The Lexington Line Fall 16

LIM COLLEGE | AUTUMN/WINTER 2016

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‘16

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LUXE PUNK

Dusk Till Dawn

Small Girls BIG WORLD

FORGET IT, JAKE IT’S CHINATOWN

Top 12 Albums of 2016 Diversity in the Beauty Industry Profile: Professor Amanda Hallay The Obama Legacy

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A/w 2016 table of contents

8 Can’t Blame ‘em FOr Bragging

By Nicole Jezerski

10 Up All Night 20 Up the Punx

By Maranda Janky

24 Top 12 Albums of 2016... So Far

52 Redefining Mainstream

By Tonya Burks & Keely Schooley-McCormick

By Tonya Burks and Tiffany Johnson

56 Profile: Professor Hallay

28 Pantone Color Pages

58 Six Carryalls This Fall

30 Beauty Buys

64 The Obama Effect

By Nicole Jezerski

By Tonya Burks

32 Student Writing Showcase 66 Student Style 38 No Small Feat

By Clarissa Hernandez

40 A Better World Through Art and Fashion

By Madison Ross

44 Mean Streets

74 THe First Lady of FAShion

By Emma Goodnough

76 Editors’ Picks

ft. Clarissa Hernandez, Maggie Canty, Nicole Jezerski, and Emma Goodnough

The Lexington line Editor in Chief MARANDA JANKY Managing Editor Clarissa Hernandez Creative Director Pheanny Phen Art Director Brittany Minetti Styling Director Ashleigh Uzoaru Photography Director Jessica Feane Marketing Director Michelle Alvarez Fashion Editor Seth Jubb Accessories Editor Madison Roe Beauty Editor Keeley Schooley-McCormick Culture Editor Tonya Burks LIM Life Editor Nicole Jezerski Digital Content Editor Madison Ross Designer Soukayna Dieng Set Designer Maggie Canty Social Media Managers Alyssa Mattia, Stephanie Venezia Assistant Styling Director Pearl Dorman Assistant Fashion Editor Emma Goodnough Assistant Culture Editor Tiffany Johnson Faculty Advisor Professor John Deming Arts and Sciences Department Chair Dr. Denice Yanni Thanks: Harvey Arzu, Elizabeth Bracey, Dr. Daniel Chaskes, Laura Cioffi, Professor Terance Coffee, Christopher Conzen, Professor Andrew Cotto, Professor Michael Creagh, Professor Timothy Foran, Joshua Heller, Professor Jennie Jackson, Professor Kenneth Kambara, Bri Kennedy and Boohoo, Erica Olszewski, Olga Raganelli, Professor Liz Sweibel, MT Teloki, Anthony Urmey, The LIM College Bookstore, all LIM College faculty, and all contributors to The Lexington Line. Special Thanks: Michael Londrigan, Dean of Academic Affairs; Dr. Christopher Cyphers, Provost and Executive Vice President; and Elizabeth Marcuse, President of LIM College. The Lexington Line is a registered trademark of LIM College.

Cover Model: Larissa Schot | Cover Photo: Jessica Feane

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LETTER

FROM THE

EDITORS

As we celebrate The Lexington Line’s two-year anniversary, we introduce to you our Autumn/Winter 2016 edition. Did we mention it’s the biggest one yet? As our team has grown from six students to its current staff of 20, the magazine has grown with us.

In this issue, we find ourselves celebrating a lot of what makes us who we are as New Yorkers. We’re constantly surrounded by great fashion, different cultural backgrounds, and a range of social issues as we live our day-today lives in the biggest (and in our opinion, the best) city in the country.

There’s no other city that mixes grunge and luxury like the Big Apple, especially when the season changes from summer to autumn. Along with the leaves changing, we get to see Manhattanites’ fashions and personalities change, too.

So we’re taking you on a mini fashion-tour of Manhattan’s downtown district to check out the streets of Chinatown (pg.

44), the sweaty dance floors of Manhattan’s club kids (pg. 10), and the underground ‘70s punk scene (pg. 20). Are punk and its fashion really as dead as they say?

We also take a hard look at the world outside our city.

The United States will be saying farewell to President Obama as he ends his eight-year term (pg. 64), and our Culture Editor Tonya Burks assesses his legacy. Since it’s an election year, we also honor the most fashionable lady the White House has ever seen, Jackie O, and her costume designer Oleg Cassini (pg. 74).

While we have your attention on fashionable duds, check out our favorite LIM looks in our Student Style section

(pg. 66), and be sure to survey the top ten beauty products that students chose for this season with our biannual Beauty Buys spread (pg. 30). While we focus on the students who are still making waves on campus, we mustn’t forget what LIM is really about: the Business of Fashion. See what one LIM alumna is up to with her partners at Small Girls PR (pg. 38).

As the temperature continues to drop here in Gotham, grab a mug of hot cocoa or your favorite roasted coffee and curl up in a comfortable spot with our magazine!

Sincerely,

Maranda Janky

Clarissa Hernandez

7

E M A L B T ’ CAN ‘EM FOR

Bragging

“I

n New York, people are all about their own business; BRAG brings people together,” says club president Lynette Cassius.

LIM College’s Black Retail Action Group (BRAG) is a diversity club that has been connecting LIM students with jobs and internships in the fashion industry since 2007.

Cassius is one ambitious student who has been taking advantage of everything the group has to offer. She was one of three LIM students to be awarded a BRAG scholarship at the 45th annual BRAG Gala last fall and was also offered an amazing opportunity to complete a paid buying internship in Seattle over the summer.

8

LIM College Student Club Celebrates Diversity On and Off Campus

by Nicole Jezerski

“My experience in the summer internship was amazing.

It was very hands on and fast-paced,” Cassius recalls. “It was a great opportunity to grow as well as build my professional network.”

In addition to its intensive internship programs, BRAG also holds quarterly panel events with LIM alumni and industry professionals, sponsors service outings and fundraisers, and plans fun community activities open to the general public.

Networking is a major initiative for BRAG. The goal is to make networking events more relaxed and comfortable than traditional job fairs. Every event the group hosts offers a chance to make a new connection, but some events are specifically held to connect industry professionals directly with students.

In fact, at LIM, BRAG plans to devote a night to “speed networking.” Similar to speed dating, the event allows students to sit down for a few minutes with people who have substantial experience in the industry and quickly cycle through partners so that they have a chance to meet everyone.

BRAG USA events are also a great opportunity to network. Here, more high profile professionals are in attendance, raising the stakes from local contacts to international CEOs and VPs of major fashion corporations. The connections formed at BRAG events are not just professional; they often lead to long-lasting relationships that potentially provide unpredictable opportunities.

Serving the local community doesn’t only bring people together; it enriches the lives of the volunteers and empowers those in need. For this reason, BRAG members make it their mission to do at least one charity event and two fundraisers every semester.

In the past, they have worked with established nonprofits such as Toys for Tots and Dress for Success. In addition to the clothing drive, members of the club volunteered to go to the main office of Dress for Success to help organize clothing and observe job training sessions.

“At LIM College, we are taught in a culture that exposes us to many people with diverse backgrounds. Through mentorships and experiential classes, we are learn to adapt within different companies. As a result, we are better prepared to volunteer at places such as “Dress For Success,” says BRAG member Chanel Dutton.

In the future, the BRAG organization hopes to get more students involved in its service projects. The group has also done

some hands-on work cleaning up public schools in the Bronx and planting trees around the community.

“Giving back to the community is important because it helps us to connect with the people of New York City. Working in the fashion or retail industry all relies on the community. It keeps the industry going. Giving back is just one way to show our appreciation,” BRAG Member Jasmine Bennet says.

Service doesn’t always involve traditional non-profit groups or grunt-work. Sometimes, servicing the community is about bringing people together and promoting diversity. As such, BRAG holds an annual tie-dye event and welcomes the general public on the streets of the Upper East Side.

This event engages local families and passersby, giving them a fun and stress-free break from the busy New York lifestyle. BRAG has also worked downtown at the annual NYC Dumpling Festival, where all proceeds benefit the Food Bank for New York City. The goal of this event was to spread diversity and show that BRAG supports, accepts, and experiences all cultures and traditions.

BRAG is all about new experiences and connecting with a diverse group of people in the industry. The group’s mission is to bridge the gap between the minority and majority, while encouraging leadership and extending opportunities to ambitious students. Networking is the best way to succeed in this industry, and getting involved in groups like this helps students come out of their shells.

“Knowing people gets you the job. BRAG opens that door,” Cassius says proudly. “Everyone in the organization is working toward a common goal, and that goal is success for all.”

“At LIM College, we are taught in a culture that exposes us to many people with diverse backgrounds.”

Fashion Editor Seth Jubb Styling Ashleigh Uzoaru Pearl Dorman Photography Jessica Feane Lindsey Pace Claire Kelly Set Design Maggie Canty Hair Megan Hartman Christina Falcone Makeup Victoria Yeboah

up all night Up All Night encourages a hyper-charged palette of unconventional and repurposed style. Materials like metallic lamĂŠ and vibrant nylon hold from day to night and incorporate both polished and grunge functionality. Ripped threads, glitter makeup, and embellished pieces are just a few ways to achieve a dizzying onrush of looks that challenge the eye to keep up. They will soon permeate every street that keeps the pulse of New York City.

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OPPOSITE PAGE: Model: Larissa Schot.

Suit, Dzojchen. Top, Alpha 60.

THIS PAGE: Model: Jovel Ramos.

Bomber jacket, stylist’s own. Dress, Alpha 60.

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THIS PAGE: From left to right, Model: Chiara Charles. Sweater, Andrea Crews. Leather dress, AMI Clubwear.

Shoes, model’s own.

Model: Alexus Mackey.

Top & skirt, AMI Clubwear. Shoes, stylist’s own.

OPPOSITE PAGE: Model: Larissa Schot.

Top, 5:31 Jérôme. Earrings, Bande Des Quartes.

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13

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OPPOSITE PAGE: Model: Chiara Charles. Top & skirt, AMI Clubwear. Layering top, Body Language.

Bomber jacket, stylist’s own.

THIS PAGE: Model: Alexus Mackey.

Top & jacket, stylist’s own. Ring, Bande Des Quartes.

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THIS PAGE: From left to right, Model: Jovel Ramos.

Jacket & pant, 5:31 Jérôme.

Model: Larissa Schot.

Dress, 5:31 Jérôme.

Earrings, Bande Des Quartes. Shoes, 5:31 Jérôme.

OPPOSITE PAGE: Model: Chiara Charles.

Top, ELKEL x Diego Montoya. Bracelet, Bande Des Quartes.

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OPPOSITE PAGE: Model: Jovel Ramos.

Top, Igor Dadona.

Jacket & pant, 5:31 Jérôme.

THIS PAGE: Model: Larissa Schot.

Dress, 5:31 Jérôme.

Earrings, Bande Des Quartes.

e h t Up x n u P ations r e b r e v The Re t u re l u C k n Pu of ‘70s shion a F n r e in Mod

by Maranda Janky

20

I

t’s 12:53 a.m. on a Monday night. My house is quiet and dead, which is typical at this hour. I have my cheap blue and pink Duane Reade headphones plugged into my iPhone 6 with the Ramones’ self-titled album playing. Who needs the fancy ones, anyways? If I’m really trying to channel my inner punk rocker, isn’t it appropriate that I have a crappy pair over a pair of Beats by Dre? I suppose that if this technology existed in the ‘70s, kids in the punk rock scene wouldn’t have cared, and I guess that’s why I don’t either. I digress. Punk is all about expression, right?

Voicing your opinion and whatnot? That’s the one thing I’ve always loved the most about punks—they do their own thing without any fear of repercussion. They feel comfortable enough to not conform. But is this really the case? Does every subversive movement turn into conformity on a long enough timeline?

