Papercut Magazine Sept/Oct Issue

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SEPTEMBER/OCTOBER 2010

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IN THIS ISSUE 06 FROM THE EDITOR Goodbye summer, hello fall!

THE LIFE 09 Beauty-Conscious The facts on animal testing 10 Wayfarer Photographed by Helen Tran 18 On the Verge: Fashion These designers are breaking the mold 28 Dreaming on Paper Untapped interests can lead to newfound passions

BUZZWORTHY 30 Fashion’s Downsize The evolution of the “ideal” woman 32 On the Verge: Technology MIT’s media lab, wearable technology and more 41 Bravo’s Masterpiece Work of Art marries contemporary art with reality TV

FASHION FORWARD 42 Washed up Photographed by Kaylin Rodriquez 54 Last Rose of Summer Photographed by Lara Jade 66 Leave the Shouting to Others An interview with designer Teresa Crowninshield 76 The New York Chronicles F/W 2010 fashion recap

ON THE COVER Photographed by LARA JADE Styling IHUNNA EBERENDU Makeup AMY SACHON

Hair TOMOYUKI OTSUKA Headpiece UMA TURAN Dress CHANG A. PARK Model TEGEN [STORM] 4

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EDITOR-IN-CHIEF Hayley Maybury

CREATIVE DIRECTOR Nicole Bechard MARKETING AND TECHNICAL DIRECTOR Jamall Oluokun FASHION EDITOR Nicole Herzog COPY EDITOR Nora E. S. Gilligan CONTRIBUTING WRITERS Nicole Bechard Erin Berry Brittnee Cann Nora E. S. Gilligan Hayley Maybury Billie D. McGhee Jamall Oluokun D.K. Stewart CONTRIBUTING ARTISTS/PHOTOGRAPHERS Nicole Bechard Doug Eng Nora E. S. Gilligan James Graham Justin Hogan Lara Jade Rick Louis Jonas Lund Kim Navarre Steven Read Kaylin Rodriquez Anika Schwarzlose Peter Stigter Helen Tran

107 Merrimac Street, Boston, MA p: 617-624-0202

f: 617-372-9809

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FROM THE EDITOR GOODBYE SUMMER, HELLO FALL!

Now I know that many of you out there are sad to see summer come to an end. As for myself, however, I couldn’t be more ready for the fall—I love, love, love it! Ever since I can remember, I have waited patiently for the fall fashion magazines to hit newsstands. As I sit here writing this letter, I can’t help but be super excited because, this year, I have been waiting patiently to share Papercut’s first September issue with all of you as well!

My favorite part of this month’s issue is our On the Verge segment. We were lucky enough to interview some extremely talented individuals from around the globe who are really starting to break the mold when it comes to innovative fashion and technology. This is one part of the issue you do not want to miss!

We also had the honor of working with London-based fashion photographer Lara Jade. It was a pleasure working with such a lovely and talented individual; and even better luck that we had the opportunity to catch up with her back in July.

As the leaves fall, www.papercutmag.com will be bringing you all the latest updates on what you need to know about the season’s runways and fall fashion. We did an exclusive online-only editorial (it’s called “Fashion Rivalry;” be sure to check it out!) and we’ll be covering a lot of great events, including...drumroll please…our very own Papercut September issue release party! Thanks to the very luxurious and chic Bulfinch Hotel in Boston, we are able to bring together our Papercut contributors and supporters to celebrate all the hard work that has been done.

I hope you enjoy this issue and do keep the feedback coming. After all, this is your magazine. xoxo Hayley

P.S. Don’t forget printed copies of Papercut Magazine are available for purchase on Magcloud (www.magcloud.com)!

TOP-BOTTOM: Editor-in-chief Hayley Maybury; creative director Nicole Bechard and photographer Lara Jade in NYC; group shot of the “fashion rivalry” editorial crew; fashion editor Nicole Herzog and marketing/technical director Jamall Oluokun on the red carpet at the FUZE iT fashion event in August.

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BEAUTY-CONSCIOUS

WHAT DO DOVE, GARNIER, PANTENE AND NEUTROGENA HAVE IN COMMON? ANIMAL TESTING. Written by BILLIE D. MCGHEE There are controversial topics out there that people tend to immediately shy away from: religion, politics, sexuality, war. For whatever reason, anything PETA-related seems to fall on that list as well. No one wants to be preached to about why they shouldn’t eat meat or buy fur, and god forbid you see one of their promotional videos—those might scar you for life. People like the lives they’ve grown accustomed to living, so we shield ourselves from the truth and pretend that nothing is wrong. Up until recently, for example, I had no idea as to the realities behind products that tested on animals. We’ve always known it was happening, sure, but nobody ever seemed too concerned and it was certainly never discussed—at least that was my perception. I had this naive picture in my head of people in white lab coats applying blush on bunnies and mascaras on monkeys. What’s the harm in that, right?

Sadly this rose-colored ideal couldn’t be further from the truth, as I learned when I happened across a blog that briefly spoke about the horrors of animal testing. It took just a few facts to completely change how I think of my favorite products. Animal testing is not like applying blush on bunnies at all; instead, companies take hard chemicals and pump them into animals’ stomachs, rub them into their skins, squirt them into their eyes, or force the animals to inhale them as aerosol sprays. These tests end up killing some animals, while most others are euthanized at the end of the experiment. In this day and age it is hard to believe that animal testing is still necessary, especially when it has already been banned in the UK, the Netherlands, and Belgium, and when so many well-established brands manage to avoid it.

After learning the grisly truth I went into my bathroom and looked through my products. Only two of them had not been tested on animals. I was appalled! After doing some research I came across the official list of companies that do and do not test on animals on www.caringconsumer.com, a website sponsored through PETA. The brands I

found under both lists were surprising.

Dove, Aveeno, Garnier, Glade, Ivory, L’Oreal, Johnson & Johnson, Pantene, Neutrogena and Old Spice were just some of the common brands I found on the “Do Test” list. It was then I decided to make a change. Each time I run out of one of my products, be it mouthwash, eye shadow, or shampoo, I have been making a conscious effort to replace it with something cruelty-free. In all honesty, I was hesitant to let go of some of my favorite products—my Olay face wash and Jergens body lotion were particularly difficult to part with—but if ever there was a time to make the switch this was it.

I quickly found that, especially in a time when everyone is trying to “go green” and be more natural, crueltyfree products are everywhere. No longer do you have to venture out to the Berkshires to find organic products, or

limit yourself to homemade soaps and obscure hippie remedies. In fact, many of the brands you know very well, some of which may be in your home already, are cruelty-free. On Caring Consumer’s “Does Not Test” list you’ll be happy to know I found M.A.C. Cosmetics, Urban Decay, OPI, Estée Lauder, Clarins, Bare Escentuals, Aveda, and Bonne Bell.

I haven’t yet completely finished my transition to cruelty-free beauty, but I have switched over about half of my products so far, and I couldn’t be happier. This started as just a personal experiment, but I’m really hoping it is something I can stick to, and maybe even inspire others to try. I know that in PETA’s eyes I am far from perfect—I still eat meat, and you will find leather bags and suede boots in my closet, but does that mean that I shouldn’t try to make a difference? Baby steps, I say, one product at a time.

Here’s a list of products I have switched to.

URBAN DECAY All Nighter Long-Lasting Makeup Setting Spray ($29,.www.sephora.com) BOSCIA Purifying Cleansing gel ($26, www.sephora.com) AQUAGE “Beyond Shine” Spray (visit www.aquage.com for salon locations) ST. IVES Energizing Citrus Body Wash ($5, drugstores) KORRES QUERCETIN & Oak Night Cream ($52, www.sephora.com) PAUL MITCHELL Color Protect Daily Shampoo & Conditioner ($11, drugstores) JASON Aloe Vera All-Over Body Lotion ($7, www.drugstore.com) THE NATURAL DENTIST Healthy Teeth Anticavity Flouride Rinse ($7, drugstores) FOR FOR MORE INFORMATION and to view a list of cruelty-free companies, visit http://www.caringconsumer.com/.

