increased link between attractiveness and facial symmetry?

Anthropological theory states that we determine attractiveness based on potential for mating. An individual’s health and genetics can indicate his or her potential for mating. One theory suggests that sickness as a baby can affect the development of the face.

The resulting asymmetry can indicate a weak immune system. This sign can lower one’s potential for mating, and therefore their attractiveness. A study conducted at the University of Western Australia suggested a link between facial symmetry and diversity in the MHC genes, a set of 128 genes that affect the immune system. The study found that those who have high facial symmetry also tend to have a variety of these genes, creating yet another tie

between health and beauty. Our understanding of the beauty of

symmetry, not only in people but in nature, art, and architecture etc., continues to lead us to perplexing questions that may some day lead to a greater understanding of the brain and our perception of the world around us.

With so many different standards of beauty, scientists

were surprised to find that there is a unifying trait in human

perception of beauty: facial symmetry. “ ”

Gio

vann

i Civ

ardi

w h at i t m ea n s to b e b eau t i fu l: sy m m et ry a n d m o r e BEAUTYOFSCIENCETHEby Alex Vogelsang '14

E LE ME N T A L BEAUTY

Models return to the most basic fundaments of beauty in looks inspired by the four elements.

Even in a world dominated by technology, the essentials of nature still inspire.

Photographers: Allison Chang ‘15 & Gina Yu ‘14

Beauty: Rachel Buissereth ‘13, Emma Garcia ‘13, Paige Burris ‘13, & ShaKea Alston ‘13

Models: Michelle Kim ‘14, Clara Pomi ‘13, Drew McCann ‘13, & Julia Thomsen ‘15

fire

E LE ME N T A L BEAUTY

earth

fire

28

water

air

acute angles • cynthia irobunda ‘14 wears top and pants by noah margulis ‘13; necklace and shoes stylist’s own

The second annual FAD Fashion Show Fundraiser, an event including speakers, raffles, and an en-tirely student-made fashion show, is coming soon on February 3rd, 2012. With visions of bold edges and clean lines, our very own Fashion Design Club has been preparing looks circling the idea of geometry.

In this shoot, we headed down to Lincoln Center, the home of the arts in New York. Its soaring architecture informed the aesthetic of the looks we chose; monumental stone structures translated to structured, fitted pieces, sewn with the balance of horizontal and vertical in mind.

Photographed by Gina Yu ‘14 & Veronica Williamson ‘13

Beauty by Rachel Buissereth ‘13 & ShaKea Alston ‘13

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/photographer: jackson siegal ‘14 /photography assistant: anjali dutta ‘13 /beauty: rachel buissereth ‘13, emma garcia ‘13, & paige burris ‘13 /styling: noah margulis ‘13 and paige burris ‘13 /assistants: shakea alston ‘13 and lauren cantor ‘13/digital editing: seth arar ‘12 & aramael peña-alcántara ‘12<kylie logan ‘14 in stylists’ own

to themoon

/celestial being^kylie logan ‘14 in stylists’ own

/beam me upâriane busse-lee ‘13 in stylists’ own

/eclipseâriane busse-lee ‘13 in stylists’ own

/selene, goddess of the moon^kylie logan ‘14 in stylists’ own

/moon moodsâlexandra vogelsang ‘14, ariane busse-lee ‘13, & kylie logan ‘14 in stylists’ own

10 9 8 7 6 5 4 3 2 1

/moon moodsâlexandra vogelsang ‘14, ariane busse-lee ‘13, & kylie logan ‘14 in stylists’ own

43

10 9 8 7 6 5 4 3 2 1

/magnificent desolation^kylie logan ‘14 in stylists’ own

/the girl who fell to earthâriane busse-lee ‘13 in stylists’ own

space ()

is

the

breath

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art;

//frank

lloyd

wright

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Now it should look like this. Continue add-ing links until the bracelet is of a desired length.

D.I.Y: Do It Yourself

Slide a bead onto the wire and hold

one end with the round nose pliers.

you'll need

Twist the wire to make a small loop at

the end.

Slide the bead toward the loop and cut the wire, leaving enough to make a loop on the other side.

Make a loop on the other end. This is the first link of the bracelet.

step_4

step_5

Repeat previous steps, but put one end of the wire through the loop of

the first link before completing it.

step

_6

Open a loop at one end of

the bracelet and reloop it

around the clasp. Do this

at the other end with the

jump ring. and you're done!

step_1

step_2

step

_3

step_7

Moon Walk Bracelet

_julia hirschberg '13

Some beads of your choice, round nosed pliers, wire, wire clippers, a clasp with a jump ring


_julia hirschberg '13

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save the date!

fad fashion show fundraiser

friday, february 3rd, 2012

Documents

FAD Magazine Vol. 3 No. 2