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Take A Peek #10 Interview with Collin McAdoo.

#14 Interview with Mary Rosenberger

#20 Featured Art Family Portrait

#30 Comic: Estella Boersma’s “Roots”

#34 The Survivalist’s Guide To The Fashion Industry


African Ascension

#38 The Changing Faces of Fashion

#58 Interview with The Film Hooligans

All illustrations created by Carmen Lima. See more of her work here.

#74 Kill Fashion

#80 Sean Ryan’s Freshest Faces

#96 Kelin Dillon’s Roots in Modelling

#101 Ask The Industry, Round 4

#104 NYFW Coverage by Em

#132 Street Style of New York Fashion Week

#138 What It’s Like To Be Korean

#140 Hotel Baby with Nicole Keimig

We’re All Over The Place Instagram: @teeneyemag Tumblr: @teeneye Twitter: @teeneyemagazine Facebook: @teeneyemagazine

general inquiries /


meet the people behind the pages Zak Cannon, co-Editor-in-Chief Born in the Texan suburbs, Zak always fantasized about leaving for a more dazzling, exciting place. Growing up, he wrote stories, painted the faces of his characters, and eventually began photographing his sorcerers, goddesses, and mermaids that had previously only abided in his mind. Eventually realizing that his suburban roots were too strong to pluck from the Southern soil, he now embraces his birthplace not as a place of dread, but as a source of inspiration.

Kiannah Zambrano, Art Editor

Some of Kiannah’s fondest memories growing up consist of playing pretend for hours under the desert­like Florida heat. Kiannah loved to live in her own imagination and run free. Even from a young age, she was a lover of anything fantastic and adventurous. Her early creative roots serve Kiannah very well, as she now is endlessly discovering artist’s methods of self expression and creation. In turn, expanding her horizons and outlook on life.

Joy Garese, Assistant Editor

Born in France, but having lived in both Russia and England as well, Joy has always been seeking for adventure, new experiences and has always been driven by curiosity. Since then, even though she discovered other artistic interests. She started to draw, paint, do collages and sew, influenced by her unusual cultural background always having in mind the idea of travel, escape and cultural diversity.

Em Odesser, co-Editor-in-Chief Em’s earliest memory from her childhood is throwing a temper tantrum at age four because she wasn’t allowed to go outside on a winter day in nothing but a lurex faux cheerleaders uniform, gold sparkling sunglasses, and plastic Cinderella shoes (all found from from the back of her dress-up closet). Her roots have grown deeply since then - she truly indulges in any opportunity to tell a story with her clothing, which makes her job even more exciting.


We feature countless talented individuals, but here’s just a few of them. LIDA FOX, left, AND AIDA NIZANKOVSKA, right

met at a photo exhibition thrown by Hedi Slimane, bonded over a plate of french fries, and were coerced by their friends into starting diaries through film cameras. They recently launched the new site Film Hooligans - where they share their unfiltered, unedited shenanigans of the digital age (documented exclusively on film) each Friday.

Kelin Dillon 19, grew up in a small town in North Carolina, where soccer moms and relatives urged her to start modelling constantly. Eventually, she took their advice and followed her passions. Now represented by DNA in New York, Why Not in Milan, and Models1 in London, Kelin made her runway debut at Baja East SS16, journeying on to star as a Jil Sander Worldwide exclusive for the Fall/ winter 2016 season.

COLLIN MCADOO 18, was one of the first young photographers to find creative freedom on Instagram. His love for photography only grew from there and he is now a respected figure in the world of experimental photography. Citing serendipity and pure human emotion as sources of inspiration, it’s only upwards for this Ohio native.

ESTELLA BOERSMA 16, lives in Amsterdam. She is a model at Wilma Wakker, Viva, and DNA. After receiving a How To Draw Manga book at eight years old, Estella was quickly inspired and started developing her own style. For this edition, Estella reveals what happens at a photo shoot that you don’t always see - the Behind The Scenes. She hopes to continue to draw for the rest of her life.

EDEN PRITIKIN left, 19, was born in Chicago and lives in Boston, though she will be a student at the London College of Fashion in the Fall. She hopes to one day be a casting director, and loves the model industry just as much as the fashion industry. CARSON GARTNER right, is an 18 year old freshman at NYU in the Gallatin. She recently moved from Houston, Texas, where high fashion wasn’t a popular subject. Outlets like Tumblr and Teen Eye assisted in cultivating her interest.

LULU COOPER is a 19 year old aspiring fashion journalist and stylist living in London, England. Over the past year she has interned at a wide variety of both glossy and indie magazines, and is now working in a year long position at ELLE UK. Her key style inspirations range from Phoebe Philo to Mick Jagger, her influences beyond fashion spanning literature, film and music.

Letter From The Editor When fashion photographer David Bailey talked to the Guardian about his perception of beauty, he mentioned plants. “As a kid there was a shop that sold packets of seeds.” he reminisced, “I was obsessed with the idea of these little black things growing into different kinds of beauty.” This idea of taking something so small, investing time and energy, and watching it grow into a force of nature is something the Teen Eye team can relate to right now. Don’t roll your eyes just yet - I know it’s sappy, but hear me out. The theme for Issue Four, in case you missed it on the cover, is ROOTS. For the past few months, Zak, Kiannah, Joy and I have been asking each and every contributor: “which people, places, and things have shaped who you are today? Where do your roots lie?”. And as we started to build this issue, we noticed just how ubiquitous this question feels, even outside our little editing bubble. Of course, it holds a certain weight in any student’s life because our schools are preparing us for future careers, but I’m talking globally: we noticed an increasing amount of nods to our favorite figures’ beginnings and inspirations as technology, social media, and the twisting world of pop culture continues to grow and shift. When artists - in any sense of the word - celebrate their central influences, the result is often something genuine and raw and beautiful. And for our fourth issue, our very first in 2016, we wanted to give our writers, illustrators, and photographers a chance to look back at their own stories and reflect. The final result (what you’re about to read) is an examination and a celebration of these impacts. Ultimately, the theme of our Fourth Issue resonates nicely with the team on a symbolic level as well. Teen Eye Magazine is rooted down now: we know what we’re here for: to provide the next generation with an outlet for creativity and a resource to let an international group of creatives hit the ground running. Here’s to us continuing to grow. ENJOY THE ISSUE. Your co-editor, Em Odesser

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Collin McAdoo Collin McAdoo, a young photographer from Ohio, tells us about his roots, childhood, and inspirations.

I will be 18 in October and I’m from Delaware County, Ohio. USA. Five years ago when Instagram was an insignificant, up-and-coming app, I began taking pictures on my iPod. Things escalated slowly at first, and then something clicked. After a certain point, of which I could not pinpoint if asked, I just started taking pictures I could feel when I looked at them. That was a turning point for me. It made me think about maybe doing this for the rest of my life.



The response I’ve gotten over the past 2-3 years has been very reassuring. I wouldn’t necessarily say confidence boosting, because there are still plenty of moments I feel insecure and vulnerable about my photos (I never know how people are going to react), but I’d say that the photographic community has honed in my spectrum of creativity. It helps to know what people think, even when their opinions supposedly doesn’t matter. People have told me that my photographs are emotional and shit, but I had always assumed that that meant it inspired an emotional response in them: something unfamiliar or irregular. I didn’t even know (until recently, maybe?) that people “related” to my work, to be honest. I’d rather people not “relate” to my work, because then they’d be feeling themselves through my photograph, whereas I want them to feel my photograph through themselves. I know I do not ever want to connect so well with an artist that I would prefer them to another; I want just fragments of the ones I can feel temporarily apart of. I couldn’t tell you where I draw my inspiration if I tried. I go with the flow; I work backwards. My photos typically develop after they’ve happened. I rarely have a plan. I am sometimes hit with moments of inspiration, but I’ve found that going out and shooting on a whim, what works best for me. I kind of get caught

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up in my own head while I’m just walking around with my camera. No coherent thoughts, just reactions. I don’t know if my work could be categorized as a reflection of my subconscious in general so much as a combination of my conscious thought and subconscious memory. Each one is an accident, but I know the plants I put in my picture determine the picture’s mood, for sure. I have never really thought a lot about why I use nature so much in my photographs. It’s just something I do; I find myself connecting with it, which is weird because I’m not a huge nature person. I think nature is something humans have branched away from. I just can’t find myself getting physically absorbed into all the details. I’m more about observing, not interacting (or entangling.) I get a rush when I connect with my photographs. I could go out and take 100 pictures a day but I will only connect with very few of them. It’s rare, it’s hard to explain, and it’s something I have no control of. The connections are usually short lived, only lasting a couple days or a week, but it keeps me moving.



I’m still trying to understand pop culture, really. I’m trying to figure out why things are the way they are, but nothing ever makes very much sense. I think pop culture today is a result of too many people not thinking all at once. I do not believe that our generation is degenerate though, not even a little bit. If anything I feel as if this generation is an improvement over previous generations. Just as previous generations have always proved more developed and capable to their predecessors. I think the belief that this generation is lesser than the last is an idea formulated by members of the older group. I would definitely agree that much of the way we act today may seem questionable and shallow and foolish, but this generation is accelerating quickly and efficiently through an era that will literally reinvent humanity. We are adapting, and that is something older generations are collectively afraid of. To see more of Collin’s enchanting work, click here.

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Mary Rosenberger She’s a model with something more to share - her minimalistic art rooted in contemporary expression.

Q: When did you first become interested in art? A: I first became interested in art at a young age, I come from a creative background. My mother does makeup and hair for a living, my father is a skilled writer and musician. When I moved to California from Kentucky in 2000, my mom went through a depression and became an art teacher for elementary school children. She introduced art to me when I was 3 years old, holding her hand over mine as we would draw. Q: Do you think your childhood has had a strong influence on your artistic background?



A: My childhood had a huge effect on my creative background. I am an only child and my parents, although married, were very distant with each other. I felt incredibly lonely growing up, never having many friends or other family around me. My parents didn’t have cable and I wasn’t allowed to have video game consoles. I spent a lot of time watching old movies and drawings. My art kept me company, drawing was one of my escapes. Q: Who or what would you say is your greatest artistic influence? A: My greatest artistic influence is a hard thing to pinpoint. I find inspiration everywhere I go, from the shapes of the food I eat to the way the sky turns color. It is unfair in such an inspiring world for me to rank my greatest influence, as there are so many contributing factors that add to my work. As for artists, I enjoy the portraits of Marlene Dumas, the illustrated poems of Garcia Lorca, and the intense lines of André Masson. My boyfriend (@andremoya_) is an incredible painter and musician. Watching him work also played a huge benefactor in inspiring me to make art again (after a very long hiatus). Q: How would you describe your artistic style? A: I would describe my style to be simplistically powerful. I want to show my

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fellow artists and other people interested in making art that it’s not always about completing a Da Vinci masterpiece. Art is about conveying your emotions, the feelings your words are at a loss for. Q: Do you tend to be more of an introvert or extrovert, and does that have an effect on your art? A: I am a complete and even mix of introvert and extrovert. I love being around people, I’m extremely outgoing. I yearn for humanly connection. Then again at the same time, people exhaust me. Being an only child I enjoy my personal space, my time alone to think and grow. As much as I love surrounding myself with friends and like minded creative people, it is essential for me to isolate myself at times in order to produce my best work. Q: Have your beliefs (Spiritual or not) influenced your art (if so, how strongly?) A: I think it’s natural for an artist’s beliefs, spiritual or not to impact their workeven when it is totally subconscious. I find so much beauty and strength in women, it’s a huge reason in why I enjoy drawing them so much. So yes, I would say that my beliefs do transcend strongly into my artwork. Q: When people view your art, what effect do you hope it has on the viewer? A: Art is all about depth. About seeing beyond. About your own interpretation. I



suppose ideally I would like people to feel inspired by what I do. Though I think about the effects it will have, I do not worry or lose sleep about it. I make art for my own happiness, my own satisfaction. I love hearing the diverse comments I receive, the way people may interpret the brush strokes of my abstract paintings. In turn there is no real “hope” that I have when I make art besides the hope that someone out there sees what I have done and feels proactive in making their own artistic footprint. Q: Lastly, would you like for your art to have a legacy? A: I think that the word legacy in relation to the art world is incredibly ambiguous. To some legacy might mean millions of paintings in galleries all over the world whereas someone else, like myself, might see that my “legacy” is already in production. The fact I have work to leave, poetry to read, paintings to circulate around, I feel that I have already been successful at leaving a trail of inspiration behind. And what is a legacy if not a trail of inspiration? In conclusion I want to make as much art as possible. I want to contribute even more to what I have already started. To see more of Mary’s work, click here.

