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Dress by Flora Cervantes, MFA Fashion Design and Lori Solem, MFA Textile Design. Necklace by Elizabeth Prost, BFA Fashion Design.

180 ISSUE Nยบ 7




pg. 3

A Letter from Our President

pg. 6


pg. 10

2 Alumni 2 Coasts

pg. 28

Credit Where Credit is Due

pg. 30

California’s Hall of Fame, Shame, and Fashion

pg. 34

Luminous Visionary

pg. 42

Invisible Cloaks

pg. 50

Infusing Tradition with Innovation

pg. 60

This is Not Project Runway

pg. 70

Styling 101

pg. 78

Creative Partners

pg. 84

International Style

pg. 94

Growing to Extremes

pg. 110

The Devaux Ranch

pg. 136


pg. 154

Lea Celine

pg. 168


pg. 180

Family Within Fashion

pg. 200

Sex, Subversion, and Style

pg. 208

Picture Perfect

pg. 224

Pandrogony 101

A Letter from Our President The whole is greater than the sum of its parts. The many—drawing on different resources, backgrounds and skills—can collaboratively create something greater than the few, while still leaving room for individual inspiration. Collaborations are incorporated into the classroom to prepare students for the industry they are about to enter; they are taught to work together on design teams, with photographers and stylists, and generally with those from other professions. 180 Magazine is an example of collaboration among students in different areas of studies at Academy of Art University, as well as with alumni and professionals from various fields. In “Growing to Extremes,’’ a group of Architecture students collaborated with a Fashion Merchandising class on a project that dealt with “nomadism and identity,” exploring ways that nature can provide inspiration for architecture and changes in urban life – and even in our own bodies. Profiles on MFA Fashion Design graduates Maria Korovilas, Kara Laricks, and Shoshana Pinedo illustrate the international nature of our student body, with roots in Greece, the Midwest, and the Netherlands, respectively. Drawing inspiration from the 1950s, MFA Fashion Design students and Chinese nationals Jianxia Ji and Wei Bai created a collection for the working woman with an active lifestyle. The University hosted a presentation to debut the collection at The Cannery near Fisherman’s Wharf in San Francisco, and it will eventually retail in the designers’ home country. Even the building that the School of Fashion calls home, our Polk Street headquarters, is made more interesting by its diverse history. Incoming students may be surprised to learn of the building’s storied past. From its original incarnation as a German social club, to its role as a gathering point for San Francisco’s growing gay rights movement in the early 1960s, to its short-lived period as California Hall, where rock performances from the likes of Janis Joplin and the Jefferson Airplane took place in the same Atrium more recently visited by famed French designer Jean Paul Gaultier— in this issue we explore how the building itself becomes more compelling when the sum of its unique historical parts are combined. Additionally, the University is pleased to announce the accreditation of the new Jewelry and Metal Arts program, the MA and BA Fashion Journalism programs, and the BFA Fashion Styling program. The latter being the first accredited Bachelor’s degree in Fashion Styling in the United States. My wish is that reading the stories of these artists and designers and viewing the images of their adventures will inspire our readers to seek out collaborative opportunities to express their artistic talents.


Dr. Elisa Stephens, President Academy of Art University



180 Editor in Chief: Simon Ungless Design Director: Kate Nakamura Features Editor: Paul Wilner Fashion Editor: Flore Morton Copy Editors: Joan Bergholt, Ian MacKintosh, Jeanette Peach and Chloe Preussker

Contributing Writers: Alexa Palacios, BFA Fashion Journalism, Sarah Lemp, BFA Fashion Merchandising, Ashley Castanos, MFA Fashion Journalism, and Tonislava Docheva, BFA Fashion Journalism

Special Thanks: The Devaux Ranch, Napa, CA, Rebecca Rowan, Mary Rowan and Dorothy Hageman, Cherrie Chen and Jean Shein from Uniqlo, Gladys Perint Palmer, Keanan Duffty, Charlene Modena, Hersha Steinbock, Russell Clower, David Henry Lantz, Martin Zarfardino, Jennifer Cappelletti, Littany Wejrowski, Bryn Carlson, Julianne Delgado, Zoe Cobb, Marcell Rochas, Michelle Grunberg, James Wood, William Mossgrove, Chuck Pyle, Mimi Sullivan, Alexandra Neyman, Monica Tiulesca, Greg Mar, Gordon North, Serita Sangimino, Breanna Castro, Zan Ludlum Casting, Stars Model Management, Elite Models, Cast Images Model and Talent Agency, Look Model Agency, Exalt Model and Talent Agency, Scout Model and Talent Agency, and Workgroup.

Cover: Achok photographed by Isabella Bejarano wearing a coat by Shumpei Okamoto, BFA Fashion Design Facing Page: Achok photographed by Isabella Bejarano wearing a coat by Nika Tang, MFA Fashion Design

180 Magazine 79 New Montgomery Academy of Art University School of Fashion San Francisco, California 94105 180mag@academyart.edu www.fashionschooldaily.com 5

CONTRIBUTORS Victor Cembellin is a San Francisco-based makeup artist. For over 19 years, he has worked fashion weeks for designers including Donna Karan, Vivienne Westwood, and Gareth Pugh. He has also executed editorial shoots with celebrities such as Natalie Portman, Amy Adams, and Pamela Anderson. victorcembellin.com

Joshua Conover is a San Francisco-based makeup artist and hair stylist who works with American Vogue, L’ Official, Jalouse, and Louis Vuitton. He studied iconography in fine art, created portraits on canvas, and fine-tuned his talent at the Make-Up Designory school in Burbank, California. workgroup-ltd.com/san-francisco/joshua-conover/portfolio-i

Suchandra Bullock, BFA Fashion Styling, was born in the United States and raised in Italy. As a child, she would visit her father at his job for a local television channel and loved how the wardrobe brought characters to life. She is presently a freelance fashion stylist. suchandra-bullock.com

Noah Shaw, BFA Costume Design, was born in Los Angeles and grew up throughout California, the Southwest, Midwest, and Europe. This nomadic childhood shaped her aesthetic vision. She takes a cinematic approach to styling and enjoys mixing various time periods and subcultures. noahshawstyling.4ormat.com

Jeffry Raposas, BFA Photography, spent the first 15 years of his life in a small town in the Philippines. In high school, he discovered the beauty of photography and has since been in love with creating imagery. His focus is advertising and fashion editorial. jeffryraposas.com



Nude stockings with black rubber trim, Twistmyrubberarm.com


Coat by Youngjin Shin, BFA Fashion Design and Hsin Lee, MFA Textile Design. Shirt by Gwen Shia-Yao Lai, MFA Fashion Design. Proenza Schouler pant and ChloĂŠ boots, Saks Fifth Avenue.

CONTRIBUTORS Aldo Carrera, BFA Photography, is a San Francisco-based photographer with an interest in fashion, a philosophy of “just do it” and an impromptu nature. He is currently working on men’s fashion editorials. Although he shoots with various cameras, his preferred medium is film. aldocarrera.com/

Jen Miyako McGowan, BFA Photography, was born and raised in Martinez, California. She incorporates textures and elements of nature to create an organic feel in her work. She has recently adapted a romantic style with a dark side that comes out when using experimental techniques. jenlovelyphotography.com

Nicolás Gutiérrez, MFA Photography, was born in Bogotá, Colombia. His interest in creating visual stories led him to specialize in fashion photography. References to art history, pop culture and fashion are combined in his work, creating a distinctive aesthetic and personal style. nickgutierrezphoto.com

Isabella Bejarano, MFA Photography, was born and raised in Venezuela. Photography motivates her to experiment, try harder, and test her own limits to evolve. “There is always something new to be learned, something old to get better at, and something else to aspire to.” isabellabejarano.com




2 COASTS photography by Maria Korovilas and Kara Laricks written by Ashley Castanos, MFA Fashion Journalism



MARIA KOROVILAS Everything has come full circle for Academy of

of brilliant fabrics and her hatred for anything

However after graduation, she felt lost while

Art University alumna Maria Korovilas. After

“fast fashion.” As her website puts it, the

continuing her path to a “safe” career by

graduating with an MFA in Fashion and Textile

clothes she designs are “sourced from amazing

applying to law school. Suddenly, on a whim,

Design in 2010, and having her collection

vendors around the world and all garments are

she bought a one-way ticket to Hawaii, which

featured in the Academy’s New York show,

manufactured in Los Angeles, locally, responsibly

was just what was needed to clear her mind.

she worked on refining her skills and unique

and for you.”

She knew that she eventually wanted a career as a fashion designer, and despite her parents’

sensibility with the goal of bringing ready-towear concepts to a high-end market.

People noticed.

By 2012, she was chosen by Gen Art Fresh Faces

It’s been a long journey. Growing up, Maria

conservative concerns, applied to the Academy of

lived a life resembling an “Army brat.” Even

Art University fashion program.

though her family didn’t come from a military background, they moved around the world many

We spoke with the vivacious, articulate Maria


about where she’s been ¬ and where she sees herself going.

in Fashion (the same runway that helped launch Philip Lim and the Rodarte sisters) to preview

Originally from Greece, where they owned

her spring 2013 “Girl on the Run’’ collection.

kalamata olive farms, a destructive earthquake in

ASHLEY CASTANOS: Did you know you

This was also at same the time she was launching

the late ’80s brought her frightened mother to

wanted to be a fashion designer early on?

her eponymously named line, Korovilas.

the United States, and they settled in Maryland, where Maria was born.

She recently opened a new showroom in the

MARIA KOROVILAS: Yes, I feel like design has always been in me. I’ve been making clothes

heart of downtown Los Angeles with hopes

Within a few short years, they moved to

since I was a kid. At four years old, I was on my

of growing her brand and continuing her

Illinois, Michigan, and California. Maria’s

mom’s lap sewing. I would make doll clothes

distribution with orders from Neiman Marcus,

educational goals led her to the University of

from scratch – it’s something I’ve always loved.

Nordstrom, and Planet Blue, just to name a few.

Southern California, where she completed an

The Grecian babe is passionate about her love

undergraduate degree in communications with a

I feel like I got into it because I have such a

minor in theater.

strange body type, the “Hellenic hip syndrome,”


as I like to call it, meaning – Greek hips. I always

little lost in my twenties, that I had veered into

h a focus on ready-to-wear and process focused

had a much smaller top and wider hips and I

something that wasn’t really for me. Even though

design; it hammered in that perspective for

always had to manipulate my garments by re-

I tried to make sense of it, ultimately I needed

me. The greatest part of my portfolio classes

designing them to fit me.

[to] go to design school. I belonged in this trade,

was learning how to design a collection from

and I knew that I had to go to fashion school to

top to bottom. I love the process of actually

really understand the craft.

putting together a collection based off details,

Living in a super small farm town [Visalia, CA]

and learning how to balance a collection. Once

during the “My So –Called Life” era, there wasn’t any good shopping, so I was constantly vintage

AC: What was your experience like at Academy

I started working, it was clear very quickly how

shopping and trying to turn something into

of Art University?

advanced my skills were.

MK: Once I started at the Academy, I became

AC: Since launching your Korovilas brand in

AC: What was it that pushed you to pursue a

so passionate all I wanted to do was focus (and I

2012, it seems to be thriving. Why do you think

career in fashion design?

had been so unfocused in the past). I hunkered

it’s been so successful?

something cool.

down for almost four years and took it all in.

MK: I wanted to go to design school after


MK: I have a business partner, my good friend

high school, but my parents wanted me to do

At the beginning, I was overwhelmed. I couldn’t

Katie Bernhisel, who handles operations.

it as a hobby. I was a straight A student, and

imagine that when I left I would know how to

Between Katie and I, we’ve been involved in this

valedictorian – they wanted me to make safe

sew a garment. It seemed like such a difficult

industry over ten years. She’s the Patrick Duffy

choices. But after I graduated from USC, I

mountain to climb. I couldn’t wrap my head

to my Marc Jacobs.

had what I call “my quarter life crisis.” I felt a

around it.

My biggest asset is that I can do everything! I


angles gave me a super vision. I saw what drove volume, and I also saw what people respected,

can make my own patterns, sew, use Photoshop and Illustrator, and I do all of the marketing

MK: The line is a dress-focused collection.

and then on top of it all I consider myself an

materials. I understand technical design, so I’m

When we started, we didn’t have a lot of money

artist. So I thought, how do I make all of these

fully able to check the contractor’s work, costs

so I decided to focus on the one thing I’m

different elements work? How do I make this

etc. In my first job I was able to get experience

really good at which is dresses. The collection is

company and this line something viable, and

with factories abroad. I learned how to get

classic and timeless. I love beautiful fabrics and

make a living? How do I do what I love to do but

prices down, and what finishing techniques to

feminine laces.

still be respected? It was a puzzle I had to put together.

ask for. Everything came out of our pockets; we did everything strategically and purposely. We

I start by breaking down every girl type – the

set out to find the right investor with the right

upper East Side girl, the sporty girl, the tomboy,

And ultimately what I came up with was a

percentage, and we really watch the pennies.

the girly girl, and then figure out what she’s

developing niche in the market, which I call

wearing that season. Then I implement it into

“ready-to-wear contemporary.” My motto has

This is a true case of talent, luck and whom you

each fabric group, a lot of elements blending

been “controlled chaos.” I’ve found a way to

know. We have a great product and we’ve been

together all the time.

explore all of these things and a way to control them.

very fortunate with the reactions to the line. The price point of the line and what it offers is kind

All my worlds are colliding, from expensive

of a steal.

ready-to-wear pieces to design school high-

AC: Your website biography mentions your

fashion snobbery. I studied fast fashion, learning

dislike of “fast fashion.” How does your brand

what cost more, what cost less – seeing all these

steer away from that trend?

AC: Where do you draw the inspiration for your




MK: There needs to be a return to real

AC: Explain to me your definition of “dirty,

it pushed us to outdo each other. To this day I’m

artisanship in clothing and there should be a

pretty, things.”

still trying to impress him, he was the fashion dad I never had.

respect for the people who make your garments. I’m sick of the whole fast fashion mentality but

MK: I’m super romantic. I love all things

at the same time I want to provide clothing that

feminine, and I’ve always loved super pretty

AC: Do you see Korovilas branching out into

people can actually afford.

things but you kind of have to dirty them up a

other areas?

bit to balance them. Balance is the answer to I have to think about what fabrics are available


and at what cost. It’s this constant push-and-

love to do a home/interior collection. I have

pull. Fast fashion drives me nuts. My goal is to

AC: Who were your key supporters along

an idea to collaborate with artists, possibly do

give the world a social makeover when it comes

the way?

children’s wear - I’m full of ideas! I want to be

to what they’re buying. People need to be more

the next Ralph Lauren. Generally when you

aware of what they’re putting on their body and

MK: I have a super supportive group of friends

pay a little extra so people can utilize their craft.

that championed me. The further along I get

The only way to get things to change is to start

the more appreciative I am of them. My mom

somewhere. I’m at the forefront of that.

supports everything I do. There’s no way I would have the company if my mom didn’t

AC: What have you been most surprised about

believe in me.

by this collection? And I would have to say [Academy of Art


MK: I have huge plans for the brand. I would

MK: The line hits such a large demographic.

