The Lexington Line Fall 2015

THE LEXINGTON LINE LIM College | Autumn/Winter 2015

LOVE IS

15 AUTUMN

NOUVEAU NOSTALGIA

LOVE

Tradition Meets Change

JETSETTING With Professor

YES, You Are a

Feminist

Derek Cockle

URBAN STREETWEAR

FIVE BOROUGHS OF FASHION

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YOUR SCHOOL. YOUR LOOK. LIM COLLEGE BOOKSTORE 216 E. 45th Street lim-shop.com

THE LEXINGTON LINE

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Letter From the editors

Colors for autumn

faculty profile: derek cockle

Art Beyond fashion

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editors’ picks

Fashion forecast: Nostalgic wanderlust

yes, you are a feminist

featured model: ana cristina

Student style

love is love

Student writing showcase

five borough photo shoot

carmen marc valvo a/w ‘15

fall 2015

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the staff Editor in Chief ASHLEY HEINKE Managing Editor Maranda Janky Design Manager Aljon Velasco Creative Director Pheanny Phen Art Director Brittany Minetti Styling Director Danyell Twyman Photography Director Caroline Giraldo Fashion Editor Seth Jubb Accessories Editor Madison Roe Beauty Editor Angela Trakoshis Culture Editor Devyn-Nicole Pasalano LIM Life Editor Nicole Jezerski Designer Alyssa Avellino Digital Content Editor Clarissa Hernandez Marketing Director Kristal Logan Social Media Editor Samantha Pawluk Faculty Advisor Professor John Deming Faculty Mentor Professor Jess Novak Arts and Sciences Department Chair Dr. Denice Yanni

Thanks to Professor Kate Angus, Suzanne Balestier, Dr. Daniel Chaskes, Carly Christopher, Laura Cioffi, Professor Terance Coffee, Christopher Conzen, Professor Andrew Cotto, Professor Timothy Foran, Joshua Heller, Professor Jennie Jackson, Professor Kenneth Kambara, Sarah Lobel, Erikka Olszewski, Alexandra Pine, Kailey Slater, Professor Liz Sweibel, MT Teloki, The LIM College Bookstore, Pickler & Co., JoRocco Jewelry, all LIM College faculty, and all contributors to The Lexington Line. Special thanks to Michael Londrigan, Dean of Academic Affairs; Dr. Christopher Cyphers, Provost and Executive Vice President; and Elizabeth Marcuse, President of LIM College. Costello Tagliapietra photo used with permission of Randy Brooke and People’s Revolution. The Lexington Line is a registered trademark of LIM College.

#LexLine

LETTER FROM THE EDITORS

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elcome to a bigger, badder issue of everything you love about The Lexington Line, reincarnated into a tangible glossy. This edition features 40 percent more content, including our largest spread yet: a multi-day, five borough photo shoot spotlighting contemporary urban streetwear. We also tackle hot topic issues such as feminism, LGBT acceptance, and food waste, while showcasing the season’s latest fashion and beauty trends through the use of two Pantone color pages, a fashion forecast spread, and our editors’ favorite picks for Autumn/Winter ‘15.

This edition also marks the first anniversary of The Lexington Line—check out Nicole Jezerski’s article (p. 6) for more on the formation and development of the magazine. After winning LIM College’s “Outstanding New Student Group” award this past spring at the annual Student Recognition Awards ceremony, we’re proud of the amazing staff we have built and can’t wait to continue serving the LIM Community for years to come.

We hope you enjoy flipping through this issue as much as we enjoyed making it.

Sincerely, The Editors 5

The Lexington Line N

ONE YEAR

othing worth having comes easily—or quickly, for that matter—but it’s all been worth it at The Lexington Line.

“Given the amazing staff members and talented students involved in the magazine, I know that The Lexington Line will continue to produce great content for years to come,” says senior Alex Pine, who co-founded the magazine and served as Editor in Chief in the 2014-15 academic year. “This was wholeheartedly the best experience I have had in my college career.”

The digital version of our magazine was launched in late October 2014. When we first conceptualized the Lex Line (as we’ve come to call it), the vision was limited to a website that reported on fashion, culture, LIM College, and life in New York City. But Alex and sophomore Maranda Janky, who emerged as our Managing Editor at the end of the Fall 2014 semester, had more ambitious visions and decided to attempt a full-length print edition.

“We wanted to do something that student groups hadn’t done in the past, and we wanted it to be something extremely special for the college,” Maranda says.

And so our team started growing: Creative Director AJ Velasco, recruited by faculty advisor Professor John Deming in his Fall 2014 New Media class, joined the editors that winter to make the print edition a reality. When Beauty Editor Angela Trakoshis, Culture Editor Ashley Heinke, and Social Media Manager Sarah Lobel joined the team, things started to click, and the first print issue be-

ANNIVERSARY

came a practical goal.

“We wanted to create a publication that sparked interest among the student body and the college as a whole,” AJ says. “A creative, student-driven publication focused on fashion, photography, student life, and writing within the LIM community.”

As a team, we’ve been determined since then to create a professional-looking publication that would balance the excitement and intensity of the fashion industry with the demands and intellectual rigor of the academic world. Our goal is to speak to the student body and create something that can relate to their daily lives.

One of the first goals was to come up with a strong name for the magazine. Last fall, Professor Deming solicited students for ideas, and then-senior Carly Christopher proposed The Lexington Line.

“The goal was to find a title that would be original

and would reflect fashion, New York City, and life at LIM,” Professor Deming told me. “The Lexington subway line is the line many students take—it runs from the dorms to the college—and the title is very NYC. The use of the word ‘line’ also invoked fashion to the editors.”

Goals included variety and cultural relevance.

“I think that publishing a variety of articles was a great way to show our readers that the magazine is about much more than just fashion,” says Alex, who published a feature about domestic violence in the first print edition.

The small team worked long hours writing and editing content, designing pages, and conducting photo shoots. There are always edits to make, and they worked up until the very last minute.

“While packing for spring break vacation, I was in communication with Professor Deming—mid-pack—to send the printer final edits of specific pages for the 52-page magazine,” AJ says.

Professor Deming remembers this as well.

“Yes, we had a strict deadline if the magazine was to be finished in time for the spring fashion show,” he says.

“Alex and I were submitting final edits to the printer, and we needed AJ to make the tiniest little tweaks while he was at home packing, trying to catch a flight.”

But despite a few bumps along the road, the spring issue was ready in time for the show, and we are so grateful for the warm reception it received from faculty, staff, and students alike.

The team grew very quickly afterwards, and our editors have begun creating teams of writers, photographers, and designers, all of whom are critical to making the magazine tick. We’ve grown from five to more than fifteen members, including editors, a design team, and photogra-

phy, marketing, fashion and beauty departments.

There have been some internal shifts this year as well: Culture Editor Ashley Heinke transitioned into the Editor in Chief role just before the end of the spring semester, and Clarissa Hernandez has come on board as our much-needed Digital Content Editor. Caroline Giraldo joined as Photography Director.

One thing we love about the magazine is that it has become yet another forum at LIM College where students with ideas, ambition, and follow-through can find a home. Take for example Danyell Twyman, who was not on staff for the spring edition. She came to one of our meetings and asked rather directly why we didn’t have our own styling department. The editors held a meeting with her, and she dazzled everyone very with her big ideas. She proposed using the summer to execute an urban streetwear shoot in all five boroughs, and we loved the concept, so we put out a call for student models, scouted locations, and scheduled the shoots (results on p. 38!).

It’s been a great year. Our name was trademarked by the school, which we felt was a huge honor. And equally thrillingly, we received more than 160 interest forms from students at this semester’s kickoff event.

“It is truly humbling, as I know that as team members move on, there will always be eager, capable students to take their place,” Ashley says.

—Nicole Jezerski

by Seth Jubb

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lthough we are currently in the heart of fall and edging close to the dead of winter, there’s still plenty of time to find inspiration for this season’s wardrobe. We’ve seen it on runways, in stores along 5th Avenue, and now on the streets: Autumn/Winter ‘15 is all about a renewed sense of history, with an emphasis on both utility and femininity.

Nostalgia for the ‘60s and ‘70s is readily apparent, demonstrated through slim silhouettes and psychedelic prints.

There is an emphasis on the waist, but skewed towards a military uniformity exhibited through a color palette of natural shades. This color trend is especially unusual—we’re seeing a truly unisex variety

of color for one of the first times in recent history. We believe that this trend is tied to the recent vogue for androgyny, which is at the forefront of the current season and will stay on trend for many more to come.

We predict that the trend of harkening back to times past is going to escalate into an era of historical romanticism, featuring high necklines and empire waistlines. Prints will transition from kaleidoscopic to tapestrial.