Teen Eye Magazine



by Michael Harper To think what society would be like today without the internet is‌ almost unimaginable. The internet has brought people of almost every culture or nationality together into a digital, almost nightmarish, web of the very strange, the cultured, the creative, and almost everything in between. The almost unintelligible network that is called the internet has changed the creative world and all the art it produces. It has morphed and remodeled art to be something as attainable and accessible as a hamburger at a drive-thru McDonalds, and has changed people and the very culture we live in today. It has allowed for people to make their work known, and easily obtainable by the average art-enthusiast. Online shops have given artists, small clothing brands, and regular individuals a chance to have their work available to the world rather the area they work and live. The ‘net’ has caused people to outlet their own creativity and create their lives into a sort of performance art for everyone to look on and observe. Amongst the many, if not millions of artists, performers, musicians, designers and regular people like you and me, the internet has created a platform for all to share themselves with the world. Since its very beginning, Instagram (but also other social media platforms such as Tumblr or Twitter) has given everyone a chance to express themselves. May it be a look into the life of a well established artist, or a view into the lives of the people who lead our world, there is certainly something admirable about getting an up close view of the lives of people you may never meet. But the most striking accounts are the ones of people who live out lives of creativity and express their bounty of creative wisdom through the very photos they post. Digging through their libraries, selecting a just filter, and writing a caption that


may either be life changing or one word and an

integral part of the human identity, and emerg-

emoji, the art of social media is an art in of itself,

ing out of that is a new identity characterized

easy for anyone to master (hey a grandma has

by the influence of social media. ‘Selfie culture’

mastered it!). But that goes beyond just posting

has become a widespread ‘culture’ influencing

an unattractive selfie; the people who create

everyone, young and old—I am even subject to

things and deliberately expose their work to oth-

this new culture. It isn’t vanity nor is it obsession,

ers are the people who are contributors of a new

it is who we, people, have become. Is it a bad

kind of digital revolution. They are the ones who

thing? I would say not because it opens doors

create an entire experience for their followers to

to possibility. Possibilities of self-love, possibili-

show their own experiences. Although the older

ties of expression, possibilities of change. Social

generations criticize us for this love of sharing

media has worked wonders for people, but in

oneself through technology, we know the power

other instances has caused pain and detriment.

of social media: the power to shape and change

Social media has the power to ruin someone’s

art and the lives of people as we know it.

life, hurt others, and in general, be used for

Through a special kind of aesthetic, seen

harm. But let’s not let that ruin your feed, be-

primarily on the accounts of artists and creatives,

cause after all, social media is ‘bae’. That brings

there is too a certain ‘artistic’ quality shown

up another point about social media and culture,

through the everyday person’s social media.

we have created a whole new sub-language to

From a simple selfie to a group photo recalling

english ( and other languages as well). Terms like

a past event that was somewhat memorable,

‘bae’ (as used before) to the ever pervasive ‘lol’,

Instagram has paved a way for someone to ex-

‘lmao’, ‘jk’, or ‘ily’. Although they are just abbre-

press their own lives with the public… or private.

viated, they still carry their own significance and

Though it is often hard to recognize this unique

often mean either what they actually stand for

quality, it takes an artist to make this widespread

or at times can be often misleading. I often find

phenomenon clear for everyone to see. Back in

myself saying ‘lol’ when I am not even laughing

2014, Richard Prince, a well known artist, had

out loud, or even laughing at all. That goes with

blown up and printed other people’s Instagram

‘lmao’ because that is certainly not happening.

photos, and had created each photo into fine

And then with ‘jk’, I actually was not kidding. But

art in of itself. Though from a few years ago,

usually when I say ‘ily’, I mean it.

Prince’s work is reflection of social media (Insta-

Culture in of itself is interesting, but with

gram especially) and how it is, in fact, art. Prince

social media on top of that, it gets very inter-

drew out the artistic quality from the photos of

esting, and even quite hectic at times. Art too,

everyday people and had produced something

it is a beautiful thing, but when it takes a digital

quite large (be it that the prints were four by six

form, it still maintains its beauty, but it is just…

feet). Nonetheless, art is inherently part of social

different. Looking onto the modern person, one

media, and social media is part of art.

can see that there has been a great change; a

As social media has affected art in ways never

change whose only source is by the influence of

expected, it has affected culture as we know it.

social media. Art and the culture that surrounds

One can simply walk anywhere and see the flash

it will never be the same, and maybe, just may-

of a phone screen, or a rectangular object be-

be, it is for the best of society.

ing carried around. Technology has become an


Featured Art “Roots”

This page and opposite by Ira Limon

By Olha H.

By Vince Farone

By Zhang Jingna

By Agnes Cecile

By Collin McAdoo

By Vince Farone

By Ira Limon

Behind The Scenes “This short comic is about the development of the final photo. The outside world only sees the final results in magazines like Vogue, but I know as many other models that it’s hard work to get the job and that amazing picture.” ­ Words and comic by Estella Boersma

Teen Eye Magazine



The Survivalist’s Guide To Navigating The Fashion Industry by Lulu Cooper

Trying to break into the fashion industry is hard. Unless you’re a Kardashian, Waterhouse or a Hadid, you might as well download Started from the Bottom and have Drake’s sweet voice serenade you for the next year or five of your life. The reality is, when it comes to working in fashion journalism, cutting corners is not an option, and it’s always going to be the person who’s clocked in the most hours, gone the extra mile and shed the fewest in-office tears who’s going to get ahead. Regardless of your age or qualifications, interning is the sacrosanct start point, which has a depressingly non-specific end. At nineteen, I’ve interned alongside eighteen year olds and thirty five year olds alike, all of whom will progress on the condition of one necessity: a strong foundation. Having come to terms with this truth that is equally grim and motivating, I, - self-proclaimed “experienced” intern and list maker - have compiled some pointers for any interns-to-be: because while you’ve got to make some mistakes, you needn’t make mine.

1. Be keen

Being an intern can suck. The hours are long, the pay is almost always non-existent, and the work can sometimes feel thankless and unrewarding. Your new mantra? Beggars can’t be choosers. Despite feeling like all the unglamorous jobs you’re doing are the ones magazines can’t survive without, Stanley Tucci was not lying when he told Anne Hathaway in Devil Wears Prada that “a million girls would die for your job”. Your work is valuable, but there are queues of others willing to do it for you. Every last job you are given is a chance to prove your worth, so be keen, because no one forgets the girl willing to hand wash a model’s dirty underwear in the bathroom sink.

2. Ask questions

You’re (most likely) not being paid for your work, so no one expects you to be an expert on what you’re doing. Your superiors understand that you can’t read minds and would rather you did something properly after interrupting their writing an email than having to deal with swathes of unnecessary ones after you’ve done something wrong. It’s great to come across like you know what you’re doing and don’t need help, but if you actually need guidance , not asking questions is wasting everyone’s time.


3. Don’t ask too many questions

Interning falls into a bizarre limbo between school and the world of work, but despite its ambiguous position, your superiors are definitely no longer your teachers. Fashion is a fast paced industry, and most people have a million and one better things to do than micromanage your work. At the beginning and end of each day write a list of things that need doing; tasks beget tasks, and what’s more, the chances are when you are sitting at your desk thinking you’ve done everything, there are at least two things you’ve forgotten need doing. Get a notebook - the pen and paper are your friend - and by the end of your placement you’ll have a cute reminder of all the things you achieved during your time there.

4. Learn to multitask

The stereotype that all women can multitask is inaccurate – not all women can multitask, in the same way that not all men can’t. Learning to juggle multiple responsibilities at once is a skill that requires practice and organization, and one that is completely priceless once fully developed. A good capacity for multitasking is key for being efficient with your work, and efficiency’s the only thing that’s going to get you home on time.

5. Know your place

The majority of the people you work with in fashion are considerate human beings looking to give you the most you can out of your experience, but their kindness by no means makes you their friend. Office dynamics can be weird and there will be times when your superiors have to pull rank. This doesn’t devalue the lovely conversation you shared during a lunch break, but be warned, when your mutual interest is in fact just the industry you’re both working in, it does not give you grounds to slack off or assume an overly familiar tone. I realize the perspective I’ve offered here comes very much cloaked in the less-than-fabulous elements of my experience, which by no means represent the whole picture of my time interning so far. Being a fashion intern is a learning curve that will determine to you whether you’re truly looking to enter the industry; it’s a chance to observe insanely talented people doing all sorts of different jobs, and a chance to establish a foundation from which you can try your hardest to build a successful career.

Teen Eye Magazine



African Ascension by Clara Scott

There is no doubt about it- the fashion industry is a living testament of internalized racism. European white beauty standards dominate body types, facial structures,hair textures, style, you name it. Models of color who stray from these standards are often used as tokens of their race, creating a false sense of diversity. Runway shows used to include merely one or two black models at most until the recent past, even when African style is incorporated into the collections. In Valentino’s recent SS16 show, the models sported cornrows, African-themed looks, and walked to bongo drums, but only 8 out of 87 models, roughly 9%, were black. This façade of integrated runways has contributed to a culture of racial exoticism around African models. Iconic Somalian model Iman perfectly exemplifies this culture. When she was discovered, her agent packaged her to clients as a goat herder living in the desert; descended from an African queen of the jungle. In reality, Iman was an intelligent, worldly woman studying in the bustling capital of Nairobi, Kenya. The alluring image of African royalty may have booked her more jobs, but also justified patronization and belittlement during shoots and business meetings. Thankfully, false advertising of African models is slowly becoming less popular, especially with the large amount that have joined the American and European high fashion markets in the past two years. These models are also landing prestigious campaigns, which would have been rare in the recent past. To name one, Afro-Caribbean model Tami Williams has several solo shots in the new Valentino campaign. The influx of new and different faces is changing the industry, one model at a time. With this in mind, there is still a disconnect between the African models working in Western fashion and the beauty standards of their home countries. The svelte, curveless bodies that are necessary to work in high fashion sometimes clash with their traditional body images. Fertility and purity are tied with womanly voluptuousness, with women in some cultures making themselves look bigger with extra fabric and storage under layers of skirts. Even when this is rarely shown in the fashion world, it is portrayed on white models and celebrities. For example, successful American model Ondria Hardin was shown as an “African Queen” in blackface and stereotypical African attire in one of her very first editorials with magazine Numéro- despite her very apparent whiteness. Although gross editorial content like this is still in abundance,


white models are gradually being replaced by black or mixed models. African models are growing in number and skill every day, with incredibly talented women like Malaika Firth of Kenya, Aamito Lagum of Uganda and Amilna Estevao of Angola among the ranks. Although they differ from the traditionally buxom look of choice in their countries, they still bring the richness and insight of their cultures into the fashion world. These models harbor appreciation and experience from fashion completely different to the set-in-stone style standards we know in the Western market. Black and mixed-race models not just from Africa, but the Caribbean, and Latin America bring their roots to the table in every minute they spend working. The fashion industry is steadily improving cultural diversity through its models and design. Each time a boundary-breaking model like Lineisy Montero or Maria Borges wears natural hair on major runways like Prada or Victoria’s Secret, they are setting the foundation for palpable change. Today, there is possibility that this cultural appropriation of African culture will turn to cultural appreciation - especially due to the shift towards more diverse models. With the introduction of this truly different beauty, there is a light for a new age of style.

Amilna EstevĂŁo and Aamito Lagum at Giambattista Valli FW15

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The Changing Faces of Fashion

by Carson Gartner

Tracing the roots of various fashion houses is easier than ever with today’s technology. From the brand history on Wikipedia to the constantly evolving collections featured on Now Fashion or Vogue Runway, consumers have access to knowledge about entire legacies at our fingertips. So, putting these tools to good use, how has the face of fashion changed over the past decade? Here’s how four top designers have evolved from their very first collections to the most recent season.


Joseph Altuzarra of Altuzarra Joseph Altuzarra’s first collection for the Fall/Winter 2009 season was short and sweet. With only eighteen looks, (compared to his now usual forty-odd) it was certainly a sampler for what was to come. The relatively small collection had a clean and fresh color palette including whites, greys, beiges, and a few metallics. The refreshing and soothing colors focused attention on the construction of the clothing: military-esque suits and body-conscious dresses. Altuzarra’s growing confidence shines through in his latest collection. The hand-painted prints and micro beaded embroidery that his garments are constructed of were deeply inspired by his Spanish roots. He combines the luxuriousness of handmade Spanish clothing with the necessity of modern stylish comfort. While his first collection was less concerned with the lifestyle of his customers, his Spring/Summer 2016 collection is catered to the elegant working woman, with the heat of summer weather in mind.

