The Thread Magazine Spring/Summer 2014

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Illustration by Tiffany Li

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Executive Board President LARISSA-HELEN MAHAGA-AJALA Editor-in-Chief MEGHAN FLYNN Creative Director GAVIN ZHANG Art Director ARIEL HSU Technical Director Fashion Director Beauty Director Styling Director Marketing Director Finance Director

SISI PENG MORIAH SHIRES NATANI NOTAH GRETA OHAUS JENNELLE GORDON CYNTHIA SUN

Creative Associates ALANA ASKARI HANNAH BABB ERICA CARTUSCIELLO KELLY GUO

CHANDA LE TIFFANY LI YLIANA VELAZQUEZ

Photographers STEPHANIE ADDISON CATHERINE CHEN GAIL FLETCHER JOY JIHYUN JEONG

JULIA LEVINE ALYSSA WEISSMAN YODAI YASUNAGA

Art Associates SHAYNA ANDERSON JASMINE CURTIS

MCCREA DAVIS HANNAH WHEELER

Contributing Writers ALLIE CLEMENT NICOLETTE JONES

DANIEL PRESTON ARTHUR PETERSON

Marketing Associates

SEBASTIAN CAHILL STACY JEONG

SABRINA PAN FRANKLIN YANG

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TABLE OF CONTENTS 5 Letter from the Editor 6 Team Chic 14 Cornell Fashion Collective: Ivy League Style Stars 16 Four Faces of Fashion 22 Veiled Ambitions 28 Who Says the Clothes Don’t Make the Man? 34 Monochromatic Musings 44 Alumna Says “I Do” to Making Each Bride’s Dream Come True 46 Free & Easy 54 Celebrating 30 Years of Cornell Fashion 56 Behind the Scenes

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Letter from the Editor

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ow, I never thought I’d see the day when I’d be rocking a pair of sneakers in general, let alone as a fashion statement. But it was undeniable: when the team met last semester to plan out concepts and features for this Spring/Summer ’14 issue, athleticism, subversion and oh-so-casual cool were the trends dominating the runways. So, we took inspiration from what we saw and ran with it (thank God for the sneakers, right?). Along with a playful mix of upscale and athletic, we sought to capture everything from the beauty that is youth, to futuristic fancies, and even the mystery that lies within shadows. Our issue is eclectic, but consistent in its break from the pedantic and prissy; we’re more interested in fashion that speaks to the future, the fly, the free and the fun-young-thing. Like you, our reader.

We had a few bumps in the road on our way to publication. Our advisor, beloved Cornell professor Charlotte Jirousek, passed away unexpectedly in February. It was certainly a loss for us, as well as the rest of the Cornell community. There were also financial issues, which forced us to rebrand and rethink as we moved forward — which is never a bad thing. The future of journalism, fashion, and media is

undeniably online, so this issue’s publication on our website (which is itself re-launching simultaneously) is immensely exciting. We hope that this transition increases our media presence, which would of course influence our presence in the everyday lives of our readers (because what college student doesn’t live online?). Despite any issues we faced in the creation of this issue (it’s an editor pun!), we are so proud and excited to present to you the finished product. And be sure to check out our website regularly this summer until we reunite in the fall. You definitely deserve a break from school, but style never takes a vacation...

Sincerely Yours, Meghan

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Photography by Stephanie Addison, Julia Levine & Yodai Yasunaga Make-up & Hair by Hannah Babb, Kelly Guo & Natani Notah Models Thora Bjonsdottir, Jennifer Boyd, Destiny Gibbs, Kimberly Layne & Lauren Wentworth

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Cornell Fashion Collective: Ivy League Style Stars

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Daniel Preston & Nicolette Jones Photos by Daniel Preston & Yodai Yasunaga

Audience members of the recent Cornell runway show found themselves wondering if somehow they’d transported back to New York Fashion Week. With elaborate designs, months of planning, and an intense attention to detail, Cornell Fashion Collective’s (CFC) 30th annual show paralleled some of the best fashion shows in the industry. This is an amazing feat, made even more impressive given that the CFC Fashion Show is entirely student structured and funded. From the designs that strut down the runway, to the budgeting and all aspects of production, students run the show.

The 30th anniversary show was groundbreaking, not only because of the stunning ensembles, but also because it combined fashion with science. Designers were paired with fiber science students in order to create high-tech fabrics; their research was presented on the runway in the form of stellar garments. The exquisite construction and unique designs proved that art and science can work in unison. As a matter of fact, New York Fashion Week designer-fixtures should take note.

