FASHION/ART/DESIGN HORACE MANN SCHOOL VOL. 3 NO. 3 SPRING/SUMMER 2012
TRANSFORM.
EDITORS’ NOTE
W
hen FAD began 3 years ago, the future of this young maga zine was unknown. Since then FAD has transformed from its inchoate stage into the con ceptual magazine that it is to day. FAD’s look and feel has changed with its everma turing content; we believe this has reflected our own process of growing up. Helping us develop not just our sense of style but our sense of selves and point of view, FAD has influenced our lives in ways we could have never imagined. We can only hope that it has benefited the daily lives of our fellow students in some small way. The involvement and interest from the community at large has been such an incredible support system for us, and we are so grateful to everyone who contributes to the success of FAD. With graduation approaching, it is impossible for us to ignore the immense transfor mations we’ve undergone, and the ones yet to come. So what better theme for our last issue than that of “Transformations.” In the following pages you will find articles highlighting the everevolving fashion, art, and design worlds, photoshoots that reinforce the transfor
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mative power of art, and even an interview with the architect who transformed the face of Yan kee Stadium! No matter which way you look at it; FAD has transformed, we have transformed, and the world has transformed. There are only more changes and exciting things to look forward to in the future, and as bittersweet as our approaching departure may be, we can’t wait to continue our creative endeavors in the world ahead of us. And, of course, we wish the best of luck to our succes sors, next year’s editors, and we hope that your already great passion and dedication for FAD only continues to grow. Thank you to everyone who has supported us along the way, and as we sign off re member; stay FADulous.
xoxo, Rachel and Baci
Baci Weiler CoEditor in Chief
Rachel Scheinfeld CoEditor in Chief
fashion | art | design
Table of Contents
sponge....6 Met Gala Cannes Film Festival
reviews....8 Stein Met Exhibit Cindy Sherman Retrospective Chamberlain Guggenheim Exhibit
interviews....12 Terry Dunn: Yankee Stadium Architect Rodney Smith: Photographer
features....16 Going Green Abu Dhabi Art Movements Fashion Houses
op-eds....22 Is Print a Dying Industry? Off the Runway
into the dark....24 Beauty Photoshoot
double vision....28 Optical Illusions Photoshoot
school’s out for the summer....34 50s Inspired Photoshoot
diy....46 Galaxy Nails
horace mann school | spring/summer 2012 | vol. 3 no. 3
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Co-Editors-In-Chief
Rachel Scheinfeld and Bathsheba Weiler SENIOR EDITORS Production Manager Seth Arar Creative Director Noah Margulis Managing Editor Veronica Williamson Features Editor Anna Goldberg Shoot Coordinators Lia Ehrlich and Chloe Albanese Architecture and Design Editor Billie Kanfer Beauty Editor Rachel Buissereth JUNIOR EDITORS Emma Garcia, ShaKea Alston, Paige Burris Lauren Cantor, Julia Hirschberg, Anna Carroll ASSISTANT EDITORS Michelle Kim, Edie Comas, Julia Pretsfelder, Gina Yu Alex Vogelsang, Jessica Heller, Shinil Kim, Mihika Kapoor SENIOR STAFF PHOTOGRAPHERS Olivia Chigas, Lily Sands, Kim Sarnoff, Ella Landesberg CONTRIBUTORS + STAFF Georgie Bonondona, Diva Gattani, Rachel Ha, Natalie Imamura, Rachel Kline, Maia Landesberg, Halle Liebman, Kylie Logan, Allison Malin, Florence Ngala, Savannah Smith, Libby Smilovici, Charlotte Chazen, Cece Glatt, Miranda Jacoby, Rebecca Shaw, Gabrielle Reid, Sophie Levy, Hannah Fink, Lucy Golub, Nicole Fortune, Amanda Zhou, Jackie Goodman, Lizzy Weingold, Yohan Hahn, Alex Adler, Pierre Eid, Claudia Lichtenberg, Maddy Gordon, Eden Sung, Alexis Brianna-Felix, Brad McCandeless, Sarah Gertler Faculty Advisor Alicia Hines We would like to thank Ms. Hines, Dr. Kelly, Ms. Rubirosa, Mr. Do, Mr. Logan, Ms. Busby, Ms. Cassino, Dr. Delanty, and Dr. Schiller for their continuous support in the creation of FAD!
PLEASE NOTE: As a policy, FAD never digitally alters photos to fundamentally change a model’s appearance, including body image and color. FAD only removes minor blem ishes and adjusts lighting values at the discretion of the editors and the models them selves. Digital editing, including the use of Adobe Photoshop, is credited where utilized.
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fashion | art | design
f.a.d. behind the scenes SPRING/SUMMER 2012
horace mann school | spring/summer 2012 | vol. 3 no. 3
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SPONGE** EVENT NEWS... Fame & Glam at the Met Costume Gala
On May 7th, the stars gathered on 5th avenue for the annual Met Costume Gala. The ball is hosted every year by Vogue Magazine, headed by the infamous Anna Wintour, and coincides with the opening of the Met’s Costume Institute Exhibit. This year the exhibit features designs by Schiaparelli and Prada. In attendance were some of the hottest stars, such as Beyoncé, wearing the designs of moguls like Dolce & Gabbana and Versace. The Costume Ball has been deemed the hottest social event of the year and is fashion’s true night out. The event is fashion’s biggest chance to show its latest designs and innovations. The Gala also features performances from stars such as Bruno Mars and Paul McCartney. –ANNA CARROLL ‘13
WE ABSORB CULTURE
f.a.d. recommends you check out these quick !"##$%&'!"(&"#$')*$+
READ UP... CR Fashion Book on the Rise from Paris Carine Roitfeld, exeditorinchief of Vogue Paris, has her latest fashion magazine set to hit the stands this September. It will be called the CR (her initials) Fashion Book, and each issue will be released biannually. The magazine will predominantly focus on longformat articles and spreads, and some sections include Icons, Fitness and Skincare. There will be a print edition with a $20 subscription fee and an online version for $5. Each issue will be centered on !" #$%&'(&" )*%+%," with “Obsession”
being the theme in mock advertisements. It will debut under Fashion Media Group LLC. The premiere issue will comprise of 288 pages, including approximately 100 pages for ads featuring designers such as Gucci, Chanel, Louis Vuitton, Giorgio Armani and Cartier. The CR Fashion book has garnered much hype in the fashion world, and with Roitfeld’s pitching it as being “trendy and timeless at the same time,” it is sure to be a success. –MIHIKA KAPOOR ‘14
SHOP UP... Match Made in Prep Heaven: Altuzarra for J.Crew The winner of the 2011 CFDA/Vogue Fashion Fund, French designer based in New York, Joseph Altuzarra, launched his line this month for J.Crew. The fund is organized by the Council of Fashion Designers of America and Vogue magazine to help rising fashion designers make their way into the tense fashion industry. The fund is a combination of a cash prize as well as a mentoring program for the winner. Previous winners have been Alexander Wang and Thakoon, both of which are now large names in the industry. Altuzarra describes
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his collection as “French preppy” and consists of stripped “French girl” sweaters and dresses, as well as a racy spinoff of a “cowgirl” inspired blouse. The two more popular pieces of the collection are the “Sabrina dress” and the “Corrine espadrilles.” One of the more noticeable aspects in Altuzarra’s collection is the way he kept J.Crew’s distinctive look in each of his designs. The line will be sold in J.Crew stores and online for one month and !-%" #.-%" )/" 0%" 12'34" /55" )*%" shelves. Altuzarra’s collection for J.Crew is a match made in a preppy girl’s heaven. –CLAIRE HAYES ‘14
fashion | art | design
FESTIVE TIMES...