Being predominantly involved in the fashion industry here in New York, I’ve come to see—and fall more in love with— how the grungy punk lifestyle has shaped parts of this city, from its fashion to its neighborhoods and even its monumental establishments. It didn’t take me much time to figure out what my favorite neighborhood was after moving here from Chicago a little over two years ago. One night when I was strolling down Canal to the Q train listening to “Judy is a Punk,” it hit me as I passed walls of graffiti and torn up, dilapidated posters—I was home. Not home as in “this is where I physically reside in the city—where I sleep,” but home as in “my place of belonging.”

Earlier that day before heading downtown, I had asked a friend to take my photo on the subway platform in Midtown, only to realize we were at 53rd & 3rd—another Ramones reference. Was the universe aligning that very night? Or was it just a weird coincidence?

But the times obviously change the city, and Manhattan has gone through some major renovations since its punk rock heyday 40 years ago. It’s like the Ramones’ song: “Here Today, Gone Tomorrow.”

In a 2003 paper in The Post-Subcultures Reader, Dylan Clark writes, “Early punk sought to tear apart consumer goods, royalty, and sociability; and it sought to destroy the idols of bourgeoisie.”

But within five years, it was commodified by corporate culture, Clark points out, noting that this tends to happen with any successful subcultural uprising. “ Ta c t i c a l ly speaking, the decisive subcultural advantage in music and

style—their innovation, rebellion, and capacity to alarm— was preempted by the new culture industry, which mass produced and sterilized punk’s verve.

With the collapse of punk’s stylistic ultimatum, what had been the foundations for twentieth-century subcultural dissent were diminished—not lost, but never to completely recover the power they once had in music and style.”

This is certainly reflected in the downtown scene. Iconic institutions have been forced to move due to exorbitant rents and gentrification.

For example, the original Trash & Vaudeville on Saint Mark’s Place changed locations this past March. This staple punk rock emporium, where the likes of Blondie and the Ramones would shop for their unfashionable-fashion threads, made its way a few blocks east—a mere seven minute walk—to its new home just off of 7th Street and 1st Avenue. It was also the first shop in the United States to stock the famous UK-based boot brand Dr. Marten—a uniform-staple for punks.

Even more significantly, the location of the world-renown punk rock venue CBGB was converted into a John Varvatos store back in 2008. The venue, which closed in 2006, had been a veritable monument since 1973, when the late owner Hilly Kristal opened its doors to Manhattan’s East Village.

From 2001 to 2005, my friend and Surface magazine’s Senior Editor, Charlie Curkin, had the opportunity to work at the famous venue, starting his role as a stage manager at the ripe age of 15.

Charlie had started a music label with one of CBGB’s soundboard controllers, Gabby Molotov, who helped him get his foot in the door. He worked as a stage manager, and after a growth spurt, worked occasionally as a bouncer. He left not long before the venue closed.

“I miss the club and the guys who worked there,” he says, bittersweetly. “But it had its time.”

John Varvatos has credited his love of rock ‘n roll as the main influence on his love for fashion, which is why it makes some sense that the designer called squatting rights on the venue.

“Seeking to preserve the space’s legacy, Varvatos touched very little,” writes Emily Singer at JackThreads. “Instead, he added things to enhance the history and rock ‘n roll influence of both the venue and his brand.”

The question becomes the extent to which punk’s wide-reaching influence on the fashion industry indicates the commodification of a subculture or its victory as a ubiquitous movement that replaced the bourgeois mainstream looks of the past.

21

Fashion has always been an essential component of the punk mentality.

As Charlie points out, acclaimed designer Vivienne Westwood was deeply embedded in the ‘70s punk scene and owned the SEX boutique in London with former Sex Pistols manager Malcolm McClaren.

Today we see famous designers such as Varvatos including the subculture in their brand, and the masses are buying it—sometimes at the risk of forgetting what the original reason why these punks were rebelling in the first place.

Among other punk motivations, Clark notes, “At the heart of early punk was calculated anger. It was anger at the establishment and anger at the allegedly soft rebellion of the hippie counterculture; anger, too, at the commodification of rock and roll.”

These days, in addition to Varvatos, we see designers like Marc Jacobs, Moschino, Westwood, and Burberry creating collections that nod to the underground scene. A spiked studded leather jacket from one of Burberry’s Brit collections currently sells on E-bay for roughly $4,995, and a black acid washed denim jacket from Marc Jacobs’ autumn/winter ‘16 collection sells for $695 on the brand’s website.

Further, Levi’s decided to take its infamous 1967-born 505™ slim fit jean—the style you’d find the likes of Debbie Harry and the Ramones wearing back in the ‘70s—and enhanced the rock-fit for the modern consumer, calling them the 505™C, with the C standing for customized. The slim denim, which just launched this fall, sells for $98 on the website, and individual styles are appropriately named after members of the Ramones.

The original Doc-wearing, mohawk-sporting punks wore these threads as a way to avoid conformity and rebel against capitalism, but now it’s something we see being celebrated on runways around the globe.

My longtime friend Brandon Good, who is the mandolin player for the punk Celtic band Flatfoot 56, weighed in on the matter. Brandon is submerged in punk culture, as he tours the world with the likes of Flogging Molly and Dropkick Murphy’s.

“I must admit that I was at first a bit amused at the idea that these luxury brands started doing their own twist on punk/ subculture fashion,” Brandon says. “It seems a bit like irony, in a way, since punk rock in a lot of ways has been very anti-materialistic and anti-capitalism.”

However, it is also possible that declaring punk dead 22

and commodified is taking too limited a view. Punk, Clark contends, never died; it simply spread its influence and changed its form.

It “faked its own death,” he writes.

“People within subcultures, for their part, capitulate when they equate commodified style with coöptation,” he writes—“when they believe that grunge, or punk, or break-dancing, is just another way of choosing Pepsi over Coke, when they believe that the entirety of subculture is shallow or stolen.”

Punk is a mentality more than a fashion statement, he suggests, a social form that “anticipates and outmaneuvers the dominance of corporate-capitalism.” It has become clear, according to Clark, that “the anarchist frameworks of punk have spread into all sorts of social groupings.”

The fashion world is one such social grouping. The thing that we have to remember here is fashion allows you to have the ability to choose both “Pepsi” and “Coke,” not either or. That’s the point of fashion—it allows the wearer to express many different versions of themselves: say, a flower child one day and a ‘90s goth the next. Wouldn’t sticking to one style of fashion or dress be simple conformity? People may view the fashion world as complicit in the “selling out” of punk, but it’s really memorializing the lifestyle that it was, a mentality of raging against the status quo that lives on today.

The fact that punk-inspired designers like Varvatos are the success-stories of the era could conceivably be regarded as a triumph for the subculture movement. The fashion world would still exist today whether punk had ever existed in the first place or not. Whether it’s ready-to-wear or haute couture, clothing will always be a major commodity, and punk has influenced it permanently.

“As I’ve gotten older, I sort of feel like I’ve transcended the idea that what I wear makes me more, or less, punk,” Brandon says, adding that he “still loves tattered clothes and wears stuff that [he] sewed up with dental floss and patches.”

I suppose we can settle and call it irony, as we now seem to be kicking ourselves for how this subculture has been taken for granted, and not to mention, how much it has influenced the fashion realm. While we thought at one point that punk was “dead,” Clark argues that, along with the red tartan pants and leather studded jackets, the mentality, the sense of freedom it engenders, has survived.

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TOP 12

albums of

2016 Our culture editors round up their favorite albums of the year. So far.

By Tonya Burks & Tiffany Johnson

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Travis Scott| Birds in the trap sing mcknight

12.

Scott’s sophomore studio album is his most well-composed and concise to date. He stays true to a sound that has obviously been curated from his influences, but this time, he has found a way to make it his own. Scott is known for his quirky usage of auto-tune and gritty background ad-libs. It’s a guest-heavy project filled with big names like The Weeknd and Kid Cudi. Scott does a great job pulling his own weight and making sure listeners know that it’s his song first and his guest’s second. —TJ

rating: 7.5

M.I.A. | AIM

11.

AIM is an album that crosses political boundaries. With tracks like “Borders” and “Visa,” the album highlights the xenophobia that has swept across the U.S. and Europe in recent years. It’s a chant of rebellion and unity all in one that truly makes this an album for the people. This past July, M.I.A. announced that this album may be her last. AIM is utterly enjoyable, and although she has difficulty rapping some fire bars, we have to remember: that’s just M.I.A.’s style. The creativity behind each song’s beat showcases her ability to produce tracks that are authentic to her culture and her style. She’s not some genius emcee, but she is a mastermind at braiding her voice through samples. —TJ

rating: 8.0

KAYTRANADA | 99.9%

10.

Dance. Dance. Dance. Louis Kevin Celestin (a.k.a. Kaytranada) provides great joy with his ability to chop up samples that are full and vibrant.

The Haitian born 23-year old DJ rose to prominence following the success of his music posted on SoundCloud. This eclectic piece of work followed a life-changing moment of relief: the musician admitted publicly that he is gay. One of dopest tracks on here is “Glowed Up” featuring Anderson .Paak. If you don’t play any other song from 99.9%, make sure you listen to that. You are guaranteed to love it. The two-part song speaks about both artists’ upbringing and success. Both went through their fair share of struggles—Kaytranada’s sexuality and .Paak’s homelessness—but they finally experienced their season of glo’ up. 99.9% is a great album that deserves to be recognized. And danced to. —TB

rating: 8.1 JAMES BLAKE | THE COLOUR IN ANYTHING

9.

One of today’s most distinctive voices released his third studio album this past May. It’s the perfect compilation for a rainy day. His chilling and brassy voice possesses the ability to capture your soul in the most fulfilling way possible, even as he sings about a lost love. In his obvious painful plead to a lover in “Love Me Another Way,” Blake achingly utters, “I won’t be so loud if this is what you need/I won’t be so loud if you won’t take my lead/I know some men hurt more than me/ But giving up is hard to do.” If I had to describe Blake in one word, it would be exquisite. He is the master of his craft with the enviable ability to seamlessly mix British dance music, R&B, and gospel. —TB

RATING: 8.2 25

VARIOUS ARTISTS | THE GET DOWN ORIGINAL SOUNDTRACK

8.

The most amazing soundtrack I have heard in awhile. I am a true lover of old school music, especially growing up in a house with parents born in the mid ‘50s. I was surrounded by it, and this album gives me all kinds of memories of great times. Netflix’s The Get Down, starring Justice Smith, Jaden Smith, Herizen Guardiola, and Shameik Moore, is based in the late ‘70s in the Bronx during the prime of disco music and the birth of hip-hop. As cheesy as disco can be, I’m all for it. The compilation mixes disco classics and today’s sounds with contributions from Nas, Christina Aguilera, Leon Bridges, Janelle Monáe, and more. It also features amazing hits from the show’s cast.

And can we all give praise to the higher power that Zayn Malik left One Direction? Trust: when you hear him on track five with Teddy Pendergrass, hitting all those captivating high notes, you will know One Direction wasn’t doing him any justice. Just get down with The Get Down. —TB

RATING: 8.3 Frank Ocean | Blonde

7.

Frank Ocean dropped the landmark album Channel Orange in 2012.

After a mute, prolonged four years, Ocean finally released not one, but two new albums. This time around Frank finds himself writing more sentimental, peaceful songs that speak to a more pensive and contemplative mind. In the opening track, “Nikes,” he pays homage to the Black Lives Matter movement: “R.I.P Trayvon,” Ocean croons in his beautiful husky voice. His ability to unpack complicated emotions and stories into lyrical form is what makes him such an impressive songwriter. The album doesn’t top Channel Orange, but it’s a start. —TJ

RATING: 8.5 Kanye West | The Life of Pablo

6.

