Coulture | Spring/Summer 2016

COULTURE SPRING/SUMMER 2016

the

THROW

BACK

issue

IN THIS ISSUE Alexander Julian, Celebrity Classics Remade, The '60s – Submerged, Decades-Inspired Makeup

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COULTURE ISSUE 2

EDITOR-IN-CHIEF Alexandra Hehlen

| anna |

DEPUTY EDITOR-IN-CHIEF Remington Remmel

is a sophomore studying computer science and has a penchant for large paintings and the Red Hot Chili Peppers. Follow her on Instagram! @anna.sale

PUBLISHER Michael Shanahan EDITORS Jessica Beach Copelyn Bengel Alexis Fairbanks Zackary Green Elise Holsonback Joseph Lucido Ian Muriuki Nicole Paz Katie Plampton Morgan Pratt Caroline Reed Sara Rich Elina Rodriguez Abbey Rogers Ashlyn Siske Niki Wasserman ASSISTANT EDITORS Kimberly Baudhuin Jessie Carter Isabel Herring Cori Johnson Brianna Kusilek Jennifer Lee Lydie Neill Emily Nobles Adeyemi Olatunde Anna Sale Juliana Sirois Micah Stubbs Jordan Townsend Marissa Treible Wyatt Wilt DESIGNERS Noor Gill Joseph Held Elina Rodriguez Kenzie Schmidt Shephard Sullivan Wyatt Wilt FACULTY ADVISORS Dana McMahan, Terence Oliver, Chris Roush coulture.org Printed by Publications Press, Inc.

| zack | is a junior studying strategic communication and a “Broad City” enthusiast, with a love for extreme weather and leaning into the what-if’s.

Follow him on Twitter! @ZackBGreen

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meet the new blog editors

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Say hello to the coulture.org blog, your source for everything from street style and travel tips to beauty how-to’s and must-have music playlists.

Here’s what’s going down in Coulture cyberspace.

New on the blog 1. Street Style - Each week the Coulture team roams the streets to find locals wearing styles we appreciate, and we showcase them on our website.

2. Designer Spotlight - This new section highlights the work of upcoming designers to show the diversity of inspiration and design in the fashion world.

3. Travel - Travel is exciting but can also be scary. Need tips on best travel habits and the hippest places to hit up? We’ve got you covered.

Join us as we challenge beauty standards Subscribe for free with your email address at coulture.org for monthly blog recaps, a notification when the newest issue drops and the chance to win a $25 Starbucks gift card.

And don’t forget to follow us!

Snapchat: @coulturemag Instagram: @coulturemag Twitter: @coulturemag Facebook: facebook.com/ coulturemagazine

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4 | C | Table of Contents

46 36

10 32

9

9 10 17 20

20 Twiggy Times Three

A trifecta of outfits to channel your inner 60's mod

We Never Go Out of Style

Classic celebrity photos from decades past, recreated with millenial models and today's clothes

The Perfect Deux Over

Two Charlotte designers are making beds and making a difference

Denim in the Raw

Denim expert Ford Garrard gives the inside scoop on five pairs worth the investment

24 28 30 32

Suit Up!

The story of the suit's journey through time

A New Normal

Investigating sexual assault at UNC-Chapel Hill and other universities

Dolls of the Decades

Doable makeup looks inspired by the 1940s, 1960s and 1980s

Devine Design

How internationally-known knitter Valentina Devine creates wearable works of art

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in this issue

6 80 50 9

36 46 50 54

68

83

60 Let Them Remake

Modern wonder-women turn rigid Victorian style into a free-spirited fashion statement

La Vie Francophone

The ins and outs of three French-speaking cities to add to your bucket list

"I am South African"

Photo Editor Alexis Fairbanks gives us the inside scoop on the rainbow nation

Days of Future Past

The rebirth of film photography– and how you can join the movement

60 68 80 83

The Man Who Invented Purple

Chapel Hill's own fashion designer spills on his new collection, his inspirations and how he blends timelessness with throwbacks

The 60s– Submerged

Sixties swimwear lounges poolside and plunges beneath the waves

"The Dude Breathes Music"

How UNC-Chapel Hill senior Ford Garrard founded his record label, Knife Tapes

Vintage Voyage

Your perfect outfit for a summery day on the town or in the countryside

6 | C | Health

ALEXANDRA HEHLEN

| THrō bak| The throwback is a chicken and egg situation. What came first? The old or the new? It seems simple; the ‘70s preceded the ‘80s, and the ‘80s came before the ‘90s. But fashion is much more than seven ate nine. In the sartorial world, any given decade is intertwined with the ones that both precede and follow it.

Every article of clothing has a timestamp, the day it was finalized: hung just in time onto a backstage runway rack ready for action or pressed and folded into a box destined for an eagerly waiting customer. Yet the prints and darts of a garment, the stitches and pockets of a handbag, the bells and whistles on a whimsical pump, all have different dates of birth and rebirth. Yes, a style may have originated from somewhere at some point, but it has been made and remade to the point where it simultaneously embodies both everything and nothing but itself.

Throwbacks can be expertly crafted or insightfully butchered, stealthily subtle or unabashedly in-yourface. Neither extreme is better or worse, but one is more wearable than the other. In keeping with our

mission to make fashion and lifestyle relatable to our readers, our young staff has curated in this issue an accessible, obtainable throwback.

In our opinion, the most timeless, wearable throwback is that continually created by the master of the throwback himself, Alexander Julian. The Chapel Hill native, interviewed and featured starting on page 58, achieves the perfect balance between timelessness and newness. He and his designs are a relevant model for the myriad other contemporary designers who are pushing the boundaries of familiar fashion, constituting a constant and systematic reinvigoration of modern fashion.

What is a throwback, anyway? “What isn’t? Because everything is based on what was,” Julian told us. “It’s a question of how it’s interpreted and how it’s redefined and how it’s reused. I find a pure throwback costumey.

I think nods to the past, if they’re done in a new approach, are great.”

So we are deviating from the costumey, refusing to waste your time with styles we know you won’t

Letter from the Editors | C | 7

wear, anyway. Forget the full-on ‘80s garb, photo shoots with over-the-top makeup or retro swimwear recommendations that break the bank. What we hope to show in this issue is a relatable and actionable portrayal of how we can use the throwback to express ourselves in today’s world.

Our staff has put its heart and soul into conceptualizing throwbacks in multiple forms. From a modern yet nearly identical remake of classic celebrity photos, to a look at the re-emergence of the corset, to a photographic take on how today’s power-women can remake rigid Victorian style, to a nostalgic review of a time when more species roamed this earth, the content in this issue strives to show the omnipresence of throwbacks in our everyday lives.

Let this issue take you on a current journey through time. We’re starting at square one but bringing it full circle. Fashion is a phoenix, a derivative art form. No garment is theorized and stitched in a conceptual vacuum. Everything has its inspiration, whether from nature, other art or former fashion itself. In this issue we want to pay homage to fashion inspired by fashion’s

REMINGTON REMMEL

past. We believe one of the amazing features of all design is its reflexive and self-fulfilling nature, which fuels a consistent novelty, allowing people to express themselves and be inspired by the new in the old, and the old in the new. It is our most sincere wish that you discover this vision in our second issue of Coulture magazine. We hope you enjoy our throwback to what was, is and will be as much as we do.

8 | C | Culture Update

B Micah Stubbs For techies and earlyadopters everywhere, it is the year of virtual reality. The 2016 Consumer Electronics Show, held annually in Las Vegas, featured multiple versions of this emerging technology meant to both entertain and immerse its users.

The private trade show is known for attracting major companies in the technology industry and is the perfect place to generate buzz about a product before it goes to market. Sponsored by the Consumer Technology Association for over 50 years, the show has gathered over

3,800 exhibiting companies and 160,000 attendees to view the world’s most innovative products up close.

Virtual Reality headliners this year included Oculus Rift, HTC Vive and PlayStation’s Project Morpheus, which offer a range of experiences from 360-degree gaming to liveaction movies. These will join Google Cardboard (commonly known as “Oculus Thrift”) and Samsung Gear VR as the newest players competing to make virtual reality worth consumers’ time and money.

Virtual reality has been on the backburner for some time in order to improve functionality before consumer release. Now it is finally here.

The HTC Vive is the first of the Consumer Electronics Show debuts to go-to-market, with the release date set for Feb. 28. According to the HTC product site, Vive will offer “room-scale gameplay with

The Festival Ahead of its Time

Rachel Green

You have probably never heard of Moogfest. Since its debut in 2004, the music festival has remained largely under the radar. With indie festivals popping up all over the United States, Moogfest is easy to overlook; yet it stands apart from the rest because of its experimental and innovative nature. Coachella and Bonnaroo may be trendy, but they ultimately lack Moogfest’s diversity in style.

Moogfest began in 2004 to honor Robert Moog, inventor of the Moog synthesizer. In celebration of the synthesizer’s 50-year anniversary, the festival started small in New York City. In 2009 Moogfest relocated to Asheville, N.C., home of the Moog Factory.

In 2016 Moogfest will be coming to Durham, N.C..

Although it has been reduced from five days to only a threeday festival, the lineup still packs a punch. With headliners like Oneohtrix Point Never and Grimes, both of whom made numerous Best of 2015 lists, to Suzanne Ciani and Laurie Anderson, pioneers of electronic music and the avant-garde, the festival will disappoint no one.

Moogfest will also feature guest speakers, technology workshops, art installations and films at various locations in Durham. Discussion topics vary within the realm of the exciting future of technology.

For more information visit moogfest.com.

precise motion tracking” and the ability to “open apps and games without taking off your headset,” which is apparently a big deal. The entire package includes a 2160 x 1200 resolution headset, two wireless controllers, room-scale motion tracking and one more excuse to binge watch “It’s Always Sunny in Philadelphia” (Season 10 is finally on Netflix!).

Ranging from $100 to the cost of a pair of Jimmy Choos, virtual reality is now one of the most expensive fashion statements you can buy.

However,

the real cost is in the console necessary to support it. Most people ready to buy this experience do not have the PC hardware able to run the content, costing consumers hundreds of extra dollars in additional accessories.

“This is the beginning of an explosion of content,” said Mike Rothenberg, CEO of Rothenberg Ventures, a venture capital firm focused on virtual reality, in an interview with the International Business Times. “This is the first inning.

Everything else has just been warmup.”

Maurizio Pesce; “HTC executive director of marketing, Jeff Gattis wears the HTC Re Vive”; © 2015 Maurizio Pesce, Some Rights Reserved; Creative Commons Attribution 2.0; http:// bit.ly/1LsSpVU; http://bit. ly/1ryPA8o

Modern Marvel

I

Hannah Lee

Last year was a great year for comic book movies, but with Hollywood’s release of eight new comic book movies (twice as many as last year), this year has got 2015 beat. “Deadpool” and “Batman v.

Superman: Dawn of Justice” are already in theaters, but there are six more to come.

Pencil them in right now.

Capta film, th in America: C is ivil Wa r: May than an comic book 6 movie y other will se Basically the Marvel X-Men e more third A fi lm : A pocaly s – not e v will be pse: ven me uperheroes o engers th ntionin n scree most e e biggest “X- May 27 Direc n g t t he vil ndur Men or B Teenag ing comic bo ” movie of all ryan Singer s lains. ok mov ays this e Muta time. A ie fran nt Ninja Suicid chise s nd because t film Turtle history e Squad: Aug h ust 5 Fo s: Out of the o far, that me is is the , a film an rt w S particu lar com ill be devoted he first time hadows: June s a lot. in com ic book 3 s Gamb ic ’s long olely to the s -stand upervil book movie “Deadp it: October 7 in lains o In g o fa the abil ol” and “X-M the third “X- legacy. en M it energy y to mentally : Apocalypse en” movie of ,” .

20 create, contro Gambit is a m 16 following Docto l and m u anipula tant with neuros r Strange: No te pure ur ve kinetic accide geon Doctor mber 4 This nt, disc film wil Stephe overs t n l fo S t ll r o a w n he wor ld of m ge who, after the story of agic an a horrifi d alter nate dim c car ension s.

Celebrity Remake | C | 9

twiggy times three In the mid-‘60s, supermodel Lesley Lawson – a fashion icon otherwise known as Twiggy – rose to fame for her waifish looks and girlish charm. Lawson popularized the classic British look known as mod: all stripes, bold colors and eye makeup, and

modern fashions. Although we’re not in the ‘60s anymore, you can still rock a frock like Twiggy. Break out your bold colors and mascara wands because mod is back and trendy, and you can wear it everywhere.

Written and photographed by Elise Holsonback

look 1

A Twiggy-esque everyday look can be achieved with simple, staple wardrobe pieces: a striped top and tailored pants. For a more mod look, pair a striped turtleneck with highwaisted, tailored pants in a bold color and simple sandals. Dress this look up with a blazer or down with a denim jacket.

Top Forever21; pants Uniqlo; sandals Target.

look 2

look 3

Top & shorts Old Navy; shoes Nisolo.

Dress & socks TJ Maxx; earrings Rumors.

One way to channel mod in your day-to-day look is with a matching print outfit.

With a playful pattern, simple hairstyle and classic leather shoes, this look works anywhere, from class to weekend brunch. Dress it up with a simple cardigan and a statement necklace.

Mod can also be sophisticated. Adding tall socks and a white collar under a shift-style, little black dress (LBD) can take your everyday party look to the next level. Dress it down by wearing a simple cotton dress, or up by adding bold earrings and lipstick.

how-to: makeup Twiggy was known for her iconic makeup– bold eyeliner, a defined crease and eyelashes, and even drawn-on bottom eyelashes. Recreate this look with a basic nude palette and black eyeliner and mascara. Mix up colors and add a bright lipstick for a fun new way to spice up your everyday look.

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We Never Go Out of Style Modern fashion fads frequently pay homage to classic looks worn by celebrities in the ‘60s, ‘70s and ‘80s.

Despite the various origins of their fame, Brigitte Bardot, Michael Caine, Marilyn Monroe, Ali MacGraw, Steve McQueen and James Dean challenged fashion norms and became symbols of style. Dean and Monroe served as two of the most cherished fashion icons of their time.

MacGraw brought a preppy and sophisticated twist to the typical bohemian trend, while McQueen mastered masculinity and effortlessness with his clothing. Caine perfected the tailored, yet casual suit, and Bardot even inspired a neckline design. Current trends, ranging from the plain white T-shirt to the cropped pant, are reminiscent of the signature styles of these celebrities, decades after their moments in the spotlight. What follows are these icons’ classic outfits, recreated entirely with clothes and accessories you can purchase right now.

Written by Niki Wasserman Photographed by Alexis Fairbanks Modeled by Alexandra Hehlen, Philip Howard, Hannah Lee, Parker Place, Remington Remmel & Anna Sale

FRENCH TWIST Sweater Banana Republic; pants J. Crew; shoes Chinese Laundry; sunglasses shop similar at Forever21.

Original photograph courtesy of theconcreterunway.com.

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CAINE YOU IMAGINE? Caruso blazer and pants Alexander Julian; turtleneck Tommy Hilfiger; sunglasses Garrett Leight.

Original photograph courtesy of reiss.com.