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wayfarer GO BOLD THIS FALL WITH THE LATEST LOOKS IN BEAUTY.

Photography by HELEN TRAN Hair/Make-up by HAYLEY ALYS Styling by CHRISTOPHER MASSARDO Model SHANNON WALKER (ELITE MODEL MANAGEMENT)

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BEAUTY NOTES: Foundation: MAKE UP FOR EVER HD #153; brow powder: YABY #002; eyeshadows: MAKE UP FOR EVER in "Soft Pink" "Eggshell" and "Black" and YABY in "Sand Dune" "Papaya Milk" and "Sexy Salmon"; blush: YABY #029 and #011; lipstick: MAKE UP FOR EVER in "Woodsy Pink 210" and YABY in "Seductionism"; mascara: MAKE UP FOR EVER Aqua Smoky Lash.

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PART ONE OF OUR ON THE VERGE DOUBLE FEATURE BRINGS YOU THREE VERY TALENTED DESIGNERS AND ALUMNI OF THE GERRIT RIETVELD ACADEMIE FOR CONTEMPORARY ART IN AMSTERDAM.

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DREAM WEAVER

DESIGNER AIDA SARACINI SEEKS TO EXPLORE THE MYSTERIES OF OUR DREAMS. Interview by NICOLE BECHARD

PHOTOS BY ANIKA SCHWARZLOSE AND JONAS LUND

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Name and age: My name is Aida Saracini and I am 24 years old.

Where you’re from: I was born in Skopje, Macedonia.

Where you live now: Due to a really good job offer after my graduation in 2009, I moved to Prishtina, Kosovo, where I live with my boyfriend.

Education credentials: I finished high school in Skopje, Macedonia and [attended] the Gerrit Rietveld Academie for contemporary art in Amsterdam, The Netherlands.

When/where did you first find yourself interested in fashion design?

Well, I always used to dress up my dolls when I was [younger]. My father is a painter and I used to go to his workplace and draw, paint, and make fabrics. I decided to go into art high school since that was my passion. When I finished in 2004 there was no fashion study in my country. I wanted to study somewhere abroad, and since my brother was already living in Den Haag, The Netherlands, I thought that it would be a nice chance for me to move and at the same time be close to my brother. I started looking for fashion studies there but most of them concentrated more on the technical part of fashion. I was more interested in learning about concepts and how to integrate my thoughts and ideas into clothing. I am really glad I chose the Gerrit Rietveld Academie, as they teach technical skills but also develop your artistic side. [My studies in The Netherlands] helped me to really know what I want to do, what I want to say, and how to say it.

While studying fashion design at the Gerrit Rietveld Academie, you had the opportunity to be taught by many well known lecturers, artists and designers.

Is there any specific individuals that inspired you above the rest? Why? Yeah, I really feel lucky that I had a chance to study at Rietveld Academie. The [faculty] are all really dear to me and I respect them very much. Even though they all had a quite important part in my development, I could say that the people who most impacted my work and really got me to develop as a designer are Wojciech Dziedzic (also a teacher at Central Saint Martins College in London), Giene Steenman (artist), and Anne-Grethe Filtenborg (fashion designer). They did the best for all of us to find ourselves and find what we love.

Teachers that tried to bring up our best side but also made us work hard on our weaknesses.

Your graduation collection focuses on the theme of “dreams and nightmares”. What fueled the idea behind this concept?

I chose the theme “dreams and nightmares” right after I had a dream about my uncle who I hadn’t seen for over a year. After I called to ask whether he was okay, I found out that he was in a coma. I went to see him in hospital, and the next day he died. This had such an impact on me that I started paying more attention to dreams and trying to figure out how other people experience them. In my opinion, the reason some people are not interested in knowing more about dreams is that [they] are afraid of the unknown. They are afraid of the mysteriousness of the images that appear

to us at night. They are afraid of things they cannot understand. We all dream every night but the dreams that give us anxiety and a tense feeling are the ones that we remember; those are the ones that leave traces in us. They left traces in me.

I love the delicate construction of your pieces. Did this technique come naturally to you in your development of the collection, or was it something you had to work at?

In dreams we always see things that we can recognize but are still somehow different. I chose generic garments like trench coats, sweaters, pants, and dresses, and transformed them. Using my fragile [methods] of dealing with the fabric, my technique becomes quite important into creating a certain atmosphere—which in this case is a dreamy one. I left most of the outfits looking unfinished since I believe that the dream is never finished but always “saved by the bell”—[say, the] phone, or a partner’s voice.

Your work has been described as “the soul of the clothing; a mere suggestion [of] the actual piece”. Would you agree with this observation?

When I was nominated for the GRA (Gerrit Rietveld Academie) Award in 2009 the judges described my work as [such].

I was quite happy with their observation since every artist and designer hopes that the public evaluates their work and understands it almost in the same way and reason it was created for. I think that my intention was just that; for people to recognize the pieces of clothing [even] it’s not what they are used to seeing. Same as in dreams, we know the objects or the situation or the place, but it’s not really how we are used to seeing it in reality. So yes, I really agree with their comments.

What was it like to participate in Amsterdam Fashion Week last year?

Oh, that was an amazing experience for me. I really didn’t expect that I would be chosen as one of the 14 best students in fashion design in The Netherlands. Also I was the first Albanian to participate there, so I [received] recognition in my country as well. To think that just one year before I was at the same place backstage helping the designer Claes Iversen for his show, and during the whole day hoping that one time I could be showing there also. It was amazing that my wish turned into reality in such a short time. It was a really good place to do a lot of networking and to meet the competition.

What are you working on right now? Are there any new collections in the works?

Right now I am working on my new wearable collection. I am collaborating with a fashion designer from Croatia and preparing for my first fashion shows in Skopje and Prishtina, Kosovo, and perhaps Croatia. In the meantime I also have some offers for knitwear projects, which I enjoy quite a lot.

What are your plans for the future? Anything in particular you hope to accomplish?

For now I am concentrating on the collection. [I also have plans of] opening a shop in Prishtina, Kosovo in October 2010. We are collaborating with some shops in Amsterdam so will be selling there soon too. I am really looking forward to everything that is coming up next year, keeping in mind that I am also [considering doing] a master’s study in Barcelona.

One thing at a time I guess!

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OPPOSITES ATTRACT

YOU KNOW HOW THE OLD SAYING GOES. DESIGNER DENISE ESSER TAKES IT ONE STEP FURTHER. Interview by NICOLE BECHARD

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Name and age: Denise Esser, 25.

Where you’re from: Amersfoort, The Netherlands.

Where you live now: Amsterdam.

Education credentials: Gerrit Rietveld Academy School of Art (GRA), 2006-2009.

When and where did you first find yourself interested in fashion design?

As a child I was always busy being creative with all sorts of things, such as making clothes for my dolls or making things with dough for my dollhouse. My interest in fashion started around [the age of] fifteen.

Your graduation collection is very sculptural in its construction. What influenced this concept?

I always start designing from the standpoint of material and I always challenge myself to work with various components that are not necessarily compatible to create a combination of oppositions. In my creations the focus lies on the transformation of a structured movement into more organic features to underline the exaggeration phase that [results from] this process.

I love the way you juxtapose different materials, such as fur, pins, and nails. What are your feelings on working with such mixed media, and do you hope to continue to craft in this way?

I love working with different fabrics and materials. I’m always working on making combinations of opposite materials and to make it unexpected. For example, many pins together look soft and look more like jewelry. I would like to continue this way and try to find other combinations of materials.