Fall 2009

Spring 2016


Jack McCollough and Lazaro Hernandez of Proenza Schouler As the most seasoned designers on this list, Proenza Schouler’s Jack McCollough and Lazaro Hernandez have had time to evolve the house from its sexy girl-abouttown beginnings to what it is today. Their first major collection was presented as part of the Fall/Winter 2003 season, and had a sultry, cinematic feel to it. The pieces were primarily shades of brown and consisted of leather and silk textures. Sumptuous coats hung off several models’ shoulders over silky bustiers, providing a look that was clearly more body-conscious and less architectural. Nowadays, Proenza Schouler is known for the complex, eye-catching construction of their designs. This past Spring/Summer 2016 season, Lazaro Hernandez himself declared that the inspiration for the collection was “bananas, things that peel away from the body.” This statement assured that Proenza Schouler had ventured far from the its roots. With the exception of a bare shoulder here and a nipped waist there, the collection, for the most part, obscured the models’ silhouettes and focused deeply of the craft of each design. This collection also seemed to have Spanish influences, with flamenco-style skirts and ruffles being a prominent fixture on each look. Like their first collection, texture is an important quality on each of the designs. McCollough and Hernandez employed the use of mesh fabrics, feathers, translucent fabrics, and chainmail, proving that there is no end to their careful detail and craft.

Fall 2003

Spring 2016


Alexander Wang of Alexander Wang Since his first collection, Alexander Wang has been one of the most talked-about young designers in the industry. His first collection available on Vogue Runway (though his second full collection) was presented as part of the Fall/Winter 2007 season. Inspired by eighties hip hop and seventies Parisian chic, the collection was a bit disjointed. Looks included a grey oversized sweater with a tiger print over black tights, a metallic gold jacket over blue shorts, and a black mod-style bra over a feather jacket and black pants. Though the looks clearly hit the mark in terms of inspiration, many seemed not to fit together. More recently, however, Wang’s collections have been marked by key motifs. His Spring/Summer 2016 collection consists of looks that include many of the same styles, such as thick horizontal and vertical stripes, denim, and mesh fabrics. But, still, despite these recurring motifs, the collection appears to be disjointed. Luckily for Wang, his commercial appeal outweighs his critics, and the Alexander Wang brand continues to be one of the most widely commercially successful high fashion brands of today. His hugely popular H&M collaboration is proof of this, while his short tenure and recent departure at Balenciaga signifies that his mass appeal is, well, with the masses.

Fall 2007

Spring 2016


Jonathan Anderson of J.W. Anderson Wunderkind Jonathan Anderson is the newest designer on the list, yet one of the most critically acclaimed. Just a few short years ago Anderson presented his Fall/ Winter 2011 womenswear collection, the first of many to come. His menswear beginnings are evident in his androgynous designs and clean lines. Simple, yet elegant, a long-sleeved orange top provides a pop of color tucked under a long black skirt, a fuzzy black and white sweater juxtaposes a slim pair of pants, and a black skirt provides a stark contrast to a paisley shirt and pants. Anderson has clearly grown more confident in his designs with time. His Spring/ Summer 2016 collection was anything but simple: puffed shoulders, giant ruffles, prints reminiscent of noodles, and two bags worn crossbody, one over the other. Yet, at the same time, many of the looks have simple elements: small black bras, simple tops, and slick corsets and skirts. Five years after his first womenswear collection, Anderson continues to be a master of beguiling juxtaposition.

Fall 2011

Spring 2016


Sure, these models were just as cute as children; But can you guess who’s who?

(left to right)

Take A. Guess Take A. Guess Take A. Guess

(left to right)

Take A. Guess Take A. Guess Take A. Guess

Have your guesses? Turn to page 153 for the answers.

Superfox (also known as her daytime alias

Lida Fox)

, one half of dynamic photo duo Film Hooligans, shoots Julia, Grace, Lili, Staz, Aida, Juliette, Lily, Sarah, Veronika, and Kiki in a wild transcontinental adventure follow along as she hits South Carolinan electric chairs and greasy spoon diners.

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They’re as candid, raw and utterly captivating as the film pictures they take. Meet Lida Fox and Aida Nizankovska:

The Film Hooligans You met at Hedi Slimane’s exhibit last year. What’s the best memory you have of each other since then? Aida: My favourite memory of Lida is when we went to egg our friend’s house! Lida: One of the best memories I have of Aida is when she met me at the airport in London with a self decorated sign with my name on it. Best chauffeur ever. Where’s the best place to shoot a roll of pictures? The worst? Lida: The best place to shoot a roll can be anywhere. It really just depends on the energy of the people around. A lot of the best rolls have been in Paris because everyone just seems to let loose there. I can’t think of a bad place to shoot photos. Aida: I agree, we always take the best photos in Paris. It’s also a time, when all of our friends are together for a whole week, after not seeing each other for 6 months, so everyone is just extra crazy and happy and it’s visible on the photos. But really, as long as we’re all together any background is great. How many cameras do you have? Lida: I used to have 3, but one broke, one got lost, and the last one is pretty fucked (can I say that?), so I probably need to get a new one! I’ve also been through loads of disposables. Aida: As today, Lida has none! We went out yesterday and she broke her Konica Big Mini! Haha! I only have one, my trusted, brick-sized Pentax. Lida: Actually it didn’t really break last night, I just needed a new battery again! What’s your favorite picture you’ve ever taken? Aida: I love all my photos, it’s so hard to pick. But my favourite photos are always from Paris.


Lida: It’s really impossible to choose a favorite picture, it changes every day! What’s the benefit of uploading the whole roll of pictures, regardless of their quality, without any filters or rules? Lida: I think that the benefit of uploading the whole roll is that it makes it more like a diary. You get to see every part of the adventure in that time and place. Also, most of the time it’s interesting to see the funny effects the film has if it’s been overexposed or something. Aida: The whole purpose of Film Hooligans was to share our photos within our group of friends, so uploading a whole roll is like telling a story, “look what we were up to the past couple of weeks”. It’s unpolished, unedited and very real. No one can be fabulous 24/7.

Aida, what’s your favorite thing about Lida? Lida, what’s your favorite thing about Aida? Aida: My favourite thing about Lida is how adventurous and spontaneous she is. I will never forget that time we went to Winter Wonderland and she persuaded me to go on the scariest ride ever, I thought I would have a heart attack when we were hanging upside down 70 feet above the ground but she told me to open my eyes and the view of the city lights was breathtaking. I love that Lida can turn even the smallest adventures into the best moments of my life. Lida: My favorite thing about Aida is that she’s always there to talk about things and always has a great comforting or supportive or helpful answer. It’s also really nice to get an outside perspective because even though she’s involved in the same crazy world, it’s from a different viewpoint than most of my friends. Also, we can just talk about anything silly or stupid and just have a great time. Our theme for this issue is “Roots”. What or who is your greatest influence? Are there any lessons/pieces of advice you still carry with you today? Lida: My parents definitely had a huge influence on my life. I grew up with an opera singer and ballet dancer and all of the creative experiences and perspectives that came with that. After living on my own for the last few years I’ve constantly been influenced by my friends, who I’ve lived with, and who I’ve worked with. The roots are still growing I guess. Aida: I am most influenced and inspired by people around me. I don’t think I would be the person I am today have I not met all these wonderful people. As well as giving

me new perspectives on life, my friends introduce me to inspirational places, artists or novelists, which then shape me. But the greatest (and pretty cheesy) advice I ever got was from my nana: go through life in such a way, that you never have to explain yourself to any Tom, Dick and Harry. How would you describe our generation? What makes us better or worse than those of the past? Lida: On one hand, I think our generation is better than those of the past because a much larger number of people have become more open to and accepting of equality, whether based on sexuality, race, gender, etc. It’s still not great everywhere but at least it seems to be changing for the better, or at least gaining more awareness. I think it’s worse in the sense that everything has become so digitalized. Even though I really appreciate technology, I feel like everything was more simple and personal before. I think there were a lot of aspects of life I enjoyed much more before I got Instagram for instance. And here we are starting a website to promote film, so it’s a bit of a paradox. In general, our generation is pretty wild. Aida: I totally agree, the growing love and acceptance is incredible, but the main problem of our generation is the technical progress which almost entirely rid it of creativity. Now everyone is an artist as long as they have a tumblr. People stopped expressing themselves, there are no subcultures anymore. In the 70s, kids expressed themselves through DIYed clothes, crazy hairstyles and listening to rebellious music. Our generation is an army of clones geared up in H&M clothes listening to the Top50 hit music list. It’s so sad. What are your perceptions of beauty? What makes a human beautiful? Lida: Beauty is extremely subjective, whether aesthetically or personally speaking. Sometimes a very physically beautiful person becomes less attractive after you get to know them, or someone who you didn’t find so attractive at first becomes extremely beautiful once you discover who they are. And in either case, what’s beautiful to one person is not necessarily beautiful to someone else. Aida: For me beauty is about individual aesthetics. There is no single definition of beauty, or a common perception. It’s a fusion of physical appearance and personal qualities. For example, no matter how handsome a guy is, if he’s being a dick, he automatically becomes ugly. A beautiful person is the one who maintains a balance between the two. Fill in the blank: If you were superheroes, your names would be… Aida: I’d be a villain. She who must not be named! Lida: Superfox!

Gnawing on fried chicken and flashing biceps at aftershows,

Aida Nizankovska

and her fearless friends give us a peek of their weekly adventures.

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Where is the fashion industry headed? That is the questions on everyone’s mind as the industry spirals towards what appears to be inevitable turmoil. Some may say the industry is already dead, while other may argue that it is only moving too fast. Designers are attempting to battle the fast pace of the industry by changing the dynamic of the classic runway show. Tom Ford exemplified the shift when he released a three and a half minute video filled with model muses strutting down an imaginary runway while dancing to Lady Gaga, who was also featured in the video singing “I Want Your Love.� More and more designers are ditching the idea of seasons and moving towards the idea of see now, buy now. By allowing consumers to buy what has been shown just minutes ago, designers are fulfilling the never-ending demand that seems to be fuming over their heads. Other creative directors, however, are hav-

KILL FASHION Eden Pritikin sounds off on the current state of the industry in a witty and honest opinion piece.

ing trouble coping with the rate at which the industry moves. Both Alber Elbaz and Raf Simons have left their respective houses citing their problems as a lack of control and a lack of time. Both of these issues have one common thread: the pressure from the consumer. Fashion is a business that relies heavily on its consumer for constant support in order to continue thriving. The consumer always wants something more, and the taste of the consumer changes faster than designers can pump out new collections. This incessant demand has led to six collections a year for houses that do Haute Couture, and even more for creative directors who sit at the helm of two houses example. The added factor of Instagram puts even more pressure on brands to create innovative


content in order to please people’s Instagram profiles. The rise of the photo sharing app, which is centered around the idea of instantaneity, has further contributed to the rapid pace of the industry. It feels as if sets are no longer designed for the theme of the show but rather the chance to land on an Instagram account with millions of followers, as if shows are no longer focused on the actual collection itself but rather the array of celebrities sitting in the front row who were invited for the sole purpose of publicity, and, of course, the hope that they might snap a photo of the show to share with their mass followings (in reality, the stars most often just share pictures of themselves rather than the work on the runway). The consumer has no concept of time and no concept of the handwork going on behind the scenes of each collection, nor do they care. When looking back on how the industry used to run, it all seemed so much simpler. Magazines printed issues without worrying about advertisers who were paying for them because the editors worked out of love for fashion. Stylists, photographers, and models would spend weeks at a time on a location shoot, taking in all the sights in order to produce the best crop of photographs possible. Designers would present their collections to the select few who really cared and wore the garments along with the critics whose love for the industry fueled their careers. Fashion was much less a business than it is today, so when did that all begin to change? Maybe it was the creation of ready-to-wear, and eventually resort and pre-fall collections. Maybe it was when Gianni Versace first put the supermodels on the runway thus starting a trend that every designer needed to follow. Maybe it was when Steven Meisel shot Nicole Richie for the cover of Vogue Italia blurring the lines between socialites and fashion icons. Or maybe it was Anna Wintour putting celebrity after celebrity on the cover of Vogue magazine replacing the jobs of models and turning what was once a fashion bible into more of a lifestyle magazine. It’s impossible to pinpoint, but these days, editors and designers will do almost anything to sell. If that means praising someone with an absence of talent, putting them on a cover, or sticking them in the front row of a show, then so be it. The industry has changed right before our eyes, and there is no way to control it. There can be hundreds of think-pieces written about this topic, but it is time to start thinking of solutions. It is quite unfortunate that Nicolas Ghesquiere and Kanye West can be grouped together in same category. Even Naomi Campbell and Kendall Jenner, two names that should never be uttered in the same breath, are now seamlessly lumped together. So how about this: two fashions. One fashion for the Azzedine Alaias and Alber Elbaz’s of the world who truly care about preserving the principles of fashion, and one fashion for the Olivier Rousteing and Kim Kardashians of the world who use Instagram as

