September 2014: The Back to Fashion Issue

VOLUME 47 | ISSUE 1 | SEPTEMBER 2014

THE BACK TO FASHION ISSUE

MASTHEAD

FIT

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Hermina Sobhraj Editor–in–Chief Dianna Mazzone Deputy Editor

LETTER FROM THE EDITOR

Molly Clarke Executive Editor Dara Kenigsberg Senior Editor Dara Kenigsberg Managing Editor Dana Heyward Treasurer Aaron Valentic Culture Editor

W27NEWSPAPER.COM Ana Knapp Community Manager

ART Kelly Millington Art Director Jessica Henry Rachel Basel Junior Designers As I wrapped up my final edits for the September Issue, I began to look back at easily the most hectic four weeks of my life. I somehow realized that there was one unwavering, ever so persistent element pervading those last few weeks.

Ironically, that constant element was change.

Vicky Mathew Photographer Jessica Blicksilver Illustration Marissa Pelly Stylist

CONTRIBUTORS

As students of the Fashion Institute of Technology, our lives are constantly altered (no pun intended); whether it’s by that short—lived foray into a new career path or that serendipitous run—in which proved life changing, it’s no doubt that we are at battle (and sometimes at peace) with change.

Yesica Balderrama Rachel Basel Ayanna Clarke Molly Clarke Kaylee Denmead Thais Derjangocyan Sarah Fielding Alexa Gordon Ashley Grubb Dana Heyward Nikki Lakin Lilian Minchala Tara O’Brien Shyam Patel Kaela Pflumm

For past September issues, W27 traditionally releases its Back to School issue. This September, I give you something different: the Back to Fashion issue. This issue revolves around the game—changers, the powerhouses and the pivotal events fashion would be nothing without. Haven’t you ever asked yourself, what is at the heart and core of the industry that I chose to dedicate my entire college experience to?

John Simone Editorial Faculty Advisor

Amongst all the unanticipated changes we’re bound to encounter this year, from the tireless all—nighters to the innumerable sacrifices necessary in this cutthroat industry, it’s easy to get lost in the commotion of it all. The Back to Fashion Issue is here to remind us that the industry we belong to is one of a kind. It’s been distinguished by some of the most iconic people in history, it has the power to shape lives and transform entire decades, and we are at the center of all it.

I’m incredibly grateful to my team for the countless hours they’ve put into this issue, to our wonderful advisor, Professor John Simone, for his unwavering direction and support and last but definitely not least, the former editor—in—chief of W27, Fernanda DeSouza, for entrusting me with this position.

I hope you all enjoy our September Issue, the first of the 2014 school year.

Until next month,

A FIT STUDENT ASSOCIATION PUBLICATION

ON THE COVER: W27 IS PRINTED ON RECYCLED PAPER. PLEASE RECYCLE YOUR COPY AFTER READING.

Designer Joshua Homic along with stylist Marissa Pelly and photographer Vicky Mathew captured the essence of Back To Fashion.

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SEPTEMBER 2014

CONTENTS ON THE BLOCK Carolina Herrera Honored By Couture Council Former FIT Student Sues Barnes & Noble No Impact Week: September 14—20 A Platform for Emerging Young Designers #FITGLOW Faculty Spotlight: Nik Papic

DEAR INDUSTRY 8 8 9 9 10 10 11 12

Transition to Transgender 3D Printing Is Going Mainstream Condé Nast Shakes Up the Publishing Industry CFDA Acquisition of the Fashion Calendar Beauty Buzz: Gucci Joins the Beauty Game Sears’ Downward Spiral: What Went Wrong?

Copyright Infringement: Where Do We Draw The Line?

The Pros and Cons of Working Retail

FEATURE

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Joshua Homic: Winner Of Fusion Fashion Editorial: HOMIC x W27 New York Fashion Week: Editor’s Picks Beauty Makes Strides In The Fashion Industry Is Beyoncé a Fashion Icon?

HAUTE CULTURE 20 21 21 22 22 23 23

Anna Wintour: A Musical Film Review: What If Gallery Review: Jeff Koons Concert Review: AfroPunk Fest 2014 Restaurant Review: The ‘Indian Chipotle’ Month In Review: The Loss Of a Legend Month In Review: The ISIS Threat

FIT SPEAKS 24 25 25 26 27

Blake Lively Takes a Stab at Lifestyle Hawking The Man With a Smile Quitting The Old You OYB: Harlem Pops Style on 27

LETTER FROM THE ART DIRECTOR

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IT’S CRAZY TO THINK THAT I ONLY STARTED AS A JUNIOR DESIGNER LAST FALL— AND HERE I AM AS THE ART DIRECTOR OF W27, MY JUNIOR YEAR OF COLLEGE. I COULDN’T BE MORE PROUD TO EARN THIS TITLE AND BE A PART OF THIS AMAZING PUBLICATION. IT IS SO REWARDING TO SEE THE FINISHED PRODUCT OF OUR NEWSPAPER ON THE STANDS AFTER WORKING A HARD EDIT WEEKEND INTO THE WEE HOURS OF THE NIGHT— IT SUDDENLY MAKES IT ALL WORTH IT. KEVIN BRAINE, W27’S FORMER ART DIRECTOR, TAUGHT ME THE IN’S AND OUT’S OF W27. HE HAS BEEN A GREAT ROLE MODEL AND I AM ANXIOUSLY BUT CONFIDENTLY FOLLOWING HIS FOOTSTEPS. EACH ISSUE HAD SUCH A UNIQUE AESTHETIC TO THE

PAPER JUST FROM KEVIN’S SIMPLE RETOUCHES AND CREATIVE EYE. I’VE LEARNED FROM THE BEST AND I HOPE TO MAKE W27 AS GREAT AS YOU DID! I’M SO EXCITED TO START DESIGNING AGAIN THIS YEAR AND BRING A FRESH LOOK TO THE PAPER. I HAVE A LOT OF GREAT IDEAS FOR THE UPCOMING ISSUES AND W27’S DESIGNS WILL BE MORE EXCITING THAN EVER. I’M LOOKING FORWARD TO WORKING WITH MY NEW ART TEAM, EDITOR—IN—CHIEF AND THE TALENTED WRITERS OF THIS PUBLICATION TO BRING AN ORIGINAL STYLE TO THE ARTICLES FOR W27 READERS EACH MONTH.

ON THE BLOCK Carolina Herrera Honored

by Couture Council

by Kaylee Denmead

And the winner of the 2014 Couture Council Artistry of Fashion Award goes to…the one and only, Carolina Herrera!

Chosen based on her flattering and elegant clothing, her couture masterpieces, and of course her being an international fashion icon, it’s clear that no one deserves this award more.

The Couture Council Artistry of Fashion Award is given to a prestigious designer with a lifetime of contributions to the fashion industry. Chosen by a board that includes fashion journalists, editors, retailers and curators, this award has previously been presented to Dries van Noten, Karl Lagerfeld, Valentino, Oscar de la Renta, and just last year, Michael Kors. Carolina Herrera is joining the ranks of these fellow masters of design as the newest recipient.

On Wednesday September third, Herrera was presented her award at the David H. Koch Theater at Lincoln Center. Dressed in a white, three—quarter sleeve dress hitting just below the knee, complete with

green drop earrings and silver shoes, day. WWD recorded that Meyers joked, Herrera was a gorgeous guest of honor “When she [his wife] returned from the at the annual luncheon hosted by the fitting, she was the happiest I’d ever seen Couture Council of the Museum of FIT. her, which was jarring, because I had just The luncheon proposed to her.” began with cockHe moved on to say tails on the terrace that, “Fashion can that overlooked make us feel betFashion Week ter than we feel,” tents looming and nothing could with preparabe more accurate tion for the bigwhen it comes to gest week in our wearing Herrera’s industry. Guests designs. moved inside for a three—course The guest list meal, includproved in itself ing many mouth how deserving watering delights Herrera was. like roasted Anna Wintour, rainbow carPhoto courtesy of hudson.culturemap.com Annette and rots, black beluga Oscar de la Renta, lentils, asparagus vichyssoise, lobster Andre Leon Talley, Martha Stewart and salad and more. Herrera was introduced Renee Zellweger were just a few of the hilariously by Seth Meyers, whose wife 600 attendees at the luncheon. Ralph wore Herrera’s design on their wedding Lauren, also in attendance, mentioned

to WWD, “I came to support her and FIT. I like and respect Carolina, she’s a very elegant woman.” It’s clear that her dedication to the industry and the pieces that she has created have made a huge impact on designers, both long standing in the industry and those still in school learning about it. FIT President Joyce Brown told WWD, “Life begins at 40.

That’s when Carolina Herrera reinvented herself as a fashion designer. Her designs and life have inspired our students. She’s volunteered countless hours mentoring our students.” Incredibly talented, Herrera is a role model for not only future designers, but also women and leaders in any field.

Herrera stated to the Couture Council, “I have great admiration for The Museum at FIT— it’s a vital link between fashion, culture and history.” Here at FIT, it’s clear that Herrera is a legacy who consistently adds to that fashion, culture and history.

Congrats from us to you, Ms. Herrera, you deserve it!

Former FIT Student Sues Barnes & Noble

by Molly Clarke

Imagine putting your heart and soul into a school project. Now imagine your project being sold at Barnes & Noble and never receiving a profit from it. This is what former student Diana Rubio feels like she is experiencing. While attending the Fashion Institute of Technology in 2010, Rubio was assigned the task of creating a “Back to Campus” idea for Barnes & Noble. Her backpack became an instant hit, selling out at multiple Barnes & Noble’s for an affordable $39.95. But in court documents Rubio states that she has not been paid a dime for her creation of the bag. Nor had Rubio authorized the bag to be manufactured.

It began in May 2011 when Rubio won the “Back to Campus” contest and received a letter saying her bag was going to be put into production and sold at Barnes & Noble stores representing FIT. After receiving the letter, Rubio tried to find out more about the production deal but to no avail.

Four months later Rubio got another

letter, this one asking for her signature on a “rights and consent” form which would seal the deal. According to the New York Post, had she signed the consent form, Rubio would have given the rights of her drawing away to FIT in return for “no

her design credit. Though Rubio did not sign the document, FIT and Barnes & Noble went forward with the deal anyway.

Initially the “Everything Backpack” was only to have a limited run in stores but its success helped extend its run, and Barnes and Noble now has multiple versions of the bag.

Over the summer, FIT President Joyce Brown emailed the student body to inform them of the situation.

President Brown emphasized the importance of students’ rights saying, “The creative rights of FIT students are my first and foremost concern, and those rights must be preserved and protected.”

President Brown has institutPhoto courtesy of www.thenypost.com ed a committee to review all “industry—sponsored projects money or payment from any source.” The for students.” This committee will look at right to her drawing ultimately was to be “ issues such as process, compensation, given to Barnes & Noble and FIT would intellectual property, educational value “alone receive royalties and a percentand best practice” in the hope of preventage of sales,” the New York Post added. ing another situation like this arising in The only tie to the backpack that Rubio the future. would have was a hangtag, which gave

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SEPTEMBER 2014

No Impact Week: September 14—20

by Ayanna Clarke

THE PRESIDENT’S SUSTAINABILITY COUNCIL WILL BE HOSTING ITS FIRST ANNUAL NO IMPACT WEEK HERE AT THE FASHION INSTITUTE OF TECHNOLOGY. I SAT DOWN WITH PROFESSOR MICHAEL COKKINOS AND PROFESSOR KAREN PEARSON, MEMBERS OF THE SUSTAINABILITY COUNCIL, TO LEARN MORE ABOUT ALL THE ACTIVITIES THAT WILL BE HAPPENING THAT WEEK. Ayanna Clarke: What inspired No Impact Week? What do you hope for FIT students to gain from the experience?

a "green dish" that would consist of low impact such as vegetables from a farmer's market or garden.

Michael Cokkinos: No Impact Week was initially inspired by Colin Beavan, a New York City professor who wanted his family to eliminate their carbon footprint for an entire year. Afterwards, he wrote a book and made a documentary about his family that wanted to live for a year without impacting the earth.

KP: Some of the highlights of the week will be the community weaving project, the "Weaveathon," that focuses on the importance of a unified community in regards to creating a low impact society. There's also going to be a speaker, Jonathan Vatner, who published an article about where FIT's trash goes once it leaves campus.

Karen Pearson: No Impact Week is really about showing that you can reduce your impact in smaller ways; you don't have to change your lifestyle but by bringing awareness to the fact that you can make some different choices, you might have a bigger impact.

AC: How is the week organized? Are there any particular events you want to highlight?