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I see that you participated in Amsterdam Fashion Week!

What was that like?

It was really exciting and fun because it was the first time that I showed only my own creations, and it’s good to see all the different reactions of people. Last summer I participated again as one of the nominated designers of the Frans Molenaar Award, [an award for the most promising couturier in The Netherlands].

What is the meaning behind your exhibition name “Future Perfect”?

“Future Perfect” evolves around the concept of transformation from rigidity to movement; hence the mutation of matter into ideas through our creative process. Purposely dramatic and almost cinematographic, “Future Perfect” shows the duality between fragility and strength inherent to our human condition and deals with our relationship or interaction to the world.

What are you working on right now? Are there any new collections in the works?

I did make some new creations for the Frans Molenaar Award; and now I’m working on a new collection and website.

Do you have any specific plans for the future?

To show my work and [introduce my] name to the world. I also would love to design for a fashion company, because I would like to work with a team of creative people.

“‘FUTURE PERFECT’ EVOLVES AROUND THE CONCEPT OF TRANSFORMATION FROM RIGIDITY TO MOVEMENT...[IT] SHOWS THE DUALITY BETWEEN FRAGILITY AND STRENGTH INHERENT TO OUR HUMAN CONDITION AND DEALS WITH OUR RELATIONSHIP OR INTERACTION TO THE WORLD.”

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LAYERS AND LINES

DESIGNER DAPHNE VAN DEN HEUVEL DRAWS INSPIRATION FROM HER ROOTS. Interview by NICOLE BECHARD

Full name and age: Daphne van den Heuvel, 29.

Where you’re from: The Netherlands.

Where you live now: The Netherlands.

Education credentials: 2009 graduate of fashion design at Gerrit Rietveld Academie.

What first sparked your interest in fashion and design?

I liked clothing ever since I was a child and always wanted to wear pretty dresses. I used to draw little dolls with nice dresses, hats, and shoes. Later on I wanted to make clothing, instead of only drawing it; bit by bit it started.

You say you enjoy drawing from an early age. Do you feel interest in this has influenced your design at all? How? It has influenced it a lot. My design process always starts with drawings and collages. It is a 2-D process, which also comes back in my fabrics. I design prints in [Adobe] Illustrator and then laser them into the fabric. After this process starts the 3-D part, in which I sculpt it around the body.

Your recent collection “Root Route” focuses on the idea of one’s journey from childhood to adulthood. What inspired this and how do you feel you exemplified this idea in your pieces?

I’m a nostalgic person. I wanted to tell a story about a memory of something nice. Your favorite piece of clothing when you were a kid or a beautiful dress your mother used to wear.

Something like that gives me inspiration for a collection because it is so personal. For “Root Route” I found a small baby dress which my mother made for me and I started to wonder what happened through the years with my clothing. What happened over time? I started layering [garments] on top of each other from small to big (children’s clothing to [adult]

clothing), and that is where the idea sprouted. You can also see the layers of time in layers and lines, for example when you cut through a tree trunk. I abstracted the layers of clothing so only lines and layers remained.

The beautiful layered pieces of your collection are so careful and precise! What was it like working with laser-cut fabrics?

I enjoyed working with the laser-cut techniques. You can use the laser on different kinds of fabrics and it gives a different result. Also you can make any design you want—as tiny as you want—in Illustrator, and the laser can cut it out very precisely, something you cannot accomplish with scissors. In the Root Route collection I used the technique for the first time but it opened up a world of possibilities.

What are you working on right now? Are there any new collections in the works?

I have a small new collection and I am still adding pieces. I am using the laser cut technique again and combining it with self designed knitwear (on my own knitting machine). I really find it important to alter or create my own new fabrics so a design is totally my own, from fabric cut to final garment.

I understand you are currently in South America working. What made you decide to travel there?

My sister lives and works in Suriname. She organizes events and invited me to help with a fashion show. It is really nice because I am working with local fashion designers; we are making a collection together. It is inspiring to exchange ideas with people from the other side of the world.

What are your plans for the future? Anything in particular you hope to accomplish?

I hope I can keep on [creating and drawing]. It is my passion and I hope I can keep on doing this. I want to try to have a small production so people can maybe purchase my designs, but I also want to keep it special and have my special touch in each design.

PHOTOS BY PETER STIGTER

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DREAMING ON PAPER UNTAPPED INTERESTS CAN OFTEN LEAD TO NEWFOUND PASSIONS. Written by NORA E. S. GILLIGAN

“I JUMPED INTO THIS WITH NO IDEA OF EXPECTATIONS...I AM STILL NOT COMPLETELY SURE OF THE POINT OR OF MY PURPOSE. IT MAY VERY EASILY BE NOTHING MORE THAN TRYING SOMETHING IN MY GUT, DESPITE FEAR…OF NOT BEING GOOD ENOUGH, OF SUCCESS, OF NOT BEING WHAT I WAS MEANT TO DO. I DO KNOW THAT THIS “NOW” EXPERIENCE LED ME TO SOMETHING TO GET LOST IN.”

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This past summer found me laid off from a consulting firm, and lost in the middle of the cliché “search for one’s true passion versus practicality.” In a moment of inspiration one late afternoon, while trying to keep myself busy with something other than job applications, I strolled into the summer study office at my local art school and signed up for an introductory course in fashion illustration.

For as long as I can remember, I’ve had this pull towards my creative mind and appreciation for fashion and the arts in general. As a little girl, I dreamed of being a children’s book illustrator or a fashion designer, at least until I decided, for sure, that I was destined to be an astronaut, truck driver, or veterinarian. As a slightly older child, I was content to sit for hours with my Barbie dolls, not just making them “sex it” with Ken and cruise around in their pink corvette, but also dying their hair pink and altering, draping, and hand-sewing their clothes as best an eight-year-old could. Fast-forward to high school, when I toyed endlessly with the idea of applying to the Rhode Island School of Design, only to drop out of my advanced placement art class.

Outside of my studio art minor in college, and the Fashion Design Drawing course book that has been sitting untouched on my bookshelf for years, I’d been on something of a right-brain hiatus since graduating from college. I registered for the course literally five minutes before the first class started, with no real direction or purpose other than exploring an untapped interest.

Walking into class, I half-expected a room full of impeccably-styled, fashion-forward students who all knew exactly what they were doing (the other half of me knows better than to live with expectations!!). The four-hour class time

was daunting, and I was really thrown off when I was asked to introduce myself first and pronounced Lee McQueen as my favorite designer. To be sure, I love his work! But is that the best I can come up with when put on the spot in front of a bunch of fashionistas? Some obscure, anonymous or up-and-coming designer would have been much more impressive, or at least Alber Elbaz, who truly is my closet’s soulmate. I was reassured when three other students of twelve listed McQueen as their favorite, and was then able to take off my blinders to find an eclectic group of all ages and experience levels and reasons for being there. I still don’t have enough cool words to say about our chill-as-hell professor, who has all the skills and patience in the world (and cut class time down to three-and-a-half-hours; somehow, far less daunting).

The initial intimidation that I felt did not last long, and I quickly found myself excited to immerse my hands and mind and heart in everything from human and exaggerated stylized anatomy to garment detail and color rendering. It felt good to once again have a reason to browse forever in Utrecht, feeling the wrinkles develop in my brow as I decided between marker brands and colors like my life depended on it. It felt great to flip through Vogue and Harper’s Bazaar for my homework; this came somewhat more naturally than when I once had to “flip through” Satre and Camus for philosophy class. It felt empowering to look through illustration examples from well-known designers (many of whom have miserable drawing abilities), and to think, “I could do this.” What felt best, though, was sitting on the floor of my room, iPod tuned to my mood of the moment, and losing myself in drawings and sketches. It is a rare moment for

me to feel such clarity and vision, to allow my mind to slow down from one-million-times-infinity-miles-per-minute. I know I’m in a good place, wherever I am, when I don’t feel the need to constantly check my email and phone messages for stimulation. To be able to tune out the rest of the world and get out of my head for a little, and to focus solely on creation, is necessary and significant.

