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MAY 2013 NO 17

Contents 5. 9.

PLEASURES A few of STITCH’s favorite (dream) items PROFILE “The Acts and Axis of Evelyn Daitchman” by Cathaleen Qiao Chen

13 . SHOOT “Paperman” by Nicholas Arcos 21. FEATURE “Tastefully Outfitted” by Alex Adeli

25. SHOOT “Pierced” by Dan Hoffman 35. FEATURE “The Power of Pastels” by Brenton Howard 37.

2DO Television Review by Cathaleen Qiao Chen and Film Review by Helen Zook


LAST WORD “Pop Artists” by Kelly Gonsalves


Chicago is more of a foodie city than it is a fashion city. True or False? As the editor of Northwestern’s fashion magazine, I probably shouldn’t say true. But I’m going to, because I must be honest with our readers. I have lived in Chicago for almost eight years now and have been fortunate enough to both shop and eat at a lot of notable spots throughout the city. My conclusion? Chicagoans are true to their Midwestern location: we may have a bit more edge and polish than surrounding cities (Indianapolis, Milwaukee, Nashville) but we’re still content being comfortable. Most Chicagoans would rather wear jeans and a t-shirt on a Friday night because well, why would you wear a structural dress and cage booties if you’re eating deep-dish pizza for dinner and going to a blues concert at the Vic later? This month’s issue is here to show that you can have your cake and eat it, too. In the past ten years, Chicago’s food scene has exploded to include chic, aesthetically arresting restaurants whose interiors seem to beg diners to dress the part. Staff writer Alex Adeli visits four hot Chicago eateries—The Publican, Nellcote, and Molly’s Cupcakes—to show us that the average Chicagoan can combine their love for both food and fashion. All of these restaurants have their own personality, and Alex shows you how to dress for each one. Cheers to “cuisine chic!”


STITCH EDITOR-IN-CHIEF Corinne White CREATIVE DIRECTOR Diane Tsai MANAGING EDITOR Alyssa Clough SENIOR EDITOR Kendra Vaculin PHOTOGRAPHY EDITOR Nicholas Arcos DESIGN EDITOR Rosalind Mowitt EDITOR-AT-LARGE Nadina Gerlach CO-DIRECTORS OF PHOTOSHOOTS Samantha Brody & Katie Cannady PHOTOSHOOTS Carly Shapiro STAFF PHOTOGRAPHERS Dan Hoffman, Alaura Hernandez, Christine Chang, Gina Drutz, Jalissa Gomez, Lily Allen, Marina Vernovsky ONLINE DESIGN EDITOR Jessica Kane ASSISTANT EDITOR-ONLINE Sara Chernus DESIGN Andrea Kang, Cree Han, Jen White, McKenzie Maxson, Arielle Miller, KK Rebecca Lai MULTIMEDIA Gemma Folari, Rachel Jones STAFF WRITERS Arielle Miller, Amy Xu, Arabella Watters, Ben Dorfman, Beth Glaser, Brenton Howland, Delia Privitera, Helen Zook, Alex Adeli, Jessica Arnold, Kate Geraghty, Kelly Gonsalves, Lakin Davis, Lily Cohen, Lily Orlan, Vicky Castro, Rebecca Liron DIRECTOR OF PUBLIC RELATIONS Jazmyn Tuberville PUBLIC RELATIONS Diana Armancanqui, Grace Jaworski, Adele Kuforiji TREASURER Imani Mixon DIRECTOR OF FUNDRAISING AND ADVERTISING Clarke Humphrey FUNDRAISING Rebecca Liron, Sonali Dasgupta, Clarke Humphrey, Sydney Lindsay ADVERTISING Rebecca Liron, Sonali Dasgupta, Clarke Humphrey
















“The Acts and Axis of Evelyn Daitchman”

written by Cathaleen Qiao Chen


photographed by Nicholas Arcos

“Tastefully Outfitted”

written by Alex Adeli; photographed by Katie Kerbis


photographed by Dan Hoffman

The Acts and Axis of

Evelyn Daitchman

It took Evelyn Daitchman a decade-long career as a massage therapist and a fateful flea market excursion to finally find her calling as a vintage clothing vendor. But when she did, she didn’t hesitate to aim high.