For now, we want to share with you some of our fashion forecasting for current trends in A/W ‘15. We’ve highlighted maxi and peplum dresses to show some relaxed versatility. Keep an eye out for our coats, showcasing Oak Buff and Desert Sage, The Lexington Line’s colors of A/W! 9

bohemian looks were nearly universal W hile this past spring, remnants of this naturalistic style are still hanging around this season. The boho vibe is embodied by the gown featured here, which showcases a beautiful, vintage-inspired black-and-white print. The sheer bodice and flow-

ing fabric emphasize a seductive flair for theatricality. Paired with black leather gloves and a black wool cap, this look is a refined way of incorporating transitional winter fabrics into a fall-inspired ensemble. It blends the ongoing trend of athleisure into a ladylike ĂŠlan.

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hese fall looks demonstrate sophistication served two ways. The first reveals the softer side, pairing a sheep gilet with silky printed pants. A leather belt cinched at the waist creates a tailored effect in a look that would otherwise be light 12

and relaxed. The second employs a sequined, embroidered jacket and skirt, one of many ways to pull off a uniquely structured look. Laced-up leather stiletto heels and a green silk top complete this formidable style.

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inter sees a continuation of fall fashion, tinted by a more masculine mood. Credited with being one of the major influences of the season, Wes Anderson motifs are seen throughout. After the coats on our color pages, other notable winter trends 14

include ribbed knitwear and statement shoes. Forgiving and comfortable, ribbed knitwear is a wardrobe staple that can be worn countless ways. Statement shoes, like the buckled boots shown here, are an inventive way to complete the perfect fashion roundup.

Models: Teal Depaola and Tabran Howard; styling by Danyell Twyman and Seth Jubb; makeup by Angela Trakoshis; photos by Caroline Giraldo; all clothing provided by Scotch & Soda and Maison Scotch.

love is love THE EVOLUTION OF TRADITION

By Ashley Heinke

Clockwise from top left: Granny, Mum, Josh, me, Mikayla

“A

re you gay as well?”

These were the words coming out of my Mum’s mouth, tears streaming down her face, as we sat in Lafayette Park munching on sandwiches from Miller’s, taking in the views of San Francisco. My brother had just come out to my family, less than a year after my sister had done the same, sending my devoutly Christian Mum into a tizzy and forcing me yet again into the role of mediator. I am not gay, but I understood her inquiry, considering that two of her three kids had come out in the last year.

To understand her distress, you have to understand the way that my siblings and I were raised. My Gampy, my Mum’s father, was a fire-and-brimstonetype pastor who led a small Pentecostal Christian congregation in Newark, CA. We basically lived at that church. As kids, when we weren’t there Sundays for services or Wednesdays for Bible studies, we were there having potluck dinners, holding peanut brittle fundraisers or simply running around the Sanctuary as my grandparents worked.

On some level, it seemed like our paths were decided for us even before we were born, and once we were

old enough to understand, Christian beliefs and values were vehemently drilled into us. Love the Lord your God with all your heart, and love your neighbor as yourself. Save yourself for marriage, a union which is meant only for a man and a woman. We were so sheltered that I honestly didn’t even know what sex was until I entered junior high and was forced to take sex education—let alone what being gay meant, or that it even existed. It was all we knew, so to us it was the norm. Surprisingly enough, being raised within such strict limitations, none of us ever rebelled like pastors’ kids or grandkids are often known to.

We went to private schools, did well, and were extremely involved. Sure, we would fight occasionally, but we were the golden children, especially me, the one who stuck to the straight and narrow.

My brother was a Momma’s boy who enjoyed cooking, cleaning, and playing the piano, while my sister was the pitcher for her little league team, loved playing catch with my stepdad, and handled her own when wrestling with the boys. I don’t mean to push the stereotype that athletic girls or creative boys are necessarily gay—I mean, I am not an emotional female, I played basketball my whole life, and I’m the one who drags my boyfriend to watch football—this just happened to be the case when it came to my younger siblings.

My brother was bullied a lot, to the point of tears, for being somewhat feminine in demeanor. Those moments still boil my blood to this day, especially now that I finally understand what the two of them were going through: the struggle of not really knowing who you are while having to hide that struggle from the ones you love most.

I didn’t have my first experience with the gay community until I was in college, attending a small design school in San Francisco. For the first time in my life, I was a student at a school that wasn’t biblically based, and my beliefs were being challenged. I was meeting all these wonderful, intelligent and talented individuals whose lives were so different from my own and who were teaching me that there isn’t just one right way to love.

As I delved deeper into this new world, the values that I was raised to believe were no longer those of judgment and exclusion, but of love and acceptance. I mean, as a Christian, I was taught to live a life of Christ, a life based on a man who supposedly died for all of our sins and who loved and accepted everyone for who they were. If that is the case, then who am I to judge anyone?

Instead, am I not called to be loving and accepting of all? My mind was blown at this seemingly obvious realization, and my little world changed, most definitely for the better. At the time, I did not know how necessary this dramatic

change in thinking would prove to be, nor did I know how a life-changing decision on my part would set the stage for what was to come.

Growing up, I stayed out of trouble and did exactly what I was told. But at some point you have to start making decisions for yourself. After college, I shocked family and friends with my decision to break it off with my boyfriend of five years. Everyone had expected us to get married. My Mum was devastated and not too keen on my new “wild child” lifestyle, but I felt liberated. It was during this time that I also started to suspect that my sister might be gay, but we never talked about it. My siblings and I have always loved each other, but up to that point in our lives, neither had ever viewed me as their confidant. One late night over coffee and a discussion

“It’s not about changing your belief system; it’s about simply opening your heart and mind to the beliefs of others.” about me and how I had “changed,” she came out to me. I instantly felt our bond grow stronger. We made plans to attend our first gay-pride parade the following weekend—the Dyke March—but I knew she still had a lot left to deal with in telling our family.

A few months later, my Mum accidentally found out, and all hell broke loose. My Mum loves us very much, and I know she just wants the best for us, but I also know that she was struggling to accept the adults we were becoming. The expectation was, undoubtedly, that we would grow up to be God-fearing people who would meet the appropriate spouse of the opposite sex and procreate. She mostly felt as if she had failed in raising us, that she had somehow, somewhere gone wrong. This

battle of viewpoints led to a number of arguments, and I was frequently caught in the middle. Walking to meet friends for dinner, I would first get a phone call from my sister, would console her, and would then have to do the same for my Mum immediately after. Additionally, my sister, who was still living with my Mum, was no longer allowed to have any friends spend the night, especially girls. Our household had always been a revolving door of guests, with friends constantly staying the night, so this new rule was shocking.

About a year into this madness, and after endless conversations and debates with my Mum, it seemed as if we were all finally in a good place—but then my brother had some news.

It was my sister’s birthday; she, my brother, and a gaggle of our friends had come out to San Francisco to celebrate. At dinner, my brother pulled me aside to inform me that he had been dating one of our friends, a boy, for some time now. Again, I was already privy to this information, but I was elated to finally hear it from him. He wasn’t quite ready to tell our family, and I don’t blame him based on their reaction to our sister, but we felt at peace with the fact that we had each other.

I kept his secret for many months until one day when he sent me a photo of a letter he had written coming out to my Mum and stepdad. I insisted that he immediately let me know their reaction, and initially, everything seemed okay. But then I received the call. My Mum insisted that we meet and have lunch. That weekend is when we found ourselves in Lafayette Park, overlooking the city. Over our sandwich lunch, my Mum was the saddest that I had ever seen her. She told me that some nights she would go to bed praying that she wouldn’t wake up in the morning.

At that moment, I had so many mixed emotions. I was numb, and I honestly felt that as a family, we were never going to make it out of this unscathed, that holidays and birthdays would forever feel like we were all walking on eggshells.

It’s taken time, but over a year later, thanks to the ignorance and judgments of others in my Mum’s church

community, she has slowly come to the light. In her words, “What has changed my view of the ‘church’ and Christians in general is that they mostly preach a message of judgment rather than love. I think we as a Church have it a little wrong…I realized that because I am not perfect, I certainly have no right to judge others. All that legalism that was drilled into me growing up and into my adulthood was not the whole truth. I have realized that if we want to win others to Christ, we can’t do it with judgment and forcing our beliefs on others, we have to do it with love…it’s not up to us to try to force our beliefs on them.”

These days, when we get together, my Mum wants to know all about what each of us is up to and who we are dating. She has welcomed my sister’s girlfriend with open arms. We don’t see eye to eye on everything, but we are her kids, so she loves and accepts us for who we are, no matter who we love. She is a strong and caring woman who is a true testament to how a so-called Christian should act and treat others in today’s society. She is a woman that I look up to, and as much as she may be proud of me, I am so proud of her for remaining strong, for pushing herself to think outside of her comfort zone of beliefs and see others, especially those that she loves, for the amazing people that they are. It’s not about changing your belief system; it’s about simply opening your heart and mind to the beliefs of others.