WATCH IT... The Artist on the Runway <*%3")*%"06!&="!37"8*')%"#'6%3)"(6+">*%" Artist hit theaters, it took the runway by storm. The Artist brought back legendary styles from the 1920’s. Designers like Marc Jacobs, Ralph Lauren, Etro, Alberta Ferretti and Gucci were all inspired by this successful movie and showed slim, straight 1!$$%-" #'6*/.%))%#" !37" ?-)" @%&/" 06!&=A andgold beaded loose sheaths for this spring. Costume designer Mark Bridges used the texture of sequins in the movie, as there is certainly a glitter about Hollywood. You will be seeing these sequined designs !" 6/)" )*'#" #$-'34;" B$%&'(&" 7%#'43#" 6'=%" 5.-" collars, artdeco patterns, fringe, sequins, faux jewels and loosefringed dresses will all be hitting stores. It’s amazing how The Artist can bring back these beautiful 1920’s designs. CHASE KAUDER ‘17
Can’t Miss the Cannes Film Festival While New York might have the Met Costume Gala to make its annual red carpet splash, across the globe in the south of France, the glam have gathered to make some statements of their own. This year’s Cannes Film F e s t i v a l has been yet another testament to the strength of style and talent that is '3(6)-!)%7" '3" our world. From the red carpet fashion to the premieres to the parties, this coastal paradise has been alive while celebrating )*'#"2%!-9#".$&/+'34"(6+#"!37"5%#)':')'%#;" Amongst the screenings and late night extravaganzas, festival participants and other visitors can head on over to the Hotel Martinez to see an exhibition of exclusive photographs of the iconic movie star, Marilyn Monroe. Nearby this show of glamour, many premieres of new movies
were on the reel. One movie shown at the festival was “Moonrise Kingdom,” which was no easy feat for costume designer Kasia Walicka Maimone who had to create hundreds of handmade khaki Boy Scout uniforms for the movie. Along with the fashion and the events, L’Oréal Paris commissioned a 250page coffee table book titled “ I n s i d e s C a n n e s : The Golden Edition,” celebrating all of the faces of the illustrious festival. The Cannes Festival is a stylist’s dream as they prepare their clients for the multiple appearances and premiers. From the showing of Jack Kerouac’s On the Road to the power couples strutting the red carpets, this year’s festival is not lacking of star power. RACHEL SCHEINFELD ‘12
NOW TRENDING... Punching with Pastels for Spring/Summer
SEE IT... Keith Haring at the Brooklyn Museum Work from the early career of renowned 20th century American artist Keith Haring is now on display at the Brooklyn Museum. >*'#"'#")*%"(-#)"6!-4%"%C*'0')"/5"8/-=#"5-/+" this period of Haring’s career, from 1978 DEFG;" H!-'34" 8!#" !" IJI" !37" 4-!5()'" !-)'#)" !37" 0%5-'%37%7" '31.%3)'!6" #)-%%)" !-)'#)#" like JeanMichel Basquiat. Haring himself was also a street artist and began making political art early in his career. He became a constant in New York’s downtown artist culture. His work often features thick lines, :'0-!3)"&/6/-#,"!37"&!-)//32"(4.-%#;"H!-'34" used a variety of different materials, such as video works and paintings on canvas. Many works, such as Haring Paints Himself into !"K/-3%-,"8*'&*"8!#"H!-'349#"(-#)"8/-="/5" video art, are on display, and many of these works have never been seen before. The exhibit was curated by Raphaela Platow and is at the Brooklyn Museum until July 8th. ANNA CARROLL ‘13
The popular loud and spunky neon colors, which joined us last spring, have followed through to the spring of 2012 – only, they’ve been toned down just a notch. This season, we’re looking at soft and elegant pastels, in shades of green, pink, blue, and lavender. Vogue.com offers a “Guide to the Best Accessories for Spring” featuring great fashion items from bags to sunglasses for inspiration, such as a light pink Furla Candy purse, timeless Chloé Jerry rings, sky blue Oscar de la Renta wedges, and lavender RayBan sunglasses. Every one of the items is a great accent )/" !" 6'4*)" !37" !'-2" /.)()" '3" 3%%7" /5" #/+%" color. Though most of the items are above anyone’s windowshopping price range, each piece offers new ideas for stunning #$-'34" /.)()#" !37" %+0/7'%#" 8*!)" )*'#" year’s chic pastel spring is all about for the world’s top designers. KYLIE LOGAN ‘14
horace mann school | spring/summer 2012 | vol. 3 no. 3
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REVIEWS
Keeping Up with the Steins Paige Burris ‘13 reviews the Metropolitan Museum of Art’s showing of the family that changed the face of art.
A fascinating new exhibit at the Metro politan Museum of Art, “The Stein’s Col lect: Matisse, Picasso, and the Parisian AvantGarde,” enables visitors to step back in time and view many of the works of art previously owned by members of the Stein family. The exhibition traces the history of the Stein’s art collections and examines the relationships between members of the family and their artist friends including Henri Matisse and Pab lo Picasso. The exhibition demonstrates )*%"#'43'(&!3)"'+$!&)")*!)")*%"B)%'3#"*!7" on the emerging and relatively unknown artists of their day. The exhibition in cludes paintings, drawings, and sculp ture by artists including Paul Cezanne, Edgar Degas, Paul, Gauguin, Henri de ToulouseLautrec, Edouard Manet, Au
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guste Renoir, Juan Gris and many others. In the early 1900s, Gertrude Stein, her brothers Leo and Michael and Michael’s wife, Sarah, settled in Paris and started buying the works of cutting edge artists that were neither famous nor expensive at the time. Works by Picasso and Matisse 8%-%"!+/34")*%'-"(-#)"$.-&*!#%#;"L'&*!%6" and Sarah favored Matisse; Gertrude and Leo preferred Picasso. The Steins made their collections available to the public through their weekly Saturday evening salons at their apartments. Friends and acquaintances, including artists, writers and musicians, were invited to their Sat urday salons to view the new collections. Through their salons, the Steins intro duced the public to what was considered radical or revolutionary art. The exhibit
includes a visual recreation of the Stein’s living room (salon) through the use of photographs projected on the walls of the room to convey the way in which the art was displayed in their crowded apart ment. The Stein’s collection of art was sold and dispersed over the years. The exhibit gathers and reassembles a majority of the works that were collected by members of the Stein family. Highlights of the ex hibit include Matisse’s Fauvist “Woman With a Hat,” and “Blue Nude,” Cezanne’s, “The Bathers,” Picasso’s, “Boy Leading a Horse,” and a portrait of Gertrude Stein. K/+$-'#%7" /5" $*/)/4-!$*#," 0//=#," (6+" and other artifacts including Gertrude Stein’s will the exhibition at the Metro politan Museum of Art is a must see!
fashion | art | design
REVIEWS A Woman of Many Faces: Cindy Sherman. A Retrospective. by Paige Burris ‘13
Transformative photography is probably the best way to describe the retrospective exhibition of Cindy Sherman’s photogra phy currently on display at MOMA. The exhibition includes over 170 photographs of this renowned American born pho tographer. Most of the photographs are of the artist dressed up in costumes with elaborate makeup and inventive poses. Sherman uses props to transform her im age in front of the camera into the various characters. The photographs appear to be scripted and choreographed much like a movie.