University Fashion School Executive Director]

I sell from twenty-year-olds to sixty-year-olds.

Simon Ungless. When I was in school, he was

I’ve never really known a line that can pull that

this higher-up you wanted to please; he was like

off. I think it’s because the shapes are really

the man behind the curtain in The Wizard of

classic, while the fabrics are all different and

Oz. The symbolism of Simon was in our minds;


he was this super power we respected so much,

have an artistic eye you are not limited.


KARA LARICKS It’s been a long road from Kansas but a

some of the backlash…there hasn’t been a

of androgyny and beautiful fabrics,” she says,

rewarding one for Academy of Art University

negative word.’’

adding that she found inspiration in Patti Smith’s book, Just Kids. “I was fascinated by her

Fashion Design graduate Kara Laricks. After being awarded a six million dollar design

relationship with [the late photographer] Robert

After winning a Council of Fashion Designers

prize in a final episode watched by an estimated

Mapplethorpe and surprised to learn about

Association scholarship to the Academy, the

8.6 million viewers, Laricks wasted no time

Smith’s prominent feminine side when I had

former fourth grade elementary school teacher’s

designing her own collection.

been so taken with her outwardly androgynous style,” she adds.

menswear-inspired Spring Summer/2009 women’s line line closed the Academy’s

Her designs have subsequently been seen on

Mercedes Benz Fashion Week show in Fall 2008.

the likes of supermodel Joan Smalls for H&M

Laricks has a way of bringing a brilliant

– and Kara personally flew out Stockholm to

sophistication to masculine styles. Her talent

participate in the photo shoot.

resides in providing an unspoken elegance to

Even greater success beckoned. Although

boyish elements. The Huffington Post website

Laricks passed up the opportunity to be on Project Runway in order to finish her final

Yet another highlight occurred when Salome

referred to her androgynous looks as “borrowed-

Academy collection, she couldn’t resist the

Agrippa of HBO’s “True Blood” fame donned

from-the-boys” and Laricks happily accepted

bright lights of television.

one of Larick’s gowns on the red carpet.

the compliment, as it reaffirmed her individual design aesthetic: a successful marriage of

Her first eponymously named collection, “Kara

Fashion Star, gaining the approval of mentors

Laricks,” premiered during the Spring ‘13 season

John Varvatos, Jessica Simpson, and Nicole

of New York Fashion Week, where her designs

Following her graduation from the Academy,

Richie as well as the buyers from three major

were exclusively bought by Saks Fifth Avenue.

she followed her heart to NYC where she had

retailers – Macy’s, Saks Fifth Avenue, and H&M.

Since then, Kara has continued to grow her line

an internship with a women’s wear designer,

She also came out as gay in the course of the

and designed a new Fall/Winter 2013 Collection.

then was promoted to assistant designer before leaving to start a small accessories business,

show but subsequently told Glamour magazine that although she’d been “a little worried about


masculinity meeting femininity.

In 2011, she won the first season competition of

“My inspiration always comes from my love

Collar, Stand + Tie, producing ties and scarves




out of her home. Home is a one-bedroom

difficult choices she made along the way, the

AC: You were given the chance to be on Project

apartment she shares with her girlfriend

key to her career success, and the benefits of

Runway but passed it up to stay in school. Did

Melissa Gunnell in the Lower East Side (LES)

“starting small.”

you have any regrets about that choice?

ASHLEY CASTANOS: You’re originally

KL: I made the decision to change careers from

“Many nights we squeezed take-out on a table

from Kansas. How was the transition moving to a

education to fashion for many reasons – one

that housed my sewing machine, laptop, labels,

bustling city like New York?

of which was to feel the freedom of being out


tags and stacks of fabric,” she recalled. The


[openly gay] in my chosen profession.

space was small but well worth the affordability

KARA LARICKS: My “inner voice” always

to continue ordering delicious LES takeout.

told me that I belonged on one of the coasts.

The years I spent at Academy of Art University

Despite her subsequent success, they still

Making the move from Kansas City to San

were personally life changing. In an environment

currently reside there and couldn’t think of a

Francisco was a perfect stepping stone to

where I was learning the design skills I had

place they’d rather live.

prepare me for my eventual move to New York

always had a passion for and without a care in

City. When I arrived in New York City, I was fresh

the world about who knew I was gay, I flourished.

She handles her opportunities – and

from the California sun and I had design stars

transcontinental travels – with aplomb and

in my eyes. Living in New York takes a lot of grit

Each garment I created for my final collection at

style. In the course of a conversation, Laricks

and determination, but the payoffs have been

the Academy had a right angle somewhere in the

opened up to me about her creative journey, the

beyond my wildest dreams.

pattern to signify the box I felt I was kept in as a

semi-closeted lesbian teacher [in Kansas]. When

Most importantly, I have reconnected with so

KL: I believe in the power of kindness, positivity,

I watched my collection walk the runway at the

many people from my past and continue to hear

laughter and forward movement. The most

end of my Academy program, I officially broke

from fans around the world who identify with

successful steps in my career have been those

free from that box.

my story and aesthetic.

that I felt would not only benefit me, but had the potential to benefit those around me. I’ve

AC: How has your life and career changed since

AC: What is your design process?

learned to trust my heart and my gut, and when an opportunity feels right, I take it and I run as

winning Fashion Star?

KL: I am not an illustrator – I prefer to work

fast as possible!

KL: When I won Fashion Star, my design

directly with fabric on a dress form. My goal with

dreams came true. I was able to lead a team of

each new collection is to build on what I loved

AC: Can you recall any influences that inspired/

pattern makers and sewers to create capsule

from the previous collection and to constantly

encouraged you along the way?

collections for H&M, Macy’s and Saks Fifth

strive for a better fit – while at the same time,

Avenue. Under my direction and in my signature

maintaining my masculine meets feminine

KL: Creatively, I look to designers Yohji

masculine meets feminine aesthetic, my team


Yamamoto, Jil Sander and Thom Browne. In

developed my designs and made my vision a

terms of style - unique women who stand apart

reality. Prior to my time at the Academy, I was a

AC: Why do you think you’ve been so

from the typical “body con” crowd like Janelle

fourth grade teacher, so winning Fashion Star


Monae, Cara Delevingne, Tilda Swinton and

was certainly an affirmation of my career change.

Diane Keaton inspire me.



I am continually encouraged and inspired by

in NYC’s garment district can teach you where

KL: I never envisioned that my stint on a reality

the incredibly hard working designers who

to find fabric, trim and get buttonholes made.

competition television show would afford me

are successfully running their own companies

the opportunity to share my reality as a member

season after season, like knitwear designers

If you want to start your own line, start small.

of the GLBT community, but it has. I now get

Karen and Marie Potesta (also Academy of Art

Find a niche and get very good at one item

the chance to travel across the country and

University graduate) of Micaela Greg. Finally, I

before launching an entire line. Take the

share my story in hopes of inspiring others to

wouldn’t be able to do anything I do without

opportunity to focus on one item – perfect

follow where dreams lead.

the support of my mom, sister and Melissa.

the design, secure production and get a good handle on marketing, advertising, promotion

So what’s next? Designing, traveling, inspiring

AC: Do you have any advice for aspiring

and selling. Your instinct will be to do it all at

and a table clear of everything but Lower East


once, but trust me, slow and steady wins the

Side take-out.

race and patience and determination in the

KL: My advice is to stay kind, focused and

fashion industry is key.

determined. Get some “real world” experience by working for other designers. If you have the

AC: What’s next for you?

right attitude, fetching coffee for a design team


credit where credit is due From printing presses to online options, fashion journalism continues to make its mark by IAN MACKINTOSH photo ISABELLA BEJARANO

Academy of Art University’s always stylish School of Fashion became even

“Last but not least, fashion is a topic that interests everybody,’’ added

more so in the spring of 2013, when it was announced that the Bachelor and

Palmer, the former fashion editor of the San Francisco Examiner and author

Masters programs in Fashion Journalism had been officially accredited.

of Fashion People and Adam & Yves.

The new programs, led by Fashion Journalism Coordinator Paul Wilner in

“This is a great opportunity for Fashion Journalism students to get in on the

conjunction with the other ambitious initiatives at the school, consolidate

ground floor,” said Wilner, the former editor of the San Francisco Examiner

and streamline classes so students can get the maximum benefit in the least

Magazine and the San Francisco Chronicle Style section.

amount of time. “The growth of the Internet has significantly added to professional Gladys Perint Palmer, Executive Vice President, Academy of Art University

opportunities in the field,” he added. “If students can marry technical skills

Artistic Development hailed the move, saying, “Fashion journalism is an

with understanding the basics of the trade, they will be well positioned for

excellent profession. We can ask questions that otherwise would be impolite

the future.”

or politically incorrect. We can go to fashion shows, see the latest styles, without spending any money [and] meet industry movers and shakers.”


The Academy is the only school in the United States that offers a fully

accredited program in Fashion Journalism. The program is also open to

Fashion Journalism students contribute to Fashion School Daily, 180

students majoring in other subjects, from Merchandising to Multimedia

Magazine, the Academy newspaper and other venues, and intern everywhere


from Conde Nast publications to 7x7 here in San Francisco. Students have also had the benefit of candid panel discussions with industry stars like

The field has changed considerably from the early stereotypes of fashion

Cathy Horyn, former chief fashion critic of the New York Times and Suzy

journalism in films like “Funny Face’’ – or even “The Devil Wears Prada,”

Menkes, longtime fashion editor of the Herald Tribune who has recently

as social media have opened up new opportunities and platforms, from

switched to the International editions of Vogue.

longstanding outlets like Conde Nast to web sites developed by many longstanding retailers and relatively new forums like Refinery 29 and The

The future is shining brightly for this once-troubled field. This program

Business of Fashion to sites like Nowness.com, funded by LVMH.

is aimed at providing students with the skills they will need in order to succeed in it – and make journalistic history on their own.

The barriers of the past are disappearing, and while print journalism continues to face challenges, other doors are opening.







Notes from the Underground: The Hidden Past of the School of Fashion’s Polk Street Headquarters

Fashionable students and faculty coming and going into the stately building between Turk and Eddy streets no doubt learn to choose their routes carefully given the Tenderloin’s sketchy reputation.

But the latest gentrification efforts in the neighborhood – a burgeoning of galleries, restaurants, including Brenda’s sizzling soul food place across the street and ateliers harken back to an earlier period in San Francisco history. Originally built in 1912 by the German Association, the Polk street building, then known as the Rathaus, was a social epicenter at a time

written by Paul Wilner photography by Simon Ungless

New fashion students entering the halls of 625 Polk Street are probably unaware of the building’s illustrious - and frequently checkered - history.

While visitors have included the likes of famed French designer Jean Paul Gaultier and East Coast shoe king Kenneth Cole, not to mention lifestyle queen Martha Stewart and British fashion royals Sarah Burton and Philip Treacy, many others have filled the facility’s spacious first floor auditorium in the course of its checkered history. when Polk Strasse was the main commercial street for San Francisco’s The illustrious and colorful list includes the likes of Janis Joplin and

sizeable population of German immigrants. In 1914, the name was

the Jefferson Airplane in the heyday of the 1960s to early gay rights

changed from Das Deutches Haus to the more Americanized

activists from the Council on the Religion and the Homosexual who held

California Hall. 

a costume party to raise money for the organization in the building then The area has impressive literary antecedents as well. As noted on the Nob Hill in San Francisco website, Frank Norris’ McTeague, the dentist who was the protagonist in the novelist’s 1899 work, subsequently adapted into two movies, including Greed, directed by Erich von Stroheim lived on mid-Polk, just a few blocks north of the School of Fashion’s current home. McTeague’s Saloon is currently located at Polk near Bush.

In the novel, Norris describes the society ladies who strolled down Polk Street before the Great 1906 Earthquake destroyed their Van Ness Avenue mansions: “Towards eleven o’clock the ladies from the great avenue a block above Polk Street made their appearance, promenading the sidewalks leisurely, deliberately…. They were handsome women, beautifully dressed. They called California Hall – only to have it broken up by the San Francisco

knew by name their butchers and grocers and vegetable men. From his

Police Department, who snapped pictures of the attendees in a blatant

window, McTeague saw them in front of the stalls, gloved and veiled and

attempt to intimidate them.

daintily shod, the subservient provision men at their elbows, scribbling hastily in the order books. They all seemed to know each other, these fashionable ladies from the fashionable avenue.”


Well, the fashionable part still applies.

McTeague came to a bad end, even having his dentist’s license yanked after a dispute with his wife over $5,000 she won in a lottery but refused to share. (He retaliates, after a lengthy sojourn in Death Valley, by getting drunk and beating her to death…a parable that presaged later Gold Rush misadventures.)

But exciting developments remained at the Polk Street facility, which has earned a place in California history in more ways than one.

On Dec. 31, 1964, the Council on Religion and the Homosexual held the afore-mentioned Mardi Gras costume party at California Hall. Members of the group included Del Martin and Phyllis Lyon, two pioneers of the gay marriage lawsuit years later, which ultimately ended being ratified by the California and federal Supreme Courts.

Four people were arrested (not including Martin and Lyon) after the police took photographs of the attendees but were denied admission because it was a private event. The official records of this incident are now housed in the James C. Hormel Gay & Lesbian Center at the San Francisco Public Library.

Reverend Robert Cromey, executive assistant to Bishop Pike of Grace Cathedral and Rev. Cecil Williams, the long-time minister of Glide Community Church, were among those who supported the event – they even tried to get arrested, although the SFPD refused to take the honorable clergy into custody.

The incident became such a scandal that former San Francisco Mayor John Shelley called Police Chief Thomas Cahill on the carpet, and Municipal Court Judge Leo Friedman subsequently ruled that there was insufficient evidence to convict any of those arrested of obstructing the police – if anything, he said, the police presence was aimed at disturbing the party.

While the incident was an iconic moment in pre-Stonewall gay history, even wilder days lay ahead.

By the mid-60s, the psychedelic revolution was in full swing in San Francisco.

Some of the first freewheeling rock concerts – later to become commonplace at the Fillmore Auditorium and elsewhere – took place at California Hall, where the Jefferson Airplane and the Charlatans appeared on January 8, 1966.


Organized under the auspices of a communal group called The Family Dog (motto: “May the baby Jesus shut your mouth and open your mind”), a communal group organized (extremely loosely) by nascent entrepreneur Chet Helms, subsequent acts booked into the venue were the Electric Train and Big Brother and the Holding Company, starring a transplanted Texas blues singer named Janis Joplin in February.

