W27 Spring Into Summer (May 2022)

The

Spring into Summer Issue

W27 – SPRING 2022

THE

Spring into Summer ISSUE

Editor in Chief & President Prerna Chaudhary Assistant Editor in Chief & Vice President Lonnie Brown Art Director Donna Hellberg Head of Illustration Stephen Campanella Secretary Abigail Zwirecki Writers Abigail Zwirecki, Alisha Singh, Claire Jung, Dana Flores, Donna Hellberg, Ethan Sawyer, Evan Colacchio, Haneen Elmeswari, Jessica Lyle, Kaili Woop, Lonnie Brown, Prerna Chaudhary, Rachel Cross, Rebecca Yoo, Sanam Singh, Stephen Campanella Editors Abigail Zwirecki, Dana Flores, Ethan Sawyer, Evan Colacchio, Rebecca Yoo Illustrators Jessica Lyle, Stephen Campanella Graphic Designers Cheyenne Syrek, Claire Jung, Donna Hellberg, Ethan Sawyer, Stephen Campanella Cover Photo by Logan Hicks Cover Graphic Donna Hellberg Faculty Advisors Ellen Davidson, Alexandra Mann

www.issuu.com/w27newspaper | @w27newspaper

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Spring into Summer Issue

Table of Contents 3

EDITOR’S NOTE

FASHION TWEED BLAZERS, LEATHER JACKETS, AND THE IRRELEVANCE OF AESTHETICS

by Alisha Singh

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SUBWAY STYLES

by Rachel Cross

CULTURE AND ENTERTAINMENT NYC SUMMER EVENTS

by Haneen Elmeswari

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“I SURVIVED AN ILLEGAL ABORTION IN BIRMINGHAM ALABAMA IN 1969”

by Dana Flores

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CAPTURING THE IMAGINARY INFINITE

by Ethan Sawyer

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THE MYTH OF PRODUCTIVITY

by Evan Colacchio

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EVERYTHING EVERYWHERE ALL AT ONCE

by Stephen Campanella

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SOMAS CHRONIC: AN INTERVIEW WITH LEO HAAS

by Sanam Singh

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WHY WE SHOULD SEE INFLUENCERS AS UNRELIABLE NARRATORS

by Prerna Chaudhary

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SCHOOL NEWS AND INTERVIEWS THE RETURN OF FIT’S FUTURE OF FASHION

by Dana Flores and Donna Hellberg

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BSU’S “BLACK PRINT” ON FIT

by Lonnie Brown

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DESIGNER TO WATCH: NINA MAXINE ON SWIMWEAR, SUSTAINABILITY AND BEACH BUMMING IN BARCELONA

by Dana Flores

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EMERSON ISA – METAMORPHOSIS: DISTORTION

by Abigail Zwirecki

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NATALIE GRACE, “ISN’T IT DREAMY...”

by Donna Hellberg

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THE WORDS THAT IGNITE THE ACTIONS TO SPEAK LOUDER

by Rebecca Yoo

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RETURN AND ADAPT

by Kaili Woop

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THE ARTIST ALLEY ASSOCIATION

by Jessica Lyle

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MINORS: A MAJOR DEAL AT FIT

by Claire Jung

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SELECTED WORKS FROM THE 2022 GRADUATING ILLUSTRATION STUDENT EXHIBITION

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Editor’s Note The impending decision of Roe v. Wade and Planned Parenthood v. Casey being overturned is one of the greatest attacks on women’s bodily autonomy, especially poor, queer and of color. Being in a position to lead student voices in a predominantly women-led publication and college has forced me to reflect on our own coverage. W27 members bring distinct perspectives, writing, and art styles that shape our publication into what it is: bold and beautiful. The team seamlessly blends the FIT community’s distinct strengths and interests – culture, immigration, design, beauty, art, style and entertainment.

This year we have felt the W27 community built up from video coffee chats and exclusively publishing online to meeting in the newsroom and physically distributing the issue throughout campus. Being a part of W27 since 2019 has given me a place to ask questions about writing and art and how we showcase what we are thinking about. Even though we have lengthy discussions about structure and word choice and composition, we know that the real heart of W27 is what we are trying to say. As long as readers can understand the writer’s and artist’s ideas, I don’t see the use in perpetuating arbitrary standards of English and journalistic writing styles that are constantly changing anyway. Our artists and graphic designers have also gotten this freedom to explore their style through collaboration. We have created our own space to talk about writing and art to support each other. Writing should not be an isolated incident, but rather a collaborative experience and process. It should be as much about the writer’s journey as it is about the finished piece.

Since becoming a part of the W27 Executive Board, I always wanted to make the newspaper transparent and inclusive in its editing and design process. I encouraged writers to work directly with artists and communicate their vision for their pieces which greatly enhance the quality of W27. While I enjoy opening up W27 to new and eager writers and artists, I struggled to balance including everyone but also giving them the real world experience and criticism to make their work stronger. We have struck a balance between quality and inclusivity, and this is what I am the most proud of from my time at W27.

In conversations with W27 writers, especially minorities, I notice their concern about writing with hesitancy and a tendency to overuse suggestive words: possibly, seemingly, somewhat, often. I am guilty of not wanting to come across as too sure of myself in my writing, too. Writing is a vulnerable experience that exposes your thoughts in a way that can’t be swept over like a passing conversation. I understand the inclination towards writing hesitantly; it’s a defense mechanism. However, no piece of writing or art is objective, so there is no need to pretend it is. Once we write with conviction, people will just believe what we say and stop doubting us.

In the same way that our certainty proves our capability, the language of the proposed amendment to the New York State Bill of Rights gives attention to its own power through language. The new addition to the BOR will secure NY as a safe space for everyone regardless

Editor in Chief

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W27 – SPRING 2022

sca

nm e!

Meet the Executive Board!

Prerna Chaudhary Editor in Chief

Lonnie Brown Assistant to the Editor

Donna Hellberg Art Director

Stephen Campanella Head of Illlustration

Abigail Zwirecki Secretary

Claire Jung Assistant Art Director

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FASHION

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W27 – SPRING 2022

Tweed Blazers,Leather Jackets and the Irrelevance of Aesthetics

by Alisha Singh (FBM, ’23)

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he is “that girl.” The girl who wakes up at 6 in the morning to do her 10step skincare routine. She then drinks an iced coffee and puts on her Lululemons and heads to work out at Equinox. The idea is that anybody can become anyone just by dressing a certain way, listening to the right music or engaging in specific experiences. Instead of shaping personal identity and thus personal style through time, experience and preference, those with money and time on their hands can change their public persona through online shopping and making lists of their daily routines to validate how their lives match their clothes. For those with the means to do so, everything is an “aesthetic” and thus it exists for them to adopt. However, this blatantly ignores the contribution of cultural, political and historical aspects that shaped the very movements now influencing modern-day “aesthetics.”

TikTok has reintroduced the mood board in video format, and users have amassed thousands of followers by creating content based around certain “aesthetics” such as “Dark Academia” or “Cottagecore.” Gen Z’s need to place everything into a box and give it a name coincides with a time in our culture when we are also talking about cultural appropriation, American fashion and the overlooked contributions of POC designers and celebrities. Under a recent “aesthetic” video several users commented, “What’s this aesthetic called?” and each time, others responded with “It’s called being Latina.” There are many

constantly hunting for a niche to fit themselves into, usually through social media and fast fashion, which has led to conversations around the death of personal style and stems from capitalism and the commodification of identity. To distract from the harsh realities of latestage capitalism, we are being sold fantasies of belonging and identity through clothes. What you wear has always signified whether or not you will be accepted and the only way to do so is to spend

photo by Ilya Komov from Pexels money to get it. Fashion has always been used as a tool of oppression and control and that has not changed.

Under capitalism anything can be packaged up and sold, so why not our identities? An aesthetic is not just a word to describe something that’s visually pleasing anymore, it’s a lifestyle. With a specific rug on your bedroom floor and a certain skirt set in your closet, sudden-

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ly your whole identity is manufactured.

The ones who can participate have the money and the privilege to adopt these aesthetics at alarmingly fast rates while also looking down on those who don’t have the abilities to curate their entire lives. Of course, it’s not easy to sell an abstract idea and that’s where the specific terms come in: Suburban Whimsigoth, Ballet Academia, Fairycore. Moreover, young people tend to think that these are new inventions – that they’re these revolutionary ideas on how they should frame their lives for others to see – when truly, they’re a part of and products of greater historical, political and cultural patterns.

Dark Academia: classic literature, tortoise shell glasses, 1950s prep school attire. This “aesthetic” is tied to the idea of fantasizing about elitist white institutions that have been champions of, and still are, perpetuating systemic racism and classism in society through business, government and academia. On one hand, social media has given those who have been shunned from these institutions the chance to romanticize the experiences of the select few – to feel that level of wealth and privilege, to imagine running around gothic-style architecture with access to the best education possible. It gives them a chance to be a part of something that was never meant for them. On the other hand, the rapid growth of this aesthetic is a product of the entrance of the far-right and white supremacy into the mainstream. For

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white people, this is a romanticization of a time when Jim Crow and Apartheid were in place and much of the world was still colonized. This aesthetic and others are products of white supremacy that they were entitled to. So what does it mean for them to be so ready to evoke it in their daily lives? For POC who participate, it’s an attempt to create this fantasy set in that time period because when being historically accurate, not much was rosy. Many may just be thrifting books and wearing loafers, but it’s blaringly important to look at the proliferation of this aesthetic and similar ones much more critically.