Sherman typically creates her work in a series. The rooms in the show are arranged chronologically. Her earliest works is a se -'%#"/5".3)')6%7"(6+"#)'66#")*!)"!-%"+!7%")/" resemble publicity pictures taken on old movie sets. There is also a series of over sized photographs devoted to aging society women. In another series, Sherman makes allusions to historical paintings by artists such as Raphael, Fragonard, and Cara vaggio. There are also a number of photo graphs of Sherman dressed up in different clown costumes. A number of photographs in the exhibition have a distorted quality
to them. In some of her later works, Sher man digitally alters her image. Regardless of the subject matter, the photographs all have a feminist overtone. The exhibit is on view until June 11 be fore traveling to the San Francisco Muse um of Art. A number of the photographs can be viewed online at http://www. moma.org/interactives/exhibitions/2012/ cindysherman/
Chamberlain at the Guggenheim: Junkyard Art by Rachel Scheinfeld ‘12 To many, an automobile junkyard is nothing more than a pile of metal; to the late John Chamberlain how ever, this was his clay. American Sculptor John Cham berlain is amongst the creative minds of the past few 4%3%-!)'/3#" )*!)" 4-%!)62" '31.%3&%7" )*%" 5!&%" /5" !-);" H%" went beyond the boundaries of what was known and ac cepted as art and created larger than life sculptures out of the parts of automobiles. Through crushing, molding, and creating; he was able to create vibrant works that +!7%"#.&*"!3".3.#.!6"+%7'.+"'3)/"+!43'(&%3)"#'4*)#;" After his passing last year, the Guggenheim in New York honored the work and life of this great artist through a retrospective in their NY location. The museum it self and its spiral composition creates a unique view ing experience for any exhibit, so to combine the heavy masses of crushed car sculptures with its delicate inte rior was a work of art within itself. The show exhibited everything from his early period works to small models that would be later transformed into large pieces. This retrospective is a must see, and proved that Chamber lain is a name that will go down in history. As acclaimed artist Donald Judd once wrote, “The only reason Cham berlain is not the best American sculptor under forty is the incommensurability of ‘the best’ which makes it ar bitrary to say so.”
horace mann school | spring/summer 2012 | vol. 3 no. 3
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NEON
SPORTY
Many designers are incorporating neon into their collections this season, whether they are accenting their designs with it or creating fullon neon looks. Neon green, yellow, pink, blue, and orange can be seen on spring tshirts, pants, shorts, dresses, blazers and even shoes. Wear neon to create a fun summer look.
Sporty designs are no longer made by the likes of just Nike. Sportswear is hitting the streets, and I’m not talking about Juicy Couture tracksuits. Alexander Wang, among other designers, has designed tailored bomber jackets and track pants, too stylish to be worn to a workout class. De signers such as Guiseppe Zanotti, Balenciaga, Alexander Wang, Pierre Hardy, and Maison Martin Margiela have created funky and futuristic sneakers. Slip on a pair and you’ll look both stylish and be comfortable: you’ll have the best of both worlds.
Jil Sand e
r
Get ready for fun in the sun wear !"#$%$&'(()$'*+,-!.+/$0%12$30+$ (+,4+51$&'(()$0%1$!-$%$67-1$ have accessory for a day at the beach, a stroll through central park, or an excit ing tour of a big city.
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TREND AROUND THE BEND ad
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What will you be wearing this summer? by Julia Hirschberg ‘13 & Paige Burris ‘13 10
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fashion | art | design
LEATHERED ALIVE
PALAZZO PANTS Skinny jeans? Not this season. Flowy and wideleg pants are taking over spring and summer fashion. Designers such as Missoni, Rag & Bone, and Etro are making pants this season that can’t be missed. If you want to mix up your wardrobe and be able to breathe, give the skinny jeans a rest and slip on a cute pair of wideleg pants.
You don’t need to own a motorcycle to look sly in a full on leather out 812$$9+%10+,$!-":1$;7-1$4'7"/$'"$-0'+-$',$;%5<+1-$%")6',+=$>+%10+,$0%-$ found its way into spring as shorts, tshirts, dresses, and even sun #>%--+-2$$30!-$-+%-'"?$6%")$/+-!#"+,-$%,+$6!@!"#$!1$7($%"/$5,+%1!"#$ purple, white, orange, or red leather pieces. As cool as leather can be, it’s not going to keep you cool on a hot summer day, so don’t whip out a pair of leather shorts and a leather tshirt in 90 degree weather!
POINTY TOE HEELS
OVERSTATED BAROQUE
Pointy toe heels are no longer worn by people stuck in the ‘80’s or an '485+$57A!5>+2$$30+)$0%*+$4'7"/$10+!,$B%)$'"$1'$6%")$,7"B%)-$%"/$ ,+/$5%,(+1-2$$30+)$%,+$-'(0!-1!5%1+/$%"/$->++<$%"/$%$67-1$4',$10!-$ -+%-'"2$$30+)$5%"$A+$-++"$!"$%")10!"#$4,'6$A>%5<?$1'$"7/+?$1'$0'1$(!"<2$$ C'7$5%"$10,'B$'"$%$(%!,$1'$>''<$50!5$%"/$1'$-(!5+$7($)'7,$'71812
D,+--$1'$!6(,+--$!"$>%*!-0$%"/$'*+,-1%1+/$'7181-2$E',<$F%,'G7+$ styles this summer with embroidered fabrics and bold looks. Be dar ing and experiment with chunky jewelry and over the top accessories. Include high heels and anything metallic. Don’t be afraid to include some extra bling. For inspiration on how to embrace the over the top F%,'G7+$50%,6$>''<$1'$H755!:-$-(,!"#$%"/$-766+,$IJKI$5'>>+51!'"2
horace mann school | spring/summer 2012 | vol. 3 no. 3
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INTERVIEWS
TERRY DUNN Project Manager, Tishman Speyer the yankees a fixture of new york culture, and everyone remembers when the new yankee stadium was opened in 2009. paige burris ‘13 and anna carroll ‘13 pick the architect’s brain about the ambitious and historic project. How did you come up with the design for the new Yan !""#$%&'()*+#,-"#%."-"#&/0#12"3(43#25&3"1#06)#'-"7#(/ spiration from? From the Babe and his called homerun shot off the Cub’s Charlie Root in the ‘32 series, to Joltin’ Joe Dimaggio’s 56game hitting streak in 1941, to the Mick and Roger Marris’ homerun duel in 1961, to Jeter’s homerun to left, capping 3000 hits in 2011, the new stadium needed to pay homage to the rich histo ry of the Yankees. The Populus design for the new stadium was based on the proposed design of the 1923 stadium by the Osborn Engineering Corp, “the house that Ruth built”, which interest ingly enough was a bit different than what was eventually built. We were incredibly lucky to have the original vellums (signed by Joe DiMaggio no less) to use as a point of departure. Other de signs were presented and rejected, including one with a retract able roof that lasted only as long as the presentation meeting. I’ve included some pictures of the original stadium on opening day and the new stadium for comparison. The same arched facade with attic windows separated by pilasters used on the original stadium became the organizing element on the new, although clad in Indiana Limestone taken from the same ledge as that used for the Empire State Building in lieu of the cast concrete used in the original. As the Yanks told us, they wanted the ghosts that haunted the old stadium to be comfortable in the new. 867# '6# 06)# %-0# %6# *&(/%&(/# &/'# 1.67# %."# 9&/!""# 5": &30+# 867# '('# 06)# 36*;(/"# %.(1# 5":&30# 7(%.# <)/3%(6/# %6# *&!"#&#7"55='"1(:/"'#1%&'()*+ The Yanks were adamant that their new home feel as comfort able and as livedin as their old, so numerous features of the old stadium were recast in the new and I’ve included a few ex amples below. As the fences had been moved numerous times over the years, there was a huge discussion as to the preferred 7'+%3#'/3#"5/-")*%"3%8,"!37")*%"(3!6"&/3(4.-!)'/3"/5")*%"DEMN"
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renovation was eventually settled upon. Distance down the lines and to center are the same; the power alleys, as everyone knows, 8%-%"#6'4*)62"+/7'(%7")/"!&&/++/7!)%")*%"#%!)'34;"?#")*%"-'4*)" (%67"$/-&*"8!#"#/+%8*!)"3%!-%-,"!37"*/+%A-.3#"8%-%"12'34"/.)" /5")*%"#)!7'.+"7.-'34")*%"(-#)"*!65"/5")*%"(-#)"#%!#/3"OP"0%6'%:%" the new Stadium was referred to as a “bandbox”), we were quite anxious to demo the old stadium to remove the windtunnel af fect that our preliminary wind studies had pointed to. After win 3'34")*%"B%-'%#")*%"(-#)"2%!-,")*%"Q.%#)'/3#"*!:%"#/+%8*!)"7'%7" down. As the renovation in 1974 had stripped away many of the fea tures of the original stadium, it was immensely important that the Frieze (the feature that caps the leading edge of the up per canopy) and Memorial Park were recreated... you can get a glimpse of the original frieze in Gehrig’s farewell speech on July 4 of 1939 on YouTube. The original frieze was of copper and was stripped off during the last renovation, leaving only a vestige !0/:%")*%"/.)(%67"8!66;">*%"/-'4'3!6"5-'%R%"8!#"$.-%62"7%&/-!)':%S" the new frieze was designed to provide structural bracing to the upper canopy. The “Eagle Medalion” that surmounted the original Gate 4 was reinterpreted and mounted above the new entrance (albeit in a lightweight material). The clay maquette was sculpted by an art ist based in Long Island, and the bronze casting was installed inside Gate 4 at gound level; the auxiliary scoreboard in the out (%67"8!#"-%'3)%-$-%)%7"!37"-%'3#)!66%7S")*%"4-/.37#=%%$%-#"3/8" man the board, but the room behind was originally intended for “guestkeepers” to manage the board during the game. Something not discernible from the seats but which is indica tive of the Yank’s desires to honor the old stadium is the seat ing and room numbering in the new stadium. After completing 7%#'43" !37" (6'34" )*%" 7-!8'34#," %:%-2" 7//-," -//+" !37" #%!)" 8!#" -%3.+0%-%7"#)!-)'34"!)")*%"-'4*)"(%67"$/-&*"!37"+/:'34")/8!-7" )*%"6%5)"(%67"$/-&*,"#!+%"!#")*%"/-'4'3!6"#)!7'.+;
fashion | art | design
INTERVIEWS HISTORIC MOMENTS these photos capture the history of the yankee stadium, from its original 1923 facade (below center) to its current one (below right). The original frieze that lined the roof of the stadium can be seen at left; the new stadium replicates this element, as shown below left. While of course a modern structure, the new stadium honors the history of the yankees in its architectural details. Photos courtesy of Terrence Dunn
867#56/:#'('#%."#2-63"11#%&!"#<-6*#;":(//(/:#%6#"/'+ After a few years of stasis as the Yanks searched for alternate locations, design work started in earnest in May of 2005; opening day was April of 2009. >.&%# 7"-"# 16*"# 6<# %."# *&?6-# 3.&55"/:"1# 06)# <&3"'# (/# 36*25"%(/:#%."#2-6?"3%+ >*%" !$$-/:!6" $-/&%##;" ?#" )*%" 3%8" (%67" 8!#" 0.'6)" !&-/##" )*%" street from the old, we needed approvals from City, State and Federal agencies. Thanks to the Department of Parks & Recre ation for shepherding us through the labyrinthine bureaucracies.
