ROCKET, Spring 2012: The Bloom Issue

TABLE OF CONTENTS

FEATURES 04 From the Editor TEXT, FASHION 05 Spring Reports Hitchcock Heroines, Sheer Fabrics, and Polkadots 06 Lost In The Woods A William and Mary Production 08 The Renegade How one student is taking fashion into her own hands and breaking all the rules 10 Man’s World Pops of color are showing up more and more in menswear 12 Budding Talent Up-and-coming forces to keep an eye on 14 Falling Back What’s to come for F/W 2012 16 In Bloom Homage to an icon

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EDITORIALS 18 A Gardener of A Man Tweed and tumbleweed 26 Drunk On the Blood of the Saints Floral interpretations of the deaths of martyrs 32 Silence In Heaven An equestrian escape 40 P.s. So Lonely, Blooming Sleeping damsels awakened 48 In the Garden of Good and Evil Color and chaos

ROCKET Editor-in-Chief Justin Miller Art Director Selden Koolman Photo Chief Evrett Paist Features Editor Eden Stuart Booking Editor Tara Oladimeji Beauty Editors Francesca Rizzo Text Morgan Fletcher, Kathryn Lawerence, Lauren Jones, Elise Rivera, Grace Martini, Katie Sharp, Tess DeAtley, Kristen Hill-Clemons, Anyusha Rose, Katie Sharp, Kyu Kang, Danielle Noriega Photography Zach Hughes, Ashley Napier, Gianna BaigĂŠs Parilla Design John Maza, Kathryn Lawerence, Elizabeth Kerver Beauty Georgia Hazell, Jenny Horowitz, Julia Brady, Kim Boyce, Kim Miller, Zoe Altholz, Chloe Jefferson, Elizabeth Ostick Modeling Director Valerie Santiago

Spring 2012 Vol. II, Issue 2

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FROM THE EDITOR

R

OCKET has certainly bloomed

The theme pervades the text, too. Our fea-

since last spring. and that’s precisely

tures include an homage to Nirvana, a close-up on

our theme--bloom. This issue flour-

rising designers, coverage of the Spring/Sum-

ishes no the idea of germination

mer 2012 menswear collections, an homage to

and the stages therein, so we divided our spreads

Nirvana, and even a brief profile on senior Lau-

into three separate sections. At first the experi-

ra Andrew, who just recently spearheaded the

ences is light, freshm and somewhat still gritty,

College’s first LGBTIQ festival. How’s that for

but then matures elegantlytasy has always been an

blossoming progress?

inspiration for art. As alluring as it is mysterious,

And speaking of progress, I couldn’t be any

the attraction to the unnatura Yet elegance, when

more proud of the growing contribution to this

abundant and untamed, can grow manically exotic

publication. The entire magazine exists on the

and invoke exreme frenzy . So from our rendition

ripening talent of its editors, writers, models, and

of select medieval martyrs, the the horse play, and

photographers. Much credit is owed to our gradu-

even palace garden romance, our aestheticism

ating Photo Chief Evrett Paist, without whom

stems from the experience of flora.

ROCKET’s pages wouldn’t shine.

But even so, we’ll continue to bear the fruit brilliantly.

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LOST IN THE

WOODS

By Anyusha Rose

The first time I saw Shakespeare’s ‘A Midsummer Night’s Dream’ I was seven years old. I was on holiday with my extended family in Devon, a county of Ancient ruins, long stretches of unbridled moorland and rocky coastlines in the south of England. I remember this production because it took place outside against this dramatic August landscape; the woods in the text were brought to life as fairies and humans conspired against each other in a mischievous web of love and confusion, hiding behind trees and in the grasslands before us. It is the setting as much as the plot itself that makes this play magical.

Woods symbolize the wild and unpredictable. There are no rules, no government and no limits to what can take place within their confines. In Shakespeare, they are the transformative conditions that turn the real into the unreal. His 1559 comedy ‘As You Like It’ shows the protagonist escape to the Forest of Arden in pursuit of safety from her uncle’s court. It is here that new identities are adopted, love poems are longingly tacked to trees, and the prowling lions try to murder the characters that roam the forest. Genders are switched and disguises are paramount: the forest is the realm of uncertainty, and for both playwrights and their audiences, this is their attraction.

No plot could turn the sprinkled juices of a magical flower as ‘A Midsummer Night’s Dream’ does and take place in the city. It would not be plausible because its audience could not imagine it within their own lives.