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MY WEEK WITH MARILYN Turtleneck Banana Republic; high-waisted culottes J. Crew; heels White House | Black Market.

Original photograph courtesy of marieclaire.com.

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HEARTS OF CLASS On Anna: top H&M; pants shop similar at Lucky Brand; shoes shop similar at Madewell. | On Philip: shirt Uniqlo; joggers J. Crew; watch MVMT; shoes Adidas Stan Smith.

Original photographs courtesy of thegentlemansjournal. com and elementsofstyleblog.com.

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CAFE AU BAE Shirt J. Crew; jacket Ralph Lauren.

Original photograph courtesy of themanhasstyle.com.

the perfect deuxover Two Charlotte designers are making beds and making a difference. Leigh Goodwyn and Leigh-Ann Sprock of LeighDeux have created the next big thing in college décor, but their collection has gained traction far beyond the dorm room.

Initially launched as a luxury dorm brand, LeighDeux was the brainchild of Leigh Goodwyn and her partner Leigh-Ann Sprock. Goodwyn saw a void in the marketplace for designer-level dorm décor after her daughter went to boarding school and had difficulty sourcing sophisticated bedding in the XL twin size.

LeighDeux is just three years old, and while initially loved by the sorority set, the company’s line is growing in popularity. In a short time, LeighDeux has been featured in “O Magazine” and “The Washington Post” and has become a favorite with design bloggers across the country. The company’s website has been live for just 15 months, but LeighDeux has tripled its sales and just launched a storefront on amazon.com.

“We have done a ton of girls’ rooms both in the dorm and in the home, but we’ve also done vacation homes too,” Sprock says. “More people have contacted us for help with their apartments, so we’ve seen an increase in popularity with young professionals.”

What’s impressive about LeighDeux is its approach to its brand: made by women for women. The company manufactures its entire collection in the Carolinas, and a percentage of every sale funds scholarships for women in entrepreneurship.

“When we created the company, we wanted to offer a fresh look, and we wanted to give back, so we decided to design and manufacture our own textiles, create jobs in our local economy and help further the mission of women in business,” Goodwyn says. The company awarded its first

scholarships this past spring to Adele Bernard and Rachel Atkinson, two young women in the entrepreneurship minor program at UNC-Chapel Hill.

Talk about girl power!

LeighDeux is the first company to create a scholarship program for females in entrepreneurship at the University. “Creating scholarships is the perfect extension to our campus rep program, LeighDeuxU,” Goodwyn says. “One of our goals with the company is to teach young women to think about starting their own businesses. As a campus rep they can gain valuable experience in sales and marketing through positive female role models.”

LeighDeux has over 50 campus reps across the country who serve as brand ambassadors. They range from middle school students to post-college individuals. Goodwyn says they are key to the company’s social media strategy.

“As a brand targeting young women, we have to be active on social media. That is how they get their information and how they shop,” Goodwyn says.

The LeighDeux line includes 15 signature printed fabrics, designed and manufactured locally, as well as many coordinated, solid-color pieces. LeighDeux makes bedding, pillows, dust skirts and various types of soft furniture. The products are designed for small scale living, so they work perfectly in the dorm room or apartment. The brand’s look is preppy boho and full of great color. “Dorm rooms, as well as many apartments, can traditionally be very drab” Sprock says.

“We want to create a vibrant, happy space!”

Select pieces are available now on amazon.com, and all of the LeighDeux products are sold online at leighdeux. com. The company’s campus reps also host trunk shows across the country.

You can apply online to become a

Chez Moi | C | 17

MAKE THE BED Photographs courtesy of LeighDeux. campus rep, and LeighDeux is currently looking for more high school reps to help grow the brand.

LeighDeux is constantly exploring new product extensions, and soon you will find more pieces available in the brand’s colorful prints, such as towels, blankets and shower curtains. What many love about this line is the quality of the collection. It looks and feels like you hired a decorator, but the company stocks and inventories their collection, so you can give your room a “deuxover” in no time.

18 | C | Fashion News

Imprint and IMPACT

GIRLS GOT GLAM Aofie Harer and Claudia Sollee handmake jewelry.

Bringing Back Boho Kathrin Hennigan Photographed by Alexis Fairbanks Today’s fast-paced, individualistic lifestyle often feels distant from the united, bohemian vibes of the ‘60s and ‘70s. Student jewelry designers Aoife Harer and Claudia Sollee, however, are bringing bohemian back with their handcrafted necklaces.

Originally inspired by one of her greatgrandmother’s cocktail rings, Sollee found a love for making jewelry in fourth grade that today, with Harer’s encouragement and assistance, has blossomed into a business. Their company is called CA/SH Collective, named after a combination of the designers’ initials. CA/SH Collective strives to produce stylish jewelry at prices that are, as Harer describes, “affordable for everyone.”

“The main thing is to provide for people that want nice things but can’t really buy $200 necklaces all the time,” said Sollee, who considers those consumers to be fellow college students on a budget.

With Harer marketing the jewelry and Sollee handcrafting it, the two UNC-Chapel Hill first-years built their burgeoning business together, drawing inspiration from current trends and past bohemian styles. From the start their most popular design has been their signature, handmade, black beaded wrap necklace, which sells for $15. Boutiques sell similar designs for upwards of $40, but even CA/SH Collective’s most expensive pieces sell for

approximately $35.

To achieve these low prices Sollee “spends time looking for affordable materials” and makes many components of the jewelry entirely by hand. Instead of buying expensive, pre-made parts, Sollee handcrafts each individual beaded chain link.

Sollee attaches every bead, twists every wire and connects every charm by hand to create a necklace, essentially making the jewelry 100 percent homemade. Harer said this process, though time-consuming, allows for buyers to “really personalize” the jewelry; everything from the bead color to the necklace charm can be customized.

Luckily, Sollee enjoys making jewelry and finds it extremely relaxing. While their business takes up time, neither student lets it impact her schooling.

“As of now (that) hasn’t been an issue, but we’re also really just getting started.” Harer said.

Though just beginning, the designers hope to eventually launch CA/SH Collective on Etsy. Today they are gaining recognition and have just started an Instagram account, @cashcollectivebeads. Through it all, CA/ SH Collective has remained true to itself, maintaining a boho feel reminiscent of the ‘60s and ‘70s, when creativity and collectivity thrived. Through their small-business model and their unique, handcrafted designs, Harer and Sollee are inspiring fashion enthusiasts and reviving the bohemian spirit.

Niki Wasserman Three-D printing emerged as an innovative design form in 1984, but today the technology is adding a new dimension to the fashion industry. Both up-and-coming designers and established brands are using 3-D printing to bring new elements and techniques to clothing, jewelry, footwear and more.

The footwear industry was one of the first to take advantage of 3-D printing. According to 3Dprintingindustry.com, New Balance announced in 2015 that the brand would create a sneaker with a 3-D-printed midsole. While 3-D printing may not yet be a mainstream alternative, it allows companies to provide customers with comfort and novelty while offering style and practicality.

Three-D printing technology also provides lesser-known designers with the chance to make a unique and memorable impact on the fashion industry.

During New York Fashion Week in February, designer Alexis Walsh debuted the Spire Dress, which was constructed from 400 3-D-printed tiles. As Walsh’s dress exemplifies, 3-D printing technology has the potential to revolutionize the fashion industry and add a modern spin to classic designs.

Graphic by Elina Rodriguez

Fashion News | C | 19

From Victim to SURVIVOR Brianna Kusilek After Laxmi, 15, turned down a 32-yearold man’s marriage proposal, he and two others cornered her on a public street in New Delhi, India, and burned her face and body with acid. Yet the pain of her new scars was nothing compared to the abandonment she experienced from her relatives and friends. While Laxmi rarely left her house for eight years, her attacker was allowed to marry and start a family. Laxmi’s situation is not a rare one in India, so she has dedicated her life to enriching the lives of other survivors.

Now 26, Laxmi founded a nonprofit organization, Stop Acid Attacks, and was awarded the International Women of Courage award by Michelle Obama. In 2016 Viva N Diva, a small fashion brand in India, selected Laxmi to headline its Faces of Courage campaign, an initiative created to eradicate fear of scrutiny and promote self acceptance and inner beauty.

“Headlines or no headlines, if [Faces of Courage] changes a few mindsets, that’s enough encouragement for us,” Uma Shankar of Viva N Diva said. “We just need women like (Laxmi) to believe they have it in them to succeed on their own and for the world to change their superficial ideals about beauty.”

One Backpack at a Time Brianna Kusilek While Peytie, 15, from Carlsbad, California, may not have won the first season of “Project Runway: Junior,” she did have the honor of winning the Lands’ End challenge.

Inspired by the Michelle Obama’s Let Girls Learn initiative, the challenge is a collaboration between the first lady and the Peace Corps to increase access to education for young women around the world. Contestants were tasked with designing a backpack that pays tribute to the millions of young girls striving to gain an education. Peytie collaborated with the Lands’ End design team to create her aptly named Global Classmate® backpack.

With the cause in mind, Peytie

crafted a map mosaic print that for her “represents people helping people and different cultures mixing to represent a world uniting to help solve this problem,” she said in an interview with the “Fashion Times.”

Starting at $59, the backpack includes a number of impressive features, including an ID pocket on the inside of the top flap, a flap top secured with hidden magnetic snaps under faux buckles and two side pockets, one of which expands to hold a water bottle. Designed with durability, comfort and organization in mind, Peytie was created a backpack that ensures Lands End’s motto of “learning has no boundaries“ remains true.

Photographs courtesy of Viva N Diva

Trending on Television Shephard Sullivan Recent revivals and cast reunions of some of the most beloved ‘90s sitcoms, such as “Full House” and “Friends,” have shown how iconic styles have greatly evolved in their reappearances. DJ Tanner traded in her big hair, oversized denim jacket and trendy Keds for a sleeker and more grown-up style in the “Full House” revival, called “Fuller House.” Even the stylish Rachel Green from the original “Friends” series sported some outfits that actress Jennifer Aniston would not dare wear in 2016.

Although these trends

Geoffrey Chandler; “friends”; © 2005 Geoffrey Chandler, Some Rights Reserved; Creative Commons Attribution 2.0; http://bit. ly/1TRr42k; http://bit.ly/1ryPA8o

may have fallen out of style, they preserve the ‘80s, ‘90s and early 2000s aesthetic. In 2016 these characters’ styles may seem too neon, oversized or short, but they show how fashion has changed. From a stylistic perspective, Netflix throwbacks contain a history of style via classic characters’ clothing.

20 | C | Style

my top 5 pairs of raw Ford Garrard Back in the day, jeans were all made by hand on a shuttle loom, cut from the same uniform piece of cloth and never washed after coming off the factory line. This left the pants stiff as a board and completely oversaturated with indigo dye that would stain everything it came in contact with for the first month of wear. After a treacherous break-in period and several months of hard wear, the jeans would fade to fit the contours of the wearer perfectly, almost as if they were custom made.

The light wash Levi’s 501s or Wranglers hanging in your closet are a recent invention, and have been through several chemical washes before ensconcing your legs. While this is all fine and dandy for most people, if you’re looking for a pair of jeans that’ll kick your ass and stain your chairs before turning into the most comfortable pants you’ve ever owned, look no further than raw denim. Several companies have returned to the old-fashioned way of making denim, but with more modern cuts and updated features. If you’re just getting into raw denim, you might be faced with some daunting questions like “What is 22-ounce denim?” or “Am I really not supposed to wash these?” Lucky for you, I’ve compiled my top 5 favorite pairs.

Naked and Famous: Rainbow Core Selvedge

If you’ve found yourself thinking “I don’t get it. All of these just look like jeans”, then this is the pair for you. Naked and Famous Rainbow Core starts off looking just like any other pair of indigo dyed denim, but months of wear slowly reveal the multicolored threads underneath.

These certainly aren’t for everyone, but if you need a pair that will add a lot of personality and color to your wardrobe, then look no further. http://www.heddels.com/2014/05/fadefriday-naked-famous-rainbow-core-15-months1-soak/

Raleigh Denim: Jones Original Selvedge

This pair is sure to satisfy any true North Carolinian. Raleigh Denim was one of the first players in the raw denim renaissance back in the mid-2000s, and the brand creates the only jeans on the list to be 100 percent American made.

Raleigh Denim sources all of its materials from Cone Mills in Greensboro, North Carolina, and the brand has enlisted the aid of master pattern makers, sewers, and craftsmen from surrounding areas of North Carolina to assemble the final product. The result is a line of handcrafted denim that is unpretentious and long-wearing, with a selection of fits and fabrics to suit even the most hardcore denim fan. While these jeans aren’t too flashy at first glance, they come with many features such as lined pockets, a selvedge-edged coin pocket and a signature red hem – all of which highlight the brand’s attention to detail. http://www.raleighworkshop.com/ mens-denim/jones-original-raw

Style | C | 21

Naked and Famous Elephant 4

These jeans are not for the faint of heart.

Weighing in at 22 ounces, this pair is about as thick as a rolled-up carpet. In other words, these jeans are almost 4 times as thick as your standard pair of Levi's. Why would anyone want this? These jeans can actually stand up on their own at first and will rub the back of your knees raw. But if you can put up with a brutal breakin period, the fades are downright incredible and will be well worth the wait. The denim is also dyed blue on both sides, making them even darker than your standard indigo denim. If this still sounds appealing to you, I salute you. http://www.heddels.com/2015/03/fade-daynaked-famous-elephant-4-skinnyguy-7-months1-wash/ James sports the Naked and Famous Elephant 4.

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Unbranded UB101s

This was the pair that started me off in the wild world of raw denim. These are nothing fancy, but even at their attractive price point, they come with many of the features expensive brands offer. These jeans are made of indigodyed denim that weighs in at 14.5 ounces per square inch, making them feel pretty similar to the jeans you already have. They aren’t too skinny and fade fast, making them the perfect pair for the first-time buyer. http://theunbrandedbrand.com/products/ ub101-skinny-fit-indigo-selvedge

Gray wears a pair of Unbranded UB101s.

Style | C | 23

Imogene and Willie: Barton Slim

These jeans are my personal favorite, and I literally feel emotional distress when I am not wearing them. Made by hand in Nashville, Tennessee, they just look and feel great. They aren’t too flashy at first glance, but have a lot of nice small details like a gold selvedge line and dark brass rivets. If you have the opportunity to buy the jeans at the storefront in Nashville, the company will literally make a pair from scratch, tailor-made to fit your legs. These jeans have travelled with me all over the world and have seen a fair bit of damage, but I’ll keep patching them until they disintegrate on me. https://imogeneandwillie.com/barton-slimrigid

Ford rocks a pair of Imogene and Willie Barton Slims.

suit

24 | C | Chronicles of Style

Remington Remmel

The suit: a jacket and trousers cut from the same fabric. Though the tailoring, colors, materials and styles have changed over the years, the basic concept has remained the keystone of formalwear for men in the Western world for almost 300 years. It is difficult to trace the evolution of trends in formalwear that have led to today’s accepted styles because of their ephemeral and spontaneous nature.

But there are certain defining people, events and stories that help give this history some shape.