MC: Each day focuses on a special category: transportation, food, consumables, energy....It explores every area of sustainability. The culminating event will be the Raw Potluck, which will be held on Friday evening. Students are encouraged to bring

AC: What are some of the things that FIT students can do to become more sustainability oriented?

MC: Often times, people don’t usually think about their eating choices related to sustainability, but that’s an easy place people can make a difference in. For example, think about all the waste that goes into eating a hamburger at McDonald’s. When you order a meal half of what you get is, the plastic cup, the wrapping to the burger and fries and then the huge bag it comes in; they all get thrown away.

Also for FIT students we want to encourage more sustainable choices related to

school and their work. Maybe that means printing or writing on both sides of the paper or asking teachers if it’s okay to e— mail work as opposed to always having to print it out. As for design students, they can find ways to maximize all fabric they used when making garments. When they have scraps remaining, they can think about saving it for another project or even donating it to someone else.

AC: One of the common beliefs about the sustainability movement is that buying organic food or sustainable goods are more expensive. What would you say to people who believe this?

KP: This is a common misconception.

However in reality sustainability has three major components. The scientific component, which people are pretty comfortable to understand. For example, it’s bad to pollute water sources; that’s easy for everyone to get conceptually speaking but there’s a social and economic part of sustainability. I like to think of sustainability more like a pyramid with these three different parts. Without the social and economic support, no movement can be successful. There are companies that might cost a slight bit more but they have

guaranteed that their products were made with fair practice labor, their practices are appropriate for the environment and that farmers are being treated fairly and being paid fair market value for their product.

This allows a farmer to sustain that family business.

AC: How does this connect to students though? Many students know about the garment industry, which often engages in unethical practices that are not sustainable, however they still want to shop at Forever 21.

KP: You’re right, most students care about the bottom line. They want to look cute for cheap. No Impact Week, as mentioned before, is about just showing students different choices they can make and that you can reduce your impact in smaller ways. Maybe today is not the day you will change where you shop but you can make some different choices; and those choices have longer—range impact.

MC: Exactly, and when people realize that, and the community gets together, organizes and moves their money to different places, organizations and marketers will notice.

SUNDAY, SEPTEMBER 14: CONSUMPTION

TUESDAY, SEPTEMBER 16: TRANSPORTATION

Campuswide Sustainability Messaging

Transportation Alternatives 101

Learn how FIT participates in this food rescue program to serve New York’s hungry.

Field Trip: Coney Island Beach

Reduce your carbon footprint and save money! Participate in a one week carbon cleanse that begins by reducing what you purchase and consume.

Breezeway, 1:00—2:00 pm

Think Big Challenge Info Session

Feldman Center Entrance, 10:15 am

See cool bikes from Zen Bikes and learn about safe biking, walking, and public transit from Transportation Alternatives.

Bring your bike! Free temporary tattoos!

Feldman Center, C205, 5:00—6:00 pm

Walking tour of Coney Island beach with focus on environmental challenges facing marine wildlife and ecological systems in New York and the entire planet.

City Harvest

Create ideas that can change the way your local community or even the world thinks about education, energy & climate change, global health, human rights, and poverty alleviation.

MONDAY, SEPTEMBER 15: TRASH AND WASTE

Think Big Challenge Info Session

Recycling Field Trip

Dubinsky Center, A734, 1:00—2:00 pm

Visit advanced NYC facility that uses magnets and lasers to sort recyclables which are bundled and sold around the world. For information contact jonathan_vatner@fitnyc.edu.

Create ideas that can change the ways people think about education, energy & climate change, global health, human rights, and poverty alleviation.

THURSDAY, SEPTEMBER 18: ENERGY

Where Does FIT’s Trash Go?

Goodman Center, 5th Floor Library Circulation Area, Noon and 2:00 pm

FRIDAY, SEPTEMBER 19: WATER/AIR/LAND

No Impact Dinner Great Hall, 5:00 — 7:00 pm

Recycling Outreach and Signage

Green Roof Tours

Bring one of your favorite vegetarian recipes to share. Hear green stories from your FIT colleagues and a lecture on Strategic, Sustainable Cuisine, from Professor Michael Cokkinos. To register your meal offering, contact michael_cokkinos@fitnyc.edu.

Haft Auditorium, 4:00 pm and 5:00 pm Dubinsky Center Lobby, 9:00 am — 5:00 pm Learn about recycling on campus.

Volunteer for installation of new recycling signage throughout the campus.

Presentation highlighting the global pathways of materials discarded on FIT campus.

FIT has planted green roofs on several of our buildings, saving energy and providing a habitat for wildlife.

New York Cares Service Project To LEED or Not to Lead: An Intro to Green Building Rating Systems

WEDNESDAY, SEPTEMBER 17: FOOD

Weave—A—Thon

Feldman Center, C509, 5:00 pm Greenmarket

Feldman Center Lobby, Monday — Friday, 8:00—9:00 am, Noon—2:00 pm, 5:00— 6:00 pm Crowd sourced art project using salvaged yarn and textiles. Project will be on— going throughout the week.

Breezeway, 9:00 am — 5:00 pm Fruits and vegetables grown by local farms for sale on campus.

SATURDAY, SEPTEMBER 20: GIVING BACK

Introduction to Leadership in Energy and Environmental Design rating system for the design, construction, operation, and maintenance of environmentally responsible buildings, homes and neighborhoods.

Help keep NYC green and clean. Join FIT’s Student Volunteer Community Services for a city park cleanup. For more information contactdeborah_paytonjones@fitnyc. edu.

People’s Climate March Bryant Park, 6th Avenue and 41st Street, Noon Join with others from the FIT community for the People’s Climate March on Sunday, September 21.

Photo courtesy of www.susanalpertconsulting.com

ON THE BLOCK

FIT

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A Platform for Emerging Young Designers

by Rachel Basel

www.thestylealmanac.com As FIT students, we know all too well how difficult it is to be young and try to make ourselves known in the fashion industry. No matter how talented and eager you may be, huge names and traumatizing internship experiences can be discouraging. Marisa Flacks, Founder and Creative Director of The Style Almanac, can relate, which is why she created her website this summer. The Style Almanac features young fashion designers, photographers and stylists and aims to shed light on their talent, passion and dedication from another young person’s perspective.

Since her Junior year of high school, Marisa has been adding impressive bullet points to her resume. She took classes at Parsons and interned for Hearst Corporate and Starworks, a PR company in which she found particularly intriguing and rewarding. Although Marisa gained a lot from these opportunities, she discovered that working in a corporate setting wasn't particularly satisfying. “A lot of people’s talent goes unnoticed, because they’re ‘just interns’”,

she explained.

Her observations inspired to her branch out and create a space for people going through the same situation to be better appreciated.

Marisa is currently an Anthropology major at Rutgers University, but makes time to come into the city and find talent. Shes featured FIT as well as Parsons students that have caught Of course, Marisa’s her eye and proven creation of The to be skilled, hard Style Almanac workers. “[I look was not done in for] people that spite of her expelove what they do rience, because no matter what”, she accredits so she explained. much of what she Her showroom learned to developbackground has ing her business. enabled her to rec“Interning is an ognize cohesion, essential part to Photos courtesy of thestylealmanac.com uniqueness and a learning about the sense of what people industry. Internships showed how to look for in apparel. apply my skills to business decisions”, she said. Marisa strives to implement her expe“I love putting it out there and seeing rience into the website in order to make it peoples’ responses to it”, said Marisa on special, professional and respected. the most rewarding part of The Style

Almanac. Her favorite part is hearing students’ stories and creating photoshoots based on their personalities. She comes up with the concept and works with the students in order to bring them and their work to life, visually. Marisa’s dream is to become an editor for a fashion magazine, which makes this type of work an exceptionally important learning experience.

“I really want to work with as many talented people as I can”, she explained when talking about plans for the future.

She wants to expand The Style Almanac nationally and feature students in schools across the country with all kinds of talents. Marisa reminds us that setting goals, no matter how ambitious is always important, especially in this industry.

She also reminds us that young talent is important and something we should all be supportive of. So, if you're interested, getting in touch with her would be a great way to have your artistic voice heard and remind the fashion industry that we’re where its headed!

#FITGLOW

by Ashley Grubb

flashing sunglasses and glow sticks to enhance the experience of the evening.

Alaina McGuigan, a junior at FIT, said she loves the “energy and the fun vibes this brings to students. It’s Photos courtesy of Ashley Grubb a great way for EDM fans to The Fashion Institute of Technology have fun and know that FIT has fun.” kicked off the new school year with a Not only was it a chance for students to bang! On September 4, the #FITGLOW mingle at the first big party of the year party lit up the John E. Reeves Great Hall but they also got to show off some cool as DJ Scott returned to FIT providing an and unique fashions while dancing and amazing Electronic Dance Music (EDM) singing the night away. Some partygoplaylist. Colored LED lights illuminated ers even sported flashing accessories on the stage and walls and dancers from the their arms and in their hair. Overall, the Hula Hoop club lit up the floor creating rave—style event saw an outpouring of the atmosphere of an NYC nightclub. energy and got a great response from the students. Sharom Williams, FIT’s Doors opened at eight and continued Evening Events Manager, who spent the well into the night. #FITGLOW was last three months planning #FITGLOW, free for all FIT students and $5 for all was very proud of the turnout at the other non FIT—ers. Upon entering the event. He said, “It was a night of glowparty, attendees were given LED batons, ing and having a great time and showing

everyone how you glow at FIT and leave a bright mark on people!”

Williams gave us a sneak peak of what events FIT has to look forward to in the coming year. He said there would be “Zumba Night with free healthy food, Arcade Night, Beauty Night where students can get makeovers and relax, an Ugly Sweater Christmas Party and most definitely an #FITGLOW 2 for next semester and more.” I think it’s safe to say that the staff here on W27 can’t wait.

Illustraion by Jessica Blicksilver

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SEPTEMBER 2014

Faculty Spotlight: Nik Papic

by Nikki Lakin and Hermina Sobhraj

SQUARESPACE IS A SAVVY WEBSITE, BLOG AND ONLINE STORE BUILDER BOASTING ITS BRAND AS THE “EASIEST WAY FOR ANYONE TO CREATE AN EXCEPTIONAL WEBSITE.” IT’S RAISED OVER 80 MILLION DOLLARS IN FUNDING ACCORDING TO TECHCRUNCH AND IT ISN’T STOPPING THERE. THEY PLAN ON MAKING IT AVAILABLE TO EVEN MORE PEOPLE AROUND THE WORLD AND DEMONSTRATING “A COMMITMENT TO PRODUCTS THAT GO BEYOND WEBSITES AND ONLINE STORES.” AS OF LATE, THE FASHION INDUSTRY HAS BEGUN TO LARGELY OVERLAP WITH THE TECH INDUSTRY. PUBLICATIONS ARE TURNING DIGITAL AND RUNWAY SHOWS ARE USING HOLOGRAPHIC IMAGES, MAKING TECHNOLOGY AN UNDENIABLE PRESENCE IN EVERY FASHION STUDENT’S LIFE. NIK PAPIC IS A PROFESSOR AT THE FASHION INSTITUTE OF TECHNOLOGY AND HE IS COMPLETELY EMERGED IN THIS TRANSITION. HE TEACHES INTERNET MARKETING, A SPECIALIZED CLASS THAT TEACHES STUDENTS THE BASICS OF BUILDING WEBSITES, MANAGING SEARCH ENGINES AND HOW TO CREATE CAMPAIGNS TAILORED FOR THE WEB. HE IS ALSO THE SENIOR MARKETING MANAGER OF SQUARESPACE. I THINK IT’S SAFE TO SAY THAT THE STUDENTS TAUGHT BY PROFESSOR PAPIC ARE IN GOOD HANDS. WE CAUGHT UP WITH HIM TO LEARN MORE ABOUT HIS ROLE AT FIT AND THE ROLE SQUARESPACE PLAYS IN THE FASHION INDUSTRY.

INTERVIEW BY NIKKI LAKIN

Nikki Lakin: What exactly is Squarespace?

Nik Papic: Squarespace is a publishing platform that allows anyone to create professionally—designed websites without knowing how to code. It’s truly an elegant website solution for individuals and businesses of all sizes. As an aside, students get 50% off; just go to squarespace.com/ students!

NL: How did you make your way to this career?

NP: I got involved with web programming and design in the mid—90s, which led to working with a number of tech startups, both mine and those founded by others.

I’ve held a wide range of positions within the tech industry since then, with a particular focus on marketing over the past 7–8 years.

deem large media campaigns, including television, out—of—home, online video and the like.

NL: What do you think is the importance of a Web presence for fashion designers and brands?