(Left to Right: Mikayla, Me, Josh, Mum)

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Announcing The First Annual Arts & Sciences Department Essay Contest Entries accepted between October 1 - April 1 First prize earns $100 Second prize $50 Third prize $25

Winners and finalists will be published in The Lexington Line.

Contact an Arts & Sciences Department faculty member for details.

DIY MASKS FOR ALL SKIN TYPES

By Angela Trakoshis

normal skin

+ 3 tbsp honey

1 orange

Squeeze the juice from the orange into a bowl, followed by the honey. Mix until the texture is liquid and thick. Apply to a cleansed face and let sit for 30 minutes. Remove the mask with a warm cloth, followed by a cold rinse. Pat dry.

dry skin

oily skin

+

+

2 tbsp aloe vera

+ 1 tbsp honey

1/2 ripe avocado

1-2 tbsp oatmeal

+ 1/2 lemon

1 tsp honey

Mash up avocado until it is a smooth substance, then add in the aloe vera and honey. Mix all the ingredients to a paste matter and then apply to a clean face.

Leave the mask on for 15-20 minutes, and then wash away with a warm cloth, followed by a cool rinse.

Pat dry.

Squeeze a lemon into a bowl and add the oatmeal and honey. Apply the mixture to your face and let it sit for 10 minutes. Wash it away with a warm cloth, followed by a cool rise. Pat dry.

sensitive skin

combo skin

+ 1 tbsp honey

+ 1 tsp nutmeg

+ 1/2 tsp Vitamin E oil

Mix all the ingredients together until they form a thick paste. Apply the mask to a clean face and leave it on for 20-60 minutes. Wash it away with a warm cloth, followed by a cold rinse. Pat dry.

1/2 ripe banana

+ 1 tbsp honey

1-2 tsp oatmeal

Mash up the banana until it has a mushy consistency. Stir the honey and oats in until it forms a thick paste. Wash your face face, apply the mask, and let it sit for 15 minutes. When time is up, wash it away with a warm cloth, followed by a cool rinse. Pat dry.

pantone a/w ‘15 picks Giorgio Armani Eye and Brow Maestro in Gold giorgioarmanibeauty-usa.com $34

Golden Goose Deluxe Brand Francy Glittered Leather High-Top Sneakers net-a-porter.com $620

Collina Strada Autumn/Winter 2015 collinastrada.com

Zara Mustard Yellow Socks zara.com $9

Chanel Chance, 1.7 oz sephora.com $92

Chloé Faye Python Shoulder Bag saksfifthavenue.com $3,500

oak

Alexandre Birman Katys Crocheted Suede & Watersnake Booties saksfifthavenue.com $995

buff warm, soothing, intimate

Scotch & Soda Teddy Gentleman’s Coat scotch-soda.com $395

Lucio Castro Fall/Winter 2015 luciocastro.com

Essie Shifting Power essie.com $9

W. Kleinberg Python Belt saksfifthavenue.com $495

Dennis Basso Fall 2015 dennisbasso.com Collina Strada Autumn/Winter 2015 collinastrada.com

Chloé Cross Fork and Harlow Charm Bracelet farfetch.com $297

Origins Dr. Andrew Weil For Origins Mega Bright Dark Spot sephora.com $56

MAC Humid Shadow maccosmetics.com $16

Costello Tagliapietra Fall 2015, Look 13 costellotagliapietra.com

Scotch & Soda Long Soft Bouclé Cardigan scotch-soda.com $215

desert

sage

Monique Lhuillier RTW Fall 2015 moniquelhuillier.com

Dennis Basso Fall 2015 dennisbasso.com

cool, calming, organic

Chloé Drew Crossbody Bag farfetch.com $1,500

Nicholas Kirkwood Stretch Suede Over-The-Knee Boots saksfifthavenue.com $1,150

Smashbox Photo Finish Color Correcting Primer ulta.com $39

Chloé Elsie Mini Embellished Watersnake Shoulder Bag net-a-porter.com $2,650

Zara Leather Crossover Trench Coat zara.com $399 Burberry Giant Check Cashmere Scarf in Dusty Mint burberry.com $475

Viseart Corrector, Contour, Camouflage Palette sephora.com $80

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Fall Beauty Buys What are the best beauty products on the market?

Angela Trakoshis, Beauty Editor, narrows it down to ten favorites.

Smashbox #ShapeMatters Palette Sephora $65

Dior Addict Fluid Stick in Pandore Sephora $35

John Frieda Beach Blonde Sea Waves Sea Salt Spray Target $9

La Roche-Posay Effaclar DUO Acne Treatment Ulta $37

CoverGirl LashBlast Clump Crusher Mascara Ulta $7

Giorgio Armani Eye & Brow Maestro in Black Giorgio Armani $34

Nip + Fab Glycolic Fix Pads Ulta $13

Sally Hansen Miracle Gel Nail Polish in Crème de la Crème Ulta $10

& Other Stories Fig Fiction Body Wash stories.com $11

Estée Lauder Double Wear Stay-in-Place Makeup Sephora $38 23

Yes, You Are a

Feminist

And these celebrities are feminists too.

Clockwise from top left: BeyoncĂŠ, Emma Watson, Claire Danes, John Legend, Amy Poehler, Dustin Hoffman and Grimes.

By Alexandra Pine

R

ecently, I was sitting at my favorite sushi restaurant with three of my closest girlfriends.

In between catching up on each other’s lives and chatting about the latest episode of The Bachelorette, the topic of Hillary Clinton running for president came up. I expressed excitement over the fact that a strong, accomplished and powerful woman could potentially become the next President of the United States—but my friends did not share my enthusiasm.

Specifically, they were concerned about a woman running for office, and this left me dumbfounded. Three well-educated, intelligent women surrounded me, and yet I was the only one who self-identified as a feminist.

It pains me to recognize how many people have adopted the cultural definition of feminism as being militant and unfeminine in place of the actual definition of the word: equal political, social and economic opportunity for men and women. A feminist is any woman—or man—who supports this doctrine. But when some people hear the word feminist, they think of distasteful cliché stereotypes; to them, feminists are overly aggressive, opinionated, unattractive, angry, hippie-like women who have a strong hatred for men. The negative interpretations of the feminist movement can trick otherwise intelligent people and distract them from a fairly basic concept that advocates fairness, not superiority.

Feminists believe in the simplest forms of equality. A key issue, for example, is the enduring pay gap.

Women still receive significantly less in wages than men. In fact, The American Association of University Women (AAUW) reported in Fall 2015 that women are paid 79 percent of what men are paid for doing the same job. These statistics apply to jobs of all levels, even when women have completed the same level of education as men.

There are many reasons for this. According to The Wage Project, a non-profit organization established “to

end discrimination against women in the American workplace in the near future,” the wage gap results from “a variety of forms of sex discrimination in the workplace, including discrimination in hiring, promotion and pay, sexual harassment, occupational segregation, bias against mothers, and other ways in which women workers and women’s work are undervalued.” The problem is that too few people are doing anything to make that change; both men and women need to become active in tyring to eliminate the pay gap.

(You can find suggestions for how to get involved at The Wage Project’s website, wageproject.org.)

The truth is that my friends are not the only ones who hold distorted views of feminism. Numerous studies have suggested that our modern day patriarchal status quo has instilled a lack of confidence in young girls that manifests

“Feminists believe in the simplest forms of equality.” itself in adulthood. Children are often taught—either overtly or subversively— that girls should be subordinate to boys.

I discussed this issue with Brittany Finneran, who teaches at Lacordaire Academy, a middle school in Montclair, NJ. She explained the hardships that she sees her female students face on a daily basis. Young girls, she said, often say they feel inferior to their male classmates in both academics and athletics. But Lacordaire Academy is trying to effect change.

“As these girls graduate from a private co-ed middle school and enter into an all girls high school, our school system will begin offering a wider variety of specialized courses to help even the playing field for them in the future,” she said.

“Also, the school is starting to introduce sports teams which are typically only offered to boys, such as golf and lacrosse.”

Finneran said that allowing these

adolescent girls to learn these new proficiencies has helped them to flourish in the classroom. Providing girls with these new and exciting opportunities, she said, has boosted their confidence in other areas.

“Allowing these girls to try new activities and learn skills such as technology-based lessons at such a young age will undoubtedly help them to thrive in the future,” she said.

Thankfully, in a day and age when celebrities are looked at as role models, there are positive, inspiring and motivational public figures that can help men, women and children to better understand the concept of feminism. For example, in September 2014, actress and UN Women Goodwill Ambassador Emma Watson addressed the United Nations, discussing her involvement in the new wave of the feminist movement.

Watson confronted the unfortunate stereotypes that surround the word “feminist” and explained her own journey to identifying as one. She emphasized the need for a continued effort to end gender inequality throughout the world. During her speech, Watson introduced the UN’s HeForShe campaign, which allows men to show support and demonstrate their willingness to help close the gender gap.