In 17th century European societies, the standards of high fashion and formalwear were dictated by the aristocrats and the royals. We might still recognize a similar process today; celebrities and politicians in the public eye are arbiters of style in our society. The biggest difference between now and the late 17th century, where this story begins, is that monarchs did not just have the power of influence over the masses as our modern day celebrities do – they also had the power of law.

While jackets and trousers have been around for centuries, Louis XIV would not exactly fit in at a modern black tie event. His garb, like the men of his court, consisted of coats and breeches of the finest fabrics in rich, flamboyant colors and intricately stitched and ornamented. He would have looked more like a peacock than today’s conservatively dressed royalty, who would likely scoff at such a sartorial display.

Bright colors, along with fine velvets and silks were a conspicuous display of wealth every nobleman enjoyed.

It was no coincidence that every aristocratic male dressed similarly; Graphic by Joseph Held

up!

in fact, Louis XIV decreed that all men of his court in Versailles should be uniformed in such a way. He thus engendered in the general conception of these clothes a social prescription. This is not the first time this has ever been done; clothing has always been indicative of social class, but Louis XIV’s decree is important in the history of the suit because it propagated social norms upon a framework of mandated formalwear. The suit was officially “aristocratized.”

A similar process occurred around the same time in the English court of Charles II in the late 17th century. He ordered that all men in his court wear a long coat, a waistcoat (sometimes called a petticoat), a wig, knee breeches and a hat. Throughout his reign his attire and the clothing of his noblemen became further and further removed from the French to create a distinctively conservative English style. The mark of this transition was Charles II’s substitution of ostentatious colors for more subtle tones such as navy, green and brown more in line with the pallette of current suits.

Some suggest this transition was part of an effort to decrease perceived opulence of the throne because of the hard economic times brought on by the AngloDutch Wars of that same period. This was no small change; fine clothing and rich dyes were known in the visual social lexicon as signs of class. Josh Sims, in his book “Icons of Men’s Style,” notes that by adopting the color scheme of the masses, Charles II not only publicized the necessary frugality of the time but also took one step closer to “democratizing” the suit, making it available to more than just the wealthy.

England would continue to be the stage on which the suit evolved. In the early 1800s, tailors began to adapt the socially accepted formal uniform for practical reasons. Long coats were made shorter to make horseback riding easier, lapels became more prevalent and different materials were experimented with. Popular socialites such as George "Beau" Brummel played important roles in shaping preferences for the minute details of a custom-made suit. Brummel preferred his clothes more fitted than his counterparts. This trend may not have caught on if it were not for Brummel’s close relationship with George IV.

Chronicles of Style | C | 23

Having a suit was still a luxury reserved for the world's most elite.

England’s emphasis on fit begot Savile Row, the famous collections of worldclass tailors still renowned to this day for possibly the finest, bespoke suits one could get anywhere in the world. Tailors such as Henry Poole, Huntsman & Sons, Anderson & Sheppard and Grieves & Hawkes, among others, worked with the customer to make a unique suit that was just as much a perfect fit to their preferences as it was a fit to their body.

A customer could choose every aspect of the suit, picking material, lapel shape, darts, an amount of buttons, vents, length and more.

Trends and styles changed over time but also over place. Different schools of suit design emerged in England than in places like France or Italy. The English silhouette was modeled largely after

military uniforms. Soft shoulders and a tapered waist created an hourglass shape with a slender fit. French and Italian tailors made suits with tighter, closercut fits through the chest and hips, along with bolder, square shoulders, flapless pockets and high-notched lapels. It is upon these models that custom, or “bespoke,” suits were made in continental Europe and England.

Even wealthy Americans, Japanese and other internationals would venture halfway across the globe to have their suits made by the best of the best. While these suits looked almost identical to the ones we see today, having one was still a luxury reserved for the world’s most elite. And this is how it remained until the American company Brooks Brothers created the sack suit in the early 1900s.

Brooks Brothers’ No. 1 “sack suit” was an unflattering, ready-made suit that revolutionized men’s formalwear. The first major change that came along with this suit was that, up to this point, it was unheard of that you could walk into a store and walk out the same day with a suit. Secondly, the design of the suit was no longer in the hands of the customer but in those of the tailor. Brooks Brothers

then arose as an unprecedented arbiter of men’s style. Alan Flusser, in his book “Dressing the Man,” calls the sack suit “undifferentiated and unsexy, offering the wearer a soft-spoken, calculated anonymity.” The silhouette of the sack suit is the basis for a distinctively American tradition that began to be colloquially referred to as “Ivy League style.”

Today the state of the suit is a patchwork of trends and revivals from styles past.

It is unlikely that any other outfit will overtake the suit as the primary garb of the business and formal world. What may occur is progressive casualization – a disintegration of the formal sphere (think casual Fridays in an office) – or perhaps a return of the colorful peacocking of Louis XIV’s court (think NBA Draft outfits).

Either way, no matter what trends will shape the suit in the future, we will always recognize at least some semblance of the original form into perpetuity.

Information drawn from “Dressing the Man” by Alan Flusser and “Icons of Men’s Style” by Josh Sims.

26 | C | Checkup

Waist Management Katie Plampton Though the term “waist training” may sound like an intense workout meant to strengthen and tone the core, in reality it is quite the opposite. This newly popular practice involves wearing a piece of shapewear to cinch the waist, hips and back, supposedly decreasing waist size permanently over time with no effort on the part of the wearer. The idea is to wear the waist trainer for a certain length of time every day, and soon enough your body will mold itself into a slimmer figure.

Celebrities such as Khloé and Kim Kardashian, Kylie Jenner and Amber Rose have endorsed the product, posting selfies to Instagram showing off their cinched waists. Actress Jessica Alba

even reported using waist training to lose pregnancy weight after giving birth to her two daughters. Young women, intent on emulating their favorite stars’ desirable figures, are purchasing the waist trainers they see on social media in hopes of permanently reducing their waist sizes.

If waist trainers sound reminiscent of Victorian era corsets, that is because they are fundamentally the same thing. In fact, women have been attempting to shape and diminish the size of their waists since the early 16th century. European fashion in the 1500s and1600s commanded rigidity in dress, and aristocratic women began to wear corsets and bodices that flattened curves

by constricting the stomach and breasts. The resulting shape of a woman’s torso was a straight-sided, inverted cone, concealing all natural curves between the breast and hip. The contraptions were initially constructed from a stiff material, but later on steel stiffeners were sewn into the lining.

After the 16th century, corset designs changed and were created to slim the waist and uplift the breasts.

Instead of hiding a woman’s natural form, the corset now accentuated it and produced the corset shape most of us recognize — an hourglass with a tightly cinched waist.

From the 16th to the 19th century, stiff materials like whalebone, steel, cane and wood were inserted into

corset seams or lining to create the hourglass effect.

Throughout the 1800s corset designs became increasingly exaggerated, and women’s clothing began to hug the torso and the corset progressively squeezed in more of the midsection to create an “ideal” female figure.

The attempts to achieve ever-smaller waists and more dramatic curves soon led to outcries against corsets, first in the 1820s and 1830s and again at the turn of the century. Religious leaders objected to the accentuation of an exaggerated female figure, physicians objected to the glaring health risks, and feminists criticized the corset for physically and symbolically imprisoning

women.

In 1908 a French doctor named Ludovic O’Followell published “Le Corset,” which revealed the dangers of tootight shapewear. With new X-ray technology, O’Followell published images showing that women who regularly wore corsets had deformed rib cages and organs. The effects of waist trainers on women today are similar to those of corsets in the 20th century.

Compressing abdominal organs such as the kidneys, liver, stomach and intestines has the potential to decrease their blood flow and function.

Depending on how tight the waist trainer is laced, digestion may even be hindered. Exercising while wearing one is out of the question, as squishing your abdominal organs and forcing them upward reduces lung capacity, resulting in shallow breathing. Shapewear also restricts the normal movement of respiration itself, in which the diaphragm expands and the abdomen flares out. In fact, some women have fainted from wearing waist trainers too long. There is a reason corsets and fainting couches were equally popular during the Victorian era.

According to an article in “Medical Daily,” sitting in restrictive shapewear can trigger a condition called meralgia paresthetica, which occurs when the thigh’s peripheral nerve is compressed. This leads to “tingling, numbness, and pain in your legs,” the article notes and can even cause varicose veins and lymph congestion, which appears as swollen ankles.

“Medically, it doesn’t make sense that cinching your waist tightly will make it permanently smaller,” said Mary Jane Minkin, M.D., in an interview with “Women’s Health.” Minkin is a clinical professor of obstetrics, gynecology and reproductive sciences at Yale School of Medicine. “Once you take

the garment off, your body will return to its usual shape.

It’s also uncomfortable (and) restricts your movements,” she says.

Christopher Ochner, Ph.D., assistant professor of pediatrics, adolescent medicine and psychiatry at the Icahn School of Medicine at Mount Sinai Hospital, agrees. “You can’t reduce the collection of fat in any one particular area of your body.

If you push your stomach in, all the fat will go right back to where it was no matter how long (you wear the corset) for,” he said in an interview with “Marie Claire.”

Just because a celebrity promotes a product on social media does not mean it works and certainly does not mean it is safe to use. For a long-term, weight-loss plan with lasting results, exercise and a healthy diet are the more sustainable option. Forget the waist trainer and instead accentuate your natural waist with wardrobe staples.

High-waisted pieces including jeans and pencil skirts typically sit at the best spot on your waist and gently cinch it in, making it appear smaller. Wearing a wrap dress, belting your jacket or dress at the waist, or tucking in your blouse have a similar effect and highlight your natural curves. Vertical lines over your midsection can also reduce the appearance of your waistline.

This illusion does not require vertically striped prints; it can also be created by the lines of draped scarves and necklaces.

Finally, dresses with panel sides create an hourglass look and are flattering on any body type.

The next time you see a photo of your favorite celebrity showing off their cinched waist, think twice. For the sake of your organs and your health, embrace your natural waist.

Checkup | C | 27

After the 16th century, corset designs changed and were created to slim the waist and uplift the breasts. Instead of hiding a woman’s natural form, the corset now accentuated it and produced the corset shape most of us recognize — an hourglass with a tightly cinched waist.

26 | C | Health Feature

A New Normal

The story of sexual assault on college campuses such as UNC-Chapel Hill Devin Johnson When you go off to college as a young woman, your mom always reminds you to carry your pepper spray and watch your drink. But in the experience of most sexual assault survivors, things are different than what they are traditionally prepared for. This can not only affect how survivors react to their situations but also can influence the response of the community and the university itself.

“The cultural understanding of sexual assault is not what I experienced. No one jumped out of a bush in the dark or pointed a weapon at me,” says Christine Allison, a UNC-Chapel Hill student who was sexually assaulted. “No one said ‘Do this or I’ll hurt you’ like they tell you about and what you see in the media, but what I experienced was something that happened to me without my consent and really messed up my ability to function.”

She remembers the first time she was sexually assaulted. “He asked me if I was uncomfortable. I said yes; he proceeded to kiss me,” she says. “It was a confusing experience, so I didn’t report it.” Allison was assaulted three times during her freshman year. She was exploring her sexuality, and with low self-esteem, she was unsure of who she could trust. After the second and third assaults (all the assaults occurred within two weeks of each other), she went to the hospital, got a rape kit and reported to campus police.

Unfortunately, nearly a year later when Allison called campus police to get access to the report, she was told the investigator had retired and the location of the file was unknown. Nothing had come of the investigation, and she was distraught.

“I wanted to forget, and I wanted to not feel terrible, and I thought drinking would do that for me,” Allison says. “I got into abusive relationships, I got fired from my job, and my self esteem was in

the toilet.” Her mind kept going back to her assault, making her feel disgusting all the time.

But she wasn’t alone in her confusion.

Many survivors experience significant uncertainty. Veronica*, also a UNCCH student, had just gone through a particularly nasty breakup, and while out with her friends one weekend, she drank quite heavily. She remembered one moment she was sitting on a bench on Chapel Hill’s main Franklin Street, and the next she was in bed with a friend from her high school.

“It felt like such a gray area,” she says. “I thought, ‘He’s my friend; he’d never try and hurt me.’” Her inability to recall what had happened that evening fueled her confusion. Veronica was embarrassed that she couldn’t remember how she arrived in the situation and that she agreed to give oral sex so he would stop touching her and go to sleep. “What did I do? What did I say?” she says. “I’ve always known that I didn’t want to sleep with him, in that moment, the next day and now. But it was always a question of ‘What do I do now?’” She was afraid to tell anyone, even her friends, about what had happened.

“You don’t hear good things about girls who report sexual assaults,” Veronica says. “How could anyone take me seriously and think it was assault if I gave him a blowjob?” This combination, plus the recent breakup, started a monthlong depression. Veronica skipped class for weeks and nearly lost her scholarship.

Veronica’s story is one of many in a problem that is receiving increasing attention. Many students on college campuses – especially at UNC-CH – have seen or heard of “The Hunting Ground.”

The documentary takes a critical look at sexual assault on college campuses, examining the many factors and trends prevalent on university and college

88%

of women who are sexually assaulted don't report the assault.

(Fisher, Cullen, Turner 2000)

136

sexual assaults were reported at UNC-CH from 2001 to 2013-– none of which resulted in expulsions.

Graphics by Elina Rodriguez

campuses in the United States.

Between the years of 2001 and 2013, there were 136 reported sexual assaults at UNC-CH – none of which resulted in expulsions.

To extrapolate this data, assume that in a given scenario those 136 sexual assaults were the 12 percent reported.

This means approximately 1134 sexual assaults occurred at UNC-CH between 2001 and 2013, leaving 998 people who did not report their assaults.

While this is a theoretical scenario, it does beg the question: How many Tar Heels are victims of sexual assault and have struggled quietly with their own feelings of confusion, disgust, fear and depression? And how many college students across the country are in the same boat?

“The Hunting Ground” introduces two women at UNC-CH who were sexually assaulted during college. Andrea Pino and Annie E. Clark together experienced negligence and failures on the part of the University. Clark reported her assault to an administrator, who responded, “Rape is like football, Annie. Looking back on the game, what would you have done differently in this situation?” Despite setbacks, Pino and Clark have made

Health | C | 29 massive strides in bringing awareness sweeping reforms to change UNC-CH’s to the issue of sexual assault on college Title IX policy. According to Shelley Gist campuses. and Clare Counihan at the Carolina When Pino could not convince herself Women’s Center, the policy itself was to keep quiet anymore, she made several completely rewritten with unanimous attempts to meet with the administration support from student collaborators. The at UNC-CH, but her meetings were Policy on Prohibited Discrimination, passed off and delayed. “I kept saying Harassment and Related Misconduct ‘UNC has a problem with sexual assault,’ prohibits all forms of discrimination and but no one was listening,” says Pino in harassment – this is a wide spectrum “The Hunting Ground.” After trying to of conduct that includes sexual and get something done at the University gender-based violence along with for years to no avail, Pino and Clark had interpersonal violence. to find something that would force the “Federal law governs the University’s institution to do the right thing.