NP: What isn’t? It’s absolutely essential that everyone, particularly businesses, have an established online presence in this day and age.

NL: You've only been teaching for a few years. Who influenced you to take this opportunity?

NP: My dad spent most of his career as a professor, and it’s something I always knew I’d do on the side. Additionally, some of my favorite college professors were adjuncts, making the decision to get into the field easy for me.

NL: Tell us a little bit about your position.

NP: I’ve managed nearly every marketing channel at one point or another during my four years at Squarespace, and as the company has grown, my role has evolved accordingly. I currently work on what we

NL: What made you interested in teaching at FIT? NP: It’s a school at the intersection of fashion and technology, which happen to be two of my biggest interests.

Photo courtesy of squarespace.com.

DEAR INDUSTRY Transition to Transgender

by Rachel Basel

From the flamboyantly dressed dandies of Britain to the short—haired, Parisian women of the 20s, fashion has seen its fair share of androgyny. When Coco Chanel pioneered women’s sportswear and designed her famous tweed suit, it’s almost as if she envisioned that women would be dressing like men for a long time coming. In today’s world, things have been taken to a whole new level; androgyny has become trendy. With designers starting to hire transgender and transsexual models to walk their runway shows, cross—dressing is becoming pretty standard in fashion.

Brazilian native Lea T is known in the fashion Industry as the first transgender super model. Many would say she paved the way for other transgender models, such as Andrej Pejic and former Olympic swimmer, Stav Strashko. Lea T has been featured in Vogue, Elle and Interview

magazines and served as the face of Givenchy in 2010. Her home country has been especially influential in this movement of acceptance in the fashion industry.

Carol Marra, another transgender model from Brazil, was interviewed for “Vice’s” “Rio Fashion Week,” a documentary. “On the catwalk, my genitalia won’t be shown, just like the other models’ genitalia. I’m not here today due to my gender, but due to my professionalism,” she said. She presents the idea that what sets her apart from the female—born models has nothing to do with her career and ability to do her job. Why say many would not agree?

Casey Legler was the first natural—born woman to be signed as a male model at Ford Models. She contributed a powerful article to The Guardian where she advocates the importance of accepting

the gay and transgender community not only in the fashion world but amongst humanity. She makes a statement, much like Carol Marra’s, that can most certainly be applied to the fashion industry. “There is a historical tradition you should know about and it is certainly not about gender.

It is about being fierce,” she said.

The Fashion Institute of Technology is no stranger to the androgyny concept and is a devoted supporter of the LGBTQ community. However a number of students stray from the college’s perspective; nearly half of the students questioned about transgender models were not supporters of the trend. A fashion design major at FIT who wished to remain anonymous said, “When you're making clothing for a certain gender, that true gender should be wearing the clothing.” On the other hand, several students admitted that they would in fact hire a man over a woman if

the model happened to show the garment better. Sophomore Koran Bakaota is from Serbia, the same country as transgender model Andrej Pejic, and she expressed her support. “I would hire him, because I like the way he looks,” she explained.

As the seasons roll on, more designers and companies are using transgender models for runway shows and advertisements. Barneys New York created a Spring 2014 campaign called “Brothers, Sisters, Sons and Daughters” using about 20 transgender models while Tom Ford used transgenders in his Fall 2014 campaign. Whether androgyny is fully accepted or not, fashion proves time and time again to appreciate the unique. And as “Vice” journalist Charlet Duboc so correctly points out, “In fashion, what is thought to be unusual, soon becomes the norm.”

3D Printing is Going Mainstream

by Kaela Pflumm

Like the majority of consumers in the United States, you've probably ordered from Amazon.com at least once. It is, after all, the global leader in e—retailing, offering customers a wide range of products at competitive prices. Last year the e—commerce company made 74.45 billion dollars in net sales and reported 327 million active customer accounts worldwide. But the latest news is, the e— retail company has branched out into yet another category: 3D printing. With this new service, customers will be able to choose from over 200 different products including toys, tech accessories, home decor products and fashion accessories, and allow them to custom design each item. This strategic business move has just launched Amazon into the #2 spot of Most Influential Companies.

Since the introduction of stereolithography in 1984 by Charles Hull, the capabilities of 3D printing have been applied to industrial parts, functional organs such as kidneys, prosthetic devices and even cars. By 2013, the 3D printing industry made two and a half billion dollars and experts believe that that figure will grow to 16.2 billion dollars by 2018.

As 3D printing becomes more mainstream, its impact on the fashion industry will have a much greater effect. New York fashion designer Frances Bitonti recently designed a 3D printed gown for American burlesque dancer, Dita Von Teese. In

an interview with NotJustALabel.com, Bitonti says,"The most exciting things about 3D printing for me is that you can consider new types of construction, and you are not limited to materials which must be woven or knitted. For example, you can create a textile which seamlessly transitions from a solid to a flexible structure. It's really about trying to forget all you know about fashion and textiles, from a design perspective. The rules don't apply."

Big name brands such as Nike, Adidas and New Balance have also started to incorporate 3D printing into their products. Nike is already printing soles in 3D and soon they will be able to scan a customer’s foot. Benefits? The shoe is guaranteed to fit perfectly. The same process will also apply to fitting bras, shirts, jeans and trousers.

With services such as the one Amazon is providing, 3D printing is also giving consumers more control and allowing them to essentially be their own manufacturer. Entrepreneur Chris Anderson, who recently stepped down from an 11 year position as editor—in—chief at Wired magazine to pursue his newest career venture, 3D Robots, is referring to this new 3D printing movement as the "Maker Movement."

In a recent interview with Business of Fashion, Anderson defined the Maker

Movement as "what happens when the web meets the real world." Anderson explains that there have already been two major industrial revolutions. The first revolution was the replacement of muscle power by machine power; the second revolution was the "democratization" of computers, meaning that as computers and the Internet were made available to everyone, it unleashed an enormous amount of creativity and talent. But Anderson points out that yet a third industrial revolution is now emerging and that it is a "combination of the first two: it's the web revolution meets manufacturing."

With Amazon’s new venture into 3D printing, it is likely that the phenomenon will go mainstream fairly rapidly. "I really do think 3D printers will be commonly found in American homes in five years," commented Anderson, "and the moment you bring a 3D printer into a home, especially a home with children, the light bulb goes off. You are suddenly training a generation to believe that anything they imagine, they can make. We'll start to see the rise of new talents that didn't necessarily go to design school," says Anderson, "but who can now show their work much more effectively, because they have access to more powerful tools." It seems that the future of manufacturing, thanks to 3D printing, is going to be an exciting and liberating time.

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W27

SEPTEMBER 2014

Condé Nast Shakes Up The Publishing Industry

by Nikki Lakin and Sarah Fielding

On August 19, media conglomerate Condé Nast announced its sale of Fairchild Fashion Media to Penske Media Corporation. This announcement came almost a week after Condé’s announcement of selling another one of its publications, Lucky magazine, to BeachMint.

The sale of the highly—regarded Fairchild brand includes all of its trade publications such as Women’s Wear Daily, Footwear News and Beauty, Inc. Penske Media only purchased Fairchild for 100 million dollars— 15% of what Condé Nast paid when it bought Fairchild from the Disney Corporation in 1999, The New York Times reported. Penske owns several entertainment trade publications such as Variety Magazine and Movieline.

Many in the publication industry have been making strategic changes among their platforms and verticals, from publishing in print to just digital, acquiring new talent and the transaction of different publications. Lucky, newly spearheaded

by Editor—in—chief Eva Chen, who has 239,000 Instagram followers of her own, has done something few editors

have dared to do. She has embraced social media by creating her own hashtag (#evachenpose) and made herself the face of Lucky.

However, even with her efforts to promote the magazine, Lucky was on a downward spiral. This September, Lucky was down 34.3% in ad sales, having a mere 90 pages in ads in comparison to the 137 it had the year before. The move will create an e—commerce sector for Lucky, which, because it is a “magazine about shopping,” should hopefully create a medium where they are able to raise their revenues.

With the rise of digital landscapes among all publications, most publishers are convinced they have to go digital in order to stay relevant. Condé Nast appears to see it this way, too. Although the media giant is remarkably well known for its publications that exude exclusivity, from fashion bible Vogue to home design haven Architectural Digest, each of its publications is available online in some form.

One would be hard pressed to open an issue of Vogue and not see an ad directing you to check out Vogue.com.

One of the largest digital moves for Condé Nast was their creation of online platform The Scene. Launched in July, its features include documentaries, digital shorts and an in—house magazine series. This has created an online presence that wouldn’t be available in print form. It reaches a whole new customer base while offering a wide variety of content.

Condé Nast is paying close attention to its other online platforms aside from The Scene. Style.com and NowManifest, Condé’s online network of fashion bloggers, will still be kept under the publisher’s ownership.

While digital seems the likely future for print publications, should all of Condé’s resources go solely into it? As mentioned above, an online platform offers a whole array of new options in contrast to working with print. But print too has attributes that should not be ignored. A print magazine doesn’t have to be re—charged, has beautiful, no—glare ads and a reader’s favorite, perfume and other product samples. There is something very rewarding about holding the magazine and being able to turn the page.

As Condé Nast changes the digital scene, its focus is also being revamped to make what was once considered exclusive, now available to everyone. “Condé Nast has enjoyed unprecedented growth in our core consumer print, digital, mobile, events, video, television and film development businesses,” said CEO Charles Townsend, in a statement released by the publisher.

“This sale underscores our commitment to accelerating growth in these areas.”

With Condé Nast’s attention now on its consumer brands, this leaves those in the fashion industry wondering how this growth will determine the future of their most valued sources for industry information.

However, with this new move, we can expect both corporations to flourish: Condé Nast will be increasing its presence in the consumer and entertainment publishing landscapes, while Penske Media will help to revive the declining industry publications under Fairchild.

CFDA Acquisition of the Fashion Calendar

by Aaron Valentic

The fundamental use of a calendar, as described in any dictionary, is a system by which the beginning, length and subdivisions of the year are fixed, or even as a timetable of special days or events of a specified kind or involving a specified group. To any member of the fashion industry, a calendar is a Godsend.

Whether scheduling appointments, highlighting deadlines or planning for the most highly anticipated week of the year, Fashion Week, a calendar comes as the organizational tool for any career/work obsessed fashionista.

For those in attendance at Fashion Week, their personalized calendars of shows and events are edited meticulously to blend harmoniously (or as best as it can be during Fashion Week), but the people in charge of Fashion Week itself behind— the—scenes have looked upon the so— called Fashion Calendar in agony, until now.

The Council of Fashion Designers of America, known as the CFDA, struck a deal with the Fashion Calendar and its original owner, Ruth Finley, in order to fully take over the calendar from July

2014 onward.

Created in 1945 by Ruth Finley, The Fashion Calendar, a bible for the New York Fashion Industry, was implemented to organize and solidify events with the fashion industry into one clear, concise calendar to be published bi—weekly, in order to have editors, buyers and others involved within the industry have an organized system for shows and events.

Ruth Finley revolutionized the industry itself with this newfound scheduling technique that helped to change the way in which designers held their shows.

Yet, unknown to Finley, the industry began to take a sharper turn towards the digital and technological age. With the ever—growing usage of technology and the demands to modernize within the fashion industry, the outdated Fashion Calendar was beginning to become an archaic tool rather than a helpful or organized one. Industry officials, especially designers, began complaining more and more that the techniques utilized by Finley were becoming too much to handle – for example, designers had to call Finley herself in order for them to be placed

in the Fashion Calendar for New York Fashion Week.

In a statement released by the CFDA, the acquisition of the Fashion Calendar “is to deliver improved organization and efficiency in the scheduling of New York Fashion Week and industry events throughout the year.” The CFDA also took note that even though they have acquired the Fashion Calendar from Finley, she will remain as a consultant for the planning and organization for the calendar.

Although the official CFDA take—over of the Fashion Calendar won’t be implemented until the Fall 2015 fashion shows are on display next February, plans are already underway to bring the calendar into the twenty—first century by (hopefully) allowing the calendar to be utilized through mobile apps on cell phones, allowing it to be more accessible.

The Fashion Calendar is also going to be geared towards housing time slots for the rapidly expanding resort and pre—fall collections that are becoming so prominent within the industry.

“We plan to further develop robust

digital tools that deliver improved organization and efficiency in the scheduling of New York Fashion Week and industry events throughout the year. Additionally, we will implement a formal calendar for scheduling of pre— collections,” said a press release by the CFDA. So what does this mean for the fashion industry? The fashion industry is quite like organized—chaos — we all so desperately spend hours and hours overlooking tiny booking details in order to make sure our personalized schedules are the definition of excellence, but somehow it still manages to never come out the way one plans.