Design by Cameron Giles

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ACES OF FASHION 17

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Lea Freni ‘14

Inspired by eastern aesthetic and the delicate folds of paper cranes, Lea Freni, a senior Fiber Science and Apparel Design (FSAD) student, created a crisp collection of elegantly folded, geometrically inspired womenswear.

Lea’s recent study abroad semester in Hong Kong exposed her to a particularly remarkable culture with completely different aesthetic values upon which she drew inspiration from the beautiful metamorphic qualities of origami. The young designer strives for a progression from the “pure, direct geometric forms to something more ethereal” where the innate architectural characteristics of her designs still maintain a feminine quality.

In her collection, Lea manipulates the geometric forms of traditional origami to create a wide array of ensembles.

She creates simple linear patterns transcribed from the fold lines of unfolded paper cranes that she digitally prints and incorporates into her work. Additionally, the innovative artist uses computer software to digitally engineer two-dimensional forms of unfolded origami into three-dimensional forms of women’s apparel. This enigmatic play between both dimensions leads viewers to ask, “How is that made? How does it work?” -- questions Lea loves to hear.

Although Lea is confident about her clean and crisp designs, they weren’t created without frustration. Fabric was not made to do what paper does, as Lea quickly learned. Additionally, reconciling the differences between the geometric and linear folds of her designs and the rounded curves of the human body in a flattering way became her biggest challenge in this collection. The grueling process paid off: this collection finally honed her personal design aesthetic.

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Cameron Giles ‘15

The vibrant hues and floral patterns that make up her collection show that Cameron Giles is one Cornellian unaffected by the long and dreary Ithaca winters. Her designs are colorful, sixties-inspired, and ultra-feminine.

Unlike most designers, Cameron does not begin her design process by sketching the clothes she wants in her collection. Instead, her creative process begins with finding fabrics and prints that inspire her. In fact, one of her biggest challenges was toning down the many textiles she found in order to create a cohesive collection for the CFC show.

Cameron looks past the high-fashion looks that strut down the runway, but draws inspiration from fashion bloggers and street style. Her designs are an interpretation of the latest trends, from watercolors and sequins to peplum and palazzo pants. Interning at both Kate Spade and Millie by Michelle Smith, both of which are characteristically colorful and preppy, has also influenced her design aesthetic. Filled with sequins, large floral designs, and bright colors, this collection is described by Cameron as “extraordinary.�

Cameron hopes to pursue a career in the business-oriented side of the fashion industry. However, she notes that being a part of CFC has allowed her to express her creativity without any restraints. In doing so, she has formed an easily recognizable, signature style that will help her with any career in the industry.

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Riley Kilgariff ‘16

When confronted with the daunting challenge to create a collection of looks inspired by the mundane normality of every-day uniforms, second level design student Riley Kilgariff decided to draw inspiration from the clean lines and geometric shapes of vintage, 1950’s men’s sportswear.

Her days of scribbling dress patterns on the back pages of her middle school notebook are over; these days, Riley’s dedication lies in preparation for this years show. Her design process started last semester as she leafed through dozens of photographs of vintage football uniforms, stirred by their colors and patterns and versatile designs. Ultimately, these rugged sports uniforms magnificently transformed twenty-first century designs. Her collection features everything from racer-back crop tops and high waisted shorts to sports-inspired slim-fit jackets.

A common occurrence noted between all the second level designs was the repetitious use of the color red. The repetition is intentional; to celebrate CFC’s 30th anniversary and Cornell’s spirited heritage, it was required that a shade of red must be incorporated somehow into each second level design.

While she too incorporates the shade, Kilgariff has her own individual style when it comes to clothing design. When asked about the possibility of future variability in her design ascetic, Riley admits she expects to continue in her current clean and post-modern production. However, the new techniques, innovations, and skills she will acquire in her future design education will inevitably evolve it in some form.

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Kennedy Rauh ‘17

Kennedy Rauh, first year design student, may be new to CFC, but her knack for design goes way back. Kennedy started sketching dresses as a child and by high school she was designing prom dresses for friends, each infused with her “elegant bohemian” style. Her aesthetic is eclectic-inspired; she also loves using bright colors in her designs without making them overly extravagant.

Along with other first-year students, Kennedy was tasked with combining the 1930s and the 2030s for her collection.

While the past and the future may seem to be at odds with each other, Kennedy seamlessly combined the two aesthetics to create a unique gown featuring intricate thirties-style embellishment and futuristic winged accents. She came up with the winged design herself, but drew inspiration from past Alexander McQueen shows. Coincidentally, all first-year students picked a similar color scheme: grays, dark blues, and deep purples. Kennedy was particularly drawn to dark purple and fuchsia hues in line with her bohemian aesthetic.