Now my class is starting to wind down, and I am now starting to think about ideas for my final portfolio project, for which I want to reflect and give insight into my own style and outlook. After this, who knows? Sometimes I consider taking more classes: sewing, tailoring, Photoshop.

Maybe I imagine myself as the next Garance Dore, illustrating my fashion-related thoughts in words and pictures as small doses of daily blogger inspiration. Perhaps one day I will take on freelance work, or Papercut will let me illustrate some written features (hint, hint!). On the other hand, my future in fashion illustration might not be too bright: as noted in obvious blog’s 2008 archives, “the first photographic cover of Vogue was a watershed in the history of fashion illustration and a watershed mark of its decline.”1 Either way, I jumped into this with no idea of expectations, from the class or from myself. I am still not completely sure of the point or of my purpose. It may very easily be nothing more than trying something in my gut, despite fear…of not being good enough, of success, of not doing what I was meant to do. I do know that this “now” experience led me to something to get lost in. To a new passion found. To a way of dreaming on paper. And, for the time being, maybe that is enough.

1. http://obviousmag.org/en/archives/2008/04/the_first_covers_of_vogue.html

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FASHION’S “DOWNSIZE”

FROM RUBENESQUE TO HEROIN CHIC; THE EVOLUTION OF THE “IDEAL” WOMAN. Written by D.K. STEWART

A few years back I watched a video on fashion shows in the Grand Houses of Paris. The shows were held in private rooms, and both the models and dress forms were a size 6/8. One couture house in particular belonged to none other than the Grand Dame of style and fashion herself, Madame Coco Chanel.

Her models were graceful; their clothing draped and hung beautifully from their bodies as Madame had intended. I could see myself, mid-century, in those elegant dresses and suits. These models were women, not teenage girls. It was during this time, circa World War II, that the first “supermodel” was discovered. Lisa Fonssagrives had the perfect non-androgynous measurements at 5’7” and 34”-23”-34”, yet ironically described herself as a “good clothes hanger.”1 Here, I submit a heartfelt sorrow that I’ve burst Janice Dickinson’s ego bubble.

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Come the 1960s, a waifish 16-yearold Cockney, at 5’6”, 91 pounds, and slight 31”-22”-32” measurements, became a model by dint of a haircut. Thus Lesley Hornby (aka Twiggy) gave birth to the size zero model and unisex clothing. Even in her time, however, the general public criticized Twiggy’s body image as “unhealthy.” Twiggy herself looked up to supermodel Jean Shrimpton, who at 5’10” and 34”-23”-35” had the perfect and acceptable body image. Twiggy’s modeling career lasted approximately four years, and upon her retirement she paraphrased Fonssagrives: “You can’t be a clothes hanger for your entire life!”2 From the late 1960s through the 1990s fashion designers had their pick of models within the 6/8 size range: Victoria Hamel, Catherine Oxenberg, Susan Blakely, Peggy Dillard, Cybil Shepherd, Beverly Johnson, Renee Russo,

Karen Alexander, Christie Brinkley, Carol Alt, Cheryl Tiegs, Naomi Campbell, Tyra Banks, Claudia Schiffer, Linda Evangelista, Cindy Crawford, Christy Turlington, and so many more. The supermodels were gorgeous bombshells of Amazonian proportions, at towering heights of 5’9”, but women around the world could still relate to them for their beautiful curves and athletic figures.

Sadly, if these women were to approach a modeling agency today, they would be told to go home and lose at least 20 pounds. The Centers for Disease Control and Prevention data states that the average American woman weighs 164 pounds with a 37-inch waist (2002– 2004). Those are not the measurements of a size 8, which is telling of how the human body has evolved over the years.

So why is it that today’s artists of fashion demand that female models should be literal “human hangers?”

The fashion industry’s demand for the androgynous, heroin, starved, pre-pubescent look is very removed from Coco Chanel’s observation: “You cannot have fashion out of touch with street life.”

This statement itself gives me pause as the current Creative Director of the House of Chanel, Karl Lagerfeld, lost 93 pounds in 13 months at 69 years of age on an extreme diet. Why? Because he wanted to dress in fashions “modeled by very, very slim boys—and not men my age.” He then of course published a book called The Karl Lagerfeld Diet.3 During an interview about the fashion industry with CTV’s Canada AM, supermodel Iman was quite candid in her assessment of the demands being made for girls to be a size doublezero. She said, “I find that the fashion business and the beauty industry really have an assault on identity when it comes to young models because they have to conform to these impossible demands. They’re becoming like human hangers. Obviously the designers have a lot of influence in this. Because the designer can say, ‘I will not hire you at that body weight.’”4 In recent years there have been several “outings” of designers who have taken the “human hanger” look to another level in their Photoshopped advertisements. Designer Ralph Lauren, for example, recently found himself having to defend a model’s image that had been altered to such a degree that a blogger commented, “Dude, her head’s bigger than her pelvis.”5 Filippa Hamilton, the model in question, addressed the controversy, telling the Daily Mail she’d been fired by Ralph Lauren “because they said I was overweight and I couldn’t fit in their clothes anymore.”6 At a size 4!

It is fair to say that Photoshopping is not new to the fashion industry, and that its use is actually very necessary.

Using the software to remove flaws such as shadows or hair over the eye is important to the portrayal of product and to setting a mood. However, when designer and photographer then de-

cide to create a new extreme of the human form, this speaks to another issue entirely. Sometimes I fear designers just might be suffering a kind of Peter Pan syndrome, where women remain childlike, languishing forever between tween and teen.

THE CENTER FOR “AND DISEASE CONTROL PREVENTION’S

CURRENT DATA STATES THAT THE AVERAGE AMERICAN WOMAN WEIGHS 164LBS WITH A 37-INCH WAIST.

”

Crystal Renn is a current plus-size model who started modeling at 14 years old. It is reported that to be initially successful she had to lose a full quarter of her body weight. Is it truly surprising then, that she became anorexic, starving herself to size zero (not quite the coveted industry standard of double-zero)? Eight years later, Renn’s experience and survival prompted her to write a book: Hungry: A Young Model’s Story of Appetite, Ambition and the Ultimate Embrace of Curves. Renn made a comeback after her recovery and, at a curvy and beautiful size 16, was the belle of Jean Paul Gaultier’s 2005 spring show.7 Fast-forward to 2010, when Renn found herself in yet another type of image controversy, wherein she had to defend herself in print and the mainstream media regarding a Photoshopped image that looks nothing as she currently does. Renn has been very forthcoming in her assessment of the industry, her journey, and, most importantly, the message that these pictures give young women and society at large.8 To me, these industry examples tell the story of just how much we are manipulated by a mostly male-dominated world that caters to women.

They tell us what these men imagine, and in turn that they fashion clothing for the woman of their imagination: a woman without breasts or curves.

These images have in turn created body image issues that have produced a multi-million dollar diet industry where lives are indeed lost or maimed.

Over the years, fashion insiders have defended their use of the size zero model as an economic necessity. They disingenuously explain that the larger the model, the more money they have to spend on clothing. Yet they cannot explain the exorbitant salaries they pay the waifs to show a piece of clothing in four hours, or the amount they waste to produce a fashion show.