“
867# 7&1# %."# 2-6?"3%# 4/&/3"'+# How much did it cost? The project cost for the stadium was $1.3 billion dollars, which in cluded both hard costs (bricks and mortar) and soft costs (professional fees and services, i.e. Architects, Engineers, Geotechnical Engineers, %)&T" !37" 8!#" (3!3&%7" )*-/.4*" )!CA exempt bonds backed by the New York City Industrial Development Agency.
day, the site supervisor, Frankie Gramarosa, armed with the cell phone picture of the burial, spent the next 10 hours jackham mering concrete until he located and exorcised the Jersey—as other Boston paraphernalia were rumored to have been buried, a Wiccan showed up that Monday to exorcise the demons. The seats were also a bit of a challenge as all castiron stan chions were manufactured in China, outside of Beijing. As you may recall, the 2008 Summer Olympics were held in Beijing and the air quality was questioned. To ensure that the air quality im proved, manufacturing surrounding the Olympic sites was se verely limited... including the plant that cast the stanchions. We held our breath and worked over time to catch up when manufactur ing resumed in the fall.
As the Yanks told us, they wanted the ghosts that haunted the old stadium to be comfortable in the new.
“
Do you have any interesting or funny stories from the project? A few... we were in Frankfurt, Germany with the Design and Construction teams meeting with the vendors that were fabri cated the operable windows at the front edge of all of the par )2"#.')%#;""<%"*!7"U.#)"(3'#*%7"!")/.-"/5")*%"-/66'34"$6!3)"8*%3" everyone’s blackberry went off—seems some knucklehead had told a NY Post reporter than he’d buried a Red Socks Jersey in a concrete pour at the Stadium...and had pictures to prove it. We went pale, then spent the next four hours on the phone, trying to determine where the jersey was buried. As the news hit on a Fri
What was the funnest part of designing the stadium? Opening Day, watching the fans streaming into the new Stadium and V/-4%"I/#!7!9#"(-#)"*/+%-.3;"
The updated stadium was a huge change for New York. What effect do you think this transformation had on New York? On the Yankees and %."(-#5":&30+ Yankee Stadium is as iconic as the Empire State Building or the Statue of Liberty, so the project was under the microscope from the time we picked up our pencils. I don’t really consider the design of the new stadium as transformative; I consider it as -%!5(-+!)'/3"/5")*%"&/++')+%3)"+!7%"02"W!3=%%"+!3!4%+%3)" to New Yorkers that they’ll always honor the players and the fans that built and supported the team. ,/'#/67@#&#4/&5#A,B#C)"1%(6/=#9&/!""1#6<#D"%1+ Yankees... how could I say otherwise?
horace mann school | spring/summer 2012 | vol. 3 no. 3
f.a.d. magazine 13
INTERVIEWS
RODNEY SMITH Professional Photographer featured in magazines including Time, Vogue, New York, and more, rodney smith’s carefully composed photographs inject fantasy into everyday settings, exploring physical and emotional landscapes. anna carroll ‘13 delves into his experiences. 867#76)5'#06)#'"13-(;"#06)-#2.6%6:-&2.0+ The thing that distinguishes a photograph from a picture is not only the content, but also the intent. I think many people see my pictures as telling stories. Many people have described my photo graphs as surreal and whimsical and slightly aspirational. All of this seems appropriate. No matter how you describe the pictures, I would hope that one would say that they have a strong emotional content. How did you discover your passion for photography? I have always been a very visual person as I grew up in a very visual family. Quite simply, when I was a junior in college and I returned home for a holiday, I went to the permanent collection at the Museum of Modern Art, by chance to look at photographs. To this day I am not exactly sure what prompted me to do this. I can remember very clearly looking at photographs by Alfred Stieglitz, Edward Steichen, Henri CartierBresson, W. Eugene Smith and others, and thinking quite arrogantly that I could do this. I think what I must have felt was that I could take my feelings as these people who preceded me had done, and put them on a two dimen sional piece of paper. From that moment on, both consciously and unconsciously, I realized this is what I wanted to do with my life. 867#'6#'"3('"#6/#1);?"3%1#&/'#563&%(6/1#<6-#06)-#2.6%6: raphy? Mostly the pictures I shoot at this time are relatively large pro ductions, which require models and a fairly large support team. As far as the talent goes, I choose the subjects mostly based on people
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I have previously worked with and liked, or we conduct a casting to (37"3%8")!6%3);"X%3%-!662"/-"+/#)"/5)%3"P"$-%5%-"+/7%6#"5-/+"Y!#) ern Europe. There was a time when I shot a great deal of portrai ture, but at this point most of the subjects I photograph are people P"&*//#%")*!)"()")*%"3%%7#"5/-")*%"#*//); The locations are a totally different situation. Finding a great lo cation has always been the bane of my existence. This is the most important aspect of my photographs, the locations. We often will #$%37"7!2#")-2'34")/"(37"!"6/&!)'/3")*!)"()#")*%"3%%7#"/5")*%"&6'%3)" /-"#)/-2,"/-")*!)"()#")*%"*'#)/-2,"$!)'3!,"!37"5%%6")*!)"P"!+"6//='34" for. >.&%#%02"#6<#2.6%6:-&2.(3#"C)(2*"/%#'6#06)#)1"#&/'#'6# 06)#'6#06)-#67/#'"E"562(/:+ We use primarily a Hassleblad, which is a camera that produces !" GDZNA'3&*" #Q.!-%" 3%4!)':%;" P" /362" #*//)" /3" (6+" !37" 2%#" 8%" 7/" $-/&%##"!66"/5")*%"06!&="!37"8*')%"(6+"'3"/.-"7!-=-//+;">*%"&/6/-" (6+"'#"#%3)")/"!"6!0"'3"[%8"W/-="5/-"$-/&%##'34; What do you enjoy most about being a photographer? Particularly when I was young, I loved the romance and excite ment of making pictures. Even to this day, 45 years later, I love the excuse of meeting new people and participating in the world through the camera. The picture making process has always been the most interesting and best part of being a photographer for me. >.&%#'6#06)#4/'#*61%#3.&55"/:(/:+ It is kind of sad or at least ironic that what I spent many years
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INTERVIEWS
LOOK INTO THE LIGHT rodney smith’s work is notable for its meticulous lighting and composition, as well as the whimsical subject matter: men in top hats gaze at their feet or each other; women stand rigid in a clock or swooning on a cab. the worlds created are beautiful and timeless. Photos from rodneysmith.com
of my life learning and studying in Graduate School is now consid ered for the most part obsolete. In the middle ages what was true for your greatgreat grandfather was probably still true for you, but today everything changes so quickly. Photography in 10 years will be a completely different medium than it was 10 years ago. The question that is up to your generation to decide is if this is an im provement. F6)5'#06)#1.&-"#7(%.#)1#6/"#6<#06)-#<&E6-(%"#2.6%6:-&2.1+# Why? Quite honestly, I don’t have a favorite picture. My favorite pic ture would be a new picture that I have most recently shot, that felt original to me. There is a great excitement in doing something that you haven’t done before. This feeling lasts about a week, and then I am back to all the pictures feeling like part of a family.