Through her first year designing for the CFC show, Kennedy has gained a lot of experience. Particularly, she has realized that working under a time limit can be quite challenging. Kennedy found herself spending some weekends locked in the studio trying to design the perfect wing structure and embroidering hundreds of tiny beads. While the complex beading on the bodice of the gown proved quite time-consuming, Kennedy enjoyed the process immensely.

She predicts a continuation of such dramatic details in her future designs.

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Veiled Ambit

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tions

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Photography by Stephanie Addison & Yodai Yasunaga Make-up & Hair by Hannah Babb & Kelly Guo Models Aya Abuosbeh & Jennifer Slaughter

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Who Says the Clothes Don’t Make the Man? Arthur Peterson Photography by Yodai Yasunaga

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renowned manufacturer of fine wools, blankets, and classic Americana-flavored apparel, Pendleton Woolen Mills traces its roots to the English weaver Thomas Kay, who ventured to Oregon in 1863 to begin wool production in what was then America’s newest state. Cornell was founded just two years later. Pendleton and Cornell are natural complements, each dedicated to quality and expertise. Pendleton generously sends textiles to Cornell fashion students annually, who form a team to design, produce, and sell a menswear line featuring the company’s fabrics. The 2014 team brings together nine sophomore Fiber Science & Apparel Design students in the College of Human Ecology, who apply to work on the team alongside their independent projects.

The Thread spoke with two members of the Pendleton team: design lead Rae Dagdagan ’16 and sourcing coordinator Linnea Fung ’16. They told the backstory of the (imaginary) 2014 Pendleton man. Like all the best of our counterculture, he’s a native of Portland, OR, is perplexed by “Portlandia,” buys local, and moves to NYC to study architecture. The collection follows the maturation of his style from college into the professional world. With eight looks total, the line opens on a youthful note, finding inspiration in skater culture

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(expect the Pendleton man to tote a skateboard before graduating to his Valextra messenger). Later looks draw from more classic Americana styles, incorporating elements like raglan sleeves. The collection also emphasizes utility throughout; there are welt pockets sewn into all shorts and pants.

Dagdagan’s recent trip to India supplied her with fresh ideas that shine through in unexpected and novel detailing.

Hers wasn’t an “Eat, Pray, Love”-style sabbatical, and you won’t find Dagdagan sewing Sanskrit “Oms” into the sleeves for a mid afternoon Bikram yoga and kombucha sesh. Indian menswear inspired the longer lengths of the coats and also informed their construction, with side seams that come apart but continue down to longer hems.

The Pendleton collection is the first venture into menswear for most of the team, introducing unfamiliar design obstacles. Dagdagan initially thought of designing an extra-long “t-shirt dress” that went to the model’s ankles, but after a critique from her professor decided to emphasize utility in her approach to menswear. For the Pendleton team, menswear prioritizes proportion over extravagance with an additional focus on detailing.

In a fashion show dominated by womenswear, the annual Pendleton collection is always a welcome change of

pace. The line highlights the growing creative synergy and design interplay between menswear and womenswear while showcasing the versatility of Cornell fashion students. Nearly 150 years after their contemporaneous starts, Pendleton and Cornell remain complementary. Who knows, maybe after finishing his architecture degree the Pendleton man could design a building for Skorton’s successor; it would be the kind of interdisciplinary move that’s the fabric of Cornell’s dreams.

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Mono chromatic Photography by Jasmine Curtis, Joy Jihyun Jeong & Alyssa Weissman Make-up & Hair by Alana Askari, Hannah Babb, Tiffany Li, Natani Notah & Yliana Velazquez Models Hannah Babb, Jacob Miller, Franck Onambele & Toni Oni

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musings 35

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Left: Pants designed by Riley Kilgariff Below: Jacket designed by Rae Dagdagan

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Jacket and shorts designed by41 Rae Dagdagan

Illustration by Tiffany Li

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t all started with a marriage. Two people, in love, holding to their wedding vows with as much love and conviction as on the day they took them. That was all it took to plant the seed of a dream in their daughter’s head.

Hayley Paige Gutman’s parents were her original inspiration. As she grew up, Gutman progressed from Barbies and Disney princesses to pencils and sketchpads. The Los Gatos, CA native, fascinated by “the prettiness around me,” grew more interested in the creative as well as the emotional aspect of design. “I fantasized about this one dress being the epitome of all of your fashion choices in life.” That being said, a self-proclaimed girly girl, Gutman imagined herself one day designing wedding gowns, but it always seemed like she would never be able to make a viable profession out of it. “It was like wanting to be a rockstar,” Gutman says. Today she’s rocking the stage with her original bridal line, Hayley Paige, which she launched in October of 2011.