Joplin also reportedly hung out and performed at the dive bar The Brown Jug on Eddy Street and the late, great jazz trumpeter Miles Davis recorded one of his most famous discs at the Black Hawk, located on Turk and Hyde from 1949 till it closed in 1963.

By April of 1966, The Charlatans, fronted by singer-songwriter Dan Hicks, were back at California Hall, along with the intriguingly named rock bands The Mystery Trend and Wanda and Her Birds.

And it wasn’t just musicians who made this venue their mecca. Poets like Lew Welch, harpist James Broughton and Kirby Doyle read from the stage, and longtime San Francisco radical activists with the San Francisco Mime Troupe performed pieces, while other folkies and rockers including Moby Grape, Quicksilver Messenger Service, Country Joe and the Fish, and Steve Miller also appeared, amid the flashing light shows considered de rigueur at the time.

By late 1967, the scene had migrated up the street to the Avalon Ballroom (now the site of the Regency Theaters on Van Ness Boulevard and Sutter Streets) and the Fillmore Auditorium, run by Bill Graham in a fashion that was considerably better organized, if less fun.

But the spirit of the ‘60s still remained in the place, even as it was occupied for a time by the California Culinary Academy and, for the last two years, by Academy of Art University.

The fashion students who crowded the Polk Street Atrium to hear Jean Paul Gaultier’s enthusiastic encouragement or gather in the balconies to prepare their next transgressive artistic experiments are surely channeling the creative souls who have been there before them.

As George Santayana remarked, those who cannot remember the past are condemned to repeat it.

Surely the Academy fashion students of 2014 – and for years to come – can learn from their famous forebears, even as they set out to blaze trails of their own.


luminous visionary written 34








With her fashion photography career already prospering, Academy of Art University Fashion Journalism student Heather Perry continues to explore new vistas. From New York Fashion Week to Wilkes Bashford, she is carving out a stylish niche in the fashion scene – all while carrying a full school workload.

Heather Perry knows a thing or two - or more - about what it means to take charge of one’s own career and adamantly pursue your most farfetched dreams

Since beginning her professional photography career four years ago – but having been involved in photography for nearly fourteen years now – Perry has built an enviable rapport and resume that includes being published everywhere from The New York Times and Nylon magazine to making it to New York Fashion Week, shooting for multiple shows at the almighty destination for countless fashion hopefuls.

Perry has been the consummate fashion enthusiast for as long as she can remember; beginning with ripping out editorials from her favorite fashion magazines and covering her bedroom walls with them, she eventually began documenting what she enjoyed most about the editorials, be it the clothing, lighting, models or set locations.

Having “grown up all over the place,” travelling with her family from San Francisco to New York before finally settling in Colorado, Perry is also well versed in the trials and tribulations of adaptation. She has in her own words, “pretty much redone that loop and will bring it back full circle when I finally decide to resettle back in New York…. .By nature, I can’t stay in one place too long.”

Before deciding on the world of fashion photography, during her stay in New York, Perry delved into multiple corners of the industry to find exactly what her calling in the fashion world was.

“I worked as a model, which I hated,” said Perry emphatically. “I assisted stylists and liked it but was more interested in what the photographer was doing. The first time I went to Fashion Week, I was in the audience and I wasn’t even


watching the show. I was fixated on the photographers and the sound of the shutters clicking got me and I knew that was it.”

Despite discovering her innate talent by teaching herself how to shoot, Perry deemed her education in the photography field a primary necessity to perfect the technical concepts. She enrolled in school and had no intentions of making her scholastic career an elongated process and began with only a small amount of classes. She completed all of the requirements for her Associate of Arts Degree in Photography at City College in San Francisco and earned awards for her coverage of New York Fashion Week for the school’s Etc. magazine. Not content to rest on her laurels, while still enrolled in school, she stepped out of her comfort zone and contacted various fashion photographers to inquire about assisting them.

Then, she says: “I came across the work of Daniel Watson, who at the time was a student of Photography at Academy of Art University and I fell in love with his work. I sent him an e-mail to see if he needed an assistant, we met and the rest is history.

Perry began assisting Watson, the founder and editor of the New York-based fashion publication, LIVID magazine, then eagerly initiated New York fashion shoots of her own.

Her road to professional success was also dramatically enhanced by her “dear friend’’ Richard Renda, a long-time figure on the East Coast fashion scene, who introduced her to other players in the field and significantly mentored her career.

There is much to be gained in this industry by the person who is unafraid to network and thoroughly create genuine and longstanding connections with other willing professionals. It is apparent that Perry need not be reminded of this virtue, since her connections and ability to maintain relationships have propelled her to unreachable heights for some. None of this would be possible, needless to say, were it not for her unique talent as a shooter, from street style to corporate work and travel photo journalism.

“Almost all of my experience has come through maintaining relationships that I had previously made in the industry. They say it’s all about who you know and it’s so true,’’ said a reflective



Lynn Yaeger, contributing fashion editor to Vogue.com and a contributing writer to Vogue.

Perry. “When I started to see the results from stepping out of my

constant hustle in the city.

comfort zone, I also started to see growth within myself.” Within two weeks following her decision to live “where no car was While reaching the height of Fashion Week would be the ultimate

necessary,” she was a San Francisco resident and Academy of Art

goal, for Perry, it meant that she was just getting started.

University was Perry’s destination to study Fashion Journalism. Her decision to return back to school was fueled by the hopes of fusing

After her initial East Coast experience, she advanced to cultivating a

both journalism and photography professionally by being employed

new aspect of her career through her blog “Vintage Slang.” Through

for both at a publication.

this platform, Perry has tied words to her images, bringing her back to her adolescence and interest in fashion writing.

“Vintage Slang” was initially a documentation of Perry’s favorite fashion shows, then blossomed to a portfolio of recent work and also


Perry started to enjoy writing again and, “…figured I should start

houses a now favorite photographic activity of hers, arresting self-

doing more of it. I started writing for a few publications and decided

portraits. She has travelled from Miami, Hawaii, Yosemite and Mexico

I wanted to get into a journalism program.” She decided to make

City, where she posts reflections of her trips and portraits of herself.

the move from New York to the West Coast after growing tired of the

Perry admitted that she has always enjoyed being behind the camera

Designer and actor Waris Ahluwalia with designer and filmmaker Arden Wohl

rather than in front, but shooting herself has slightly diminished

for an in-house photographer at esteemed retailer Wilkes Bashford,

that fear.

she jumped at the opportunity to shoot their luxe products.

Her street-style photography has twice been featured in the New

After having grown accustomed to the freelance life, where one is

York Times, with shots of a cheeky East Coast chick decked out

able to solely own how and where to gauge where efforts and time

in Tommy Hilfiger duds with a Brooklyn Nets cap and “Dressed

are spent, being contracted in the corporate environment of Wilkes

Up Sweats,’’ a shot of a beshaded fashionista looking every bit as

Bashford was a welcome challenge for Perry.

confident as Ms. Wintour behind her shades. And besides the Times, Nylon and LIVID, her work has also been featured in Wcities, a San

“Working at Wilkes Bashford has definitely switched gears in

Francisco-based travel and entertainment site, Examiner.com and

the way that I was used to working, mainly because product was

UPTEMPO magazine.

something that I had lightly done before,” she says. “It has been amazing working for this brand because it was the next goal I had

Through perfecting her runway, self-portrait and street shots, Perry

set for myself!”

has ventured into nearly every coveted genre of fashion photography. In true East Coast fashion, however, after coming across an opening

In viewing Perry’s work, there are few noticeable influences but



DNA model Adonis Bosso

her keen eye and distinct perspective voice a difference in her work that separates her from the average budding photographer. Her work is stark and bold and forces one to delve into the who, what and why and places her subjects on a platform where they can be upheld and revered. There is also softness and an inviting quality that opens a whole other dimension to what it is that she captures.

Perry has noted that she is without doubt influenced by the great classics: Irving Penn, Herb Ritts, Richard Avedon and Helmut Newton. However, one can deduce that the starkness of her images stems from her modern influence, Terry Richardson.

“I draw a lot of inspiration from Terry Richardson,” she says. “Regardless of what many people think of him, he is a brilliant photographer. I’m a huge fan of his signature flash lighting, but beyond that, I’m inspired by his ability to shoot anyone from Oprah to Barack Obama and have the ability to make it his. His ability to take these people and inject some of his personality into the shots and pull out a little of their personality that we’re not used to seeing, that is inspirational to me.”

Perry’s progressive yet ever-growing levels of success in fashion photography and beyond are as striking as Perry herself. The clear-eyed gaze in her self-portraits is a window into her aesthetic.

There is a hunger and definite will to be the most developed version of herself that has apparently pushed her thus far in her still youthful career. Her versatility and experience speak much to the state of the industry today, where one’s success is not just determined on one level of expertise, but various levels. The ability she has to adapt to constant change and thrive in areas that others might find overwhelming means that this is just the first of many introductions to Heather Perry and her luminous work.



INVISIBLE CLOAKS words and illustrations by


Here is how, and why, I started drawing on a

method is far from perfect and getting a white

borrowed iPad at the end of November 2013.

background, impossible.

I was convinced that digital art was not for me,

I had been commissioned by the San Francisco

If the colours glow, the background is dingy

that real drawing, using real art supplies, getting

Chronicle to send drawings from the Paris Haute

– quite useful on occasion when drawing a

my fingers covered with real ink, was the most

Couture, in January 2014, for their online blog,

snowstorm outside Dior – but not as a

important part of my real life.

SF Unzipped.

general rule.

When Simon Ungless suggested a piece about

When I traveled, I used to draw on paper, lay

It may be adequate to post on Facebook, but not

iPad drawing for 180 Magazine, I hesitated.

down the illustration near a window in daylight,

to print on the blog of a major publication.

I am in love with drawing on the iPad.

Having drawn on paper for over half a century,

photograph it, download to iPhoto on my In order to draw on the iPad one must be able to

laptop, try to enhance it, and then email or post

A friend, Dawn Stofer, who had been using

draw really well on paper.

on Facebook.

Paper53 application for years and had been trying to convert me to the iPad was delighted,

I do not encourage our students to attempt the

In Paris, time is of essence, running between

at last, to show me how. Fortunately Dawn is an

iPad until they have learned to draw – blind

shows. Photographing a drawing in the evening

accomplished artist.

contour, grid suit, negative spaces, the torso, the

is not possible because artificial light turned

head, hands, feet and more.

everything yellow.

She made the process far more interesting than the banal, dismal demonstration that comes with

Anyone who says “I can’t draw hands” should

Even in daylight (mid-day is best but that’s a

the app. Had I first seen Paper53’s boring and

not get his, or her hands on an iPad.”

time when there is a fashion show or three) this

badly drawn rendering of a coffee cup, I would have dismissed the iPad outright.




On Aura Tout Vu in black light.

It was clearly a good solution for the San

I went to see David Hockney’s iPad drawings

If asked, I shall certainly suggest that Paper53

Francisco Chronicle (though the drawings

at the de Young Museum. He had given digital

should improve the demos.

for the newspaper, published on Sunday

drawing credibility. One great advantage to drawing on the iPad is

February 9th in the Style section were drawn on paper with ink and water color, and scanned

I must admit I was disappointed. His earlier

that I am covered by an invisibilty cloak. I can


work (on paper and canvas and his designs for

draw in public and nobody notices.

the stage) are brilliant. In comparison, his iPad I started practicing every day.

drawings less compelling.

I have sat on a ferry with passengers standing right over my seat who never noticed what I


At first I found the size of the screen truly

Recently Paper53 found me and inquired if I

was doing. Had I been drawing in a sketchbook

limiting and getting a whole figure to fit very

was using their app. (I delete the words ‘Drawn

I would have attracted some unwelcome


with Paper’ before posting).


Everyone is busy poking and smearing on

Colours can be mixed and saved. The

I won’t go on, because everyone must discover

iPhones and iPads and other hand-held devices.

paintbrush has a character of its own and can

his or her technique.

be used in many ways. BUT, PLEASE, ONLY AFTER YOU HAVE

Paper53 comes with colours and tools. It is important to buy the complete set.

A drawing can be saved, then changed. Each


time I save I have a slightly different result and Personally I like the thin and the thick tools,

can select the best version.

Gladys Perint Palmer is Executive Vice President, Academy of Art University Artistic

and the paintbrush. The pencil is not my favorite. The eraser can produce wonderful

The background can be luminous white or

results around the edges. And of course it can

deep black with white lines and the colours are

clean up a mess.

always brilliant.







Insect brooch by Kaori Chiba, BFA Jewelry & Metal Arts. Opposite: Cuff by Dale Beevers, MFA Jewelry Design.

written by TONISLAVA DOCHEVA photography by JEFFRY RAPOSAS



Leading-edge digital tools with a backbone

Some of these techniques include ceramic

laser cutter and Zbrush, a 3D modeling

of traditional techniques that pioneer

sculpture, centrifugal and vacuum casting,

software, “place emphasis on conceptual

authentic pieces of art are the outcome

rendering, and enameling, which is an

designs that depart and expand the ideas

of the new Jewelry and Metal Arts major

ancient material. Essentially, enameling is

of traditional jewelry and wearable forms.”

at Academy of Art University. The highly

“the art of fusing glass and metals to create

These exciting new classes have students

anticipated department made its debut

colorful designs and surface enhancement,”

exploring completely new dimensions of

in Spring 2013, and is now going on

according to the course catalogue. The

their work.

strong heading into its fourth semester.

second-level enameling course further

It is rapidly expanding and has become

explores the technique and combines it

Unleashing creativity without boundaries is

a driving force of many collaborations

with the metal work skills that students

the ultimate goal of the art produced here.

within the departments in the school.

have learned in other classes to create

Director Modena puts great emphasis on

Students fully immerse themselves in

sophisticated bodies of art.

the importance of organic creativity and the individual’s unique voice.

classes that give them a wide perspective of different techniques, as well as career building skills that they can utilize in their personal and professional work. Offered as both a Bachelor and a Master of Fine Arts program, the original and innovative work that is created in this department is refreshing.

“We are all aware of trends, but our students are taught how not to be bound by convention.”

Faculty and students often refer to the major as JEM, but don’t let the charming

In addition to these historic techniques,

“We are all aware of trends, but our

acronym fool you: this is a tough major

the major now offers the most innovative

students are taught how not to be bound

that exposes students to a variety of

organic 3D modeling and printing and

by convention, and how to avoid the

difficult techniques. Department Director

digital design laser cutting classes. Gordon

trap of blindly following fashion and

Charlene Modena says that although we

Silveria, who is the Associate Director of

art world trends,” she says. “Rather, they

have “… a lot of traditional techniques,

Arts Technology, created these classes.

are encouraged and coaxed along a path

our focus is on contemporary outcomes.”