According to “The Hunting Ground,” Title IX is a gender equity law that I kept saying guarantees the right to an equal education to anyone. If a school is found "UNC HAS A PROBLEM to be in violation of Title IX – that it WITH SEXUAL ASSAULT" is, if a university is contributing to a hostile environment by not removing but no one was listening. the perpetrator of these crimes – the university can lose federal funding. Pino Andrea Pino and Clark filed a Title IX complaint to the federal Department of Education against UNC-CH. response to Sexual Assault, Sexual When Pino and Clark first went public Violence, Interpersonal Violence with their allegations against UNC-CH, (including domestic and dating violence), responses from the University were and Stalking,” the policy states. “Such astounding, including one from former acts violate the essential dignity of our General Counsel Leslie Strohm, who community member(s) and are contrary said, “The allegations are false, untrue to our institutional values.” Collectively, and just plain wrong.” She denied the behaviors it mentions are referred that the University was suppressing to as “Prohibited Conduct,” which it reports of sexual assault and resisted extensively defines. changing the University’s sexual assault The policy mandates that when policy. Also mentioned in “The Hunting a report is received, appropriate Ground” are the close ties between temporary Interim Protection the fraternity-sorority system and the Measures – including actions such as University. changing students’ campus housing and “(I’m) not singling out fraternities and rescheduling courses – may be enacted Greek life as a whole, but what happens to protect parties involved and allow is you’ll see one particular fraternity equal access to the University and its where the issue of sexual assault is safe environment. To read the full policy, rampant,” says clinical psychologist please visit the Equal Opportunity and David Lisak in the film. Fraternities, and Compliance Office's website at eoc.unc.

Greek life in general, play a massive role edu. in financially supporting universities.

Additionally, a new position for a Fraternity alumni are among the gender and violence services coordinator highest donors to universities across was installed at the Carolina Women’s the country. The documentary claims Center. Cassidy Johnson fulfills this role, schools benefit from having relationships offering with fraternities, which facilitate strong alumni relations.

Since the investigation into the young women at colleges and University’s response universities will be sexually assaulted while enrolled. (Carey, to sexual assault Durney, Shepardson, Carey 2015) reports, there have fortunately been

4 in 25

emotional support and options for courses of action survivors may take to navigate the university system. The first five pages of the policy list the multitude of resources available for those who have experienced sexual violence and interpersonal violence.

“The number of reports has gone up precipitously; the number of people accessing the services have gone up steeply,” said Winston Crisp, the UNCCH vice chancellor of student affairs, in a 2015 interview with The Daily Tar Heel.

“We have been hard-pressed, frankly, to keep up enough staff and to keep expanding the staff fast enough to keep up with the demand.”

It is important to recognize that sexual assault on college campuses is not a “problem” we need to “fix.” Victims of sexual assault are people who have experienced intense trauma. As Pino and Clark stated in the film, the most effective way of getting a response and making changes is telling personal narratives. Putting a face with the name of a survivor makes it all the more real. The problem must be viewed as necessitating a reformation of culture because, unfortunately, sexual assault happens frequently – and especially on college campuses.

Allison says it best. “What happened to me was normal, but just because it’s normal doesn’t mean it’s OK,” she said. Re-education starts with you, the girl who sits next to you in statistics, and your chemistry professor; all of us as individuals must be determined to design a new normal.

If you have been sexually assaulted, please know that although what happened to you may have been confusing or unclear, your feelings are not wrong or illegitimate.

There are many people happy to help you get back on your feet. For more information check out the Carolina Women’s Center, the Equal Opportunity and Compliance Office, the Orange County Rape Crisis Center and the RAINN National Sexual Assault Hotline.

30 | C | Cosmetic Favorites

DOLLS OF THE

DECADES Want a retro makeover that is not too cliché? Take a peek at these makeup looks, revamped from the ‘40s, ‘60s and ‘80s. Instead of sticking to your norm, try something new and play around with these. Trade your go-to neutral shades and loyal weekend routine and for a newer, bolder look. Saturday nights out are the perfect opportunity to experiment!

Written by Julia Faulkner | Photographed by Alexis Fairbanks Makeup by Julia Faulkner, Pambu Kali & Sara Rich | Illustrations by Elina Rodriguez

1980s

This decade is your chance to have fun with makeup for a night out. Try mixing bright pink and purple shadows to achieve the basics of the “fun ‘80s” vibe. If you are feeling really adventurous, use bright eyeliner to draw stripes and add a pop. The ‘80s look leaves room for experimentation, so step out of your comfort zone, try new colors and have fun!

Orange shadow Makeup Forever; purple shadow Almay; eyeliner shop similar from Smashbox; mascara shop similar from Revlon; lipstick IMAN Cosmetics; blush Milani; foundation IMAN Second to None Cream to Powder Foundation.

Cosmetic Favorites | C | 31

1940s

Think timeless and classy for this look. You’ll need bronzer for bold cheekbones and red lipstick for the classic lip. The ‘40s were predominately an era of light eye makeup, with mostly neutral shadows, black liner and mascara.

This decade started the elongated cat eye, which is a perfect balance to the bold lip and cheekbones.

Lipstick tip: Apply one thick layer, then close your lips around a napkin or paper towel to set and blot, and then apply one more. If you’re ever using a sheer lipstick, repeat this trick several times until you achieve the color you desire.

1960s

This ‘60s look is Twiggy-inspired and a great opportunity to play with bold colors from the decade. Start with a natural face, applying light foundation and using subtle blush to accentuate the cheekbones. For the eyes get creative with shadows. Exotic hues of pink, purple, and green showcase any eye color and make a statement. This model wears deep blues, Twiggy style. Use black, cat-eyed liner and dark creases to make the eyes pop, and make sure to add full lashes and dark brows as well. Pick any neutral lip shade for the finishing touch.

The shade used here is a purply tone from ColourPop cosmetics. All of their lipsticks are fabulous and super affordable at just $6!

Shadow shop similar from Maybelline; eyeliner Smashbox; mascara shop similar from Revlon; lipstick ColourPop; blush Milani; foundation shop similar from Lancôme.

32 | C | Arts

Design Alexandra Hehlen From the windows of her atelier, Valentina Devine hears a storm coming. Thick, black clouds loom on the horizon, the rain oozing out and painting gray, watercolor streaks in the sky. These are typical New Mexican, summer afternoon rains, the kind that march in suddenly and then sprint away down the arroyos like giggling children in lightning-fast sneakers. On some days the storms bring hail, and the clouds become burlap bags, ripping loudly and spluttering marbles.

But in her atelier, Devine feels comfortable. The studio and the window-lined corridor connecting it to her house overlook the Jemez mountains looming close on one side and the Sangre de Cristo mountains farther away on the other, distanced by the shrubby mesas and canyons. The atelier is cubelike in shape. Two walls explode with color, covered floor to ceiling by wooden cubbies stuffed with twists of every yarn imaginable.

Some fibers feel tightlywoven, others frazzled; some yarns sparkle, while others are smooth and monotone.

Another wall is plastered with magazine clippings of her work and lined with knitting supplies and jars of buttons.

A photograph of Julia Roberts wearing one of Devine’s hats stands out in the melee. The fourth wall features a fulllength mirror, a necessity for anyone lucky enough to set foot in her studio and try on a sweater.

The word “sweater” fails to do Devine's work justice, for each garment is more an artistic creation than just a simple piece of knitwear.

No work is the same, each an elegant coalescence of dichotomous fibers and buttons. The loops in one are wide and wild, while in another they are tightly packed and tamed. One garment used to be a suit vest until Devine knitted balloony sleeves onto it and replaced the formal buttons with ones depicting the Venus de Milo.

“Isn’t it just fabulous?” she says, gently touching

the sleeves with her slightly knotted fingers. A German accent frosts her words, which she enunciates with an immediately identifiable air of sophistication. At age 82, she is the epitome of classiness, a powerhouse of a woman.

In her grandson Zach Bice’s own words, “Grandma’s the youngest person I know.”

Devine's hair, bright white and stick-straight, stops just at her earlobes. Eyebrowgrazing bangs frame her face, drawing attention to perfectly plump lips and dark blue eyes. She often wears long skirts and blousy shirts, accessorizing with bracelets and belts. She captures any room she walks into, a cloud of perfume always accompanying her.

Devine owns Yarn Creations, her business for the “art-to-wear” pieces she designs. She hosts workshops and trunk shows in multiple states, and her patterns get published in four to five knitting magazines or books per year. Her pieces sell for hundreds of dollars and are so unique that, when placed

on the correct person, they become moving masterpieces.

Almost in the way magic wands in J.K. Rowling’s Ollivanders pick their sorceresses, so do Devine’s sweaters choose their wearers.

Amid the bombings and attacks and food rationing surrounding their Berlin apartment, a young Devine and her family had to stay sane. She knitted and crocheted to hold onto something normal in the turmoil of World War II, which started just as she began her first years of school. “After (World War II)…Berlin was in ruins and ruins; it was all a big pile of rubble,” she said.

“It took a number of years to get built up.”

Through it all she had been taking music lessons, and she knitted small works like doll dresses, doilies and scarves. Knitting is so woven into the tapestry of Devine’s existence that she cannot even remember when she first

Arts | C | 33

“

Just like I don’t remember ever learning to read, I have always knitted.

-Valentina Devine

”

learned.

In 1952, after finishing high school, she met her first husband, an American soldier stationed in Berlin. She came to America as a “war bride,” moving with him to his next post at Fort Ord in Monte Rey, California. She kept knitting but lamented the lack of colorful fibers in local yarn stores. “I would knit for my husband, and it would be gray, gray and gray,” she said.

Devine followed her husband to San Jose, California; Phoenix; Munich; and, finally, West Point, New York. They divorced, but Valentina stayed in West Point, working as the manager of the West Point Elementary School cafeteria for 10 years and running the school’s summer youth camp. A “struggling divorcée,” she knitted for her fellow teachers as a side job.

One of the teachers, a member of the Brigade of the American Revolution, came to Devine one day with a special request. The Brigade re-enacted battles in scenery and clothing that was fully authentic, all the way down to the re-enactors’ very socks. The thigh-high, men’s socks in fact had to be so bona fide that they required hand-spun wool and custom knitting according to each man’s leg shape. Devine had an “original, 17th century pattern” to create the socks, but hand-spun yarn was expensive and hard to find.

After searching through upstate New York for this fiber, she finally came across an exquisite yarn store called The Knitty Noddy. Located in Westchester County, an upper-class area across from the Hudson River, the store

had machine-spun fiber that looked almost exactly like hand-spun yarn.

Devine knitted the socks and showed them to store’s owner, who was so impressed that she asked Devine to knit for her. The owner had brought together a group of about 10 knitters, who all created exquisite art-to-wear pieces for the Knitty Noddy.

The store distributed some of these works to high-end boutiques in New York City and catered to a wealthy clientele that readily made the 40-minute trip from the city to shop for the unique pieces. Devine’s work sold, and she realized she truly had a passion for knitting.

In 1982 she met her second husband, Bob Devine, who was a naval officer at Bethesda Naval Hospital. They had a two-week engagement and moved to Washington, D.C. “Since my husband rescued me from having a job, I could stay at home and pursue my fiber art,” she said. Devine began dyeing yarn and attending shows across the country. She was juried into the prestigious Torpedo Factory Art Center in Alexandria, Virginia, as a lifetime member. The former torpedo factory featured studios for each artistic medium, where artists did their work while visitors watched and inquired about creative processes.

When her husband retired and secured a job at Los Alamos National Laboratory, a science laboratory in Los Alamos, New Mexico, Valentina moved with him.

“The only thing I really missed from (the) Eastern part of the country…was the Torpedo Factory,” she said. “Coming here to Los Alamos, I had to start with my craft practically all over again.”

The Fuller Lodge Art

Center in Los Alamos is a hub for creativity and color, filled to the brim with local art and exhibitions that go on rotation for a few weeks each. On any given day the gallery may feature anything from extraordinary felt hats to handcrafted clay teapots to, yes, sweaters and scarves that are distinctively Devine.

“Valentina had been showing her work at the Art Center for years before I (started) working here (in

2010),” says Amy RogackiBjarke, gallery manager at the center. Valentina’s pieces regularly sell in the gallery’s shop, and the center has hosted two exhibitions dedicated to her work, the most recent of which was held from Feb. 27 to March 21, 2015.

“The theme was all Valentina,” says RogackiBjarke. “(She) has a following of admirers from all over the country, so we had visitors who had never been to Los

QUEEN V Valentina Devine is as unique as her sweaters, which she creates in her colorful studio in Los Alamos, New Mexico. Photograph by Robert Devine.

34 | C | Arts Alamos before or…heard of the Fuller Lodge Art Center. To date her show has been our highestgrossing and best-attended show at the Art Center.”

Devine is present at the opening night for each of her exhibitions, selecting pieces for her models, who mingle with visitors and subtly demonstrate the way garments come alive on the body. She thinks her signature model, whom Valentina originally discovered and snagged at a local fashion show, does this best. “When I put those clothes on her, she knows how to present (them) with the proper mood. She is the interpreter,” says Valentina. “I can put a brown paper bag on her, and it would look gorgeous.”

While the models work their magic among the throng of people at the exhibition, so does Devine, pulling sweaters and scarves and suggesting them to visitors.

“Valentina possesses the ability to create beautiful art as well as the ability to sell it,” says RogackiBjarke. “From my experience artists who have both of these qualities are few and far between.”

“

Valentina possesses the ability to create beautiful art as well as the ability to sell it. From my experience artists who have both of these qualities are few and far between.

-Amy Rogacki-Bjarke

”

Devine does the selling, but her garments, with their intriguing mix of fibers and buttons, do the talking. “She just knows that once a garment is on somebody, it’s sold,” Rogacki-Bjarke says. “There’s a confidence about her that makes her work that much more special.”

Customers put stake in Devine’s work and words. Buyers seem to trust her, maybe because her sophistication is something they wish to emulate, or maybe because she comes off so strongly that

Arts | C | 35 when she says a sweater suits someone, there is no doubt she means it.

“There’s an air of importance to her—when she enters into a room, people know that she’s ‘somebody,’” says RogackiBjarke. “She’s always so put together, her garments always flowing around her, and she comes with a purpose.”

Devine’s presence is unmistakable. RogackiBjarke remembers feeling intimidated by the knitter at first. “If a display wasn’t quite right, she’d let me know,” she says. “But I learned pretty quickly that she just wants the job done right. Don’t we all?”

Devine knows exactly what she wants and what she likes. She never runs out of ideas for her next creation. She still travels to Berlin, collecting buttons and antique lace from flea markets. She knits and knits and adds and adds until a garment pleases her eye. She is constantly creating, moving, living.

Her grandson Bice, who has a close relationship with her and spent much of his childhood involved in her creative process, is amazed by her drive. “I always tell her, ‘Grandma, what are you doing? Slow down!’”

And she only tells him one thing: “80 is in your head.”

SWEATER WEATHER Valentina Devine's signature model Bettina Hehlen shows off the sweaters, each of which is one-ofa-kind. Photographs by Valentina Devine.