In the bridal industry, Gutman stresses the importance of versatility. Each bride will relate differently to a dress and have a different interpretation of aesthetic value. To match the individuality of her customers, Gutman names all of her dresses. “They take on an attitude,” she says. Each gown offers its own emotion value, “something normal clothing does not, in terms of design,” which helps customers create a personal and emotional attachment to it.

Today, Gutman draws her inspiration from her customer.

“I’ve learned to give her what she wants without even know-

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to Making Each Bride’s Dream Come True

by Allie Clement Photos c/o Hayley Paige

ing she wants it in the first place,” she says. Having a unique perspective is vital in her line of work; looking at the competition is not as beneficial as one may think. “I avoid looking at other bridal gown designers because the subconscious mind will pick up on aesthetics more than one thinks it does. I don’t want to impact my aesthetic by looking at what other people are doing,” she says. Living in New York City helps Gutman with her designs as well. She takes from the eclectic and dynamic personalities from the people around her: “I’ll be on the subway and see some girl in a fabulous outfit. By observing her, I become aware of her energy and what’s she would look for in a dress.”

Just like everything in the Big Apple, bridal fashion continues to evolve and grow. Gutman is experimenting in one particular trend that focuses on dress flexibility. “Brides want to wear the same dress all night, but change it up between the ceremony and the reception,” she says. “It becomes a

The Designer, Hayley Paige

Do ” I Alumna Says

two-in-one dress; a slim-fitted skirt could have a detachable overskirt for the ceremony.” While it’s important to know what’s going on in the industry, Gutman tries to stay ahead of the trends. She stands by her favorite motto; “Don’t bring sand to the beach!” Trends aside, though, Gutman notes the importance of the fit and feel of a dress, asserting that “fit it is everything. You need a dress that compliments your shape and gives you the proportions you feel are most complimentary.”

Gutman’s gowns aren’t the only things she makes versatile; her academic career was just as flexible. When she came to Cornell in the fall of 2003, Gutman started her pre-med track. It wasn’t until her junior year, after being involved in Cornell Design League (currently named Cornell Fashion Collective), that she realized fashion and design “had progressed and evolved into something I was really loving, with an innate sense of creativity and ability.” She decided to major in Fiber Science and Apparel Design.

The journey from pre-med student to owner of her own bridal line was not a quick or easy one. Gutman got there through persistence and networking. “Keep going after it; be persistent with emailing, reaching out, networking, and using

social media as an advantage,” she says. Those pesky, unpaid internships will even help: “Work for free, because at the end of the day, it’s worth it. You’re surrounded by the industry that you’re passionate about.”

She warns, though, be prepared for surprises: “Everyone has a different vision about what the fashion industry is.

And that’s all a part of the adventure; figuring out what you like and what you’re good at.” Gutman exposed herself to different sides of the industry through working for a stylist, interning at Elle, and being involved in Ready-to-Wear. “Just get out there. Get your hands dirty. Have every experience you can that will lead to the bigger picture of what you’re going after.”

Gutman went after her happily ever after, and she may never get over the honeymoon stage.

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Photography by Stephanie Addison, Catherine Chen & Julia Levine Make-up & Hair by Hannah Babb, Erica Cartusciello & Natani Notah Models Rebecca Allen, Brooke Barnett, Jacob Miller, Mana Okudaira, Austin Ward & Eric Zimmerman

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Celebrating 30 Years of Cornell Fashion Daniel Preston & Nicolette Jones

Lazar ‘90

An alumna of both Cornell and the Fashion Institute of Technology, Lazar has gone on to a very lucrative career in apparel design. Initially after graduating, she worked for Michael Kors and Randolph Duke. She then launched an accessory line in 1993 and a designer sportswear collection in 1995. Lazar describes her clothes as “classic with a twist”, attracting the sophisticated career woman. Distribution of her collections ranged from department stores to specialty boutiques, along with a host of celebrity fans including Jennifer Aniston and Reese Witherspoon.

However, Lazar’s successful design career did not end with women’s fashion. She recently launched Egg, a lifestyle brand dedicated to babies. The designs bring a luxurious twist to baby’s clothes from little shearling coats to chambray rompers. Another important feature of Egg is the quality of material, which consists of rich natural fibers and environmentally friendly materials. This latest venture highlights Lazar’s ability to adapt to a wide range of fashion markets, while maintaining her classic, sophisticated design aesthetic.