State-of-the-art equipment like the CO2

where they can develop a distinctive voice


Bag by Ashley Lagasse, BFA Jewelry & Metal Arts

in synergy with critical thinking, and the

designs and are frequently collaborating with

student Jaide Lennox, from the Fashion

ability to always ask why? All of this takes

students from the photography, styling, and

Design program.

place while they engage in an artist’s intimate

fashion design departments; most notably,

dialogue, which includes, not excludes,

the collaborations between fashion design

Lennox explain that a “surrealistic desert

culture at large.”

students during the academy’s shows at New

vibrant in color and abstract in shape”

York Fashion Week and the Spring Show in

inspires her designs. Cope is morphing her

San Francisco.

jewelry to work with the fashion designer’s

The focus is on “how you are influenced by what goes on around you, but also what goes on inside you; it’s a point where these two

The 2014 Spring Fashion Show featured

bicep and wrist cuffs. The armor jewelry is

meet, a quality of bringing out who you are,

three collaborations between fashion

inspired by sacred geometry and created by

which is a very organic process,” she adds.

designers and students in the JEM school.

using etched metal and laser cut Plexiglass.

Zoe Cope, who graduated Spring 2014 with

Her process is detailed. “First I generate

The work that the students in this new

a degree from the department, showed

graphic geometric designs in Adobe

program produce is humbling and, indeed,

her work at the Spring Show through

Illustrator. I print and etch the design on

highly individualistic. They have been

collaboration with undergraduate fashion

copper, shape it, and cut Plexiglass to fit into

wowing us with their intricate and elaborate


concept of the desert by creating forearm,

the geometric shapes.”

Insect brooch by Kaori Chiba BFA Jewelry & Metal Arts

Plexiglass is a material not often found in

Collaborations between talented designers

when one enters a JEM classroom. Students

high fashion jewelry and looks bold and

like Jaide Lennox and Zoe Cope show us the

are engaging, interacting and feeding off of

unconventional. “I then color the metal

new generation of trendsetters.

each other’s creativity. The major has formed inseparable friendships – and even business

with hammered gray spray enamel and use


a dry brush technique with black acrylic

The JEM major calls the 410 Bush Street

paint to give the pieces a slightly ancient

building its home, and has three rooms that

feel,” says Cope, who thoroughly researched

allow students to work on their projects

Zoe Cope and Ashley Lagasse, another

sacred geometry instead of just winging it.

during and after class. Currently, there are

alumna from the JEM department, have

Although she “struggled with using exact

“eight part-time faculty [members] who teach

taken their expertise and similar ideas to

sacred geometry designs for the etchings,

every semester or every other semester, two

develop their own jewelry company called

[she] decided to follow [her] gut and creative

part-time instructors who only teach online

Birds .N. Bones.

eye and ended up making designs that

(although the classes they will be teaching

were way cooler than anticipated.” Overall,

haven’t started yet, and two instructors…

The two ladies first met in a casting class

the designs are graphic yet understated

who teach the digital 3D modeling classes,”

that they were in together, where their first

because they are all gray, which balance out

explains Director Modena. There is a

jewelry piece came alive.

the vibrant colors in Lennox’s garments.

constant buzzing flow of creative energy



Cuff by Dale Beevers, MFA Jewelry & Metal Arts.

“My first mold that I ever made was a rib

come in all of the valuable techniques that

Currently, the two are working on a spring

mold, and it’s our highest selling piece

they had learned in the JEM department,

collection that is influenced by the character

[at Birds .N. Bones],” says Cope. The Birds

utilizing sautering, which is gluing metal

Khaleesi from Game of Thrones’, the “mother

.N. Bones website, featuring their line of

together with metal for the clasps.

of dragons.” They are inspired by this theme and are using the molds of badger teeth

necklaces, rings, and earrings, was launched on Halloween 2013. Which is suitable since

Managing a full-scale company is a task

and claws to market them as dragons, a

they have a witchy and dark feel.

within itself and this major has well prepared

very clever take that will undoubtedly be

them for it. “Branding has been a huge thing

successful. Lagasse knows they are “not the

“With muses like birds, bones, taxidermy,

for us and our success so far. We really knew

only ones out there casting bones…but we’re

gothic novels, earth and life sciences, the

who we were as designers and what company

really building a brand,” she says, “and the

jewelry of Birds .N. Bones lends itself to

we wanted. It’s really helpful that all of our

fabrication level is really superb and sound.”

imagery of witches and other supernatural

pieces online are listed with their scientific

Indeed, there is a sleek and sophisticate

beings wearing these pieces,” Cope describes.

name and that’s from Lagasse’s previous

feel to their pieces that speak to a market in

The process of creating these pieces, however,

degree in Biology and our love of earth

which there is demand, and they are rapidly

is a world of its own, “we start with finding

science,” describes Cope, who was studying

on their way to success.

bones that we like in nature, make a mold,

Advertising before she switched her major

and cast them in metal,” says Cope. Then

to JEM.


Brooches and rings by Wavy Yucen Tang, MFA Jewelry & Metal Arts

Like these two talented ladies, graduating

There are different career options that a

comes from being intimately in touch

with a degree from the Jewelry and Metal

student can take. Talented and hard-working

with your creativity and raw emotions,

Arts department at the Academy has given

alumni have gone on to become very

and letting it come out in your work. The

JEM students a competitive edge because

successful with their careers. Alumni Elliot

School of Jewelry and Metal Arts nurtures

students are prepared for a career in the

Gaskin has become a “one-of-a-kind limited

that creativity and allows students to fully

field. However, the faculty does not push

edition” jeweler creating custom work that

embrace it by teaching them traditional as

them in a specific direction but instead gives

was featured at the Velvet da Vinci gallery

well as contemporary techniques, which are

them the skills and knowledge to make their

in downtown San Francisco. Others have

the foundation to becoming a great artist.

own decisions.

become entrepreneurs and opened up their own businesses like Anna Sheffield, who

Director Modena says, “Many students

has built an empire out of bridal and fine

go on to work in galleries, or to work for


other artists, trunk shows and craft fairs,


and develop their own work through their

These success stories are much a part of


hard work as they are talent. Great art

Neckalce by Dale Beevers, MFA Jewelry & Metal Arts


This is Not Project Runway written by SARAH LEMP photography by ALDO CARRERA styling by SIMON UNGLESS clothes by WEI BAI + JIANXIA JI








At the half-way stage of the Master of Fine Art degree,

We sat down and spoke with the designers about their

candidates present their midpoint review. They show the

experience launching a line, and the process of pre-collection.

work completed over the duration of their studio courses and propose what they plan to do for their senior thesis project.

What was the aesthetic you were going for? What was your

For designers in the School of Fashion with their sights set

main source of inspiration?

on showing at the School of Fashion’s show during MercedesBenz Fashion Week, this means presenting their pre-collection.

WEI: Chic, easy and modern. We want people in the busy world to look chic and not spend too much time styling

When MFA Fashion Design students, Wei Bai and Jianxia Ji,

themselves. We want them to have fun with the clothes. This

decided to collaborate on their pre-collection project, they

collection was inspired by the 1960s. The silhouette of the

challenged themselves to produce and present a retail-ready

garments, the lifestyle of the women, and the change of their

collection of 45 looks and used the opportunity to launch their

mindset during this time were all points of inspiration for us.

brand, EMIT. What originally inspired the name EMIT or “TIME”? Their talent did not go unnoticed by the midpoint review panel and in the fall of 2013, Wei and Jianxia were asked

JIANXIA: On the day of the fashion show, we invited people

to present their EMIT Fall/Winter 2013/14 Collection in

from different cities and countries so that it was not only a

a combined runway show and photo-shoot. The EMIT

local audience. They came from different time zones and had

presentation exemplified the university’s collaborative spirit.

different “jet lags.” In Chinese, jet lag means an upset in the

Not only did the two designers have the opportunity to

order of TIME, so we came up with EMIT.

work together on the collection, but the student-run fashion club, Beyond the Front Row (BtFR), worked together on

WEI: To me, time means memory; it tells stories. History has

producing the launch event. As a BtFR board member, I had

always been one of my favorite topics to study as well as the

the opportunity to work closely with these two inspiring

clothes from past fashions. Each period of time has a different

designers on casting, booking and fitting the models,

story, and so does the clothing. Time passes, but stories remain.

designing the runway, the lighting and music as well as

EMIT means that we select the stories from the past and

managing the backstage production at the event.

combine them with modern elements to emit to a modern look. We want the designs to make people look chic and modern, as

As we stood amongst the photographers and models before the

well as associate the story in that time.

show started, I sensed we were part of something remarkable, setting a new precedent in the midpoint review process.

What went into pre-collection? How did your line evolve throughout the process?

Wei and Jianxia certainly proved they had the ability to “wow” with a pre-collection and I look forward to seeing the

JIANXIA: With this collection, I learned what goes into a

Spring 2015 collection they are working on for the university’s

runway show while also finding our target audience. Before

September show at Lincoln Center.

we began designing, we did a lot of market research. For the runway show, we needed every piece to be perfectly placed all while finding the balance between wear ability and design.


We have seen much change in the fashion world due to globalization - How do you think that effects the connection between the West (U.S.) and China?

WEI: Many Western designers nowadays get their inspiration from China. On the other hand, more and more young Chinese designers choose to study abroad in the U.S. and bring that aesthetic back to China. It is a constant exchange of fashion culture.

How did you grow as designers? How were you able to merge Asian and Western cultures into this collection?

WEI: The fashion field has taught me that I should keep doing what I love. Designers should have their own viewpoint in fashion…you have to know what you like and don’t like. The way you consistently design will become your style.

I don’t think there is a big difference between modern people in China and the U.S. I think the only difference is style. Differences are not only between countries, but also between people. Some people like vintage style, while others like tomboy style. We define our target market and try to understand them, and then we design with them in mind.

JIANXIA: Ever since I was a little girl, I dreamt of becoming a fashion designer. I grew up designing dresses for my small dolls. My mom’s closet was my idea of a fabric store and I would cut swatches of clothes just for a small piece of lace. After graduating from my prior fashion design university, I came to the U.S. to study fashion at Academy of Art University. With this collection, I am working towards achieving my dream.

make-up by VICTOR CEMBELLIN for Workgroup using MAC Cosmetics hair by JOEL CORTES models: DEEDEE, SYDNY, LAYLA and ANNA V. at Stars Model Management



Tunic by Gwen Shihyao Lai, MFA Fashion Design. Bandana pants by Rik Villa at www.rikvilla.com. Necklace, model’s own. Sweater (worn as scarf), UNIQLO.


Styling 101 written by JEANETTE PEACH photography by ISABELLA BEJARANO styling by SUCHANDRA BULLOCK

Behind every compelling image is a stylist

directed by the students of the program are

working on his or her magic to make ordinary

already industry standard. Student are being

objects come to life and grab the viewer’s

commissioned by companies and having their


work published well before they graduate,”

Academy of Art University understands the

explained Morton.

importance of styling and recently became

The student work coming out of the BFA

the first university in the United States with

Styling Program caught the eye of globally

an accredited BFA Fashion Styling Program.

respected brand UNIQLO, who donated

The program was created under the masterful

garments to be styled by the students for this

direction of Simon Ungless, Executive

shoot. “UNIQLO strongly believes in our

Director of the School of Fashion, and Flore

customers’ intelligence to make their own

Morton, Styling Coordinator.

style choices; we may provide suggestions, but

“We have set the bar high, and expect to be not only the first, but also the best for a long time. Now that Fashion Styling is an accredited program, students are able to take classes in a specific sequence that introduces the skills that are needed. The quality of the photo shoots styled, produced and art

we never dictate looks,” said Jean EmmanuelShein, Marketing Director, UNIQLO USA. “We feel that the unvarnished creativity displayed by the students in the Fashion Styling program at Academy of Art University is also reflective of this ethos and that the styling itself is refreshingly natural.”



Turban, UNIQLO v-neck sweater. Pants by Gwen Shihyao Lai, MFA Fashion Design. Long shirt by Frank Tsai, MFA Fashion Design and Andrea Nieto BFA Textile Design. Beaded necklace, model’s own.


Coat by Gwen Shihyao Lai, MFA Fashion Design.. Pants by Ryan Mora, BFA Fashion Design and Melissa Avalos, BFA Textile Design. Sweater by Elizabeth Castellon, MFA Fashion Design. Necklace made from UNIQLO sweater.


Hat, Stephen Jones for Walter Van Beirendonck from MAC. Sweater, UNIQLO treated with corrosive bleach. Shorts by Gwen Shihyao Lai, MFA Fashion Design. Necklaces, model’s own.


Tunic by Gwen Shihyao Lai, MFA Fashion Design. Bandana pants by Rik Villa at www.rikvilla.com. Necklace, model’s own. Sweater (worn as scarf), UNIQLO.


Tunic tuxedo shirt, Dries Van Noten. Hat, stylist’s own.

Floral wind breaker poncho, Dries Van Noten. Tunic top by Frank Tsai, MFA Fashion Design and Andrea Nieto, BFA Textile Design. Layered pants by Didvik Kuang, MFA Fashion Design. Beaded necklaces, model’s own. Fabric necklaces, made by stylist out of a UNIQLO sweater.

model: Tucker Wiedenkeller, Exalt Model Agency

make-up and hair styling:

Lisa Teller



: creative : partners : the riches of : : written by JEANETTE PEACH by JAKE MERILL : photography styling by AUBREY KIA : all clothes by PHOEBE WANG : : : : : :


Inspired by the collection of BFA Fashion

Kia knew just the photographer for the job,

Design alumna Phoebe Wang, BFA Fashion

and called on longtime collaborator and friend

Styling student Aubrey Kia and MFA

Merill. Most recently, Merill has been working

Photography alumnus Jake Merill teamed

in NYC as a freelance photographer and

up with the designer to create a shoot

assistant to several top fashion photographers,

that captured the subtle nuances of her

and has worked on campaigns for clients such

collection. “My collection was inspired by

as Calvin Klein, Givenchy, Prabal Gurung,

workers, specifically oil workers and cooks,”

H&M and Dior, as well as editorials for Vogue

explained Wang. “What I tried to infuse into

US and International editions, Harper’s Bazaar,

my collection was an edgy, cool vibe, which I

Interview, Elle and W.

achieved by using lots of layers and different textures.”

Merill said of he and Kia’s working relationship, “There is a lot of trust between

“Just like you see in [Wang’s] designs, I

me and Kia, it’s a joint effort; we each weigh

wanted the entire production to reflect the

in on every aspect of the picture. And, maybe

juxtaposition of soft with hard, femininity with

most importantly, we know how each other

edge,” explained Kia. Beyond that, Kia stressed

works…which goes a long way.” Kia echoed

that she didn’t just want to provide Wang with

his sentiments, saying “The beauty of finding

a lookbook, but wanted the designer to have a

friends in your creative partners is that you

beautiful editorial.

don’t really have to communicate verbally—it’s all almost intuitive.”





model: CAITLIN HOLLERAN at Cast ImagesModel and Talent Agency assistant photographer: BRENO ARAGON make-up: CYNTHEA AMNATKEO hair styling: DESIREE MOON CERDA shoes by: CONVERSE + GENTLE SOULS



Shoshana Pinedo has made the transition from Europe to the States with ease and grace, pursuing a successful design career with Viktor & Rolf and following her own muses.