“If we stop defining each other by what we are not and start defining ourselves by what we are, we can all be freer, and this is what HeForShe is about. It’s about freedom,” she declared.

Watson’s enthusiasm was palpable. She said she feels that it is her duty to spread awareness on the topic of gender inequality and to help to expose the stigma surrounding women’s rights in general. She concluded her motivational speech by invoking Hillel the Edler’s famous conceit: “If not me, who? If not now, when?” I thought about it; why not me?

For that matter, why not you? Since we are in an era increasingly obsessed with justice and social change, why not take the opportunity to strengthen our resolve? There is nothing stopping us from taking these strides for women but fear of the unknown, and today, there is no reason to waste time fearing something that we can begin to control.

Photos: Shutterstock.com

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THE LEXINGTON LINE STUDENT WRITING SHOWCASE LIM COLLEGE ARTS & SCIENCES DEPARTMENT

Model Minority | Clarissa Hernandez Research & Analysis, Spring 2015

D

espite being America’s highest-income, best educated, and fastest growing racial group—as the Pew Research Center calls us—Asian Americans comprise less than four percent of characters on television. The new ABC sitcom Fresh Off the Boat, based on a memoir written by Eddie Huang, has reopened the conversation about racial diversity in the media. Even after Blackish and Empire, two prime-time television shows in which African Americans play major roles, casting Asians as main characters is annoyingly new to mainstream television.

Asian Americans have long battled a “model minority” myth in which we are portrayed as more financially, academically, and socially successful than other racial groups. Even though Asians are known for tenacious work and family values—which are good things—this stereotype damages each unique Asian American’s ability to be perceived as an individual.

Although Asian Americans are pigeonholed as excelling in mathematics, not everyone fits into this category, which creates false expectations. If employers or recruiters see that a potential employee is Asian, they might expect him or her to excel in math-related fields. When I was in high school, fellow students would assume that I was great at math, but I could barely understand the lessons. It made me feel incompetent because I was an Asian that was better at writing than math. This kind of “positive” stereotyping is heavily perpetuated by the media—nearly all Asian characters on TV and in movies are geeks.

As such, in nearly every popular TV series, most of the characters played by Asian actors are either in the medical or technological fields. In the ABC drama Grey’s Anatomy, Sandra Oh plays protagaonist Cristina Yang, who fights her way to the top of Seattle Grace Hospital. She is depicted as the strongest and most ambitious character—but also one of the most conniving and insensitive personalities. Though she is the smartest

doctor and graduated at the top of her class, Yang is often called “robotic” and unemotional, which makes her character unlikeable.

The idea that this “model minority” poses an imminent threat to the majority is now called “Yellow Peril.” This noxious stereotype comes to life in Timothy Egan’s “Little Asia on the Hill,” an article that The New York Times saw fit to publish. In this story, Egan interviews a handful of Berkeley students and writes about Berkeley’s large Asian community, seemingly blaming an influx of Asian students for a lack of “diversity.” Just as problematically, Egan correlates being Asian and being socially inept: “Berkeley is freighted with the baggage of stereotypes—that it is boring socially, full of science nerds, a hard place to make friends.”

While The New York Times is a paper of record, and its editors should not agree with each columnist, publishing such a racist article was ignorant. When read at face value, it seems as if the author of the article is just releasing statistics about the growing population of Asians and Asian Americans at UC Berkeley. However, he is perpetuating stereotypes and contributing to a flawed argument. The fact that one college has a higher percentage of a minority should not make that college less attractive. Egan implies that the rising Asian population will prevent other ethnicities from attending Berkeley, which makes Asians seem intimidating. The media should not continually support this kind of stereotyping and demonizing of Asian Americans. False perceptions that are created because of this cliché can affect the social and professional images of Asians.

“Hollywood whitewashing” is another contributor to the underrepresentation of Asian and Asian Americans. Whitewashing, as Complex describes it, is “a kind of casting where film studios have placed white actors in lead roles under the assumption that the majority of Americans would rather see a white face than a non-white one—despite what the role calls for.”

Asian actors aren’t getting

the chance to play roles that were clearly written to suit them. For instance, Goku, the main character in the 2009 live-action film Dragonball-Z, is portrayed by Caucasian actor Justin Chatwin. Dragonball-Z was originally a Japanese anime with Japanese characters. The example of a white guy playing Goku is less problematic than earlier examples, such as Mickey Rooney playing I.Y. Yunioshi in Breakfast at Tiffany’s—one particularly egregious example of yellowface. In either case, Asian actors could have been cast, but the roles were given to white actors instead.

Whitewashing not only affects the movie industry, but also professions like journalism. Julie Chen, a popular news anchor on primetime television known for her work on CBS Morning News and The Talk, has admitted to going under the knife to achieve a more “Americanized” look.

Chen reportedly had plastic surgery to transform her eyelids, making her monolid “Asian eyes” seem bigger.

At the start of her career, Chen claims, a previous news director told her, “You will never be on this anchor desk, because you’re Chinese…because of your heritage, because of your Asian eyes, sometimes I’ve noticed when you’re on camera and you’re interviewing someone, you look disinterested, you look bored.” Chen was obviously hurt by this—it destroyed her self-esteem and offended her sense of heritage.

“No one’s more proud of being Chinese than I am, and I have to live with the decisions I’ve made,” she has said. Despite being extremely problematic, it is not surprising that many people undergo surgery to fulfill a look that is unnatural to them in order to achieve their career goals.

The effort to become more “white” or “Americanized” has hit Asian communities hard.

Of course, some of today’s prime time television shows have non-white actors playing major roles. This is a step forward for popular media, but some people see the success in ratings for shows like Fresh Off the Boat, Blackish, Empire, and Jane the Virgin as detrimental to white actors.

In “Pilot 2015: A Year of Ethnic Castings” in Deadline, Nellie Andreeva claims, “Some suggest that the pendulum might have swung a bit too far in the opposite direction. Instead of opening the field for actors of any race to compete for any role in a color-blind manner, there has been a significant number of parts designated as ethnic this year, making them off-limits for Caucasian actors, some agents signal. Many pilot characters this year were listed as open to all ethnicities, but when reps would call to inquire about an actor submission, they frequently have been told that only non-Caucasian actors would be considered. ‘Basically 50 percent of the roles in a pilot have to be ethnic, and the mandate goes all the way down to guest parts,’ one talent representative said.”

This is an outrageous claim to make considering the amount of white talent that is still considered and cast in major roles on television and in movies. The slight increase in the appearance of minorities in the media does not affect the jobs or opportunities for the majority, nor

has it disrupted the industry entirely or taken away the value of white actors. Casting minorities has only opened new doors, making the industry more inviting and less intimidating to non-white talent. Brandon Jenkins, an editor at Complex, says, “It’s almost as if [Andreeva] wrote this without the context of the last 90 years of history.”

Fresh Off the Boat has earned many great reviews from audiences. On Rotten Tomatoes, 37 out of its 41 reviews have been positive so far, and only four have been “rotten.” This is a step in the right direction for popular media, because it gives Asians and Asian Americans more facetime on screen. Yet even though Fresh Off the Boat has been a hit for some, Eddie Huang, the show’s writer and producer, tweeted about the imbalance of the show and his memoir.

“After [the pilot, the story] got so far from the truth that I don’t recognize my own life. I don’t think it is helping us to perpetuate an artificial representation of Asian American lives, and we should address it.”

Huang claims that the show has become more “Hollywood” and has strayed from his own reality. He wanted the show to be relatable for Asian Americans but believes it has been rewritten to cater to a white audience. In this way, Fresh Off the Boat has not been an entirely accurate depiction of Asian American life.

There are countless factors that contribute to the underrepresentation and misrepresentation of Asians and Asian Americans in the media. Even though Fresh Off the Boat and shows like it are progressive, it is important to remember that shows and individual stories are someone’s opinion or interpretation.

Natalie Tran, an Asian-Australian YouTube star, recently spoke at Brown University about this subject. She said, “This is one guy’s story, or someone interpreting one guy’s story. Doesn’t mean that it’s all of our stories. We’re not all the same.”

A whole race cannot be defined by one newspaper article or an episode of a television show, but people should support media that resonates with their own experiences in an effort to encourage diversity. Support the actors and actresses that you can relate to. Share your story with the hopes that one day, racial diversity in the media will be more apparent.

One Good Thing | Alexa Rae Barbieri English Composition, Fall 2015

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mirnoff was my stepfather’s poison of choice. Let me correct myself: Smirnoff and cranberry juice.

Okay, just a touch of cranberry juice. The ratio was about 80-20. This was what he drank every night—it didn’t really make sense to me, because it semed to me that most people would hate the taste of that much alcohol, but the flavor never seemed to bother him. The second drink, the third, and even the fourth didn’t either. His drinking didn’t bother me either, partially because the kitchen walls

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were among the many walls in our house that divided the rooms from each other—and divided me from the rest of the world.