There is some light at the end of the tunnel, however. Some advertising companies, who until recently would only hire size 8 or smaller women, are now using plus-size models to market their products (most notably is the Dove campaign). Models like Emme, Renn, Whitney Thompson, Toccara, and Barbara Brickner are steadily climbing the ladder as they reflect a population that is indeed putting some pressure on fashion designers to produce clothing that better reflects society. It behooves more established designers to tap into this growing market, if only for their own financial benefit, because the “plus-sized” woman’s purchasing power is increasing. The plus-size woman is loyal to the brands that see her as attractive, with a sense of style. She is loyal to the brands that respect her, and refuse to marginalize her or treat her as a second-class citizen. Mintel International Group market researchers back up that reasoning in a report that states, “there is an untapped reserve for financial growth in the fashion industry if only designers and their marketers would engage with the plus-size woman as they do their smaller-sized counterparts.”

That’s about two-thirds of the 152 million women in the U.S. Translate those numbers into dollars, and see what size “clothes hanger” develops.

1. Ranck, Rosemary. (February 9, 1997). “The First Supermodel.” The New York Times. <http://query.nytimes.com/gst/fullpage.html?res=9902E2DE153DF93AA35751C0A961958260> 2. Slater, Anna. (September 13, 2009). “Twiggy at 60: The super-skinny model who found fame in the Sixties has finally come of age. Anna Slater lists the triumphs, the tragedies and the trivia.” Independent on Sunday: p. 48.

3. Lagerfeld, Karl and Houdret, Jean-Claude. (May 2005). The Karl Lagerfeld Diet.

4. http://www.allheadlinenews.com/articles/7008760759#ixzz0xjmQbCoI 5. http://boingboing.net/2009/10/06/the-criticism-that-r.html 6. http://www.examiner.com/celebrity-headlines-in-san-francisco/model-filippa-hamilton-speaks-out-against-ralph-laurenhttp://www.examiner.com/celebrity-headlines-in-san-francisco/model filippa-hamilton-speaks-out-against-ralph-lauren 7. http://www.plus-size-tall.com/crystal-renn-in-new-jean-paul-gaultier-ad-campaign-7495/.

8. http://jezebel.com/5590811/an-analysis-of-crystal-renns-photoshop-of-horrors 9. http://today.msnbc.msn.com/id/38358777/ns/today-today_fashion_and_beauty/

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ON THE VERGE PART TWO OF OUR ON THE VERGE DOUBLE FEATURE EXPLORES THE EVER-EXPANDING REALMS OF TECHNOLOGY; FROM THE FIFTH FLOOR OF MIT’S MEDIA LAB, TO GARMENTS THAT LIVE AND BREATHE.

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HIGH-LOW TECH

MIT’S HANNAH PERNER-WILSON IS HANDCRAFTING HUMAN-COMPUTER INTERFACES. Interview by JAMALL OLUOKUN Full name and age: Hannah Perner-Wilson, 27.

goal of which is to motivate and enable others in exploring this area too.

ing and posting this work online [and] I have continued to do this ever since.

Where you’re from: Born in England, grew up in Austria.

What made you want to get into this type of field?

During my undergraduate studies in industrial design I took a class on sensors. The class taught me how to make circuits and interface sensors with a computer. Soon after this I discovered conductive fabrics and was simply fascinated by the possibility of creating soft technology (in contrast to what is traditionally hard). After finishing my undergraduate degree, I was fortunate to be unemployed for a year yet have the resources to pursue my interest in making things. I never thought of what I was doing as research until starting my graduate degree at the Media Lab.

What inspires your ideas and how do you go about executing them?

The process of making something always inspires me. One idea always leads to another. Some ideas I realize right away and others take years for me to start.

I begin by making prototypes, to make sure that the parts of a project are possible before bringing them all together. I want to make sure that the materials I want to use will work and look the way I want them to. And that the solutions I imagine really work. I totally enjoy the challenge that comes from combining materials in new ways.

Where you live now: Currently in Cambridge, Massachusetts.

Education credentials: I received my undergraduate [degree] in Industrial Design from Art University in Linz, Austria. [I am] currently a graduate student at the MIT Media Lab in the High-Low Tech research group lead

by Leah Buechley.

What exactly do you do?

I’m fascinated by the possibility of handcrafting human-computer interfaces that are unusual and allow you to interact with your computer in unexpected ways. Who would have thought that you could knit a stretch sensor, embroider resistors, paint a circuit, or fold a battery pouch from paper? Or that the materials, tools, and techniques you need to create these things are readily available and waiting to be used? I share my research with others in the form of online tutorials that include lots of photos, videos and step-by-step instructions. The 34

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How long have you been doing this type of research?

In 2006 I first started playing with circuits and conductive fabrics, but in 2008 I really began working intensely with these mediums. I spent a whole year gathering materials and testing their electrical properties. This process led me to begin creating a range of textile sensors and to realize small interactive projects with them. I began document-

What first got you interested in the field of “wearable technology”?

In 2006, [my colleague Mika Satomi and I] had the idea for our first wearable technology project titled “Massage Me.” We wanted a free back massage and so we modified a traditional game controller. [By] making textile buttons and embedding them in the back of a jacket, [it forced] the gamer to give you a back massage in order to play the game. The interface was a success and Mika and I have been collaborating on such projects ever since.

LEFT TO RIGHT: “TILT SENSING BRACELET” by Hannah Perner-Wilson is a bracelet decorated with conductive fabric petals and a dangling metal bead that makes contact with the petals, allowing for tilt detection; the “LIVING WALL” by High-Low Tech is interactive wallpaper that serves as a beautiful and unobtrusive way to enrich environments with computation.

What is your favorite project that you are working on?

That is a hard question to answer [because] every week I have a new favorite.

One project I’ve recently been thinking a lot about involves using my textile sensors to collect data from everyday activities, rather than intentional interactions with them. For example, I might wear a version of the fabric tilt sensor on my ankle while I cycle to work. Then I would compare the data I get from my textile version of a tilt sensor with that of a commercial tilt switch mounted in the same position. I would like to do this to test the reliability and durability of my sensors as well as to be able to compare them with commercially available solutions. This might not sound very interesting, but I’m excited about it.

How do you see these projects being commercially viable in the future?

The “LilyPad Arduino” is a great example of how e-textile tools and technology have become commercially available and are being used by a diverse audience of educators, artists, designers, hobbyists and engineers. The LilyPad kit is a collection of sewable components

that include a programmable microcontroller, LED lights, switches, sensors and other actuators.

What type of materials do you use for these projects?

I use a lot of electrically conductive fabrics and threads as well as yarns, paints, and tapes. I’m especially interested in materials whose electrical resistance changes over distance or under certain circumstances, such as when they are pressured, stretched, or bent.

What are conductive fabrics / textiles and which ones do you work with?

Conductive textiles are often regular textiles that are coated in metal particles such as silver, copper, or nickle.

One of my favorite conductive fabrics is a stretchy silverized lycra that Sparkfun and LessEMF distributes. It is wonderfully soft and very conductive. I also like a stainless steel-resistant yarn that is now available from Plug and Wear as well as the range of piezoresistive fabrics that Eeonyx manufactures.

Has your research dictated any noteworthy commentary on the

current social and/or technological state of our culture?

The work that Mika and I collaborate on has a strong emphasis on opening the black box of consumer technology, in order to hack, modify, and customize it to better suit our needs and desires. Manufactured goods are often a great starting point to begin playing with the customization of circuits and interactive technology. We want to promote awareness and a critique of the ways in which we currently interact with computers, and propose a more hands-on personalized approach to creating technology and interfacing with them.

Any advice for anyone interested in being in the Media Lab / High-Low Tech group?

Make stuff, document it, and share your knowledge. Think about how you’d like future technology to look and feel and what role the creation of such technology should play in our everyday lives.

Any links you’d like to share?