The forest is unknown and this is why the impossible is able to take place there. Imagination is able to reign in its territory because we

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believe it does. Looking back at any catalogue of children’s fairy tales from The Babes in the Wood to Snow White, it is clear that this idea has run throughout literature for centuries.

It is interesting that in Shakespeare the forest acts as a safe haven from the threat of the outside world. Whilst it encourages mischief, it is also where love is found, restored and created. When Ben Johnson said that the bard “was not for an age, but for all time,” he touched upon the fact that the woods remain a powerful metaphor because they are universally conceived as an arena in which the surreal compete with the divine. Mortals may enter into it, but they are at its mercy if they do.

Last summer I went to see the play again. This time in the garden of St Paul’s, a seventeenth century pillared church that dominates the Covent Garden piazza in West Central London. Unlike the first time I had seen the play, the seating plan in St Paul’s was not a first-come-first-serve bale of hay affair, but on the back lawn between bushes and oak trees. I cannot remember the names of all of the characters or the narrative that framed the play. But what I do remember is the landscape, and it was wonderful.

Cast members from Shakespeare in the Dark’s 2012 winter performance of “A Midsummer’s Night Dream.” Above: Robin Crigler as King Oberon and Leah Beyer as Puck.

Reverse: Aron De Simone as Lysander, Eliot Wegman as Demetrius, Emily Wolfteich as Hermia, and Heather Jones as Helena.

Photos by Evrett Paist.

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THE RENEGADE

by Kyu Kang

The only clue I had to Laura’s appearance was an enigmatic “I have red glasses to help you find me” – both intriguing and vague at the same time. I sat at my small table, wondering how awkward it would be if I couldn’t recognize her. But as soon as Laura Andrew walked in I knew there was no way I would have missed her. She stood a good foot and a half taller than me in a short-sleeved buttonup, J. Crew wool tie, thrifted boy’s jeans cut and cuffed into shorts, tall Doc Martens, and her one signature peacock feather earring.

She smiled and her large red-framed eyeglasses and short messy hair gave a mischievous, pixie air.

She jumped happily into the interview and when asked if she enjoyed D.I.Y. she inhaled sharply and burst out, “Oh my god, yes!” Laura has been sewing since high school, where she spent weekends teaching herself to quilt. And by taking Costume Design through the Theater department, Laura’s technique strengthened and helped the construction of her very own tutu and corset, which was originally black when Laura found it in a thrift store bin.

“My own personal style--I love to mess with gender presentation and performance, mixing femininity and masculinity,” she mused, gesturing to her tie and then pointing out her colorful eyeliner. A Women’s Studies major, Laura says that though crafting, sewing, and style were always creative outlets for her, the interest in fashion came a little bit later.

“I am really adverse to a lot of fashion’s corporate nature and a lot of the messages that fashion, as an industry, sends to people

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on policing gender, policing body, and normative images – you know, white, thin” (think Victoria’s Secret models).

She talked about Marimacho, a clothing line for cis women and transmasculine bodies. The goal of the company is to reconstruct classic masculine garments by altering armholes, necklines, bust room, etc. in order to fit non-mainstream menswear body types.

Inspired by steampunk and retro fashions, they offer bow ties, button-downs, vests, and tailored suits. Laura lights as she talks about the company, for which is an intern, and her enthusiasm for the cause is contagious. She explained how perfectly she feels the company is a fit for her.

“I can incorporate subversive politics into fashion and dress people that are outside [the norm]. It’s about all of your lifestyle being out of the box and having the clothing to match that. Fashion is so important, so much about how people read you and how you want to communicate yourself to the world.”

As we talked about eccentric style and learning to be comfortable and confident with what you wear, she shared some wise parting words. “College is an incredible, really great place to experiment and to play with what you’re comfortable with. This is really the time to explore. So for people reading this, I want everybody to come out, come out, wherever you are, wear whatever you want.”

reverse: Laura Andrew.

Photo by Evrett Paist.

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MAN’S WORLD

by Kristen Hill-Clemons

Designers such as Roberto Cavalli and Tommy Hilfiger flooded the runways of New York Fashion Week with some of the hottest formal, casual, and loungewear for men, leading us to believe there hasn’t been a better time to be a man who loves fashion.