Usually clad in a black shirt and jeans, Evelyn Daitchman, 51, dresses modestly for someone with her eccentric vision. But appearances aside, Evelyn is a true fashion maverick—one who foresaw the now ubiquitous trend of vintage apparel a decade before it was cool. As one of Chicago’s premier vintage vendors, Evelyn handpicks every piece in her collection. to reflect her philosophy of craftsmanship and personality. For her, vintage transcends the notion of wearing something unique. “I pick pieces [based] on their value of how it stands on its own without focusing on its era,” Evelyn said. “I look for who made it, how it was made and the personality of whoever would wear it .”


taken in Daitchman’s studio

In the past few years, Evelyn has sold the vast majority of her inventory to salvage only the cream of her crop, which includes items spanning from the 1800s to the new millennium.

I pick piecies [based] on their value of how much it stands on its own while focusing on its era. I look for who made it, how it was made and the personality ofwhoever would wear it.

She showcases her collection, titled “Axis of Evelyn,” in her 3,500 sq. feet studio space located west of the Loop Tuesday and Saturday afternoons. “My eye has grown much more discerning over the years,” she explains, in reference to her current few racks of items ranging from highbrow couture by designers like John Galliano and Moschino, to hundred-year-old costume pieces once used by the Chicago Lyric Opera.

But even without her meticulous taste, Evelyn would still stand apart from other vintage dealers. Since moving to Chicago from New York a decade ago, she has established her niche in the ever-growing vintage market, having collaborated with local designers and directed multiple fashion shows — one of which was an art-performance event during Chicago FashIon Week in September. Evelyn’s expertise in vintage fashion escalated in the 90s, when she worked as a massage therapist in New York City. She would frequent the Chelsea Flea Market every week, slowly cultivating her personal vintage wardrobe but also honing her eye for style and learning about about the logistics of fashion — like how designers sought their inspiration. “I discovered that all these designers were shopping at flea markets and they’d have archives and huge collections of STITCH |8

of vintage clothing to pull from to get their ideas,” Evelyn recalls the shocking intel. “They’d have these young assistants shopping for inspiration, for the details and patterns, and I was like ‘Oh! That’s how they’re doing this stuff.”

Chicago, her hometown, in 2002. In her neighborhood in Ukrainian Village, Evelyn met another vintage collector who sold her items on eBay. It was then that Evelyn realized she too, had accumulated worthy and sellable collection.

I love bringing new knowledge and new ideas to people, exposing things that people didn’t know about.

Evelyn launched her first vintage showcase with some other vendors in a café on Chicago Avenue, where she was later approached by University of Chicago students to host a bigger fashion show on their campus. From then on, she began to do her own shows and became a vendor in the Randolph Street Antique Market and the Vintage Bazaar in Wicker Park.

Through her retreats to New York City flea markets, she met fashion industry insiders, some of whom became her massage clients. At one point, her clientele included fashion greats like Stella McCartney and Jill Stewart. Her official debut as a vintage dealer did not ensue until after she moved back to 7| STITCH

Vintage fashion became a fulltime affair, and as she delved into the business side of selling vintage, she also cultivated a relationship with her customers. “I started building a clientele who would keep coming back to me. I became really good at styling people with what would fit them,” Evelyn said. “As I did these shows, people told me that they were comfortable letting me style them because I

had integrity. I was honest with them. And that just kind of grew.” Today, she also spends her time on individual projects and artistic collaboration. Though she is still always on the prowl for unique vintage pieces from estate sales and her frequent travels, she invests time and effort in developing her studio space, which she named Open Secret Studio, in the Fulton Market Neighborhood. Currently, she’s working on her very own sartorial project—making clutches out of antique Japanese obis, the sash part of kimonos.