“
enough to meet a great photographer, Inge Morath, who was a member of Magnum, a photographic cooperative agency. Inge sat down and looked at my work and told me (and I will never forget this), “If you’re good, there is always room.” What was right then, I think is still appropriate today. G."#%."*"#6<#%.(1#(11)"#(1#%-&/1<6-*&%(6/H#F&/#06)#-"5&%"# this theme to your career as a photographer? Unfortunately, I am full of stories. When I was also relatively young, in my midtwenties, I went to see John Szarkowski, who at the time was the curator of photography at the Museum of Modern Art. Quite honestly much of modern photography owes its accep tance thanks to him. From my perspective he was not a great voice for photography, but he was the most powerful man in the photographic world. I went to show him my work and I remember him saying to me that my work was good, but to come back in the next few years because he was interested in seeing how my work would evolve. I remember say ing to him with my typical arrogant demeanor, “it’s not changing, what 2/."#%%"'#"8*!)"2/."4%)]^"?37"8')*")*!)"P"8!6=%7"/.)"/5"*'#"/5(&%;" P-/3'&!662,"+2"8/-="*!#"&*!34%7"!37"%:/6:%7"#'43'(&!3)62"7%#$')%" my intentions not to. It has changed because of a number of fac tors. The primary factor would be the needs of the clients who I was working for changed, I matured and developed, I became less seri ous and more whimsical and found new ways to make pictures not of subjects that I had chosen; not of portraits that I had chosen, but of models that no longer had the depth of character of the people I had shot previously. So, despite myself and despite my best effort, I *!:%"&*!34%7;"_.),"P"6%!:%"2/."8')*")*'#"(3!6"Q.%#)'/3,"'#"!"&*!34%" always an improvement?
The thing that distinguishes a photograph from a picture is not only the content, but also the intent.
Can you share any advice for students with a passion for photography? The simplest advice I can give you is that when I was young in my early 20’s and just starting out the photographic world seemed unreachable, forbidding and not very promising for me. I was luck
horace mann school | fall 2011 | vol. 3 no. 1
“
What or who motivates your photography? <%66"')"'#"7%(3')%62"3/)"$/$.6!-"&.6 ture or modern art, or much of mod ern fashion, or for that sake much of the current modern world. I guess that leaves a small window of opportunity, which motivates me. It is primarily through classic architecture, or Italian renaissance painting, or Flemish painting, or the generation /5"$*/)/4-!$*%-#")*!)"$-%&%7%7"+%;"\35/-).3!)%62"P"&!39)"#!2"P"()" /-"(37" +.&*" U/2" '3"+.&*" /5" 8*!)" '#" &-%!)%7" )/7!2;" P"!+"#/--2")/" say this, because this is a world that you are a part of, but for the moment the culture has made a turn down a dead end road and hopefully will right itself before too long. This is your job to help (37")*%"-'4*)"7'-%&)'/3;
>."-"#'6#06)#4/'#06)-#3-"&%(E"#(/12(-&%(6/+ Mostly from napping.
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FEATURES
GO GREEN OR GO HOME. old is the new new: making art with recycled materials. by edie comas ‘14
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oing green has become a huge part of today’s society. We see blue and green bins all over the school for re cycling, and hesitate to buy bottled water as more and more students and faculty carry their own reusable plastic water bottles. Recently, artists (including designers) have incorporated ecofriendly or recycled materials into their work. Others have tru ly taken on the task of turning something from trash to treasure. Erika Iris Simmons is an artist who con structs celebrity musicians’ faces from the tape of old cassettes. The creations are startling in their imagination, attention to detail, and skill. Not only is Simmons recy cling, but she utilizes the most appropriate material to create these portraits: recorded music. More recycling was seen at New York’s 2nd Fashion Week’s series of “Green Shows.” Models walked the catwalk in gor geous gowns entirely composed of trash. `/-"'3#)!3&%,")*-%%"*.37-%7"!37"(5)2"&/$'%#" of the Financial Times were used to make !" #)-!$6%##" -.51%7" 7-%##S" !3/)*%-" 7-%##" was reconstituted from twentyone plastic laundry bags. ?$-'6" GaDG" #!8" I!-#/3#9" (-#)" !33.!6" Earth Week Festival, home to events like “Recycled Runway”, in which students give new life to old clothes, leftover materials, or recycled, ecofriendly materials. b%5)/:%-" +!)%-'!6#" !-%" )2$'&!662" !" 0'4" ( nancial loss for clothing companies, with 15% of the original material used for gar +%3)#"%37'34".$"/3")*%"#%8'34A-//+"1//-;" B).7%3)#" !)" I!-#/3#" !-%" (4.-'34" /.)" */8" to produce interesting garments without wasting any fabric at all. Think of Dunkin’ Donuts, Munchkins, and donuthole res cue! More and more mainstream clothing stores have joined the Sustainable Apparel Coalition with the goal of turning out ap parel with no harm to the environment. Al ready in the Coalition: Adidas, H&M, Levi
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Strauss &Co., and many more. As technology advances, old computer $!-)#" !-%" #6/862" $'6'34" .$" '3" 6!37(66#," 7% tracting from the beauty of our environ ment. Diana Ritter has one solution. She 5!#*'/3#"/0#/6%)%"1/$$2"7'#=#"'3)/"$'&).-%" frames and colorful wall hangings. These disks would last a lifetime in garbage dumps, so why not remake them into art /0U%&)#"5/-"/.-"*/+%#"!37"/5(&%#c" Fieldston Ethical Culture School holds a 5!#*'/3"#*/8"%!&*"2%!-"'3"L!2;"?66"/.)()#" are designed and created by students using only recycled materials. The tradition began ten years ago as an endofyear assignment for the seniors taking sculpture as their art class. Now about 80 students participate each year. Past creations have included a dress made from 50,000 beads and a skirt from Tic Tacs. Parents and friends gather in the gym to celebrate the event. This year laughs and applause echoed through the air as a teacher glided through the gym in a green toilet paper dress as another showed off his full length gown made entirely of pictures of his daughter. A senior marched around in a suit of MoMA tourist guides. The art teacher came out to quiet the crowd as another senior walked out with a dog 8%!-'34" !3" /.)()" !##%+06%7" 5-/+" [%8 man’s Own dog food bags. Another conscientious business, Long Island City’s Cake and Shake, is a street cart selling organic, ecofriendly cupcakes and coffee. The owners’ goal is to use only the simplest ingredients. The cakes contain /362" /-4!3'&" 1/.-," +'6=," !37" %44#" !37" !66" packaging is biodegradable or composted. The cart itself is solar powered! The run bythesun carts can be found in front of the Metropolitan museum and in Washing ton Square Park. The future will see many more innova tive ways to recycle discarded materials. As we have seen, artists, designers, and entre preneurs have already produced incredibly imaginative products.