The rise of the far-right in recent years in the United States as well as abroad means that the “Old Money” aesthetic has also been gaining traction among teens and young adults. The idea is to look classy, timeless and elegant – all of which are terms that are easily attributed to wealthy white folks. The idea is to dress like those with generational wealth and privilege, to dress like those who exploited people of color and the working class to make their money and to dress like those who would never welcome you. However, the Dark Academia and the Old-Money aesthetic are very similar in the fact that they celebrate times of violence and oppression against people of color in the US and abroad and are based on the ideas of exclusivity and classism.

The idea of who’s allowed to have money and what they’re allowed to look like.

What’s changed is the fact that the style of clothes that match this aesthetic are now more accessible through fast fashion, however when scrolling through the hashtag on Tiktok, there is still a lack of POC users and inspiration for this look.

For white people who choose to identify with this aesthetic, they’re also identifying with the past and present of white supremacy and capitalism. Of course, this isn’t the first time white supremacy and exclusion have been used to sell clothes or a “look.” The Netflix documentary, “White Hot: The Rise and Fall of Abercrombie & Fitch” analyzes the

Spring into Summer Issue

brands hiring and marketing practices that thrived off of these very things and led to their hegemony in the teen market in the early 2000s. It’s important to question why it always comes back to this and why it’s revered. Exclusion (classism and racism) still sells in fashion. Chanel raised their prices to become more exclusive, but who are they excluding?

Those who already had to actively save to buy a single product (even at earlier prices) which also overwhelmingly includes people of color. We live in a time

the critical thing that characterizes the punk movement which is the ideology.

Non-conformity, anti-government and anticapitalist beliefs were a big part of the punk movement that was originally composed of low-income, disenchanted youth in the early 70s United Kingdom.

They rejected societal norms and used their style as a visual signifier of their beliefs. It’s no surprise that in a time when the youth is once again becoming critical of corporations, the government and other deep-rooted systemic issues, they wish to use their style as a statement and thus the look of the punk movement has made a comeback.

However, with the commodification of identity and subcultures by capitalism, anyone can just adopt this look without an understanding of its history, which can be exemplified by the popularity of pop punk and fast fashion brands like DollsKill and Hot Topic. Currently, those participating in this “aesthetic” are rich teens who can afford to spend time and money on transforming their wardrobe and filling it with vintage and designer pieces from the likes of Vivienne Westwood and Chrome Hearts. It’s no longer a rejection of mainstream society and beliefs but just a way to look “cool.” Punk as a subculture is still thriving, however, the commodification of the punk movement and its look is an example of what capitalism is doing to rebellion and revolution: trivializing them.

photo by Cottonbro from Pexels where with a lack of context, everything is simplified when in truth the history behind it and how it fits into our society always matters.

Historically, fashion has emerged from social movements as a signifier of social and political ideologies. The style of celebrities like Olivia Rodrigo, along with Travis Barker and Machine Gun Kelly, are indications of the re-entrance of pop punk into the mainstream that coincides with growing interest in the Leftist movement and disenchantment among young people. Pop punk is a subgenre of punk that came about in the 90s with a softer sound – not accompanied by

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All those fascinated by these “aesthetics’’ may not have any idea of what it means for them to be popular right now or the significance of their participation.

However, these clothes communicate so much about what is going on at a larger stage, nationally and globally. Anyone can wear anything now, and thus fashion isn’t as much about expression as it once was. Now, a person’s actions and beliefs, their consumption of media and their own contributions to it are far more important than whether they fit into something visually. It’s about whether or not you choose to understand the world on a deeper level because social media makes everything out to be a lot simpler than it is.

W27 – SPRING 2022

Subway

S T Y L E S

A documentation and analysis of metro fashion in New York City.

by Rachel Cross (AMC ‘22) Photography by Rush Dixon and Cesar Cordone

First impressions on the subway can drip in awkwardness, bubble with humor, or fail to even happen because we’re too wrapped up in technology or too scared to make conversation. But we can’t forget, we have the ability to communicate silently. Body language and facial expressions can tell our story, but no matter what we wear, our outfits speak unequivocally of our personality. Afterall, nothing speaks louder than New York City fashion.

I ride the subway around four times a day, and I always scour the cars for style inspiration. Before recently I admired from afar but now if I see something I like, I push myself to engage and extend my appreciation. These organic interactions are completely unpredictable, but that’s the exciting part.

Subway Styles is a documentation of human-to-human connection on a public transit system that seems to perpetuate social isolation given its current crime rates and “shushing” advertisements that aim to minimize interaction during the pandemic. While always aware of my safety, especially as a single woman, I’ve taken the risk and have been able to converse with many strangers about their personal style, outfit inspiration and places they like to shop.

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Brooke and Jessie

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aiting for a train at Prince Street station, I noticed an asymmetrical white button down with a multicolored knit sleeve that veiled just the right side. The other half was splattered with colorful pictures of hand-drawn food and utensils. The woman wearing the jacket wore it on top of a bitsy button tank top and paired it with a long jean skirt and platform Doc Martens. She was standing up against the wall, next to her co-rider who also wore a long jean skirt with platform Docs. An olive tank top shielded a flowy cream long-sleeved top that hung just above the second woman’s skirt. They both wore layered necklaces and dangling earrings. “I have a lot of my mom’s clothes from the 90s,” the girl in olive said.

“I like my outfits to be medieval-esque with lots of jewelry.” She pulled back her Castleton green dipped blonde hair to reveal a bounty of hoop piercings that climbed her ears. The other woman, who had less piercings but striking eye makeup, nodded in agreement. “Eyeliner is essential for me.

I usually plan my outfit around my makeup,” she said. They shared an appreciation for staple styles but brought them together with personal twists.

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hile maneuvering through the turnstile at Prince Street station, my eyes locked on a peculiar sweater vest covered in what appeared to be orange, lavender and black three-dimensional cubes. The man wearing the vest peered behind circular metal ringed sunglasses and wore a black bucket hat. His trousers and dress shoes were also black, solidifying the sweater vest as the statement piece of his look.“I find a lot of my style inspiration from 70s fashion,” he said. I noticed his psychedelic smiley face phone case clutched in his accessorized hand. Two rings on his pointer and pinky fingers accentuated the tiny eye nail art he had painted close to his cuticles over a clear coat of polish. “I look up to Elton John, his style is so unique and fun,” he added. I was mesmerized by the cubed pattern and striped details around the neck of his sweater vest. He thrifted it years ago. “I’m always looking for exciting prints, especially on unexpected pieces like pants.” His bright and full spirit mirrored the mood of his stereoscopic outfit.

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Hannah

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trolling across a platform at the 42nd Street Station, an iridescent blush coat caught my eye. It was longer, hanging just above the woman’s strappy black boots. A black bag hung from her arm with pink details I couldn’t make out yet. Her knitted hat matched the color of her coat almost perfectly and was glamorized with crystal embellishments. I needed to know more about her. “I love playing with juxtaposition,” she said. “The contrast of pastels with goth accessories excites me.” Her favorite color is pink and Hello Kitty has been her favorite character since childhood. I now noticed that her black bag was detailed with the character’s name and portrait outline. Black fur peeked out of her coat, and she unzipped it to reveal a matching pink fitted top. Rhinestones covered it and glistened below the Coco Chanel silver necklace draping from her neck. “I’m on my way to meet some friends in Chinatown, we’re getting dinner and might go to the Hello Kitty store,” she said bashfully. Her outfit was undeniably characterized by unanticipated contrast.

W27 – SPRING 2022

Karolina

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Yves

avigating the boundless tunnels of the 42nd Street Station, I gravitated toward a pair of bright multicolored Adidas high top sneakers. The woman paired them with entirely black pieces; a long lapel coat and fitted beanie. Her sneakers sufficiently vitalized her look she felt no other colors were necessary. “I like to balance between playful and sophisticated,” she said. Now in her mid-thirties, she consistently battles between feeling young and old. “I like pops of bright colors because they energize me.” Initially, I assumed she customized her sneakers because they were so obscure, but she got them a while ago- a remake of the 1984 Adidas Forums.

Reflective of her inner conflict, her classic sneakers, vibrant with colors like fuchsia and aquamarine, were counterbalanced by the absolute black of her other pieces.

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tanding on a platform at 18th Street Station, my eyes were captivated by a glaring amethyst and baby blue patterned puffer jacket. I could see graphic images of women’s faces and what looked like skeleton hands from afar, but it wasn’t until the man turned toward me that I noticed the eyes across his chest. Two beady blue eyes with scowling eyebrows and long lashes were positioned in the center of his coat. They were hypnotic. “I wear what I like,” he said. He was a man of few words, but not one was wasted. He saw this jacket, he resonated with it and bought it, so now he wears it; it’s that simple.