The Fashion Calendar, a once dated tool used within the industry, is finally

Illustration by Jessica Quicksilver

DEAR INDUSTRY

Beauty Buzz:

FIT

10

Gucci Joins the Beauty Game

by Dianna Mazzone

At the intersection of fashion and beauty lies a bevy of big—name brands (Chanel, Dior and YSL, to name a few) who've channeled their runway expertise into the creation of covetable cosmetics. The latest fashion house to hop aboard the beauty train? Gucci. The Italian label, already acclaimed for best—selling fragrances like Gucci Guilty and Gucci Première, is set to release a line of color cosmetics this fall.

“For me, beauty and fashion are always connected. One doesn’t exist without the other," said Frida Giannini, creative director of Gucci, at a June event, attended by fashion fixtures including Carine Roitfeld, Crystal Renn and Solange Knowles, celebrating the new range.

“Eyes, skin, lips — they’re like accessories, all working together to create an unmistakable look.”

As such, the shades featured in the brand's debut line are, like the Gucci woman herself, both elegant and striking.

Rich, red lipsticks, golden eyeshadows

and luxurious, jewel—toned nail lacquers are pillars of the comprehensive collection, which also includes a first—of— its—kind, long—wear eye pencil and skin preparation products. "Makeup is a key element of the Gucci runway show — it helps communicate the essence of the Gucci woman,” said Giannini.

And, if the increasing number of designer cosmetic collaborations is any indication, Giannini is not alone in considering the “total package.” Makeup—giant MAC has a longstanding relationship with the fashion set, having released products in conjunction with designers ranging from the legendary (such as Alexander McQueen) to the relatively unknown (a collaboration with rising Brazilian designer Pedro Lourenço hit stores this summer). Jason Wu for Lancôme and Pierre Hardy (and more recently, Phillip Lim) for NARS, too, are prime examples of fashion designers dipping their toes into the world of beauty.

But the launch of Gucci Cosmetics displays a different level of brand extension,

representing the culmination of months, if not years, of carefully crafting products geared toward the Gucci woman. The depth and breadth of the brand’s beauty offerings is due in large part to one Pat McGrath. The famed makeup artist, legendary backstage fixture, and creative director of P&G’s beauty division (which has produced the Gucci line) is a longtime friend of Giannini’s and collaborated with the designer during the product development process.

for her both as a designer and a strong and visionary woman,” said Casiraghi, the daughter of Princess Caroline of Monaco and granddaughter of Grace Kelly.

And now, the longtime brand ambassador will serve as the public face of Gucci Cosmetics in a multi—channel ad campaign coinciding with the line’s October debut. It’s a fitting choice for a beauty launch of such royal proportions.

Also on hand was Charlotte Casiraghi, the Monaco royal—turned—equestrian— turned—model, who served as a muse for the inaugural collection. "Charlotte was a natural choice as she embodies the modern iconic Gucci woman. Aside from her striking beauty, she is sophisticated, successful and iconic," said Giannini.

It seems the admiration is mutual. “I have really enjoyed my relationship with Frida over these last four years and I am now excited to work with her again on this signature project. I have great admiration

Photo courtesy of Style.com.

SEARS’ DOWNWARD SPIRAL:

WHAT WENT WRONG?

by Thais Derjangocyan “Bright fluorescent lights highlight the drab floors, peeling paint and sad displays of merchandising are reminiscent of department stores in the communist Soviet Union.” This describes a typical day at once—unstoppable corporate giant Sears according to Leon Kaye, a business writer for TriplePundit.com. The question at hand: will this 126—year—old company, which helped define modern America, continue to exist?

“IT’S EASIER TO STEAL SOMETHING FROM SEARS THAN IT IS TO BUY SOMETHING.” For nearly one hundred years, Sears was able to pursue important changes in the marketplace and profit from them. Sears began as a catalog company because the majority of Americans lived in rural areas.

As urbanization increased, Sears started building stores to adapt to this changing marketplace. By the time the shopping mall revolution of the 1960s had arrived,

Sears had become unstoppable.

That said, the recent self—inflicted challenges that Sears faces are far worse than they have ever been. Being pegged as “the country’s worst and most embarrassing retailer—and company,” noted

by Kaye, Sears just cannot seem to get it right. Ironically, Sears once did a great job reflecting the way Americans lived their daily lives. But, times have changed, so why haven’t they?

Sears, founded by Richard Warren Sears and Alvah Curtis Roebuck in 1893, originally started off as a mail order catalog that sold watches. The catalog served as a pseudo e—commerce hub, providing Americans with goods when they wanted them, limited only by the delivery systems of the day. In 1925 they expanded their business into department stores, and peaked during the economic boom following WWII. Coincidentally, their peak era was around the time where the family unit was at the center of American society. But as the nation’s demographics shifted Sears lost its footing. Their failure to adapt to the changing wants and needs has accelerated its downward spiral today.

Sears’s efforts in regards to fashion have been disappointing. There are several factors that contribute to the company’s fashion failures. They lack the expertise to sell their merchandise; have strained

relationships with vendors; and lack proper target marketing plans.

“THE COUNTRY’S WORST AND MOST EMBARRASSING RETAILER—AND COMPANY”

In an effort to bring back the female customer an article by Business Insider reported that Sears was testing out a new “fast fashion” campaign. The goal of the campaign was to meet the ever—changing fashion needs of girls that range from teens to adults. However while Sears offered lower price points, their competitors such as H&M and Forever 21 had already saturated the market; let alone Sears had been suffering from negative publicity.

Furthermore, they have not been able to perfect the process of getting merchandise to their store in a timely fashion, which is an integral part of being a fast fashion retailer.

Its no secret that they also fall short on the customer service front. Disengaged employees wander aimlessly around the store and according to BusinessInsider.

Com, “It’s easier to steal something from Sears than it is to buy something.” With such a lack of engagement, how is Sears supposed to portray a specific brand image to the consumer?

According to the Huffington Post, Sears CEO Lou D’Ambrosio reports a different perspective. He said that he and the

company board are “wide open for good ideas” for investing in current stores. He claims that last year Sears invested several hundred million in making the customer experience better.

While the CEO may be hard at work, the rest of the company seems fragmented.

As a mall—based mass merchant, Sears failed to attract a specific audience and articulate the well—defined brand image necessary to compete with 21st—century rivals like Target and Walmart. The company also failed to listen to their customers and keep an eye on new competitors that could potentially beat them out of the market. With more and more store closings, Sears is slowly making its way out of the market. The dreaded question that may soon become reality is this: Will you miss Sears when it’s gone?

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W27

SEPTEMBER 2014

Copyright Infringement: Where do we Draw the Line?

by Alexa Gordon

Zuhair Murad: international fashion designer and and yet another case in the upward trend of copyright infringement in the fashion industry.

Given the fact that fashion is largely referential and has a long history, one can only guess that the difficulty of measuring someone’s creative abilities and imagination versus another’s when it comes to fashion design is near impossible. How does one take ownership of a mere creative thought or idea and prove that they are the original brain behind it?

From high—end luxury brands to “fast fashion” brands such as Forever 21, H&M and Zara, the fashion industry is full of creative and innovative ideas which are shown to the public and then “appropriated” by competitors.

South African designer Gavin Rajah unveiled his most recent collection at Mercedes Benz Fashion Week in Cape Town, South Africa in late July, showcasing a particular design that had been seen once before. The gown in question is a one—shouldered, nude gown, with intricate black beading detail throughout — and an almost exact copy of a gown first shown by Zuhair Murad in his Spring 2013 collection during New York Fashion Week nearly two years ago.

This instance is not the first time a copyright infringement has been the center of a lawsuit battle between designers or brands in the past decade. In fact, it seems as if they are becoming more prevalent along with the growth of technology and the ease at which creative thoughts and ideas are accessible to the public, including competitors.

Previous lawsuits over similar copyrighting issues include most recently in 2011, Louboutin v. YSL, where Christian Louboutin’s trademark red sole was used in a select style of monochromatic red YSL pumps. The suit ended in YSL’s favor, with the company being granted continued production and sales of the select style of shoe, while Louboutin was granted trademark protection over the red sole alone.

Past lawsuits over similar copyright infringements include Gucci v. Guess, where luxury brand Gucci sued Guess for nearly five million dollars over their trademark interlocking “G’s,” amongst three other trademark Gucci designs and patterns. The suit ended in Gucci’s favor, with the company receiving the amount they sued for that Guess had earned through sales of the plagiarized designs.

Designer Rajah responded to the lawsuit on his Facebook page, “I did not copy Mr. Zuhair Murad’s design. My design is my own original creation inspired

In today’s world of ever evolving technology, this question is becoming increasingly important. An idea or thought made by a designer can be posted on social media or a website within seconds, leaving the entire world, including competitive markets and designers, opportunity to make claims of the works before they even become tangible products.

Photo courtesy of www.9lives.co.za

by Japanese woodblock printing. The Japanese—inspired theme is visible through the entire collection. I have created the design independently from inspiration sourced by Japanese themes, ranging from the rising sun to Japanese fans.”

FIT student, Shradha Vaghela, has a differing opinion on the topic, "If my designs were being blatantly copied by other designers without my consent, overtime I would lose the desire to put in all the effort....It just seems meaningless for me to put so much time into my work just for it to be made by someone else as their own."

designers at once….Straight—up copying is nothing new in fashion.”

As college students, we all know the strict policy imposed by the academy regarding plagiarism. The same basic sets of rules are the ones being questioned among the multiple copyright lawsuits that have occurred recently.

Why are these rules not enforced as strictly in the fashion industry?

“IF MY DESIGNS WERE BEING BLATANTLY COPIED

BY OTHER DESIGNERS WITHOUT MY CONSENT, OVERTIME I WOULD LOSE THE DESIRE TO PUT IN ALL THE EFFORT.”

Though Rajah denies the allegations of pure plagiarism, one can only surmise that it is near impossible for two designers to creatively think and design exactly the same product, shown with similar runway styling as well. In Rajah’s defense, Aspasia Karras, an editor for Marie Claire said, “there is nothing new under the sun and in many ways fashion thrives on a cyclical mood that seems to strike all

The current restrictions on fashion law in the United States could be the answer.

Unlike Europe, fashion law in the United States does not allow for designers to copyright their an entire piece. Rather, they can only copyright a part of their clothing that is separable from the utilitarian aspect of their piece. For example, an original design printed on fabric can be conceived separate from the skirt it’s printed on and thus is copyrightable.

However a collection of white shirts released by YSL, no matter how much thought was put into the cut of the shirts, would not be copyrightable because there is nothing separate from the fact that it is a plain white t—shirt.

So where do we draw the line? This is a question many designers, fashion students and the industry as a whole want an answer to. Designers like Diane Von Furstenberg continuously stand up for greater protection, creative copyrights and an update to the legislature as a whole.

They are trying to combat "fast fashion" and the growth of a market where trendier pieces are designed based on high end product trends and are produced and sold in mass at low prices, with no benefit to the original creative mind.

Though copyright infringement at the “fast fashion” level has been seen more as a form of flattery rather than direct competition for high end brands, it is difficult for judicials to determine that only copyright infringement at the luxury level are grounds for a lawsuit and that lower end brands are fair game.

Head designer Olivier Rousteing of Balmain spoke out about this issue saying, “I think it was Coco Chanel who said ‘If you’re original, be ready to be copied.’

I love seeing a Zara window with my clothes mixed with Céline and Proenza! I think that’s genius. It’s even better than what I do!”

But would Rousteing have the same opinion if it were a Balmain design that was in the middle of a lawsuit with another high—end brand? With New York Fashion Week around the corner and Fashion Month ahead, we will be watching with eyes wide open.

FIT

12

DEAR INDUSTRY

The Pros and Cons of Working Retail

by Dana Kenigsberg

For most people, it isn’t until they get to college that they even begin to contemplate the value of a dollar. Before that, you generally rely on your parents to provide for you. Sure, they may try to instill some financial responsibility in you, whether it be by giving you a set allowance, making you do chores to earn money or teaching you how to balance a checkbook, but it isn’t until you are living on your own for the first time that you understand what it means to stand on your own two feet.

This newfound financial independence leads most college students to get a job and because they tend to have little to no experience, retail is the profession of choice. While a job in retail isn’t ideal for everyone, for students at the Fashion Institute of Technology, it’s a great way to get started in the fashion industry.

retail, agreed that the discounts were the best part. Rocio Castro, an Advertising and Marketing Communications (AMC) major who works at Max Azria, said with enthusiasm that, “The discounts are amazing.”