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FROM DESERT TO METROPOLIS how the city of abu dhabi went from sand dust to gold dust by shakea alston ‘13
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bu Dhabi, the largest of the seven Arab Emirates, has transformed from a desert island to a modern metropolis. Now one of the world’s richest cities and largest producers of oil, Abu Dhabi has continued to be one of the world’s greatest civilizations. In 1980, after discov ering that the country had 10% of the world proven “black gold” reserves, its transformation began as the wealth of the country grew at a rapid pace, drastically changing the face of this new metropolis. These reserves contribute to one of the world highest per capita incomes: $55,000 a year. Emirates Palace, a luxury SHIMMERING SURFACE hotel developed in November the discovery of oil in 2005 with a cost reaching 3 bil the region propelled abu lion USD, is the second most dhabi to a level of global expensive hotel ever built, and wealth. beneath this is only one example of the in facade, though, lies an conceivable transformation the ignored class of suffering country has undergone. With migrant workers. two swimming pools and spas, a marina, a helipad and 1.3 km of sandy beach, and impecca bly landscaped gardens, the Emirates Palace certainly isn’t lacking in amenities. Many of the rooms are made with gold and marble. The central room of the hotel has a large pat terned dome at its center also decked out in gold. The exte rior is beautiful, with balconies and domes galore and gold seemingly dripping from every square inch. The attention to architectural detail is apparent in the images of the hotel. The materials, lights, archways and all the other details add even more to the luxurious feel of the hotel. Abu Dhabi has become an incredible city at an incredible pace. The development and transformation of this country from is only expected to grow as the skyline begins to rival that of the ultimate metropolis, New York City.
horace mann school | spring/summer 2012 | vol. 3 no. 3
f.a.d. magazine 17
FEATURES
IS art history is organized, orderly. but it seems that contemporary art resists !"#$$%&!#'%()* julia pretsfelder ‘14 explores the implications of a fragmented art world.
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H
inton Alberg, a fictional art col lector in Steve Martin’s novel, An Object of Beauty, describes the art world’s transformation from being defined by movements to hav ing “a hundred different categories… There’s ‘pale art’, faint things with not much going on in them. There’s ‘high craft OCD’, you know, those guys who take a thousand pinheads and paint a picture of their grandmother on ev ery one…Apocalyptic scenes of stuff flying around a room…How can we forget ‘junk on the floor’? You walk into a gallery and there’s stuff strewn everywhere...I don’t see it as silly, but outsiders do.” Despite my status as one of Alberg’s outsiders, I don’t find this silly, because I don’t want to trivial ize one of these micromovements just because I may not understand certain aspects of them. Even so, I feel that one of the most important ways genera tions are remembered is through an art movement. Even though it is difficult to tell in the moment which movements will be remain in focus in the some timesnarrow lens of history, I wonder whether the constant flux of “it” trends that flit in and out of style in the worlds of fashion and art create a laudable di versity or a woeful shapelessness. Al though there is no lack of talent in the arts, which is something clear even at our school and in art schools through out the world, does the absence of a dominant or transformative movement make our generation artistically insig nificant—a mere transition from the last great era to the next?
Art’s boundaries have become limit less, and the response to the question, “what is art?” has grown much more subjective. These qualities allow for greater diversity of thoughtprovoking work, yet breaking the rules of society and straying or critically responding to the rules or set motifs of past styles, shared opinions of art’s purpose, and the appreciation of certain techniques provides a transition and foundation for new art movements. Art move ments create a new avantgarde with each transition and determine what modernity looks like for a certain pe riod of time. For example, the artists of the Mannerist period in the 1520s responded to the High Renaissance’s fascination with perfection and pre senting the human form realistically by featuring darkness, supernatural forms, and heightened drama, and us ing art to express themselves. Also, when the Impressionist movement was founded in 1874, artists of the day were questioning the way modern culture understood and perceived the world. Instead of painting historic and somber subjects, which was the accepted style at the time, Impressionists wanted to depict the world through an artist’s
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ART
PAST ITS
perspective, changing from moment to moment. The French critical com munity thought their work looked like it was painted by someone with eye disease, and that the short and visible brush strokes, brighter colors, and can did subjects were radical and in poor taste. It is funny to think that a change in technique or depiction of nude fig ures was offensive in the art world in the 1900s, while today the countercul ture is the mainstream, and so many artists are making dramatic statements that subtle, possibly collective changes could go unnoticed. Another source of movement is a radical shift of perception. Paul Cé zanne is considered the Father of Mod ern Art for pushing the boundaries past Impressionism through the desire to move beyond perceptual experi
SPEED LIMIT ence and directly portray emotions and ideas in art. Cubism and abstract art followed, and later Surrealist art incor porated more intellectual enterprises, and so forth. While each individual’s way of expressing himself or herself is unique, we share as a culture the same profound influences. Is it still possible for art to be wholly original, and is it still possible to transform the way one sees art through a movement? Maybe the art movement of our time is, as cliché as this sounds, that anything is possible.
horace mann school | spring/summer 2012 | vol. 3 no. 3
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FEATURES
THE REVOLVING DOOR OF FASHION
noah margulis ‘13 reports: changing leadership at top fashion houses challenges tradition and confronts modernity. but what does this mean for the identity of a brand?
“It is with the utmost respect for its tremendous history, its unparalleled knowledge and craftsmanship that I am joining the magnificent house of Dior.” Raf Simons recently announced this state ment as he took on the role of becoming the new creative director for the eponymous fashion house. Simons continued to say, “Mr. Christian Dior has always been for me the most inspiring couturier. Around the globe, the name Dior symbolizes the ultimate in el %4!3&%"!37"-%(3%+%3);"P"!+")-.62"*.+06%7" and honored to become artistic director of the most celebrated French house in the world.” In the past few months, Raf Simons and Hedi Sli mane have become the new artistic directors for two major fashion houses, Dior and Yves Saint Lau rent, respectively. This news has made the fashion world all a twitter about what will change at these two beloved brands. The whole situation brings up the question, “what chang es at a fashion house when a new creative director is
appointed?” Most major houses are very old, and hardly any of them have their original cre ator or designer in charge. So what will these changes bring about? Will the new designers embracethe houses’ signature styles or infuse future collections with their own personal de sign aesthetics? And furthermore, what does all this change mean for the future of fashion? Raf Simons, who previously designed for the forwardthinking and minimalist house Jil Sander, will become artistic director of @'/-," -%$6!&'34" V/*3" X!66'!3/," 8*/" 8!#" (-%7" last year for making antisemitic remarks. In the two seasons since Galliano was dismissed, Bill Gaytten has led the house, but critics have agreed that his collections have been predict able and uninspired. (The house of Dior has always been famous for its ultra feminine sil houettes and theatrical gowns.) The choice of Raf Simons culminates a yearlong discussion as to who is the ideal person to give creative direction to the 66yearold brand. Simons was not widely considered as a candidate for Dior. His minimalist and futuristic designs seemed to clash with the signature style of Dior, which began as reaction to the dreary styles fol lowing World War II. Christian Dior’s “New Look,” which featured nipped waists and full skirts, premiered in 1947 and gave the house ')#" -%$.)!)'/3" 5/-" %C&%##" B'+/3#9" (-#)" &/66%& tion for the house will appear in late July. He’s
OLD HAT pictures of the traditional house of dior, including christian dior himself.