Given the unstable climate of New York City’s public transportation system today, it’s normal to want to keep to yourself and solemnly acknowledge strangers. You just might be missing people and outfits that are rightful of admiration.

I regularly update the infatuating style I’m charmed to witness throughout my commutes on the Instagram account, @subway.styles. Although it can feel intimidating, I continue to observe my surroundings and express my gratitude for strangers’ style.

I encourage you to also look around and tune in to the underground fashion show that never slows. Better yet, walk the runway yourself by wearing an outfit that will sincerely speak before you even know they’re looking.

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CULTURE AND ENTERTAINMENT

W27 – SPRING 2022

NYC Summer Event calendar

by Haneen Elmeswari (AMC, ‘24)

Bronx Night Market ------------------------

Ninth Avenue Rooftop Cinema Club International Food Midtown Festival -------------------------- --------------------------

One of the things that makes New York so romantic is its skyline, as well as rooftop culture! This summer, take an ordinary experience like going to see a film and elevate it, literally. Cinema events on the roofs of hotels and bars is the way to do it. The Rooftop Cinema Club on top of the Skylawn Embassy Suites shows films on lofty heights on several days during May. Visit Rooftop Cinema Club’s website to check out which movies will be playing when and to purchase tickets.

Dates Include:

The Princess Bride The Bronx Night Market is back! Start- Crazy, Stupid, Love ing on April 30th from 1-7 p.m, the Back To The Future Bronx night market will open its doors Poetic Justice once a month for your culinary delights Sing 2 and to commemorate the city’s north- Jerry Maguire ernmost borough. Find a wide range of Cocktail cuisines and cultures being celebrat- The Sandlot ed at an affordable price range. This is the perfect opportunity to bring some family and friends to explore and widen your palate, while also enjoying live performances and art installations.

Dates Include: May 28th June 25th July 30th Aug. 27th Sep. 24th Oct. 29th Nov. 19th

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| May 19th | May 19th | May 20 th | May 20 th | May 21st | May 21st | May 21st | May 22nd

After being canceled for the last several years due to COVID-related health concerns, one of the oldest and longest-running food festivals in New York City is back! Located on Ninth Avenue between 42nd and 57th Streets, Manhattan NYC, the festival will showcase foods and dishes from all over the world. From 10 a.m to 6 p.m on May 14th and 15th, local restaurants, as well as street food vendors, will be represented. Greek, Spanish, Polish, and Italian foods – as well as Chinese, South Korean, and Indian specialties – will fill the air with fragrance, culture, and fun. The live entertainment is also fantastic. You can see everything from Egyptian belly dancers to Celtic high-steppers!

Japan Day --------------------------

Every year, in New York, Japan Day is celebrated. Held on May 14th this year, Japan Day is a cultural festival that is one of the many highlights of spring. The event celebrates Japanese culture, art tradition, and food, and for the first time, this year will have a parade. It will be held in Central Park on the Rumsey Playfield and offers everything from Hello Kitty Mascots to workshops on Origami folding techniques and performances by Japanese musicians and dancers. The parade starts at 1 p.m and moves along Central Park West between 81st Street and 68th Street (Heading south towards 68th Street).

The

Frieze New York --------------------------

Frieze New York is an international art fair that debuted in 2012. This year, the event returns after last year’s sold-out edition to bring together the world’s leading galleries to feature ambitious solo, group, and themed presentations by emerging artists. The fair offers not only the chance to discover talented young artists but also to meet some of the leading figures in art history. Held in The Shed at Hudson Yards, the event is a must-see for art enthusiasts as well as someone looking to try something new in the city. The fair will be held on May 18th - 22nd from 11 a.m to 7 p.m and a purchased ticket is required to enter.

Pizza Wine Movie Nights at Rooftop Reds --------------------------

Here in NYC, people can’t get enough rooftops. Most young people’s evening plans include a drink, dinner or a party on one. Rooftop Red, the world’s first commercially-viable urban rooftop vineyard in Brooklyn, is hosting Pizza and Wine movie nights from May 19th all the way to October 28th. They’re showing a plethora of different films and genres from Hook with Robin Williams to Hocus Pocus the night before Halloween. Head over to their website to see what films are playing when, their timings, and to buy tickets!

Spring into Summer Issue

The Intrepid Sea, Air & NYC Pride Parade Space Museum -------------------------On June 26th, New York City will host its Pride Parade. From its first march -------------------------- 52nd in 1970 to 2022, NYC Pride’s purpose

From April through September, the Intrepid Museum will again extend its free Friday hours on select Fridays from 5 - 9 p.m on select Fridays. Come and Celebrate the Museum’s 40th anniversary and enjoy special programs, including their popular Astronomy Nights with special guest speakers, demonstrations, stargazing on the flight deck, and more. You can also watch a movie under the stars on Intrepid’s flight deck during their free summer movie series featuring classic films also celebrating their 40th anniversary!

has broadened to include recognition of the fight against AIDS and to remember those we have lost to illness, violence, and neglect. Join them as they march to celebrate the LQBTQ+ lives and community. The route of the Pride march through Lower Manhattan traverses south on Fifth Avenue, through Greenwich Village, passing the Stonewall National Monument, the site of the June 1969 riots that launched the modern movement for LGBTQ+ rights. The event is free to attend.

Tribeca Film Festival --------------------------

Dates Include: May 27th June 24th July 29th Aug. 26th Sept. 30th

Jazz Age Lawn Party ------------------------Ever wanted to travel back in time just to see what the party scene was like? Maybe as a flapper or in an underground jazz club? The Jazz Age Lawn Party brings together thousands of people to revel in the era of the roaring twenties. Held on June 11th - 12th, the party is from 11:00 a.m. to 5:00 p.m. and will be on Governors Island. The event will have live music, retro cocktails, and 20s Prohibition-era entertainment. Explore the park and join dance lessons, take a vintage portrait, check out the antique 1920s cars, play croquet, enjoy a gourmet picnic and more.

Make sure you’re wearing your finest vintage silk! Ticket purchase is required to enter and all ages are welcomed!

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For all the film junkies out there, single tickets to the Tribeca Film Festival go on sale on May 2nd! The Tribeca Film Festival is an annual film festival organized

by Tribeca Productions. Taking place from June 8th to the 19th, it showcases a diverse selection of film, episodic, talks, music, games, art and immersive programming. This year’s lineup includes 109 feature films from 40 countries and 88 world premieres including Joachim Back’s “Corner Office” starring Jon Hamm and “Somewhere in Queens,” directed by Ray Romano starring Romano and Laurie Metcalf. Make sure you grab tickets before they sell out!

Shakespeare in the Park --------------------------

New York is the hub for theater kids all over the country. When in town it only makes sense that you see something on stage. If you can’t make it to a Broadway show or have seen everything already, try Shakespeare in the Park. Nothing like your usual long and insufferable Shakespeare productions, Shakespeare in the Park is full of humor and an immersive narrative. From June 17th to July 17th enjoy Tony Award nominee Robert O’Hara (Slave Play, The Public’s Barbecue) bring his sharp wit and story-telling genius to The Delacorte Theater with a bold new production of RICHARD III. Make sure to head to their website and reserve a seat when tickets go on sale.

W27 – SPRING 2022

by Dana Flores (AMC ‘22)

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n May 3, 2022 people took to the streets in protest of the U.S. Supreme Court’s leaked draft revealing a preemptive decision to overturn Roe v.

Wade. Hundreds of signs in support of reproductive rights flooded Foley Square, New York City, but one sign in particular stood out amongst the crowd. Angela Fremont, an abortion survivor, activist, and artist stood firmly holding a sign reading, “I SURVIVED AN ILLEGAL ABORTION in Birmingham, Alabama in 1969 #NeverAgain.”

hemorrhage. I had a fever and they pulled out the hose and the cotton batting and… it was horrible. They took me to the hospital and dropped me off outside. At the hospital there were police officers who kept saying “Who did this to you?” I said I did it to myself because in my mind I thought if I implicated someone I’d go to jail. I didn’t want to go to jail on top of everything else. Then the hospital wouldn’t admit me without parental consent. So I called a woman and said “Just say I’m your daughter. You’re my mom.

Don’t ask me any questions.” She agreed D: Can you tell me about your sign? to do that and I got admitted and they A: It was horrible. I got pregnant when I gave me a dilation and curettage. I’m one was 18. I was living with my grandmother of the lucky ones because I survived. and I couldn’t tell her. My mother left me when I was 16 so I couldn’t tell her and D: Thank you. How has the recovery process my dad lived on a boat so I couldn’t tell been since then? What’s been the emotional toll it’s taken on you? him.

I didn’t have any money but I had a job so I asked the nurse… “I’m pregnant. I need some help.” and she said “I’ll try and help you.” She got me a phone number, I called the phone number and it turned out to be a doctor in Alabama…I was living in Miami.

She pauses, thinks, letting out a deep sigh.