“I never try to limit myself with where I can find potential inspiration - you never know where it will strike next.”

Born in Amsterdam, recent Academy of Art

degree in photography at Wheaton College in

AC: What does a regular workday in the studio

University Graduate Shoshana Pinedo headed


look like for you?

in May 2013 with a final collection of luxury

After leaving the Academy, Shoshana continues

SP: It’s always different. Typically, it consists of

women’s wear influenced by the Italian artist

to consult for boutique design studios,

fittings, developing concepts and ideas for fabric

Alberto Seveso and the paper artists Richard

international ateliers and major brands;

and prints, approving strike off and sketching.

Sweeney, Matt Shlian and Norika Ambe.

designing, organizing and delivering memorable

To elaborate, concept development begins with

fashion capabilities.

a goal, or what you believe the goal to be when

East after earning her MFA in Fashion Design

Her resume offers a prestigious line of

you set out. As the creative process unfolds and

experience, working for some of the world’s most

We talked to her about where she has been – and

new elements and inspirations are introduced,

well known contemporary brands including J.

where she is going.

the goal can evolve into something you never

Crew, Kenneth Cole, and Jason Wu. She has also


anticipated, that you could never have imagined

spent time employed as an accessories designer

ASHLEY CASTANOS: What have you been

without the process itself. This is how you can

for couturiers Victor & Rolf.

up to lately?

arrive at a truly novel and unique concept.

Her education combined with her European


AC: Where do you find inspiration for your

background, along with her knowledge of high

months, I have been working on the women’s


fashion, has a heavy influence on her aesthetic.

wear team at J. Crew as a freelance Associate Designer. Currently I am designing for women’s

SP: Inspiration can really come from anywhere.

When first moving to the United State, she

novelty bottoms and suiting. It has been a great

I love going to museums. I don’t have a favorite,

overcame cultural barriers, including less

experience and I am learning the ins and outs of

there are too many to choose from. New York has

open-mindedness than she had been used to,

designing for a larger company.

a lot to offer so I try to go to at least one once

and missing her family, after coming to this

a month. I love the Stedelijk and the Van Gogh

country in 2001 to take an undergraduate

museums in Amsterdam. I like to go where the

best work is. If I am in Amsterdam and there is

in positions I could not even have dreamed

We started with research, created concept

a great fashion exhibition in Paris, I will try to

of. I started at Viktor & Rolf as an intern and

boards, and presented those to the broader team

sneak off to go see it (that’s the beauty of living

ended up in Paris as the Head of Accessories for

before narrowing them down for continued

in Europe).

the Fall 2012 Show. This was an unbelievably

development. We would sketch, make samples,

immense challenge and a lot of pressure.

receive samples from Italy, do fittings, make

I also like seeing what contemporary artists

Fortunately I had an amazing team to work with

changes and then send them back to Italy.

are working on. Like museums, I don’t have

and the show was a success.

Eventually we would get the final product in the Paris showroom and finish the season with the

one specific artist who I’d call favorite, I just

[runway] show.

appreciate great creative work. If I had to name

I was able to work one on one with Viktor

names, Andy Goldsworthy and Andy Warhol have

and Rolf, who were very nice, a humbling

both been an inspiration to me at some point.

opportunity I’ll never forget. Having such

AC: Why do you think you have been so

talented designers put that much responsibility

successful in your career?

I also love researching history and pop culture,

on my shoulders forced me to work hard and

and developing ideas from there. I never try

be at my best. I still keep in contact with the

SP: I have always been open to any opportunity,

to limit myself with where I can find potential

whole team and try to go back for shows to help

and made sure that I did everything to the best

inspiration – you never know where it will

whenever I am able.

of my abilities.

strike next.

AC: Can you explain the design process for the AC: How was your experience designing for

accessories you created for V&R?

Viktor and Rolf?

AC: Can you recall any influences that inspired/ encouraged you along the way?

SP: Viktor and Rolf would come up with the SP: I moved back to Amsterdam for the job,

concept for the next season and brief the teams.

SP: Definitely the people and experiences from

and it was an amazing experience that presented

The accessories team had a little bit more room

Viktor & Rolf made a big impact on my career.

me with some unique challenges and put me

to explore and expand on those ideas.

At Academy of Art University, School of Fashion




Executive Director Simon Ungless was great to work with. He really pushed me out of my comfort zone and empowered me to indulge in the whole process of creating.

For my senior thesis, I was working on fabric manipulations and ended up using resin to seam the garments together and to create panels. I think most teachers would have stopped me from pushing on because learning about this new material and developing a technique to manipulate it was a timeintensive process. I was tasked with producing a final collection in six months and even half way through I still had a lot to learn. I failed often but Simon was always there to support and encourage me.

AC: When you’re not doing freelance work, you are working on your own design projects. Would you mind telling us about them?

SP: Right now I am working on another small collection of coats and jackets. I think it is good to keep working on your own projects as you design for different brands. It is uncommon for me to sew or make patterns as an in-house designer, so it is nice to keep those skills sharp at home.

AC: How do you spend your time when you’re not working?

SP: My fiancĂŠ is an advertising art director so when we are free we like to do things to feed our creative minds - visiting museums, watching movies, walking in the city, and photography adventures in the country.

AC: Do you have any advice for aspiring designers? SP: Be open to any opportunity, because you never know where it might take you.


model: Avery Tharp at Scout Model Agency make-up and hair styling: Preston Nesbit, Aburi Balk Management assistant stylist: Stephanie St. Croix, BFA Styling Accessories: Drip effect stockings, Wolford. Kloud patent and lucite creepers, YRU. Long black latex gloves, stylist’s own. High waist panties, Hue.


GROWING to EXTREMES Forging a new language – in architecture and fashion – for a new age

written by PAUL WILNER photography by ISABELLA BEJARANO styling and art direction by FLORE MORTON 94


Cape by Nika Tang, MFA Fashion Design. Belt and shoes stylists own. Prosthetic models from the School of Architecture.

Special thanks to: Mohammed Al Omran, Mohammed Alaqil, Raya Alavi, Yousef Algiaan, Dima Almobarak, Sondos Ashi, Jesus Gutierrez, Chanan Jaionnom, Ponlapee Mahavisessin, Fady Rophael, Soufiane Bedda, Jenna Chen, Dugesar Manjeet, Fadol Amjed, Chao Ching Hsu, Peiliang Liu, Si Beck Nam, Rapeepong Tanmanee, Ke Wang, Tyler Whalen, Xianxiu Zheng, Shadi Sinclair, Cheng Zeng, Youchen Wong, Yi-Hsuan Wong, Sulaiman Alkhulanui, Qasam Ali, T Almutair, Yi Wang, Saraswati Sri Lalitadewi Latumahina, Chen Hung-Chin, Danny Prem Jethnani, Robert Everett, Nicholas Kostal, Kylee Keller, Alexandra Barrett, Sami Almidani, Ahmed Fouad Banaja, Ye Bao, Mohammed Moustafa Fouda, Amanda Pinon, Jasmine Serrano, Ana Jimenez, Siyu Han, Po Yee Wong, Xu Lin, Jacqueline Wray, Hao Hsu, Anna Evans, Sarah Lemp, Rachel Ambasing, Zihe Liu, Jaclyn Kershek, Lea Ben-Ichou, Nicole Soliman, Brienna Logan, Kylie Sun, Jonathan Viramontes


The challenge of our time is how to adapt

A more recent ARH 609 project was based

Reconsidering the idea of fashion meant

to seemingly insurmountable obstacles –

on the same concepts involved in an unusual

incorporating the notion of globalization

economic, environmental, and existential – in

pop-up exhibition at an Oakland medical

which fuels a hypercommodified world.

ways that promote survival.

building. As Tiulescu and Neyman explained it, the students’ work explores two parallel

“In the 79 Montgomery and Cannery

An unusual project was taken on by

concerns: “The first is research into the

shows, bodies were dressed in muslins. The

Academy of Art University School of

philosophical and physical implications

prosthetic had to negotiate with the body as

Architecture students, under the guidance

of body modification, as it relates to social

well as the clothing designed for the body,

of instructors Alexandra Neyman and

identity. The second is the development of

which was an interesting opportunity.”

Monica Tiulescu.

a building block system that maneuvers like

The students in the Architectural 609

an evolving ecology through adaptation,

When asked how the creative use of

resulting in emergent behavior.

tattoos and other body adornments, plastic

class – Intermediate Design Studio –

surgery and changing out understanding

collaborated on a project with Fashion

“The installation celebrates the grotesque

of disease can contribute to constructive

School merchandising instructor, Hersha

and the authentic and capitalizes on

new approaches to the existing problems,

Steinbock’s FSH 328 Interpreting and

beautiful deformations, the procedure and

whether in an urban landscape, or more

Reporting Fashion class. The class “dealt

process of transmutation and the cultural

individual challenges, the instructors replied

with notions of nomadism and identity,’’

process of extreme adornment to the point

that the experiment “does not intend to

Neyman and Tiulescu explained. “Our

of creating multiple identity or indefinable

solve any particular problems, resolve

conversations with fashion students and

identity,’’ they add.

any social issues, but rather it operates

Hersha dealt with a design of a growth

within that context as a site of opportunity.

system sited on a human body,’’ including

The joint architecture-fashion project built

However, [it] does take a social stance, as

the opportunities provided by prosthetics.

the framework for a Community Bazaar in

far as being interested in intensifying the

an area south of downtown San Francisco.

local conditions of the site and the global

“On both ends – architecture and fashion –

Underneath the freeway on Fifth and

conditions of San Francisco from a social

we were always interested in the blurring of

Brannan Streets a new model for urban

and political perspective. We capitalize on all

the normative identity…Our studio started

living and thought was created.

kinds of defective conditions and anomalies

with the human body as a malleable and highly regenerative organism.”

found in the process, as we celebrates human The students are, “researching processes of

diversity to the extent that anyone can be

complex behaviors,’’ they add.

who and whatever they want to be.”

on the concepts of biomimicry, a growing

“We also examine the neighborhood as a

It’s a worthwhile notion to consider

trend which finds inspiration in nature to

social construct embedded with dynamics

as Academy students – whatever their

solve human problems, the work from the

and resistance.”

discipline or field of study is – struggle

Conceived as part of a larger project based

courses was shown at the Atelier Gallery

to come to grips with their physical and

on 79 Montgomery and, subsequently, at

“The logic of design is generated through a

psychological boundaries and come up with

The Cannery.

rule-based process of growth that capitalizes

new alternatives for a new generation.

on aggregation, variation, and evolution.”


Coat by Nika Tang, MFA Fashion Design. Facing Page: Top and culotte by Stephina Touch, MFA Fashion Design.



This page and facing page:


This Page: Dress by Stephina Touch, MFA Fashion Design. Prosthetic models from the School of Architecture. Facing Page: Bathing suit by Shumpei Okamoto, BFA Fashion Design, and Andrea Nieto, BFA Textile Design.



This Page: Skirt by Vicken Derderian, MFA Fashion Design. Facing Page: Coat by Nika Tang, MFA Fashion Design.




Top by Nika Tang, MFA Fashion Design.

Coat by Nika Tang, MFA Fashion Design.

model: Achok Majak, Scout Model and Talent Agency make-up: Victor Cembellin for Workgroup Ltd. using Mac Cosmetics assistant photographers: Nick Gutierrez, and Jake Merril assistant stylists: Winnie Huang and Stephanie St Croix




SIMON UNGLESS fashion editor



Hand painted coat by Ryan Morar, BFA Fashion Design and Melissa Avalos, BFA Textile Design.


This page: Tank and Long shirt by When Simon met Ralph, Pants by Ryan Morar, BFA Fashion Design. Facing page: Hand painted coat by Ryan Morar, BFA Fashion Design and Melissa Avalos, BFA Textile Design.




Tank and Long shirt by When Simon met Ralph, Pants by Ryan Morar BFA Fashion Design.



This page: Jacket by Gwen Shihyao Lai, MFA Fashion Design, pants by When Simon met Ralph, Boots by Walkley Clogs. Facing page: Coat by Mingyu Du, MFA Fashion Design and Joseph Khawane, MFA Textile Design, pants by When Simon met Ralph, Shirt stylists own.


120 Hand painted shirt by Ryan Morar, BFA Fashion Design and Melissa Avalos, BFA Textile Design. Scarf by Gray Market.

Denim jacket by Robert Curry



Shirt by When Simon met Ralph.


Tank by When Simon met Ralph. Pant by Ryan Morar, BFA Fashion Design



126 Shirt and tie by Didvik Kuang, BFA Fashion Design. Pants by Gwen Shihyao Lai, MFA Fashion Design.



Sweatshirt by When Simon met Disney. Pant by Ryan Morar, BFA Fashion Design.


Sweatshirt by When Simon met Disney, pants by Ryan Morar, BFA Fashion Design and Melissa Avalos, BFA Textile Design.


Sweatshirt by When Simon met Disney, pants by Ryan Morar, BFA Fashion Design and Melissa Avalos, BFA Textile Design.



Jacket by Gwen Shihyao Lai, MFA Fashion Design. Pants by When Simon met Ralph, boots by Walkley Clogs.


model: David Henry Lantz hair and make-up: Joshua Conover at Workgroup using Oribe photography assistant: Sam Herndon special thanks to Ian MacKintosh


SCHUYLER Nicholas Guiteriez photography

Simon Ungless fashion editor

Suchandra Bullock styling

136 Pants by Frank Tsai, MFA Fashion Design and Andrea Nieto, BFA Textile Design. Boots by Alexander McQueen. Hat, cummerbund, and gloves, stylist’s own.



Leather shirt by Elizabeth Castellon, MFA Fashion Design. Pants by Frank Tsai MFA Fashion Design, and Andrea Nieto, BFA Textile Design. Scarf by When Simon met Ralph. Harness and boots, stylist’s own.

Pants by Leslie Dilloway, BFA Fashion Design. Leather shoulders by Oshrat Ben-Issac, BFA Fashion Design. Cuffs by Blacken. Sophie Hallette lace tank, stylist’s own.


140 Leather jacket by Kittiya Punprapun, BFA Fashion Design. Mesh tank by Frank Tsai, MFA Fashion Design. Necklace by Blacken. Hat, stylist’s own.

Leather coat by Ran Bi, BFA Fashion Design. Sunglasses, stylist’s own.


142 Leather jumpsuit by Elizabeth Castellon, MFA Fashion Design. Necklace, stylist’s own.

Leather jumpsuit by Elizabeth Castellon, MFA FAshion Design.