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a popularity platform. How can the term “Supermodel,” the same term granted to icons such as Linda Evangelista and Christy Turlington, be used to describe the Hadid sisters? It seems as though a model walks the Victoria’s Secret Fashion Show once and suddenly she’s a supermodel. Throwing that term around too loosely diminishes the meaning of the word;it is insulting to the incomparable work of the girls who it was coined for. Currently, there are two completely different worlds living under the same name. Splitting up the industry leads the divide of consumers thus easing the pressure off of each designer’s’ back. Two fashions—one for those who need time to create something of quality, and one for those who don’t care so much as they only want something new. Think about it like this: there are two cars driving in different directions in the same lane, so to avoid a crash, let them drive in their own lanes. It seems as though the fashion industry is dying—or is it? If we let the industry run it’s course, then those who really care about it will be left behind to pick up the pieces and start over again. While I am writing this, I can literally see Grace Coddington picking up a piece of a broken runway set while some fashion blogger tiptoes around the aftermath of a drawn out catastrophe because suddenly, there was nothing left to Instagram. By killing fashion, we’re really saving it by weeding out the bandwagoners from the true industry admirers. Most people are afraid of failure and would rather jump ship before the boat actually sinks. Others look at it as a way of recreating something they truly care about. Killing fashion only makes way for a second chance and a chance to correct what went wrong. Not everyone is willing to stick around when times get tough, and that is because fashion is not for everyone. Maybe Raf Simons is right—maybe fashion should be more exclusive.

Two different sides of fashion: models Maartje Verhoef and Harleth Kuusik with Instagram celebrity and reality TV star Kendall Jenner. Photographed by Kevin Tachman at Michael Kors Spring 2016


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Design Roots

by Jonah Solomon

Roots - the people and environment that surround us - shape our lives,promoting unique and meaningful attitudes and inspiration. They directly influence the kind of people we grow up to become, particularly for for fashion designers and the creative process. The roots of fashion designers directly shape how they design, whom they design for, what they design, and their overall aesthetic. Roots give a narrative to each collection a designer creates and they grant designers the opportunity to translate their past, into works of wearable art. I myself am an aspiring fashion designer. I gravitate towards fashion design and have developed a need for creative expression largely because of each of my grandfathers: one a painter and the other a photographer. I am also blessed to be surrounded by women who are strong, confident, empathetic and funny;these are the women who I am inspired to create for. When I plan designs, I always start by thinking of my family and close friends. Growing up in Canada, a very free and liberal country, has also been a major source of inspiration for my collections. Our freedom to to be who we want to be, wear what we want to wear, and love whom we want to love is constantly reflected in many of my designs. I design for people who feel no sense of restriction or fear of being unfairly judged. I design for freedom and for true expression. The thought of someone wearing my clothing is astonishing to me because I know that they will be wearing a small part of my roots. Fashion design allows me to leave my own

special mark on the world. When I create clothing I am directly or indirectly affecting the lives of others - this is remarkably energizing for me. As Blair Waldorf once put it, “Fashion is the most powerful art there is. It’s movement, design, and architecture all in one. It shows the world who we are and who we’d like to be”. Fashion is such a powerful influence on society because it allows people to express their own individuality and attitudes, and in doing so, display the roots of designers. To further honor the power that my roots have in my design career, I am choosing to name my brand Estelle Renee after my two grandmother’s. These matriarchs in my family have been such an instrumental part of my life that naming my brand after them is one simple way of both giving thanks for everything they have done for me, and acknowledging, appreciating, and celebrating my roots. I am far from the only designer inspired by my roots; in fact, it would be difficult to find any artist who is not consciously or subconsciously influenced by their past. The collections of Dolce and Gabbana can always be seen as reflections of their Italian roots. Their spring 2016 RTW show was galvanized by the life of post WWII Italy. It has been said that the mood board for the collection was covered in vintage advertising posters of Capri, Venice, Rome, and Florence. The fall 2015 RTW collection was directly linked to the designers’ mothers and families. There were frocks embroidered with drawing by Domenico’s nieces and nephews. The rose motif that appeared on many of the designs was inspired by Stefano’s childhood memory of his mother’s rose scented lipstick. The late Lee Alexander McQueen is another designer who constantly drew ideas from the people and places around him. Lee’s former boyfriend and head assistant Andrew Groves


even went so far as to profess: “All Lee’s collections were autobiographical”. His first collection entitled ‘Taxi Driver’ is thought to have been inspired by Lee’s taxi-driver father Ronald McQueen. Ronald was born in the Isle of Skye in Scotland, and Lee was always inspired by his Scottish heritage. The idea for his renowned ‘Banshee’ collection was derived from a Scottish folktale of a bean sìth, or “banshee”. But the collection that truly encapsulated Lee’s adoration for his roots was his legendary fall 1995 collection - ‘Highland Rape’. Lee learned much about the history of Scotland, and was struck by by the “ethnic cleansing” of the Scottish people by the British forces in the 18th and 19th centuries. He loathed how effortlessly so many British designers romanticized the Scottish tartan plaid, overlooking the brutalities his ancestors suffered, capitalizing on the pain of his family’s past. Lee aspired to depict what he perceived to be England’s “rape” of Scotland and Scottish culture. And that he did. During his show, he sent battered and bloodied models down the runway wearing ripped and torn garments that seemed to fall off of their frames. They stumbled angrily, only appearing half human in the harsh lights. The homage was terrifying: in fact, Lee’s goal was not to even sell the looks. He only wanted to pay tribute. Dolce and Gabbana and McQueen are but two designers who are inspired by their roots. Today, the world is a much different place than it was when the iconic designers of the past were growing up. It is far more modernized and progressive, with an acute sense of equality, an increasing dependency on technology, and demolition of gender roles, and binaries. The modern world has affected the roots of today’s designers, causing them to create fresh, innovative and bold silhouettes. More collections are being created that defy the old normalcies of gender and sexuality, and highlight

the beauty of the human form. While the influence that roots have on designers will not diminish over time,the nature of our roots will never stop evolving. This change will be evident in the designs that are lauded by society as people continue to express their own personalities through the clothes they wear. I am looking forward to one day soon embarking on an incredible career as a fashion designer. I will have many different collections with many different looks but the one aspect that will stay constant is the inspiration from my roots.

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Meet The New Faces of 2016 Sean Ryan of @badlydrawnmodels and Em highlight the girls you’ll want to pay attention to this season.

The harem of iconic, mononymous figures (Madonna, Dante, Twiggy, Drake) has just gained one more member: Long Island born and raised, long limbed, pixie-cut-ed Dilone. Twenty one and an excellent dancer, DNA’s newest face lured us in after nabbing spots in the Pre-Fall lookbooks of Jason Wu, Opening Ceremony, and Baja East. Her year started off strong with a feature in Vogue Italia’s January 2016 Issue, shot by none other than the model-maker himself, Steven Meisel, and the easy spirit she effortlessly gives off in both runway (Moschino, Marc Jacobs, Jason Wu, and Fendi have all tapped her to strut) and print (she spat water in Simone Rocha for Porter and winked for i-D’s Pre-Spring cover) will undoubtedly continue the momentum.


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There are certain achievements every model dreams of: being hand picked by Ashley Brokaw to represent a brand might be the most ubiquitous of all. For the ever-graceful Selena, every girl’s daydream turned into a reality. Forrest’s introduction to the industry was at Proenza Schouler’s SS16 show as an exclusive, and she quickly went on to front the brand’s campaign and strut again for the brand’s most recent show. The California native, represented by Next Worldwide, is on a fast track to success, stopping along the way to storm the runways of Fendi, Prabal Gurung, and Opening Ceremony.

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The baby faced, steely eyed Dutch teen had an impressive debut last year. After making her first runway rounds at Haute Couture FW15, she returned to FW16 to quietly dominate top shows (Loewe, Giambattista Valli, Valentino, Chloe, a stint in Milan as a Prada exclusive, and Alber Elbaz’s now iconic last Lanvin collection are all already under her belt.) If the few months of 2016 which hosted bookings in twenty-five shows, a spot in the Prada campaign next to heavyweight icons Natalia Vodianova and Sasha Pivovarova, and a flurry of press including a stamp of approval from W Magazine - has any indication of Wijnaldum’s rising power, we’d say things are looking pretty secure for the Society and Elite represented beauty.


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They say the show must always go on - that’s especially true for Carine Roitfeld’s new muse, powerhouse Ally Ertel from Muse New York. The self proclaimed fruit lover started her domination in SS16, racking up thirteen shows before spraining her leg in the first days of London Fashion SS16, cutting her first season short. Though this could be a roadblock in other girls’ paths, Ertel spiraled past the injury (not before featuring in System Magazine editorials posing with her crutches - picture one leg swathed in ace bandages, the other in Dior booties), securing a spot in Coach’s SS16 campaign and making a triumphant return to the Fall Winter shows, strutting - on both legs - at shows including Proenza Schouler, Oscar De La Renta, and Anna Sui.

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There are many factors to attribute to De Graaf’s catwalk domination: years of gymnastics training, a perfect pairing of angelic features and thick blonde hair, and representation at The Society in New York, and Elite in Paris, Milan, and London. The Dutch teen and her rosy cheeks reigned supreme at only the top shows this season - Rodarte, DKNY, Prabal Gurung, Fausto Puglisi, J. Mendel, to name a few - and effortlessly stole our hearts along the way.


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She Wears The Pants

Text by Ingrid Zhang Pictured: Frasse Johansson in Acne FW16 Campaign by Viviane Sassen



The classic joke goes ‘A man walks into a bar.’ The punch line could be anything in the world, but my favourite response is ‘Bang.’ The first image that comes to mind is one of a slick, suit-clad businessmen strolling into a bar and getting struck with a bullet. You may conjure up any number of ideas about the nature of this man, but there are a few undeniable givens. 1) This is an age old joke 2) The joke evokes the image of a man walking into a bar, ready for a few drinks. 3) The man is wearing pants. Our society is used to accepting these types of traditions as the norm. Breakfast, lunch and dinner, morning, noon and night. Quiet? Weak. Loud? Strong. Girl? Skirt. Boy? Pants. It is natural for humans to sink into habit and tradition, as it is easier to live without the need to adapt. Hence, most of us stick to our roots and lead our lives without thinking about change. In the fashion industry, the situation is much the same. Stigmas and the ‘rulebook’ reign supreme and form the foundation of even the most innovative design and styling. The existing

stigmas in fashion are directly correlated with societal rules - ones we often take for granted. As of now, the lines around gender identity and clothing continue to be both up-kept and broken in different spheres of designers and customers. In preparation for any outing, ranging from red carpet events to school dances, males are likely to turn up in a suit and pants, whereas women are likely to choose a dress or skirt; feminine pant and jumpsuits are a rare but more welcome occurrence than masculine skirts. These strong associations between garment and gender have existed since the ‘beginning’ of fashion in 1100, when men were accustomed to wearing short tunics with pants, and women were confined to long, dress-like tunics; they have only continued to entrench themselves since. It is the age of the gender debate, which now encompasses far more than just feminism and women’s rights. Society is becoming comfortable with discussing many different perspectives on massive topic of gender; gender identity and comfort with one’s own gender identity is one of them. It is easy to get confused amidst all the different opin-

ions, and I often do. However, in initially sorting through all the diverse beliefs and opinions, this confusion is a natural reaction. It then becomes necessary to accept that there will be differing views and diverse people in the world. That is gender equality; not pigeon-holing gender identities with definitions and rules, but accepting that everybody’s take will be slightly different. This is where the fashion industry comes in. What we wear and how we look largely represents our chosen genders, and deep-rooted stigmas existent in the industry contribute in a major way to how different garments on different genders are perceived. It only takes walking into the correct toilet to realise how shallow gender identity can be. All over the world, the only difference between the two stick figures on toilet doors is that one is wearing pants, and the other is wearing a dress. This representation of the defining point between man and woman is almost comical in its shallow nature and simplicity. Reducing gender identity to wearing either pants or a skirt enforces the idea that in fashion, gender is defined by the garments you wear. However, lately, we have seen members of the industry begin to break down these walls in small ways. In 2015, Acne Studios’ Fall womenswear campaign saw a 12-year-old boy model-

ling the female garments. Female models Emilie Evander and Marland Backus have appeared on a Gucci menswear runway with no distinction or special reason. However, these are small protests that weaken culturally embedded gender stereotypes. Although clothes are only pieces of material shaped in various ways depending on the designer, they hold sentimental and moral value, which is why they can cause so much controversy and hold so much influence on the power of perception. We judge one another based on what we wear, which is evident in the thriving fashion industry. So when in 1919, Luisa Capetillo became the first woman to wear pants in Puerto Rico and was subsequently sent to jail for her ‘crime’ (charges were later dropped), we witnessed the true power of tradition, and our fear of change. Slowly but surely, pants became a fashionable and mainstream fashion choice for women. Gone are the days of ball gowns and petticoats. The phrase ‘she wears the pants’, often used in reference to relationships and households, is an implication of the association of pants with power. Women now possess the power to wear pants, and are even praised for it. When Emma Watson wore pants to the 2014 Golden Globes, she was labelled by Huffington