“I love bringing new knowledge and new ideas to people, exposing things that people didn’t know about,” Evelyn said. “When I was in New York, I never even considered myself an artist. But here I am now.” As her vintage collection was titled after the “axis” of her vision, Evelyn is indeed always tuned in to the world around her. Perhaps that’s precisely the reason for her success— her creativity and openness, emulated by only someone who is as young-at-heart as she.


The classic story of boy meets girl. Boy sends girl hundreds of paper airplanes to confess his love, until fate brings them together at a shared train stop. Disney’s animated adorable short with a Chicago twist, shot by Nicholas Arcos and starring Annie Weiss and Josh Rubietta:



Boy meets girl at the station. Boy can’t stop looking at girl. Girl disappears on a train. How does boy let girl know how he feels?

Boy throws airplane with a kiss to find girl. But will she ever get it? Boy isn’t sure and is losing hope.

Girl spots paper airplane in a flower shop she passes. Could it be from the boy from the station? Girl knows there is only one way to find out.

Boy waits at station, hoping girl will arrive. Boy is about to leave. Boy spots girl. Could that really be her?

Girl finds boy and knows the airplane is from him.

Fate, love, and some well positioned wind brought boy and girl together. Styled and directed by Samantha Brody and Carly Shapiro. Photographed by Nick Arcos


Outfitted By Alex Adeli


ining out and exploring new restaurants is definitely one of my favorite pastimes. Whether it’s simply to explore a new venue or catch up with a friend at a trendy location, I love going out to eat. Especially since it gives me an excuse to get all dressed up and to wear some of my heels that unfortunately don’t make it into my daily wardrobe! Among some of my favorite, aesthetically pleasing Chicago locations are Publican Restaurant (837 W Fulton Market), Molly’s Cupcakes (2536 North Clark St) and Nellcôte (833 W Randolph St). Each of these three locations have such unique atmospheres, that the fashionista in me finds it imperative to make my outfit fit in with the décor. And the best part? They’re all reasonable priced so going out to these spots for a fun night out with friends can definitely be in your budget.


Nellcôte has the perfect mix of delicious, sharable plates while in the midst of a glamorous atmosphere. To me, every meal should be tapas-style so that I can try the largest variety of food at any given restaurant. And at Nellcôte, you definitely will want to try as much as possible – including their homemade breads and pastas! Nellcôte’s dishes are European influenced yet made exclusively with Midwest ingredients. They describe their décor as “classic luxury” with ornate chandeliers, wrought iron gates, and sophisticated, lush furniture. My personal favorite pieces are their oversized, turquoise, wing chairs! At Nellcôte, you’ll want to wear something equally glamorous with a flirty edge. A long maxi skirt is perfect to achieve this look paired with a feminine and flowy top. I found maxi skirts to be perfect to achieve an effortless elegance, paralleling the simplicity and beauty of the restaurant. Accessorize with a statement piece, such as a chunky necklace, and wedges to add to the femininity. STITCH |20


Furnished with thick walnut-wood furniture and earth-toned colors, Publican instantly gives off a comforting vibe. Long “community” tables encompass the interior so at any given time you can be sitting next to complete strangers as people from all over the city experience the food and atmosphere of the restaurant together. The menu is meant to resemble a European beer hall, and The Publican is known for their extensive beer selection as well as their simple and delicious “farmhouse fare” menu. With a partially exposed kitchen overlooking the dining room, The Publican really aims to make their diners feel right at home. To match the warm, cozy feel of the restaurant, opt for a fun, top in shades of orange or red to pair with jeans. These warm-colors will match the welcoming atmosphere of the restaurant yet pop against the soft-yellow of the walls. Since the restaurant is adorned with its unique ball-shaped chandeliers, look to wear dangling earrings to parallel it. 21| STITCH

Molly’s Cupcakes

Because who doesn’t love cupcakes? Molly’s Cupcakes, located on the north side of Chicago is a fabulous and fun cupcake shop who’s whimsical theme can be seen through their pseudo-swings that function as bar chairs. Inspired by his grade-school teacher who would often bake cupcakes for her students, Molly’s Cupcakes is dedicated to donating a portion of their profits to schools in the Chicagoland area and have outfitted their shop with a schoolhouse theme. To add to the fun, you can even “design” your own cupcake, picking the base, frosting, and toppings to be made right in front of you. Because the shop has a carefree atmosphere, opt for a feminine and light colored day dress, reminiscent of childhood days yet offset by booties to add sophistication. Because of the wood paneling throughout the shop, chestnut colored booties are perfect to match. This look is perfect for this Lincoln Park hot spot, especially since you’ll inevitably walking around this neighborhood during the day and exploring the trendy boutiques!