Mr. West has done it again. Whenever Kanye releases an album, the sound and style is always different. Kanye’s adoration for album-making is what makes it his greatest and strongest talent. The album is jam-packed with stars like Rihanna and Sia, but he does an effective job selecting the right samples and lesser-known artists to complete his art. The infamous line about Taylor Swift from “Famous” was the fuel to reignite one of the best feuds in modern day pop culture. “Waves,” a song that just barely made the final cut (Thank you, Chance the Rapper), beams overwhelming vitality. Overall, The Life of Pablo is another monument in Kanye’s growing legacy. —TJ

RATING: 9.0 Charlotte Day Wilson | cdw

5.

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Good vibes. Grab a glass of wine, or tea, whichever you prefer, and just let go. Perfect record for grooving out all by yourself in the middle of your room. The Canadian-born singer is giving us something heavy, but also soothing. The way she carries her dazed voice over a track is reminiscent of the tone of Sade, especially on the tracks “After All” and “Find You.” Her vocals are hauntingly beautiful, as showcased on the opening piece, “On Your Own.” Her voice is pure velvet. I can only imagine what James Blake could do with a voice like hers. She is not just another singer; this girl has the chops to go head-to-head with some of the greats.

Wilson’s abilities in classical piano, jazz saxophone, self-taught guitar playing, and natural vocals will convince the doubters. My description of her does her no justice; you’re just going to have to take my word for it and listen. Charlotte Day Wilson is pure soul and emotion. It may be technically an EP, but that’s no reason to keep this off the list. —TB

RATING: 9.2

Radiohead | A Moon Shaped Pool

4.

In the five years since their previous album, Radiohead gave no indication they’d make another. So many fans, myself included, pegged The King of Limbs as Radiohead’s farewell. Turns out the band was busy working on another masterpiece for us all to cherish and brood over.

A Moon Shaped Pool has that slumberous, comatose feel that takes you to another dimension. With Thom Yorke’s squat but very tenacious vocals on each track accompanied by Jonny Greenwood’s dense and beautiful string arrangements, you will be engulfed and driven to the point of intense nostalgia. Long live Radiohead! —TJ

RATING: 9.2 Anderson .Paak | Malibu

3.

Did you see his performance at this year’s BET Awards? This is not a name you want to overlook. Before releasing this critically acclaimed album, .Paak had some heavy credit under his belt, being featured on Dr. Dre’s Compton. You can’t doubt the talent coming out of Cali. .Paak eases you in with his opener, “The Bird,” speaking of the hardships of his youth, but continues to push through for greatness—“I had to wake up just to make it through/I got my patience and I’m making do/I learned my lessons from the ancient roots/I choose to follow what the greatest do.” The project features appearances from BJ the Chicago Kid, ScHoolboy Q, Talib Kweli, Rapsody, and more. He is not your typical rapper, but more of a well-rounded musician that has impeccable skills in drumming and overall production. Through his music, he strongly displays his old soul. “Parking Lot” is a favorite of mine. Listen and groove. This is house party music for adults for sure. —TB

RATING: 9.5 Kendrick Lamar | Untitled

2.

Kendrick, Kendrick…stop being so good to us. After releasing his iconic album To Pimp a Butterfly in 2015, he gave us Untitled in 2016. The album is an extension of his previous albums, where he raps about corruption, politics, self, and society. Note that this is not a collection of brand new songs intended for an album of such; just about all of these songs from Untitled are obvious sessions from To Pimp a Butterfly.

He pours out his soul in an insightful and sometimes uncomfortable way, breaking down the politics of race, greed, and human dignity. On “untitled 03,” he speaks on several minorities (Asians, Blacks, and Native Americans) and gives them advice on how to live better. On a lighter note, the production job on “untitled 07” is especially something to pay attention to. Why? Because when you find out it is produced by a 5-year-old kid from New York whose parents are none other than Alicia Keys and Swizz Beatz, the song is ten times better. Mr. Kendrick Lamar is hip-hop at its best.

—TB

RATING: 10 BEYonce | Lemonade

1.

On her sixth solo album and second visual album, Beyoncé confronts adultery and finds closure with the cultivating masterpiece Lemonade. Jay-Z and Beyoncé are a world famous musical duo and couple that pride themselves on keeping their relationship private. But since the “elevator incident” back in 2014, there has been speculation about the state of their marriage. Lemonade brings much of that speculation to light. In the beginning, with tracks like “Sorry” and “Don’t Hurt Yourself,” Beyoncé makes it known that she can do bad all by herself. There is a happy ending to Bey’s divorce threats, but this doesn’t stop her from putting Jay-Z on display in the visual segment for “Sandcastles.” This is an album that speaks realness and empowers women to remain strong after dealing with difficult obstacles such as cheating, divorce, double-standards, and disappointment. But its political undertones and exploration of race in America also contribute to its status as a modern classic. —TJ

RATING: 10 27

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Top BEAUTY

1 2 5 3 4 Marc Jacobs Decadence Fragrance, $122

Stuck on what beauty products to buy this fall season? Don’t worry—we’ve got you covered. Curated by Beauty Editor Keely Schooley-McCormick, LIM students pick out their top ten beauty products for autumn.

Haves

Must-

Kevyn Aucoin The Sculpting Powder, $44

NYX Cosmetics Lip Lingerie lipstick, $7

Lush Cup O’ Coffee Face Mask, $20

30

Butter London Patent Shine 10x Nail Lacquer in Afters, $18

9

8 7

Clinique Pep-Start HydroBlur Moisturizer, $30

6

L’Oreal Paris Infallible Pro-Glow Foundation, $13

DryBar Detox Dry Shampoo, $23

Mario Badescu Drying Lotion, $17

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THE LEXINGTON LINE

Student Writing

SHOWCASE

The following essays were the winners and runners-up for the Arts & Science Department’s 2015 - 2016 Essay Contest.

For information about this year’s contest, contact an Arts & Science Department faculty member.

A Lack of Presence | Brionna Grosvenor 2015 - 2016 Contest Winner

C

olonialism is a term that in most recent history refers to the conquest of a country or nation by one who has military superiority. In his essay “The Song of Ourselves,” Nigerian writer Chinua Achebe discusses the role language, particularly literature, plays in robbing colonized people of what he defines as “presence.” In the essay, he addresses the colonialization of Africa by the British. He does this by discussing Joseph Conrad’s novel Heart of Darkness. Achebe states that Conrad’s attempt to show the chaos and horror of the colonial enterprise was only effective at erasing African people from their own history. Conrad’s intention was to show just how horrible colonialism was to the Africans, but he told the story without an accurate depiction of the Africans, taking away their “presence,” Achebe contends. This is still occurring in today’s popular media. In the Disney film The Princess and the Frog, the African-American culture is meant to be celebrated, but instead, the story is misleading and actually encourages demeaning stereotypes.

Achebe states, “Colonization may indeed be a very complex affair, but you do not walk in, seize the land, the person, the history of another and then sit back and compose hymns of praise in his honor.” He suggests that the British colonizers were telling the story for Africans. According to Achebe, Conrad is implying that the colonized people 32

were incapable of telling their own story. This in turn takes away their humanity and suggests that there is an absence of presence.

In essence, the actual Africans are treated as invisible.

The Princess and the Frog, celebrated as the first movie to display an African-American princess, likewise erases African-Americans from their own story. Set in New Orleans at the beginning of the 20th century, The Princess and the Frog is about a poor African-American girl named Tiana who is very good at cooking and dreams of opening up her own restaurant. She has a best friend, “Lottie,” who is a privileged white girl. Tiana’s mother, who is also African-American, works for the best friend’s father, a White man. When the friend’s family hosts a party, Prince Naveen of Maldonia—who is Indian—is turned into a frog.

Naveen convinces Tiana that a kiss will reverse the spell, and says that if she saves him, he will give her the money to open up her dream restaurant. However, it does not work, and Tiana is turned into a frog as well. The two spend the rest of the movie searching for a voodoo priest who is said to be able to reverse the spell.

Disney’s intention of showcasing the first African-American princess backfires just as it does in Conrad’s Heart of Darkness.

Tiana’s privileges as a “princess” were taken from her almost right away; she was a frog for most of the story.

Where is this African-American princess we were all expecting to see throughout the entire movie? Why couldn’t they have told a story where she remained a human being? This literally shows the dehumanization of blacks that Achebe spoke

about. Instead of providing an African-American fairytale, they told their version, which stole the “presence” of her character and culture.

Disney also denied Tiana of her capabilities as an African-American woman. Instead of being capable of turning him back into a prince, she turns herself into a frog also. This implies African-American women are helpless beings who cannot do anything right. Also, it shows that she is not capable of living her dreams unless she submits to a powerful man. Achebe speaks to this issue in his essay and states, “To not call yourself a bandit.

What do you do? You construct every elaborate excuse for your action. You say, that the man in question is worthless and quite unfit to manage himself or his affairs.” The African-American princess is hapless and flawed, and this robs of her of her identity as a human being.

In the The Princess and the Frog, there is also the main antagonist, Dr. Facilier, who is a Voodoo priest. In the movie, Facilier, a black man, often uses his magic to con people in order to get money. He is the one who turned Prince Naveen into a frog in order for his aide to pose as Naveen and perform another scam.

His plan was for the aide to marry a rich white man’s daughter, then kill the man and split the money. In order for this to occur, Facilier made a deal with Voodoo shadows to capture Naveen.

According to Michelle Gonzalez Maldonado of the University of Southern California Annenberg, the film “perpetuates offensive stereotypes about Voodoo.” The shadows, also referred to as Loas, are portrayed through colorful, threatening masks and dark, evil spirits who are “full of greed and anger.” The masks end up killing Dr. Facilier because his plan fails. But “the African style of the masks connects their sinister nature with African religion,” Gonzalez contends.

“Africans are presumed to pursue this darkness,” Achebe writes. Disney validates the association of Africans as savage creatures. Achebe also states, “So these African creatures have no soul, no religion, no culture, no history, no human speech.

Any wonder then that they should be subjected by those who are endowed with these human gifts?” The constant efforts to deny a voice and presence is the reason why Blacks are associated with this horrific stereotype.

While there are forms of literature that deny the presence of a certain group, there are still pieces that celebrate them.

They give them the voice they deserve to tell their own story. This occurs in Junot Diaz’s short story “Drown.” This story entails a Dominican-American teenager who lives in the ghetto of New Jersey and is a product of his environment. He is a drug dealer with no hopes or motivations. He is the narrator of “Drown” and takes us through his life. He describes a childhood friend of his, Beto, who has returned from college. He avoids seeing Beto every chance he gets. Diaz leaves the reason up to question for the majority of the story and lets the audience assume it is because the narrator is now intimidated by Beto. It is later revealed that Beto is homosexual and that the narrator has had sexual encounters with him. The story begins to make more sense to the readers. In the Dominican culture, masculinity is very important. In many cases, one cannot even talk about being gay, let alone associate so intimately with a homosexual. The narrator avoids these feelings in order to prevent others from looking at him as less than a man.

While the story shows a character who struggles with sexuality, Diaz gives light to or “celebrates” a character who is homosexual. He puts a halt on the stereotypes and ultimately de-

picts embracing homosexuality as a way of exploring opportunities and being much more open-minded. The audience sees that Beto did not let his environment hinder him; instead, it motivates him to go to college. In the story, the narrator states, “Beto hated everything about the neighborhood, the break-apart buildings, the piles of garbage around the cans...‘I don’t know how you do it, he said to me. I would just find me a job anywhere and go.’” Unlike Conrad’s Heart of Darkness and Disney’s The Princess and the Frog, Junot Diaz’s “Drown” does not deny the presence of a certain group. He makes it the subject and lets members of that group tell their own story. “Drown” gives a voice to Hispanics and establishes a presence for homosexuals.