I had been living alone with my Mom, but the three of us got a house in Lynbrook, NY and moved in together in October 2010. My room was small and very pink. The walls were painted the color of cotton candy, and I had a magenta bedspread, along with the various pink accessories that every eighth grader would want in her room. My room: this is where I spent most of my time. While my mom took night classes to earn her aesthetician license, I was home with my stepdad, Matt. But even though I was with an adult, I felt alone. With the exception of dinner with Matt, I would stay in my room from the time I got home until I woke up the next day, and then repeat the whole thing over again.

My mother would ask me, “Why are you always in your room?”

“I have a lot of studying to do, and I focus better when I’m alone,” I’d reply.

I never had studying to do; eighth grade was a breeze. Eighth grade teachers attempt to scare you by proclaiming, “When you enter ninth grade, you are in for a rude awakening.” I never cared—I never studied, and I still achieved good grades. When I was in my room, I drew a lot, partially to detach myself from the fact that two rooms away there was an alcoholic drinking himself to death.

Once in a while, I actually poured out three quarters of the vodka down the sink. I would then pour water into the near-empty bottle and put it back in the freezer, hoping he wouldn’t notice. But Matt realized what had happened, because the water froze. How was I to know that alcohol doesn’t freeze? The chemical breakdown of vodka wasn’t covered in any science class I could remember.

When it happened, he would just go out and buy another bottle. He never questioned me about it, just my mom— though I suppose he realized I was the culprit, because my mom approached his addiction differently.

I often wondered why he seemed to like drinking so much. At times when I went out—I did occasionally leave my room—I would go to a friend’s house. There was a particular friend who always wanted to drink. She usually drank whatever her parents had already opened, but would mix Hpnotiq with Coke when she could. I would try a sip and then recoil. After a few weeks, the idea of drinking left me cold. I would occasionally go to some high school parties, but once again, I was back in my room, bored of the people and places outside.

My stepdad made dinner a lot of the time. It was almost always around 7 p.m. because he got off the LIRR around six. He would always make pork chops with a side of Mott’s applesauce. Applesauce came with every meal he made—he used to pick apples as a young boy. Matt loved the fact that the applesauce was sweet here in New York, as opposed to the sour apples in his hometown of Bluffton, In-

diana. In reality, I knew our applesauce was sweet because it was so artificial, but I never brought that up.

During dinner, Matt would ask me how my day went, and when he asked, it was always apparent that he genuinely cared. He would always tell me, “Find one good thing that happened in your day, and if you can’t find it, you’re lying.” That always made me laugh. Usually, dinner with him was the best part of my day, but I didn’t realize that until later. Our conversations ran the gamut: currents events, memories, whatever came to mind. After our lengthy, never-boring conversations, Matt would proceed to clean up. It was only then that he would start his vodka ritual, which lasted until well after I was already asleep. He did try not to drink in my presence. He really did try.

It was obvious that my stepdad’s routine had to end. About a month after moving into our new home, he was in the ICU. He was “bleeding out,” as my mother whispered to me, although the conversation in which I learned that fact focused more on the fact that my mom was putting school on hold for a while.

Matt was admitted to a hospital near our house. I only visited once; I hated hospitals. After just one hospital visit, I realized how sick he really was. Up until then, I was able remove myself emotionally from the truth. Matt was sick and maybe even dying. During that visit, there weren’t any stories or conversations—he barely spoke. It took him all he had to take a breath and say, “Hello, Ali.” His shiny bald head, gleaming eyes, and full face had been replaced with sallow, yellow skin, hollow eyes, and a thinboned body. He had no expression on his face. He didn’t really move. What had happened to the tall, strong, and

smiling man I had known? There were tubes everywhere; they were attached to noisy machines and led to places hidden by layers of blankets and bedsheets. When I asked my mom about two—not one, but two—catheters that were leading to the obvious places, what she told me sounded so painful. When I was finally out of his room, I felt helpless, and it seemed too late.

Matt passed a few days later. I didn’t see it happen; my mom called me and told me. When I went to the kitchen that night, I could easily have opened the fridge and made myself a meal. I also knew I could never go back to the time I had spent in my room hiding from Matt and the rest of the world. He wasn’t there to hide from anymore, and why had I been hiding anyway?

My stepfather’s conversations with me left me with the desire to leave my room and actually think about my goals. I was eager to learn, and if I couldn’t do it from my stepfather’s stories anymore, then I would have to do it somewhere else. From that point on I explored, I listened, and I asked questions, just like Matt had. I was so young, but I am glad that I caught this from a young age—I caught the fact that I was locking myself from the outside world.

Choosing not to live in the world is one of the worst disservices you can do to yourself; this is one good thing I learned from witnessing Matt’s tragic isolation and death.

So many difficulties can cause not just teens, but also adults to confine themselves in a bubble. I have learned that the world is not inside your room, and your best experiences are not inside your room—everything you want in the world is waiting outside the door.

eat. This “pre-harvest waste” is a direct result of the food industry model: farmers are encouraged to overproduce, then throw out good food in order to maintain profits.

This misuse of crops at such an early stage in the supply chain is indicative of the magnitude of food waste in our culture. Farmers may not want to lower profits, but that’s no reason for pristine produce to be destroyed—these fields could be harvested and their crops donated to food banks, from which American citizens could feed themselves and their families. This way, farmers could make a profit, and entirely edible food could go to those who need it most.

What a Waste | Caroline Giraldo Research & Analysis, Spring 2015

If walk-bys sound bad, post-harvest waste is just as appalling. Harvesters will critically select the produce for market based on shape, size, and color. This process, called culling, encourages farmers to judge food on a superficial basis. But isn’t it what’s on the inside that counts?

In his book American Wasteland, Jonathan Bloom quotes a farmer who is forced to evaluate his crops based on looks. “I’d say 75 percent [of these] are edible. They’re fine cukes to eat and have the same nutrition, but there’s not much eye appeal to them.” Bloom calculated that in 2007, farmers in the Salinas Valley, an agricultural hub in California, culled 13 million pounds of lettuce: lettuce that tasted fine, but was deemed simply too ugly for salad.

Culling occurs on farms because supermarkets demand uniformity. The winners of the produce beauty pageant are then packaged and shipped to their destinations, while most of the losers make their way to landfills.

The USDA’s Economic Research Service stated that farm waste is extensive, but they have not been able to calculate it—that said, their latest attempt was in the late 1990s. Anthropologist Timothy Jones spent 10 years measuring, and estimates that the waste amounted to $20 billion solely in the farm industry.

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merica spends $100 billion each year on food that is never eaten. Food waste is a topic we rarely want to discuss, mostly because of the guilt we feel when we think of our leftovers moldering in the fridge at home. But while it’s true that we should try not to over-order, most of the waste in our food system actually occurs long before we sit down at the table.

From farms to transportation, the Western preference for abundance, variety, and perfection leads to incredible losses. Depressingly, there’s a lot of perfectly edible food that never even makes it to the market—and as a result, many Americans unnecessarily struggle for food each day.

In farming, there’s always unavoidable loss—pests, disease, and weather—but in America, we actually encourage unnecessary waste. Farmers will frequently leave entire fields unharvested in order to prevent already low market prices from dropping any further. This perfectly edible, market-ready produce is then plowed under in a practice called “walk-bys.” Sure, some nutrients are being returned to the farmland, but precious resources like water, energy, and labor are squandered on entire crops that are fine to

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But pre- and post-harvest waste garbage means happier customers!

Moonlight Bones are just the first stops on our mismanaged Additionally, those interviewed said food supply chain. Once the most beautithat their stores operate under the Made of milk and honey ful fruits and vegetables have been selectassumption that consumers prefer to Those sticky paws ed, they have to go on a road trip: before purchase food items from over-piled Wolves keep howling the average piece of produce reaches its displays, as opposed to reasonably Stardust sequins are destination, it has traveled about 1,500 stocked bins. We are accustomed to Set adrift by the wind miles. Too much or too little refrigeration bountiful displays, so of course an Stained yellow like daisies on the trucks during transportation—by “empty” one will seem unappealing.

Aged gracefully but not old even two degrees—can damage produce That’s going to remain the case until Thirteen at most innocent irrevocably before it reaches its destinaour expectations change.

No chance to grow tion.