Plusea: http://plusea.at/ High-Low Tech: http://hlt.media.mit.edu/ Kobakant: http://www.kobakant.at/ Massage me: http://www.massage-me.at/

LEFT TO RIGHT: “TILT SENSING QUILT” by Hannah Perner-Wilson is a quilt made up of an array of 41 textile tilt sensors, showcasing different materials and techniques that can be used to create fabric tilt sensors; “FAB FM” radio by David Mellis and Dana Gordon explores the possibilities for personal fabrication of consumer electronic devices.

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PHOTO BY JAMES GRAHAM

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FAIRYTALE FASHION

GARMENTS THAT HAVE BLOOMING FLOWERS, BREATHE, CHANGE COLOR, AND TRANSFORM. YES, YOU READ CORRECTLY. Interview by HAYLEY MAYBURY

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Full name and age: Diana Eng, 27.

Where you’re from: Jacksonville, Florida.

Where you live now: Upstate New York.

that I am trying to start my own line, I realize that you are not just making one garment to send down the runway, but you are making something that is going to be sent out to a manufacturer and to vendors, so the design process becomes very different. There are millions of small things you need to consider when you are having a garment manufactured. For

Education credentials: Rhode Island School of Design for Apparel Design.

“PROJECT RUNWAY ONLY SHOWS A TENTH OF WHAT IT ACTUALLY TAKES TO BE A FASHION DESIGNER.”

How did you get into designing clothing?

I have always loved clothing. When I was little I used to play dress up and pretend that I owned a fashion store. [To design clothing] has always been a dream of mine and just feels so natural to me.

instance, you can’t just pick out a pretty button you like, you have to think about how it will wear on the garment or how it will with hold up to everyday use. Project Runway really captures all the excitement and hard work of being a fashion designer, and for that it is great!

On your website you mention having the opportunity to work at multiple fashion companies. Where did you work? Anywhere notable (to you) in particular?

One of the places I worked was Victoria’s Secret in Research and Development; I really enjoyed working there.

The great thing about working for a [big] corporation is that they have such a large budget, so you could go shopping for inspiration and swatches. The sky was the limit when it came to getting stuff together. I also freelanced at Kenneth Cole and Gap Body.

What made you want to incorporate science and technology into your fashion design?

Ultimately I like to invent new things in fashion, and there are always these things that I want to [create] that you couldn’t make with traditional apparel material. [I like] the possibility of being able to use both technology and science. My favorite material is wool, because you can mold it into different shapes, and it always has a nice bounce to it.

Has working at such places influenced you as a designer? How? Definitely. I guess at Victoria’s Secret I really learned the most. It really changed my perspective as a designer. I always thought that I wanted to be a high-end designer but working [there] I got to see different shopping behaviors, different stores, and different locations. It made me realize that Victoria’s Secret in some way is providing a luxury brand for middle-America; [shoppers] really feel like they are getting something special. Everyone was so happy when they bought something [at Victoria’s Secret], so I wanted to do that same thing with my company. Not make it so high-end but just make it so everyone could be happy.

What was it like to be a designer on Project Runway?

A lot of fun. The thing is that Project Runway only shows a tenth of what it actually takes to be a fashion designer. Now

So, in a nutshell, tell us—for the sake of our readers— what exactly is Fairytale Fashion?

Fairy Tale Fashion is a project that I did to explore the possibility of what technology can add to fashion. I worked with a bunch of classrooms and talked to groups of children asking them what they would want their fairy tale clothing to be. I then selected the ideas that I thought would be fun and made them into actual clothing.

Have any of your viewers ever surprised or maybe even stumped you in their suggestions for the next design?

Yes, a lot of kids wanted clothing that gave them super hero powers. Not quite in my ability to help people fly…yet.

But you never know!

What are you future plans for Fairytale Fashion?

Right now I am working on designing my own line. I want to create products based on Fairytale Fashion, but that people can buy and wear on a day-to-day basis.

PHOTOS BY DOUG ENG

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PHOTO BY RICK LOUIS

PHOTOS BY DOUG ENG

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SAVINGS ON-THE-GO PEEKABOO MOBILE MAY JUST BE YOUR NEW FAVORITE APP. Interview by HAYLEY MAYBURY Full name and age: Ben Dolgoff, 25 and Mike Fruzzetti, 25.

Where you’re from: Ben: West Barnstable, Massachusetts.

Mike: Onset, Massachusetts.

Where you live now: Both: the North End in Boston.

Education credentials: [We both attended Suffolk University and studied finance.]

How did you two decide to come together and create an application like Peekaboo Mobile?

We have always had an entrepreneurial mentality. Since we have self-funded all of our previous companies to date we are constantly looking for ways to save money. Through our experience we found it was difficult to find good deals around the area. We created Peekaboo with two key features, using GPS and redeeming coupons/deals from the phone. The GPS element makes it extremely easy to find deals around you while having the convenience of redeeming the coupons straight from your phone.

Did you find this was an easy concept to implement?

Mobile coupons are still relatively new so there is some adoption that needs to take place. Since we are still early in the mobile coupon trend it was a little difficult at first to get people to jump on the bandwagon. After the first month of launching Peekaboo, businesses and smart phone users started to trust the idea and take advantage of its benefits.

Tell us about the different kinds of features Peekaboo Mobile has.

Peekaboo has a variety of features listed below that makes it a convenient app to have as a user: (1) GPS capability helps you to easily locate deals around your current location; (2) Get a list of deals presented in either list or map format; (3) Call, get directions, or view the business’s website; (4) Redeem coupons straight from your phone.—no printing or clipping; (5) Share coupons with friends, family, and colleagues through Facebook, Twitter, email, and text message.

How/where can I get the Peekaboo Mobile application on my phone?

Peekaboo can be downloaded straight on your smart phone for free by visiting www.PeekabooMobile.com. If it is not available yet for your [particular] phone then you can enter your email address and we will notify you when it is compatible with your model.

How can you use Peekaboo if you are a business owner?

It’s simple! Go to www.PeekabooMobile.com and click on the “register” tab on the top right of the page. Enter in the necessary information and you will be up and running within

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24 hours. You will then have access to post coupons and promotions to thousands of potential consumers directly around your business location.

How has the feedback on the application been so far?

The feedback so far has been great—both businesses posting deals and consumers redeeming deals love it. We have had dozens of users sending comments describing how much money they saved by using Peekaboo.

Do you have an approximate timetable on when consumers will see Android and Blackberry versions of the app?

Android should be available by the second week of September.

A mobile web version—compatible with all Internet-enabled phones—is also slated for release in early October.

How has the business been expanding so far? Where are the latest/newly added locations?

Business has been expanding rapidly. In the month of July both business locations and user accounts nearly tripled.

August has also shown steady growth. We now have coupons in 17 different states.

Where do you see Peekaboo Mobile going in the future?

We have big plans for Peekaboo Mobile in 2011. While we currently only offer mobile coupons for local merchants, in the coming months we will be expanding our platform to include exciting new savings options. These new features will provide added value to businesses and users.

With support from local and national partners, we will have an opportunity to reach a more diversified group of merchants, brands, and users. Peekaboo Mobile’s mission is to connect merchants and users through an innovative suite of services. Executing this strategy over the next few months will transform what began as a two-man operation into a leading mobile company with millions of satisfied users and businesses.

“PEEKABOO MOBILE’S MISSION IS TO CONNECT MERCHANTS AND USERS THROUGH AN INNOVATIVE SUITE OF SERVICES. EXECUTING THIS STRATEGY OVER THE NEXT FEW MONTHS WILL TRANSFORM WHAT BEGAN AS A TWO-MAN OPERATION INTO A LEADING MOBILE COMPANY WITH MILLIONS OF SATISFIED USERS AND BUSINESSES.”