144 Leather coat by Ran Bi, BFA Fashion Design. Pants by Frank Tsai, MFA Fashion Design and Andrea Nieto, BFA Textile Design. Boots by Alexander McQueen. Necklace by Blacken.

Jacket by Ran Bi, BFA Fashion Design. Necklace by Blacken. Hat, stylist’s own.


146 Jacket by Ran Bi, BFA Fashion Design. Pants by Frank Tsai, MFA Fashion Design and Andrea Nieto, BFA Textile Design. Boots by Alexander McQueen. Hat, stylist’s own.

Leather sweatshirt by Antonio Luna, BFA Fashion Design. Hat, stylist’s own.



Jacket by Ran Bi, BFA Fashion Design. Hat, stylist’s own.

Pants by Frank Tsai, MFA Fashion Design and Andrea Nieto, BFA Textile Design. Necklace by Blacken. Cummerbund, stylist’s own.


150 Coat by Ran Bi, BFA Fashion Design. Pants by Frank Tsai, MFA Fashion Design and Andrea Nieto, BFA Textile Design. Boots by Alexander McQueen.

Leather jacket by Kittiya Punprapun, BFA Fashion Design. Pand and tank top by Frank Tsai, MFA Fashion Design. Boots by Alexander McQueen. Hat and gloves, stylist’s own.


model: Schuyler at Stars Model Management hair and make-up: Joshua Conover at Workgroup using Oribe first assistant: Isabella Bejarano


Leather shoulders by Oshrat Ben-Issac, BFA Fashion Design. Sophie Hallette lace tank, stylist’s own. Hat, stylist’s own.

tech assistant: Jorge Jaramillo

Suspenders, stylist’s own.


Dress by Gwen Shih-Yao Lai, MFA Fashion Design. Céline sweater, Saks Fifth Avenue. Shoes, stylist’s own.






Tunic and skirt by Jason Tam, MFA Fashion Design. Shoes, stylist’s own. Opposite: Coat by Youngjin Shin, BFA Fashion Design and Hsin Lee, BFA Textile Design. Shirt by Gwen Shia-Yao Lai, MFA Fashion Design. Proenza Schouler pant and Chloé boots, Saks Fifth Avenue.



Tunic by Jason Tam, MFA Fashion Design.



Vest by Gwen Shia-Yao Lai, MFA Fashion Design. Tunic by Jason Tam, MFA Fashion Design.



Cardigan by Emma Mengchen Yang, BFA Fashion Design. Pants by Gwen Shia-Yao Lai, MFA Fashion Design. Brogues, Manolo Blahnik, Saks Fifth Avenue.


Coat by Youngjin Shin, BFA Fashion Design and Hsin Lee, BFA Textile Design. Shirt by Gwen Shia-Yao Lai, MFA Fashion and Textile Design.


Dress by Gwen Shih-Yao Lai, MFA Fashion Design. Sweater, CĂŠline, Saks Fifth Avenue.



Vest by Gwen Shia-Yao Lai, MFA Fashion Design. Tunic and skirt by Jason Tam, MFA Fashion Design. Shoes, stylist’s own. Opposite: Coat by Andre Torija, BFA Design. Dress by Jason Tam, MFA Fashion Design.

model: Lea Celine for Look Model Management make-up: Jaridann Hutcheson hair styling and make-up: Miriam Honig assistant stylists: Suchandra Bullock, BFA Styling and Stephanie St. Croix, BFA Styling assistant photographers: Jeffry Raposas, Evelyn Choi, and Elliot Alexander, BFA Photography


giuliana a color story

photography ISABELLA BEJARANO art direction + styling SIMON UNGLESS AND FLORE MORTON 168

Printed coat and dress by Flora Cervantes, MFA Fashion Design and Lori Solem, MFA Textile Design.


170 This page and facing page: Printed dress by Flora Cervantes, MFA Fashion Design and Lori Solem, MFA Textile Design. Horsehair and leather necklace by Elizabeth Prost, BFA Fashion Design.



Printed coat and dress by Mingyu Du, MFA Fashion Design and Joseph Khawane, MFA Textile Design.

Printed and woven coat, shirt, and pants by Ernest Huang, MFA Fashion Design and Hong Ni, MFA Textile Design. Socks, stylists own. Shoes, Aldo.



Printed coat and dress by Flora Cervantes, MFA Fashion Design and Lori Solem, MFA Textile Design. Beaded tassel earring, stylist’s own. Shoes, Aldo.

Printed dress by Flora Cervantes, MFA Fashion Design and Lori Solem, MFA Textile Design. Horsehair and Leather necklace, Elizabeth Prost, BFA Fashion Design.


176 Vest, shirt, and pants by Ernest Huang, MFA Fashion Design and Hong Ni, MFA Textile Design. Socks, stylist’s own. Shoes, Aldo.

Coat and dress by Mingyu Du, MFA Fashion Design and Joseph Khawane, MFA Textile Design. Shoes, Aldo.


Jacket and pants by Ernest Huang, MFA Fashion Design and Hong Ni, MFA Textile Design.

model: Giuliana Caramuto, Elite Models. make-up and hair styling: Joshua Conover at Workgroup using Oribe.

178 assistant stylist: Suchandra Bullock, BFA Fashion Styling. assistant photographer: Geoff Mau, BFA Photography.

Coat, shirt, and pants by Ernest Huang, MFA Fashion Design and Hong Ni, MFA Textile Design. Socks, stylist’s own. Shoes, Aldo.


FAMILY WITHIN FASHION A Visual Tour of the Camaraderie within the Fall 2014 New York Fashion Week Design Process

written by Chloe Preussker photography by Isabella Bejarano 180


Gonbee Tanaka, Keverne DeSantis and Zoe Cobb working with the designers at the NYC studio.


Designers Arijana Kajdic and Nisha Hanna Btesh watching the runway monitor


When thinking about what goes into a fashion

invest themselves fully in collections that they

show for New York Fashion Week, one might

truly believe in. Being committed to their vision

believe it all centers around one designer — his

motivates the designers to push through tight

or her specific ideas and story that culminates in

deadlines, handle the stress of running around

the collection. However, the reality behind the

New York City days before the show, and finally

fashion industry lies in the collaborative spirit

carries them through the moment of taking a bow

built among a team of designers working in a

after their collections walk off the runway.

collective process. “The students caravan all the way out to New For the Fall 2014 graduate designers at Academy

York City to set up shop,” said Ungless. “Their

of Art University, working together was the key to

camaraderie and willingness to help one another

successfully launching their collections. For ten

throughout the whole process is remarkable.

years the School of Fashion has been participating

It’s inspiring to watch the designers push new

in New York Fashion Week under the guidance


of Simon Ungless, who was recently named Executive Director of the School of Fashion.

Passion isn’t only apparent in Ungless and in the

According to Ungless, this crop of designers’

designers; it also lives with the studio team in New

united approach to their collections made them

York, the show stylist, the hair and make up team,

especially well suited to show in the monumental

the casting crew and the professors at the School

tenth anniversary show.

of Fashion. “Everyone becomes a real family, a family who actually cares where these students

“I call them designers, not students, because

go on in life,” said Ungless. “This is a new wave of

by the time they get to New York their work is

designers with exceptional talent and we are all

very much industry-level— they would have

rooting for them to succeed.”

the same responsibilities if they were working for Michael Kors or McQueen,” said Ungless.

Captivated by the chemistry of the Fall

“The fashion industry is not about an individual

2014 designers, Ungless turned to fashion

designer, but rather it’s about artists with unique

photographer Isabella Bejarano to document the

viewpoints and a shared passion for innovation

collection creation process. “Isabella’s point of

and partnering to push the envelope. What I love

view, use of lighting, love for the fashion industry

about this group of designers is how they worked

and understanding of beauty are all reasons why

together creatively, bringing their individual

her photographs so beautifully tell the story of

perspectives into a shared focus that shifted

these designers,” said Ungless. “She captures

away from trend and onto craft, handwork, fabric

the vibe of the collections and character of the

manipulation and hand-finishing.”

designers, models and clothes, and creates a stunning visual narrative of the creative process.”

Months before the designers show their work on the New York runway they begin the design process in San Francisco, where collection concepts and muslin mock-ups are born. From that point on, between the sewing, knitting, printing, fittings and castings, the designers


Rachael Robinson from Next Models at the Fall 2014 show.



Carolina Thaler from Elite Models, backstage at the Fall 2014 show.


Gonbee Tanaka and Simon Ungless watching the runway monitor






Noam Frost from The Society Management backstage at the Fall 2014 show.


Gryphon O’Shea from New York Models backstage at the Fall 2014 show.






Jacket, ACT Costume rentals. Dress, UBIFRANCE French Textile Collection. Ring, H&M.


malcolm mclaren + the gospel of “spectacular failure”

written by KEANAN DUFFTY photography by ISABELLA BEJARANO styling by FLORE MORTON


The influence of counter culture

a group of Central Saint Martin’s

‘Subversion Sex and Style’ are what

and the punk movement was

fashion students (including

is needed to create success and

arguably the story of the last year

myself) to meet the great pop

that today’s culture is Karaoke, but

in fashion, given the enormous

manipulator, learn a few lessons and

trying to be authentic. He died in

success of the David Bowie show

be photographed with the master.

2010 at 64, but given his convictions,

at the Victoria and Albert Museum

However McLaren didn’t show up,

Lord knows what he would have

in London, the punk retrospective

which was my first lesson in star

made of the recent efforts at

at the Costume Institute of

quality: always keep the audience

commodification, including the

Metropolitan Museum and even the

wanting more.

PUNK: Chaos to Couture exhibition at The Costume Institute of The

Isabella Blow fashion exhibition at Mclaren had that knack. Not only

Metropolitan Museum of Art in

did he create the Sex Pistols image

New York. Westwood, his former

Malcolm McLaren may not be

as “young, sexy, assassins,” he

partner in crime, did show up,

household name these days, but

was the design (and for a while,

wearing a large button with the face

as the manager and eminence gris

the personal) partner of Vivienne

of Bradley Manning, the WikiLeaks

of the seminal British punk band,

Westwood, manager of Bow Wow


the Sex Pistols, he was responsible

Wow, and had a hand in the careers

for putting punk rock on the map

of Adam Ant and Boy George

Before his death, Malcolm was

– and changing the way people

before producing his own records,

making “musical paintings’ and

looked at society in the Margaret

including the much-sampled track

exhibiting them at Art Basel and in

Thatcher era forever.

‘Buffalo Girls’ from the 1983 album

Times Square New York. McLaren

Duck Rock.

was in the tradition of the great

Somerset House.

pop managers like Elvis Presley’s

My first close encounter with McLaren, in the true punk spirit,

McLaren also developed movies in

Colonel Tom Parker, the Beatles’

never took place. A few years after

Hollywood with Steven Spielberg

Brian Epstein, Led Zeppelin’s

the Sex Pistols imploded, The

including ‘Fashion Beast: the Life

Peter Grant, the Spice Girls’

London Times had arranged for

and Times of Christian Dior’ and

Simon Fuller, and Andrew Loog

‘Heavy Metal Surf Nazis,’ which he

Oldham, who was instrumental

described as a cross between Lord

in the Stones early launch. A true

Of The Flies and The Magnificent

showman, a great haberdasher and

Seven. He was even a producer for

a fanciful raconteur.

the film adaptation of Fast Food Nation, based on Eric Schlosser’s

After my initial interview in the


Hamptons, I saw Malcolm a few more times in New York City

When I finally sat down with

before he was diagnosed with

Malcolm in the Hamptons in 2008

mesothelioma in October 2009 and

his message was that magnificent

died of the disease in April 2010 in a

failure was better than benign

hospital in Switzerland.

success. The idea of ‘branding’ was an anathema to him. Chaos is sexy.

Here are some snippets of my

Transgression has been co-opted

interview, so you can get a sense of

by corporate culture. The three S’s;

Malcolm, in his own words:

Necklace, ACT Costume Rentals. Shirt, stylist’s own.


Jacket, ACT Costume rentals. Dress, UBIFRANCE French Textile Collection.


Overskirt by Phoebe Wang, BFA Fashion Design. Cuff and necklace, ACT Costume Rentals. Hermès bracelets, tarp, shirt, and safety pin, stylist’s own. Opposite: (top) Coat by Pheobe Wang, BFA Fashion Design. Shirt, UBIFRANCE French Textile Collection. Cuffs, mohawk, and necklace, ACT Costume Rentals. Scarf, stylist’s own. (bottom) Top by Ginie CY Huang, MFA Fashion Design. Skirt by Rinata Lindroos and Mina Fadai, BFA Fashion. Jeans and Hermès bracelets, stylist’s own. Loafers, Freda Salvador (by Christina Paolo-Nelson, MFA Fashion Merchandising).


On Vivienne Westwood, Anti Fashion

and greedy and all these people we loved

and the boutiques:

turned ugly on us and that’s why you had punk. We said, “We hate all this, it’s

Keanan Duffty: You started in the

disgusting. We hate all these fu@#$%g

early 70s with a boutique that made

rock and roll people.” You just wanted to

a metamorphosis over a 10 to 12 year

see them all dead and buried. Now...the

period from the biker look, to 50s rock

problem is that the active role of the rebel

and roll, to S&M, to punk and then the

has changed. Most people are not sure

pirate look. Today most fashion brands

whether that art of transgression has not

create a look and then stick to it for

been co-opted by corporate culture. Now

consistency and branding.

people think; transgression? That’s Diesel. What the f… is that??? The costume of

Malcolm McLaren: Well you never

transgression has been co-opted.

wanted to create a “‘brand.” The brand was horrible. The idea of branding, the

[Sex Pistols bassist] Sid Vicious started

idea of being a tradesman, a merchant,

out in the audience and then got onstage.

was an anathema to me. I’d been

He was very special and therefore an icon

programmed to fight the good fight-

that epitomized the punk culture that

create a magnificent failure. So anytime

was so much celebrated with this DIY

the shop became successful, I used to go

aesthetic. He was lucky....and then sadly,

home to my [then] girlfriend, Vivienne

not so lucky [Vicious overdosed in 1979].

Westwood [and said], “No, Vivienne, we’ve got to close this down, this shop is far

The record company presented us

too successful.” It’s horrible-I’ve got to

not with a gold record but with a gold

keep the door permanently locked. I’m

dustbin lid. I wish I still had it.

only opening for an hour a day.’ We [had] ganged up together and I decided to go

Keanan Duffty: It’s probably on eBay

and find a place on the King’s Road, a


shop, an extension of art school. I was going to make the most magnificent

Malcolm McLaren: The record

failure and I was going to do it in the

companies felt I disliked them and they

trendiest watering hole at the far end

were absolutely right. I did loathe them. I

of the King’s Road in Chelsea. But the

can never have any pretense that the Sex

last thing I wanted to be in was fashion.

Pistols could live in harmony with the

Unless it could be anti-fashion.

music industry.