36 | C | Photo Feature

let them REMAKE Written by Alexandra Hehlen Photographed by Alexis Fairbanks, Rachel Greene, Elise Holsonback & Shengmei Yin Modeled by Piper Anderson, Pallavi Gulati, Jessica Hujber, Juhi Patel & Jada Richardson

Fashion in the Victorian era was known for its high necklines, elaborate ornamentation and full skirts held up by bulging bustles. Constricted by tightly laced corsets, women had a limited range of motion. Reconciling the enduring beauty of intricate Victorian details with the increased empowerment of the modern woman, the following outfits put a modern spin on a sartorially sumptuous time period. Five real-life power-women breathe new, free-spirited life into the Victorian look.

GREAT EXPECTATIONS (On left) Dress Marchesa; necklace shop similar at Anthropologie.

ELYSIAN FIELDS Dress Marie Cordella; shoes shop similar at Steve Madden; earrings & flower crown shop similar at Anthropologie.

38 | C | Arts DOUBLE TAKE On Piper (left): dress Marchesa; cuff shop similar at BaubleBar. | On Jessica (right): dress Marchesa.

Arts | C | 37

FLOWER GIRL Dress Marie Cordella; shoes shop similar at Steve Madden; earrings & flower crown shop similar at Anthropologie.

38 | C | Arts

Photo Feature Arts | C | 39 41

FOUNTAIN OF YOUTH Dress Marie Cordella; necklace thrifted at Buffalo Exchange.

42 40 || CC || Photo Cooking Feature Up a Storm

TULIP SERVICE Dress Marie Cordella; shoes shop similar at Steve Madden; earrings & flower crown shop similar at Anthropologie.

BRIDGE TO TERRA BELLA Dress Marchesa.

TULLE AND TULIPS Lace top White House | Black Market; necklace shop similar at Anthropologie; tulle skirt Lisa N. Hoang.

SITTING PRETTY Dress Marchesa.

FLOWER SHOWER Lace top White House | Black Market; necklace shop similar at Anthropologie.

THE ROYAL ROAD Dress Marchesa; cuff shop similar at BaubleBar.

44 | C | Connect

What it feels like to come out in the

GR∑∑K CΩMMUNITY

Brianna Crane Maria Rojas withdrew her name from consideration for an executive position within her sorority last fall because, unbeknownst to most of her sisters, she was in the process of coming out.

Rojas did not want her sorority sisters to feel like she wanted to be new member chairman for the wrong reasons.

Rojas says she came out to her sisters on an individual basis. While she never verbally expressed her sexual identity with the whole chapter, she began to bring her girlfriend to social events and other sorority functions.

“From not a single person did I receive a negative response,” Rojas says. “To get that kind of support from a place I really needed it from meant a lot to me.”

She says allowing her Greek identity and her sexual identity to exist in the same spaces reminds people that her sexuality is just one part of who she is.

George Spencer, a UNC-CH senior, says he also received support from his fraternity when he came out to a large portion of his brothers last February. He originally came out the summer after his first year and from that time looked to other chapter members who were also

out for support.

“Having a few older members to help my coming out process was really helpful,” Spencer says. Although he never had a specifically negative reaction from any of his brothers, he says it was obvious some people felt uncomfortable.

According to Spencer, the idea of the Greek system is more intimidating than his reality of it. “I had to remember who I was telling, who I was looking at – not the idea of that person,” he says.

Coming out was a relief for him but also comes with challenges. Being out forces people who aren’t comfortable talking about equality-related issues to confront their opinions and simultaneously allow Spencer to help expand the minds of others.

Rojas and Spencer both see issues related to the structure of Greek life as a whole. Spencer says Greek culture has historically operated on a gender binary, which can make the community seem like a limited space. Rojas says she found room to be herself in the Greek system, but not much is done by the Interfraternity Council and the National Panhellenic Conference to make that accepting space visible. The entities tend to take a neutral stance, but Spencer says

The idea of the Greek system is more intimidating than the reality of it.

George Spencer a conversation needs to be started.

“There is a lot of diversity among members within individual chapters,” says Erica Batres, president of the UNC Panhellenic Council. According to Batres, making people outside of the Greek community aware of these differences could attract a more diverse crowd to the panhellenic community.

Rojas says that although she knows the members of her chapter are diverse, it does not always appear that way. Both she and Spencer agree that programming events put on by the UNC Panhellenic Council and the UNC Interfraternity Council about diversity would be a good start.

“I have more support than any average lucky person could ask for,” says Rojas.

“But more can always be done.”

Graphic by Elina Rodriguez

Cinema | C | 45

Photograph courtesy of Lwp Kommunikáció; “Racing Extinction”; © 2016 Lwp Kommunikáció, Some Rights Reserved; Creative Commons Attribution 2.0; http://bit. ly/1ScPNYN; http://bit. ly/1ryPA8o.

Racing Extinction...

where there’s no real winner

“

It is better to light one candle than curse the darkness.

”

-Cristopher Society Josie Ballew The term “mass extinction” immediately connotes, for most people, dinosaurs. Often forgotten are species such as the grasshopper sparrow, a little brown bird that has lost over 91 percent of its natural habitat. The sparrow makes a cameo in director Louie Psihoyos’ documentary “Racing Extinction,” which brings present-day species extinction into the limelight.

Throughout this documentary Psihoyos shows images of black market trading, harmful carbon dioxide emissions and ecosystem destruction. We all know humans drastically

shape and change the Earth, but too often we forget that our actions have lasting consequences. “Racing Extinction” connects the dots between “the direct and indirect hand of man” and what some believe is the Earth’s sixth mass extinction event.

Do we need to care about species extinction?

A discussion with Dr. Joel Hudley from UNC-Chapel Hill’s Department of Geological Sciences offers a viewpoint similar to the message “Racing Extinction” sends. “Ecologists and economists agree that biodiversity has a high intrinsic value and is more resilient,” Hudley says.

“Anything humans can do to encourage biodiversity is good.”

The documentary notes if oceanlife – especially primary producers such Photograph courtesy of Andrew C; “Grasshopper Sparrow (Ammodramus savannarum)”; © 2015 Andrew C; Some Rights Reserved; Creative Commons Attribution 2.0; http://bit. ly/1q75Roa; http://bit. ly/1ryPA8o.

as phytoplankton – dies, then life everywhere else on the planet will follow suit. According to the documentary, we have already lost 40 percent of Earth’s phytoplankton just in the past 50 years. We now face a key question: Will the species bounce back?

Overfishing is a major problem, and said Hudley, has a bias toward larger fish. This has caused an evolutionary decline in the size of fish because the genes for larger fish are diminishing. But there is still a chance to reverse the trend; if humans stop overfishing today, the possibility that fish will reevolve to become larger is high.

This gets more complicated when the changing the chemistry of oceans is considered. Calcite, the carbonate mineral that forms the shells of marine

organisms, dissolves in acid. Because the oceans are rapidly becoming more acidic, big changes to coral reefs and ocean life are happening right now.

The future is uncertain.

Scientists do not always know which species are fated for extinction or how many can be saved. But they are positive that anthropogenic forces are dramatically influencing the environment and creating problems the human race can no longer ignore. In as little as three years, the climate could change enough to cause irreversible and catastrophic damage to the planet.

So, what will you do to help? The documentary recommends each person start with one thing. Visit racingextinction.com to learn more.

Potograph courtesy of Lwp Kommunikáció; “Racing Extinction”; © 2016 Lwp Kommunikáció, Some Rights Reserved; Creative Commons Attribution 2.0; http://bit. ly/1SAZXTs; http://bit. ly/1ryPA8o.

44 | C | Cityscape

la vie francophone

Bordeaux, Montreal and Paris are all culturally distinct yet united by language. Each of the three cities features beautiful scenery, delicious food and vibrant art scenes that are bucket-list worthy. To make sure you look less like a tourist and more like a local, these tips will help you navigate the streets of these French-speaking cities to find the best of the best – in food, art, hotels and selfie spots.

Written and photographed by Audrey Leynaud and Charlotte McKay

Cityscape | C | 47

bordeaux A stroll in Bordeaux will take you through the same paved streets and boulevards that you would find in the capital, but with a small city charm. Bordeaux is surrounded by lush green vineyards, crossed by a river and home to a distinctive, ornate architectural style that will send you back in time. The city truly embodies la douceur de vivre (the good life)-- the long afternoons spent wandering in art galleries, walking on the docks or sitting on a terrace with a book and a cup of coffee.

SLEEP Hotel du Theatre Every bedroom's different in this hotel in the center of Bourdeaux. The Macarons suite is shades of pink and green, while the La Rose suite resembles a baroque boudoir à la Marie Antoinette. It's the perfect place for sleeping in.

10 Rue de la Maison Daurade, 33000 Bordeaux, France EAT La Table Bordelaise French gastronomy has its own regional spins, and La Table Bordelaise features flavours from the South of France in a homey setting. The gizzards – with a side of golden and crispy potatoes – will melt in your mouth. Leave some room

for profiteroles, which perfectly balance the intense chocolate and sweet of the whipped cream. 10 Rue Piliers de Tutelle, 33000 Bordeaux, France SHOP Baillardran This pâtisserie franchise has shops all over Bordeaux, like the one beside Porte Dijeaux – one of Bordeaux’s historic city gates. Bordeaux is famous for the canelé, a small pastry made of caramelized custard flavoured with rum and vanilla. With a distinct, sweet taste, the pastry tastes great with tea or coffee. They also offer macarons in various flavours, like the traditional nougatine. 29 Rue Porte Dijeaux, 33000 Bordeaux, France LEARN Musée d’Aquitaine

This museum offers an overview of French history.

Highlights include the tomb of French writer and philosopher Michel de Montaigne and a marble bust of one of his contemporaries, Montesquieu. This display is part of the museum's mission to celebrate the French culture while emphasizing local history. 20 Cours Pasteur, 33000 Bordeaux, France BE ARTSY Cinéma Utopia Bordeaux This cinema was built inside of a former church, whose original structure remains.

The screens, framed with wooden panels, blend into the decor, and the floors are covered with red carpets, giving the place a distinctive charm.

Enjoy fresh salads and sandwiches on the terrace of the cinema’s cafe, complete with a view of the picturesque

Place Camille Jullian. 5 Place Camille Jullian, 33000 Bordeaux, France SELFIE Miroir d’Eau Right in front of the Place de la Bourse – which is a UNESCO World Heritage Site – the Miroir d’Eau or Water Mirror is the world’s largest reflecting pool and one of the most popular attractions in Bordeaux. When the geysers aren't activated, the 18th century façades reflect in the water, the perfect opportunity for a memorable selfie. 17 Place de la Bourse, 33076 Bordeaux, France

montreal 48 | C | Cityscape

In Montreal languages and cultures merge – a greeting will have “bonjour” and “hi” in the same breath. Its rich heritage gives it character, and its vibrant population lends it vitality. You do not visit Montreal: you explore it, lulled by the urban hubbub of bilingual conversations and led by the scent of freshly baked bagels.

SLEEP Auberge La Place Royale This hotel is located in The Old Port, the oldest and most picturesque area in Montreal.

With its paved streets, old-fashioned bakeries and French restaurants, it resembles a European city.

Ideally situated a few feet from the Notre-Dame Basilica and next to the waterfront, the Auberge La Place Royale has a stunning view on the harbour. The red, brick walls in each of the suites add quaint charm. If you feel inspired, there’s even a guitar available to play. 115 Rue de la Commune O, Montréal, QC H2Y-2C7, Canada EAT Aux Vivres Aux Vivres is one of the many vegan restaurants nestled in between the art galleries, independent cafes and thrift shops of the Plateau Mont-Royal borough. The restaurant wakes up the taste buds with fresh and healthy food and does so ethically. With bowls

as colourful as the graffiti covering the surrounding buildings and flavors from around the world, Aux Vivres' cuisine represents Montreal’s cultural diversity.

It’s also a good spot for an afternoon tea, offering a wide selection of infusions and creative spins on wellknown desserts. Beware, their “uncheesecake” might fool you! 4631 Boul St-Laurent, Montréal, QC H2T 1R2, Canada CAFFEINATE Kitsuné Montreal prides itself on its brew, and independent cafes have sprouted all over the city. If you're in the PlateauMont-Royal, stop by Kitsuné, unique for its industrial decor and steeped in the aroma of freshly brewed coffee. The chai latte and sweet potato almond muffin are musts, as are the more classic croissants and pains au chocolat. Oh, and the Wi-Fi is free, perfect for Instagramming those pastries! 19 Rue Prince

Arthur O, Montréal, QC H2X 1S4, Canada LEARN The Montreal Museum of Fine Art This museum has a whole wing dedicated to Quebecois and Canadian art from the 18th century to the 20th century and includes Native American works. The permanent collection offers a comparison of European and North American art practices, and if you’re under 30, admission is free! 1380 Rue Sherbrooke O, Montréal, QC H3G 1J5, Canada SHOP Underground City Mount Royal Be ready to climb some stairs, but the view of the city from up there is definitely worth it. You can also take a relaxing walk or bike ride through the Mount

Royal Park.

1260 Remembrance Road, Montréal, QC H3H 1A2, Canada SELFIE Mount Royal Be ready to climb some stairs, but the view of the city from up there is definitely worth it. You can also take a relaxing walk or bike ride through the Mount Royal Park.

1260 Remembrance Road, Montréal, QC H3H 1A2, Canada

CUTE LIL COFFEE Photograph courtesy of Robin Dumont.

Photographed by Audrey Leynaud, Andréa Cazoul and Graciela Ferrigno

Cityscape | C | 49

paris One of Europe's oldest cities, Paris has acquired a reputation as a center of art and culture, the capital of chic. While style certainly has a stronghold in the city, there is much more to Paris that has led many an expat to take up the Parisian mode de vie, regulated by métro riding, mid-afternoon espresso and cigarettes, and daily trips to the bakery.

These places will send you into a few corners of the city you may not have otherwise found. Remember that an attempt at basic greetings and manners in French goes a long way. Bon voyage!

LEARN The Louvre, Musée d’Orsay and Musée de l’Orangerie A visit to the Louvre is essential, although its colossal scale and queues require planning. If that’s too overwhelming, cross the Seine and head upriver to the Musée d’Orsay, one of the world’s most comprehensive collections of 18th and 19th century works. You can find monumental rural work scenes of Courbet, precisely dotted pointillist canvases of Seurat and elegant dancers of Degas, all in a former railway station.

The Musée de l’Orangerie, just a short walk from the Louvre in the Tuileries Garden, is a smaller museum with two ovular rooms that house Monet’s panoramic water lily canvases. The lilies wrapping around specifically designed curving walls is nothing short of magical.

The Louvre: 75001 Paris, France; Musée d’Orsay: 1 Rue de la Légion d’Honneur, 75007 Paris, France; Musée de l’Orangerie: Jardin Tuileries, 75001 Paris, France EAT La Droguerie, Chez Alain and Pierre Hermé Two words: crêperie and boulangerie.f you’re looking for the crème de la crème of Parisian crêpes (the quintessential Parisian street fod), head to La Droguerie in the Marais and order savoury to taste the full glory of crispy cheese. Alternatively, visit Chez Alain, located in the Marché aux Enfants Rouges. Alain runs his crêpe stand solo and takes his sweet time creating delicious concoctions as he whistles and chats. If you’re looking for luxury, head to Pierre Hermé for arguably the best macaron in Paris, incredible millefeuilles and a selection of other patisseries.