Even more alarmingly, the deThe weeds that cover

When produce arrives in distriformed or slightly bruised pieces are Once flourished in the breeze bution centers, inspectors conduct quality never even placed in a shopping cart, Now they wilt in the winter control and “sacrifice a few” as they check which results in annual supermarket Maybe someone will see for temperature, discoloration, bumps, losses of about $15 billion in fruits bruises, dirt, lack of freshness, size, and and vegetables alone. In 2008, an esti—Laura Grabowski so on. If only a few items in any given mated 43 billion pounds of food were case are less than perfect, the entire case lost solely in-store—the result of a is thrown out. If a significant number of third round in the produce beauty cases in any shipment contain imperfect produce, the en- pageant. tire order is rejected—making these already self-conscious Some of these 43 billion pounds are wasted due to vegetables go through another round in the pageant. our misunderstanding of “sell-by” dates. Every supermar If the distributor rejects an entire order, the pro- ket throws out approximately $2,300 of allegedly expired duce company usually attempts to find a wholesaler, or food each day. Surprisingly, “sell-by” dates don’t actually lower-tier grocer like a local deli, that is willing to go mean the food is no longer edible. Instead, they indicate through the cases. However, due to the demand for perfect that the products’ shelf life is merely becoming shorter. produce, many small stores aren’t interested in previously Supermarkets often discard these products because we rejected shipments. At this point, truckers are supposed to are misinformed about the labels’ meaning. “Use by” and search for the nearest food bank, but drivers are typically “sell by” dates are supposed to act as a guide for consumers on a time crunch and are less inclined to search for some- about peak freshness, not as a gauge of food safety. Obvione to purchase or accept the produce, resulting in mostly ously food eventually expires, but food manufacturers are dumped shipments. All of this food suffers the same fate as less concerned with our health than the contents of our previously discarded produce: it ends up in landfills across wallets—their dates are intended to encourage shoppers to the country. re-purchase their food.

The issue extends further into the food system than There are no federally required date labels for any we might think. We have increasingly grown accustomed product other than infant formula. The reason for this, acto—and demanding of—fully stocked grocery stores. We cording to food safety specialist Londa Nwadike, is that can almost always get whatever we want, regardless of the nutrients in baby formula “eventually degrade, and not beseason: an assortment of seasonally inappropriate domestic cause of foodborne illness.” In the U.S., there is no universal and exotic fruits and vegetables are offered year round. We method to determine how long it takes for a food prodreally shouldn’t be able to buy pineapples all winter long— uct to be considered unsafe. Producers and suppliers have when there is an increase in the number of food options taken advantage of this opportunity and have generated a available, more food lingers around the store unwanted. system of misleading sell-by dates, which subsequently in The surplus of the wide range of food items in su- creases the amount of food waste. Even if the winners of permarkets is due to the industry’s retail model. Executives the produce beauty pageant are purchased, it’s very likely and managers use waste as a gauge of store quality control that they will suffer the same fate as the losers. and proper shelf maintenance. We might think this means that store leaders are monitoring their waste in order to reduce it. Wrong. In a study published by the Natural Resources Defense Council, grocery store managers acknowledged that “if a store has low waste numbers, it can be a sign that they aren’t fully in stock and that the customer experience is suffering.” They actually believe that more

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THE GENERATION OF US AND NOW 4.15.16 7:00 PM INTREPID MUSEUM

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t first, he wanted to be an airline pilot. Instead, he opted to let others fly him around the world and back.

“You’d leave Paris or London at 9:30 a.m. on Concorde and arrive in New York City at 8:30 a.m.,” he says. “I loved it.”

People always say that times have changed, and if there’s one fashion industry professional who has seen the business from every angle, it would be Professor Derek Cockle. In England, America and beyond, he has experienced some of the most iconic periods in fashion.

“The ‘60s in America were by far, to me, the most out there,” he says.

“You know, nothing was cookie cutter like it is now. I think people were much more aware of developing their own style. You had hippies, you had beatniks, you had preppies...”

The ‘70s, too, were “amazing… totally different,” he says, adding that he used to go to Studio 54 at least three times a week.

“God, when I look back at photographs taken in those days—particularly the ‘80s—it was not the best time for menswear—or womenswear, come to that, in my humble opinion,” says Professor Cockle, showing his characteristic bluntness.

His early years were quite different. Professor Cockle grew up in a very small village in Essex, England called Tollesbury.

“It was a wonderful experience growing up where I did,” he says.

“You could be gone all day long and your parents didn’t have to worry.”

The closest town to his childhood country home was Colchester, which is the oldest recorded town in England, and, Cockle points out, was once ruled by the “crazy” Queen Boadicea, who used to ride in a chariot with knives sticking out from its wheels.

But for all his knowledge of his region’s history, Professor Cockle’s early interests were quite different.

After finishing his A Levels at school (General Certificate of Education

Advanced Level), he had his heart set on going to flight school. Fashion, he says, was a total fluke.

As he grew older, Professor Cockle found his interests and preoccupations were changing; instead of flight school, he made the decision to attend the art school at Colchester Technical College in Essex for two years, and he “absolutely loved it.”

When he left Colchester, he enrolled at Birmingham College of Art and Design in the Midlands, where he received a Bachelor of Arts degree in Textile Design.

Professor Cockle’s parents didn’t speak to him about college while he was growing up; he did the entire college search and application process on his own.

“I’m still bemused by the fact that a lot of students really don’t know

“Remain current and know what’s going on.”

- Derek Cockle what they want to do. And I think that’s a very American thing,” he says.

“In the U.K., we know what it is that we want to study before we even apply to college because it’s a very different process over there.”

He was fortunate enough to be accepted to the Royal College of Art in London. If you don’t know anything about getting into RCA, it is a long, grueling process.

“They give you a design project to do while you are there, and then you just waited to be interviewed by, oh God—the table. I’ll never forget. It was Roger Nicholson—who was the only person we referred to as Professor in the whole department; we called everyone by their first names— and Siri Blackstad, Humphrey Spender, Brian Knight, Marianne Straub, and two students. They would just fire questions at you, and then you walk

out of there with your tail between your legs and your fingers crossed.”

At the end of his first year at RCA, in 1974, Professor Cockle won a travel scholarship for knitting gold and silver wire into jewelry on a Dubied knitting machine. He hopped on a plane, came to New York, and instantly fell in love with the city—and the American work ethic, which was “certainly not the ‘English tea break’ mentality.”

RCA ultimately awarded Professor Cockle a Master of Arts degree in Textile Design. He found the whole experience extremely rewarding.

“They’re looking for people who have ideas that they feel need to be nurtured and worked on,” he says.

“It was the best two years of my life.”

At his degree show at RCA, Professor Cockle met Meredith Etherington-Smith, the European fashion coordinator for Bloomingdale’s.

Etherington-Smith knew of his love for New York City, so she wrote him a letter of introduction to Kate Murphy, then head of Bloomingdale’s, and Murphy helped land him a job with the New York-based company Damon Creations, designing textiles in Italy for its ladies’ knitwear division, Francesca for Damon. He ended up working with the company for eight years.

This was just the start of a successful career for Professor Cockle.

After working for Damon Creations, he moved on to work for the awardwinning Italian designer Gianfranco Ruffini, in 1968, working on menswear fabrics and sportswear silhouettes.

“I desperately wanted to get into menswear, because I think one has to have a certain mentality if you’re a male to really be able to be successful in womenswear—and I didn’t have that.”

While designing menswear fabrics and silhouettes for the brand, Professor Cockle became a global jetsetter and experienced the industry inside and out.

“I would go to Hong Kong, for instance, which was then the center of 33

fashion production in Asia,” he says.

“You would work with the factories, put the initial samples into work, and then lay at the pool at the Regent Hotel for a week waiting for them to do the corrections, and eventually come back.”

Traveling to Asia about six times a year, taking flights to Europe for shopping trips—this was the norm for the industry.

“Back then, money was no object. Flying on Concorde many times, paid for by whomever I was working for at the time—it was totally different,” Professor Cockle says.

He would take care of all of his design duties here in New York City, but would then travel to Florence to meet with Gianfranco to show him his work and get his seal of approval.

He would then fly off to Hong Kong to put them in production.

“You were given creative freedom, depending on who you worked for,” he recalls.

Professor Cockle’s impressive career also included a stint at an L.A.based brand, Internationale Set. Refusing to leave New York City, he’d hop on an 8 a.m. American Airlines flight out of JFK and come back on a noon flight from LAX. While working there, he met Internationale Set’s merchandiser.

Cockle, who would win Cotton Incorporated’s Designer of the Year award twice, lost touch with the merchandiser after he quit. But they got back in contact years later when she was working at LIM College, which at the time consisted of one building, The Townhouse.

“She kept on telling me, ‘Become a teacher, teach a class,’” he says.

“So, my first class was Menswear, which I taught in the basement classroom.”

He started off by teaching one adjunct class in 2003, which soon rose to four. Eventually, he was interviewed for a full-time professor position and was hired. Eleven years later as a full-time faculty member, Professor 34

Cockle has taught a plethora of courses, including Applied Concepts in Fashion Merchandising, Textiles, Product Development, Menswear, Accessories, Fashion Magazines, Contemporary Designers, and the Senior Capstone in Fashion Merchandising.

Aside from seeing the fashion industry evolve, Professor Cockle has been fortunate enough to see this college progress, and he has no plans to leave anytime soon.