Achebe writes, “But a time came when I realized...that these writers had pulled a fast one on me! I was not one of those strange faces jumping up and down on the river bank, making horrid faces.” Often it is hard to discuss topics like the one at hand, because we have to reevaluate our favorite stories and discover messages we never knew existed. Viewers may then see it in another light and may see that a certain group that is denied “presence” is a group they may associate themselves with. What is the point of writing the story at all? Modern writers and creators of the current time must realize how important and substantial it is for a culture to accurately portray the part themselves. This is not to suggest that artists can only make art about their own culture, but that when they choose to represent another culture, they must bear the burden of extensive research and elaboration on context. They must avoid cliché, oversimplification and stereotype. No one should be denied the “presence” they deserve.

Moral Women | Tara Greene 2015 - 2016 Contest Runner-Up

T

here is no one answer as to what makes a person moral.

To many, being moral means to have good intentions and hold positive personal attributes, making one a “good” person. In Molara Wood’s “Kelemo’s Woman” and Chika Unigwe’s “Growing My Hair Again,” the protagonists, Iriola and Nneka, commit some questionable actions, but for justifiable reasons. These women made choices to protect themselves from ridicule, abuse, and possibly even death to better their own lives and the lives of their close family members. They are moral women, as best exemplified by their ability to maintain self-control, self-respect, and courage through times of violence and despair.

Self-control can often be difficult to maintain in potentially explosive or dangerous situations. By showing self-control, one shows an ability to remain non-confrontational. In “Kelemo’s Woman,” which is set in Nigeria, Nneka is in a relationship with Kelemo, an anti-government activist in a time of great strife.

When their hideout is under siege, Kelemo is able to escape, but Nneka is not. She schemes to escape the prospect of being taken captive by “sleeping” her way out. She realizes men will force themselves upon her either way, so she may as well use it to her advantage. This is terrifying not only because her body is vulnerable to strangers, but because she can only hope that her plan to use her vulnerable position in her favor will actually work. As she waits for their arrival, she positions herself and thinks, “The ridiculous posture amuses me, but I discipline my expression into blankness.” Iriola is powerful in her ability to be in control of her emotions, which is one of the only free choices she has left to 33

make. It is difficult to have power when almost everything has been taken from you. Her self-control and ability to stay outwardly calm after being captured speak volumes about inner strength and respect for her mother and her mother’s wishes for her to stay safe and get out of her dangerous situation.

The self-control exemplified by Iriola in “Growing My Hair Again” is different. It does not stem from a threatening situation, but from put-downs constantly leveled at Nneka by her late husband Okpala’s mother after Okpala’s untimely death.

The narrator continues to show respect and to swallow all of the negativity her mother-in-law throws at her. Her mother-in-law calls and pesters her to keep crying, and to cry harder, after her husband’s death, when in fact Iriola was glad to be rid of him—he was controlling, violent and abusive. After her mother-in-law exclaims that Iriola is a witch for not crying over her husband, Iriola thinks, “I ignored her. She has called me worse. ‘Murderer.’” The restraint needed to stay quiet while being called a witch and a murderer by a family member, at the services for another family member, is admirable to say the least. This shows that even though she cannot cry for her awful husband, she is not willing to create a scene or start an argument.

Iriola chooses to respect the occasion and be sensitive to others who may be upset about Okpala’s passing.

Some say it is difficult to respect others unless, or until, one respects oneself.

It follows, then, that developing self-respect is a Nneka and Iriola show this respect for themselves by making their decisions based on what will ultimately be best for them. Both are presented with circumstances under which altruism simply will not do, and so they allow themselves not to be swayed or restricted by others.

Acts driven by self-respect in these kinds of cases are commendable, as a person with self-respect is able to recognize that his or her life is of value and does not have to be compromised. In “Kelemo’s Woman,” Iriola decides to let her body be used in her favor to help her escape. This shows self-respect because it is an empowered choice. She describes, “The woman in the next room screamed at the top of her lungs...I heard the laughter as her cries were defeated into whimpers. No use begging hyenas, I thought. I promised myself that whatever would be taken from me, I would freely give, of my own will.” She has chosen to use her body as a tool instead of allowing herself to feel violated. They may have her body, but she her own mind. She has promised herself that only she will decide what can be taken away from her. She also illustrates self-respect with this line: “...Kelemo was not in that hospital room when Mother breathed her last.” Iriola recognizes that although she loves Kelemo, he has always had a tendency to put himself first. He did not see the value of her mother’s life, nor the value of Iriola’s life, because he escaped without her; he put 34

his own interests and ambitions first, and so she does the same.

She is moral because in these circumstances, she owes no debt to anyone greater than the one she owes herself, and she is capable of diving a logical response to horrifying circumstances.

In contrast, Nneka in “Growing My Hair Again” shows her moral self-respect not with actions, but by allowing herself a future. She cuts her hair off after Okpala dies, as is customary for a grieving widow. As a result, she is left bare inside and out. It is at the end of the story that she truly allows herself to embrace her new freedoms. She says, “I look beyond ... and see my new life ahead of me: a multi-colored wrapper infused with the scent of fresh possibilities.” She speaks of all the great things she has to look forward to, including her son, her business, her potential to find a new relationship, and the regrowth of her hair. By acknowledging and embracing that she can start her life over again, she exudes self-respect. She knows she is worthy of a better life for herself. Like Iriola, she recognizes that she has lived life according to others’ wishes, and that sometimes, one has a moral accountability to oneself to find happiness.

After surviving a trauma, embracing the world around you can be difficult and terrifying.

Trust is gone, post-traumatic stress can set in, and hope can fade. In “Growing My Hair Again,” Nneka reveals that well before Okapala’s death, she had had her tubes tied without his knowledge—an incredibly courageous act.

After he is physically abusive and causes her to miscarry, she “knew [she] never wanted to give him another child, male or female,” and to accomplish this, she undergoes the procedure behind her husband’s back. She risks further abuse from him if he finds out.

Most of all, she is courageous enough to make her own decision that she will not allow him to be in control again.

Iriola’s entire journey toward the end of her story is courageous. She acknowledges throughout the story that she does love Kelemo, but that when her options are narrowed to being with him or being safe, she decides to change the world.

It was not only courageous to execute her plan to escape, but to effectively betray a loved one so suddenly after many years. She has the courage to completely remake her life, however painful that may be.

When one is asked to describe someone who is a “good person,” the terms courage, self-respect, and self-control should come to mind. The acts these women committed with courage, self-respect, and self-control are moral and good because they all prevented mental or physical harm in one way or another.

They required serious deliberation about the best possible outcome, and then difficult and dangerous actions to achieve such ends. These choices were as moral as possible within their limited parameters.

A New Kind of World | Kayla Doolady 2015 - 2016 Contest Second Runner-Up

T

he past century has seen many improvements to living standards as the majority of the world’s population benefitted from industrialization, globalization and an information revolution. This unification of the world’s population has created an immense cultural hybridity with its own unique struggles that contemporary literature explores. In these works, characters tend to question their legacy and lineage as they recognize themselves as stories within a story in a new, globalized world. The modernist generation recognized these shifts after the turn of the century and world wars, but reacted with a complete disassembling of past ideas in order to find their place in the future. In response, contemporary writers such as Salman Rushdie, Hanan Al-Shaykh and Chinelo Okparanta recognize the need to reconcile past with future. Their characters realize there is no black or white, fiction or history, good or evil, rejecting these binaries and breaking from the past in their own ways in order to thrive in a new kind of world.

Cultural transmission across generations plays an important role in contemporary literature, as contemporary characters represent a universal struggle to embrace their past and ancestry, while also understanding their place in contemporary society and looking forward to future progress. Modernist writers such as William Faulkner in his work “A Rose for Emily” were quick to dismiss history as entirely problematic, and although this is sometimes justified, (especially in the case of America’s South in Faulkner’s “A Rose for Emily”), many contemporary writers understand the importance of understanding and adapting while respecting cultural boundaries and histories in order to celebrate the life and culture of traditionally marginalized groups.

In Hanan Al-Shaykh’s “The Women’s Swimming Pool,” Shaykh explores the conflicts between tradition and modernity in first person narrative as they affect a young girl in southern Lebanon. The immediate setting itself, as a meeting place between East and West, sets up the story of a young woman struggling to escape from the heritage that shaped her.

Throughout the story, she is continuously “thirsty,” both literally and figuratively, which draws parallels to the sea she yearns to visit, representing a universal longing to be free and progress from the expected. The narrator is finally able to travel to the women’s swimming pool with her very old and very traditional grandmother, showing further juxtaposition between tradition and modernity. The young girl is well aware of her family’s history in the tobacco fields as she gazes on “the other side where

lay the extensive fields of green tobacco...leaves that were imprinted on my brain, their marks still showing on my hands.” The narrator understands her ancestry as tattooed on her skin, apparent in all she does, but does not view this positively. She describes her village as having “windows of iron,” and her house “groaning in solitude,” recognizing her alienation from the western world.

This rich language permeates the entire story, as every step of her pursuit is made more difficult by the tradition that holds her back, represented through her grandmother. The reader feels the heat of being “born amidst dust and mud and the stench of tobacco” and senses the illusion of water that doesn’t match the relief of the pool she seeks, and the anxious mental state of seeking something mysterious. Yet upon reaching the swimming pool, she is unsure about her decision to swim after she sees her grandmother stopping to pray before she’s able to reach the steps, “blocking the way between me and the sea.” She decides to turn back to be with her grandmother, leaving the reader unsure if she reaches the pool or not. But does it matter, after she realizes her place is with her grandmother? The entire story is full of compromises; she wishes for the sea but must settle for the women’s swimming pool because of cultural limitations of gender; she wants to be free from traditional ways of modest dress but is only allowed to stop wearing stockings, representing how the character must now accept the weight of tradition and heritage before assimilating into a globalized world. In the end, she finds herself somewhere in between home and a new world, lost with her grandmother, suggesting that one cannot move forward by completely abandoning their history.

Chinelo Okparanta explores tensions between tradition and progress in her story “America” through a character who defies the deeply held norms and expectations of her Nigerian community, and the laws of human procreation, for the sake of her own happiness. The antagonist, Nnenna, reveals the shift from past to present as the story moves between her relationship with the environment, specifically the Niger Delta, and her same-sex relationship with colleague Gloria Oke. She notes the changing nature surrounding the Delta as one that once “thrived” to an environment that holds plants “little more than stumps, thin and dusty, not verdant as they used to be.” This parallels her mother’s struggle to understand and accept her daughter’s inability to conceive when in a relationship with another woman, as she will be unable to continue the family line and the history it represents, leaving them barren, a major theme in modernist T.S. Eliot’s epic poem “The Waste Land.” It is then that Nnenna decides to move to America to be with Gloria, further distancing herself from Nigeria and her family.

Although her father encourages her to apply to American 35

schools, her mother insists that she will “get lost in America,” as the majority of her community views the United States with high esteem, expecting that Americans see Nigeria as an inferior country. However, it is American corporations like Shell who cause mass environmental destruction in Nigeria’s Niger Delta.

Nnenna soon comes to realize this after speaking with a wealthy American during an interview for a green card, noting she did not “question the man in the suit about where the money for his rings and suit is coming from.” On her way home, this becomes even more apparent, as she notes the immense waste coming from the American-style houses and can no longer “ignore all of this foulness, just like the owners of the big houses have managed to do.”

The story ends with a story within a story, as Nnenna reflects on a story told by her mother about a golden hen. Nnenna reflects on the tale through the lens of western wastefulness that happens at the expense of communities like hers, and she struggles with her decision to travel to America and leave behind her family.

Nnenna’s journey in this work represents a universal struggle to abandon tradition for progress, even if it comes at a high cost.