The item every man should have in his closet this season (and at all times) is a suit, and not just any suit, but a suit that means business. This spring, designers have put a tasteful twist to the seemingly stark world of suits. J.Crew, Hilfiger, and Cavalli all seem to be in favor of the cotton suit, which has its advantages over the traditional wool material. Not only is cotton the preferred fabric among many, it is also relatively inexpensive and lightweight, which makes for a comfortable fit. Without a doubt the most eye catching suit on the runway this season is the blue suit. Many designers have taken the conservative color and transformed it into something more vibrant and energetic. Tom Ford tunes up the classic blue suit by heightening the color and adding a touch of sheen, while Hilfiger takes the classic pinstripe suit and pairs it with an eye catching electric blue button down. The trick to pulling off this look is to mix and match different shades of blue so the pieces of your suit complement one another. Other suit trends this summer include bold stripes, checkered patterns, and the simple grey palette.

The All-American look has always been a fashion trend among American designers for years, and it seems as if this look has finally made its way across the Atlantic, inspiring designers like Prada. American designer Michael Bastin debuted a variety of popular U.S. trends heavily inspired by the late James Dean. His spring collection includes army jacket shirts, nylon garage coveralls, and indigo linen. The signature piece that pulled

Bastin’s collection together is The Statement Jacket that was worn and made famous by James Dean in Rebel Without a Cause. Prada takes the All-American look back east with double breasted sports jackets and loose fitting golf pants. Prada’s Spring 2012 golf themed collection also introduced the stylish and rather eccentric Runway Kiltie Winged Golf shoes that come in a variety of colors, ranging from pastels to neutrals. Thom Browne, Emporio Armani, and Paul Browne are among a few of the designers who, too, have replaced the leather of the Wingtip with suede and added either a colorful or bright sole.

Not only is this season turning up the notch on traditional suits, it’s also adding a splash of color to the neutral world of khakis and chinos. Designers are using new palettes in their pieces this season and many prefer pastels and brighter hues of primary colors.

The striped sweater is a definite must have this season. Whether you prefer bold or sailor stripes the horizontal lines broaden the chest and define the torso, giving the illusion of a more defined body.

The beautiful days of spring don’t come without a price. We are still subject to cool night and rainy days which makes the anorak spring 2012’s must have cool-weather coat.

This half zip windbreaker comes in a variety of colors and materials, and can be dressed up or down, suitable for any occasion.

From mixing and matching patterns, to innovating old trends and styles, spring 2012 is all about taking style to the next level.

Whether you decide on a night out in the city or prefer lounging around in the comfort of your home, make sure you choose styles that best compliment you and your personality. from left to right: Roberto Cavalli, Micheal Bastian, Prada.

Photos: Vogue.co.uk.

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BUDDING TALENT

by Danielle Noriega

Sure we admire the designs of fashion vets like Diane von Furstenburg and Marc Jacobs, but the 2012 Fashion Weeks paved the way for some up and coming designers that are giving the vets a run for their money and changing the fashion world. These blooming designers have not only wowed us during the shows, but have been gaining some major exposure on the global fashion scene. Keep these designers on your radar.

One of the chicest lines from the Spring/Summer 2012 collections came from Cushnie et Och. Compiled mostly of dresses, this brand is a celebration of women’s sexuality. Designers Carly Cushnie and Michelle Ochs specialize in dresses with sexy cutouts, intricate details and tailored silhouettes. Their designs put a sex-kitten spin on sophisticated style, more than likely due to the influences of their past mentors during their attendance at Parsons School of Design. Cushnie attended Parsons in both Paris and New York working as a design intern for Donna Karan, Proezna Schoulder and, after graduation, Oscar De La Renta. Ochs attended Parsons in New York at the same time as Cushnie and interned for Marc Jacobs, Isaac Mizrahi Made to Order, and Chado Ralph Rucci. The duo first gained exposure for their individual designs as both of their senior collections were featured in Women’s Wear Daily.

In 2009, they launched Cushnie et Och and have since received numerous honors, including the 2009 Ecco Domain Fashion Foundation Award.

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Cushnie et Och is definitely for strong, confident, empowered women.

Sharp cut outs and pops of leathers are just a few of the signature styles showing up in their collections every season proving that even the sophisticated woman can have a wild side. In fact, their wide range of style has allowed them to dress multiple celebrities ranging from Rihanna to Jessica Alba to Michelle Obama. Their bold style is paving way for equally bold and chic women.

As Cushnie et Och calls for modern day sex appeal, Wes Gordon, in his eponymous line, goes a different direction by putting a modern take on classic Hollywood. The 25 year old has been getting praise from publications such as Vogue, Women’s Wear Daily and the Wall Street Journal. He was also awarded Fashion Group International’s Rising Star award in 2011.