Post as ‘the coolest because she wore pants’. Wearing pants for women is not seen as ‘gender bending’ or wrong in any way. It is a positive fashion statement and widely accepted by society, overruling the toilet door stereotype of femininity. In contrast, when Jaden Smith recently became the face of the Louis Vuitton SS16 womenswear campaign and was photographed wearing a skirt, it warranted harsh negative comments, questioning ‘Why you have a man Jaden Smith dressing like a woman?...the designs are fantastic but why is it okay for Jaden Smith to wear a skirt not a kilt?” To be entirely casual and frank, these comments upset and confused me. Why is a kilt more acceptable to wear than a skirt? Evidently, the kilt holds meaningful cultural tradition and sentimental value in a masculine sense as a garment, but realistically, it is pretty much a skirt for a man. Just because Smith made the conscious choice to dismiss the invisible ‘rule’ that men cannot wear skirts, doesn’t mean he must be labelled as a ‘woman’ for his actions. Men’s fashion stores sell suits, trousers, t-shirts, shirts and jumpers. I’ve always marvelled at how my brother manages to look different every day with the range of clothes he possesses. The truth is, men are highly marginalised in the fashion department. There is much less innovation

and much less coverage on men’s fashion, due to the lack of change and the lack of acceptance of new concepts for men in the industry. Fashion doesn’t have to relate to gender identity, but it can when and if one wants it to. The issue lies in the fact that we struggle to detach the concept of gender and the concept of fashion from one another. If she can wear the pants, then he should be able to wear the skirt. It’s as simple as that. So next time you are lacking conversation topics and decide to throw in a joke, visualise that man walking into a bar. Wearing whatever he wants.

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by Anna Hou

I am a banana. No, not literally. I’m a Taiwanese-Chinese American with just a sprinkling of Dutch blood. And I’m proud to be one. In fact, I embrace it all – the weird quirks of Asian parents, the language, the culture, and everything else lumped into that category. Pride, infused with my love of fashion always has me looking for ways in which my heritage has influenced modern fashion in everything ranging from campaigns, to models, to runways, and to shows. Thus, in paying homage to my roots, I have decided to compile a few examples of China’s role in the fashion industry. The most prominent example of Chinese influence in Western fashion was the 2015 Met Gala at the Metropolitan Museum of Art. The museum showed an exhibition based on this year’s theme of China: Through the Looking Glass. Over 140 stunning couture pieces were displayed alongside the respective Chinese art that inspired it. Among the displayed costumes came those from famed international fashion designers such as Christian Dior, Yves Saint Laurent, Vivienne Tam, Coco Chanel, and Alexander McQueen – all celebrated the aesthetics of Chinese culture. Ming ware is something most people know upon seeing, not reading – it’s that classic blue on white porcelain with various Chinese pictorial designs of dragons, lotus flowers, or flying cranes. Because of its translucent quality, brilliant color, and exotic motifs, it quickly became popular in European countries, igniting a Chinese craze in which anything Chinese or remotely Chinese-like were coveted and held in high esteem. Roberto Cavalli, in his F/W 2005 collection, showed a gorgeous floor-length gown inspired by the blue on white design of Ming ware. Even the cut and styling of the dress – narrow with a sudden fanning out at the bottom – imitated that of a typical Ming vase. In 2013, joining in on the influence of the Ming porcelain, Giambattista Valli showed a short dainty dress with Ming ware inspiration as seen by the florals and colors on the dress. However, designers did not limit themselves to the influence of ancient China; pieces showing influence of China’s austerity regarding fashion during the mid-1940s were also exhibited. The unisex Mao suit inspired John Galliano in his S/S 1999 collection for Dior. Galliano kept the essence of the army green colors but instead of the boxy blazer, he created a cheongsam (qipao) inspired top with narrowing at the waist and finished with a pleated midi skirt for a more feminine look. Hues of red, a color of good luck and during Mao’s time, revolution, were used to accessorize the ensemble. European designers, however, are not the only ones who have used China as their muse. There are several Chinese designers who use their Chinese roots in their collections. Guo Pei, a renowned Chinese designer, created a dress that showed the aesthetics of both Ming ware and Chinese traditional


fans. The dress’ bottom half was artfully draped in a way meant to emulate a Chinese fan and the fanshaped headpiece that accompanied the dress held a mosaic of the infamous blue on white porcelain. The dress overall, had motifs of lotus flowers and ocean waves. Drawing inspiration upon the Chinese phoenix that represents royalty and high virtue and perhaps her most stunning creation, is a golden dress she calls “Magnificent Gold” that took 50,000 painstaking hours to complete. Both dresses are being curated in the Met exhibition, with “Magnificent Gold” taking up an entire room for itself. Rather than Ming ware or the Mao suit, Chinese architecture and the traditional game mahjong that inspired Vivienne Tam in her Spring 2015 Ready-to-Wear and S/S 2016 collection. The Forbidden City, declared a World Heritage Site, has housed emperors, religious ceremonies, and political gatherings for almost 500 years. Tam, after visiting the site of this architectural masterpiece, transferred the designs of The Nine Dragons Screen, imperial roof decorations, and many pieces of art located in the Palace Museum inside the Forbidden City to create a collection with flora and fauna prints that seem to have walked straight off the walls of the palace. Landscape of the rolling hills and low trees of typical Chinese art painted in the wide brushstrokes of Chinese watercolor graced her collection in print and embroidery – with neon colors! Putting Mahjong into her 2016 collection, in a style reminiscent of chainmail, Vivienne Tam created two gowns with Mahjong tiles attached to a mesh sheath. She herself even wore a Mahjong inspired dress with the red, green, black, and white tiles. Fashion, both couture and ready-to-wear, are versatile,picking up on trends like wildfire. Both are especially susceptible to outside influences and have taken a special liking to the cheongsam. Originally a loose fitting garment that covered the wearer from head to toe, it underwent changes in the 20th century (think Shanghai and Suzie Wong), and quickly became a form-hugging dress. With its high mandarin collar and side slit, it quickly became a hit, with Western modifications for the everyday modern consumer and designers adding their own twist to it. One of the best examples of the cheongsam in couture was John Galliano’s Fall 1997 collection for Dior – a stunning black gown with a pearl embroidered collar accompanied with fur-lined cuffs. The twin to the cheongsam, the hanfu, the typical form of dress during the Han dynasty, has also had a resounding impact on western fashion. Often mistaken for a kimono, its robe-like style, wide sleeves, and wide belted waist, made it a popular lingerie and robe item and the wide belt is still used as an accessory in fashion. However, the use of the hanfu was not limited to undergarments. Donatella Versace decided to take a more liberal approach and in 2000 for the Grammy Awards, Jennifer Lopez stepped out in a hanfu inspired tropical green dress. Cut in the style of the hanfu with a long draping back adorn with bamboo prints and a cinch in the front, there was no doubt that Donatella based the dress on the hanfu. The synthesis of the ancient Chinese culture with the West is a truly artistic feat that shows that fashion is a living, walking, breathing piece of art. The fashion industry is not an entirely materialistic and superficial one, although some would argue otherwise because of the pervasiveness of things such as consumerism and “social media models” in modern fashion. The never-ending process of Chinese infused fashion proves otherwise – that fashion is artistry and boundless imagination. There are designers, courtiers, and countless others who work to put inspiration to paper, then fabric, and finally the runway, where everything congregates into a stunning masterpiece of both brilliant and dark colors, swishing and tight fabrics, rough and smooth textures, and everything else in between. China, with its centuries old culture has always stood as a formidable force and influencer - not just in the world of fashion. How many times have you seen the inscription “Made in China” on something? However, China’s rich history should not be belittled and embodied into a cheap plastic toy. It is a culture filled with mythical creatures and artistic expression. It is a culture of millions of people and a beautiful language. It is a culture that I’m proud to be a part of. China is a part of my roots and will not, nor should it, be forgotten. In everything you do, everything you see, and especially in fashion, keep an eye out. There is an eternal unspoken dialogue between the East and the West and you’ll be surprised to see how much Chinese culture has affected the West.

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When You Grow Up

by Bryan Whitely

The Jil Sander Worldwide Exclusive looks back on the American Dream and bounding past those who doubted her ambitions.

by Kelin Dillon


You know the classic story about a model getting scouted by chance in public? Kate in an airport, Gisele in a McDonald’s, Natalia while working at a fruit stand? That was not the case for me. For as long as I can remember, I had been pushed towards modeling. “So tall for your age! So skinny! You should be a model!” I’ve heard these words crooned to me by my friends’ big-haired southern belle soccer moms and my own mother’s fellow Thursday-night book clubbers whenever they saw me. Shy, knock-kneed,gap toothed, and nine-years-old, I smiled shyly and nodded thank you, but I never took their words seriously. I gazed longingly at magazine covers in my local Barnes and Noble, wondering about what it would be like to actually be one of those girls, but never entertaining the thought as a potential reality - I dismissed my fellow small-town North Carolinians’ proddings as pure fantasy. People from my little corner of the south never amounted to any type of success. My town spawned strictly college sports stars who fizzled before going pro and a couple of people who made it past the first couple of rounds of American Idol. No one followed their dreams, rather, they pushed their deeper ambitions to the back of their minds and settled for what seemed practical, rational, and close to home. It wasn’t until I high school when the question “What do you want to be when you grow up?” stopped being asked in jest that I reevaluated my passivity on the matter of modeling. My classmates had long

traded their previous ambitions of becoming rock stars and astronauts for nutritionists and nurses. I don’t look down on these professions, but hearing my childhood best friend with her beautiful singing voice and the true talent to become a successful musician throw away her dream in favor of a monotonous desk job left a bitter taste in my mouth. When I said I wanted to be a model and an actress, I was met with judgmental stares and side-eyes. I resolved to pursue my dreams, and that very day I went home and I submitted to agencies online. I received positive feedback from multiple agencies, and even though I did not sign with any of them at the time for external reasons, I was reassured that when the time came, I could follow my passions, and that it was right at my fingertips if I just reached a little farther and dreamed a little harder. My foundation in modeling was very much self-started. Half a decade after my first submissions, I am living in New York and signed to an agency many of the girls I used to idolize on magazine covers are signed to. I am still at the very beginning of my career and have a lot to learn, but I’ve made it out of my small town and into the world of fashion. I don’t want to stop at modeling - I’ve got a whole new set of ambitions appealing to my more intellectual and creative sides I’m excited to pursue when the time is right. And after proving to myself I can model, on my own, however small a feat it may be, I feel like I can do anything. I may have small-town roots, but it feels like whole world is waiting at my fingertips.