In “The Perforated Sheet,” Salman Rushdie addresses the conflict between cultural tradition, ancestry and progress after Indian independence. This starts right at the beginning when narrator Saleem states that his story begins at the moment his grandfather Aadam decides he will not pray anymore, which is a significant defiance of cultural norms. His character continues to represent westernization and globalization in general once he returns to India from Germany after receiving a western education as a doctor. The doctor’s bag he returns with becomes a symbol of his western identity, which is met with hostility from the character Tai, as he states, “that bag should fry in hell with the testicles of the ungodly” because it is made of pig skin, which is ungodly in Islam and a representation of westernization. Tai himself becomes a symbol of tradition and, similar to Emily in Faulkner’s work, is viewed as ever-present in the community’s history: “Nobody could remember when Tai had been young. He had been playing the same boat, standing in the same hunched position...forever.” Tai joins many other characters and stories together, just as the many languages, customs and religions of India are tied together through national traditions. Even the perforated sheet through which Aadam must examine Naseem represents a traditional cultural division between men and women, emphasizing modesty. Through the rest of the story, Aadam is still able to practice modern medicine through the perforated sheet and the tradition it represents, proving that tradition and modernity exist best when they are not mutually exclusive.

As the world has shifted to one where society is more connected than ever due to increased communication and large migrations and movements of people, there is a larger focus on the individual through a broader scope that has transformed contemporary society. In past literary movements such as modernism, there was no reconciliation between the individual and society, and they were often seen as working directly against each other. However, contemporary literature responds to this through characters and stories who embody universal shifts, literally and figuratively. In these works, the importance of diversity and alienation to the human experience are explored; however, they are used to reveal the universality of human emotion.

Saleem, the narrator of Rushdie’s “The Perforated Sheet,” was born at the dawn of Indian independence and is acutely aware of himself as a representation of the entirety of India. This 36

can be no easy task, as India itself is fragmented, torn apart by the partition, with new nationalities taking shape in its aftermath.

But can a person truly embody a nation like India—a nation already extremely diverse with more than 22 official languages and many different recognized religions—without falling apart? Saleem notes that he has been “a swallower of lives” and goes on to tell his family’s stories, focusing on their generational legacy, even though his birth represents a shift in their trajectory. He begins with the story of his grandfather, who falls in love with a woman, Naseem, through a perforated sheet. However, they eventually realize they are incompatible as a result of seeing each other in fragments. This fragmentation is represented through Aadam himself, as he realizes that his refusal to never pray again has “made a hole in him, a vacancy in a vital inner chamber, leaving him vulnerable to women and history,” and it appears in Saleem as well, who refers to himself as deteriorating. Saleem is representative of an entire nation, encompassing its history and future; however, he admits that there are likely historical errors in his retellings. Here we see that the lives of the public and that of the individual continue to influence each other, but will never be able to completely link with each other. Instead, perspective is the answer, as individual memories work together to create universal truths.

In Shaykh’s “The Women’s Swimming Pool,” the narrator is aware of her place in history and family legacy, but represents a shift in focus towards the importance of her individual perspective as an important voice of a large group of Muslim women. The story alternates between fiction and non-fiction, suggesting that factual or realistic histories founded in a majority’s understanding of the events are less important than individual perspective.

She is constantly reminded of her place in history by her grandmother, who responds to her wish to go swimming with, “If any man were to see you, you’d be done for, and so would your mother and father and your grandmother, the religious scholar—and I’d be done for.” It is assumed that the young girl’s actions will speak for the whole of her family, but with a large generational gap, can this truly be possible? In her grandmother’s world of tradition, this is a possibility, but the narrator represents a generational push to understand the past while pushing for one’s own future as an individual.

In “America,” Okparanta’s character Nnenna uses her individuality within her town of Port Harcourt and her country Nigeria to explore their place within the western world. There is much that separates Nnenna from her family and cultural expectation; she is well educated, critical, and engaged in a lesbian relationship with a coworker. Through her ability to see her life in both a local and global context, through her relationships with family, Nigeria and the United States, Nnenna understands the need for contextual perspective in order to progress as an individual.

A global sense of unification and cultural hybridity are unique traits of the late twentieth century that contemporary literature explores through characters who reject normal binaries.

These contemporary writers show an awareness of how history shapes the individual and vice versa, understanding that history should be viewed as many interlocking short stories instead of one straight forward historical account, allowing these authors to reconcile past, present and future in a way no literary movement before them has done.

ll e g e ’s J o in L IM C o

Philanthropy Club

OUR PURPOSE

- To promote the welfare of others and give back to the community - To assist non-profit organizations in their pursuit to help those in need - To further bring generosity and responsibility into the fashion industry

WHAT WE DO

Volunteer with nonprofit organizations including the American Cancer Society, Mercado Global, New York Cares, and NY Foundling. As we continue to work with various non-profits, we learn about various ways to give back.

MEETING TIMES Mondays, 1:15pm-2:15pm Maxwell Hall, 8th Floor, Room 4582

HOW TO JOIN

You can join anytime throughout the semester. Feel free to send us an e-mail and stop by one of our meetings. Join our e-mail list by contacting Madison Ross (Madison.Ross@limcollege.edu).

Let’s be friends!

no

small

feat

by Clarissa Hernandez

LIM College alumna Bianca Caampued and her partner Mallory Blair do big business at Small Girls PR

B

ehind some of the biggest names in business are some of the biggest people. Or sometimes, the smallest.

Bianca Caampued (‘07) and Mallory Blair, who are just over five-feet tall, are the brains behind Small Girls PR, a communications firm that counts General Electric, Google, and Panasonic among its clients. Their claim to fame is taking a more personalized and untraditional approach to public relations. You can think of them like matchmakers. Instead of mass BCC’ing all of the reporters on their Rolodex, they pair the right reporters with their clients’ newsworthy stories.

But media relations is not the only thing they’re known for; they also create what they call “ownable moments,” which includes stunts and creative marketing. In 2011, Bianca and Mallory wore 30 prom dresses for 30 days and liveblogged the entire experience to promote a dress client. In 2014, Small Girls was behind GE’s Emoji Science with Bill Nye, a Snapchat campaign designed to reach a younger, science-enthused demographic. The project, which garnered 712.2 million media impressions and 1.2 million social impressions, was GE’s second largest campaign that year. Other ownable moments include opening Texas’s first robot barista bar and livestreaming dates for a dating site.

Small Girls PR started when Mallory turned 21, and Bianca, whom she hadn’t met, crashed her birthday party. They instantly became BFFs and partnered up to create a video for a small thrift shop in NYC. The collaboration was a success, and Mallory e-mailed Bianca at 2 a.m. with the idea to start a business together.

“Small Girls came about so organically from the energy between me and Mallory that we didn’t really sit down for too long to brainstorm how we were going to present ourselves,” Bianca says. “It all came about naturally. Calling ourselves Small Girls was a kitschy spur of the moment decision, but it helped us become recognizable so 38

early on. The choice to really infuse our personal styles into our branding did the same thing.”

In six years, Small Girls PR has risen to PR stardom. The firm is listed as one of Business Insider’s top 50 PR Companies and one of Forbes’s top 15 women-led companies. Bianca and Mallory have also won many accolades, such as being named one of Marie Claire’s “Top 5 Young Guns” and Buzzfeed’s “Top Role Models for 20-Somethings.” The company that started in 2010 with just Bianca and Mallory has now transformed into a team of 40 people based out of Williamsburg, Brooklyn.

In August, SGPR hit a major growth spurt when they acquired (NO SUBJECT), a small agency that had been doing similar creative and experiential work in Los Angeles. Jaclyn Johnson, the founder of (NO SUBJECT), is now the President of Small Girls PR and heads the team at Small Girls West.

“We’d always fantasized about opening shop in L.A. as a next step,” Mallory says. “But we’ve never been able to reconcile the time and resources it would take to move parts of our team out there or potentially slow the growth of our NY base as a result. With (NO SUBJECT)

now functioning as Small Girls West, we’ve adopted a family out in L.A. whose values, clients, and work ethic match our own, making this the smartest and quickest way to expand and make that dream a reality.”

Bianca, who graduated from LIM College in 2007, won the college’s Rising Star Award in 2015. She is a very active alumna who frequently comes back to campus to speak about how her background at LIM has helped her cultivate her entrepreneurial drive.

“The marketing and visual merchandising classes I took at LIM were all about how to present brands to the public,” she says. “I think that what I learned has just become ingrained in me. I just view the world in the eyes of a marketer.”

Bianca also gives a shout-out to classes like Business Spreadsheets, which—unsurprisingly—is essential in running a company.

“I’ll never forget the Excel class I took at LIM, where I basically learned that I am a spreadsheet nerd,” she says. “I love it and live it, and it has come in so handy, as we use Google Sheets for nearly everything.”

meet the t

Studen rs u e n e r p e Entr

by Nicole Jezerski

On September 7th at Maxwell Hall, LIM College hosted its annual Fashion’s Night In event, where seven ambitious student entrepreneurs had the chance to showcase and sell their handmade products or personally-curated collections of merchandise. At LIM College, we preach about the value of experience. While most students gain it through internships, volunteering, or freelance work, these seven student entrepreneurs have made their businesses their lives. They are bound to gain valuable knowledge and a shocking amount of experience from production management to retail operations. Support your fellow students by checking out their collections:

Ariana LaConte

@nanasjewelz Bracelets, chokers, custom tees, and more

Imani Shelton

@clothesminded_22 Secondhand clothing

Stephanie Lin

The jobs, internships, and connections that she developed during her college years have also served her well.

“I also learned a lot from experiencing and watching people in the industry through all of my internships. Everything I do at Small Girls is an amalgamation of skills and processes I’ve picked up from those previous jobs,” she says.

For the many LIM College students who possess a similar entrepreneurial drive, Bianca and Mallory have some advice.

“Don’t be afraid to fail. I’ve been a perfectionist my whole life, but unfortunately, life doesn’t really allow for things to go perfectly. Realize how fears can guide your actions and inactions. Get close to them, and learn how to navigate around them,” Bianca says.

Mallory agrees.

“You have the rest of your life to relax. Put in the time now so you can ‘hang out’ later.” “...says girl with the least chill,” she adds.

Photos courtesy of Guerin Blask and Scott Furkay

@iridescence_accessories Handmade jewelry and accessories

Austin Sierra

@Formula154co Urban athleisure wear

Briana Heuthe & Amber McGloster vainandLucid.com Chokers

Skylar Stimmel

@nyc.tyedye Tye-dye towels, pillowcases, and other accessories

Thacia Turner Tayloresque Jewelry Jewelry

Mondrian dresses by Yves St Laurent (1966)

A Better World Through Art and Fashion

By Madison Ross

W

hether it is the partnership between Lennon and McCartney, Rihanna and Puma, or simply PB&J, collaboration has a lot of influence on a project’s success. Engaging in collaboration, relationships with others even, helps you achieve more than you would working alone. Two industries that seem uniquely poised to benefit from collaboration—even more than they already have—are art and fashion. Collaborations between art and fashion have led to enormous financial and aesthetic successes, and the promise of these collaborations ought to be extended to realms like philanthropy; when combined, they are extremely influential and have more potential to do good in the world. This statement can be proven by analyzing the influence of both art and fashion on society and acknowledging the philosophical justifications for why they should used to pursue virtue. *** Art has historically been crucial to communication, as most societies were illiterate until the 18th century. A good example of this fact would be the Rococo Art Movement, which was very prominent for French royalty from the late 18th century and used for political propaganda.. Though originally from Austria, The Queen of France and Navarre at the time

“dutifully adopted the French fashion” as soon as she married King Louis XVI of France, says Dr. Alice Mackrell, author of Art + Fashion.

She also points out that Marie Antoinette wasn’t a very beloved queen amongst her people, but that the queen did everything to prove otherwise by commissioning Rococo-style paintings. Much of the elite class, especially during the time of French Rebellion and the rise of the French Revolution, began merging propaganda and the Rococo Art movement to help portray them as more attractive to society and prevent them from being subjected to impeachment or even death. Marie Antoinette commissioned a painting of herself

by Louise Élisabeth Vigée Le Brun that showed the Queen sitting happily with her children resting innocently on her lap.