Malia Mills ‘90

Within three years of graduation, the cutting edge, streamlined, long-sleeve bikini of Malia Mills debuted in the 1993 Sports Illustrated swimsuit issue on the body of international supermodel Kathy Ireland. At that point, Malia Mills’ eponymous swimwear line had just begun and within a matter of years her business evolved from an entrepreneur’s dream, trapped at a desk in her home office, to a well renowned fashion empire showcased in the windows of every Fifth Avenue department store.

For a swimwear enterprise, an industry that scrutinizes unnatural forms of the human body through ultra-thin models, Malia Mills approaches fashion through designs meant to embrace more typical proportions. She seeks to revolutionize the swimsuit experience, from the way it fits to the way it makes you feel. Her collection is designed for a generation of women who embrace her design philosophy, “love thy differences”, and know that when they slip into her floral jacquard bikini bottom that it was designed for the unique contours of the female human body.

Constanza Ontaneda ‘09

Constanza’s ambition of uniting the rich and vibrant colors, geometric patterns, and beautiful textures of Peruvian textiles with a luxury label has finally come to fruition. Upon graduating, Constanza embarked on a journey that led her south of the equator, to Peru, where she, alongside Angeline Stuma CALS ’09, founded Bernales & Goretti, a luxurious line of women’s apparel hand crafted in Peru.

Constanza emphasizes that her company isn’t just about beautiful designs and colorful textiles, but just as importantly, Bernales & Goretti strives to provide equal opportunity for Peruvian seamstresses. She stresses the importance of producing her luxury label using fair labor practices instead of exploiting the efforts of her talented staff. Constanza ensures that her employees, some of whom have been with her for many years, earn far more then the typical Peruvian seamstress. Constanza has coined her design collection as eco-luxury, a beautiful symphony of admirable labor practices and rich luxurious design.

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Mills is on a personal mission to get women to embrace their bodies

Janet Zheng ‘04

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[Angeleno Magazine]

Janet gained early recognition for her design skills, having won the Fashion Group International design competition grand prize and a top ten spot in the 2004 Council of Fashion Designers of America competition. Her passion for design is paralleled by a knack for business, which translated into an internship at Max Mara in the buying/ merchandising department. After graduation, Janet was hired as an assistant designer for the women’s wear department with Macy’s Merchandising Group in NYC. She quickly rose to an associate position in the company, but began to feel that her creativity was being stifled.

After seven years of experience with Macy’s, Janet was ready to branch out of corporate fashion and start her own company, Janet Zheng Collection Menswear. It is a creative menswear collection with a focus on the softness and drape of the fabric, blended with modern tailoring. Janet hopes to bring creativity and innovation to menswear, which is largely a male-dominated industry. She has made a name for herself in the fashion industry as the ultimate Guy’s Girl.

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behind the scenes

Interested in joining The Thread or want to see more?

Visit us at: www.thethreadmagazine.com www.facebook.com/thethreadmagazine Email us at: thethreadmagazine@gmail.com Follow us on instagram at: @threadmag Follow us on twitter at: @threadmag1

Flip through our magazine. I hope you see a polished fashion magazine with a unique voice. I hope you find our articles interesting and our editorial spreads intriguing. I hope you reread it and find our new online content just as satisfying.

Are you curious to know what I feel when I first flip through this issue? I see brainstorming sessions during executive board meetings. I see hours-long model calls trying to find our newest stars. I hear my nervous heartbeat every time we have to find clothes for fashion shoots. I hear all of our article ideas. I see long nights editing photos and laying out the magazine. I see forms to request funding, the photos we didn’t use, and every deadline.

But then I see Meghan leading our editorial team to a higher quality of writing. I see Gavin injecting his energy and passion into all the editorial shoots while dancing to music. I see Moriah and Greta building looks that I would never think of. I see Natani and her team creating makeup looks that leave me in awe. I see Sisi handling every crisis during shoots with intelligence and elegance. I see Ariel and her team editing photos and laying out the magazine in an extremely fresh and professional style. I see Jennelle and her team bringing fresh marketing ideas to the table. I see Cynthia advising me how to allocate our money in a fiscally responsible fashion.

I see the growth of each executive board and team member. I can even see our successors in some of our current staff. I see a vision of what The Thread Magazine will become.

Thank you to our passionate executive board, our dedicated members, and our inspiring models. I could not have asked for a better semester. Also, thank you for showing your support by reading this issue.

Sincerely Yours, Larissa

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TT THE THREAD MAGAZINE

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