Photographed by Katie Kerbis. Featuring Katherine Voo, Kelsey Galles, and Natalia Zaldivar

Written by Brenton Howland


here is no better time to be on campus than spring quarter. Winter in Chicago is brutal, but now that it’s finally over, we no longer have to cringe at those awful “hat-imal” animal winter hats on our way to class. Instead of feeling miserable, huddled up in the same generic Canada Goose coats, people are happy and it shows. In spite of the rain, it really doesn’t get better than walking to class past shorts, sundresses and smiles all around. It’s been scientifically proven that warm weather and sunshine provide the perfect opportunity to feel good and look good. We live in a highstress environment, and although it might not be apparent, the way we dress makes a significant impact on our emotions, demeanor, and overall performance. Now this may be pushing my Northeast bias, but I believe that in order to dress happy, colors are crucial. People naturally gravitate toward bright colors, and in fact, studies show that colors do trigger subliminal responses 33| STITCH

in individuals. So whether you’re going to an interview, meeting a date or studying for exam, don’t be afraid to dress bright and bold. People often associate colorful styling with being “preppy,” or having a certain lifestyle and personality. In my opinion, wearing bright colors is not a cultural phenomenon that should be characterized as arrogant or

“metrosexual.” The reality is that when it’s 80 degrees out, you’re going to feel happy in a pink shirt as long as you wear it with confidence. Call it what you want, but I call this the power of pastels.

student body. Guys on our campus, for the most part, set the bar high, and these brands epitomize the perfect balance between the sort of youthful vibrancy and class that you should be looking for this spring.

East Coast and Southern brands such as Vineyard Vines, Brooks Brothers and Southern Tide are storming their way onto campus. This trend isn’t occurring because an increasing number of New Yorkers like myself are being rejected by Princeton or because somehow college males have magically realized that American Eagle and Hollister aren’t age-appropriate anymore. It’s because they’re all about quality and color.

I can guarantee you’ll see an influx of pastels out in full force as the rain subsides and the sun peeks out. College will always be a stressful time, but going about your day clad in pink whale prints or a blue skipjack embroidered on your crisp new gingham button down might just alleviate some of your worries.

Northwestern students take pride in our ambition and drive, and embody it in our appearance. Contrary to many college campuses, the snapback and sweatpants combo isn’t so much of a staple of our

If your warm-weather wardrobe is somber, you probably are too. Adding hues of soft pinks, periwinkles, canary yellows — and might I say, light lavenders — to your wardrobe will turn any frown around The beautiful spring colors of our campus keep spirits high, so why can’t our student body do the same?. So, you don’t know what to wear this spring? Go for pastels. STITCH |34






I watched my first episode of Sex and the City when I was 9. Carrie Bradshaw just turned 35. Flipping through the channels, I catch Carrie walking down her uptown Manhattan neighborhood in her signature Manolos and a beautiful beige wool cape. As she approaches a black Lincoln, red balloons emerge from the back seat window. It is Mr. Big, fresh out of London. “Happy birthday, baby,” he says. It wasn’t until later that I realized the influence Sex and the City will have on my life and on 21st century feminist — and post-feminist — culture. But somewhere between the stilettos, disposable men and shameless camaraderie between four self-sufficient women, Carrie Bradshaw has become my icon of female empowerment. So, when I heard the CW was going to make a prequel series about the teenage life of our favorite sex columnist, I couldn’t help but feel like I was meeting a boyfriend’s ex. I wasn’t sure if I actually wanted to tune in. But curiosity eventually took the reins. The year is 1984 and 16-year-