Antoinette was trying to get the people of France to think that she was a caring and kind mother, creating the parallel that she could be caring and kind to her country.

Dr. Mackrell also points out that some believed she was trying to pull off a “Holy Mother Mary” persona by looking saintly in the portrait. Overall, she understood the power to persuade through art.

This idea is also present in today’s commercials, magazines, and of course, art. Take for example the Nike

Swoosh logo. That symbol has done wonders in proving one’s legitimacy as an athlete just as Rococo paintings did wonders for French royalty. In a sense, Michael Phelps wearing sweatpants with a subtle Nike swoosh over the left pocket is a blend of art and fashion—a symbol on a garment that conveys a message, albeit a corporate one. Both art and fashion capitalize on subtlety when delivering their messages, and both are used in similar ways when people are attempting to convince the public of something. *** Fashion is compelling because one can easily tell the era someone lived in based on their attire. Fashion has also helped icons make a difference in the world. One example is the singer and dancer Josephine Baker, who became a star in the 1920s. Baker was born in St. Louis, Missouri in 1906. Freeing herself from the trenches of poverty, she fled to New York City to become a chorus dancer.

Despite the fact that Baker was instrumental in the Harlem Renaissance, France had bigger and better opportunities waiting for her; the nation welcomed Baker and 41

other African-American performers as its muses in an era when the United States still remained sensitive to black female entertainers. In spite of overwhelming prejudice coming from her own homeland, Baker consistently followed her own path to success and freedom. Baker continued to bring out her erotic persona along with her aspiration for racial equality in France.

She worked with the French Resistance in the Second World War and was the first American to be a Chevalier of the French Legion of Honor. She was the only woman to speak at the 1963 March on Washington for the American Civil Rights Movement.

Yet much of her fame came from her legendary fashion style, which is still pursued by celebrities today. Banana skirts and gold chains supplemented a fight for freedom. Baker’s impact on both social and political issues not only influenced progress on prohibition, a woman’s right to vote, and the Civil Rights movement, but also the way women think today. It triggers a sense of independence and selfworth as well as the need for social justice.

And you can even find such characteristics in Baker’s outfits. Overall, it is quite obvious why the fashion industry is so obsessed with a decade that happened almost a century ago. Because fashion is a reflection of the times, change is eminent to its existence. If nothing progresses economically, socially, or politically, the fashion industry has nothing new and interesting to put forth. So, with that in mind, because the 1920s were a deeply transitional peri-

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od, they serve the fashion industry as a stepping stone for new beginnings in trends, icons, and the freedom to make a difference in the world. *** Both art and fashion have had a historic impact on human culture and will continue to do so, especially when combined. There have already been numerous precedents.

One instance occurred in 1962 when, with Nancy White as its Editor in Chief, Harper’s Bazaar collaborated with Lower East Side New Yorker and photographer Melvin Sokolsky in hopes of bringing more curiosity and fun to the magazine. Sokolsky, only 21-years old at the time, had the potential to appeal to a younger audience. In March of 1963, he presented unearthly images of a female lurking inside of a large bubble in mid-air. The idea came from 16th-century painter Hieronymus Bosch, who was known as an odd and outlandish painter in his time. According to Art Fashion: Collaborations and Connections Between Icons, “Melvin Sokolsky [recreated] Bosch’s fevered vision [The Garden of Earthly Delights (1500-1505)] using a Plexiglass bubble of his own design, a 1/8-inch aircraft cable, and a very fashionable female clad in Philippe Venet and Pierre Cardin.” This was a success for the magazine and photographer because, as with Hieronymous Bosch’s painting, the photographs allowed viewers to look at art with a new perspective.

Collaborations like this are only the tip of the iceberg. There’s also, for example, The Andy Warhol Foundation for the Visual Arts and its collaboration with Dior’s Autumn/Winter 2013-14 Show.

One of Warhol’s sketches became one in four prints for Dior’s bestselling handbags, Lady Dior and Diorissimo. Using art for fashion inspiration was also no problem to Yves Saint Laurent. In addition to many other American designers using the neoplastic paintings of Dutch painter Piet Mondrian, Saint Laurent turned the black grids and primary colors into printed dresses. The difference between him and the other designers using the design is that Saint Laurent conveyed both simplicity and harmony, something the public needed in an increasingly complicated and technological society. More recently, Alexander McQueen and Damien Hirst used new technology and innovation to create

brilliant textile designs. Other popular collaborations consist of Tim Roeloffs and Donatella Versace with their collage-inspired garments in 2008, The Chapman Brothers and Louis Vuitton debuting the infamous dressing grown illustrating philosopher Denis Diderot, and of course Vogue’s Annual Met Gala opening the new Costume Institute held at the Metropolitan Museum of Art. *** If you are a student at LIM College and are unsure exactly what you want to do with your fashion education, consider how fashion and art overlap with philanthropy. I have found it useful to consider the motivation for collaboration from a philosophical standpoint, and in particular, via the thought of Emmanuel Mounier and Aristotle. If man’s well-being and progress depends primarily on his community, his sociality, his personalism, then why does today’s society strive for individuality? Though self-expression is not entirely misguided, it should not be seen as the primary route to man’s progress and success. Instead, Mounier says personalism, the “affirmation of the unity of mankind, both in space and time,” is identified as the benefit of all mankind’s progress as a whole.

Because humans are by nature social beings. Generally speaking, people don’t willingly live without friends. According to Mounier, seclusion from human contact can be detrimental to man’s psychological health. It is considered a form of torture in many parts of the world. If we compare the two relationships—man with man and man with artificial matter—we can realize the relationship between man and man is more complex, more import-

ant, because there is potential for reciprocation. Mounier and Aristotle review the significance of relationships based on different vocations. As man should strive for the greatest good, he should strive for the greatest relationships. The people we spend time with will no doubt grant influence over us for better or for worse.

And we hold responsibility for our actions no matter what. Artists’ perceptions, though all different from each other, have a common bond not many others have in that they actively seek new perspectives and tend to reject conformity.

Relationships are based on personality and of course on a common bond, but the strength of the relationship depends on the strength of the bond. The stronger the bond, the longer the relationship will last. Like personality, no vocation resembles any other. In order to find and enrich oneself, one must concentrate on one’s vocation. In his book Personalism, Mounier explains how “one has to search oneself to find, amongst the litter of distracting motives, so much as a desire to seek this living unity.” As Aristotle says, “where your talents and the needs of the world cross; there lies your vocation.” There lies your contribution to this communal pursuit to gain knowledge and limit suffering, and collaboration is essential in our efforts to acquire truth.

In philanthropy, collaboration is vital. Practicing this, however, can mean dealing with confrontation, which resists ease. Despite this hardship, striving for the best in collaboration despite differing views strengthen relationships, which strengthens our society. As Mournier states, “We have no authentic existence until we have an interior stronghold of values or of devotion, against which we do not believe that the fear of death itself could prevail.” And no endeavor in art or fashion will successful without a sense of authenticity. *** In 2014, the art market broke $55 billion, which was a sevenw percent increase from 2013. With that in mind, it is reasonable to say that the arts play a significant role for the community already.

According to the National Governors Association, “through the creative industries, states have an opportunity to create jobs, attract investments, generate tax revenues, and stimulate local economies through tourism and consumer purchases.” There are also various opportunities offered by New York Cares Volunteer Organization; one includes designing murals in New York Public Spaces.

And let’s not forget about the fashion industry’s financial successes.

“Globally, fashion is a $1.5 trillion dollar industry. It employs millions of people. And while those of us working in fashion may not be changing the world, we do make important contributions to the global economy and impact the daily lives of billions of people around the world,” says Imran Amed from Business of Fashion. It is so easy for society to label the fashion industry as frivolous and materialistic. This is an unhelpful stereotype that results from

lazy thinking. And in recent years, actually, fashion and philanthropy have been working hand-in-hand. The Huffington Post named a few examples of this fact, for example, Tommy Hilfiger supporting autism research and Tom’s donating a pair of shoes to a child in need for every pair purchased. Non-profit organizations related to fashion consist of Bottomless Closet and Dress for Success, which organize clothes drives and assist women with the appropriate attire for a job interview. In addition to pursuing female empowerment, Diane von Furstenberg in 2015 began the DVF awards used to recognize women for their leadership skills influencing the lives of women around the world.

Ideas for philanthropic collaborations between art and fashion should involve growing international reach for artists both new and established from both industries, promoting awareness of social issues with creative approaches to marketing and using collaborative projects to donate profits to charities and people in need.

The art and fashion communities have a lot to offer philanthropically. So let’s bring new meaning to the drive to keep the fashion and art industries successful, because blending these media has proven to be very successful in the past, and doing so with virtue in mind is a promising way to enhance both industries while improving the world socially and sustainably. The art industry has the potential to help the community by stimulating the economy and more. The fashion industry has the potential to donate a portion of its successes back to its community as well. The two intertwined have the capability to do wonders and would encourage the practice of using one’s talents to give back to the community.

MEAN STREETS 44

OPPOSITE PAGE: From Left to Right, Model: Michelle Marciano. Blouse, Maison Scotch. Shorts, Kahri

by KahriAnne Kerr.

Shoes, model’s own.

Model: Mare O’Connor. Dress, Maison Scotch. Shoes, stylist’s own.

THIS PAGE: Model: Tiara Roper.

Top, Maison Scotch.

Trousers, 5:31 Jérôme.

Shoes, model’s own.

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OPPOSITE PAGE: From Left to Right, Model: Michelle Marciano. Dress, 5:31 Jérôme. Shoes, model’s own.Model: Lauren Piccinich. Jacket, 5:31 Jérôme.

Skirt, Toy Syndrome. Shoes, model’s own.

THIS PAGE: Model: Lauren Piccnich.

Jacket, 5:31 Jérôme. Skirt, Toy Syndrome.

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THIS PAGE: Model: Mare O’Connor.

Jumpsuit, Maison Scotch.

OPPOSITE PAGE: Model: Lauren Piccinich.

Top, Toy Syndrome. Skirt, Maison Scotch. Shoes, model’s own.

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THIS PAGE: Model: Michelle Marciano.

Dress, Kahri by KahriAnne Kerr. Shoes, model’s own.

Model: Tiara Roper. Dress, Kahri by KahriAnne Kerr.

Short-sleeved jacket, Kahri

by KahriAnne Kerr. Shoes, model’s own.

OPPOSITE PAGE: Model: Mare O’Connor.

Dress & skirt, Toy Syndrome.

Coat, 5:31 Jérôme. Shoes, model’s own.

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“You may think you know what you’re dealing with, but believe me, you don’t.”

Chinatown (1974)

CREDITS STYLING ASHLEIGH UZOARU CREATIVE DIRECTION PHEANNY PHEN PHOTOGRAPHY JESSICA FEANE MAKEUP SUHANEE PATEL HAIR KELI IRAETA

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Mainstream Redefining

The Push for Greater Diversity in the B eauty Industry

by Tonya Burks & Keely Schooley-McCormick

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e are more than just dark, deep, and rich.

This is the sentiment that Black women face time and time again. And not just Black women, but all women who are non-White. Why, when the world is filled with women of so many varieties of shades and tones?

When the number of interracial relationships has increased drastically in the last half-century?

“It’s no secret that the beauty world has a problem with diversity. In addition to darker complexions being underrepresented in advertisements, they are also often ignored in product development,” says Ofunne Amaka, founder of Cocoa Swatches, a mobile app dedicated to showing a variety of makeup products on different skin tones.