On the Sex Pistols and Punk:

Keanan Duffty: You set out to destroy it.

Malcolm McLaren: After the 60s, it felt

Malcolm McLaren: I had to take the

the culture had got all fat and horrible

blame for that I and, naturally, the birds


were coming home to roost when the Sex

wants to stand next to. You need grace and

Pistols just splintered and it wasn’t before

charm to attract people to this subversive

long that I was going to be driven into the

idea. And then, Adam, you are going to have

courts either by the music industry or the

to be very sexy to sell it. Work on those

Sex Pistols. There was going to come a time

three S’s: Sex, Subversion and Style. That’s

where I had to take off the mask of no longer

what it takes.”

being this jester, joker ...manipulator, chaos maker...I’m sure Heath Ledger’s character in

On Art School and Failure – Meaning Of

‘Dark Knight’ was rooted in McLaren.


Keanan Duffty: It does look at lot like

Malcolm McLaren: My art lecturer told me,

Malcolm McLaren (laughs).

“Malcolm, if you have chosen the role of being an artist - the artist is on a journey

Malcolm McLaren: The music industry didn’t

that never ends.”

under stand that punk was as impactful as the motor car, as impactful as any Pablo Picasso

My fellow students and I – we were the

painting and it took the culture forward

backroom boys, lighting the fire here and

and became a true expression of the true

there. We were the guys that were not

intentions of an outlaw culture, better known

for sale. I remember going into a record

as rock and roll.

company meeting and explaining how anarchic this record, “God Save The Queen,”

On Adam Ant-Sex Subversion & Style:

by the Sex Pistols, was, and this guy said, “Is that a new drug?”

Malcolm McLaren: My first lesson to Adam Ant was: “Right, Adam, these are

Ultimately, the Sex Pistols had to implode...

the three ingredients for any pop cultural

we all know we were going to fail, and there

success which I know looking at you, you

was no expression of doubt about or wanting

desperately want. Ok, first subversion,

or caring about succeeding, we knew we were

understand what that is and that it is

going to fail, it was just a question of how

a major ingredient in your look, your

long have we got and how spectacularly can

behavior and what you write and what you

you fail. When most people are confronted

produce in the form of music. Two have

with failure, they want to go the other way.

heaps of style-you’re going to need it to

The trick is to fail magnificently. Then you

seduce and to be someone that anybody

have real success.

model: CAITLIN HOLLERAN at Cast Images make-up: VICTOR CEMBELLIN for Workgroup Ltd. using MAC Cosmetics hair styling: JOEL CORTES assistant photographers: NICK GUTIERREZ, BRENO ARAGON, and BRITTANY MCCLAREN assistant stylists: NOAH SHAW and STEPHANIE ST. CROIX


Dress, UBIFRANCE French Textile Design. Overskirt by Phoebe Wang, BFA Fashion Design. Pants by Ginie CY Huang, MFA Fashion Design.


Robert Altman, on the Paris set of PrĂŞt-Ă -Porter, with Jean Lepine, Director of Photography, Geraldine Peroni, editor and Scotty Bushnell, producer.





LIFE IMITATES ART SOPHIA LOREN as Isabella de la Fontaine, widow of the President du Chambre Syndicale – dressed in Dior by Gianfranco Ferré.
























PARIS. SUNDAY MARCH 25, 1984, 6:30


Prêt Productions Inc.’s office at 79 Rue de la



Boëtie is humming.





Anouk Aimée is on the phone displeased that there was no car to take her home after the

Robert Altman attends his first fashion show

“Have you seen ‘The Player’?” Robert Altman

party last night and she was obliged to take a

and decides that one day he will make a film

asks. “You’ll like it. It’s like your drawings.”

taxi. Sophia Loren had a car. Robert Altman walks in. “Taxi? Anouk uses taxis to my house.

about the world of Paris fashion. •

Sophia came in a car with someone.”


John Fairchild is on the phone to apologize


for an item. “I’m not angry,” replies Altman,


“I’m just bored with the thing.”

Miramax wants Julia Roberts’ name at the top of a press release.

“No,” says Altman. “Alphabetical.”

4:30 p.m. Altman dispatches his actors to the collections in the Carrousel du Louvre hoping that the press will get used to them by Sunday.



Designers Christian Lacroix, Sonia Rykiel, Jean-Paul Gaultier, Christian Dior and Issey Miyake have agreed to participate in the film. Inside their invitations there is a note:

“We would like to inform you that Mr. Robert Altman’s camera crew, as well as several members of his cast, will be among the guests at our fashion show, for the shooting of his next film, ‘Prêt-à-Porter.’ You may feature in some of the general shots. Therefore your presence during this event tacitly implies your ROSSY de PALMA played Pilar, the assistant of Anouk Aimée (Simone Lo) in YSL couture.


consent to being in this film. This strictly personal invitation will be requested at the entrance. Please bring your identity card with you.”

Sophia Loren, in black Dior, outsize polka-dotted bow at the neck with matching cuffs, and a Bulgari watch, is mobbed for a full ten minutes. Flashbulbs explode. Janie Samet of Figaro tells everyone that Sophia is wearing a 1980 Jean Barthet hat. Journalists scribble madly. Linda Griffin of the Houston Chronicle asks Altman, “Is Julia Roberts going to take my job?”

Kim Basinger sits apart, with her assistant, her hairdresser, and her makeup man (she is paying them herself). Other actors with staff are Marcello Mastroianni and Sophia, each with an assistant and a shared hairdresser. Everyone else uses the services of the production costume mistresses, hair dressers, and makeup artists.

DANNY AIELLO was Major Hamilton, a buyer from Chicago and a cross dresser a.k.a. May Rose, wearing a faux Chanel suit.


Actors are learning to be fashion editors, assistants, or buyers. Some ‘take notes.’ Some chat. Some kiss.

JULIA ROBERTS played Anne Eisenhower, assistant fashion editor Houston Chronicle.


SOPHIA LOREN, in black, with red accessories and a huge hat by Jean Barthet, at the funeral.

autographs are written on three blackboards

In favour of ‘Prêt-à-Porter’: Gaultier, Ferré,

in French, English, and Italian. Marcello picks

Rykiel, Azzedine Alaïa, Vivienne Westwood,

A large tourist sightseeing bus waits in the

up a piece of chalk and solemnly corrects

Claude Montana, Martine Sitbon, Jean-

garage of the Carrousel du Louvre.

three mistakes on the Italian board.

Charles de Castelbajac and many minor

5:30 pm, Vivienne Westwood show.

designers. Loren, still wearing a three-foot wide veiled

Sophia to Altman, “I have a run in my

hat, sits behind the driver; next to her


Others fear that Altman will make them look ridiculous.

Marcello, chain smoking. Altman to Sophia, “True beauty must have When the bus arrives at Gaultier, a huge

one flaw.”

says, “I’m a backstage person. I don’t want

crowd is waiting to ogle, press flesh and get autographs.


to be an actor. I want to be director.” Also,


Valentino, Pierre Bergé (YSL), John Fairchild and American Vogue.

The cast is led upstairs into an office where messages of welcome and requests for actors’


Against ‘Prêt-à-Porter’: Karl Lagerfeld, who

The fashion world has drawn sides.

At the 10:30 a.m. Karl Lagerfeld collection,

evening (though Jonathan Newhouse puts in

John Fairchild stomps up and down waving

an appearance).

“We’re Italians. Everybody knows us.”

Marcello shrugs: “No need to give an

an Altman disclaimer, saying it is not legal.

interview. They make it up.”

In his opinion, Altman has disrupted the

The Bulgari party is held in the Pavillon

shows, which start late and the cameras

Ledoyen on the Champs Elysées from 7:

invade privacy. Since no fashion show

30 p.m. to midnight. Shooting is scheduled

except Givenchy ever starts on time and the

from 7 p.m. to 2 a.m. Fairy lights sparkle.

Carrousel du Louvre is a public place with

Six hundred glittering guests (or unpaid

Week Two.

hundreds of cameras, this is not a convincing

extras) from the fashion business begin to



arrive around eight. There are six crews

filming Altman filming ‘Prêt-à-Porter,’ 184


Anna Wintour, editor-in-chief of Vogue, has

organizers, dozens of blue-coated waiters


sent a fax to Dior (for the 2:30 p.m. show) to

ready for actors, celebrities, Christie, Linda,


say that Vogue does not wish to be seated

Naomi and Yasmeen. The weather has turned. It is freezing and

near the actors. Vogue will come to Dior, but Sophia Loren comes out from behind the

drizzling on Pont Alexandre III, the most

curtained dressing area in a very low cut New

beautiful bridge in Paris. There is no traffic,

In the Salle Gabriel, Altman is directing a

Look Dior with a huge skirt, a pretty petal

but Altman has created a massive traffic jam

cameo scene with Thierry Mugler, playing

hat and gold, ruby and diamond Bulgari

by parking a double-decker car carrier at the

himself. Mugler models are coming off the

baubles valued at 7 million francs. She has

Left Bank end of the bridge blocking the

runway and Kim tries to interview him.

her own security guard.

flow in two lanes.

garments from recent years. The models

Grace Mirabella, elegant in Geoffrey Beene,

At lunchtime a hot meal is served in the

do what they do best: kiss, scream at

is looking for her friend Sally Kellerman,

mobile canteen. Soon I will get used to

cameramen, demand dressers and beaucoup

who is still behind the sliding doors. Sally

such lavish fare, but as yet I marvel at duck

attention. Ditto the designer. Kim does a fine

sneaks out for a chat. They are joined by

à l’orange and Iles Flottants. There is an

job as a confused journalist.

Bacall, who plays the ex-editor of American

empty seat at Marcello’s table. I promise

Vogue. But her character is not necessarily

not to conduct an interview. This is easy.


modeled on Mirabella (an ex-editor of

Throughout the two and half months I never


American Vogue). It was Diana Vreeland (the

formally interview anybody. I note the dismay

editor before Mirabella) who discovered the

on actors’ faces when a tape recorder is

In the morning at Chanel we are treated to

young model Lauren Bacall and introduced

thrust into their faces minutes before they go

Karl Lagerfeld’s humour. Though he has

her to Slim Keith the wife of Hollywood

in front of the camera. It is hardly surprising

banned Altman, the stage is a film set with

mogul Howard Hawkes.

they have nothing to say. They are so nervous

they do not want to be in the film.

Thierry has unearthed many exotic, kinky

they are in perpetual motion. At times, this

the Louvre as backdrop. There is a director’s

makes even the quickest sketch a challenge.

chair with a Chanel bag on it. Our press kits

Laura Dubini of Corriere della Serra wants

are inside an oversized reel cannister with

an interview with Marcello and Sophia. She

the double C stamped on it. It becomes a

begs me to get her through the sliding door.

Marcello is in top form; he talks about a trip

collectors’ item.

“I know them,” she says.

to Japan where he toasted the locals with the Italian words “Chin-chin.” Chinchin is

André Leon Talley tells me that Vogue is

I ask Marcello. He declines.

Japanese for male genitals.

not going to the Bulgari/Altman party that “But she knows you,” Sophia says gently.


Lovett, a boot mogul in the film, is wears his own alligator Western boots.

I ask if he and Julia have had a chance to walk around Paris. “We tried, but it was impossible.”

There is always a crowd around Julia. Right now as her image for ‘The Pelican Brief’ is all over Paris.

“Julia handles it well,” adds Lyle.


Lyle is happy. “Julia and I got out of the hotel on our own today. Just a little.”

Danny Aiello is mulling about his crossdressing scenes, to be filmed in May. Actors refer to their character in the third person. “He (Major Hamilton, Danny’s character) is uncomfortable in his skin when he wears men’s clothes; in women’s clothes he is LYLE LOVETT was Clint Lammereaux, a Texan boot mogul – and at the time of filming Julia Roberts’ husband.

sensitive. Maybe he’ll sing ‘I’ll be loving you always’ to his wife.”



He also talks about negotiating salaries. His



standard fee for a film is one million dollars.


“Learn to say no when you’re supposed to say yes. Hold out.”

In the evening, there is a star turnout at the MGM: Tim Robbins and Julia Roberts have

Actors are sitting around waiting on the upper

arrived. They smoke. They laugh and joke.

floor of Terminal 2C at Charles de Gaulle

In this movie his fee is much lower. “Lower,

Julia is dressed in a dark turtleneck, a jacket

Airport in Roissy. We are in the Sandwich

lower middle...” Danny admits.

nipped in at the waist and wide print pants.

Area near the Exits. There are mountains of

Lyle Lovett is silent, grinning from ear to ear.

prop baggage: Vuitton, Samsonite, scruffy bags

He has the sweetest smile, a strong Piero della

and Clint’s wooden crates of Western boots

Francesca profile and a delicate El Greco face

marked Stingers, Cobras, Sidewinders, Black

Week Three

straight on. When they leave, bodyguards

Widows, Tarantulas, Scorpions.


Altman is agile in his brand new AIRMAX




materialize and rush them into a car.


TRACEY ULLMAN, in Philip Treacy, played Nina Scant, editor British Vogue.



Lauren Bacall, dressed in Armani, played Slim Chrysler, the colour blind exeditor-in-chief of American Vogue. Born on September 16, 1924, she died on August 13, 2014. R.I.P.

This week, Julia Roberts and Tim Robbins

Week Five.

crotches. After the rehearsal, the models get

watch television, argue and make love in


a round of applause.

she is a fashion editor. Both have lost


For courage, champagne flows freely.

their luggage.


Next day, the models complain of terrible

a hotel bedroom. He is a sports reporter,

hangovers. To satisfy modesty, a ‘bandage’ bra is

Dailies at MGM. Anouk is perfect as

constructed for Julia and pinned to the

the betrayed mother/designer. Rossy de

The fashion show, the high point of the

sheet to keep the bedding in place as they

Palma looks incredible in her turban, her

film, begins.

churn with passion.

asymmetric El Greco face, one dark eye, one pale eye, one droopy eye.


Altman has the flu. Two directors of

There is a dreamlike quality of nymphs going to bathe. Of vestal virgins in a sacred

Sonia Rykiel congratulates Anouk and

setting. It is pure and simple. Ute carries

teases Altman, “Why do you give a bigger

a bouquet of white lilacs and wears a

part to Anouk than to me? I am jealous.”

wedding veil with a long train. She points her toes like a ballerina as she walks. She

photography have the flu. They struggle to •

the dailies. On screen, Julia has wet hair,

looks beautiful.

no makeup, a small mole visible under one eye, big ears and multiple earrings. She

Week Six.

is beautiful. Julia and Tim wear towelling coats. When the lights come on Altman


comments: “Adequate, Tim. Adequate Julia.


Week Eight.


Very, very adequate.” At the rehearsal of the naked fashion show,


Julia: “That’s what we strive for. Very, very

the models (still dressed) are edgy. Altman


asks, “Who wants to go first?” Jan Marie

In the ballroom of the Grand Hotel a real

Giebelhausen from Chicago jumps up.

fashion show, Revillon furs, is in progress.