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by Nynne Termannsen

As a child, I would have never imagined myself to grow up and embrace fashion as an art form. I wouldn’t have even seen it as an art form if not for a fashion blog I started in 2011. ‘High Quality Fashion’ – a rather simple and straight-forward name - became my baby and long-lasting hobby; one that has introduced me to the wild and ever-enchanting world of fashion, one that has inspired me in more ways than one could imagine, and has influenced more aspects of my life than one would assume. I know that thousands of people, young and old, share my connection with fashion. Fashion holds meaning: it has the ability to at once be intimidating yet uplifting, exclusive yet accessible, strange yet seductive. It carries messages merely through material, texture, and a physical presence that translates into visual aesthetics. This is precisely what drew my 15-year-old self to create a Tumblr-based blog featuring high-quality images from the world of fashion.


When I started, blogging was a novel activity to me. I had yet to understand it, and I worried that it could easily be viewed as a shallow practice. After observing a few local fashion bloggers, I soon realized that I was not going to mix my personal life into whatever I wrote about - I didn’t see the point of writing about what I had for breakfast that morning, or what my skin-care routine was. It didn’t seem relevant to the purpose of the blog. . So, I created ‘High Quality Fashion’: a blog to provide Tumblr-users with high-res photos of collections, and backstage photos from shows. It was utterly satisfying because at the time of its conception, 2011, Tumblr was actually lacking in high-res images of high fashion. Difficult to imagine today, indeed. You could say that my roots in fashion have come out of creating and maintaining this blog for the past five years. I became a student, as I went through and raided all of the online archives of every collection in the past five, ten, twenty years. The more I discovered, the more I sought more. I felt as though I was embarking on an expedition to an uncharted territory. I developed a beautiful and enlightening obsession, an addiction that only fashion is capable of creating. It is an endless world, that entices by fantasy and freedom. Thus, fashion became very dear to me. I started experimenting,escaping through my wardrobe, choosing looks that seemed “wacky”, “different”, “odd” to most other fourteen or fifteen year olds. Despite backlash, I found confidence from being a fashion blogger. I soon realized that confidence is one thing, but being an online persona is another. When you take on the role of a blogger, you automatically become the package: a voice and a character, one created by your audience’s imaginations and interpretations of your work. You become someone you are not, and you represent your website wearing this facade. I quickly learned that many fashion bloggers abuse this, and take on not-so-nice online personas to gain popularity and expand their audiences. The internet is a fascinating world, but it is ruled by trolls and people seeking thrill or self-reassurance from putting down others. Most of whom are cowardly usually masking themselves with the ‘anonymous’ label when sending messages of hatred and rage. I was exposed to this new side of blogging once I started writing about myself here and there, giving people a tiny peek into my personal life.n that sense, I learned that blogging is exactly what you make of it. The more I uploaded my makeup looks and experimentations, the more I gave a personal take on the content I was uploading, the more followers I amassed. People became quick to assume that because I had a good eye for fashion, I would also have knowledge about the industry and could give great advice. I got anonymous messages asking a very wide range of questions every day: from, “I’m going to the prom next Friday,

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which dress do you prefer?”, to, “I’m a male model, how tall do I have to be to walk the runway?”. Sooner than I thought, I started to receive messages of a completely different context. People would tell me about their own personal lives and thoughts, mostly through anonymity, and some would come to me for advice regarding difficult and frustrating situations, completely unrelated to fashion. At that point, I was holding a few people’s emotions in my own hands, and as the face of ‘High Quality Fashion’, I could do whatever I wished with them. Here’s where the not-so-nice fashion bloggers become important. I saw so many people abusing the hope and desperation of these anonymous advice-seekers. Once you have a somewhat large following, people respect you, and a gradual and subtle hierarchy is formed. I never approved of this hierarchy, especially on Tumblr. I am not one for the idea of superiority, in any form. I always tried to answer each message with respect and politeness. I have received my fair share of hate mail. There really is a very tragic part to social media - the one where anonymous people send ten messages (and you just know it’s all the same person) saying “you’re a feminazi piece of shit”, or, “you are the ugliest most disgusting person and you will never go anywhere”. It was, in a sense, good training for me. I’ve grown up surrounded by positivity, which I can be very grateful for. I am an aspiring musician, so I have had countless thoughts on how I would react to being a public person, and having to deal with all kinds of tricky situations, and people. Haters, fans, people questioning you, and maybe people obsessing over you. I faced many during my ‘High Quality Fashion’ journey, and they taught me a lot. Blogging became a growing experience rather than just a hobby. It gave me an awareness of the world in a way I had not expected, and it gave me certain skills that I can use in the future. Not only has being a fashion blogger been my roots in fashion, it surprisingly enough became a very personal and special experience. I changed the blog from ‘High Quality Fashion’, to ‘Lula Loves’, an even more personal space in which I can express my passion for a wider variety of things. I felt that, after 5 years, and after a crazy amount of fashion blogs had popped up on Tumblr, I had completed my journey. It has been refreshing to take the pressure off, and cathartic to say goodbye to something I had nurtured and focused deeply on for such a long period of time. With Lula Loves, a new era is created.

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Ask The Industry For the fourth episode of Ask the Industry, Em (with the help of Sophia Wilson and Eden Pritikin) set out into the icy roads of NYC to speak with the biggest and brightest faces this fashion week. They might seem larger than life and cooler than ever, but here’s what your favorite faces were like when they were young. (See - and hear more - in the full video!)

When I was a child...

I was weird, fat, and happy! - Hari Nef, model/actress

Hari by Mike Coppola/Getty Images

I was quite good, I was really creative, and I always wanted to wear my own choice of clothing no matter what the weather was. - Poppy Okotcha, model

Poppy by Nicolas Kantor for Vogue Germany

I was in the principal’s office quite often (the teacher called me a piece of shit once) but yeah, that’s where we’re at now!

- Maxwell Osborne, co-creative director of Public School/DKNY

Maxwell by Barbara Anastacio

I was a wild, rambunctious child, but now I’m reserved. - Tyson Beckford, model

Tyson for OOB magazine

I liked to talk with people but not too much, you know, sometimes I didn’t want anyone to talk to me because I’m like, mad with all the world. But I was really social! - Greta Varlese, Model

Greta on Fashion Models Directory

I was kind of weird‌ but I liked candy, so I was always the one to go to if you wanted candy! - Adonis Bosso, model

Adonis by Scott Trindle for Theory

I was rambunctious and creative and fabulous.

- Miss J Alexander, runway coach on America’s Next Top Model/ television personality Still of Miss J on ANTM

I was very shy but super curious, which got me into really weird situations. - Connie Wang, Fashion Features Director at Refinery29

Connie by Montgomery Ward

Fashion Week Review



All coverage by Em unless otherwise stated.

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LUCIO CASTRO’S INSOUCIANT SCHOOLBOYS If you ventured into the candle lit, platform heavy showspace where Argentinian Lucio Castro presented his FW16 men’s collection, you were hit with an overwhelming sense of familiarity. Not with the pieces - they were unprecedented, and I’ll get to that later - but the very sense of the room. The models, each with a more insouciant charm than the last, chatted among themselves, shifting and bouncing around in their pastel Gola sneakers as hazy surfer rock floated through the open room. A few spectators sat (perhaps in reverence?) straight on the ground, sketching in wonder. You almost felt as if you wanted to stand on the platform with the boys, bobbing your head and laughing along right with them. But of course, you’d never dream - there was an underlying but strong intimidation factor. The “Stonehenge” FW16 collection seemed to have been pulled straight out of a eclectic, energetic 70’s boarding school boy’s uniform. In fact, Sven De Vries, one model at the show, mentioned to me the next day that he grew up climbing up and falling down trees. You could certainly see how he and his angelic halo of hair fit in the collection: Castro’s show was sharp, but there was an undeniable and enjoyable carefree side. There was an abundance of tweed, pastel ginghams and cardigans blanketing neatly ribbed turtlenecks with fraying sleeves, as if the sweaters had started out luxurious but began to wear and tear after one too many outdoor croquet matches. Suits were neatly pressed but off kilter: rolling up the at the arms and legs to, respectively, expose lavender silk and woolen socks. Whimsical paisley prints swirled in white ink, and orange and marsala vertical stripes met pastel horizontals. Don’t think it was too saccharine, though. If the overall pieces were light on their own, they were artfully weighed down with marble chains hanging off belt loops. These expert juxtapositions gave off the image of slight unravelings of a retro, once idyllic lifestyle: sweet linen suits in day, but a bit rough and tumble after the sunset. Especially in the stage of fashion where Tweety Bird pops up at one show as hardware flies off the shelves after the next, Lucio Castro’s consistently kitschy pieces are sure to be a success.

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An Open Window To The Future of Public School The 1995 documentary Unzipped chronicles the beautiful, organized chaos surrounding the lead up to and eventual showing of Isaac Mizrahi’s Fall 1994 collection. It’s chock full of quintessential 90s moments - cameos of Naomi Campbell running up and down the New York City streets and Kate Moss quietly lounging on a couch are both in abundance - but the real gem is the show itself. Mizrahi opted to have a semi transparent runway backdrop, allowing the audience to peek at silhouettes of the supers rushing to get changed. At the time, this seemed incredibly bold and daring, but Public School’s FW16 Men’s show blew Mizrahi’s intimacy out of the water. Co-creative directors and founders Maxwell Osborne and Dao-Yi Chow have always excelled at connection with the consumer. They are, after all, from the next generation of designers: they’re young, insanely passionate, and level headed, which allows them to stay authentic and give back to their fans in any way possible. On February 2nd, which turned out to be the only sunny and warm day of New York Fashion Week, I arrived in a horde of spectators to queue outside to (more or less) patiently wait for check-in. Always a sucker for spoilers, I was delighted to see that the windows were transparent and we could see the first models getting in hair and makeup. Sensing my excitement, a bodyguard leaned over my show and whispered “The show is outside.” It quickly became clear that the windows would stay uncovered and the outdoor audience would be privy to witness the last moments before the show unfolded. The team was just as excited as we were: model Adonis Bosso waved and took pictures of the audience as his hair was prepped, and at one point, Dao-Yi jumped to the glass and pressed his face against it, egging the crowd on to cheer. This laid back, all access pass was provided to the outer world as well - a steady mass gathered on the Highline to get an aerial view - and generated some of the most eager pre-show gossip I’ve ever heard.


Once the collection started, the buzz never slowed. Each look was inspired by Nicolas Roeg’s cult classic movie “The Man Who Fell to Earth”, a film that tells the tale of a handsome, exotic alien (played by David Bowie) using his advanced technology to save the intergalactic worlds. The trailer brags, “See Bowie as Never Before”: flashing clip after clip of the OG starman in perfectly tailored tweed sets, floppy yet coiffed hair, and grandpa glasses as he journeys through an unknown continent, suavely charming each soul he meets along the way. This was the perfect jumping off point for a brand known for their unparalleled appeal to “New York’s cool kids”: the moodboard paved the way for sharp head to toe camouflage suits, wide brimmed boleros trimmed with fringy felt, and moto jackets crafted carefully of denim and leather, then deconstructed with a clever diamond-shaped rip in the latter and a stenciled-on graphic maze of white triangles on the former. Just like Bowie’s character, each boy who stalked out was instantly fawned over: all genders and ages were whooping with glee. The consideration and countless hours spent tweaking and tailoring each detail to perfection were evident. The show was a well oiled machine, which must’ve been a relief to Osborne and Chow: in the next three weeks, they’d be showing two more collections - a womenswear for Public School, and a womenswear for DKNY. Nevertheless, the boys were relaxed and confident as ever, and rightfully so: they had just pulled off one of the strongest shows of the season.


Interview Em catches up with founders and co-designers of Public School after their FW16 Men’s show to talk about free clothes, dreams (no, not about those free clothes), and being true to yourself. WHAT’S THE MOST IMPORTANT PIECE OF ADVICE YOU’VE EVER RECEIVED? Dao-Yi Chow: The most important piece of advice is -Maxwell Osborne: Work on your own. Dao-Yi: I wasn’t gonna say that, but yeah, that’s pretty important. I think just be yourself and be true to who you are and just don’t be afraid to show that in every point in time and at every opportunity you get. You gotta be who you are. WHAT TIME DID YOU WAKE UP THIS MORNING?