The fashion industry, by contrast, has been ahead of the curve. This past April, Christian Louboutin expanded his “nude” shoe line by offering seven new shades to match skin tone colors ranging from “porcelain” to “deep chocolate.”

Companies such as Björn Borg (a Scandinavian underwear company) and Bloch (an Australian dance wear brand) expanded their lines within the past few years to accommodate a variety of skin tones. With new fashion lines and brands coming out every season for women of color, where does that leave the beauty industry?

Many companies claim to cater to today’s market, but in actuality, the bulk of the industry focuses on white women. According to the website Beauty Redefined, “in a country where a full one-third of the population is black, Native American, Asian, Pacific Islander, Hispanic or Latina, the serious underrepresentation of women of color in media is really disturbing.”

In August of 2016, beauty blogger Deepica Mutyala starred as a guest hair stylist on Today, where she demonstrated quick and easy summer hairstyles on three different women. The terrible outcome of the hairstyle that she chose for the woman of color caused outrage and confusion within the beauty community. This TV segment sparked a conversation stating that simply representing African-American women in beauty advertisements is not going to cut it anymore.

After all, it was only two years ago that beauty brand Lancôme hired actress Lupita Nyong’o to be its first black spokeswoman. To put that into perspective: the brand was founded in 1935. And Lancôme is not the only luxury beauty brand to arrive late in the game. In summer of 2015, the powerhouse brand Dior hired Rihanna to be the face of its Secret Garden campaign. This was the first woman of color to represent the brand since it launched in 1946.

“The sheer volume of various skin colors is increasing…women of color are getting sensitive to this idea of being the exception or just the

add-on. They want to be, and believe they are, part of the mainstream,” Desirée Rogers, CEO of Johnson Publishing Company and an overseer of Fashion Fair Cosmetics, stated in Women’s Wear Daily.

Sure, you can go to high-end retailers, but some can’t afford to shop there at all times. And it’s difficult to shop for cheaper alternatives when drugstore brands don’t make available the wide range of shades needed.

In fact, most of the beauty brands that struggle are drugstore companies such as Rimmel London, which only has an average of seven concealer and foundation shades. Compare that to a highend brand like Kat Von D, which has an average of upwards of 30 shades in its selection. It gets even worse when Rimmel doesn’t offer one suitable shade for dark skin tones. So, what is the excuse that drugstore brands use in defense of their limited shade selection? Not enough shelf space in the stores that sell their products.

It is true that even when a brand offers a broader range of shades, many stores do not have all the darker shades that are offered because supposedly they don’t sell as well. Stores tend to stock these wider ranges of shades for up to six months, during which time the product has to prove its worth. If it’s not selling after six months, it is pulled from the shelves and relegated to “online only,” according to Vivid Research.

Actions like this make women of color feel trivialized and ignored.

“For face products like concealer and foundation, it has been difficult to find products that match correctly,” say Meghal and Natasha, twin YouTube beauty vloggers and photographers. “Many companies that have darker shades, which isn’t very many, don’t consider the various undertones people with darker skin have. So even when companies have wider ranges, the products still don’t match.”

This leads to another problem, which is that women of color have to spend twice as much as White consumers because they are forced to mix foundations. Due to the lack of options, sometimes women have to buy more than one shade and blend them. Women of color are mainly faced with this issue when it

comes to drugstores only holding brands that offer a select variety, often with a shade of tan being the darkest.

“Today a woman almost expects to go to a brand she wants to buy and find her shade,” Cover FX President Sharon Collier says in an article in Bloomberg.

“It’s offensive to her when she can’t find her shade. It makes her feel like she’s not being recognized by the company.”

So the question is, what actually has been done to diversify the beauty industry?

To start, it is worth mentioning that some black-owned beauty brands have been around for a while. In 1905, Madame C.J Walker started her own haircare business, and the products are still sold today. Shea Moisture, a popular hair and

body care brand, was started in 1991 in Harlem. The brand was founded by two Liberian refugees and now they have an annual revenue of about $200 million. Other black-owned beauty brands have been popping up within the past few years, including Black Up Cosmetics, Ka’oir, and Sashe Cosmetics.

Another company that is bucking tradition is Colour Pop. For a majority of its products, the company presents swatches on three common skin tones: light, medium, and dark. Yes, this may not be all skin tones, but it’s a start. The overall purpose is for someone to get the sense of what the color might look like on skin color close to theirs. Anastasia Bever-

ly Hills also swatches its products on skin tones ranging from fair to dark. Numerous other companies started doing this after their fans complained (and rightfully so) about the lack of women of color showcasing products on their Instagram pages.

Many of the brands that we already know are also attempting to change.

Kylie Cosmetics recently came out with a liquid lipstick, “Brown Sugar,” meant to be the “perfect”nude for darker skin tones. While it may not flatter everyone, it is a step made in the right direction.

It is also encouraging that one of the top drugstore brands, L’Oréal, has started to break from its traditions. L’Oréal chemist Balanda Atis has been instated to develop groundbreaking products for women of color. And though she appreciated her own company’s attempts to be more inclusive, releasing makeup catering to African-American and Latina women with campaigns featuring celebrities like Beyoncé and Jennifer Lopez, Atis still found the new formulations too pale for many women. Since her start with the company in 1999, Atis has managed to produce more than 30 new shades throughout the L’Oréal brands, Maybelline and Lancôme. The company is even expanding beyond the United States to South Africa and the Middle East to provide for those with diverse skin tones and textures.

But the creation of these products and the ease with which women can find them with traditional vendors are two different things.

The hope is that as the world develops, the concept of women of color being considered a “new market” will fade. When you see beauty products for White women featured prominently in a drugstore and beauty products for women of color sequestered in in a small section by themselves, you still get a sense of how divided the industry is. We all deserve to have a true representation of us on ads, websites, commercials, and other media in the beauty industry. All in all, there have been significant advances taken to help diversify the beauty community, but there is still much work to be done.

Makeup geeks like us will do everything in our power to make sure that everyone is represented fairly in the beauty community, and we will not quit until that wall is torn down.

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C osmetics Club Join t he conversat ion t h a t is introducing bea u t y t o LI M Col l e ge

The Cosmetics Club welcomes all students who are interested in learning from industry professionals and uncovering insights that will illuminate and inspire

jOIN TODAy T h e C o s m et ics Club m eets every M o nda y a t M a x wel l H all during the l unch ho ur fro m 1:15pm to 2:15pm i n room 45L1

Fo r m o re i nfo rma ti o n, pl eas e contact: Jan et Ovalle P res id ent a nd Found er of t he Cos metics Clu b Ja net . O va lle@lim c o lle ge .e du

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

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Fashion is no island

Professor Amanda Hallay has a talent for seeing the big picture

by Nicole Jezerski

P

rofessor Amanda Hallay has been a full time professor at LIM College for eight years, but her previous life gives real meaning to the term “industry professional.”

Professor H, as her students call her, is truly an experienced and vital member of the fashion industry.

From her teenage rebellion against fashion to finding a love for the game, she has experienced the glitz, glam, and hefty expense that would make anyone envious of her ever evolving fashion career.

“She has a spirit and presence about her that makes us feel welcomed and loved, she truly wants us to succeed and learn and treats us as if we were her own children,” says Terrence Trent, a former student.

Professor Hallay grew up immersed in fashion, as her father David Wolfe was the Senior Creative Director at The Doneger Group, a well-known fashion forecasting and consulting agency. Of course, she did as any other rebellious teenager would do and decided not to follow in her father’s footsteps. Instead, she pursued an undergraduate degree in Art History and a Masters Degree in writing. She initially sought work more directly connected to her degree.

“I first got into fashion out of desperation,” she recalls. “I had just left grad school and was struggling to find a journalism gig. So I ate a large slice of humble pie and asked my dad if he knew anyone in Fashion Publishing who might be able to throw a bit of freelance work my way.”

Her father put her in contact with Stephen Higginson, the Editor in Chief of International Textiles, who gave her a oneoff assignment of covering Paris Fashion Week.

“It was a really daunting prospect, as I didn’t really know much about fashion at that point,” she says. “But I knew I could write, and I certainly knew how to describe stuff—that’s all Art History undergrads do—so I went to Paris Fashion Week and produced my first article. I didn’t use words like ‘fabulous’ or phrases like ‘to die for’; I actually wrote about what I saw on the runway, described it in detail, and offered up a bit of analysis, too.”

This freelance journalism gig sparked her lifelong journey in the fashion industry. After being offered the job as Paris Correspondent for International Textiles, she was given the job of International Fashion Editor of ‘Couture’ and ‘Men Mode’ magazines, and at the same time, she held the position of European Trend Analyst for The Doneger Group.

It was at this point in her life that she really got to experience first class flights, posh hotels, and exotic cities.

“There are no two words in the English language quite as beautiful as; ‘Expense Account,’” she jokes.

Eventually, fashion forecasting became her passion.

“Fashion Forecasting is an art, not a science. There is no secret formula or flow chart to forecasting fashion,” she says.

“Basically, it is the art of connecting everything that is happening outside of fashion—in politics, economics, art, music, television, technology—and seeing how everything will converge to determine how people will want to dress.”

She continues, “Forecasting has nothing whatsoever to do with what Kim Kardashian wears in an Instagram photo, and everything to do with what’s happening Syria, for example. This is why I always urge my students to engage in a world beyond fashion, for it is that world that actually determines how we dress.”

As she analyzed the economy, the environment, and the clothing people wore on the streets, and compared them to fashion on the runways, she couldn’t help but continue the story and relate the trends back to points in history, famous works of art, or influential films. In fact, Hallay credits her career in fashion to her knowledge of a world beyond fashion.

“I simply could not have had my career in fashion had I not studied Art History, for Art History is Fashion History, too, and also covers film history,” she says.

According to Professor Hallay, fashion designers reference “historic costume, art movements, or movie genres and tropes” every single season.

“How can you write about a designer whose prints evoke Italian Futurism if you don’t know what Italian Futurism is? How can you talk about a collection that pays homage to the movies of Fritz Lang if you don’t know who Fritz Lang was?”

When Professor Hallay discovered teaching, she found a way to combine her three passions: history, fashion, and art. She has the privilege to broaden the minds of young fashion students and keep them grounded in an important reality of fashion: it is simply an effect of your environment.

Since beginning and LIM College in 2008, she has been teaching courses like Pop Century, Cultural Connections, and her flagship course Fashion History and Global Attire. These courses explore different time periods in history and dissect the motivations behind their clothing trends. She says her most successful career moment was without a doubt designing LIM’s Fashion History and Global Attire required course.

“Creating that course was unquestionably the most challenging and exhausting thing I have ever, ever done—yet it is the project I am personally the proudest of,” she says. “Although Cultural Connections to Fashion is still my fave.”

All of her courses are filled with an abundance of knowledge and are an imperative addition to any educated mind, and one recurring theme: “Fashion is not an island, it’s a response.”

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CARRYALLS Styling Madison Roe Set Design Maggie Canty Photography Jessica Feane

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THIS PAGE & OPPOSITE PAGE: Bags, GiGi New York.

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THIS PAGE & OPPOSITE PAGE: Bags, GiGi New York.

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THIS PAGE: Bag, GiGi New York.

OPPOSITE PAGE: Bag, Zara.

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the Obama

Effect

by Tonya Burks

O

n November 4, 2008, more than 71 million people watched the presidential election on cable and network TV—making it the most viewed election in almost three decades—with an additional quarter million people at Grant Park in Chicago waiting anxiously for the results.

I know where I was when it happened: in front of the big screen TV in my living room in Metairie, LA, eagerly waiting for the results myself. I was not old enough to vote yet, but that didn’t matter, because in my mind, I voted for him by making it known that he was it for me. The next morning at T.H. Harris Middle School, there were students shouting “Obama, Obama!” in the halls.