La Droguerie: 56 rue des Rosiers, 75004 Paris, France; Chez Alain: 39 rue de Bretagne, 75003 Paris, France; Pierre Hermé: 4 Rue Cambon, 75001 Paris, France CAFFEINATE Strada Café, KB Caféshop and Matamata Coffee Bar Coffee can be found at any of Paris’ thousands of sidewalk cafes, although the Parisian coffee of

choice is espresso. If you’re picky about your caffeine, head to Strada Café, KB Caféshop or Matamata Coffee Bar, which are part of a new wave of coffee shops across the city often run by New Zealand and Australian expats. All these cafés offer incredible coffee and a relaxed, laptop-friendly atmosphere.

Strada Café: 94 Rue du Temple, 75003 Paris, France; KB Caféshop: 53 Avenue Trudaine, 75009 Paris, France; Matamata Coffee Bar: 58 Rue d’Argout, 75002 Paris, France SLEEP There are hundreds of (pricey) independent hotels, but the best option is renting an apartment through Airbnb. Your own space will give you the freedom to come and go as you please and see inside a Parisian apartment building, often characterized by long staircases and hidden courtyards. Make use of your kitchen and cook for a night using the fantastic produce available at many local markets. airbnb.com VIVE LES VACANCES Photographed by Charlotte McKay

50 | C | Travel

“I AM SOUTH AFRICAN”

Written and photographed by Alexis Fairbanks The drive along Cape Town’s coast to Cape Point, South Africa, is often called one of the most scenic routes in the world. In just half an hour you can see gorgeous, panoramic views of mountains, crashing waves that send drops of water catapulting into the sky and maybe even a wild ostrich or two.

Houses along this drive can cost up to $35 million, yet not even 10 minutes off this road is a completely different picture complete with tin-roofed homes, 10-foot-tall electric fences and women carrying baskets balanced on their heads down the streets. These are the two images people so often think of when they picture Africa: beautiful landscapes and poverty, yet there is so much in between.

I, like so many others, wanted to go to Africa because I wanted to experience those stunning Sahara sunsets, see a penguin that was not in a cage and come home with jaw-dropping pictures of “the wild.” I did, in my humble opinion, get

some pretty good shots, but I also came back with a far greater understanding of what it means to be South African.

Spending 19 consecutive hours on a plane is not fun. I do not know many people who will tell you that it is, unless they have a particular affinity for watching five Nicholas Sparks movies in a row. I am not one of those people.

Regardless, I survived the flight and got off the plane in Cape Town with every intention of finding the nearest bed-like object and immediately falling asleep.

Instead I got into a cab with my family and stared wide-eyed out the window for the entire half hour it took to get to the city center.

South Africa is a gorgeous country. I know I just said there’s so much more to the place than that, but that doesn’t mean I’m denying how stunning it is.

On my first day in Cape Town, I saw mountains, whales, crystal clear water and a picture-perfect lighthouse (pun intended) at the southernmost part of the city. I went on to see some of the most perfect sunsets I’ve ever had the pleasure to witness, a 360 degree view

of Cape Town from the second-tallest mountain in the city (that’s right, there are multiple mountains) and lion cubs

UNDERSTAND THAT HUNGER EXISTS IN, BUT DOES NOT DEFINE AFRICA. sound asleep in the grass. South Africa is beautiful not just for its landscape and wildlife but also for its history and people.

Cape Town is one of the windier places I’ve been. Trees actually grow slanted because of the strong wind, and golf lessons are all but pointless. The city is also one of the most diverse places I’ve been. They say the United States is a melting pot, but the diversity of Cape Town was obvious just walking through the streets. Downtown shops boasted one-of-a-kind hand-sewn

Travel | C | 51

AIN'T NO MOUNTAIN HIGH ENOUGH Runners climb the rocky summit of Lion's Head mountain in Cape Town, South Africa dresses, hand-carved bowls and masks, and (believe it or not) Converse. Yours truly got her own white high-tops at an athletic wear store in the city’s shopping district.

Climb up a few hills, and you’ll find yourself in Cape Town’s BoKaap township, an area known for its colorful houses and cobblestone streets. Residents of the township say the houses used to be entirely white, but a doctor practicing in the area decided to paint his house red to make himself identifiable. Other residents followed suit, imbuing the township with vibrance.

On day three, the Fairbanks family went rogue. We ditched the wine tasting session our tour group was doing in favor of climbing Lion’s Head Peak. Little did we know climbing a mountain in South Africa is a smidge different than in the United States. In the America, you follow a nicely worn trail with handy signs and guardrails for safety. In South Africa, you inch across a path as wide as your foot in some places, and eventually there is no path at all as you scramble up

boulders and ladders.

While my brother and I wheezed our way to the top, runner after runner flew past us with their adorable dogs, as if this run was something they did every day. Turns out it is. There are people who literally run up a mountain every day for their exercise. Despite our clear athletic inferiority, we remained unphased and hauled ourselves to the summit. And then I understood what drove people to run up that mountain every single day.

The only feeling comparable to being on top of that mountain is the feeling I imagine people in movies have when they complete their training montage.

First, the inspiration to start training: ditching the wine tour. Then, the intense training process: climbing the mountain.

Finally, celebrating victory by spinning around in a circle in slow motion: me, actually spinning around in a circle in slow motion on the top of Lion’s Head.

The three days of intensely sore legs were oh-so-worth it.

The next part of our trip took us to Kruger National Park, a nature reserve encompassing more than 7,500 square

miles. When they told us we were going on safari, I imagined each of us would be issued a khaki vest with an absurd amount of pockets, a bucket hat and a pair of binoculars. We got none of those things, but luckily my brother had the foresight to bring his own stylish bucket hat. As it turns out, you don’t need binoculars when you are less than 2 feet away from sleeping lion cubs. Had I been more bold, I would have reached my hand out (do it for the snap story), but alas, I needed my hands to hold my camera. Maybe next time.

On every safari vehicle, there’s a seat on the front bumper for your “spotter,” an expert on all the wildlife in the park and a specialist in (you guessed it) spotting animals. On our first night in the park, our “spotter” held up his hand as a signal for our driver to stop the vehicle. He trekked about 20 feet into the woods and returned with a rather surlylooking chameleon.

Let’s take a moment to review: our spotter saw a chameleon — the animal that changes its appearance to blend into its environment — from 20 feet away in

the dark. During our time in the park, he continued to find us countless zebras, giraffes, kudu, hippos, rhinos, lions, leopards, elephants,and many more animals whose names I could not hope to pronounce nor spell.

It has only been 26 years since the end of apartheid, and South Africa still struggles with racial tensions.

Even so, the citizens of South Africa choose to define themselves in a way that transcends racial divides.

Rather than describing themselves by race or region or ethnicity, South Africans simply prefer to say, “I am South African,” a statement they are increasingly proud to make in the post-apartheid era.

South Africa’s sense of national pride is evident throughout the country. Freedom Square in Johannesburg honors the men and women who fought to end apartheid and memorializes the rights given to all citizens in the constitution. Tours of Nelson Mandela’s home preserve his mission and memory, and the apartheid museum covers South Africa’s history from colonialism to the present day.

I could go on, but I will end with this: many people think of Africa as a single homogeneous entity, and this idea detracts from the unique identity each of the continent’s nations have built for themselves.

Many people also think of Africa as a strange and exotic land, somewhat reminiscent of “Tarzan."

Yes, there are jungles in Africa, but there are also sprawling cities and universities doing cutting-edge research. Children go to school, adults go to work, and everyone anxiously awaits the release of the latest iPhone, just like we do here in the U.S. So the next time you see a picture of a hungry child on your television, understand that hunger exists in, but does not define, Africa. The next time you see a photograph of a pride of lions silhouetted by the sunset, understand that natural beauty exists in, but does not define, Africa. The people of Africa, and their art and music and voices are what bring life to the many distinct communities and cultures throughout the continent.

I <3 SOWETO A mural in Soweto shows the love residents have for their home.

I <3 BEING BLACK Street dancers perform at a restaurant in Soweto.

PICTURE PERFECT The lighthouse at Cape Point, the southernmost part of Cape Town.

SPOTTED Our spotter found a disgruntled chameleon on our first night in Kruger National Park, South Africa.

Travel | C | 53

spotter saw a chameleon— the animal that changes its appearance to blend into its environment—from 20 feet away in the dark. During our time in the park, he continued to find us countless zebras, giraffes, kudu, hippos, rhinos, lions, leopards, elephants,and many more animals whose names I could not hope to pronounce nor spell.

From Kruger we flew to Johannesburg, the capital of South Africa. Bear with me as I impart a brief history lesson to you. South Africa won its independence from Great Britain in December of 1931 and was one of the first African countries to do so. Despite the country’s independence, the government enforced Apartheid, a system of racial segregation, until 1994 as a way of perpetuating the colonial lifestyle. After Apartheid was abolished, Nelson Mandela was elected president and served until 1999.

It has only been 22 years since the end of Apartheid, and South Africa still struggles with racial tensions. Even so, the

RAINBOW ROAD Sunrise in the Bo-Kapp township.

FEELING BLUE Water off the coast of Cape Point, the southernmost part of Cape Town.

54 | C | Camera Obscura

Days of Future Past Written and photographed by Andre Domingues The sayings are true. Film is not dead. And no, these are not simply the words of purists reluctant to change with the times. From the studios of art students to professional photographers, and from the creative minds of hipsters to techies, film photography is experiencing a renaissance that is introducing an entirely new audience to an art form long thought to be expired.

Modern technology has placed photography at the fingertips of a generation where there are no barriers to entry, snapshots

are costless and moments are disposable. Far from disparaging these new trends, I believe the Instagrammers and Snapchatters will be the ones to save a struggling medium from extinction.

Software-based filters that make photos look “vintage” and “old-school” are not without their sources. They are the grandchildren of the analogue age, the emulation of a different era. Fascination with this type of digital manipulation has gone a step further, encouraging young people to step back in time and experience what it was like when cameras were an

investment and each click of the shutter was an expense.

On the hardware end, instant film cameras of the Fujifilm Instax variety have capitalized on college students, merging undergraduate frugality, (almost) immediate gratification and a sharing culture. Netherlands-based The Impossible Project has lived up to its name, reverseengineering Polaroid’s film manufacturing process.

Most recently, digital camera manufacturers Fujifilm and Olympus have styled their flagship models after ‘60s-era rangefinders and SLR (single lens reflex) cameras.

Camera Obscura | C | 55 The UNC-Chapel Hill photographic community is blessed to have as fantastic of a resource as Southeastern Camera, one of Carrboro’s most precious gems. Harkening back to camera stores of yore, it is filled to the brim with photographic equipment ranging from beloved old film cameras to the latest digital flagships. In addition to being a standard retailer, Southeastern has faithfully maintained its film processing and development services and is attracting an increasing number of young photographers eager to work in the analog world.

Nestled in a back room, the past truly meets the future. One wall houses a professional darkroom, complete with a C-41 processing station capable of developing 35mm, 120mm medium format and 8- by 5-inch large format negatives. The other boasts state-of-theart Epson scanners, large Apple displays and powerful workstation PCs loaded up with dozens of editing software packages. Lab Manager Brady Lambert himself processes several dozens of rolls every week, servicing both the Carrboro and Raleigh store locations.

Nearly every member of the Southeastern Camera staff is a film lover. According to staffer Chris Johnson, film photography allows you to capture more dynamic range (the difference between the darkest and lightest parts of the photo) than typical point-and-shoots and modern smartphones. This causes some digital images to look almost flat and twodimensional in comparison (see below).

Digital technology has improved by leaps and bounds, but the small sensor sizes most people use simply cannot compete with a large 35 mm negative.

Other staff members at

Digital, ISO 400

Film, Kodak Tri-X Southeastern Camera take a more artistic approach in their descriptions of the medium.

According to Matthew Booth, film photography has an indescribable aesthetic feel to it. Due to the scarcity of exposures on each roll,

shooting film requires one to slow down and “see” the image more deeply, allowing for more frequent capture of complex emotions and decisive moments.

Special thanks to: Dennis Efird, Graham Terhune, Chris Johnson, Brady Lambert, Matthew Booth, Eric Larson, Alex Bajuniemi, Karen Curran, Anna Barzin, Jay Mangum

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How to Get Started If you feel yourself getting bitten by the film bug, you may be asking yourself a valuable question: how do I get started shooting film? The great thing about photography – and not just film photography – is that the barriers to entry are set low as long as you’re willing to learn. Follow these steps and you’ll be shooting away in no time.

step one:

Buy a film camera Newsflash! You don’t need a Leica strapped around your neck and thousands of dollars worth of lenses to be a film photographer. Instead, try snagging a decent-quality, used SLR camera from Canon or Nikon. My top recommendations are the Nikon FE (pictured below) or the Canon AE-1. Both of these cameras run on button-cell batteries that last for ages, are relatively compact and are sturdy as can be. There’s a reason these things have lasted so long. You can pick one up at eBay for around $50.

step two:

Slap on some glass The next thing you’ll need is a lens. My recommendations are that you start with either a 35mm or 50mm lens, which give you a field of view roughly equivalent to what the human eye sees (with the 35mm being a bit wider). Sticking with one of these lenses to begin with will get you comfortable with some of the basics of

photography, as you’ll be forced to “zoom with your feet” and manually focus, slowing you down enough to make the most of each exposure. You’ll only get about 24 to 36 photos in each roll. In addition, if you go the Nikon route then your manual-focus lenses will also work on almost all Nikon DSLRs as well.

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step three:

Choose your film

Long gone are the days of Kodachrome and other legends of the film world. However, there are still many film stocks to choose from, each of which will have different characteristics that add interesting and varied effects to your shots.

For black and white, I’d recommend either Kodak’s Tri-X 400 or Ilford’s HP5 Plus 400. Both are relatively inexpensive, offer

step four: Develop your shots (and style) In terms of developing your photos, you can either head over to a camera store that still

high contrast and decent graininess, and are very forgiving for beginning photographers. I still shoot Tri-X for almost all of my black and white work. When it comes to purchasing, the more the merrier. I recommend buying in bulk from Amazon and sticking with one film type before expanding into new territory. This will give you both time and room to mess up, learn and improve.

processes film (such as Carrboro’s Southeastern Camera) or do it yourself at home. Unless you can MacGyver a darkroom out of your hall-style bathroom, I’d leave it to the professionals. They’ll process your negatives, make prints and even offer advice on how to improve,

choose new lenses and much more. In terms of developing your style, just keep shooting. By this stage you’ll already be hooked and aching to shoot whenever the light is out. Keep your camera with you at all times, learn to capture what interests you and for goodness’

sake, share your work!

Your negatives won’t be doing anyone any good just sitting in a box. Mount a mini gallery in your residence hall, ask friends for criticism and reach out to other photographers.

This is a small but welcoming community. We don’t bite.

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photographer spotlight:

Andre Domingues PRESENT

Aside from my freelance work for Coulture, I run my own street photography website, TimelessStreets.com, and am slowly but surely building a collection of film and digital cameras that occupy a set of converted bookshelves in my apartment.