BRAVO’S MASTERPIECE

BRAVO’S LATEST SERIES WORK OF ART MARRIES CONTEMPORARY ART WITH REALITY TELEVISION. Written by ERIN BERRY For every talent, every skill, and every goal that we have in life there is a reality television contest to achieve it. From losing weight, to making cakes, and even to finding a spouse, American television has reached the farthest corners of human desire. For all the viewers not participating in the action, we are hanging on the edge of our chairs, soaking in each long dramatic pause as we wait to hear the next elimination. Bravo’s Work of Art: The Search for America’s Next Great Artist is just another reality show to the general public. For working artists struggling everyday to gain exposure in such a competitive field, however, it is a contest that is long overdue.

In the show’s first season, each artist had to complete ten challenges for a grand prize of one hundred thousand dollars and a solo show at the Brooklyn Museum of Art. The chosen artists included painters, photographers, sculptors, architects, and teachers. The players worked both individually and in teams throughout the challenges, which were based around common artistic themes. The main goal of the competition was to focus on the artists’ versatility and their

PHOTO BY KIM NAVARRE

A piece from Work of Art winner Abdi Farah’s exhibit currently on view at the Brooklyn Museum from August 14–October 17, 2010.

ability to run with a theme in a short amount of time. Art is a very fickle and subjective thing to judge, unlike, say, food where you can unanimously determine whether a dish is too spicy or salty or bland. However, there are still certain conventions that artists must be aware of in order to execute a successful piece. Work of Art competitors struggled not only with the limited amount of time in each challenge, but also with successfully communicating their ideas to the general public. Artists know that one of the most difficult challenges in art is maintaining a balance between the work’s relationship with its audience while still keeping that personal, sometimes mysterious connection to their work. The pieces that were either too literal or too vague were problematic because they did not successfully convey the central idea, or because they were far too self-explanatory, making them amateur or mundane. As competitors were slowly eliminated, it became more difficult for the judges to determine which person should go home, as each artist’s work developed drastically throughout the competition.

Similar to Project Runway, the three chosen finalists (Miles Mendenhall, Peregrine Honig, and Abdi Farah) were each sent home with five thousand dollars and three months to fully create and develop their final gallery show. Each contestant created a cohesive body of work that shared a common theme of death. Miles created a series of black and white abstract screen prints using surveillance video pictures featuring a homeless man that had died days after he the artist had photographed him inside a White Castle restaurant. Peregrine presented an interactive carnival-like spilling of wax sculptures of heads and horses with a beautiful large-scale photograph of dead twin fawns that she considered her “muses”. Abdi’s final show, titled “Luminous Beings,” featured life-size sculptures of metallic-painted basketball players splayed on the gallery floor, accompanied by paintings of figures and particularly arresting images of body bags. Although the group show was very successful as a collaboration, ultimately it was Abdi who was awarded the prize. It was very encouraging to see a winner who struggled with consistency throughout the competition break through his insecurities to create a body of work that was effective, powerful, and deeply moving on both a personal and universal level.

The “Art World” has always felt very separate from the real world to me and I, like many other artists, have been waiting to see a program such as this that celebrates and pushes contemporary artists into the celebrity spotlight. As funding is the largest hurdle for most artists, many would drool at the chance to be able to create in a large space with endless supplies. Even the artists who were eliminated first are popping into more galleries, simply as a result of their television appearance. Hopefully there will be many seasons to follow, so artists can start to gain some true recognition.

As a working artist myself, I must say “bravo” to Bravo for creating a true “work of art” that finally brings visual artists into the foreground.

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washed up Photography by KAYLIN RODRIQUEZ Hair by WILLIAM BLAIR Makeup by KAYLIN RODRIQUEZ Designer/Styling ALEX HANCOCK Model SARAH JEAN REBELLO (SMG)

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last rose of summer Look at her: a thing of beauty and majesty. This is how she sometimes chooses to be. She surrounds herself with organic beauty. That's where she feels safe. You may look but not see her. What is she thinking? Maybe she wonders about the flowers? If they die, will she? She likes to look pretty. Look how the flowers adorn her hair. Roses are her favorite. Her clothing; she draws on the earth for her wardrobe. Mother natureâ&#x20AC;&#x2122;s palette. A shade of grey here, an earthy cream there, and grass green. She loves yellow too; it reminds her of the sunset. She pays homage to the sweet wild berries with her lip color.

Nature personifiedâ&#x20AC;Ś

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Headpiece by UMA TURAN Dress by HOLLY WOODS

Photography by LARA JADE at www.sarahdaw.com Introduction & Styling by IHUNNA EBERENDU Model TEGEN of STORM Make-up by AMY SACHON Hair by TOMOYUKI OTSUKA Assistant STEVEN READ Post-production/Retouching by LARA JADE

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THIS PAGE AND OPPOSITE

Headpiece by UMA TURAN Dress by MALENE ODDERSHEDE BACH Shoes are stylist’s own

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Headpiece by UMA TURAN Dress by CHANG A PARK Leggings are model’s own

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Headpiece by UMA TURAN Dress by HOLLY WOODS

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Headpiece by UMA TURAN

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Headpiece by UMA TURAN Blouse by CHANG A PARK Cape by HOLLY WOODS

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Shirt by MRIKA SINANI Leggings are model’s own

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LEAVE THE SHOUTING TO OTHERS AN INTERVIEW WITH TERESA CROWNINSHIELD Designer Teresa Crowninshield’s adventure began while teaching in China. She went from knowing nothing about sewing to designing and creating her own line of silk and cashmere coats. As if that isn’t admirable enough, she was even able to surpass her debut with a second and third line; both met with rave reviews. And just how does one find such success? It takes two parts learning and one part passion. After exploring the local silk markets, Crowninshield began to play and explore with fabric. Once she knew she had the drive, the rest was simply understanding the technical aspect of design. “Being self-taught was liberating for me—just following my passion, following what excited me about fabrics and design. When I met a technical problem in creating the look I wanted, I learned how to solve that problem.”

And once she had both down? Well, let’s just say the rest is history...

Interview by HAYLEY MAYBURY & NICOLE BECHARD

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You started out as an English teacher living in China.

How did that lead to becoming a fashion designer?

Once I got settled in to my teaching life in China, I started venturing out to the local silk markets. I guess you could say it was love at first sight. I started buying silk and playing around with it at home. I got some ideas for clothes I wanted to make, made some sketches and had a tailor stitch some things for me. When I wore those pieces, people noticed. People seemed to think I had an eye for putting the right fabric with the right design. As time went on I started to believe it too.

It was in China that you created your first line. What did you find beneficial about this (or not so much)?

It was exhilarating. Things were really seat-of-the-pants in a lot of ways. I had pencil-sketched designs, a world of fabric and lots of passion, but I needed know-how and some skilled stitchers. How to find this when you don’t speak much Chinese? I just pushed and searched until I found a clothing design school in a bad part of town. I went in and found the head teacher. She didn’t speak of word of english, but she understood what I wanted to do. Gradually, sometimes painfully, we got on the same page and made some beautiful things together.

At first you were completely self-taught; do you feel this enabled more creativity in your initial work or served as more of a boundary as an amateur designer?

If I had known what you’re “supposed” to know to be a designer, I might have been discouraged. Instead, through that period of childlike curiosity, I found out who I wanted to be; who I was as a designer. As my business grew, [so did I]. I realized that to be successful and stay independent, I needed to know everything about my business—which is how to make elegant, beautifully fitting garments. Now, I sketch, drape, sew the muslin, make the paper pattern, and stitch the final production sample. When I get to the manufacturing stage, I know for a fact the design works.

How did apprenticeship influence your design work?