The possibilities that can come from working in retail are also a plus. If fashion is your chosen profession and you remain loyal to a particular brand, then working as a sales associate can be a great stepping—stone. Additionally, a retail position is an excellent way to network, whether it be with customers or others

for work but for life in general. If you are a people— person to begin with, then this is an excellent career choice. Dana Heyward, an AMC major, said, “It is the best thing to do when you’re in your 20s because you learn a lot about yourself and about other people. You meet some of the greatest people and some of the worst, but you handle it and learn from it.”

“YOU MEET SOME OF THE GREATEST PEOPLE AND SOME OF THE WORST, BUT YOU HANDLE IT AND LEARN FROM IT.”

Another con happens to be one of the pros: the discount. Being around such beautiful clothes, it’s difficult not to buy them, especially at discounted prices, so your pay ends up going back to the store. As a college student living on a tight budget, this can be counterproductive. Not to mention the fact that many stores require you to wear what they sell, which already cuts into your wages.

Though working in retail is not as glamorous as it once was, it does have its advantages, especially for those who dream of a career in the fashion industry. In fact, working in a clothing store can often be the first step in this direction. One of the greatest benefits of working in retail is getting to see what will be trending around two months before almost everyone else. Fashion lines are created a year ahead of time and they hit the stores before the start of the next season, giving retail workers advance knowledge of what will be in fashion.

Another advantage are the discounts.

Each store gives a different percentage off, and some even have monthly events where they double or even triple that discount. Other stores offer a friends and family discount as well, while some will also further reduce sale prices for employees. All of the FIT students interviewed for this article, even those who had negative experiences working in

changing window displays, unpacking boxes, dressing mannequins and sometimes even cleaning the store. Not only are you performing tasks that you didn’t sign up for but you are also working extremely long hours.

Photo courtesy of stylemtv.com in the fashion industry. This too can help you further your career.

Most of all, working in retail is a great experience in personal interaction. You learn how to deal with all types of people which is a skill that is not only necessary

But, like most entry—level jobs, working in retail also has its downsides.

Depending on the size of the store, oftentimes, sales associates have to perform tasks that are not in their job description. They are not just on the floor selling clothes and helping customers, but also

Photo courtesy of time.com

Lastly, many larger stores have so many employees that oftentimes your boss doesn’t know your name and the only thing that matters is the bottom line. A source chosen to be identified as Sarah said, “It’s annoying! All they care about is sales and they don’t care about their employees.”

All this said, working in retail isn’t for everyone. But, if you’re like most students at FIT and want to work in the fashion industry, then a job in retail is a great place to start. Like all things in fashion, it’s a matter of personal taste.

FEATURE Joshua Homic: Winner of Fusion Fashion Show 2014

Thinking Inside a Golden Ratio Rectangle

by Shyam Patel

Post Joshua Homic’s victory, the Fashion Institute of Technology leads for the most “Best Overall School” awards earned at Fusion, an annual fashion show “The traditional mindset at FIT that focuses on dressmaking and tailoring really benefits students, especially if they can adjust them to their own niche,” Homic explains. He attributes the competition readiness of FIT designers to the technical skills they hone in the classroom.

Their competitive edge comes from fashion art and design, patternmaking and the many other strenuous courses they undertake. “I love a good concept and a thought provoking idea, but when you’re presenting something visual like a fashion show that concept can become muddled in its presentation,” he points out. The technical skills FIT students cultivate in the classroom help them clearly present their aesthetic standpoint.

According to Homic, Fusion is a lot about self—discovery. “You come in with a certain perspective or perception of who you are and as you start to work on your collection and you start to see other people’s work from Parsons or FIT, you start to think about things that concern your own design process,” he said. Through conversations with his Fusion colleagues, Homic began to think in terms that helped him edit his work, challenge his preconceived notions and make his vision clearer.

The most challenging part of Fusion: simply letting go. “There are lots of moments in the competition where you as a designer have this really grandiose idea. You have to take the greatness of that vision and condense it into elements that are straightforward for the audience to understand,” he says. Although compromises were made in the process of condensing his ideas, the end result was nonetheless arresting. Adapting to the space in Parsons, taking on ill—fitting shoes and adjusting to lack of runthrough time was all a part of letting go and letting Fusion unfold. “With small things you have to understand that they’re happening, but you have to let go,” Homic wisely stated.

Styling agency Brandon Maxwell

contacted Homic a week after Fusion eager to see a lookbook. Unaware of their styling for Lady Gaga, Homic hurriedly compiled and sent a lookbook after much editing on the part of his mother and professional photographer Angela Homic.

“They said, ‘We’d like to move forward with this. We like these pieces.’ They chose images of every single look that was in Fusion and I thought, ‘What does — we want to move forward with this — mean?,’” Homic recounted. Around this time Lady Gaga released her music video for “Guy” and in a completely unrelated incident Homic watched it. As the credits rolled, the name Brandon Maxwell was credited for styling, “I thought that name sounded familiar!” he laughed. Soon enough Homic looks were on Lady Gaga’s Pacific/Asia tour.

With having won Fusion and dressed a celebrity Homic has decided to take a year off to work on his brand. While he will continue to work at Pamella Roland he sees this coming year as an opportunity to further develop his brand and create a buzz about it.

Fascinated by the neolithic lifestyle and garments, captivated by Japanese culture and reverent of monoliths and Rick Owens, Homic may have one of the most intriguing pools of inspiration. “The perfection of a golden ratio, black rectangle: it’s absolutely the zenith of any lifestyle in my mind. It’s divinity! It’s everything!” he exclaimed. For him the use of black is not only tied to monoliths from “2001: A Space Odyssey;” it signifies the search for serenity in our chaotic world, its use lends the mind to perfect form over color and its simplicity stands for the minimalism that Homic so deeply reveres. “I have always had a fascination with Japanese culture and the way that minimalism has stemmed from it. I don’t mean clinical white rooms, but more perfecting the form and using black, looking at the precision of nature through practices like ikebana,” he articulated. He also highly regards Rick Owens. “It’s amazing to see how an honest idea can become such a fantastic vision in the scheme of the commercial fashion world. When Rick Owens

“TAKE FROM THIS ISSUE’S PHOTO SHOOT WHAT YOU WILL, BECAUSE IN THE WORLD OF HOMIC THERE ARE NO RULES.” is appreciated it gives me hope that there’s still a market that’s willing to experiment and take the risks,” he gushed.

From Homic’s viewpoint being a designer is about solving problems. He often begins his design process by noticing a lack of what he wants to see in the marketplace and experimenting with his own wardrobe. “My ideal customer and I are having the same problem. They’re having an issue finding things that compel them and they think that’s important in today’s market: finding garments that move you,” he explained. When asked what keeps him passionate about design and the industry, Homic provided a rather unconventional answer: “An absolute ‘Eff you!’ to the industry gets me invigorated. Today’s culture can be so misogynist and redundant with side seams and raglan sleeves forever!” he grumbled.

“The industry provides you with so many guidelines. I have a problem with authority sometimes,” he confessed. “I like to be the authority and when that’s challenged I have an issue with it.”

This issue’s cover is a reflection of the Homic image. Homic believes that through an image you’re providing the most ambiguous platform for viewers to see fashion. Take from this issue’s photo shoot what you will, because in the world of Homic there are no rules.

FEATURE

14

FIT

ON THE COVER PAIGE, LEFT CROCHET LINEN T—TOP WITH INTERWOVEN GOOSE BIOT FEATHERS TIFFANY, RIGHT METALIC—FACED WOOL REC DRESS WITH POCKET AND RIBBON TAILS BOVINE ZOLD HANDBAG WITH CIRCLE ZIPPERS BOVINE CUFFS

INSIDE PAIGE (LAKE SCENERY) DOUBLE FACE SATIN CONICAL WRAP WITH GROMMETS BOVINE CUFFS

TIFFANY (ON THE STEPS) SATIN AND SPATTED— SHEARLING BOX TOP RAW SILK TUBE PANT WITH RIBBON TAILS BOVINE CUFFS

PHOTOGRAPHER VICKY MATHEW MODELS TIFFANY WANG PAIGE ALEXANDRIA STYLING MARISA PELLY MICHELE HERNANDEZ

W27

15

SEPTEMBER 2014

JOSHUA HOMIC’S DESIGNS EMBODY TRUE VALUES OF FASHION: ORIGINALITY, FREEDOM AND UTILITY.

HOMIC X W27

FEATURE

FIT

16

New York Fashion Week Editor’s Picks

Rosie Assoulin

Tommy Hilfiger

By Dianna Mazzone

By Molly Clarke

Photo courtesy of style.com

Even before Fashion Week began, I knew the Rosie Assoulin presentation would, for me, be the highlight—that is, if her spring showing resembled anything close to her past collections. Luckily for me, and really, for us all, the relatively new designer most certainly delivered.

I attribute my unabashed fashion crush on Assoulin’s ability to expertly execute voluminous, “couture—like” (so says Style.com) silhouettes. She plays with volume in a way that’s completely uncontrived; the proportions of her pieces are exaggerated yet appear anything but costume—like.

And, for spring 2015, Assoulin didn’t deviate from what’s become her signature aesthetic—the collection featured extravagant sleeves, larger—than—life tiered dresses (within the layers of which

Assoulin created hidden zippers that allow for adjustment to mini, tea or full length) and billowing, ladylike skirts, all in rich, solid hues.

That said, an unexpected element put Assoulin’s spring showing over the edge: The collection was punctuated with sculptural accessories, like oversize hats and Grecian urn—like handbags (inspired by ceramic artist Betty Woodward), created using raffia.

Assoulin most certainly achieved her goal of, as she revealed post—show to TheFashionSpot.com, “mixing evening and day in a way that feels fresh and authentic [to create] a situation where the clothes are working with you and not against you.” Let it be known: Rosie Assoulin just gets it.

Photo courtesy of oliviapalermo.com

I love when designers do a total 180 for a season, which is exactly what Tommy Hilfiger did for his Spring 2015 show. I was fortunate enough to attend the show through FIT and I was immediately drawn to the collection. The show’s vibe was reminiscent of the 1960’s; Hilfiger went for a 60s vibe inspired by Beatles album Sgt. Pepper’s Lonely Hearts Club Band for Spring— and the entire collection was too cool. Mick Jagger’s daughter, Georgia May, opened the shoe in a long striped cape and matching shorts. One of my favorite things about the show and this collection is its ability to transcend so

many decades. The clothing looked just as chic today as it would have over 50 years ago.

The show, which was a major departure from the Hilfiger norm, really resonated with me. Walking into the Park Avenue Armory to a blaring Beatles soundtrack, a circus and a Sgt. Pepper’s themed runway intrigued me while also throwing me off. I truly enjoy seeing designers come up collections that are unexpected and inspiring yet still wearable. Don’t be surprised if you see me channeling the 60s this spring!

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Carolina Herrera

Alexander Wang

By Aaron Valentic

By Dara Kenigsberg

Photo courtesy of style.com

A flower – so perfect and radiant that it’s become a timeless symbol of beauty that continually proves to remain a staple within the fashion industry, as well as countless homes and gardens around the world.

For her Spring 2015 collection, Carolina Herrera honored her love for flowers by making them the centerpiece of her spring collection. Herrera is an international symbol for elegance and taste, continuously showcasing classic silhouettes, shapes, fabrics and themes that stand the test of time.

Yet in honor of the new millennial customer, Herrera decided to add a new spin on her elegant staples. Herrera played with new fabrics and silhouettes for this next season, taking on a new minimalistic approach to her elegance. With cool colors, Herrera added the unexpected floral print splashed across her clothes, symbolizing a sort of pop art appeal to her garments, as well as opening her business

up to a new and younger audience of customers.

Herrera’s Spring 2015 collection was a dream for someone like myself who is, on occasion, nostalgic for the past.

Herrera’s show was blends of silhouettes and shapes of the late 1950s and 1960s, the last great era in American fashion that showcased glamorous and sophisticated clothes; something Herrera manages to bring to life season after season.

Getting the attention she so deserves, the Couture Council of the Museum at FIT honored the designer this year at the David H. Koch Theater at Lincoln Center. You can read more about it on page four in this issue. Proving not only to be an icon herself, Herrera once again proves that her iconic clothing lives on for generations.

Photo courtesy of www.1.bp.blogspot.com

Alexander Wang has been extremely busy.

In addition to his namesake line, he has a capsule collection for H&M, a line called T by Alexander Wang and is the creative director for Balenciaga. However, none of this has slowed him down and his collection at NYFW was better than ever.