Week Four.

Altman tells them, “We will only do it twice unless something goes very wrong,” adding,

Upstairs, Danny is trying on his ‘Chanel’

“By then you may want to do it more!”

suit. Though nobody asked him to, he has been shaving his legs for two weeks.


Divine Liturgy by Komitas and Les Petits


Chanteurs de St. François de Versailles

Danny is learning to keep his legs together

accompany the fashion show. Towards the

and his shoulders back. “I need a slip. I

I stay at home to draw Tim Robbins. Out of

end of the parade, there is an Hallelujah

need hip pads (the skirt is slipping off).”

30 attempts, three work. The rest look like

chorus. Everyone is very quiet during the

Karl Lagerfeld without a pony tail. Months

rehearsal. ‘Sisters’ Dane and Kiki, played by

The fitter asks, “Where do you want the

later he will be the only member of the cast

Georgianna Robertson and Tara Léon come


to withhold approval of the drawings.

out holding hands. They are wearing layers and layers of clothes. Tara has a filthy cold.

“The higher the better,” says Danny.

They ham it up by covering up each others’ A chain belt is added.


He hums a few bars from a song, ‘Let’s Begin Again’ that he will sing in the cross-dresser club. “Bob wrote it,” he says.

Stockings arrive. “A new meaning for Queen-sized.” He learns to clip on the suspenders.

Then earrings. “I have ten days to get used to these nineteen and half pound earrings.”

He proudly displays his water-balloon falsies. “Like Mozzarella cheese.”



In the evening, Danny cross-dresses. The set is at 40 avenue George V, once a failed fur shop, later a failed restaurant called La Dorada.

Danny is in full costume. Pink tweed Chanel, gold buttons and chains, quilted bag, high-heeled pumps, the golden wig, false eyelashes, sweet-pea makeup.

“How do you feel?” I ask.

A tiny Madonna voice replies, “I feel small. I feel simple. I feel sensitive.”

A normal deep voice adds, “I feel ridiculous.”

RICHARD E. GRANT, Cort Romney, fashion designer (Vivienne Westwood character) getting a few tips from Vivienne Westwood.


FRIDAY MAY 13, 1994

one paranoid,” she says. They listen to tales


of the cross-dressing scenes. “Cross-dressers have the best arses,” remarks Julia.

Is this a lucky day? Not a cloud in the sky. •

We’re back on the second floor of the Grand Hotel. Week Eleven. At 11 a.m., the First Unit with Jean Lépine is ready to reshoot Tim Robbins’ and Julia


Roberts’ farewell scene.


Wags on the set remark that two days of sex does wonders for the appearance.

It is a bittersweet, beautiful day at the crossroads of Route de Sèvres and Route

Julia’s new Richard Tyler suit, not even pure

du Champ d’Entrainement. To create a

cotton but a mix, bought retail for $4,700, is exactly the same style as the one she wore on March 25th but a different colour. The last one had to be altered. She jests that Altman brought her back to Paris just to wear pale brown instead of black.

In the corridor Julia and Tim chat with Altman. “The press are really after us. It makes

MARCELLO MASTROIANNI, another ex husband of Sophia Loren’s character, was Sergei Oblomov -at the Rodin Museum under The Thinker.


ANOUK AIMÉE played Simone Lowenthal, fashion designer (Sonia Rykiel character) in Simone Lo’s atelier with Sonia.


completely lush green setting, turf is brought

stole pop out among the sea of black behind

Of the 31 actors, only Marcello Mastroianni,

in to cover brown spots.

and the deep green above. Marcello, asleep on

Anouk Aimée, Anne Canovas, Ute Lemper,

a bench, must wake up and follow the cortège.

Tara Léon, Stephen Rea, Lauren Bacall and Sam Robards are still around. The others

Sophia arrives on the set, arm-in-arm with Marcello, who is still in black leather. The

After the final take Stephen Rea and Altman

milliner Jean Barthet is at her side.


have left town.

When the party ends we drive back to Paris in She is wearing a tight button-through black

Everyone cheers. There isn’t a dry eye on the

Dior dress, left largely unbuttoned, sheer


a gentle drizzle.

The filming of ‘Prêt-à-Porter’ is over.

black hose with seams, a red satin Dior stole, red Roger Vivier sling-backs, red glacé gloves,

Later still, a second wrap party is held in

red bag and the most sensational red picture

a beautiful house ‘Les Erables’ at Meudon

Gladys Perint Palmer is Executive Vice

hat. There is a conference.

Bellevue, outside Paris. There is plenty of

President, Academy of Art University Artistic

delicious food. Guests gorge on smoked


Altman says yes to the red stole. No to the

salmon and the first cherries of the season. We

red shoes.

get T-shirts with 31 actors listed on the back and a choice of Rossy de Palma, Richard E.

The funeral procession files past many times.

Grant or Sophia Loren’s photo on the front.

In the dappled sun, Sophia’s crimson hat and

Everyone wants a Sophia T-shirt.

ROBERT ALTMAN, early morning on May 18, 1994, waiting for the final day of the shoot to begin.




Genesis Breyer P-Orridge goes beyond music as he envisions a better, more diverse and tolerant universe

introduction by Paul

Wilner interview by Keanan Duffty

illustration by David

Henry Lantz

San Francisco has always been at the forefront

And his work is being introduced to a

Burroughs and Gysin credited their mutually

of transformative social movements – from the

new generation, with the release of Thee

created cut-ups with writing, photos, and tape-

Beats in the ’50s to the hippie invasion the

Majesty (Dais Records), a live collaboration

recorders to a “THIRD MIND” that only existed

next decade, the birth of the gay rights scene

between GBPO and Bryin Dali, of Hirsute

as the union of the two of them through pieces

in the Castro in the ’70s and, most recently, the

Pursuit, originally recorded in France in

of creation.

tech boom.

1999. Bucking the tide as usual, the album

But Academy of Art University students are

is available exclusively as a limited edition of

Lady Jaye and I believed all that we create,

300 vinyl copies.

and our very physical existence, when

also aware of broader cultural crosscurrents,

evidenced by our ever more determined

exemplified by famous visitors to the school

Duffty talked with Genesis Breyer P-Orridge

rituals to integrate totally body and soul

from Alexander McQueen to Jean Paul Gaultier,

about art, life - and Pandrogyny.

were a “THIRD BEING,” which we called

Philip Treacy, and McQueen’s handpicked

the Pandrogyne. A Positive Androgyne.

Keanan Duffty: One could draw a line

Each of us was literally “The Other Half” of

connecting your work to the “modern primitive”

this being. The Alchemical hermaphrodite

When fashion comes together with other fields

movement, Acid House, the industrial

as storm troopers of a future in potentia.

in the arts – music, film, political action – a

movement, punk rock, Timothy Leary, the Merry

Burroughs asked me, how do you short

“Third Mind’’ is born that is greater than the

Pranksters, the Beat Generation all the way back

circuit control? This led us via all kinds of

sum of its parts, providing unique opportunities

to the Dadaists. After five decades, where do you

scientific and consciousness exploration

for creative collaboration.

see your art going next?

to conclude DNA is a probable contender

successor, Sarah Burton.

for the location of control. We feel it is a Keanan Duffty, senior director of

Genesis Breyer P-Orridge: In 1993 we

recording device that goes back to single-

merchandising at the Academy of Art

met Lady Jaye [the American, musician whom

celled slime mold billions of years ago,

University School of Fashion, comes by his

he married in 1993; she died in 2007]. We

making it also the common denominator of

outlaw credentials honestly: The Central St.

have met and collaborated with many amazing

“life.” We speculate that mitochondria could

Martins graduate is the executive producer

artists and literary figures in our journey:

be the superior life form on earth and human

of an upcoming documentary about Malcolm

Derek Jarman, W.S. Burroughs, Brion Gysin,

beings are useful containers, deliberately

McLaren, the famed British punk provocateur

Ken Kesey, Dr Timothy Leary, and a host more.

given an unnecessarily short lifespan. We are

and Sex Pistols manager.

[But] we can honestly say that Lady Jaye is

hosts to this parasitic species. Where do the

the MOST remarkable human being we have

thoughts of DNA stop and our autonomous

All in a day’s work for Duffty, who sat down

EVER met. From the beginning we began

consciousness begin? By breeding constantly

to talk a while back with an even further out

playful dressing up.

we unwittingly perpetuate our rival species

representative of the British avant-garde music and political scene, Genesis Breyer P-Orridge.

who may have come from off earth. We both believed in a direct karmic link between the Inquisitions and S&M domination.

NOW! We wanted to confound these little

Born Neil Andrew Megson in 1950, the

The witches burned and tortured now wear

blighters. Our first act was a vasectomy. A

English musician’s band, Psychic TV, took on a

the oppressors outfits and use their tools to

denial of the continuance of DNA via my body.

systematic assault on conventional notions of

torture males of power. Soon we were dressing

We see bodies more as a biological coral reef,

gender that had not seen before – or since.

the same, doing our hair the same. We saw our

a conglomerate of clusters with more than

SELFs as two halves of a whole. [The writers]

one agenda. Lady Jaye calls the body a cheap 225

suitcase. We get discarded once our DNA has

evolutionary design, the possibilities become

GBP-O: There are days when we WISH we

run its current programs. The human body is

endless. Grow fur, feathers, gills to swim, horns

could “sell out” [but] whatever that is or how

NOT SACRED! It is just a biological container

for decoration, many-hued skin. We have

that is done we’ve never known. It is true

for its precious cargo of consciousness.

become apathetic and inert. Entropy is a natural

we give lectures sometimes. We have always

“YOU” and “I” are not the body itself. That is

law; when we stop using our imaginations for

felt it vital for an artist to share both those

a container. “You” and “I” are the mind that

the most incredible dreams of new perception,

who have inspired their path and work AND

resides within our cortices. Once we saw that

we are on the slow road to extinction.

the conclusions and information they have

DNA was a crucial sector of “control,” we

retrieved during more extreme body and out

wanted to at least symbolically reject DNA and

We see our works going ever more deeply into

of body experiences. Perhaps our explorations,

its usual control over exactly how our body

the genetic and biological research required to

some taken at risk, can be useful, functional or

looks and functions biologically. This led us to

make people aware that this time around you

even just a flag saying, “you are not alone” to a

cosmetic surgery procedures. The initial LOVE


person in the boonies who is isolated, maybe

motivation of wanting literally to be physically

picked on. So we accept talks to SHARE what

consumed by each other and to be capable of

My personal goal is to prepare myself mentally,

we can IN CASE it is useful in some way,

becoming ONE single being after we both drop

spiritually and physically to drop my body and

maybe even as a warning. The Establishment

our cheap suitcases. A single being the sum

then, we pray, find Lady Jaye’s “consciousness”

normally reward your surrender into their

total of both consciousness fully integrated and

awaiting me. Then we shall flow happily into

cabal with seductive invitations to power

still aware of an autonomous memory of itself

each other’s essence in total unconditional

gatherings and soirees. They also funnel money

and thus viable for infinite time and space, even

surrender to BIG LOVE and become one

to their favorites (in the mediaeval sense of

dimensional travel together for eternity.

“pandrogyne of pure mind” created from our

favorites). As long as young people come and

two halves.

tell me they are inspired or encouraged by my words we will continue to talk.

We have worked with reincarnated Rinpoches from Tibet for many years and are convinced

Our work will metaphorically and literally

certain beings can remain identity intact after

always refer one way or another to this endless

KD: Has the concept of ‘Pandrogyny’ been

death AND return and get reborn to continue

quest for moments of perfecting. Let our

welcomed by the transgender community?

spiritual work on earth. Why not aim for the

species awaken and begin to apply their massive


resources to unifying our species instead of

GBP-O: PANDROGYNY is not about

fragmenting it. We MUST start to truly see

switching gender. It is about the deep

The human species as it is now is still at a

our SELF as one cell of a massive, beautiful

ramifications of identity, social, economic,

primitive, theoretically larval stage. We have

organism called the Human Species. Once we

violent, political, religious conditioning, and

so much more potential to grow and develop.

perceive our SELF as a tiny part of a whole

about peer group and familial pressure too.

Our technological environment is far advanced

we would inevitably phase our conflict and

Inevitably gender inequities are entwined

over our spiritual growth. This imbalance

be active only in the greater good. If food is

irrevocably in all this. Some people feel they are

has led to totalitarian capitalism which

needed, it is supplied to the part of the species

a woman trapped in a man’s body. Some people

unchecked will destroy all species ever more

“body” that requires it, once we see ourselves as

fell they are a man trapped in a woman’s body.

rapidly. If we DO move out to colonize space,

totally integrated with every other person.

A Pandrogyne just feels trapped in a body.

how to hibernate like bears, frogs, and many

KD: In 2009 “30 Years of Being Cut Up,” a

KD: More than 30 years after a Tory member

other creatures. Long journeys would become

retrospective of your collages was presented

of Parliament told the Daily Mail, “These

feasible. Perhaps we could become cold blooded

at Invisible-Exports and the Tate Gallery

people are the wreckers of civilization,”

to save on heat in space. Become shorter; maybe

acquired 40 years’ worth of your art, writing,

you still have the power to shock and

short legs are all we need in space without

correspondence, video, and audio. You have also

confront people in a way that many of your

gravity. In fact once you realize that this body

lectured at universities. Do you feel you’ve now

contemporaries have lost. Are there are any

we have is dictated by DNA without your say,

been accepted by the establishment?

artists/performers today who could carry the

Pandrogyny suggests we use science to find

and you let go of assuming this is the end of our


mantle, “Wreckers Of Civilization?”

GBP-O: We have felt slight twitchings of something happening. Go to our website www. truetopi.ning.com where we are trying to create a network to brainstorm on the realities of setting up autonomous, creation driven coum-unities. Who buys the land? Who owns it? How do you survive? Who cooks, cleans, gardens? Having lived in communes and collectives of various types most of my life we HAVE seen the best and worst of such experimental coum-unities. Our legacy would be to begin a long-lasting web of small self-motivating coum-unities and retreats, avoiding the myriad pitfalls that destroy nearly all communes. As to specific artists who might be termed “Wreckers”…. not so far. But that doesn’t mean they are not out there. However, our belief is that the individual, “look at me!” ego sodden, uniquely inspired devoid of influences artists are less and less relevant. And as global structures collapse, zones set up for shared pressures will also be collections of artists, musicians, writers, thinkers, mechanics, and lovers.




Cape by Donghyuk Dan Kim, MFA Fashion Design. Pants by Gwen Shihyao Lai, MFA Fashion Design.

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180 Magazine Issue Seven  

180 Magazine, Issue Seven. By Academy of Art University.

180 Magazine Issue Seven  

180 Magazine, Issue Seven. By Academy of Art University.


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