A: I couldn’t tell anyone…So I wound up in Alabama and the doctor examined me and said “I’m not doing the abortion but I know someone who will.” So, to me, in retrospect, it feels like a little baton switch because I wound up down a dirt road in a shack with a woman who had three dogs inside the shack, urine on the floor, two sawhorses with a sheet of plywood. She told me to climb up on the plywood and she put a hose inside my cervix into my uterus and she explained that the hose was going to introduce air into my uterus and that I would spontaneously abort in 24-36 hours. She put cotton batting inside the hose to keep it in place and then I got back on an airplane and got back to Tallahassee where I had friends who let me stay and wait out the 36 hours. Then, after 36 hours I started to

A: My whole life has been affected by having had this abortion. The first thing I did when I recovered was tell my sisters about it. I’ve been in therapy since I was 20. Not only because of the abortion but because I want to be a healthy person. You know, it’s made me an activist.

Having had this happen to me, it’s made me be a person who wants to be involved in civic affairs because it’s not right for this to happen to somebody. You know, I’m a healthy person and I shouldn’t have had to go through this to take care of my body. Everybody has a right to take care of their bodies. I shouldn’t have had to be secretive. I shouldn’t have had to hide this from my family. I shouldn’t have had to be ashamed and humiliated and have my life endangered because I made a mistake. It’s just wrong. And now, there are young women who are going to be scared, in Oklahoma, and in Texas, in North Dakota, and in South Dakota, and in Mississippi and in 26 states and all over this country. And we have to stand up against this. We have to fight against this. We have to speak out. All of us have to speak out. And it’s so important what you’re doing, writing about this and speaking

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up about this – it’s so important what you’re doing.

D: Thank you for sharing your story with us.

Fremonts’ account reflects that this decision is one of the most significant setbacks for women’s rights in the history of this country. When the Supreme Court decides to overturn Roe v. Wade, the final decision to legalize or criminalize abortion will be left to the states, forcing pregnant people, like Fremont, to travel across state lines to receive the procedure.

New York State lawmakers are pushing to pass an inclusive Equal Rights Amendment (ERA) to the NY Constitution (Senate Bill S1268). The state-level amendment will expand on the current federal language of the ERA to “protect the rights of pregnant patients, as well as constitutional and common law protections to privacy, bodily integrity, and medical decision-making throughout pregnancy.” What this means is that there is not currently an equal rights provision in the NY Bill of Rights and the constitutional language is not up-to-date with current laws being passed. Therefore, there has to be an adjustment within the language of law in order to provide full legal equality to all people under NY state law.

We can support by appointing representatives at the local level that support Senate Bill S1268, listening to people’s abortion stories and continuing to educate ourselves and those around us on the importance of the right to choose.

We all have a right to healthcare, we all have a right to be healthy, and we all have a right to choose how to care for our bodies. #NeverAgain

scan to listen to the full

interview

The Written/Designed By Ethan Sawyer (AMC, ‘22) Illustrations by Jessica Lyle

Spring into Summer Issue

CAPTURING THE IMAGINARY INFINITE How mere mortals tackle the task of crafting and curating whimsical fictional worlds As another semester ends and seniors struggle to step into their new life, I’d like to talk about a job some of you may stumble into as the next curators, creators, and superfans of fantastical fictional worlds. A historian for fiction, a god regulating seasons, strangers, and settings of the imagination - let’s talk about loremasters.

It’s not so much a job you seek, and more so a job you fall into.

While not an official job title (most of the time), the term loremaster can be used to refer to anyone well versed in the history of a fictional universe. Within large media companies, loremasters can vary in the specific actions required of them, but as a whole, a loremaster observes or creates a fictional world, and attempts to organize all the lore laws to

better make sense of their intricatelyfabricated fantasy land.

Pablo Hidalgo, one of the first Star Wars historians, got hired at Lucasfilm after he helped them fact-check their own lore in the late 90s with his extensive online lorebook. Chris Metzen, the current story director of World of Warcraft (WoW), started crafting the genre-defining fantasy world as simple backstory inserts slipped into instruction manuals.

For many loremasters, the day-to-day of the job requires piles of humans to be interacted with, each huddled up in

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their own sectors of the office cursing the complexity of their world. Like multi-eyed angels with infinite historical insight, the loremasters swoop in and console their anguished coworkers with a pat on the back and an obscure fictional fact. As explained by Sean Copeland, the Historian Supervisor of WoW, “On any given day, our group is likely fielding lore and research requests made by our internal teams, reviewing publications and lore content for our publishing teams, [and] hosting lore seminars for on-boarding and education.”

One of the most challenging aspects of maintaining a fictional universe

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over decades and different mediums is the ever-growing amount of content.

Loremasters can sometimes spend days organizing, understanding, and sifting through piles of previous records. Not only that, but the established history can also hurt future stories. A few years ago, when Copeland was helping to develop a new story for the WoW video game, he proposed killing off a red dragon that had a thematically relevant history with the villain. Unfortunately, after a quick lore search, it was discovered that the red dragon had already been killed in a book, and most tragically of all, in a much less thematically relevant manner.

As expected, Copeland didn’t pull that lore directly from his head. A loremaster’s best friend is their internal database.

Billions of sorted records stored on private servers have allowed not only the loremasters to keep track of their lore, but have also allowed designers and writers to do their own research, without having to ask a loremaster to demonically chant “Ak’agthshi ma uhnish” every few hours. While working on The Elder Scrolls Online (ESO), Lawrence Schick, whose job title was literally “Loremaster,” helped to flesh out the Elder Scrolls database by personally recording pronunciations for the thousands of proper names in the world of Tamriel.

Because the top-dog loremasters are so busy mastering the speech patterns of fish, it would be a ludicrous undertaking for them to oversee every aspect of the world creation process. So they don’t.

Instead, the best worldbuilders in the business manifest general lore laws, and leave the details to their less-affluent ilk. Schick is a big fan of this approach, saying in a 2014 interview “recurring

characters…can then be passed off into different areas and reused by other teams. Then [they] become memorable and players start to recognize them.”

Even with a plan to rival that of a man in water wanting himself to be wet, 100% consistency is impossible.

Games Workshop, the creators of the Warhammer Fantasy world, gave up on consistent continuity in favor of letting anyone craft stories within the world they created. Gav Thorpe, former overseer of all background and IP created

by Games Workshop, has been explicit in this regard, saying in a 2010 blog post “the notion of canon is a fallacy…

Warhammer and Warhammer 40,000 exist as tens of thousands of overlapping realities in the imaginations of [people].

None of those interpretations is wrong.”

On the flip side, before it was bought

by Disney, Lucasfilm used a canon tier system to track the Star Wars continuity.

Formally developed by Leland Chee in 2000, the Holocron continuity database assigned all Star Wars media to one of six levels of continuity. G-canon was the highest level of continuity, being anything created by George Lucas himself. N-canon was the lowest level, meaning it was completely contradicted by higher canon levels and should not be seen as a legitimate part of the main Star Wars story.

Other loremasters have come up with more human, down-to-earth explanations for inconsistencies. In ESO, stories are never told omnisciently, they’re always presented from the viewpoints of characters, meaning contradictions and hearsay run rampant.

As said by Schick in a 2019 farewell letter: “Since all the stories of this world come from characters in the setting

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itself, and you can listen to them and read their books, you can decide [the truth] for yourself. And whatever that is, it’s as right as any other character’s beliefs.”

Or you can just outright retcon if nothing else works, it’s a fictional world, WoW changed a wizard’s age because of a movie, who cares, and I’m definitely not tearing up over Schick’s farewell letter, fuck off, read the next section.

In the end, all a good loremaster wants is for their fans to be excited about the world and find themselves in the lore.

Their efforts have taught us, molded us, provided intangible satiators when nothing else could fill the slot. However, many of us take for granted the sheer impossibility of these worlds working as well as they have, instead focusing on the inescapable abnormalities that come with creation. If there’s one consistent message echoed by all of these loremasters that I believe should be absorbed, it’s this:

Find the stories that make you happy, and use them to interpret the truth for yourself.

The

Spring into Summer Issue

The Myth Of Productivity

by Evan Colacchio (FBM ‘22)

W

e have all been told, at some point in time, that we are not working hard enough. The concept of “grinding” towards success and pulling yourself up by your bootstraps, is ingrained in the fabric of our culture. Not only has it become increasingly easy to get lost in one’s work, but our society applauds such behavior. Especially for students and young professionals, a balance between work and personal fulfillment is retreating in prioritization. However, as the room for this balance shrinks, so does our sense of self.

This emphasis on work over self is not a choice that we have collectively made, but rather an expectation that we have inherited. If you want to get into the best college, you must join every honor society that your high school offers. If you want to receive the best internship, you must be a member of every club at your university. If you want to have the best job, you must have a catalog of internships on your resume.

The list of expectations seems to grow in its harshness everyday, while the understanding of human limitations becomes smaller and smaller.

This is a theme discussed heavily in the 2019 book, “How to Do Nothing: Resisting the Attention Economy,” by writer and professor Jenny Odell. Throughout the book, which exists somewhere between being a field guide and self-help manual, Odell discusses how demonstrating resistance towards the so-called attention economy and the oppressive productivity standards of modern day is inherently revolutionary, and in some ways, even anti-capitalist.