PAST I started shooting film about a year ago when I brought my Nikon FE with me to New Orleans, where I spent 10 weeks interning at the Orleans Public Defenders Office. On my days off, I dipped my toes into street photography and tried to capture the urban jungle as best as I could.

FUTURE My upcoming projects will focus on a local celebrity chef spearheading the farm-to-table movement, a no-nonsense lifestyle blogger and Franklin Streetâ&#x20AC;&#x2122;s homeless population.

At the helm of this new and exciting wave of content creation is my recent move from the Nikon camp to the Fuji X-Series. My film cameras, however, are going nowhere.

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photographer spotlight:

Adrian Douglas Gilliam PAST I began photography with film about eight years ago, when a group of high school friends of mine pooled their money together to buy me a Holga 120FN. I spent that summer in Winston-Salem at North Carolina Governor’s School West, where I started practicing by photographing the old Moravian Village next to the campus. I spent the next eight years teaching myself photography, mostly through failure and the internet.

PRESENT I currently balance photography with video production as part of my communications major and comedy as part of my compulsive desire for attention. Because of the video production, I was forced to purchase my first digital camera, but I still do all of my personal work on film, which can be found at adriangilliam. tumblr.com. I shoot with a variety of cameras, from 35mm rangefinders, to plastic toy cameras like the Holga, to medium format mammoths.

FUTURE I plan to always continue doing photography, though I may continue to pursue it as an artful labor of love instead of a professional career. I don’t have any definite postgraduate plans, so who knows where I’ll end up? I just hope I’m not one of the people Andre Domingues interviews for his Franklin Street article.

Alexander Julian More than just a Chapel Hill fixture and Franklin Street focal point, Julian's is the brainchild of the man who invented purple and who is one of the most prominent men's fashion designers in the country Alexandra Hehlen | Remington Remmel Photographed by Shengmei Yin

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When Alexander Julian lived in New York City as an up-and-coming fashion designer, he had little time to cook or even eat a sit-down meal out, so he often ordered deli sandwiches.

“If you want white bread, don’t come to me,” he says. On this brisk February afternoon he causally sports a “techno tweed” suit jacket, which is part of his newest collection and digitally printed in a tweed-like pattern composed of over 150 different colors. “I used to drive (my father) crazy, having one slice of rye and one slice of pumpernickel on the same sandwich,” he says. “It adds flavor, it adds dimension, it adds taste. That’s my job.”

All of his international exploits, his meteoric rise into fashion stardom, his storied life and career, bring our story

to this moment, as he sits across from us at a table in R&R Grill in Chapel Hill, North Carolina. His presence brings with it a palpable feeling of experience. The 68-year-old exudes a certain swagger that makes us think, “This guy has lived.”

Julian’s greatness is immediately apparent as the three of us settle into our seats. After taking our drink order, our zealous waitress says, “If there is anything else I can do for you all, please do not hesitate to ask.” While this is not particularly unusual, the way her voice hangs on the word “anything” suggests that just moments ago in the kitchen, the manager has probably told her to take extra special care of Julian. Our drinks arrive before we realize she has left; she must have begun running the second she was out of sight. Chardonnay in hand,

Julian sits back in his chair, and we begin the interview – or what he calls “free therapy” – after we start with a question about his childhood in Chapel Hill.

It becomes immediately evident that the man sitting in front of us in an outfit worthy of the International Best Dressed List, and with a disposition to match, has in fact lived a full and notable life.

To start, he actually was elected to the International Best Dressed List – nine times. All the while he was designing and winning awards left and right.

Julian was one of the first to design ensembles for sports teams, designing uniforms for the Charlotte Hornets and even the Newman Haas racing team. In 1990 Dean Smith called Julian, asking if the designer could create new uniforms for the Tar Heels. “When Coach

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WHAT'S IN STORE Julian's on Franklin Street is a wonderland of color, pattern and fabric.

Smith called him to design the uniforms, ( Julian) felt like he was designing new halos for the Archangels,” says Maria Villanueva, who has been Julian’s righthand woman for almost 40 years and witnessed his rise to fame.

In 1980 Julian beat Calvin Klein for the Cutty Sark Menswear Designer of the Year award; “(Calvin) was not happy,” Julian says. He used the prize money to establish the Alexander Julian Design Award at UNC-Chapel Hill. Julian is a five-time Coty Award Winner, the youngest inductee to the Fashion Hall of Fame and a recipient of the Distinguished Alumni Award from UNC-CH. His work is of historic magnitude given its inclusion in the permanent collection of the Cooper Hewitt, Smithsonian Design Museum. As if that was not enough,

his expertise expands beyond the world of design; he was also named Father of the Year by Child Magazine.

Today you can often find him in his iconic store, Julian’s, greeting customers and selling his products, which is a testament to his dedication because he splits time between Chapel Hill and his home and studio in Connecticut. “I feel like I was born as part of the University of North Carolina,” Julian says. He is sure to come back to Chapel Hill for every home football and basketball game to once again grace the oak-sheltered streets he called home for so many years. The Carolina blue argyle he fashioned is, as he tells his loyal customers, “the barcode that gets you into any Carolina sporting event.”

He is almost as much a fixture of the

town as his store. “Julian’s is a dying breed,” Villanueva says, praising the way everything in the store is “handpicked with love.” The customer service is unrivalled and keeps clients (and their progeny) coming back for decades, creating a Julian’s legacy. “When you go into department stores, in a lot of cases the salespeople are hiding,” Villanueva says.

“Here you walk in through the door, and you’re immediately embraced.”

The quintessential Chapel Hill storefront might as well be a stop on the UNC-CH campus tour, led by a guide who would point out the fresh, white facade and tell the prospective students to look out for the eccentric man who helped put Chapel Hill on the map. Visitors may well see this man sauntering down Franklin Street or riding his green

64 | C | Feature bike, and they may whisper to each other about the identity of this impeccably dressed figure.

Julian has some special quality. Maybe it is the harmony he captures in what otherwise might be seen as a chaotic splash of color, or it might be that he is able to flawlessly incorporate his Nike ID sneakers – which he designed himself – into a sensible, smart casual outfit like the one he wears today. But in any case, there is something about this man, with a smile as potent as his laugh, that makes him stand out among the masses of bright-eyed students and native Chapel Hillians. Any onlooker would wonder if this well could be the Alexander Julian of whom they have inevitably heard.

Though he may have left the national spotlight for a while, Julian is by no means idle. He is currently working on a new line, targeted for a young customer, alongside his son Huston Julian. “Huston is working above us, like literally on the floor above us,” says George Spencer, a Julian’s sales assistant and senior at UNC-CH. Huston is bringing new, young energy to the company through a revitalized marketing campaign that involves everything from modern photo shoots to a stronger social media presence.

“He’s pulled me kicking and screaming into the 21st century,” Julian jokes. It is hard to miss the “throwback” in this father-son relationship in the context of the Julian fashion legacy that started with Maurice. “I think (my father) always wanted to hang up the Maurice Julian ‘and Son’ sign,” Julian says.

Maurice was a graduate of the UNCCH class of 1938, and he and his wife Mary, were, as their son says, “the godparents of preppy.” Maurice came to North Carolina as a Massachusetts boy steeped in Ivy League culture, and Mary was a Southern belle with Scotch-Irish roots. “We are the oldest state-owned university, one of the oldest universities in America and demonstrably the best at many things,” Julian says about UNC-CH, which he believes had from the start all the makings of an Ivy League school, with one exception: its location. Therefore, “the best way to show (Ivy League status) was to dress it,” he says, conjecturing that Maurice earned his title as the founder of prep when he brought Ivy League style with him to North Carolina, initiating the perfect love story where “Ivy League framework of clothing meets Southeastern exuberance and love of color.”

Maurice opened the clothing store Julian’s on Franklin Street in 1942; it became a staple of Chapel Hill, and Chapel Hill in turn “set the style for the nation,” says Julian, who was practically raised in the store. “I was just the average 5-yearold who had custom-made suits and played with cashmere,” he says. “You know, pillow fights are OK...but my sister and I grew up literally hitting each other with bags of sweaters. We made forts out of swatchbooks and old suit boxes.”

At age 12, Julian got into a fight that ripped the collar right off his blue Oxford shirt. “I went up to my father’s tailor, which was upstairs above the store, and

TAILOR MADE Perfectly crafted ensembles on display in Julian's on Franklin Street.

saw a yellow shirt. And (I) said, ‘Pete, could you put that yellow collar on my blue shirt?’” he says. Pete compiled, and Julian wore the new creation to school the following week. “One of the two prettiest girls in school finally started talking to me,” he says. “And so I kinda got hooked on the fashion thing very early because it was a facilitator for me.”

Maurice wanted his son to study at UNC-CH be a doctor, and Julian agreed only under the condition that he could become a psychiatrist (“Pop, I’ll do what you want, but I can’t spend the rest of my life wearing white”). As he sat in class and crunched numbers, Julian’s mind inevitably kept drifting elsewhere, back to tweeds and resplendent colors, to clothes and design. So he dropped out of college, determined to forge his own path in the fashion industry.

“I had tried for a year to convince my father that there was change afoot,” says Julian, who tried to persuade Maurice to let him open his own clothing store, but to no avail. In 1969, when Julian was 21 years old and gutsy, Maurice went out of town. Secretly releasing one of his father’s tenants from a five-year lease, Julian raked up enough cash to start his own clothing store, aptly named Alexander’s Ambition, right across the street from Julian’s. “It proved to be temporarily disastrous to our relationship. (Maurice) treated me as the worst competition that he had,” says Julian, who eventually did make peace with his father. Alexander’s Ambition was the first store in the Southeast to sell Ralph Lauren and fea-

Feature | C | 65 tured items designed by Julian himself.

He started traveling to markets in New York City, trying to increase his scale by enticing other noncompetitive stores to buy his designs. In the early ‘70s, “I got asked to ghost a couple of lines for companies without my name on (anything).

Those sold nationally well.” Julian’s first commercial design deal came with a salesman who asked him to help revitalize an outdated suit manufacturing company in Baltimore. The salesman convinced the company that Julian could help create a new look good enough to rival the designs of Ralph Lauren, the up-and-coming brand at the time. Julian agreed and designed the suits without putting his own label on them.

Before Julian entered the fashion scene, stores either sold traditional suits in neutral hues or clothes in European styles that were more eccentric in color and cut. Julian wanted to merge the two, which terrified almost every retailer he approached. But in 1974 Wilkes Bashford, then the best menswear store in America, launched the designer’s name and started selling his label. Bloomingdale’s followed suit in 1975, recognizing the young designer’s promise.

In 1976 Julian made an exclusive contract with Taka-Q, a company that owned 60 men’s specialty stores across Japan. “Because of the success of my brand in Japan, they grew to 360 stores,” he says, noting that the company marketed him on a mass scale and sustained him until his big break in America.

Taka-Q took Julian’s unique designs and

I hated the idea of legislating taste by income.

Alexander Julian produced them on a massive scale that pushed product prices down, resulting in sales of over $1 billion worth of merchandise.

In 1980, Julian began to toy with the idea of merging high-quality design with mass production. “And that was a match made in heaven, because the conventional wisdom of the time was that ‘middle America’ dressed badly because that was their taste,” he says. “And I was like, ‘F**k that.’”

At a time when designers often sold their names, he forged his own path and created his own line in 1980 called Colours, which brought rich hues into preppy, perfect harmony. “Colours made men’s fashion affordable,” Julian says, “I hated the idea of legislating taste by income.” The line made a revolutionary splash in menswear. Sunset orange, magenta, electric blue, royal purple and cherry red were meticulously interwoven in traditional pieces, infusing multicolored life into everything from sumptuous fabrics all the way down to carefully executed button-hole stitches.

“I always joke around – I say that he invented purple,” says Villanueva. “When

he came out with Colours by Alexander Julian, men were wearing a navy blue suit, a dark red tie and a white shirt, or khakis and a polo. For a man to wear purple, teal, fuchsia – that was unheard of.” Villanueva says Julian was the first person to truly teach men about color and how to wear it. Colours shot to prominence like a rocket, becoming a $2 billion business so timeless that it is still active today.

In fact, everything Julian designs is timeless. Villanueva, who spends a couple days per week working in Julian’s, says she has clients who bought pieces from Julian’s 20 years ago that they still wear today. “(His aesthetic is) not only relevant; it looks fabulous. And it looks different. It’s got that touch. It’s got something that sets it apart from everything else,” Villanueva says. “That’s timeless.” Julian’s genius is that his designs are ageless but simultaneously embody throwback elements.

The word “throwback” is tossed around easily in the fashion world; yet, the concept is slippery and multifaceted.

Julian is always a jokester – “(Throwback) is a term, usually used in a bar, which means expedited drinking,” he says with a sharp wit likely to surface at any point in conversation completely unannounced. Then with greater seriousness he talks about the prediction of Details Magazine Editor-in-Chief Annie Flanders, who before the turn of the 21st century “said that fashion is going to be so advanced that the retro in 2000 will be...a retro look of 2010.”

66 | C | Feature In other words, “fashion is a pendulum,” Julian says.

Designers pick and choose details of days past, blending them into whimsical mélanges inspired by creative impulses, new design techniques and cues from current events. Fashion is in constant flux, and designers do not just draw on throwbacks for the sake of reinventing the old. Change, Julian says, “is a smorgasbord of individuality, ego,...trying to attract a partner,...wanting to be thought of as cool – all that.”

Julian’s designs maintain timelessness and at the same time embrace change. Consistently classic silhouettes come to life through daring color combinations and new printing techniques. “I like to walk the tightrope between what is fashion and pragmatism, (which) are not often used in the same sentence,”

he says. “That’s my kind of talk. I want to be responsible. I don’t want somebody to waste their money….I hate things that are ‘in’ or ‘out.’” It is easy to be swayed by ever-changing trends, which are exciting upon first impact but fade quickly. “The winds of fashion blow pretty strong,” he says. “Sometimes you get blown off one way or the other, and you fall off the tightrope.”

In the end, everything – trend or timeless staple – is always a throwback. “What isn’t? Because everything is based on what was,” Julian says. “It’s a question of how it’s interpreted and how it’s redefined and how it’s reused. I find a pure throwback costumey. I think nods to the past, if they’re done in a new approach, are great.”

His definition of a throwback is in fact the most calculated,

poignant one yet, striking a precariously beautiful balance between the past and the present in the folds and patterns of clothes that will be relevant into perpetuity. With years of experience, Julian has mastered the perfect throwback; if today we strung a tightrope across Niagara Falls, Julian would make it across without even a slip.

The designer’s new Fall 2016 line embodies his immutable philosophy and has been well-received by buyers.

Julian stitched his classic ‘80s label into pieces designed with cutting-edge technology. The new line evokes a modern, traditional style with a subtle but expansive color palette, and the textiles’ patterns are digitally printed to emulate the textures of tweeds and wools. From afar, the the suit jacket he wears today looks like it is made of a

textured, blue-brown tweed; yet a closer look reveals a lightweight cotton that boasts hundreds of understated pigments, amalgamated into uniform intricacy.