old Carrie (AnnaSophia Robb), witty as always, wakes up to Modern English’s “I’ll Melt with You” as a junior in high school. At school, Carrie is trailed by her endearing entourage which includes Mouse (Ellen Wong), romantic and Harvard-bound, Maggie (Katie Findlay), sharp-tongued and fierce, and Walt (Brendan Dooling), whose entire character arc involves him being secretly gay. And then we have Mr. Big’s high school protégé, Sebastian Kydd (Austin Butler). Blonde, chiseled and always scowling as if he was in an Abercrombie ad, Kydd is the new kid in school and also happens to be the little rich boy in love with Carrie. T h e story begins after Carrie has just lost her mother to cancer, and struggles to grieve with her strict father and rebellious younger sister. But as any devoted SATC fan would know, Carrie was raised by her single mother after her father deserted them. Character discrepancies aside, some motifs do carry over — sex, for instance. In an introductory scene, the three girls huddle over a library

TO WATCH table to divulge blossoming sex lives. Carrie appears to be the only virgin but Mouse isn’t far ahead, describing her first experience as something short of “hot dog in a keyhole.” But some scenes do foreshadow young Carrie’s future in the concrete jungle. As a parttime intern in Manhattan, Carrie gets

the mention of Charlotte, Miranda and Samantha. For both audiences, and perhaps both generations, young Carrie Bradshaw’s narration is crisp, unfailingly astute and precocious at times. Still, I reveled in those moments that reflected 30-something Carrie Bradshaw. In one scene, as she catches the midnight train from



a taste of New York nightlife after befriending Larissa, a wild, fabulous stylist for Interview magazine. Though you’re not going to find Prada, Chanel or Manolo and the storylines — the proverbial bad boy, the fights with dad and the drugs at strange parties — are a little clichéd, The Carrie Diaries is an enjoyable, tasteful teen series that caters to a unique mix: those who can name every man Carrie Bradshaw has ever dated, and those who would blink blankly at

her first metropolitan night out back to home in Connecticut, she considers her loss of innocence while admiring the New York skyline. At this moment, it’s clear that this Carrie Bradshaw, clad in a hot pink dress, is very much the same Carrie Bradshaw we had grown to love and admire. “I came to the realization that I might have just lost my virginity, not to the guy I had hoped, but to another man,” she says. “Manhattan.” STITCH |36




BEHIND “THE EDITOR’S EYE” BY: HELEN ZOOK IN VOGUE: THE EDITOR’S EYE Anna Wintour claims she is not one to celebrate anniversaries. Within the first minute of the film “In Vogue: The Editor’s Eye,” the feared and revered Editor-in-Chief of Vogue says she is “always making the point that one should look forward rather than backwards.” But, ironically the December HBO documentar y does exactly the opposite — it commemorates the 120-year long existence of the most influential fashion magazine in the world. Directed and produced by Fenton Bailey and Randy Barbato, the film begins with the question of what fashion editors do followed by a sequence of industry icons such as Hamish Bowles, Phyllis Posnick and Grace Coddington at a loss for words. Instead, the answer is illustrated by a timeline of American Vogue’s history, featuring archival footage that details the early days of the magazine. Don’t watch the film expecting a real-life version of “The Devil Wears Prada.” The documentary


is more of an account of American Vogue’s history and homage to former employees than a peek at the inner workings of the magazine. However, the editors do recount the stories behind some of Vogue’s most controversial and memorable photographs, including that of a boa constrictor kissing a nude Nastassja Kinski and another of a Doberman biting Christie Brinkley’s bare leg. Also in a shocking departure from her usual “ice queen” persona, Wintour does not resemble Meryl Streep’s frosty character in the slightest. Providing narration for most of the d o c u m e n t a r y, f a s h i o n ’s reigning monarch shows passion and even a bit of warmth. Squeezing 120 years of fashion into 60 minutes made the film seem rushed at points, but snippets of at-home interviews with a few eccentric former editors add some much needed color to the documentary. Carlyne Cerf de Dudzeele, responsible for styling the first magazine cover with Wintour as editor-in-chief, spends several seconds