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&')%7" '31.%3&%#" 5-/+" *'#" 6/:%" /5" +.#'&" O$!- ticularly David Bowie and Kraftwerk) and of MidCentury Modern Architecture (some of his collections for Jil Sander seem to be direct representations of the work of Jean Royére or V/*3"b!.)3%-T;"_.)"8*'&*"/5"*'#"'31.%3&%#"8'66" SHOES TO FILL right, hedi shape his work for Dior is unknown. One can hope he carries over his modern approach to slimane, the new artistic director design, which at a major fashion house such for the house as Dior can put the whole fashion world into a of yves saint forwardthink mood. laurent. Hedi Slimane has a history of working with the major French fashion houses, having been below, looks from the Creative Director for the menswear division his collection. of Yves Saint Laurent and for Dior Homme. His appointment as Creative Director will give Sli +!3%")*%"(-#)"&*!3&%")/"&-%!)%"!"8/+%3#8%!-"
SLIM JIM above, looks from raf simons’s collections for the minimalist house of jil sander. he is replacing john galliano as artistic director of dior.
horace mann school | spring/summer 2012 | vol. 3 no. 3
collection, and with virtually nothing to base it off of, the fashion world will wait with bated 0-%!)*" 5/-" *'#" (-#)" &/66%&)'/3;" B6'+!3%" '#" 0%#)" known for changing the silhouette of men’s fashion to super skinny in the late 1990’s dur ing his time at Dior Homme. Slimane’s design aesthetic is similar to that of Raf Simons, so as Raf Simons takes on Haute Couture and Sli +!3%")!=%#"/3"8/+%3#8%!-"5/-")*%"(-#)")'+%" there is likely to be some rivalry between the two fashion houses. But rivalry aside, given the '31.%3&%" /5" )*%#%" )8/" 6!0%6#," +/7%-3')2" !37" minimalism will likely gain awareness by be '34"#%%3"'3")*%"*'4*"$-/(6%"&/66%&)'/3#"/5")*%#%" two household names.
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OP-EDS
DON’T STOP THE PRESSES. the print industry is being threatened by new technology. can the centuries-old medium stand up to its competitor? by emma garcia ‘13
With the internet and technology on the rise, the pub thor. Consequently, most new books are sold at compa lishing and print industries are fearing the approach -!06%"$-'&%#"'3"%')*%-"5/-+!);">*%"'3)%-%#)#"/5"$-/()"+!2" ing, inescapable burial of print. Over the past few years, prevent the trend of ultracheap books from continuing, technological advances have brought into question the proving Ereaders to be as expensive as, or maybe even necessity of print. With Kindles, iPads, and virtually any more expensive than real books. Ereaders may be touted as “green,” but this claim is thing with access to the Internet, we have the ability to learn about breaking news as it happens, annotate an not foolproof. Although Ereaders don’t consume paper, !-)'&6%,"-%!7"!"3/:%6,"!37"+.&*"+/-%d!66"!)"/.-"(34%- they have other, comparably negative impacts. Their tips, instantly accessible. It is evident at this point that manufacture requires heavy metals like mercury, which the opportunities that technology offers seem to equal, can also have a negative impact on the places where it is mined, and necessitates a lot if not surpass, those of print. of energy, both during and after Even beyond that, the use of manufacturing. Both the print products such as Ereaders is +(,-!#).'-/%0-'12(,31-'14and the Ereader industries much more “green” than that pages or scribble notes in the have large carbon footprints of print because it utilizes fewer on our environment. There of our precious natural resourc margins of a Kindle. There’s is, though, a way of determin %#;" <*'6%" ')" +!2" 0%" 7'5(&.6)" )/" no spine to crack on a Nook. ing which is in fact the greener come to terms with, it seems And as yet, the iPad doesn’t choice. Taking into account the that today’s technology will be entire carbon footprint of creat the assassin of the centuries have an app for that intoxicating and vending an Ereader, old institution of print. ing smell of aging paper. a user must read at least 70 Since the introduction of E Ebooks before replacing an E readers to the market, their reader in order to offset the ef sales have risen exponentially. There are many reasons to buy an Ereader in place of fects of an Ereader on the environment versus that of its inkonpaper counterpart—sellers like Amazon can print books. Despite the debate over the true superiority of virtual /55%-"#'43'(&!3)62"6/8%-"$-'&%#")*!3"$.06'#*%-#,"!37")*%'-" :'-).!6"#)/-%#"!-%"'3(3')%62"+/-%"&/3:%3'%3)")*!3"%:%3"!" reading, technology is inexorably expanding into what Barnes & Noble down the street. Plus, the buyer can feel was once exclusively print’s territory. And print is unde ecofriendly, “saving trees” by downloading thousands niably dwindling. But I don’t expect that print will ever of virtual books instead of devoting a library to as many go extinct. There’s something special that paper offers print books. I can’t argue against the fact that carrying that technology simply can’t simulate. The sensory ex around a Kindle is much easier than carrying around $%-'%3&%" /5" !" 0//=" '#" &/+$6%)%62" ')#" /83S" 2/." &!39)" 1'$" #%:%-!6"0//=#;"H/8%:%-,")*%"&6!'+#"/5"&/#)"%5(&'%3&2"!37" through the pages or scribble notes in the margins of a environmental responsibility are disputable. It’s very Kindle. There’s no spine to crack on a Nook. And as yet, possible that purchasing an Ereader becomes more ex the iPad doesn’t have an app for that intoxicating smell of pensive than purchasing books even though it eliminates aging paper. These aspects of print have led me to contin the cost of paper. For one, there’s the initial fee of acquir ually prefer print books to electronic ones. No one knows ing an Ereader, and then, you must purchase books for the fate of the print industry, but I think that our nos it. Ebooks have in general been cheaper than print ver talgia for traditional, imperfect media (think Polaroids) sions, but now publishing houses are raising complaints will give books a foothold even as technology progresses that this undercutting is unfair to them and to the au beyond imagination.
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fashion | art | design
OP-EDS
WALK OFF THAT RUNWAY the fashion runway has been the influence of style for centuries. do we reflect the runway or does the runway reflect us? by kylie logan ‘14 The show essentially picks pieces one may see in a cata “Fashion is a means of selfexpression that allows people to logue and makes them hyperreal. “I like the ritual, the liturgy try on many roles in life. Whether you prefer hiphop or Cha of a wellcrafted, emotional fashion show,” Hedi Slimane, nelchic, fashion accommodates the chameleon in all of us. It’s $-/+'3%3)"5!#*'/3"(4.-%"#!'7"'3"!3"'3)%-:'%8"8')*"B)26%;&/+," a way of celebrating the diversity and variety in the world in “The ‘catwalk’ is pure anthropology…” Surely, it is. The run which we live.” Thus Cynthia Durcanin, International Fashion way is as much about the artistry of the clothing as it is about Editor, sums it all up. Fashion is truly a way of showing one’s the people who will wear them. There is a sort of progres story, without telling it. Social decorum dictates we must wear sion in the show, a transformation of character. As models clothing all the time, but it is not just an obligation. We use &/3)'3.%")/"#)-'7%"7/83")*%"-.38!2,"%!&*"/3%9#"/.)()"&/33%&)#" it as an implement for sharing not only how we feel today, to the other but gives a different interpretation. The small but how we felt yesterday, and how we hope to feel tomorrow changes, whether they are in the form of – our life story. The most comforting length, fabric, or color, represent actual aspect of fashion is that we don’t need changes in our own lives. to stay the same; in fact, things get a Runway shows are extrava?#"#'43'(&!3)"!#")*%2"!-%,"!-%"-.38!2#" lot more interesting if we don’t. In our gant productions of not only really essential? Well, they may not be teens, we may go for the bohemian vibe who we are, but also who we vital to anyone’s health in particular, but as a way to let problems wash over us they certainly create a crucial impression and in our twenties, we may shift to a could and want to be. /3")*%"8/-67;"P)"'#"7'5(&.6)")/"7%32")*!)" classic look, ready for a more structured fashion is also about showing off. Aside life. The truth is that no matter what one from telling a true story about ourselves, clothing often brings wears, we’re displaying a little piece of our sentiment, the way out the part of us we might have trouble showing through we want to be portrayed at that given moment. other means. In order to tell our full story, fashion has to show So then, isn’t it true that fashion is all about change? There off who we’ve always wanted to be as well – or in other words, is always a lot of chatter about the latest trend, complaints )*%"1!86%##,"$%-*!$#"'+!4'3!-2"$!-)"/5"/.-#%6:%#;"e.38!2" about the rapid pace in which fashion changes, and talk over shows do that and more, as they are extravagant productions what the upcoming fad will be. What we continuously fail to of not only who we are, but also who we could and want to be. remember is that we are next year’s style. Fashion is created They certainly make us want to buy the clothing, for this is, of “by people for people.” Durcanin mentions, “…the street is course, one of the prevailing points of an expensive fashion the real barometer of style. More and more designers are show, and they do this by overproducing and dramatizing a drawing their inspiration from life on the street…A teenager #$%&'(&")*%+%"'3"/.-"$%-#/3!6"6':%#,"8*%)*%-"')"0%"%&#)!#2"/-" can throw something together without thinking about it and even revenge. Either way, we relate to the anthropological fac it can trigger a new trend.” tor of runway shows, which is always stretched past boundar This may well explain why the runway is such an impor ies to get us to think a little bigger about our own lives. tant tool in the fashion industry. Fashion shows tell the Then, it must also be true that not only do we inspire fash dramatic stories of each line by a certain designer; with ion shows with our utterly real style, but also fashion shows runway models strutting the clothing and pouting their )-!3#5/-+".#"'3)/"8*/"8%"8!3)")/"0%&/+%;">*%2"-%1%&)"0!&=" faces, moody music that envelopes the whole moment in a on us, showing us our true selves in overthetop perfor blanket of heightened emotions, those watching are able to mances. But, sometimes, that’s what it takes to understand imagine themselves in a world where they, too, are wearing who we really are. the clothes in their own life.