“People know who we are, and word has definitely gotten out that you get a very good education here,” he says.

His natural wit and extensive knowledge of the fashion industry

“His sense of humor, style, and dynamic personality made me wish he had been one of my professors when I was a student.” - LIM President Elizabeth Marcuse make him a desired professor among the student body and a cherished co-worker among faculty, staff and administration.

“His sense of humor, style, and dynamic personality made me wish he had been one of my professors when I was a student,” LIM College President Elizabeth Marcuse says. “When I first met Professor Cockle, about a dozen years ago, he almost immediately struck me as an extremely unique and fascinating person. His varied life experiences and travel, along with his excellent photography skills, have made him an integral and invaluable part of our college. The industry was lucky to have him, and I’m thrilled that our students have benefitted from his knowledge and wisdom.”

Dr. Terry Burstein, Chair of the Fashion Merchandising

Department, agreed.

“Professor Cockle was the first instructor I was introduced to at LIM College. It did not take long for me to realize that his first priority was the successful education of every student he taught,” he says.

After talking with Professor Cockle about his teaching experience at LIM College, I asked him to tell me about his approach to teaching the students here.

“In order to be a good teacher, you’ve got to be able to pass on knowledge to students,” he says. “You have to inspire them to want to be their best. I think it’s very important that all of us who teach remain current and know what’s going on.”

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Bad to the bone Interview by Madison Roe

Courtesy of Ana Cristina

During New York Fashion Week in September, I sat down with Ana Cristina, 20, a stunning model from Minnesota who doubles as a jewelry maker. After seeing a feature about her on Vogue.com, I connected with the long-legged, half-Colombian model about her jewelry collection. It has a bit more of an edge than the typical jewelry featured in places like Topshop or Saks—it contains fox and mink bones, along with coyote and snake teeth, resulting in a collection that is in step with the Gothic trends we saw on the Autumn/ Winter ‘15 runways.

minimum wage. Someone had approached me when I was 14, and I said no, because I saw myself as an outcast. I didn’t think I would fit in. But when I was approached again at 17, I figured I would give it a try.

Are you enjoying Fashion Week? Who have you modeled for?

Fashion Week has been a blast.

Really stressful, but fun. It has kept me on my toes, never knowing if I am going to get a midnight call for a fitting or have to dash out of yoga class to make a casting. All in all, I just go with the flow and have enjoyed myself. I have modeled for Opening Ceremony, Carolina Herrera, Rodarte, Maiyet, and Marc Jacobs.

So then do you like modeling? Do you see it as a career?

It can be fun, but people don’t always realize that it’s a fulltime job. I’m on call 24/7 and never know my schedule until the night before, so I can’t ever make plans. It’s definitely not a career for me, though—just a really good opportunity to support myself so young and be able to travel and work on my art and writing.

When did you start modeling?

When I was 17, I was working as a hostess and was making

What kinds of interests did you have growing up?

I’ve always wanted to take after my mother, who is an electrical engineer. I would want to go into chemical engineering, though. Something that deals with biodegradable materials.

Anything to help the environment. Clean energy and green chemistry really interest me.

Besides modeling, you make jewelry—out of bones.

I do! Mostly fox foot bones and some mink bones. I also use coyote claws and teeth and

have tried snake bones, which are difficult. I get all of these bones from Necromance in Los Angeles.

How do you make your pieces?

I fasten the bones to decorative hanging pieces and use pliers to secure hooks to attach to the chain. The chain is embellished with beads that I attach individually. I lay out the design on a table, and through painful trial and error, I cut the chain and fasten the components so that it hangs flat. Each piece takes me at least 16 hours straight to make.

Sometimes I stay up all night to finish one that I’m excited about. Other times I spread it out over a few days.

I also heard that you love to draw.

Does inspiration for jewelry come from any of your illustrations?

It definitely all intertwines. My drawings are dark and often hectic. All of my art is very much a product of how I perceive life and death. I think there’s real beauty in it all.

The two don’t exist without each other.

How do you find time to make your pieces?

Recently, I’ve had no time! Haven’t had a day off in two months. I’m about to go to Europe, so I hope there will be some downtime then. I’m definitely bringing my kit with me.

Courtesy of Ana Cristina

Is it just necklaces? Or bracelets too?

I’ve made bracelets, but they’re not as fun because I can’t work with shapes. For bracelets, I focus more on the embellishments—whatever beads or charms would best complement the chain. I usually don’t fasten bones to bracelets because they’re easier to break on a hand.

Other than your own, what kind of jewelry do you like usually?

I like chokers a lot. I have a ton of ear piercings (gold hoops and random studs) and a septum ring. Most of my jewelry

has bones or crystals as pendants.

Does the style of your jewelry usually indicate how you dress?

Most of my clothes are black, but I love playing with texture and pattern. I have a few different styles, though; I mostly dress like a guy. I wear trousers and men’s shirts and oversized coats, but I can go French/feminine too. I always play with mixing baggy and tight, mixing short and long layers.

Ideally, I want to look like a witch in men’s clothing.

Have you ever tried to market your jewelry on a website? Or is it more of a hobby?

All of my art has been a personal thing to keep my mind occupied; I love working with my hands.

But recently, it has been getting some good attention, and I’ve had people ask for my artwork and jewelry. I’ve never been one to try and sell my stuff—it just happened naturally.

How did Vogue find out about your bone jewelry?

I was backstage at a show drawing in my sketchbook, and this girl named Liana Satenstein came up to me and asked what I was drawing.

She sat down and started asking questions about where I was from and what I do in my free time. I didn’t know she was from Vogue—and the next day, there was an article. Pays to be nice to everyone!

You are an artist and a model; in what ways does the fashion world intrigue you?

I see fashion as a form of expression, but it doesn’t interest me terribly, though I am way more appreciative of it now that I am in New York. You can tell so much about somebody by their style. Meeting all of these designers is amazing because they are all such crazy geniuses. Fashion is an art in itself, and who knows, maybe someday I’ll work with a designer creating patterns.

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i am me: NYC Designed to celebrate individuality and creativity, this spread embraces aspects of urban streetwear that are distinctive to a variety of NYC communities. We attempted to capture the essence of all five boroughs: Brooklyn, the Bronx, Manhattan, Staten Island and Queens.

Styled by Danyell Twyman Photos by Caroline Giraldo

39

brooklyn

Model Left: Geraldine Henriquez Jacket, stylist owned. Top, $29 and Shorts, $54; Black Scale.

Model Right: Kaya Rogers Top, $36; Ssur. Shorts, model owned. Shoes, Air Force 1, Nike; $100.

Model Left: Francisco Duran Top, $110 and Overalls, $160; Black Scale. Shoes, stylist owned.

Model Right: Tristan Duncan Shirt, $55; Ssur.

Overalls, $160; Black Scale.

Shoes, stylist owned.

41

HARLEM

Model: Tristan Duncan Top, $19; Black Scale.

Pants and Shoes, stylist owned.

Model Left: Amanda Allocca All stylist owned. Model Right: Tristan Duncan Top, $19; Black Scale. Pants and Shoes, stylist owned.

the bronx

Model Left: Amanda Allocca Shirt, $84; Black Scale. Crop top, skirt, and shoes, Stylist owned.

Model Right: Tristan Duncan Jacket, $66 and Pants, $66; Black Scale.

Shoes, stylist owned.

Model Right: Amanda Allocca Shirt, $84; Black Scale. Crop top, skirt, and shoes, Stylist owned. Model Left: Tristan Duncan Jacket, $66 and Pants, $66; Black Scale. Shoes, stylist owned.

45

SOHO

Model: Tristan Duncan All clothing, stylist owned.

Model Left: Geraldine Henriquez; Model Middle Back: Amanda Allocca; Model Right: Samantha Pawluk. All clothing, stylist owned.

QUEENS

48

Model: Tristan Duncan Sweater, $75; Ssur. Pants, $66; Black Scale. Shoes, stylist owned.

Model Left: Amanda Allocca All clothing, stylist owned.

Model Sitting: Tristan Duncan Sweater, $75; Ssur.

Pants, $66; Black Scale. Shoes, stylist owned. Model Top: Samantha Pawluk Top, $90; Black Scale. Model Right: Geraldine Henriquez All clothing, stylist owned.

STATEN ISLAND

Model Left: Amanda Allocca Jersey, $72; Black Scale. Shorts and shoes, stylist owned. Model Right: Samantha Pawluk All clothing, stylist owned.

Model Left: Tristan Duncan Top, model owned. Model Right: Amanda Allocca Jersey, $72; Black Scale.