“Nothing is harder to do than nothing,” Odell states in her book’s opening lines.

“In a world where our value is deter-

mined by our productivity, many of us find our every last minute captured, optimized or appropriated as a financial resource by the technologies we use daily,” she writes.

Later in the book, she examines the nature of resistance-in-place, which is “to make oneself into a shape that cannot so easily be appropriated by a capitalist value system.” In her own words, “to do this means refusing the frame of reference: in this case, frame of reference in which value is deterred by productivity, the strength of one’s career, and individual entrepreneurship.”

In other words, the only way to unsubscribe from this belief system of toxic productivity is to unlearn the idea that our worth must be conflated with the scale, quantity and success of our work.

This is a belief that has become an integral thread in our culture’s tapestry, and thus influenced our existences in a variety of nuanced ways.

We are all likely familiar with the term “side hustle.” What began as a fun, likely insubstantial, tactic to earn some extra income has grown into a much larger beast, one with an insidious potential to disrupt the personal interests we harbor to keep ourselves sane outside of our primary responsibilities.

The productivity culture has spawned a belief that any and all interests that one may have can, and should, be commodified. Any time spent on personal fulfillment is seen as time wasted, and any action that is not profitable or contributional to some establishment is unnecessary.

Side hustles, for many, have become just as taxing as their professions, and the passions that prompted these activities are now just another job.

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The effects of these standards are multifaceted in the harm they produce. It goes without saying that existing in a culture that views its inhabitants with such coldness can produce feelings of profound emotional exhaustion. The only respite from this harshness is taking time for oneself without any expectations or demands, and that is exactly what this culture seeks to dissuade.

The nature of this culture also lends itself to a belief that every present moment must exist as an investment into the future. We must always act in accordance with a rigid plan and never falter in our attention towards the work necessary to enact such plans. The problem with this fixation of our attention is that, as a result, we have all forgotten how to exist in the present.

If you were to truly think about it, you likely are living the life that you aimed to achieve one, five, 10 years ago. Yet, we never allow ourselves the opportunity to enjoy such success. Productivity standards advocate solely for the “usefulness” of each moment in the grand scheme of our lives and our capitalistic economy. Our lives, however, are not just our work. Though it may be hard to believe, we do not always need to be useful.

A day spent doing nothing is not equivalent to a day wasted. We are worth more than our salaries, our weekly time clocks, the amount of slots on our calendars in comparison to someone else. Our time does not need to be an investment into anything, it can just be time. Next time you have a free moment, instead of racking your mind for whatever work you could fill it with, use it to just exist.

Nothing else, but a breath in and out.

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A

cclaimed New York City-based film studio, A24, has gained recognition for its artistic visions, unique and diverse directors and film genres of all sorts in recent years. With notable projects including “Uncut Gems” (2019), “Hereditary” (2019), “Lady Bird” (2017) and “Euphoria” (2019-) already in its impressive arsenal, its most recent addition, directed by Daniel Kwan and Daniel Scheinert (collectively known as Daniels), brings us one of the visually stunning and thematically warming stories yet – known to the world as “Everything Everywhere All at Once.”

Previously, the Daniels had triumphed with their direction on the surrealcomedy “Swiss Army Man” (2016) starring Paul Dano and Daniel Radcliffe.

The project began in 2010, when the Daniels began conceptualizing a HongKong inspired action film, akin to the moods of Hong Kong director Wong-Kar Wai, combined with the science-fictional plot devices of parallel universes. The Daniels wanted to explore the idea of multiple universes existing all in one timeline, intertwining stories in an artistic style that had very rarely been done in film before. As development began on the project, films and shows such as “Spider-Man: Into the Spiderverse” (2018) and “Rick and Morty” (2013-) began to hinder the process.

With multiverses becoming popularized amongst various pop-culture platforms, the Daniels feared their long-awaited film would be buried in the now saturated up-and-coming genre.

With the project being reworked and delved deeper to create a more efficient story, martial arts star Jackie Chan was originally considered for the leading role, before Michelle Yeoh was worked in to take over, now in the role of Evelyn Wong. The Daniels felt including a family tone, with husband, wife and daughter relationships and conflicts, would create a relatable mood underlying the wild interdimensional story. Michelle Yeoh, whose claim to fame includes iconic films such as “Crouching Tiger, Hidden Dragon” (2000) and “Crazy Rich Asians” (2018), is no stranger to martial arts (and maternal arts) roles. She claimed tearfully in a 2022 GQ interview “This is something… I’ve been waiting for… for a long time.” Michelle brings a powerful performance to the screen, with speculation on a 2023 Oscar nomination already in sight. “Everything Everywhere All at Once” also marks the return of iconic scene-stealer Key Huy Quan as Waymond Wong, of “Temple of Doom” (1984) and “Goonies” (1985), after nearly 20 years off the screen. The film also stars Jamie Lee Curtis, Stephanie Hsu and James Hong.

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The plot follows Evelyn Wong (Yeoh), a Chinese-American woman who learns that she stands as the least-successful rendition of herself amongst various universes, and it is up to her to link with these various Evelyns to prevent the fall of the multiverse as a whole, with her husband, daughter and other counterparts all instigating and defining where her individual places stand in the universe.

“Everything Everywhere All at Once” was finally released at South by Southwest in March of 2022 and is now in theaters everywhere. Go see it at once.

ILLUSTRATION BY STEPHEN CAMPANELLA

The

Spring into Summer Issue

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photo by Blake Weeks

On March 12, the Brooklyn venue Trans-pecos did not check anyone’s tickets. For ten dollars a head, there was little point in stomping out any angry lonely heart stumbling their way past the doors.

A room full of faces and outfits worth a double take, controlled by no bouncer.

It was easy to separate first timers like myself from the frequenters, the punk crowd. Our generation of punks came that night knowing it was time to make a memory. That task is effortless compared to Leo Haas’ that night. Her task was on the bass. Her task was making an impression, the result of which takes no effort to remember whether it turned out good or bad. Her task was letting them know who CHRONIC is. That challenge goes with being an artist in general, but performing live music takes this kind of pressure to a new degree. One moment demanding a meditative headspace and overconfidence in your abilities like forced faith in one’s self. When done successfully, it’s like bliss for the performer and the crowd. Luckily on March 12th, I had a taste of that bliss.

Dry amplifiers hit a small room filled with like minded individuals. If you were trying to get to the other side, you’d have to make your way through the mosh. A masked lead guitarist appropriately singing incoherently into a microphone and a drummer whose force is felt in the room were backed by a powerful rhythm section holding the time and driving the pit.

The band had originality and I knew I had to explore them and the scene deeper. I learned after the show through mutual friends that the bassist of CHRONIC, Leo Haas, is a FIT student. I knew that the opportunity was too great to pass up, and not more than 2 weeks after the show, I had the privilege to talk to Leo about the scene and the lifestyle that goes into musicianship.

“Well my dad is a drummer so I grew up learning from him and being around bands generally. And growing up in the Atlanta music scene which is different from here.

The kids here are very forward in that they really communicate with each other and get shit done sometimes.”

So when you came to New York for college, did you know you wanted to be in a band?

“I came here as a freshman and I was looking for a band but I wasn’t really looking in the right places. ‘Cause I didn’t find one until after COVID actually. I went home for COVID and was using that time to brush up on drums and bass and you know, actually try and commit to something. After COVID I started hanging around in the parks, that’s how I got to know people and make connections, make friends. From there, that’s where I started going to shows in Tompkins Square Park and Fort Greene Park, over the summer those were the main two places. When I first came to New York I was very surprised by the amount of young bands that were already established and kinda had their own scene going on. It was so D.I.Y, kids would be bringing their gear to parks and playing and I loved that, it was so cool. Unfortunately the cops didn’t take kindly to that.”

So were you searching for a band at this point?

“I did, yes but not really because I didn’t think that I had the musical chops yet, ‘cause I was shy. I was practicing drums but didn’t have a drum kit. It’s kinda hard having a drum kit in New York, I would practice on my kit in Atlanta before. I Thanks again for meeting with me Leo, knew some bass, and I had been practicSo I guess we can start off with what got ing with it more, and I actually started you into music? out managing, I thought I wouldn’t be

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Spring into Summer Issue

photos by Destim

y Mata

The

able to keep up in music so I thought I’d start to manage. I started managing my friend Sasha’s band Jade Tourniquet. I would help out with social media and booking, keeping a calendar. I was thinking I’d start doing multiple bands but then I got asked by my friend Roger to play in his band, this was after COVID, it was the first band I played in.”

bass in one room. This is all around this past August, September. We’re a new band. We were looking for a drummer and started going to shows and asking around and ended up meeting Jared who is our drummer now. A band is only as good as its drummer and thankfully our drummer is fantastic. We did one gig at Arpeggiator Studios, after that Tony met Julianna who is our rhythm guitarist at Trans-Pecos one night. So she came on and it really added a lot to the sound.

With two guitars it’s a lot more of a layered sound. I’m really happy with the lineup.”