The theme of the show was American sportswear and that is exactly what his customers want from him. Though the show opened with various trousers in black and white, it quickly transitioned to sporty wardrobe staples like bright Nike origami mini—dresses, cropped and embroidered baseball jackets, tuxedo trousers with mesh stripes down the side and impeccably tailored grey shorts. Wang told the Los Angeles Times that "the idea for the collection was to take elements of iconic sneaker designs and apply it to the clothes, marrying that with hand—done work, such as‎ basketball mesh that's hand—printed, engineered and hand plisseed onto a body form. ‎We wanted to create sexuality, almost to fetishize sneakers.”

Despite this, not one pair of sneakers made it down the runway, because all of the models wore creatively heeled sandals.

His color palette included dark, lavish hues, broken up intermittently by touches of white, pops of orange, cobalt blue, yellow and green. Other pieces included black high—waisted satin trousers with bustiers (one of which had an Air Jordan flame motif) and color—blocked crop tops, pleated skirts and structured jackets and blazers.

Much like the sneaker, Wang’s collection is easy to wear and comfortable. Though inspired by America’s obsession with sportswear and the ever—expanding sneaker culture, what made this collection so incredible was that, according to the Los Angeles Times, “he married that idea with couture—level technique, including hand pleating and draping inspired by the classicism of Madame Gres, but with the sensuality of '80s era Versace.”

FEATURE

FIT

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Beauty Makes Strides in the Fashion Industry

by Dara Kenigsberg

Photo courtesy of celebritieshollywoodbelleza.blogspot.com When you hear the word supermodel, what usually comes to mind? Beautiful faces? Skinny, tall bodies? Or is it a certain ‘look’ that agencies and clothing houses talk of that some girls just have, while others, well, don’t. We take our cues to accept a form of beauty from the fashion world and we haven’t seen much change for decades.

In the 1960s, when Twiggy (a.k.a. Lesley Lawson) took the London fashion world by storm, ultra slim and lithe young models became de rigueur. In the 1980s, there were supermodels Naomi, Linda, Christy, Cindy...and that famous quote from Ms. Linda Evangelista about not getting out of bed for less than 10,000 dollars. Who can forget that? They had a healthier, sportier physique than their predecessors but were ushered out by Kate Moss and the waif. Fast forward to the 90s to Gisele Bundchen, Heidi Klum, Calvin Klein and Victoria’s Secret and once again we have a healthier, Sports Illustrated—esque form.

Thus far, it almost seems as if beauty follows a very specific cycle. However the one thing that has always remained the same is that these women have all been beautiful in a conventional sort of way. It has generally been a beauty that everyone could see, until now that is. In a world of perfection, in a somewhat uncharacteristic move, the fashion industry’s current proclivity has been towards quirky and peculiar beauties; women who don’t fit the typical, conventional beauty mold.

Case in point: Winnie Harlow. At four years old, the America’s Next Top Model (ANTM) contestant began showing signs of vitiligo, a skin disorder that causes patchy discoloration and is most closely associated with Michael Jackson. Now 19, Harlow has walked in Toronto fashion week and has also done a variety of editorial pieces. She was also recently signed

by Desigual as the face of their Autumn/ Winter 2014 campaign (she can already be seen on telephone booths throughout the city) and according to Mademoire. com, “has already appeared in a campaign for SHOWstudio.” Additionally, she is the first Canadian accepted onto ANTM and producers are said to have gone great lengths to get her on the show. The thing that has really resonated with not only Tyra Banks, but also her over 100,000 Instagram followers, is her unwavering confidence.

However Harlow was not always comfortable in her skin. When she was in middle school and junior high, she was constantly teased and bullied. She was often called a zebra or a cow because of her vitiligo. This led to a very dark time in her life where she, according to VRFoundation.Org, “was...grappling with thoughts of suicide.” The stunning Harlow managed to push through this and has come to realize that this is the way she was meant to be. In 2011, she was quoted saying, “If God wanted me to be black, I’d be black. If he wanted me to be white, I’d be white. Instead he wanted me to be both – an original.” It’s inspirational quotes like these that have her followers on Twitter and Instagram willing to go to bat for her. When somebody posted that she should just bleach the rest of her skin since she was already 50% pale, one of her Instagram followers responded, “Why should she risk her health to bleach her skin when she’s fine the way she is?”; another commented, “Bleach yourself and share how it feels.” Her confidence and self—assurance is catching on and others

that are living with vitiligo look to her as a role model, posting comments like, “I honestly wish you were around when I was growing up” and “for the first time ever, I am not ashamed of my vitiligo.”

Despite her countless fans, it is clear there are still many people out there who are ignorant and not as accepting as one might hope. Harlow has gotten so much attention in social media that such heated quarrels are par for the course. By putting herself out there and really “going viral” she has become somewhat of a spokesperson for vitiligo, whether she meant to be or not. Though she is living her dreams and showing the world that she too is beautiful, it is doubtful that she was aware of the media firestorm she was going to start. It’s hard not to find her confidence and self—love inspiring, but where do you draw the line? Is there such a thing as overexposure and is she using her condition to further her career? You decide.

Photo courtesy of tirateladimeno.blogspot.com

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Is Beyoncé a Fashion Icon?

by Thais Derjangocyan

She is the artist behind the fastest selling album in the world, she was voted one of the most powerful and beautiful women of our time as reported by Forbes and her clothes are currently being displayed in a rock music museum exhibit. However her clothing does not sell out, her stylist is not well known and she has no formal recognition from the fashion world; but she is bigger than big. So can Beyoncé really be considered a fashion icon?

enough to sustain her fashion house “House of Dereon,” which according to Vogue UK, “reported a fall in sales.” This is much unlike Jessica Simpson whose fashion house has attained revenues of nearly one billion dollars, according to Google.com. Can Beyoncé be a fashion icon without sparking trends or selling clothes, things usually attributed to being a fashion icon? The New York Times calls it “The Beyoncé Paradox.”

What does it mean to be a fashion icon today? The answers are endless. In a recent article from The New York Times entitled “Beyoncé a Legend of Rock, but Not Fashion,” our opinions are challenged on what we assume a true fashion icon is. Most people assume a big star like Beyoncé is a fashion icon but The New York Times begs to differ. The article points out that Beyoncé not only fails to wear things that spark hot trends, like Madonna and her bullet bra corsets, nor does she cause things to sell out overnight like Kate Middleton and her Seraphine dress which sold out two hours after she debuted it. Even Beyoncé’s fame is not

Likewise, Man Repeller, a popular and innovative fashion blog, states that, “fashion icons should extend beyond the realm of celebrity. It is important to remember that at its root, the word ‘icon’ refers to the representation of a common symbol.

Reverence is implied, but if someone’s style embodies any cultural zeitgeist, then they can be considered an icon”. They go on to say that someone like Beyoncé, who has had some commercial fashion success with clothing items like her “NO ANGEL” sweatshirt from the Beyoncé Shop, may produce an admirable style, but not one that is mimicked.

W27 asked FIT: “What is the definition of a ‘fashion icon’ to you?”

Nicole Lowry

Ariana Soylemezoglu

“A fashion icon gets their title by never failing to do something different. They always have their own personal touch added to their outfit. Having a stylist doesn’t mean you are an icon because you are actually like a mannequin being told what to wear. If you can add your own flair to any look then you are a fashion icon.”

“To me a fashion icon is someone who isn’t afraid to express herself. They also don’t feel the need to follow certain trends because they make the trends on their own.”

Mackenzie Moore “Experience in the field is necessary to be a fashion icon. Also being able to showcase your own sense of style effortlessly. You don’t care what others think and you’re not afraid of offending people with your style. A fashion icon is beautiful from the inside out and they represent themselves with pride”.

Tance Gozukucuk “I believe a fashion icon is an individual that knows how to dress. For instance, one very well known fashion icon from the 20th century was Audrey Hepburn.

I think she was successful because she never complicated her sense of style and felt that ‘less was more.’ I think the more elegant a fashion icon dresses, the more recognition he or she may get from the society that he or she is surrounded by.”

FIT clearly had a lot to say on the matter.

Do you think Beyoncé is a fashion icon?

HAUTE CULTURE ANNA WINTOUR: A MUSICAL

by Aaron Valentic

Illustration by Jessica Blicksilver

Single handedly the most powerful person in the fashion industry, Anna Wintour, the infamous editor—in—chief of Vogue, sparks a nervous chill through many of us. Why? Whether it’s her icy looks hidden behind her dark, black— hole like Chanel sunglasses that remain unfazed time and time again or her ability to make or break a designer’s career with the slightest doubt — the woman can be absolutely terrifying.

It is this woman who has been the subject of countless pop culture references, all deeming her as the terrifying, cold, control—freak we all assume her to be. From Wintour’s former assistant writing the hilarious roman a clef, “The Devil Wears Prada,” to her more human—like appearance on “60 Minutes,” Anna Wintour’s persona has been splashed across every spectrum of media; however, there is one specific area that no one has ever dared portray “Nuclear Wintour” in – a musical.

Ryan Raftery, a former NYU student at the Tisch School of the Arts, has prepped his bob and ordered his Starbucks for his musical sensation “Ryan Raftery is the Most Powerful Woman in Fashion.”

The musical takes place this past April as Raftery (in Wintour—drag) is preparing the now infamous issue of Vogue in which Kim Kardashian and Kanye West (or “Kimye”) are set to be on the cover. What unfolds within her office is a never—ending parade of hysterical musical numbers, bouts of constipation and high—anxiety, as well as a crying baby— buzzer to announce her visitors.

While gathering inspiration for his latest show, Raftery spent the day scouting YouTube and came across late—night talk

show interviews, including one of David Letterman interviewing Anna Wintour.

“The first thing he [David Letterman] said to her was, ‘I know nothing about fashion, but I know a lot about you. Why is that?’” stated Raftery. “This was around the time that I was looking for an idea

“SHE IS A FASCINATING CHARACTER. SHE IS DARTH VADER AND HILLARY CLINTON WRAPPED UP IN ONE VERY CHIC LITTLE PACKAGE.” for a new show and I instantly thought ‘there's a show there.’ Due to the fact that ‘The Devil Wears Prada’ was such a big hit, Anna's celebrity status increased exponentially....I knew that this subject would appeal to people outside of the fashion world.”

In terms of getting his audience intrigued with the dog—eat—dog world of Wintour, Raftery implemented genius renditions of modern songs set to fashion industry themes.

Raftery said that inspiration “always comes immediately after the initial concept. I choose songs that tell stories….”

Yet nothing could prepare Raftery for the wrath of Wintour (or, lack thereof, in this case). As news began to swirl in the industry that there was a musical based on Wintour in the works, the Editor— in—chief herself sent her offspring, Bee Shaffer, to investigate and review the show for her mother.

On Shaffer’s visit to the opening night of Raftery’s musical, the actor stated that the impromptu visit was “much to my surprise. She could not have been nicer or more effusive about how much she liked the show. She told me that her mom told her about the show and told her to report back. It was brave of her to come to the show blind, not knowing what sort of angle I was going for.”

With all the jokes and musical numbers set aside, there is a great deal of truth to it. While a parody, the show is still set up to showcase Wintour’s highly passionate, dedicated persona. Involved deeply within the fashion industry, Wintour has helped to create an image of American fashion as an industry that blends commerce with beauty and art.

“I have certainly grown to like playing Anna,” noted Raftery. “She is a fascinating character. She is Darth Vader and Hillary Clinton wrapped up in one very chic little package.…I hope that people leave my show realizing that there is a real person underneath the hair and sunglasses.”

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FILM REVIEW:

WHAT IF

by Lilian Minchala

Anyone looking for a modernized version of “When Harry Met Sally” with a “500 Days of Summer” vibe would have a love/ hate relationship with the millennial version, entitled “What If.” The film addresses the common question we have all been striving to answer for years — can men and women be friends?

The quirky love story stars Daniel Radcliffe, playing Wallace and Zoe Kanzan, playing Chantry. Wallace is a heartbroken medical school dropout trying to put his life back together when he meets Chantry, a quirky animator who eventually sparks a true love connection with him.

“BE READY TO EXPERIENCE HEARTBREAK AND DISAPPOINTMENT ALL OVER AGAIN, WHILE YOU SIT AT THE THEATER, THINKING ABOUT THAT ONE PERSON THAT YOU TRULY FELL FOR.”

As with all love stories, there is one catch — Chantry has a boyfriend (if she didn’t there would be no movie). Luckily, Chantry’s boyfriend Ben moves to Dublin; it’s a chance for Wallace to make the move but would he take the chance to move from the friend zone or is he too decent?