The Central Saint Martins University of Art and Design graduate apprenticed for Oscar de la Renta and Tom Ford—two influences that show in his designs. Learning from these masters of timeless and classic designs, Gordon seems to pay special attention to the longevity of his pieces. He utilizes pieces that are figure flattering and avoids of the moment fads producing a collection filled with fine fabrics, haute couture details and soft colors like citron yellow, light blue, navy and cadmium red.

He specializes in making luxury young and modern by using expensive fabrics including panne velvet and Italian silks.

Unlike Cushnie et Och, Wes Gordon is for the refined and chic twentysomething. He takes pieces that could appear to be meant for older women—cardigans, high wasted shorts, trousers—and tailors them for a young body. He is moving young women’s looks from Ke$ha to Audrey Hepburn, creating a more refined young generation.

This collection mirrors the

elegance and silhouettes of Wes Gordon but utilizes fabrics like cotton and linen, bringing down the price tag and aiming to update the modern career woman’s work wardrobe. This is for young professionals who don’t want to surrender to traditional, older fashions.

As we adore the collections of the fashion vets like Christian Dior and Ralph Lauren, it is important to welcome the new innovations coming from the up and comers. After all, most have spent a lot of time learning from the best in the fashion industry. And it is no doubt that these new bloomers are making large splashes on the fashion scene. reverse: Cushnie et Och, Spring 2012, Glamour.com; top: Ges Gordon, Spring 2012, Elle.com.

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FALLING BACK Fall fashion took a minimalist approach without sparing great attention to detail.

Charcoal, grey, black and whites in a plethora of fabrics ranging from leather to feathers dominated the runways in Paris and New York. As per usual, jackets dominated many shows; designers often updated twists with texture and embellishment. Dresses and skirts ranged from either micro-mini or the new, feminine mid-calf hemline. From Alexander McQueen to L’Wren Scott, everything seems to Fall into place.

Marc Jacobs for Louis Vuitton fueled right into fall, his collection and models arriving to his show on a vintage train. Despite wearing hats that can be described as Hogwarts meets Nanny McPhee, the clothes were genius. Camel and charcoal dominated the show; my personal favorite was a loose camel coat with gorgeous electric blue flower buttons, adding the most creative twist to the essential camel coat.

Like Jacobs, Lagerfeld took a similar approach at Chanel. Attempting a three-piece suit—l jacket, skirt and pants underneath— Lagerfeld played with long jackets and a relatively monochromatic palette. Twists on tweeds included asymmetrical hemlines

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by Grace Martini complete with deep, dark crystal studded eyebrows. Noteworthy was the kaleidoscopelike pattern sheer plum dress with scarf neckline. Sarah Burton once again highlighted her design prowess to the late McQueen’s inner tumult. Metal belts and sunglasses completed looks comprised of exquisite jackets and pale pony hair mounted on leather. True to the past, Burton instilled whimsical high necklines and an unrivaled use of scalloping and texture. A few bursts of color, the blood orange and fuchsia patterned evening gown stole the show.

Moncler’s models arrived next to a chair lift; frigid never looked so good. The luxury ski wear house highlighted wearable snow chic, complete with fur covered hoods. Typically monochromatic apologists, Moncler masterfully updated classic styles with plaid and animal patterns.

Bill Gaytten stepped in as an interim designer for Dior and surprisingly proved to be one of my favorite fashion shows of the season. With models wearing hands down the best platforms in nude and black, Dior was filled with jackets nipped at the waist with belts. Highlights included a steel grey with lame stripe in bust, nip waist with silk under-

coat. Dior played with embroidered neckline, and excellent evening wear included a demure long sleeve black floor length dress with plunging sheer bust.

Celebrating her debut in America, Isabel Marant is unequivocally the queen of cool.

Marant evoked chic cowgirl meets German traditionalism, an overdone theme but with spot-on execution. Models wore flower embroidered blouses with fitting suede capris and cowboy booties. Showing drop waisted dresses, one of the staple dress shapes of the fall, Marant uses Victorian style necklines and embroidery to make her dresses quintessential French chic.

Also celebrating, Elber Albaz mastered ten years at the helm of the uuberchic Lanvin. Utilizing Burton-like scalloping around necklines, the king of true minimalist luxury explored new textures. Once an outsider at fashion week, Albaz’s collections are now amongst the most highly anticipated and sought after shows. My bet is that it will be next to impossible to score a Lanvin nip waist blouse with pencil skirt.