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T W O F A C E D
stage fright
I OF
THINK
NIG ALI IS MORE
AND MOR
RICH
COLO
THAN T
VINCENT V
FTEN
K THAT
GHT IVE
show night
Night can bring out the best - and worst - in a person. Man has long been fascinated with creatures of the night, from vampires to werewolves. In this photoshoot we chose to portray night as a life force, inspiring a more vivid form of living.
RE
HLY
ORED
THE DAY
VAN GOGH
Photographed by Baci Weiler ‘12 Beauty by Baci Weiler Modeled by Rebecca Segall ‘12, Janet Lu ‘12, Natasha StolovitzkyBrunner ‘12
night out
NIGHT... WHEN MAN
REASSEMBLES HIS
FRAG MENT ARY
SELF ANTOINE DE
SAINT-EXUPÉRY
morning after
MOST GLORIOUS NIGHT! night owl
early bird
THOU WERT NOT SENT FOR SLUMBER! LORD BYRON
DOU DOU DOUB
UBLE VISION UBLE VISION BLE VISION colors so bright your eyes hurt? well, double that. these pages will assault your eyes, test your perceptions, and hopefully leave you wanting to inject some neon into your style, too. styled by paige burris ‘13 photographed by gina yu ‘14 modeled by lia ehrlich ‘12, jackie 3((56#)-789:-/(24)!4-)3#"#-78; assisted by julia pretsfelder ‘14, julia hirschberg ‘13, rachel buissereth ‘13, alex vogelsang ‘14, emma garcia ‘13 digital editing by seth arar ‘12
Photo by Gina Yu ‘14. Model Lia Ehrlich ‘12. Shirt by Paige Burris ‘13. Styling and makeup by shoot assistants.
things
are
not
what
they
seem
the world isn’t all black & white Photos by Gina Yu ‘14. Model Jackie Goodman ‘14. Dress by Paige Burris ‘13. Styling and makeup by shoot assistants.
tickled pink Above: Photo by Gina Yu ‘14. Model Florence Ngala ‘13. Skirt by Paige Burris ‘13. Styling and makeup by shoot assistants. Right: Photo by Gina Yu ‘14. Model Jackie Goodman ‘14. Styling and makeup by shoot assistants.
SCHOOL
FOR
as the weather turns warm and classes come to an end, joy can be accompanied by a certain sense of nostalgia. thoughts of the coming summer always bring back memories of past summers. in this photoshoot, we dove deep into an imagined past, exploring the golden days of 50’s teenagers. we had good, wholesome fun, but classic looks don’t have to rule out sass.
SUM
IS OUT
THE
MMER
styled by rachel scheinfeld ‘12 makeup by rachel scheinfeld with assistance from shakea alston ‘13, anna caroll ‘13, and emma garcia ‘13 photographed by rachel scheinfeld, paige burris ‘13, gina yu ‘13 shoot assisted by emily erani ‘12, sarah pyun ‘12, shakea alston ‘13, anna caroll ‘13, emma garcia ‘13, michelle kim ‘13, julia pretsfelder ‘13 models (all class of 2012): seth arar, pierre eid, brad mccandless, alex adler, yohan hahn, maddy gordon, claudia lichtenberg, lizzy weingold, sarah gertler, alexis brianna felix, eden sung.
photos edited by seth arar.
REBEL WITHOUT A CAUSE
Photo by Rachel Scheinfeld. Models Alex Adler, Seth Arar, Pierre Eid.
REBEL WITH A CAUSE Photo by Gina Yu â&#x20AC;&#x2DC;14. Models Seth Arar and guest Hannah Weiler.
Photo by Rachel Scheinfeld. Models Maddy Gordon, Lizzy Weingold, Alexis Brianna Felix, Eden Sung, Sarah Gertler, Claudia Lichtenberg.
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POP fashion | art | design
horace mann school | spring/summer 2012 | vol. 3 no. 3
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DOUBLE TROUBLE above: Photo by Rachel Scheinfeld. Models Claudia Lichtenberg and Yohan Hahn. Opposite: Photo by Gina Yu â&#x20AC;&#x2DC;14. Models Claudia Lichtenberg and Pierre Eid.
C H E
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f.a.d. magazine
fashion | art | design
E R S
Photo by Rachel Scheinfeld. Models Lizzy Weingold, Yohan Hahn, Claudia Lichtenberg, Alex Adler, Eden Sung, Seth Arar, Alexis Brianna Felix, Pierre Eid, Maddy Gordon, Brad Mccandless, Sarah Gertler.
horace mann school | spring/summer 2012 | vol. 3 no. 3
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H U R
44 f.a.d. magazine Photo by Rachel Scheinfeld.
fashion | art | design
R A H
horace mann school | spring/summer 2012 | vol. 3 no. 3
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DIY: do it yourself
nails to the galaxygina yu ‘14 & beyond you’ll need:
step 1:
-
white matte nail polish dark base coat shimmery pink/red color light, clear, glitter polish shimmery green color makeup sponge (cut into small pieces for easy use) - toothpicks - pair of scissors - corrector pen (optional)
Paint your nails with a dark bottom coat. Make sure that there are no thin areas.
step 6: Finally, add a coat (or two) of your glitter polish and a top coat and voila! The universe at your fingertips!
step 2:
Take the white nail polish and on any disposable surface (I used a newspaper) and put a drop of it on the surface. Using the tweezers, take your small piece of makeup sponge and dab it in the nail polish, dab it on the disposable surface so there’s no excess, and then dab it LIGHTLY on each nail. The white will act as a base for your “nebula.”
step 5:
This is the tricky part. Put more white nail polish onto the disposable surface, and with a toothpick, transfer tiny amounts of the nail polish so it surrounds your “nebula.” These will be your “stars.”
and you’re done! the universe is now at your !"#$%&'()*** enjoy! step 4: Same thing as step two and step three, but with the red.
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inspired by rookiemag.com’s galaxy nails f.a.d. magazine
step 3: Repeat step two, but this time with the green color. Don’t worry if the green doesn’t perfectly cover the white, it just needs to cover it.
fashion | art | design
Thank you to everyone who has made Volume 3 of FAD Magazine possible. Weâ&#x20AC;&#x2122;ll miss you! Congratulations to next yearâ&#x20AC;&#x2122;s editorial board! Co-Editors-in-Chief Paige Burris & Veronica Williamson Creative Director Noah Margulis Managing Editor Anna Caroll Features Editors Julia Hirschberg & Emma Garcia Production Manager Gina Yu Beauty Editor Rachel Buissereth Assistant Editors Julia Pretsfelder & Michelle Kim
horace mann school | spring/summer 2012 | vol. 3 no. 3
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have a great summer!
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