I don’t have to tell you that what occurs with this friendship but their instant

Photo courtesy of moviepilot.com.

connection will give you hope for love between the two of them. Luckily, it isn’t a drag getting there; there's a rather charming set of predicaments that involve misunderstandings, races to the airport, rowdy drunken nights and a skinny dipping scene that would leave you wondering if both characters will take a chance.

Radcliffe and Kazan are casted well.

They’re adorable, vulnerable, as well as sincere in equal measure. Kazan plays the winsome female lead, while Radcliffe, pushing into his post—Potter career, shows some dark wit that rattles the romantic—comedy’s expectations.

“What If” portrays what it means to be in love in your 20s — a hard time to fall in love dotted with repeated failures.

We have all been in Wallace’s shoes at a certain point in our lives. This movie touches our hearts and takes us to that one moment: falling in love at the wrong time. Be ready to experience heartbreak and disappointment all over again, while you sit at the theater, thinking about that one person that you truly fell for.

GALLERY REVIEW:

JEFF KOONS: A RETROSPECTIVE

by Sarah Fielding

WHITNEY MUSEUM OF AMERICAN ART: JUNE 27 — OCTOBER 19 2014

One of the biggest cultural events to hit New York City took place over the summer, with the most epic comeback of the decade, Jeff Koons reentered the art world. His latest exhibition was held at the

Photo courtesy of unbiasedwriter.com Whitney Museum; New York City, along with the rest of the art world, have erupted with pleasure of the Koons’ comeback.

On a blistering day this past summer, my mother and I traveled to the Whitney unsure of what we were in for. Upon entry

there were already herds of people on their way to pay homage to albeit, one of the most successful American artists of the twenty—first century.

The Jeff Koons exhibition can be described in three words: Fun, raunchy and underwhelming. Although featuring exquisite, impressive creations, the exhibition devoted an entire floor to explicit pictures of Koons and his ex—wife, a former porn star, engaging in sexual activities (a sign was in place to discourage small children from entering). In contrast to that raunchy showcase, the rest of the exhibition was a little underwhelming as many of his works seemed very basic.

There was one room that had a simple pile of sponges as a work of art. While I am not an art expert, I had expected a little more of the creations made by the man of such critical acclaim.

While this exhibit had its letdowns, I

would still recommend going to experience this, if anything for the return of Jeff Koons to the New York artworld. There are a few pieces that are simply breathtak-

Photo courtesy of www.knstrct.com ing, with a few key works worth noting.

Additionally, the Whitney did a wonderful job laying out the exhibit, creating a seamless flow from room—to—room. As with most art exhibitions, even if you are unsure of what to expect, you will be sure to leave with a new way of thinking.

HAUTE CULTURE

FIT

22

CONCERT REVIEW:

AFROPUNK FEST 2014

by Ayanna Clarke

Thousands of spectators and concert— goers packed into Commodore Barry Park to attend the 10th Annual AfroPunk Musical Festival. Afro—punk originated from the desire to showcase a way for African Americans to express their culture through traditional song and dance, who aren’t solely consumed by hip hop or rap.

AfroPunk sponsors events throughout the year, but the highlight is this annual festival, that's free and open to all ages. Performers from Cakes Da Killa, Lolawolf, SZA, The Internet, Lianne Las Havas, Princess Nokia, Gordon Voidwell and De'Angelo graced the various stages across Commodore Barry Park.

The Internet, an offshoot from Odd Future Wolfgang, makes groovy and lighthearted music which is perfect for the summer. Their vocalist, Syd the Kyd, connected with crowd and her full band commanded everyone to dance with the tunes, despite how packed it was. Lianne Las Havas, the UK songstress, hypnotized the audience with her stage presence.

There's a certain comfort expressed through her music, it’s almost tangible, even though she was performing for a crowd of thousands.

Cakes Da Killa was the crowd favorite. He and his five fierce dancers commanded the audience's attention with their outlandish dance moves. The stage throbbed with the pulse of the music and his throaty ballroom inspired rhymes.

Photo courtesy of ilovefreeconcerts.com Although one of the lesser known acts, Princess Nokia gave it her all while on stage . She was clearly was committed to the festival and excited to be performing.

She and her dance crew were dressed in tattered but chic skirts with splits that spanned the entire thigh. Her performance covered a variety of unrelated topics; from singing about the welfare of young girls growing up in society to dungeons and dragons to ending her performance rapping about Versace.

The AfroPunk Fest was well worth the visit. While it provided a great showcase of inviting talent and a diverse line—up,

Photo courtsey of thelenswoman.com

THE ‘INDIAN CHIPOTLE’

by Annalisa Mootilal

Putting a modern twist on traditional Indian cuisine, IndiKitch, a new restaurant located in the Flatiron district (on 23rd St. between Fifth and Sixth Avenue), embodies classic Indian aesthetics, with modern interpretations like Chipotle Mexican Grill.

When you walk into the restaurant, a large opened space with wooden booths and bar stools greets guests. Along the walls are vivid diagrams, showcasing to the customer what kinds of meals they can create.

The ordering process requires two steps.

First, select a style of dish, which includes feast, biryani (rice), live fire salads or tawa sandwiches. Second, select a main course, which is either a meat or vegetable marinated in traditional Indian spices, like pork vindaloo or paneer saag (spinach and cheese). Their menu includes other

Indian delights like samosas (fried potato pastry), onion bhajji (fritters), mango lassi (milk drink), ginger cane juice and chai garam (hot tea).

What makes IndiKitch similar to Chipotle is their ingredients. Prepared fresh each day, they are arranged to be visually appealing just like Chipotle’s signature sauces and to show the customer that they have a variety of meal options .

What I personally recommend at IndiKitch is their chicken tikka masala and garlic naan. In New York City, finding authentic cultural food can be quite the task especially at an affordable price.

IndiKitch gives you a quality meal with a price tag of $7.95—$8.85 for a nutritious entrée. This fast food eatery lets customers enjoy a decadent Indian cuisine without the hassle of having a fancy, sit— down dinner — what can be better than

Photo courtesy of riscalaagnesedesign.com.

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MONTH IN REVIEW

by Dara Kenigsberg

THE LOSS OF A LEGEND: JOAN RIVERS DIES AT 81 On August 28, Joan Rivers went into the Yorkville Endoscopy Clinic on East 93rd street after complaining about a sore throat that was feeling hoarse. She chose the clinic in an attempt to avoid the publicity that comes with attending a major New York City hospital. During a minor endoscopic procedure to look at her vocal chords, when she may or may not have had a throat biopsy (there are conflicting reports), her oxygen levels began to drop and she went into cardiac arrest.

Emergency Medical Technicians (EMTs) were called immediately and she was taken to Mount Sinai Hospital where she was put into a medically induced coma.

Then on September 4, she was taken off life support. Rivers died at the age of 81.

According to The New York Daily News, “…a doctor — who arrived with Rivers’ entourage — offered to perform a biopsy

after another doctor noticed ‘something’ on the entertainer’s vocal chords….The Fashion Police star had only signed off on an endoscopy — not the far more dangerous biopsy of her vocal chords.”

This doctor came in with a bag and identified himself as an Ear, Nose and Throat Specialist. Not only was the doctor who reportedly did the biopsy not authorized to work at this clinic but such procedures are only supposed to take place in a hospital setting.

In a statement released by Yorkville Endoscopy Clinic, they denied the biopsy ever happening and claimed they would never have administered general anesthesia. “The type of sedation used at Yorkville Endoscopy is monitored anesthesia care. Our anesthesiologists utilize light to moderate sedation.” However, The New York Daily News reported that she

was under general anesthesia when something went horribly wrong. An unnamed source told ABC News that, “If she had been in a hospital when it happened, she might have been okay.”

The New York Medical Examiner has performed an autopsy but is not able to determine the apparent cause of death.

Additionally, the results of the toxicology reports have not come in yet. According to The New York Times, “The New York State Health Department is investigating Ms. Rivers’s treatment. Neither the gastroenterologist nor the E.N.T. specialist has been accused of wrongdoing.” However Dr. Lawrence Cohen, the now former medical director at Yorkville Endoscopy, whose care Rivers was under when this tragedy began, is “not currently performing procedures at Yorkville Endoscopy; nor is he currently serving as medical

director,” according to 7Online.Com. This statement came from the clinic itself though they did not clarify whether he was fired or had resigned.

Before she passed, her friends and family were by her side. Her daughter Melissa made sure her hair and makeup were done, which undoubtedly is what Rivers would have wanted. In her book, “I Hate Everyone….Starting With Me,” which came out in 2012, Rivers said that she wanted a Hollywood extravaganza after she died. “I don’t want some rabbi rambling on; I want Meryl Streep crying in five different accents. I want to look gorgeous, better dead than I do alive. I want to be buried in a Valentino dress and I want Harry Winston to make me a toe tag.”

THE ISIS THREAT On Thursday, August 28, President Obama addressed the nation regarding the increasingly dangerous situation that Syrian militant group ISIS is posing. Almost three months ago, ISIS seized the second largest city in Iraq, have beheaded American journalists and killed countless others, including women and children. Yet as of Thursday, according to The Washington Times, President Obama said, “We don’t have a strategy yet. We need to make sure that we’ve got clear plans. As our strategy develops, we will consult with Congress.” This statement came after a week of conjecture on behalf of the American people that he was going to bolster the limited United States airstrikes we are taking against the terrorist group. The The New York Post said that these airstrikes are meant to “protect minority groups, bolster Kurdish forces and safeguard US personnel in the north of the war—ravaged country.”

The New York Post also reported that “Islamic State militants paraded 250 nearly naked captured soldiers through the Syrian desert before forcing them to their knees and mercilessly gunning them down from behind. Wearing only their briefs, the soldiers were marched through the sand by rifle toting, flag—waving thugs before they were executed and piled on top of one another. When it was over, the bullet—ridden bodies were left to rot in the searing sun by the Jihadists, who heaped on even more ignominy by broadcasting the bloodbath on YouTube.” This mass execution came only days after ISIS raided the al—Tabqa Air Force base in the Syrian city of Raqqa.

The terrorist group is infamous for its broadcast of beheading American journalist James Foley. In the video, Foley reads a message saying that America is his real killer, which was more than likely written by his captors. According to CNN. com, it also “threatens the life of another American if President Barack Obama doesn’t end military operations in Iraq.”

Before his graphic beheading, Foley can be heard saying, “I wish I had more time.

I wish I could have the hope for freedom to see my family once again.” Foley was captured in November 2012 in Northwest Syria by the border of Turkey. He was covering the Syrian civil war at a time before the conflict with ISIS had begun. On September 2, 13 days after Foley’s beheading surfaced, a second video emerged of another American journalist beheaded

by ISIS. Steven Sotloff, who, according to The Washington Post, had been captured in May 2013, also had a message scripted by his captors. He said he was “paying the price for U.S. military intervention.”

According to CNN, “A masked ISIS figure in the new video speaks to U.S. President Barack Obama telling him, ‘Just as your missiles continue to strike our people, our knife will continue to strike the necks of your people.’” There are still many unanswered questions about both videos, such as who shot them, when were they shot and where. The ISIS militant goes on to say, “We take this opportunity to warn those governments who’ve entered this evil alliance of America against the Islamic State to back off and leave our people alone.”

Obama’s initial statements last week and lack of a strategy received major backlash,

both from congress and the American people. Mitt Romney told Fox News Sunday, “We’ve fought long and hard to provide security and freedom for those people. And yet, the president was, I don’t

“JUST AS YOUR MISSILES CONTINUE TO STRIKE OUR PEOPLE, OUR KNIFE WILL CONTINUE TO STRIKE THE NECKS OF YOUR PEOPLE.” know, too busy on the golf course to pick up the phone and meet with the leaders around the world and to say what happens if. I don’t know whether you can’t see reality from a fairway, but the president has not seen the reality internationally.”

According to CNN, Senator Jeanne Shaheen, a Democrat from New Hampshire, was adamant about stopping ISIS and said, “We must use every tool at our disposal, short of introducing ground forces in combat roles, to put an end to the threat they pose to our national security.” While Senator Lindsey Graham, a Republican from South Carolina said, “Mr. President, if you can’t

come up with a strategy, at least tell us what the goal is regarding ISIL.” ISIL is another name for ISIS. In his original speech, President Obama said he “didn’t want to put the cart before the horse,” but in the few days since, he has been able to quell the public’s fears (somewhat) and outline a plan to stop ISIS. On September 10, according to The New York Times, President Obama “authorized a major expansion of the military campaign against rampaging Sunni militants in the Middle East, including American airstrikes in Syria and the deployment of 475 more military advisers to Iraq. But he sought to dispel fears that the United States was embarking on a repeat of the wars in Iraq and Afghanistan.” He gave a speech to the nation from the floor of the White House in which he discussed bringing together a global coalition to “degrade and ultimately destroy [the militants]…. We will hunt down terrorists who threaten our country, wherever they are. That means I will not hesitate to take action against ISIL in Syria, as well as Iraq. This is a core principle of my presidency: if you threaten America, you will find no safe haven.” President Obama also said that he has given Congress the authority to train and equip moderate Syrian rebels that are fighting ISIS on a base that Saudi Arabia has agreed to provide, while maintaining his right to expand this at any time.