Sadly, Barack Obama’s presidency has come to an end. The president has done so much for the world we know today; obviously every president’s political legacy is complicated, but I believe that on the long arc of time, his will be quite rich: passing healthcare legislation, finding and killing Osama bin Laden, normalizing relations with Cuba, reviving the auto industry, repealing don’task-don’t-tell, presiding over the legalization of same-sex marriage, and more.

But to me, the most important result of his election and presidency is the way that he and his family have inspired today’s and future generations.

Perhaps some people still don’t realize, and probably take for granted, what an incredible opportunity it was to witness the first person of color in the White House. Let that marinate for a second.

The. First. Person. Of. Color. In. The. White. House.

It is easy to forget, but the fact that a black man is one of the now 45 presidents in our textbooks is pretty mindblowing. When minority parents tell their children they can be anything they want to be, there’s more of a chance they’ll actually believe it this time, because Barack Obama has done something some thought would never happen, at least not during their lifetime.

“All the future work that Barack talked about, I think over these last few years, we’ve kind of knocked the ceiling of limitation off the roofs of many young kids’ imaginations of what’s possible for them,” Michelle Obama stated in the October 2016 issue of Essence. “I think when

it comes to black kids, it means something for them to have spent most of their life seeing the family in the White House look like them. It matters.”

LIM senior Mikayla Cumberbatch agrees.

“Having a black president for the last eight years made it seem like anything is possible for black people.

Throughout history, black people have suffered through a lot of pain because of slavery and segregation, so having a black president is milestone for us,” she says. “I think having a black president has made an impact on my family, especially my grandparents. They lived through segregation. For them seeing a black man in office is amazing.”

When people of color looked at the White House over the last eight years, they saw representation. The Obamas’ very existence in the White House has sparked a new way of thinking, of imagination. When Obama let a little black boy feel his hair to prove to him that he is just like him, we saw this imagination take root.

“People love seeing themselves, as in representation, in a power position,” LIM freshman Julianna Florian says. “He has shown people the sky’s the limit.

Obama has changed the minds of a lot of ignorant people who thought that a minority couldn’t be in such a position.”

Regardless of Obama’s ethnicity, there’s no doubt that he is one the most relatable U.S. presidents to ever exist. That’s why his connection is so strong with today’s youth. Think about it. Obama grew up without a father, was raised by his grandparents, and was a struggling college student. He pushed through circumstances like being one of the few Black students in his Harvard classes. He was a small-town kid from Hawaii with dreams that overcame his situation.

But Barack Obama is not the only one who deserves praise. His wife, Michelle, is not your typical first lady; she holds her own effortlessly. Michelle Obama gives young girls a role model that they can proudly look up to. She represents a strong, smart and curvaceous woman who knows how to support her man, but who can stand just as strong and confident all on her own.

I personally hope that the first lady will take the oval office herself one day and am impressed by what she accomplished as first lady. In 2010, she

launched Let’s Move, a nationwide effort to solve the epidemic of child obesity by providing healthier food in schools, helping kids be more physically active, and urging companies to market healthier foods to the country’s children.

She not only helped to make this country healthier, she also helped educate girls around the world. With her 2015 Let Girls Learn initiative, Michelle encouraged girls to go and stay in school.

She brought together young girls to share their stories to inspire others to commit their education. Michelle is the epitome of an empowered woman. For sure, one who will never forgotten.

Now, you can’t talk about the first parents and not the first daughters. Malia and Sasha show themselves not only to be two cool girls, but hard working role models. 18-year-old Malia is making her way to Harvard next year and interning, and Sasha, 15, spends her summer working at a seafood restaurant instead of being waited on hand-and-foot at the White House.

In general, the Obamas have somehow, despite all of their exposure, come off as a normal American family that is in touch with the American culture. What other president creates summer playlists with music we all love?

What other president is going to fill the White House with your favorite rappers?

Barack was the one who definitively settled the debate over who, between Kendrick Lamar and Drake, is the better emcee. No surprise, he chose K. Dot as the clear winner, following an invite to the White House. And he was also the keynote speaker at the hip-hop-embracing South By Southwest festival. Even Michelle made a rap video encouraging kids to go to college. And Barack brought some hip-hop greats to the White House for his initiative My Brother’s Keeper.

Stars such as Nicki Minaj, Talib Kweli, J. Cole, Wale, Chance the Rapper, Busta Rhymes, and Ludacris sat down with the president and his top advisors to discuss criminal justice reform.

The Obama family has been free of personal scandals in both terms, and even before. How many past presidents, or future presidents, can say this?

Barack is us. Michelle is us.

Malia is us. Sasha is us. There will never be another first family like the Obamas.

Never.

65

STUDENT STYLE

BELLA DONG 2017

Andrea Hernandez

NADIRI DORSEY 2017

ANDREA HERNANDEZ 2019

BRANDON SMITHWRICK 2017

SAMANTHA PAWLUK 2017

NICOL MACIEJEWSKA 2020

AMBRIA BRICE 2016

The First Lady of Fashion

by Emma Goodnough

A

uthor Lauren Marino celebrated the launch of her new book, Jackie & Cassini: A Fashion Love Affair, as part of The National Arts Club’s FashionSpeak Fridays on October 7 in Manhattan.

The book tells the story of one of the most fashion-forward first ladies in history, Jacqueline Kennedy-Onassis, and her partner in crime, wardrobe designer Oleg Cassini.

This isn’t the first time Marino has immersed herself in the life of Jackie O. In 2005, she published a self-help book titled What Would Jackie Do? An Inspired Guide to Distinctive Living. She has done extensive research on Jackie O, who she has found to be inspiring and motivating because of her “attitude and sophistication.”

Marino told the audience that because Jackie O was only 31-years old when she became the first lady, she had to defy expectations. She succeeded, becoming well-known for both her political voice and her impeccable style. She was known to fly to Europe to try on bespoke collections made custom for her shape and size. You could always catch her in a Parisian-style outfit, sporting two-piece wool suits adorned with big buttons, a matching hat, and gloves. Looking through old photographs, you can almost smell the Chanel No. 5.

But any understanding of her style means learning about the Paris-born designer Oleg Cassini, who Jackie O met through mutual friends at a party that the Plaza Hotel.

Cassini, who eventually would live in Hollywood, California, had a background in fashion design, focusing specifically on costumes and high-fashion garments. He designed collections for the theater, on-screen films like The Razor’s Edge, celebrity starlets such as Grace Kelly, and other prominent female politicos.

He saw Jackie as a special project that he had to get his hands on, so weeks before the presidential inauguration in 1961, Cassini was approached by the soon-to-be-first-lady who requested a custom design for the special occasion.

Cassini used this opportunity to see how Jackie would wear his designs. The two hit it off almost immediately, and after

the Kennedys took over the White House, Jackie and Cassini were inseparable. She dubbed him her “Secretary of Style,” and they spent endless hours together collaborating and discussing what he might design next. Cassini soon found himself to be fully debted to the first lady, and designing her wardrobe became his full time job.

The collaboration was monumental and helped set the tone for fashion in the ‘60s. Cassini had a separate workspace for Jackie and her custom pieces, with models and mannequins that were the exact same size as his friend. He had eight tailors and two assistants helping with daily tasks like running errands for the top textiles in the world. When he wasn’t in the studio, Cassini would travel to pull the most expensive fabrics for Jackie and her collection. She would call him and give him a list of the events she was attending that month, and he would produce the iconic looks in less than a week’s time.

Jackie pulled off the chic Paris style in the most effortless way. She was very independent and would travel all over the world with her friends, meeting world leaders, renowned artists, and famous celebrities. She loved fashion, and it showed, as she would sketch her own designs that she would eventually hand over to Cassini so that he could bring them to life.

Jackie O was arguably the original catalyst for ‘60s fashion. Despite her shy tendencies, she was able to charm the public and present herself as someone with charisma, which only elevated her personal style. She was more than just the country’s first lady: she was a couture icon, a businesswomen who held the key to the president’s heart. She was progressive, too, and enjoyed her role as first lady despite disliking the label: it sounded like a “saddle horse” term. Yet of all the first ladies we’ve had, it’s hard to think of one whose fashion sense had a more lasting cultural impact.

Jacqueline Kennedy Onassis 1929 - 1994

75

editors’

emma good nough

a s sista nt fashi on e di tor Another Versace look I fell in love with from the Spring/Summer 2016 show correlates with how I want to express myself.

The attitude of the dress can show my real personality, and the way it moved down the runway stunned me. Such little fabric on the model can actually say a lot more than we think.

The Swarovski chain and bondage follows the body and adds depth by using lines to bring attention to the tight dress. Less is always more, and Donatella Versace kept that concept in mind with this whole Spring/Summer collection.

Versacee RTW Fall 2016

Tiffany & Co. stacked ring, $150. Tiffany & Co. bangle, $275.

River Island trousers, $70. Gucci belt, $395. Gucci tote, $3,950.

Balmain heels, $1,210. Dolce & Gabanna blazer, $2,575. John Frieda shampoo, $7.99. Essie nail polish, $8.50.

PICKS

jezerski

lim lif e e dit o r This season is all about metallics. Sleek shine is taking over the runways with a feminine but edgy approach. Stacked necklaces, bold ruffles, and sheer textiles are key looks for autumn. A classic smokey eye and a great pair of versatile booties are my gotos when pulling off this look. The suede booties are warm, comfortable, and chic enough to dress up an everyday outfit. Speaking of everyday, you’ll never catch me leaving the house without a spritz of Belle Cherie perfume from the original Fragonard factory in the heart of Paris.

Red Deer Light Chalk Globe, $207. S’well Blanc Crocodile bottle, $35. Pop Art By Klaus Honnef, $15. Chloé sequined pant, $4,450. Alice + Olivia top, $210. Belle Chérie perfume, $44.

Aquazzura ankle boots, $1,250. Urban Decay Naked Smoky, $54. Yves Saint Laurent monogram large chain matelasse shoulder bag, $2,590.

Marchesa RTW Fall 2016

nicole

Elizabeth and James RTW Fall 2016 Sabah shoes, $190. Glossier brow gel, $16. Jo Malone Basil & Neroli cologne, $130.

Cambridge Satchel Company 13-inch Classic Satchel, $215. Thaddeus O’Neil Pink Lulz Max Trench, $1,750. Pilgrim Surf + Supply Gilmore Fine Rib Turtleneck, $155.

J. Crew Factory Sunwashed slim chino, $75. NARS The Multiple South Beach, $39.

Zara printed bandana scard, $13.

maggie ca nt y

set d esign er This Elizabeth and James look is straightforward; it also reminds me of those protagonists in childrens’ books who happen to be kindergartners and dress themselves for school. Either way, the essence of cool. I’m about practicality when I put myself together; you never know what you’ll get yourself into on the day-to-day streets of New York. Denim (in all forms) is for sure an everyday staple of mine, along with a pair of shoes worth dancing in. More often than not, I find myself throwing on a t-shirt, button-up, or sweater.

An occasional statement piece makes the cut. My wardrobe is made up mostly of basics, but I have certain jackets, coats, or accessories that pull it all together. My hair is usually left unbrushed.

managing edit or

Balenciaga RTW Fall 2016

Balenciaga carried my favorite summer trend—off the shoulder—into the colder months. Their Fall 2016 RTW collection was filled with neutral tones and classic pieces that still showed that (very aptly named) cold shoulder. I am also in love with the Fenty x Rihanna creepers paired with some asymmetrical frayed jeans. The illusion of height with the feeling of comfort is a must for someone tiny like me.

Céline handbag, $3,100. Puma Fenty x Rihanna sneakers, $140. Frame denim, $238. Derek Lam coat, $2,995. Hermès Apple watch, $1,299.

NARS tinted moisturizer, $44. Poppin notebook, $11. Bodyism yoga mat, $110. Canon PowerShot G7X, $699. Madewell phone case, $28.

clarissa hernandez

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