As if Stella McCartney was not busy enough with four children or designing the Olympic uniforms for London 2012, McCartney nailed her Fall collection. Sticking to white, black and electric blue, dull colors never looked so ladylike. Highlights included long sleeve white minidress with exquisite patterned electric blue flower print. Other highlights included the electric blue lace and black embroidered pant suit and cable knit tailored jackets with padded hips paired with pencil skirts in an array of muted pastels.

L’Wren Scott strayed away from monochromatic palettes, opting for a much needed burst of rich hues. Drawing inspiration from Downton Abbey, Scott designed feminine clothing that would make the Crawleys envious with raised necklines, long fitted skirts and demure evening wear. With some of the best fabrics of the season, the long silk dress with a gorgeous, patterned cape with purple velvet interior was pure sartorial bliss. reverse, left to right: Louis Vuitton, Monclear; above, left to right: Dior, Chanel, Stella McCartney, Lanvin. Photos: Elle.com

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IN BLOOM

“Nature is a whore. Bruises on the fruit, tender age in bloom.” [1991] Nirvana’s sound could not be encapsu- disheveled mid-length hair were the key lated in a few simple words, let alone a hand- elements in creating that feel. In combiful of lyrics to sum it up. The music is so nation with the fuzzy chord progressions layered, so multi-dimensional – guitar riffs and Cobain’s tortured, lyrical soul, Nirvana that drip with angst, words that ooze nihil- gave fashion that certain laid-back, yet edgy ism. The drum grooves vary in intensity, and quality. Acid-washed jeans with holes in the the bass remains just soft enough throughout knees, a worn-in Pixies t-shirt paired with that we barely notice its effect. However, it’s dirty black Converse All-Star--top it all off the lingering effect of Kurt Cobain’s voice with a red, flannel button-down tied around that floats through the speakers to create the the waist, and there is an outfit that screams ultimate effect of “grunge” – we are haunted, “Come As You Are.” mystified, and left questioning our own emoNirvana gave 90’s youth a new chance tional state. to experiment with the self. Grunge is a phiCobain leaves us wanting to experi- losophy wherein you rid yourself of society’s ment with the dangerous. We long to be a limitations – adopt a lax, careless way of livpart of the world he describes. We want to ing, and reflect it in your appearance. The be “doused in mud” and “soaked in bleach”. teens and twenty-somethings are “in bloom”, We want to be a memory, and we want to and both Nirvana and grunge philosophy have a gun. But who are we to know what stress the importance of experimenting with that means? Cobain’s world is one of raw that vulnerable state of mind (whether it inand stripped-down emotions, and it’s a world cludes drugs or not). Tap in to the dirt of your that a piece of us wants to connect with. The soul to identify that inner, agonized, twisted lyrics and instrumentation paint a world of core. Question your morality. With the help rejection, but they somehow also manage to of a late and poignant Cobain, “you won’t be paint a world of acceptance. This is the place afraid of fear.” where we like to sing along, and we like to shoot our gun.

Grunge music began to gain mainstream acclaim in the early 90’s, particularly with the commercial success of Nirvana’s second album, Nevermind. The album managed to leave an unprecedented mark on 90’s youth culture, but its influence continues on even Models (opposing twenty years later. Nevermind did not just page): help to define “grunge” as music, but “grunCatie ge” as a way of life. Cobain, alongside bassPavilack, Morgan ist Krist Novoselic and main drummer Dave Fletcher, Grohl, embodied grunge as a total form of Lindsay expression; their mismatched clothes and Paladino

by Katie Sharp

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A Gardener of a Man. Photos: Zach Hughes, Evrett Paist

Models: Morgan Fletcher, Drew Lanzafama, Thomas Baker, Jimmy Hewitt

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And I Saw Her Drunk on the Blood of the Saints.

Photos: Evrett Paist, Gianna BaigĂŠs Parilla

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Models: Ralph Geilker, Heidi Scanlon

ERASMUS: boiling oil

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JOAN OF ARC: burnt at the stake

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SEBASTIAN: pierced by arrows

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SAINT GEORGE: the wheel of swords

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ANDREW: crucifixion

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SILENCE IN HEAVEN

Photos: Gianna BaigĂŠs Parilla Models: Sarah Hya Jin Lohnmann, accompanied by Katie Crocker and Cricket Clayton of the W&M Equestrian Team

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Photos: Evrett Paist, Gianna BaigĂŠs Parilla Models: Stephen Prifti, Pat Austria, Amanda Elizabeth Wells w/suit support by R. Bryant Ltd.

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Photos: Evrett Paist

Models: Morgan Fletcher, Kristen Hill-Clemons

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SPRING 2012 Vol. II, Issue 2

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