Dao-Yi: I woke up at like, three different times. Maxwell: Yeah, I had dreams all night. You could say I just took three different naps but the last one I woke up at around 7 AM. WHAT DO YOU WISH YOU KNEW ON THE FIRST DAY OF WORKING IN THE INDUSTRY? Maxwell: How stressful it was. Dao-Yi: That I wanted to work for myself. Maxwell: Oh, that’s great. WHERE’S THE BEST PLACE YOUR JOB HAS TAKEN YOU?

Maxwell: CFDA Vogue Fashion Fund. Dao-Yi: I think we’re lucky because we’ve been able to go a lot, a lot of places over the world. Hopefully there will be a lot more places we can travel - Asia, Europe, Middle East…


Maxwell: Buy as much Public School as possible. Dao-Yi: Yeah, that! Get as much free clothes from your company as you can.

OUR THEME FOR THIS ISSUE IS ROOTS. HOW HAS PUBLIC SCHOOL EVOLVED SINCE IT’S INCEPTION? Maxwell: There are so many ways we evolve - I think we evolve every season. Dao-Yi: Probably in restraint; you know...when to do something that feels good and when not to do too much of it. That’s probably the biggest every season. Maxwell: Yeah, we also learned that it’s a marathon, not a sprint. WHAT WAS THE HARDEST PART OF DESIGNING THIS COLLECTION? Dao-Yi: It was pretty easy, actually, we did it in two weeks. [pauses for effect] No, I’m just kidding! Every next collection is arguably the hardest one. You’re at a standpoint where you need to recycle, but you have to come up with something new. Every good idea is harder than the next.

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It’s been a year since my first ever Babyghost show. I had entered Runway @ Pop 14 for the Fall/Winter 2015 presentation wide-eyed, enamored by at the twisted, wickedly beautiful world that Joshua Hupper and Qiaoran Huang had built. Two seasons later, as I prepared to walk into the brand’s Fall/Winter 2016 presentation, my heart raced with double the anticipation it normally produces, prompting me to bounce my toes like an excited toddler. I couldn’t wait to enter the showspace, to view the next chapter of the brand’s story. The first steps inside proved that the trademarks of any Babyghost show were there to stay. Models with bone white bobby pins tangled up in their hair swayed in trances, only pausing to flash hand horns and wink with bambi brown eyes (covered in a thick and creamy smear of kohl, of course) for the occasional snapchatter; Josh and Ran bobbed their beanie covered heads and fist bumped spectators; everybody swooned and sighed at the collection. But a new, even more advanced edge of the brand was just as evident to anyone who laid eyes on the set: Milk Studios had been transformed into a juicy, floral graveyard with flickering novena candles. This motif, of taking the original codes and building them up, is one that Babyghost


has definitely familiarized themselves with this season. The FW16 show seemed to thread along a campfire horror story, a coming of age tale punctured by a bad omen. Per usual, the collection was just as holy as it was dripping with coolness: though crucifixes mirrored the graveyard and hung neatly on the girls’ necks (either strung up to imitate barbed wire or let loose to dangle with silver rabbit heads) and devil’s stars floated off a sheath (until they were neatly stopped by a trim of cow-printed devore), graphic summer camp tees (reading “Babyghost is the light of the world”, aptly), and patched up plaid bomber jackets (featuring mismatched cuffs, velvet insides, and chunky circular double zippers) made just as strong of a punch. But this season, more predominantly than ever before, there was an advanced integration of fabrics and textures: red beads were threaded on string and flowered over a model’s chest - giving the illusion of freshly drawn up blood, polka dots popped out of the softest green leather you’ve ever laid your eyes on, and the linings of archive jackets were cut up and remixed into new designs. The silhouettes were also highly praised: Connie Wang of Refinery29 and blogger Susie Lau raved during the show (neither Wang nor I are runway height, but we bonded and cheered over the fact that we’d still be able to pull off the collection) and Vogue Runway compared the aesthetics of the punk layers to those of Marc Jacobs’ iconic Perry Ellis collection: the show so controversial, so wonderful that some critics reverently claim it was one of the first ever to borrow looks from the street. All these factors speak clearly: it’s obvious that Huang and Hupper have truly hit their stride (not that there were any falters in the past). Their foundation is strong, and you’d better believe they’ll keep on building till world domination.

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SUNO: TRADITIONALITY WITH A TWIST Suno’s most recent collection was a veritable gold mine. I mean that literally and figuratively. In a literal sense, the closing looks were so slinky and shiny you suspected that precious metals had been poured over the models bodies seconds before they stepped on stage - a la Viserys on Game of Thrones style, perhaps. In a figurative sense, though, one peek at the looks was all the confirmation one needed to prove the incredible value and wit of Max Osterweis and Erin Beatty. Their fall collection was exactly what the biggest voices in fashion have been clamoring for. New York is always unique, so it’s no surprise that it’s latest fashion week was a bit different from those of Milan and London. For the first time ever, it placed a different precedence on the customers and patrons: collections were created not to tell a story but to gain appeal, instagram likes, and profit. Many designers sacrificed major elements of their shows to include completely ready to wear garments (the extremists even choosing to sell looks straight off the runway), but Suno was able to find the sweet spot, designing a collection that would appeal to it’s international fan base while staying true to it’s creative process. Each individual piece could hypothetically be worn off the runway into a viral Tommy Ton or Phil Oh street style shot, but the advanced styling gave the show a memorable dimension. The overall mood, in typical Suno sensibility, was punctual and sumptuous, but not overly priggish. The strict aspects - wrap coats, razor sharp angles, pinstriped trousers were met with cherry heels, floaty florals, peekaboo panels of sheer mesh on sleeves, and wispy ponytails secured by a thick strip of fabric, a seamless balance between the delicate and bold that left me with a sudden and inexplicable urge to run to the nearest flower shop and cover my room in blue daisies.

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Namilia Feels The Heat



“ORGASM CLINIC”. “WET N WILD”. “NUDE AND RUDE”. “FEEL THE HEAT”. “COME AND PLAY”. “HUSH HUSH”. It’s Valentine’s day, and loads of words are spitballing around Namilia’s fall presentation, but the most thrilling ones are not spoken from the mouths of the uber-cool, rainbow pigtailed, sequin covered crowds that swarm Milk Studios (for once!), but the ones emblazoned on leopard print, velour tracksuits. A traditional presentation held on this Hallmark holiday would probably start with PR handing out candy hearts by the door and end with the debut of some soft pinks or heart decals, but Nan Li and Emilia Pfohl’s brand is more known for creating phallic couture than it is for sticking with the rules, so they hand out Babeland vibrators and lookbooks with red flames leaping off the pages. This is not your traditional presentation -- and thank god for that. So often today, collections are a give or take. There are those that excel in craftsmanship, and let narrative slip to the backburner, and there are those that are so focused on telling a story that they sacrifice quality. Namilia’s “Feel The Heat” collec-

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tion, their second ever, seamlessly integrated not only a strong storyline and expert technique, but also a flawless casting, a banging playlist (models and spectators alike paused their jobs to bop along to Bitch Better Have My Money), and strong feminist ideology: it set out to explore, and ultimately rebel against, the division of life and sex. Separating the girls into six color coded gangs, each literally on it’s own pedestal and represented by one of the above slogans, Pfohl and Li poked at stereotypes and turned hypersexualization into empowerment in the best way possible: by celebrating. Each group had it’s own electric and exciting energy. “Come and play” took the form of purring cat burglars, growling in unitards as sparking red claws covered their tits. The sirens with gemstones covered eyes of “Wet and Wild” embraced in slinky, metal and mesh hybrid aqua skirts adorned with “pussy starfishes” (which are exactly what you’d think they are), hand embroidered holographic starfishes and a vitrail finish. “Hush Hush” was primed for a Spice Girls karaoke session in cropped, fluorescent mini dresses covered in Namilia’s take on leopard print: black, with a

porn star smiling broadly in the center of each dot. Art projects and sports met, fell in love, and went to hell as pom poms slyly covered thong-baring football jerseys in “Nude and Rude”; “Feel The Heat” and their colored, chunky, hair extensions took ride-or-die squad mentality to a whole new level in updated Nascar-esque, checkered motocross sweatshirts; and the irresistible, charismatic “Orgasm Clinic” with plastic surgery instructions (“lift”, “nip”, “tuck”) drawn coyly on their faces stuck their tongues out and gyrated in crystalised fishnets. Speedo hybrids - one leg a neoprene pant, the other an ethereal mesh dress coated with the signature motif of a group were scattered throughout, adding further cohesiveness to the well-organized plan. In just two collections, Namilia has completely established its codes and incorporated advanced theatrics that most major shows are lacking. The whole world could be their sex-infused oyster - I’m sure plenty of pearls will be harvested.

Teen Eye Magazine



Vivienne Tam’s


Silk Road Vivienne Tam has built a legacy. Throughout her thirty-odd years of the industry, she has always excelled at looking back at her heritage and integrating it into a punk future. Perhaps the most iconic example of this is her 1995 Mao dress: a synthetic, mesh tee-shirt gown splashed with Asian leaders staring stoically ahead. Tam had altered each picture, throwing in crystallized round sunglasses, bumblebees, pigtails, and Raggedy Anne collars over traditional army gear. The very spirit of Tam’s label is exemplified by this clash of rebellion and respect, and was once again present in spades on the brisk night of February 15th, 2016, when the designer showed her latest visions in forty-six bright and youthful looks. Tam had once again studied Asian history. This time, she looked back to the creation of the Silk Road, a network of thorough trade routes. Though the road was designed to simply pass resources from country to country, it wound up unifying Europe as a whole, allowing countless civilizations to communicate on wholly new levels. This swapping of ideas helped Tam visualize the theme for the collection and bring alive a patchwork of contemporary talismans. Her nomadic muse traveled across the Chinese frontier and as the collection delved deeper, grew worldlier and worldlier. The youthful spirit of parasol flowers and evil eyes on oversized techno-mesh clutches and sweatshirts blossomed into an enriched, metallic palette splayed across futuristic ikat gowns and floppy, glittering neckties. Of course, no traveler is complete without her handy walking boots, so Tam teamed up with the mammoth Chinese label Joy & Peace to customize laser cut footwear with swirling Chinese Fire Clouds rising from the pointed red soles. So just like in the ancient days, the partnership of two major forces was enhanced by the silk road.

Teen Eye Magazine




Teen Eye Magazine



MEET THE 5 NYFW BRANDS YOU REALLY, ACTUALLY SHOULD HAVE YOUR RADAR. Subversive, sexy, and utterly creative, the designers of tomorrow are anything but ordinary today.


NAME: Kaelen BACKSTORY: Canadian born, and CFDA approved Kaelen Haworth interned for both high fashion house Stella McCartney and moody lingerie brand The Lake & Stars before starting an eponymous line that feels at once “intelligent, archival and treasured�. WHAT SET THEM APART THIS SEASON: A new baby is on the way for Haworth, and her latest collection embodies a world any child would be lucky to live in: one that is bedecked in flowers without feeling saccharine, covered in pearls without looking stuffy, and filled to the brim with mystical water dragons without instilling any terror in villagers or peers. The Kaelen world takes the graphic, sporty, and luxury, and juxtaposes them in a dainty blend of crepe and metal.

Teen Eye Magazine



NAME: ÖHLIN / D BACKSTORY: The three year old brand’s name is a combination of the Norse word for “infinite” and a family name, and is pronounced like it’s spelled (“uh-lihn-dee”). Founders Anne Deane and Jacob Park scorn severity and embrace identity: they would rather help their customers reinvent themselves then stay on trend. WHAT SET THEM APART THIS SEASON: In respect for the environment, ÖHLIN / D pledges to source the highest quality, most eco-friendly materials. This consideration prompted Deane and Park to create a modern day Bo Peep muse for their FW16 presentation - throwing away the shepherd’s crook for peppy pill prints (say that three times fast), futuristic jabots ballooning into flouncy and dangerously short silken hems, and laser sharp scallops.



Coverage by Sophia Wilson

BACKSTORY: Sometimes, when life hands you lemons (in this case, a bout of asthma), you make lemonade and discover a passion that will inspire you to form a (semi) eponymous, incredibly successful label. Not a very common experience, but then again, James Flemons and the stories surrounding and influencing his career are anything but ordinary. A love for his sister’s Barbies has manifested itself into an affinity for womenswear, which PHLEMUNS seeks to repurpose and recycle: turning the original looks masculine, then adding back a new, hardened edge of femininity. The result is a surprising and thought provoking sex appeal that is completely original - after all, James individually produces each piece. WHAT SET THEM APART THIS SEASON: Phlemuns took the secrecy of 80’s nightlife and kitsch of suburban utopia and melded them into a plaid and chevron wonderland straight out of Clueless. There was a certain Cher Horowitz influence in the yellow tweed and double denim, just this time, a Cher Horowitz had been shipped out of LA and into a secret underground biker bar where models shaved each others heads. Dionne might’ve not approved of Murray’s new cut, but when heavenly model Cèsar E trimmed up his fellow models right on stage? That, she could certainly get behind.