“After that kinda fell apart, I kept managing Jade Tourniquet and then Tony met me at a Jade Tourniquet show. After that he found me through social media and told me he was putting together a punk band and asked me if I wanted to play bass. I’m thinking, This man has nev- “Jared is more into indie and jazz and er heard me play bass before, he doesn’t even Julianna, her background is in jazz acaknow if I’m good.” demically but she’s personally into punk.

Tony is definitely punk. Me, yeah punk Tony, he’s the guitarist? Did he already but I grew up playing blues and 60’s rock, have other members already?

It’s hard to put a pin on it genre wise.”

themselves creatively through music and it was a shared community where I hadn’t seen young people have so much control over. I thought that was something special. At FIT I didn’t know how to find other musicians. It was cool to be able to meet people outside the school through the scene. None of my friends here play, I know that there are people here but you just have to find them. I would like for FIT to be more aware of the scene and support their brands, especially as a student here you kinda have an obligation to support your local arts. I feel like people just don’t know about it.”

Where did the name CHRONIC come from? As well as the mask Tony wears?

“Tony actually got the name from a wall of words in his friend’s apartment, Chronic was on the wall and he sat on it for while, I came along and “Yeah he’s lead guitarist, vocals. Yeah for The punk scene itself, what was it about I was like oh yeah, that’s cool. As for the mask, he wore it at a Halloween like three weeks after Tony contacted it that attracted you towards it? me it was just me and Tony, guitar and “It was a space where kids could express show and then it just never came off.”

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You mentioned the cops being a prob- played this one party where it was just lem, the punk scene is always seen as a the two of our bands and then DJ’s and tension with cops. Would you say you the place was overpacked.” feel that?

With CHRONIC’s social media you can “Oh yeah for sure, There’s actually a pro- see a lot of heritage, was that on purpose? test show being planned for this summer about that. It’s always been a problem, “Well Tony’s from Mexico and very proud It has been for decades. There was this of his heritage and he feels it’s important solidarity among New York musicians to have a punk band in New York that during COVID in that we all wanted to are projecting the image of being proud go play at parks but after COVID it’s kin- of their heritage. There’s actually a lot da been dampered and limited to get our of cool Latino punk bands in the scene, music out there. It’s disheartening be- Cartel, and some really good musicians.” cause parks are one of the only free places you can go to in the city, so for musicians How’s it being a student and having to it’s the only way we can make a living so manage transportation while gigging? when cops come and shut that down, it’s really terrible.”

“Well, I’m gonna say this, none of us have a car, none of us have a drum kit.

Coming into this spring, one of the Basically it is us and the guitars, bass inthings being said about coming out of struments on our back. We rely on the COVID-19 is that it will carry an artistic subway for getting around and usually renaissance. Do you sense that at all with use the venue’s kit and amps. Sometimes the underground culture?

I’ll have to bring my amp and that’s really heavy, it sucks. This is another reason “I definitely think so, a lot of bands are we build up our community so it makes starting to become established now and it easier and safer in situations like that as we’ve seen the past that signals a new where you need someone to have your wave of things. You have Cee Bee Gee back. The people in our scene are so chill Bees’ in the 70’s and you have the new and help out.” bands of that era, Television, Talking Heads, Ramones, etc. I would love for “We have upcoming shows and are getting something similar to happen now espe- into the process of laying down tracks, So cially in the D.I.Y scene, that would be that’s to come. Having to balance all of awesome. Even before COVID things this with FIT does get overwhelming but were starting to pick up, You have bands at the end of the day it’s just so much fun that started pre-lockdown like Hello and I’m really glad to be a part of it.”

Mary that are really starting to pick up now. Anyone that can make it in music You can check out CHRONIC’s upit’s really awesome when they do..” coming shows at their Instagram page, @bandachronic. I highly recommend Are there any other bands right now readers to try to catch a live performance that you feel worth mentioning? of this spectacular band and connect more with their local music scene.

“Our friends we play with a lot are Serrated Edge, we’re gonna try to play more shows together because we have a lot of overlap in the audience that attends. We

photo by Blake Weeks

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The

Spring into Summer Issue

Why We Should See Influencers as Unreliable Narrators

by Prerna Chaudhary (AMC, ‘22)

E

ntertainer Andrew Kaufman rose in popularity in the 1970s for his comedic performances, absurd talk-show interviews and stint in wrestling. As a publicity stunt in 1982, he wrestled professional Jerry “The King” Lawler on “Late Night with David Letterman.” The fight gained traction, Kaufman wore a neck brace for his supposed injuries and audiences felt the story intensely, but it was confirmed 10 years after the fact that the event was staged. 40 years later, wrestling hoaxes to fuel feuds are being used by influencers like Logan Paul and KSI, holding the audience's attention (virtually and in person) to churn fame and profit. Influencers are blurring the lines between reality and fantasy, and audiences are continuously being reeled in.

Social media serves as the modern stage for anyone wanting to share their opinions and experiences to mass and micro audiences. However, what we see on social media is a highly curated version of real life characters. Complete with catchphrases, signature styles and go-to cafés, influencers are often initially their own writers, photographers and actors.

They are telling a story from a specific perspective that clashes from our individual realities, especially when it comes to lifestyle content. All while trying to maintain relatability and aspirationality.

The expectation from audiences for their favorite influencers to be realistic is a hefty one when their income depends on how attractive their life is portrayed as.

Of course, when audience members see influencers living lifestyles that are far out of reach for average people, there is a degree of separation felt. Their relatabil-

ity, however, still persists because it feels like you know them and experience some of the same things as them.

There has been an uptick in influencers migrating to New York City. Living in NYC has long been glamorized (but reciprocally made fun of) by Hollywood: “Sex and the City” vs. “Girls.” Only now, we have influencers recreating this cycle.

When a show is on a streaming platform with end credits listing writers and actors, it is well known that the media is a crafted story. But when an individual is showcasing their life without the credits page, the lines between reality and production gets blurry. The closeness felt through parasocial ties with influencers distinguishes them from mainstream celebrities and movie characters. But most real life people are not living in luxury high rises and using Ubers as their main method of transportation.

At the same time, many of us are walking through the smelly streets of the city and trying to yell over the incessant honking of cars.

It’s aspirational yet relatable.

Yes, consumers should and do know that these luxury lifestyles are not achievable for most, and believing that you too can live in a downtown Manhattan studio with in unit laundry can be a let down

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prernachaudhary “When a show is on a streaming platform with end credits listing writers and actors, it is well known that the media is a crafted story.

But when an individual is showcasing their life without the credits page, the lines between reality and production gets blurry.”

W27 – SPRING 2022

when you face reality. Most people, especially right out of college, are not able to afford this and may not ever be able to. So being aware that this life is not achievable for most of us is essential in order to set realistic standards. Expecting lifestyle inflation is a trap of falling into admiration but also jealousy. The problem with influencers normalizing lavish lifestyles is that it makes us want things we don’t want or need. It makes us want something we can’t have, so we continue consuming mindlessly and are left feeling empty.

If we establish influencers as unreliable narrators since they are their own writers and characters, they have the creative freedom to portray their lives as they wish. They do not owe us the specific truth we want, and neither do filmmakers and storytellers. Audra Johnson (AMC, ‘25) is a a model and influencer with 3.1 million TikTok followers and 35k Instagram followers. She makes lifestyle and relatable content and says that influencers should not make false promises to audiences intentionally. “That being said, influencers have a right to privacy just like everybody else, so they shouldn’t have to put their entire life on a pedestal if they don’t feel comfortable.”

Just like with movies, we have to realize that their story is only a portion of their entire life outside of the screen. Madison Wild (FBM, ‘22) is a lifestyle and sustainable fashion content creator with 400k TikTok followers and 85k Instagram followers. She affirms, “I’ve always struggled with how much of my life to share.

For me, it's been a mix of fear of vulnerability and not wanting to come off as complaining about my problems that seem small compared to others and how to speak about difficult topics properly.”

This dilemma of sharing too much versus being authentic is a struggle for many influencers. Their income is based on how beautiful and aspirational (not attainable) their life is, and the audiences play a role in what is popular and what people get paid for. The influencer economy is a two way marketplace that is directed by both the creator and consumer.

The responsibility of the harmful effects caused by comparing and having unrealistic expectations from social media is not only on influencers’ and audiences’.

There are also big tech companies that are the culprit behind the emotional distress caused by warped realities. They have the incentive of keeping creators and audiences posting and consuming as much as they can, but the stakes on the ground of this issue are certainly directed by the real people, too.

As the audience, we can be more intentional about what we consume and know that in some ways the algorithm is trying to make us want things we don’t have.

Of course you’d want that crimson red milkmaid dress that every pretty girl has who looks like she is living her best life because that would mean you could too.

But did you actually want that dress be-

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prernachaudhary “If we establish influencers as unreliable narrators since they are their own writers and characters, they have the creative freedom to portray their lives as they wish. They do not owe us the specific truth we want, and neither do filmmakers and storytellers.”

fore seeing it dozens of times? And once the package arrives, does it bring you the happiness you hoped for? This increased intention and recommended limitation of consumption can be unfollowing and muting individuals who you notice lead to you feeling insecure, left out or distressed. It also means being aware of how your own posts may affect others: do I really want to blur out my acne for my 442 followers who will think I’m more perfect than I am, potentially stirring someone else's feelings of insecurity, setting unrealistic expectations for others, being the hoax myself?