This will bring the number of American troops in Iraq to 1,600. In his speech, he pledged, “These American forces will not have a combat mission; we will not get dragged into another ground war in Iraq, [the mission] will be different....”

FIT SPEAKS Blake Lively Takes a Stab at Lifestyle Hawking

by Dana heyward

www.preserve.us

once linked to Leonardo DiCaprio (and is now married to Ryan Reynolds).

As a face seen countless times on the cover of Vogue, it doesn’t seem to coincide with the idea that the glamorous Lively would focus on selling artisanal mustard, as well as professing letter—writing to be a lost art. According to Lively, Preserve is “part magazine, part e—commerce hub, part philanthropic endeavor, and above all, a place to showcase imagination, ingenuity, quality, and above all, people.”

It’s pretty clear that the website is striving to be more than regular but it’s execution is what really has people scratching their heads.

Entering the Preserve homepage and you are met with a pop—up that reads: “Let’s preserve our connection.” It’s a different (to say the least) attempt for you to join the site’s mailing list. To deny this request, you simply click “I’ll start my journey with us another day.” You’ll probably be wondering who exactly “us” is and what journey they’re speaking of exactly. But it’s clear that this is just the beginning of the sites’ tiresome pursuit in being less like a website and more of an “experience.”

The entire focus of Preserve is hard to come by. While this may be due to the confusing site navigation, it also may be because phrases like “greater good” and “craftspeople” are thrown around while the site is trying to preach authenticity and community; unfortunately the whole website comes off as ingenuine and frankly, quite cheesy. With a distorted layout that looks like Anthropologie chewed up and thrown up into HTML, to the articles about how flower beards are trending, the site’s actual purpose becomes dull.

Preserve is the creation of actress Blake Lively, most famously known for her portrayal of Serena van der Woodsen on “Gossip Girl” for several years and being

Lively is following suit to a number of celebrities who have created lifestyle sites. The most comparable is Gwyneth Paltrow’s GOOP, which has seen its fair

share of love and hate since it was created.

GOOP, started in 2008, is a hybrid e— commerce and lifestyle blog with topics involving what to pack in your Hamptons getaway bag and how to do one’s hair.

While the site certainly has some eye— roll worthy aspects, it makes it clear that it’s not for the average woman and owns up to its smugness with no apologies.

Preserve on the other hand continually tries to press on its readers that it’s anything but pretentious, while attempting to assure them that it’s about “us,” not this unattainable lifestyle it clearly hawks.

In Lively’s first editor letter, she goes on about her shortcomings claiming that she’s “no editor, no artisan, no expert.

And certainly no arbiter of what you should buy, wear, or eat.” Yet, she created this website that’s essentially telling you what you should buy, wear, and eat and how to do it with this sense of effortless cool.

Although the general consensus across the Internet about Preserve is far from positive, I know there are people out there who are buying into it. Somewhere out there are people who want to be a part of Lively’s borderline cult—like “journey” and want to sip on the artisanal good kool—aid. Once the site grows (and hopefully gets a better layout), its probably looking at the same future as GOOP.

Photo courtesy of nydailynews.com

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SEPTEMBER 2014

The Man With A Smile

by Yesica Balderrama

A quick Youtube search shows stand— up videos of Robin Williams. The man performing was enigmatic without a trace of self—consciousness or hesitation. He pushed invisible boulders away from him on the stage, hopped like a football player and waved his arms with gusto at the end of every sentence.

He moved quickly from one end of the room to another while his facial expressions changed quickly and demonstrated emotional depth. A sad face was a miserable face and a happy face was an ecstatic face; there was no in between. This was a man who clearly felt and expressed the full extent of his emotions. He held nothing back. His generosity was an unbridled enthusiasm for life.

The energy displayed by these actions did not belong to someone who was lethargic or lukewarm. It was difficult to imagine Williams being still for longer than a minute, idling time away, without entertaining people around him. When he slept, did he do cartwheels? When he purchased groceries, did he juggle them?

Every simple movement was exaggerated and turned into a spontaneous act.

It was this boundless, infectious energy that was captivating to watch and made

it difficult to look away. The moments of stillness, silence or boredom are rare, if not nonexistent.

Williams was a genuine performer and did not let his audience down. The first time I saw Robin Williams perform was

“BEHIND A SMILING FACE THERE MAY BE A HURTING HEART.” in the movie Flubber. My school played it once in our darkened auditorium and it was enough to be memorable.

Throughout his career Williams performed in films such as the Dead Poets Society, Good Will Hunting, Jumanji, the Birdcage and Happy Feet.

Not only did he star in countless classic films within his life, he also garnered numerous awards including Emmy, Golden Globe, Screen Actors Guild and Grammy Awards. His talent and personality translated consistently across the

mediums of television, film and stage.

Alongside his acting career, Williams was also a philanthropist who raised money for various organizations.

Williams’ vigor made it difficult to even consider the possibility of him committing suicide. The news of Williams’s death in August revealed a facet contradictory to his public image. Condolences and reactions flooded social media websites around the globe; reactions to the news of his death were expected, but most importantly, raised depression awareness.

This is a reminder to see beyond the surface; that we never really know what anyone might be experiencing inwardly. How many people slip away daily from this illness? How many people cast out their light before the end of the night? Behind a smiling face there may be a hurting heart.

This is a call for kindness and compassion towards each other. Our time on this planet is limited and we are all along on the ride. We are each other’s companions and it is our duty as human beings to help one another.

world were laughter and entertainment.

For decades he made countless people laugh and even in death he has left an impression. Williams entered the industry and left life in the same fashion: with applause.

Photo courtesy of usnews.com.

Williams was an acting crew packed into one and has left a permanent unforgettable role in acting history. His gifts to the

Quitting The Old You

by Dana Heyward

“One day you find yourself frozen in a picture others have taken of you in your minds, and even though you were the one who struck that pose, it never meant that you wanted to stand like that forever.” No, this is not a quote from Thought Catalog.

It’s actually a quote by Andrea Siegel from an episode recap of Real Housewives of

New Jersey. While the show is not exactly a prime source of philosophical stimulation, I remember the weird feeling I got when I came across this surprisingly profound statement three years ago. I felt like the writer had crept into my teenage/young adult soul and made me really realize that inner—change is not something only you have to deal with and accept; everyone around you is going to have to get with the program as well.

“I HAD MOVED ON AND WAS GROWING INTO A DIFFERENT PERSON WITH DIFFERENT WANTS, BUT THE PEOPLE WHO KNEW ME BEST (OR THOUGHT THEY DID) COULDN’T QUITE ACCEPT THAT.”

When I first walked into the Fashion Institute of Technology two years ago, I was pretty confident in who I was and what I wanted to be. My hopes of working in the fashion industry had died out early in high school and were replaced by dreams

of doing Public Relations for art galleries or even becoming an art dealer. No, this was not inspired by Charlotte of Sex in the City but rather my art history teacher from high school and admittedly furthered by the now—cancelled Bravo reality show Gallery Girls (may that so—trashy—it—was—good show rest in peace). I felt like I had to make art my life by volunteering at galleries and making nearly everything I did relevant to art.

But after several experiences and run— ins with reality it didn’t take too long for me to realize that this wasn’t what I wanted for myself nor was it even me anymore. Not that I had suddenly hated those things, but they just didn’t matter as much to me. I had moved on and was growing into a different person with different wants, but the people who knew me best (or thought they did) couldn’t quite accept that.

It’s no secret that once people know you as a certain person it’s hard for them to picture you any other way; no matter how many years have passed or how much

you’re done with aspects of your “past self” (even though in my case it was only a short two years ago). My family was worried and confused when I told them that I dropped my original plans. Even my friends seemed concerned with the sudden change. But I’m not just a victim of this— I’m admittedly a culprit. As much as we want to accept or sometimes deny change within ourselves it gets even shakier with others.

But I realize now that going through a big transition whether it’s entering college, transferring schools or even switching majors, inner and even outer change is inevitable and almost necessary. And while everyone around you may not be adjusting to it all to well, they should still know that you’re still very—much you, but just a different you. You’re still the core of yourself and probably will be for the rest of your life, but your ideas, wants and interests are going to be constantly evolving and that’s more than okay. So keep in mind that while you still may be really into Birkenstocks right now, you’ll live if you don’t wear them next summer.

FIT SPEAKS

FIT

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OYB:

Harlem Pops— A Nail Polish Exclusive

by Tara O’Brien

#OPICokeStyle Vanilla Coke; Today I Accomplished Zero, inspired by Coke Zero; My Signature is “DC”, inspired by Diet Coke; Green on the Runway, inspired by Sprite; Orange You Fantastic!, inspired by Fanta Orange; and A Grape Affair, inspired by Fanta Grape. Sam Rookwood, a member of Exposure Communications, Coca—Cola’s marketing agency, explained that “OPI approached Coke because Coke had experience in fashion and beauty and OPI was aware of that.”

Photography by Tara O’Brien You would never think that on a hot, Friday afternoon in West Harlem a pop up nail salon would be in the works at the Aloft Hotel giving out free manicures to guests and others.

You read right, free manicures to promote OPI’s new line of nail lacquers. As well as collaborating with OPI, Coca— Cola partnered with Aloft Hotels, holding the events in Brooklyn on September 4 and in Harlem on September 5, to introduce the product to consumers.

decorations. Coca—Cola red was all around and amazing pop art promoting the collaboration was seen throughout the entire corner of the lobby. Some employees of the hotel were graciously working the event painting nails, serving drinks and seating guests waiting to have their nails painted.

“Modern” and “chic” were words used to describe the event by FIT student Sara Vetser.

“THESE TWO ICONIC BRANDS TRULY DELIVER HAPPINESS IN A BOTTLE”

The guests entering the hotel were charmed by the quaintness of the pop up salon and the perfectly color coordinated

The collection includes nine sophisticated colors all inspired by a Coca—Cola soda: Coca—Cola Red, inspired by the original Coca—Cola; Get Cherried Away, inspired

by Cherry Coke; You’re So Vain—illa and Sorry I’m Fizzy Today, inspired by

The impressive part of the collection is that each lacquer was thoughtfully planned and carefully executed. The collection comes out just in time for fall and appropriately includes popular colors of the season like deep purple, bits of orange and brown, silver and some dark green. OPI Co—Founder and Executive Vice President Suzi Weiss—Fischmann praised the new line stating, "these two iconic brands truly deliver happiness in a bottle, whether it's a refreshing, invigorating sip of Coke or a set of fingers and toes perfectly polished with OPI nail lacquer.

The nine shades in the collection represent not only best—selling Coca—Cola Company products, but also the different styles of the women who enjoy them.” #OPICokeStyle was posted around the lobby encouraging customers to share their experience on social media. Many women did as they flaunted their freshly painted nails and praised OPI on their outstanding new collection on various social media platforms. @RunawayinLA tweeted “Officially in love with the #OPICokeStyle collection.” When the guests exited the hotel with their free bottles of Coke and gift bags with a free lacquer, it was safe to say they felt the same way.

So be on the lookout this fall, nail polish lovers and Coca—Cola addicts; the new collection from OPI will be making its way to stores and salons in the very near future. You will not want to miss getting a taste.

W27

TJ Volpe — AMC — Fashion is the mood I’m in that day.

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Alexa Poveromo — FMM — Fashion is a form of expression: it’s art and whatever you want it to be.

SEPTEMBER 2014

Bria Scott — Fashion Design — Fashion like any other artistic medium is expression.

STYLE ON 27 Photography by Victoria Mathew

“What does fashion mean to you?”

April Pasch — AMC — Whether it’s classy, spunky, bright, monotone, youthful or sophisticated, I put on my aura of the day through how I dress.

Steph Mendoza — Fashion Design — Fashion does mean everything to me. It is an external interpretation of the creative energies from within.

Ryan Johnson — Fashion Design — Fashion equals a vehicle of self expression.

Nicky Libert — Cosmetics & Fragrance Marketing — Fashion means you can become the object of your imagination.

Melissa Morales — Fine Arts — Fashion like anything has limitless possibilities. It can relate to anyone of any gender or race and builds artists.

FIT SPEAKS

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FIT