51 Photo: Angela Trakoshis

ART BEYOND

FASHION A

rt comes in many different forms, and for fashion students, it is vital to discern and value each and every one of them. If there is one thing we have in common with the rest of the world, it is our desire for self-expression. Whether we are presenting this inner beauty and emotional power through our bodies, a painting, or an instrument, we can all concede to finding fulfillment in projecting thoughts and ideas that might be impossible to put into words. It is easy to become inattentive in this frenetic world of fashion, but we must not dismiss the additional creativity that is auxiliary to it. So here are some incredibly gifted, suavĂŠ artists located inand near our precious New York City. Unwind from your fabric books and enjoy this bracing, platonic art.

Rumpolano Artist Painter/Fashion Designer Queens, NY

Deanna Kennedy Banshee Bordentown, NJ

— Devyn-Nicole Pasalano

Juliett Sardou Fine Artist New York, NY

Arael Photographer/Videographer New York, NY

Gideon Issa Fine Artist/Graffiti Artist Brooklyn, NY

Rashida Chavis Fine Artist/Graphic Designer Long Island, NY

Tracey Patrick Ceramicist Philadelphia, PA

53

Josh Gilman Fine Artist Bayville, NJ

Logan Swedick Fine Artist Bronx, NY

Dehv Monet Product/Fashion Photographer Philadelphia, PA

SUBMIT TO THE LEXINGTON LINE: LEXINGTONLINE@LIMCOLLEGE.EDU

LEXLINEeats

for the food enthusiast on the go, Some Tasty Instagram accounts info.limcollege.edu/lexington-line

@hungrygrls Founded by Livi and Jennie, who instantly bonded over their common interests in fashion, PR, and travel, as well as their infinite adoration for food. Enjoy their daily eats and coveted cuisines.

@bestfoodny

@grilledcheesesocial

Your go-to resource for guilt-free eating in New York City and beyond!

Created by MacKenzie, an ex-Brooklynite who shares her aptitude for food and homemade recipes.

@nycfoodgals Founded by four roommates who keep their friends close and their snacks closer. Not only can you find these food mavens on Instagram, you can also attend one of their tasting benefits.

@noleftovers_ Your trusted guide to the top-notch restaurants, bars, culinary finds, hotspots and happenings in NYC. It is true dining discovery done right!

student

style

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57

Kandis Yeakey ‘16

58

Patrick Gomez ‘19

59

Alexus Mackey ‘19

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Julia De Lucena ‘19

everything zen:

Carmen

marc valvo

BY SETH JUBB

C

armen Marc Valvo is a renowned fashion designer that opts for elegance, flair and sensibility over shock value. He has a talent for combining artistry and refinement and knows how to highlight his customers’ best features. We received the opportunity to attend his S/S ‘16 fashion show and glimpse his best designs for the upcoming season.

Smitten by the Zen garden, Carmen took inspiration from minimal, but bold Asian details. Strong, colorful brush strokes, crane calligraphy, and silky smooth fabrics were prominent. The show included menswear, womens-

wear, evening gowns, and even swimwear, proving that Carmen Marc Valvo is a man of many talents.

Next semester, Carmen will collaborate with the LIM College community on a luncheon with informal modeling in order to fundraise for the LIM Fashion Education Foundation Scholarship (the Foundation’s primary mission is to raise scholarships for LIM College students). Partnering with jewelry designer Gabriel & Co., Carmen’s Black Label and Couture lines will be featured on LIM College models and will be sold at discounted rates to those in attendance. Don’t miss it!

INTERVIEW | Ingrid Nilsen, PR Director How did you start working with Carmen?

Well, I came from a variety of places freelancing, but I would say the main place would be Patricia Field. I actually started working for Carmen four months ago. It’s been so different working for an in-house brand, but I really love it.

I’m always busy and have been getting the chance to do a lot more than what I’ve done in the past.

What do you do as a PR Director?

Being a PR Director covers an number of topics, but I mostly work with our Brand Ambassador and Marketing Director getting everything together for Carmen. I’ve been arranging personal appearances for him as well, which has been great, as well as trunk shows, and other things.

With the growing importance of social media as a part of PR, especially with Fashion Week, what are you doing to expand your reach?

Social Media is great because the brand can connect directly to the consumer in a way that’s not possible through the press. Normally, we would go through a press release, which would then relay the message to the public. Now with social media like Twitter and Instagram, it’s extremely important to connect and grow the relationship with the public.

sible thing to do because it just goes downhill from there.

The great thing is that whenever I feel like I’m starting to lose it I can talk to Carmen, and he’ll keep me grounded and focused on what needs to be done. I can talk to him about anything.

Brands like Givenchy are giving free tickets to the public in an effort to greater publicize their shows.

What do you think about that?

It’s great! I can absolutely see why they would do something like that. It kind of goes back to what I was saying about social media, where it is just a great way to reach more and more people.

A lot of brands are starting to livestream their shows.

Do you think Carmen would ever consider going that route?

Well, this year we aren’t livestreaming the show, but honestly, I think that putting up videos of it afterwards is just as good. And while we aren’t livestreaming, we might put something up on Periscope during the show. I love Periscope!

Awesome! Well that’s all of the questions, and I just want to say thank you so much for taking the time to do this.

Of course! I’m a huge fan of LIM; I have a bunch of friends who went there. I think it’s really important, Seth Jubb observes Valvo’s latest designs What do you do to prepare for especially because you guys are one Fashion Week? of the only schools to focus on the business “behind the I drink a LOT of fluids. Seriously. A lot of it is nerves, be- scenes” aspect of fashion. I think a lot of people don’t realcause you have so many people relying on you and looking ize how much effort it takes to put a brand together, so the up to you for what to do, but stressing out is the worst pos- fact that LIM exists is fantastic. LIM is amazing!

Editors’ Picks Sacai

Ashley Heinke [Editor in Chief] The A/W ‘15 shows definitely did not disappoint, but then again, I’m a bit biased when it comes to autumn layers. Designers brought back some of the best elements of fashion history: ‘60s A-line skirts, a medieval gothica, gauzy ‘70s dresses, and fur, lots of fur. I just can’t get enough thigh-grazing OTK boots and crisp white shirts. And don’t even get me started on Prada’s bag-in-a-bag. Surprisingly, despite my black-on-black-on-black uniform, I find myself gravitating towards pops of jewel tones, even to the extent of dying my hair an unusual hue.

ashley

Clockwise from left to right: Maison Margiela boots, ssense.com: $2,055. Givenchy gilet, farfetch.com: $3,095.

Baublebar headphones, baublebar.com: $235. Prada bag, prada.com: $7,950. Alexander McQueen dress, stylebop.com: $6,015. Manic Panic hair dye in Ultra Violet, manicpanic. com: $14.

MARANDA Maranda Janky [Managing Editor] The phrase “all black everything” speaks for itself this A/W season.

Mysterious and monochromatic color schemes in collections from Alexander McQueen and Givenchy position themselves against the dramatic grays of the New York City skyline. The rebellious collection from Saint Laurent brought me back to my high school punk rock years, which gave rise to my love for the black-on-black style I still sport today. Featuring lace, oversized blazers, fishnet stockings, supple leather boots, melodramatic smoky eyes and vibrant lips, Saint Laurent’s collection, along with McQueen’s and Givenchy’s, have inspired me this season.

Clockwise from left to right: Stella McCartney scarf, net-a-porter.com: $470. Vivienne Westwood Anglomania dress, net-a-porter.com: $395. Miu Miu bag, net-a-porter.com: $1,910. Circus

by Sam Edelman boots, circusbysamedelman.com: $100. McQ Alexander McQueen blazer, net-a-porter. com: $770. Milani lipstick in Black Cherry, milanicosmetics.com: $6.

Saint Laurent

Editors’ Picks

EDITORs’ PICKS: Seth Seth Jubb [Fashion Editor] This season, menswear showed an entirely new side of itself. I love that modern fashion has finally begun to ignore the conventional male uniform and blend mens- and womenswear.

Androgynous styles that blur gender boundaries are making platform shoes, oversized furs, and all manner of large sunglasses into staples in my closet.

Topman

Clockwise from left to right: Acne coat, acnestudios. com: $2,700.

Scotch & Soda Barfly fragrance, scotch-soda.com: $55. Topman pants, topman. com: $300. Acne Studios shoes, acnestudios.com: $690. S’well water bottle, swellbottle.com: $25.

Tom Ford

Madi roe [Accessories editor] As always, I am intrigued by how the fashionable dress for cold weather. The A/W ‘15 runways inspired me to wear oak flare jeans, burgundy fringe coats, and skinny floral scarfs.

The ‘70s are back, and I’m loving it! Whether you are trying out hippie-trail bohemia or uptown ‘70s chic, there’s still a version of the trend to adore.

EDITORs’ PICKS: MADI

Clockwise from left to right: Fendi slip-on sneakers, saksfifthavenue.com: $750. Intermix skirt, intermixonline.com: $595.

Mason by Michelle Mason jacket, intermixonline.com: $1,990. Chloe bag, saksfifthavenue.com: $3,700.

Dior foundation, saksfifthavenue. com: $53.