When Logan Paul and KSI came out with the truth of their feud being staged from beginning to end, they anticlimactically released a product: Prime. It’s an energy drink that the two enemies-to-business-partners released in hopes to profit off of the lingering audience captivation from their wrestling matches. The two partners converted people from social media consumers to watching their fights in real life, but also hoped to have them purchase a physical product. If you think about buying Prime, consider if it is bringing you the happiness or intrigue you hope it will.

Next time you’re on a social media platform, consider that you’re being fed a film from someone unreliable with a goal to make you crave something, and that they can’t be blamed for doing so.

The

Spring into Summer Issue

SCHOOL NEWS AND INTERVIEWS

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W27 – SPRING 2022

ONLINE EXCLUSIVE

The Return of FIT’s

Future of Fashion

by Dana Flores & Donna Hellberg

O

n May 11, 2022 the Fashion Institute of Technology’s breezeway was awash with colorful displays, patterns of rain gear in childlike dinosaur prints and oversized caps.

Yellow covid ads made into jackets and shorts - an ode to what has become iconic New York pandemic iconography.

Quilted pattern and silver cowboy boots with an array of knitwear and chaps — you heard me – quilted chaps! Big sleeves and big shoulders made of fabric warping and expanding the potential of the human form through dress, all backlit by an incandescent blue light. This is the Future of Fashion at FIT. For those of you who don’t know, Future of Fashion, or FoF, is a yearly event hosted by FIT showcasing the best of the year’s graduating class from the Fashion Design BFA. It also serves as an affiliation with major retailers such as Macy’s, who sponsored this year’s event, as well as luminary FIT alums such as Calvin Klein who’s sponsored the event in previous year. Select critics, judges and industry professionals are invited to see the newest talent coming out of FIT who are the literal “Future of Fashion.” As they get ready to graduate with one of the best fashion degrees in the world, it’s a big deal for students to have their work showcased at this event.

Critics and judges in attendance included notable figures such as Suzanne Anderson, Vice President of Design Apparel for Macy’s; Michelle Wang, Vice President of Retail Diversity Strategy for

Macy’s; Zanna Roberts Rassi, Co-Founder of Milk Cosmetics, and E! News Style Host; as well as Danielle Elsener, Fashion Designer at DECODE, among other reputable names in the industry.

Many of the 100 looks from the 5 different FIT BFA Fashion Design Concentrations – knitwear, sportswear, intimate apparel, special occasion and children’s wear, were reminiscent of pandemic era trends. Cloudwear, patchwork, elevated loungewear and gestures of cottage core. This showcased the creativity that was planted and developed as a result of the pandemic, setting the stage for the direction of the fashion industry and the history that drives it.

As part of the partnership with FIT, Macy’s hosted the Macy’s Capsule Collection Competition and the Macy’s Bold Representation Competition, where students were asked to make a look that would cater to the Macy’s customer base.

Francesca Bornancini’s “elevated loungewear” look was selected

by Macy’s in-house design team for the Macy’s Capsule Collection Competition. Set to be sold and produced by Macy’s at Herald Square, New York in the Fall 2022, complete with a hang tag featuring her name, photo and biography.

“All of the students did such an amazing job,” said Suzanne Anderson, Vice President of Design

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Apparel at Macy’s and Capsule Collection Judge, as she walked off the red carpet to enter the show. “When we challenged the FIT students to think about Macy’s and who our customer is, then adapt their designs for our consumers, what they put together was so different from some of the products you’re going to see tonight, which are really artistic, super forward thinking and very creative. But going through the Macy’s lens, and really understanding who we are, you always have to have your customer in mind.”

The Macy’s Bold Representation Winners are: Karen Qu for the Gender Neutral Award Renée Clifford for Most Commercial, and Sandra T. Zapata for Sustainable Look.

Francesca Bornancini and Suzanne Anderson on the Red Carpet

Francesca walking the runway with her winning design

The

Spring into Summer Issue Marie-Louise with her design

methods: sustainability. The designers used a wide range of different design methods to create ecologically conscious designs. “The pants are hammocks and tents, the jacket is sleeping bag liner, vintage handkerchiefs, so the idea is to merge the technical aspect of design with the traditional techniques like quilting and patchworks and vintage materials,” said Palucci.

Marie-Louise Kurrer’s Critic Award Winning design under the runway’s incandescent blue light

In addition to awards distributed by Macy’s, a select number of students were also awarded Critic Awards from the non-Macy’s jury panel.

On the runway, many bold looks caught our attention. Among those, sportswear turned couture with an all blue wind-breaker complete with exaggerated butterfly winged shoulders, designed by Sportswear Critic Choice Award Winner, Marie Louise-Kurrer.

In contrast to many of these bold and colorful looks coming down the runway, Sportswear Critic Choice Award Winner, Monica Palucci, who had the opportunity to spend time on the trails by her house, and reflect on the way humans interact with nature, was more subtle.

Her design is “a response to a lot of the incongruity within the outdoor culture.

Because I feel like it tends to be incongruent with the way that nature is and I think we should live in reciprocity with nature especially when it comes to living outdoors.”

The Critics Choice Award Winners were Guziyu Yan, for Children’s Wear; Intimate Apparel: Devin Olguin; Knitwear: Claire Greidanus & Amy Eisenstein; Special Occasion: Jiawen Hou & Yawen Chen; Sportswear: Yuna Seki, Marie-Louise Kurrer, Shahira Shokrat, Karisma Hishikawa, Allison Ko, and Monica Palucci.

source of economic prosperity in New York. “I think fashion is key. It drives a lot of our economy and associated industries and it makes New York City the capital of creativity for the US,” he said.

It generates “over 11 billion dollars in tax revenue - 150,000 jobs just in NYC alone and it’s part of the creative lifeline for the entire metro region.”

This year’s Future of Fashion was extra special as it marked the return of an in person runway post the pandemic. And what a triumphant return it was! As Dr. Joyce Brown said during her opening remarks, standing in front of the blue lit podium; “When people think of fashion education, they think FIT.” The BFA Critic Award-winning designs are currently on display in the lobby of the Museum at FIT.You can read more about the judges, the designers’ processes, as well as the portfolios of the graduating class at fashionshow.fitnyc.edu.

Beyond the runway, a major name in attendance was none other than New York State Senator Brad Hoyman, accompanied by his partner and daughter, who’s presence at the event solidifies the power of fashion as a marker of cultural excellence and

Dana Flores Interviewing Monica Palucci

Palucci’s selected Critics Award Design was reflective of one of the major movements that took center stage and it will continue to make an impact on how designers approach their design Monica’s sustainable Critic Award Winning design

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W27 – SPRING 2022

BSU’S “BLACK PRINT” ON FIT

BY LONNIE BROWN (AMC, ‘23)

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s a culmination to the first year back in person, FIT’s very own Black Student Union (BSU) hosted “The Black Print Fashion Show,” inspired by Jay-Z’s “The Blueprint”’ album, a concept alluding to the fact that no two finger or hand prints can ever be the same. The show’s theme was “An ode to the Black excellence of culture. Although it is often imitated, it can never be truly replicated.”

The BSU never fails when it comes to putting together a display of BIPOC stories, pride and excellence – between “Black In Time,” the exhibit hosted in Spring 2020 or last year’s virtual exhibit, “Back To the Present,” which hosted over 3,000 virtual visitors from across the US. This turnout demonstrates not only the dedication of BSU’s highly engaged membership, but also the reach they have beyond the walls of the FIT community. Putting together a largescale event post-COVID is not easy. “We had a line up of fashion icons and press who RSVP’d to essentially compensate [the models through exposure]. However, because COVID guidelines, we were unable to do so.” said Khyla D’Shaye, Creative Director of the show.

As invited press, I had the pleasure of taking a peek backstage right before the anticipated fashion show. Seeing the designers making final touches to the models, and watching the production team dart back and forth, hurrying to make sure every fine detail was in place, was like seeing an artist’s masterpiece in the making. Every move was made with intention, care and precision. I saw the stress and the relief as the product that took a whole semester to plan rolled out before the spectators who gathered. The buzzing audience, at capacity, awaited the grand displays of creative designs

by FIT students like Myles Gibson, designer of 3rd Degree Urban, and the contemporary talents of performing artists, including DJ Zillions (@thezillions) and violinist Nina Woods (@babyninzz).

constant buzz around the BSU with a free-flowing stream of ideas, the group has already started to develop a concept for next semester’s hallmark event.

D’Shaye revealed that in Fall 2022 the BSU will host a homecoming, in the spirit of the Historically Black Colleges and Universities’ (HBCU) tradition. This will provide an opportunity to continue to unify attendees in a spirited gathering, which BSU has come to be known for.

The beauty of our new normal is that whilst many gathered to indulge in “The Black Print” experience live in real time, the showcase lives on in the virtual space.

I encourage you to check it out on their YouTube channel linked in their Instagram bio @BSU_FIT.