“This is breakthrough thinking in how to make natural fibers for today’s world,” Julian says. “The fact is there are more people in the world who want to wear something that looks like this (but) whose climate doesn’t allow it. There are more of those today than there were 10 years ago, and more 10 years ago than there were 20 years ago. It’s a nouveau retro.” He is a progressive thinker, never satisfied with what is now. If Julian is looking anywhere, it is at the horizon, and he does so with a smile on his face and determination in his heart.

“He takes what he does very seriously but he also likes to have a lot of fun while he’s

Feature | C | 67 doing it,” Spencer says. That same sentiment is reflected in Julian’s designs, conventional pieces with with lively aberrations from the familiar. With the help of his employees and family, Julian juggles everything that comes with working in the high-paced industry. “On any given day you’re designing a future collection. In the stores is the current collection,” says Villanueva, who helps him stay organized.

“It’s a million details every day.”

Awards, aspirations and aplomb aside, there is a common theme in his work. He is always thinking up something new and constantly pushing boundaries. In the years since Colours, Julian introduced his top-tier Alexander Julian menswear brand in Europe and Australia, has launched Alexander Julian

Womenswear and Colors by Alexander Julian womenswear in the United States, developed men’s and women’s fragrances, designed a furniture line (making him the only fashion design to ever receive the Pinnacle Award from the American Society of Furniture Designers), created a line including wallpaper and carpets for Lowe’s, and developed bicycle shirts for Chapel Hill Performance Bike. Currently, he says, “a large hotel project” is in the works.

“There is almost nothing man-made that has to be in the shape or color that it is,” Julian says. “Everything is a variable.” His unique philosophy about style drives this innovation for the good of those who consume his art.

He wants to help people gain positive personal perception.

“When you wear something and someone compliments you because you look well, (you) stand a little taller, smile a little bigger,” he says. “You feel a little better, and actually that facilitates performance.”

It is clear that he is not in the business of selling clothes; he is in the business of improving lives with clothing as his instrument.

This ethos was instilled in him from a young age working in the store; “I was

consumed with the potential for what clothing could do for some people,” Julian says.

“I grew up in a store where if anybody walked in of any size, shape, creed or color, I was expected to be able to positively help them. And that was my job. I look at it as a consultation – it’s not selling.”

But throughout this process of learning and creating, within him still exists the kid in the shop playing with sweaters and swatches, and he would be the first to say that. He is driven by his love of helping people in new and creative ways by means of the medium he has mastered over a lifetime. And it is has not been without help from his friends, family and community.

“Working with him every day was a challenge because every day involves a million different things. Never, ever, ever a dull moment,” says Villanueva, who helped Julian’s creative visions become tangible since he was a fledgling designer. “I was his personal assistant. I did everything. I was the gatekeeper. I handled all his business things. I handled his personal things, his calendar,” she says. “I worked directly for him. And only him.” Through her 40-year friendship with the Julians, Villanueva feels

as if she has become part of the family, helping propel Julian to fame and even being there for the birth of one of his sons. “All these experiences create a friendship that goes on forever.”

She understands Julian’s creative and design process to a T. “You know how creative people are? They sort of take you to the top of the mountain to show you the view, but you (must) help them build the mountain,” she says. Julian has truly “built a mountain” worth recognition. It would be easy to assume he must have become a changed man in the face of so much success, but in fact Julian has stayed true to himself and his mission.

“He’s unique and different as a person because no matter the success he’s had, he hasn’t changed as a human being,” Villanueva says. “(He is) very creative, very much a North Carolina boy, you know. He’s a Tar Heel. And that has never, ever wavered or changed one bit.” That is not to say he has stayed exactly the same over the years; rather, he continues to create himself and the world around him in the same way with regard to the same philosophies. “You can do something that’s new and old at the same time,” he says. If that is not the greatest way to conceptualize a throwback, we can honestly say we do not know what is.

NEW AND IMPROVED Alexander Julian's new Fall 2016 line uses cutting-edge technology to digitally print cotton fabrics. Photographs courtesy of Huston Julian.

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'60s SUBMERGED

Defined by its bold, innovative and colorful trends, the 1960s produced iconic designs that still persist today. From the mini skirt to the pillbox hat, the trends of the decade redefined dress standards and inspired fashion enthusiasts to take risks. The swimwear of the 1960s proved to be especially popular, allowing both men and women of the time to be creative, classy and comfortable while enjoying the sun.

Styles like high-waisted bottoms, polka-dot prints and halter tops first made waves in the â&#x20AC;&#x2DC;60s. While adapted over time, the â&#x20AC;&#x2DC;60s aesthetic continues to influence swimwear in the current fashion scene.

By Niki Wasserman Photographed by Alexis Fairbanks and Elise Holsonback Modeled by Sydney Boukedes, Tia Hairston, Alexandra Hehlen, Jessica Hujber, Emma Karlok, Joanna Kuang, Joseph Lucido, Brigitte Madan, Cameron McNeill, Ginger Melton, Juhi Patel, Daniela Rangel, Remington Remmel, Jada Richardson, Kat Tan & Walter Winslow

Photo Feature | C | 69

LOOK ON THE BRIGHT SIDE Romper Catherine Joyce and Anna Argentine; sunglasses shop similar at Forever21; necklace Forever21.

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STOP AND STARE One-piece Speedo.

TRUNK SHOW Swim trunks J. Crew.

HEAD ABOVE WATER Swim trunks from left to right J Crew, shop similar at Rusty Zipper, and Club Monaco.

ON POINTE From left to right: one-piece Speedo; striped bikini top Victoriaâ&#x20AC;&#x2122;s Secret; gingham-print bikini bottoms Etam; mint bikini Marina West; yellow bikini Kathlena; black bikini Xhilaration; mint onepiece Cocoship; polka-dot tankini Merona; fuschia and polka-dot bikini shop similar at Forever21; coral one-piece Kathlena.

SUPER MOD-EL Top and headscarf Catherine Joyce and Anna Argentine; sunglasses shop similar at Forever21.

MAKE A SPLASH Swim trunks J. Crew.

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IN LINE Yellow bikini Kathlena.

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Photo Feature | C | 75 THE POOL KIDS All swimsuits listed in this spread.

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SOAK UP THE SUN All tops and pants Catherine Joyce and Anna Argentine; all sunglasses shop similar at Forever21; hoop earrings Handpicked; necklace Forever21.

THROWING SHADE (left) Pants & crop-top Catherine Joyce and Anna Argentine; shoes Tommy Hilfiger; glasses shop similar at Forever21.

UNDER MY UMBRELLA (right) On Jada (left): pants & croptop Catherine Joyce and Anna Argentine; shoes Tommy Hilfiger; glasses shop similar at Forever21.

On Sydney (right): top and headscarf Catherine Joyce and Anna Argentine; sunglasses shop similar at Forever21.

Photo Feature | C | 77

78 | C | Photo Feature

YELLOW SUBMARINE Swimsuit Kathlena.

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ROLLING IN THE DEEP Swimsuit Kathlena.

AQUAMARINE Swimsuit Cocoship.

80 | C | Caught Our Eye

“The Dude Breathes Music” The Inside Scoop on the Founder of Knife Tapes Joseph Held Outside the UNC-Chapel Hill Student Union and amidst the continuous stream of passing students, Ford Garrard, the founder of Knife Tapes, speaks with me about what motivates him.

“I love finding stuff that I really enjoy, that I want other people to enjoy,” he says.

“It’s fun, you know, sharing excitement with people.”

Garrard, a senior at UNC-CH majoring in music and minoring in entrepreneurship, started his own record label, called Knife Tapes, last April. The “small, independent punk label,” as he describes it, focuses on collaboration between music professionals to produce a package of music where the aesthetic medium is as important as the sound.

Born and raised in Nashville, Tenn., Garrard was exposed to music and

the industry at a young age, owning his first toy electric guitar by five and joining his first band in eighth grade.

He explains that this early interaction allowed him to view a career in music as a viable occupation. “You always hear like, ‘Oh, there’s no money in music,’” he says. “But (when) I went to my friend’s house…they (seemed) to be doing okay.” At the age of 20, Garrard began interning in Nashville at Third Man Records, where he was able to to observe the record label business first-hand.

Between packing up records and moving equipment, he quickly began to learn the basics of the business.

On his last day of working there, Garrard, anxious to know how to improve and where to go, met with his boss to seek advice. The 22-year-old recollects this conversation, paraphrasing his boss’ words, “‘You just

need to put stuff out, and you know you’re going to screw it up and do things wrong, but you’re not going to learn how to do it unless you just do it.’”

During his sophomore year at UNC-CH, Garrard took a class taught by the music department’s entrepreneur in residence, Ken Weiss. In this class Garrard developed the prototype of Knife Tapes, originally called Hometown Heroes. “(Weiss was) extremely helpful in a critical but loving way,” Garrard says, describing Weiss as an important mentor in the process of building a business from his initial model.

The business did not truly begin until Garrard studied abroad in Copenhagen, Denmark. One night on a whim, as Garrard explains, he and a friend went to a venue half a mile away from their building to see Yahowa.

This practically unknown band with a little more than

200 Facebook likes sparked Garrard’s interest, and he concluded he had everything he needed (an awesome band, little experience and $150 dollars, to be exact) to officially start Knife Tapes.

After the concert, an eager Garrard approached the band with a request to work with them.

In the months that followed, Garrard worked with Yahowa to release a cassette tape. Inexperienced with the graphic design, Garrard sought help from his roommate and colleague at Chapel Hill’s WXYC radio station, Aiden Herbolich.

“I’m really interested in publishing and disseminating information worth consuming, and I also really enjoy doing graphic work, so [working with Knife Tapes] was a nice chance to do all those things,” Herbolich says.

The pair has continued to collaborate on the releases

Caught Our Eye | C | 81

that have followed the Yahowa tape.

In Knife Tapes’ next collaboration, a seven-inch record of Pujol’s single “Designer Feelings,” Garrard continued to hone his skills.

He is currently working on Knife Tapes’ third product release with Acid Dad, a band he toured with last summer.

Because Garrard attends UNC-CH, Knife Tapes splits time between Nashville and Chapel Hill. Garrard says he loves both cities and lists, in short detail, the pros and cons. In Nashville he knows the scene better, and the streets are filled with people who can help him or whom he can help. The con: Rent is expensive. He describes

Chapel Hill’s community as willing to help get people excited about new bands and records. He uses his apartment in the college town as a place for bands and friends to crash, thus keeping him connected in a way to life in Nashville.

Garrard fits the part of the young, innovative music enthusiast. Today he’s wearing skinny khakis, a graphic tee thrown under a Levi’s jean jacket and an old pair of Chucks. Working in the music recording industry has been Garrard’s dream since he was 10, and excitement fills his voice as he discusses the label. He speaks with humility and honesty of times where he felt like he

did not know what he was doing, but he also remembers moments of reassurance when his supporters encouraged him.

He prides himself upon the time he sold a record to Jack White, a big name in the music industry and founder of Third Man Records – and White liked the record.

Herbolich continues this positive appraisal saying, “If you’re working with (Garrard) in music, he’s great to work with because he’s super engaged in and passionate about it. The dude breathes music.”

This sentiment is echoed in the words of Garrard’s past professor, Ken Weiss.

“The principal strength of

(Knife Tapes) is simply Ford Garrard, his commitment to its development and his longheld desire to build a career in the music industry,” Weiss says. “I am more than certain he will not quit.”

Garrard already has plenty of his own practical advice.

“Cassette tapes aren’t dead.

Records aren’t dead. Pay for your music,” he says. “Go see bands. Go to knifetapes.com.

Be proactive about what you listen to.”

TAPE THREE These are examples of some of the music Knife Tapes has produced. All photographs coucourtesy of Ford Garrard.

82 | C | Contention

more than a

SPARK Audrey Leynaud “His teeth are too sharp,” sighed my friend, idly swiping the screen of her phone, occasionally grimacing, “and his ears are too big.” It was my turn to sigh. You would think she was talking about the Big Bad Wolf, but all I saw when I peeked over her shoulder was the infamous dating app, Tinder, featuring a picture of a perfectly normal guy.

In our fast-paced society, we are constantly looking for shortcuts. We order food instead of cooking it, buy clothes online in lieu of waiting in line and call Ubers when we are too impatient to wait for the bus. We try so hard to make our lives easier that doing so has become an industry in itself, and services of all kinds flourish to cater to our every need. Relationships have resisted this trend for a long time, but they too have fallen into the cart. The shopping cart.

We are starting to look at relationships as products, demanding a moneyback guarantee in case they fail us.

We are starting to think in terms of capital, advertisement and investment, slowly drifting away from the natural toward the artificial. The fact is you cannot select a guy the way you would a conditioner, and while it is always good to read the information on the bottle, that is not enough.

Tinder forces us to focus on what usually ends up being meaningless in serious relationships, namely the sharpness of his teeth, the size of her ears, or the fact that you like indie

Graphic by Elina Rodriguez

pop and they only listen to punk rock.

We become so obsessed with finding similarities – imbued with the certainty they are what drives long-lasting relationships – that we tend to forget about the rest.

Here comes the word nobody likes to hear: effort. The rush that comes with the “It’s a match!” notification is shortlived, and we easily lose interest once our ego has been stroked. However, Tinder cannot be an excuse to cross your arms and wait for love to sweep you off your feet.

The reality is our attention spans have shortened drastically. I just need to look at the long list of matches who never bothered to contact me – and who I never bothered to contact either – to realize there is much more to relationships than what you can learn from a few photos and a tagline.

The illusion behind Tinder is that,

while it indeed facilitates the encounter (there is a chance you would never have met that guy even if he is “less than a mile away”) and brings you closer to a potential partner, it cannot do the work for you – and it should not, either.

Dating apps and websites have existed for a long time, but Tinder is the first one to provide instant gratification without requiring any real engagement. As new generations come into contact with this kind of media – in the same way they have adopted other social networks – it may be necessary to ask ourselves what apps like Tinder are teaching about our approach to relationships.

The fact that there is a shortcut for almost everything today does not always mean the easy way out is worth taking.

We all might need the reminder that not all roads lead to Rome and not all matches on Tinder lead to love.

vintage

Coordinate Me | C | 83

voyage Caroline Pirozzolo

FOR HER

Dress Madewell; shoes Mix No. 6; bag Cambridge Satchel Company; sunglasses Free People.

Whether you’re biking through the countryside, brunching with the fam or discovering a city on foot, it’s always fun to add a vintage twist to your summer adventures. This summer there’s no way women won’t be living in floral mini dresses.

Effortlessly dressed down for day or worn with heels for night, these dresses are light and easy to throw on. For a hot summer day, find a frock with a teeny print and pair it with strappy, pointed-toe sandals. A bright, look-at-me satchel is perfect for stashing the day’s necessities, no matter where the endless days of summer may take you.

Cat-eye sunglasses are the perfect way to channel vintage vibes. For him, a short-sleeve, collared button-down with a quirky tropical print is perfect for summer. For a relaxed, daily look, tuck the shirt into jeans and pair it with a casual brown belt. An understated watch is the perfect finishing touch – when it comes to summer ensembles, the simpler the better.

Photographed by Alexis Fairbanks and Elise Holsonback

FOR HIM

Shirt Kenny Flowers; jeans Prada; belt Prada.