My mentor, Shirley Willett, grew up in Boston clothing manufacturing, starting at 16 years old as a stitcher. She’s 77 now and has spent her whole career thinking about elegant solutions to complex pattern problems. She saw where my natural instincts were—tailored, classic jackets with edge and finish— and has helped me to capture the images in my mind. Every time [Shirley and I] meet, she amazes me. It’s like a magic show. She can sit across the room, look at a muslin I’ve sewn and notice the slightest hint of tension in a shoulder seam. You don’t believe it’s there at first, and then you really look, and sure enough it’s there. So, Shirley has taken me a long way towards achieving that level of detail and finish in my own pattern making. As a result, my coats are fitting better and better.

That’s one of the things I hear most often from women—that no brand fits them as well as Teresa Crowninshield.

Any specific lessons or words of wisdom that really stuck with you?

Hawkish attention to detail [and] training and trusting your eye. That’s the big lesson. Fine details matter a lot to Shirley.

A little tension here and a slight pull there will spoil a good design. There’s a big difference between a good curve and a

“ULTIMATELY, IT’S A LIFESTYLE AND ARTISTIC CHOICE. WE’D RATHER DIE LEADING THAN LIVE TRYING TO FOLLOW.” beautiful curve. These are the key Shirley lessons…these and watch out for bulk! She’s very serious about eliminating fabric bulk at seams. Bulk is what makes garments have the “loving hands at home” look. Great design is in the details.

The Teresa Crowninshield brand is indifferent when it comes to what is considered trendy in the fashion industry. Have you found this to be a beneficial approach, or is it an uphill struggle?

Who would’ve thought you could completely ignore fashion trends and seasonal fashion cycles and still be in business eight years later? We did, especially our Creative Director, Gary Temple. He has always argued that when you create honestly and from the intuition, things of lasting aesthetic value can be created. While others focus on making disposable copycat fashion, we’re trying to make things that cut through the noise and stand alone. We think following trends is a losing proposition. You may ride a wave this year, but this is no strategy. Consumers are too finicky, rip-offs too easy, and margins too low. We want to make our own wave and do what we do better than anyone else. We work on the designs that excite us, with the material that excites us. When the design is finished, we start selling it regardless of season. People have a hard time believing that long cashmere coats can be sold in the summer, but I can tell you, we sell all our styles, all year round. Ultimately, it’s a lifestyle and artistic choice.

We’d rather die leading than live trying to follow.

Do you have any plans to expand your line beyond jackets/coats?

We will likely offer more skirts and perhaps slacks in the future. As a business proposition, it probably makes sense, but we’re focused on whether a skirt or slacks will improve or complete a look we’re going for. We’re only going to put time into things that raise a design to a higher level. We’re not selling widgets, we’re selling design.

How about any menswear?

We get a fair number of requests for a line of menswear. My design instincts are in the same neighborhood and I think it would be an exciting challenge. For now, though, it’s important for us to continue focusing on making beautiful women’s wear. Versatility, like trendiness, is not a strategy.

What can we expect to see from your brand in the near future?

Teresa Crowninshield has been known for elegant classic designs with a twist. That will still form the core of our brand, but we’ve got lots of edgy progressive designs in development. By building relationships with customers one-at-a-time over the years, we’ve got a very loyal following that trusts us to push their boundaries. We’re focused on glorifying feminine strength—on real elegance with a confident edge. We’ll keep focusing on making beautiful statements and leave the shouting to others.

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Photography by NICOLE BECHARD Jackets by TERESA CROWNINSHIELD Styling by NICOLE HERZOG Model KIMBERLY RYDZEWSKI Hair/Make-up by JANEEN JONES

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TERESA CROWNINSHIELD Safari Jacket, $275

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TERESA CROWNINSHIELD Silk Racer (reversible), $355

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THIS PAGE: TERESA CROWNINSHIELD Isabella, $325; OPPOSITE: TERESA CROWNINSHIELD Diamond Bolero, $345

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TERESA CROWNINSHIELD Azurean Evening Coat, $615

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THE NEW YORK CHRONICLES NEW YORK FASHION WEEK RECAP: FALL/WINTER 2010 Written by BRITTNEE CANN Trends seen at the fall collections during New York Fashion Week in early February seem ubiquitous and obvious at the time but then, when the colder seasons finally start creeping up, everything from eight months ago becomes suddenly and impossibly hard to remember. Need some brushing up on what to wear this coming fall/winter? We’ve got you covered—almost literally. NY Fashion Week was stocked with layering of all kinds, indicating that now is the time to lose tank tops and sandals, and to pile on the heavy textiles. From the good, to the bad, and even to the things we’re a little on the fence about, it’s time to study up, buttercup. Here, the lowdown on everything you need to have a chic and stylish autumn.

PRINTED PANTS

As seen at: Diesel Black Gold , Proenza Schouler, Rodarte, Tory Burch…

Tops and accessories aren’t the only place for prints anymore.

This season a whole slew of NY-based designers showed print on the lower half of the body.

CAMEL

As seen at: 3.1 Philip Lim, Derek Lam, DKNY, Oscar de la Renta, Rachel Comey, VPL…

Call it camel, call it butterscotch. No matter the name, this golden hue is the coming season’s hottest neutral. In varying shades within the spectrum—from rose gold to desert orange—it’s an update on the old khaki yellow we’ve by now grown bored of.

wear-inspired blazers and tailored pants give an office-appropriate yet fashion-forward look.

MODERN METALLIC

CAPES, HOODS, AND PONCHOS

Shiny metallic is back in a big way. Many-a-designer showed long evening wear in brilliant, beaming, textiles. Metallics aren’t limited to only silver, gold, and bronze—try a sparkling emerald green, cloudy blue, or red tint.

Perhaps a result of the extreme winter we had earlier in the year, this season outerwear has us fully covered. Capes, ponchos, and oversized hoods not only look cool but are more than practical for the coming cold weather.

MILITARY

FURRY ACCENTS

As seen at: Badgley Mischka, Carolina Herrera, Diane Von Furstenberg, Marc Jacobs…

As seen at: Banana Republic, Jill Stuart, Marc by Marc, Rag & Bone, Tory Burch…

Hints of military influences were sprinkled all around New York Fashion Week, but not in a too exaggerated way. Subtle detailing in jackets and deep army green are ways to play boot camp without looking overly G.I. Jane.

LADY-LIKE

As seen at: Chris Benz, Jason Wu, Peter Som…

A huge trend overseas in Paris, Milan, and London, it looks like classic, lady-like shapes will be making their way over to this side of the Atlantic as well if the above designers have anything to do with it. Longer hemlines and boxy bags are very grown up; fun colors and modern styling keep the overall look young and fresh.

MENSWEAR TAILORING

As seen at: Alexander Wang, Jason Wu, Ralph Lauren, Yigal Azrouel…

Dude looks like a lady? This season the reverse is true. Mens-

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PHOTO BY JUSTIN HOGAN

As seen at: 3.1 Phillip Lim, Altazurra, Isaac Mizrahi, J. Mendel, United Bamboo, Y-3…

As seen at: Marc Jacobs, Michael Kors,Vena Cava…

Fur is another popular trend seen during European fashion weeks that made it over to the U.S. Fuzzy trim was seen on everything from jackets to bags, shoes, gloves, and more.

VOLUMINOUS PANTS

As seen at: Behnaz Sarafpour, Charlotte Ronson, Richard Chai Love, Zac Posen…

We are long overdue for a break from the skinny jean. This season it seems size does matter and to speak quite frankly— the bigger the better. Fluid, forties-inspired pants will give us all room to breathe.

BED HEAD As seen at: Isaac Mizrahi, Proenza Schouler, Rebecca Taylor…

Beauty trends are not always as easily spotted as fashion trends, but one thing seen on more than just a few catwalks was messy, slept-in, hair. Hey, the less time it takes us to get ready in the morning the better. We’re fully backing this.

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