Teen Eye Magazine



NAME: THIS IS THE UNIFORM BACKSTORY: British Jenna Young founded her label “This Is The Uniform� as a conceptual project - she hopes to examine and explore fashion and societal stereotypes while creating challenging, unique new looks. A background in interiors, textiles, and media has given Young a considerable advantage: both in craftsmanship and aesthetics. WHAT SET THEM APART THIS SEASON: Imagine fashionable, wearable fruit baskets. Young crafted an entire collection at Milk Studios based on the birth of supermarkets - a nod to her working class childhood, consumers, and the ignorance and wastefulness that surrounds purchases. The message was evident, but the pieces themselves were anything but excessive: thick, woven lattices were served up in an array of primary colors, then paired off in blissful harmony with shopping-bag thin trousers.



Coverage by Sophia Wilson

BACKSTORY: It’s obvious that Teen Eye is a massive proponent of young talent. We believe the next generation is just as capable of creating wonderful things as anybody else, and no one proves our point more than the Anna K label. At sixteen, Anna was designing and modeling merely for her own enjoyment, but after catching the eye of Franca Sozzani, editor of Italian Vogue, she drove up the intensity and turned her hobby into something tangible: a line filled to the brim with graphic shirts (One collaboration with LuisaViaRoma culminated with a set that screamed the daily mantras of a fashion week goer: “I AM NOT A BLOGGER”, “I DON’T DO INTERVIEWS”, and “UNCROSS YOUR LEGS”), bouncing silhouettes, and a palpable sense of fantasy. Though Anna K is a force to be reckoned with in the Kiev and international scene, she is venturing into New York with four years of sparkling achievements under her belt. WHAT SET THEM APART THIS SEASON: When you’re nineteen and already selling in twenty-five countries worldwide, what else can you conquer? According to Anna K, the celestial universe is a good starting point. Comets, rockets and a baby astronaut that, as our photographer Sophia Wilson smartly pointed out, bore a striking resemblance to a young Ed Sheeran floated across ruffled pastel layers and down chunky sneakers in Anna’s “Guest From The Future” collection.

Street Style Anna Heath remixes Em’s favorite shots of this season’s fashion in the streets.

Teen Eye Magazine



62 Zip Code Postcard

by Grace Adee

There’s a Facebook page for my grade that anybody can post to. Yesterday, a kid I took physics with last year shared a story about a man who was electrocuted on the train tracks at the Harrison subway station, the one right outside our school. Many of us are there at least twice a day, if not more, and the bright white fluorescent light over red letters is so familiar that it could make us sick with high school memories. And he died right there. Most people who saw it probably didn’t find out on the Facebook page, but that’s the sort of thing people discover eventually no matter what, and when I read it I could hear us thinking about it in unison. Stumble through crowded corridors underneath the sidewalks at seven in the morning and sometimes I’m still excited. Breathe subway tiles and urine and laundry and unidentifiable smoky food and rushing tunnel wind cooling as the train rushes past and adrenaline in your bones as you see if you can make the next train. Lifting out of the hot tunnel, buildings rise and glare and somehow merge with the sky, and it is exhilarating. Most people I know are Chicagoan who breathe different air of the same name though, and are Chicago for different rushes and rising skies. We have a hard time making our tiles fit together as we build our city for a group project and sometimes it bites us and leaves us vaguely uncomfortable later. We want to think about it as a question of place, with cities as thousand-piece puzzles that take lifetimes. And yes Rome wasn’t built in a day, but Chicago is a boom-town with planned streets and rushed meat-packing factories, foul but necessary instruments. If you hop the Red Line at Harrison and State, you need to carefully figure which direction you’re going or you will end up in the wrong place no matter what your destination. North vs. South becomes more than just direction, there’s connotation, and our contrasting places are making a vindictive venn diagram that is turning, turning, turning on us and our necks. High school has taught me the size of my city. Chicago was always downtown to me, skyscrapers and restaurants and marquee signs that light up the never-starry night. Black gum on sidewalks and taxis that fly past every second.


I’m one of the only people in my school living downtown and Chicagoan tastes different now when my tongue shapes it. To most people, my Chicago is just for tourists and special occasions, and it makes me wonder if I’ve never lived in a real place before. If my Chicago is a postcard with skyscrapers and a short, generic message whitewashing darker undertones until they flatten into the sidewalk like the inky gum. I’ve been trained to not see complications as just black and white but my city is trying to betray me with indoctrination. It’s one of the most segregated cities in the world, which I’ve known for a while but I’ve just started engraving the other side of every coin. Because while my high school has students from 62 different zip codes, separation is still woven into the fibers of our shiny yellow floors and shockingly flimsy desks and we know ours is the best of the situations. High school has made this my problem, made me feel the bites in complex interactions that leave me vaguely uncomfortable later, and it is has fucked my postcard to a million pieces and I think it was the first real decision of my life. Some mornings. I feel Chicago again. On the train we all jerk forward and almost fall on our neighbors at the start of the car. A man dropped his bike on me the other day, and then proceeded to fall on his bike; everyone has a decent story. We enter from different stations, and some are built on higher ground. Chicago, we can taste your smelly onions together in those dank tunnels, and I truly hope that this is enough to make a city.

Teen Eye Magazine




by Joy Garese

Sketch 9 Conduit Street Mayfair London W1S 2XG United Kingdom

As I exited in the taxi, I didn’t know what to expect. The bland exterior of Sketch doesn’t prepare you for what lies hidden behind the facade. As you enter, at the reception, the slogan “Jouez”, French for “play”, couldn’t fit more perfectly. Limitless exploration seems to be the mantra. Walking through the doors, you discover all the different worlds that each room offers. Each of them opens to a different setting and atmosphere but none of the environments were as captivating and serene as the “Gallery”. Pastel pink, the dominant color, seems to stop time. The diversity of the clientele reveals the popularity of the establishment amongst Londoners. The bathroom, internet-famous, can only provoke amazement, prompting women of every age to snap an unlimited number of pictures and selfies surrounded by the space age eggs. At first glance, the capsules lead you to questions the strangeness of it all. Eventually, you lend yourself wholeheartedly to the fantasy and enjoy the dreams. The futuristic setting makes anyone who enters the bathroom ponder if they’ve just stumbled into a time machine. Pinkies up!


Teen Eye Magazine



What It’s Like To Be Korean

by Janice Kim

Part 1 - Good Day 1. It’s being better at math, not good at it and it’s 2. being submissive and docile and innocent and the 3. “Do you understand what I’m saying?” and reading about 4. girls dragged into sexual slavery to Japan but also having 5. a Japanese best friend in elementary school and 6. loving kimchi and rice and every Korean food even though 7. my neighbor knocked on my door and complained about the horrible smell even when 8. we were not cooking. It’s ching-chang-chong on the playground, 9. the confusion on some faces when they hear ‘Korea,’ it’s 10. the same last names and being mistaken as siblings, the 11. foundation three tones lighter than my skin but my 12. skin tone not being not dark, not light but yellow and wondering 13. if every looks of disdain toward me is because of my race. 14. Making effort to pronounce every word perfectly so I don’t look like a joke. The 15. heart that beats fast around white people, thinking about what they think about me 16. and Asian accents not being cool but every other European accent being considered exotic, the 17. short legs, short arms and the lack of ass. Part 2 - Rice I knew I was Korean when my neighbor knocked on my door during breakfast. It was spring of 2010 in Vancouver, on the 7th floor of the apartment by Ambleside Beach. The morning sky was scattered with cotton ball clouds, just enough so I could see the blue sky. It was my favorite kind of day. The breakfast I had that day was kimchi bibimbap—the breakfast I always have on Friday and Saturday mornings. I would get ready for school while my mom cooked and when the smell of fried kimchi traveled to my room, I knew it would be a good day. Knock. Knock. Who’s there? My mom opened the door and I watched from the dining table. I’d seen the lady around in the hallway. She was a nice lady who lived with her husband and had a small dog. I’d said hi to her a few times. She said she smelled something rotting. Onions, she said. My mom’s welcoming smile cringed to a firm line. She stammered an apology in her poor English.


When the door closed, my mom sighed and turned on the fan in the kitchen. I swallowed a mouthful of my kimchi bibimbap, but I swallowed something else with it. Something uncomfortable that tasted like it shouldn’t be in my body. The lady came to our door many times after that. With every knock from her, my mom seemed to grow more tired. I never said a word to the lady. I stood by, my brain thinking of all the things I wanted to say to her—the type of words she would open her eyes wide at and place her hand over her heart. I stood by and watched as Korean words built up inside my mom and I stood by while those words fumbled out in fragmented English. We stopped having kimchi bibimbap. Part 3 - Samurai Swords I’ve always subconsciously wondered about and worried about being a credit to my race. If I take off my shoes at the front door of my friend’s house, will she think, “Oh, Asians”? If I talk about my cravings for rice, will my friends look at each other and think, “Oh, Asians”? I don’t want to be shut in a cage where my words and thoughts become what they are because of my skin color. I don’t want others, when they see “that Asian guy” who broke into the store and stole all the money to think that he did it because he was Asian or all others Asians are like that. I don’t want people to nod understandingly when I talk about how small my boobs are, like they understand why I have small boobs is because of my ethnicity and not my genes. I want to insist in my Asian ways of living and not have others think, “Geez, that Asian. This is America.” Part 4 - Playground There’s always the Asian character. In a big squad in a book or a TV show, there’s always one or two Asians because “we don’t want to overload the show with Asians, but we want just enough to make it seem multicultural”. They’re the ones with samurai swords and bright streaks in their dark hair. It doesn’t matter if the character’s Japanese and the actor’s Korean, because all East Asians look alike. The funniest characters are the Asian moms. The ones who come into the room when you’re with your friends with some Asian food and smile too much, elongate their vowels too much. I listened to the laugh track and imagined them laughing at my mom.

Chikimiki Paloma Top and Bottom CHRISHABANA Deity Tip ring set, False Idols ring

Hotel Baby Photography Kristian Heijkoop Model Nicole Keimig @ The Society NYC Makeup Shawn Lumaban Hair Kenta-Shino using Bumble and Bumble Styling Em Odesser

Être Cécile Bonjour Let’s Eat Tee PRISCAVera PVC Pants CHRISHABANA x GENTLEMONSTER THE HUNT sunglasses Chikimiki Angelina Jacket Worn throughout: Gola Comet Canvas Sneakers in Crystal Pink

PRISCAVera top Être Cécile splatter pants Coat and tabloids models own

Kaittitude Crazy Denim Corset PRISCAVera pants Danica Zhang coat

PRISCAVera dress

Lina Michal gown CHRISHABANA x GYPSY SPORT Haturn Orbit Earcuff

So what do you think? Drop us a line over at or visit us at


AGENCY YEARBOOK Now that you’ve seen some of your favorites before they were signed (like, long before), here is the who’s who.

(left to right)

Aliyah Galyautdinova Pooja Mor Line Brems

(left to right)

Sally Jonsson Laura Julie Rasika Navare

Aliyah is with Major Models Management New York, Models 1 London, Chic Sydney, MP Paris, ICONIC Berlin Pooja is with Anima Creative Management Mumbai, Elite New York, Wilhelmina London, SPECIAL MANAGEMENT Milan, Premium Models Paris Line is with Le Management Copenhagen/ Stockholm, SILENT Models NY, Women Milan, Oui Management Paris, Models 1 London, Dominique Models Hamburg, Photogenics LA Sally is with Major Model Management New York and Milan, MP Paris, W Agency Inc. Seoul, MIKAs Stockholm Laura is with Le Management Copenhagen and Stockholm, Next New York, Paris, London and Milan, MODELWERK Hamburg

Teen Eye Winter 2016: The Roots Issue  

In the fourth edition of Teen Eye, young creatives from around the globe explore their childhoods, hometowns, and families, and how these in...

Teen Eye Winter 2016: The Roots Issue  

In the fourth edition of Teen Eye, young creatives from around the globe explore their childhoods, hometowns, and families, and how these in...