frantically restyling the frame of her interview and proclaiming her love for street style in a thick French accent. Even more amusing is the fact that Polly Mellen, a former fashion editor at both Vogue and Harper’s Bazaar, dons a navy blue Juicy Couture velour tracksuit for her interview — the very staple of my seventh grade wardrobe. Although much of the documentary attempts to portray the unglamorous aspects of the fashion industry, the final scene of eight former editors posing for photographer Annie Leibovitz is the epitome of

glamour. Ultimately, the film fosters an appreciation for the larger-than-life individuals who create the images that grace the pages of the fashion bible. “They all have genius in them and they all have a deep, deep understanding of what makes a great photograph,” Wintour says. The perfectionism and passion highlighted in the film prove exactly why Vogue remains at the forefront of fashion publications.



POP ARTISTS By: Kelly Gonsalves

I REMEMBER THE DAYS BEFORE “CALL ME MAYBE” WAS WRITTEN. CARLY RAE JEPSEN WASN’T ALWAYS THE BRIGHT PINK, CANDYCOATED POP STAR SHE IS TODAY. SURPRISING AS IT SOUNDS, THERE WAS A TIME WHEN THE SMILEY FASHIONISTA TOOK PRIDE IN HER INDIE-ACOUSTIC FOLK MUSIC, SINGING MATURE SONGS IN A DEEP, GRITTY VOICE ABOUT BUILDING METAPHORICAL SAND CASTLES AND DRINKING TO DEAL WITH A MAN WHO DRINKS WITHOUT HER. ...They were those intimate kind of songs written by a girl with a guitar, not processed by a team of pop song-writing “experts.” She openly inserted pieces of herself into her music. In other words, there was a time when Carly Rae Jepsen was an actual human being and not some Barbie doll treat with a microphone. Yes, I was a Carly Rae Jepsen fan before she became big. In no way am I trying to be some sort of musical snob. But as a fan of Carly before and after the Biebs, I can attest to the visible change not just in her musical style but in her presentation of character. That once multifaceted girl now floats around her music videos with the personality of a piece of plastic. Here’s the catch: Carly is no less of a lovable individual than she was before. What’s different is her image. After “Call Me Maybe” brought her into the big leagues, she had a defined role to play: the peppy, colorful, high-fashion teen sensation. And Carly is hardly the only pop artist with an “image” she must represent - Lady Gaga is fairly obvious with her fantastical and purposefully outlandish costumes. The image? The avant-garde freak (“Mother Monster,” if you will.) Nicki Minaj, the bubble-gum gangsta diva; Taylor Swift, America’s girlnext-door sweetheart; Ke$ha, the trashy, skanky rebel - the list goes 39| STITCH

on. It’s more than just fashion statements. When did pop become less about the music and more about creating these shallow caricatures? I love pop music as much as the next person; it’s something upbeat and catchy. But at some point, the industry has started packaging their artists less as musicians and more as manufactured products. To make an artist “sell,” they must present them as a portraying a certain persona. And you know what? It makes sense. I know I listen to Ke$ha when I’m feeling like a drunk mess without a care in the world, and I pop in my T-Swizzle jams when I’m swooning over the latest boy-toy. I know which artist corresponds perfectly with the person I want to be at any given moment. But there are some obvious drawbacks. Every song begins to blend together; the themes are all the same, according to the persona she must give off in order to retain her small claim to fame. At some point, the image begins to drive the music more than vice versa. The worst of this new pop marketing scheme is the loss of these artists’ real personalities. I’m sure there’s more to Ke$ha than just being some swanky party animal. Maybe it’s oldfashioned, but I will always prefer an artist who is down-to-earth over some carefully-crafted pinup doll.





STITCH is a fashion and photography publication housed in Northwestern University. Since its creation in 2006, the student-run magazine dist...