Designer Myles Gibson of 3rd Degree Urban adjusts model Janaya Josepehs outfit before going on the runway. – Photo by Nahfisah Crumity

The BSU prides itself on its commitment to creating opportunities for BIPOC visionaries, allowing them to have a voice at FIT. These showcases are a way to expand the BSU’s reach beyond the hour per week that club meetings are confined to. “Collaborating to produce events such as these raises our voices from a whisper to a collective demand to be heard and seen in the community,” Khyla said when asked about the effect events like this have on the FIT community. Shows and exhibitions like these allow us as students to see our peers’ projects beyond the parameters of their syllabi – their true intentions and pure purpose. I have no doubt that each coming BSU event will provide another stepping stone for BIPOC voices at FIT. As for what’s next, although there is a

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The Black Print committee would like to thank Armelle Fleurenssaint, Janiya Hayes, Asma Begum, Jayden Bempong , Mackenzie Harding, Kira Cunningham, Wilman Fernandez II, Hannah Challenger and Erik Lawriski and everyone who contributed to “The Black Print” Fashion Show.

Creative Director of “The Black Print” fashion show, Khyla D’Shaye (@khyist) and violinist Nina Woods (@babyninzz) pose for a picture post show. – Photo by Lonnie Brown

The

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Collage Art by Lonnie Brown Models Pictured: Hannah Challenger, Asma Begum, Rodney Chery, Rasheed Bailey, Samantha Freedom, Stephanny Kamilla Osoria, Destiny Purvis, Jayden William, Lea Gardiner, Janaya Josephs, Skyller Williams, Vanessa Vaca, Viviana Rossi Designs by: Couture By Yacin, Raging Angels, When Guns Fly, Visionary Perspective, Rebel Worldwide, Designs by Kira, 3rd Degree Urban, GTOSH Couture, Hannah Challenger, Calvin Collins and Alicia Lavette Fashions.

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W27 – SPRING 2022

DESIGNER TO WATCH

Nina Maxine on Swimwear, Sustainability and Beach Bumming in Barcelona

by Dana Flores (AMC, ‘22)

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n one of the first warm, sun-filled, cloudless spring days of New York City, Nina Maxine, a 20 year old Junior Fashion Design student at the Fashion Institute of Technology, got dressed to ride her bike down the streets of Midtown Manhattan wearing a conspicuous lace blue bra on the outside of her pinstripe collared blouse. This subtle fashion subversion speaks to the notion that clothing is a powerful tool in reclaiming and embodying one’s sexuality – a trademark of Maxines’ swimwear design and personal lifestyle philosophy, making her a promising designer within the wider cultural movement on sustainability and body and sex positivity.

Her design approach is simple, fun, playful, elegant and bold. Subverting the typical social media rhetoric of body and sex positivity, her designs pay homage to the naked body and rather than promote the idea of depicting a certain type of body as the “ideal sexy,” she insists that the most liberating way to feel yourself is to feel comfortable in your naked body.

This summer, she asks us to think about: “How do we not just free the nipple, but expose the nipple – to see it as just part of the body and not as an object,” referencing the viral slogan of the body equality #FreetheNipple movement which seeks to expose and protest the double standard of female nudity on social media.

Born in Washington D.C. to a Spanish-American family, she grew up between the coastal beaches of Barcelona and the American Southeast – two regions with drastically different cultural perceptions of nudity and sexuality. “In America, sexuality is more vulgar and explicit,” she says. The constant reference and visual exploitation of the nude body in media makes it difficult for bodies to simply exist in their natural state without solely seeing them as sexual vehicles.

In contrast, she expresses that “in Spain, the freedom of sexuality and nakedness is welcome.”

The Spanish beaches are a safe-haven for her. A place where she’s developed a sense of comfort and freedom of being in her body without the over sexualization instilled within the American Gaze. “I feel beautiful, sexy… relieved. It’s where I feel mostly me,” she says about the beach of Aiguafreda, a municipality within the province of Barcelona, about 85 miles from the city center, where she grew up feeling free to live in her naked body while soaking up the sun and the salt of the Balearic Sea. She seeks to allow people this experience through her swimwear designs – pulling inspiration from the feelings of bliss by the ocean and the Spanish culture of sexual and body liberation.

Having experienced and internalized these cross-cultural differences of the

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way nudity is perceived in both countries has allowed her to design within a context that caters to both the European and American markets.

As the ultimate cross-cultural hybrid, Maxines’ design philosophy on leisurewear is reminiscent of the rise of American fashion of the 20th century – with a 21st century, socially and environmentally conscious twist.

“I’m learning pattern techniques that make use of everything and finding new

The

ways to take garments we already have and turning them into something new.

No waste!” she says, about creating sustainable pieces.

“Upcycling is really changing fashion silhouettes and adding an element of modularity allowing for boundless opportunities,” says Agustina Panzoni (@ thealgorythm on Tik Tok), the trend forecasting maven credited with projecting the seasons most relevant trends – and the designers that make them – confirming the importance of Maxine’s design approach within the expanding market.

Icons of 20th century American sportswear such as Anne Klein, Claire McCardell and Calvin Klein brought American fashion to the global stage out from under Europes’ shadow, setting the tone for what it means to be an American designer – a concept that is ever evolving.

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The production of practical, versatile fabrics, such as Lycra Spandex, gave rise to the emergence of sportswear; taking cues from European silhouettes and adapting them to the active lifestyle of the modern American woman. Maxine hopes to achieve a similar cultural shift with fabrics that are customary to swimwear. “I want to see Neoprene in different social contexts. Why is it only for swimwear?” she says.

If we have anything straight, it’s that Nina Maxine has promise.

Calvin Klein thinks so too – as Maxine begins her second internship as Fashion Design Intern for Calvin Klein’s Women and Men’s UnderWear Off-Price Market in Summer 2022. She continues to pave her own way in the industry using the skills learned from within walls of the iconic American fashion house, with whom’s founder she shares an alma mater.

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So if you happen to buy any Calvin Klein undergarments in the coming seasons, there’s a good chance they passed through the design and fabrication discretion of Nina Maxine.

Now, while we impatiently wait on her Senior Thesis Collection (set to be released in May 2023), keep an eye out for Maxines’ Summer 2022 swimwear releases and commissioned work (available upon request) by following her Instagram @ninamaxine_designs and keeping up with her website ninamaxine.org. As you get ready to soak up the summer sun, wearing one of Maxines’ pieces – or nothing at all – remember that there is no real “ideal sexy” standard you need to keep up with. All that matters is how comfortable you feel in your own skin, even while naked.

W27 – SPRING 2022

Metamorphosis:

21-year-old Emerson Kobak of Emerson Isa, a soon-to-be graduating fashion designer

at FIT, shares her passion for creating designs in a world of unattainable standards with her collection, Metamorphosis: Distortion.

Emerson Kobak, a 21-year-old fashion designer from Westport, Connecticut, is a thriving fashion design student with a sportswear concentration at the Fashion Institute of Technology. She started her clothing brand, Emerson Isa, with the intention of making people feel and look good. Kobak is also keen on her sustainable efforts when designing, pattern making, sewing and packaging.

all the rules we must follow,” Kobak says. The distorted coat she created is oversized, almost as if it is overtaking the wearer. “This feeling is something that we as women feel when we are overtaken by what is expected of us.”

Emerson Kobak, 21 year-old Sportswear designer at FIT

Kobak explains that the distortion of the clothing represents something dark, but can also be seen as liberating. “It’s multifaceted in a way that we can lose ourselves while trying to please others, but then reclaim our own narrative,” she says. Through distortion and alteration of the garments, one can take what they have been given and modify the rules to achieve what they desire. “This is rebellion in its most beautiful form,” Kobak says.

For her senior thesis, Kobak is required to take a capstone course, which according to FIT’s curriculum, “students design, create, develop and prepare professionally executed sportswear.” As part of her final thesis collection, titled Metamorphosis: Distortion, Kobak represents how women distort themselves to conform to the unrealistic standards of society.

The coat’s top panel is made of burnt and “We feel we must change ourselves to recycled dryer sheets, but the majority of fit the mold – represented in my pieces the panels are distorted by using a hot by taking fabric from its original form glue gun to create a pattern and heat gun and changing it completely,” Kobak to melt the glue. Kobak used an elastic says. Deconstruction and altering the threading technique to shirr the third fabrics represents multiple stages of panel of the coat. metamorphosis as a woman that serve as The dress worn underneath the coat the basis for Kobak’s designs: Insecurity, is made of melted tulle scraps. Kobak Distortion, and Rebellion. created this by taking tulle, articulately “As women, we become suffocated by molding the pieces to the mannequin,

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Kobak’s final thesis sketches

all photos courtesy of Emerson Kobak

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using the heat gun to melt them together, and finally using a quilting technique over top.

Her second look consists of a corset top and sheer pants. The top is made out of a striped velvet. “I chose this textile because I was able to play with the direction of the stripes and velvet to create a distorted look,” she says. “I also hand embroidered a distorted face as a decal.” She chose to pair the top with sheer flare pants that she could melt to create a new texture.

Kobak started experimenting with the deconstruction of fashion because she became fascinated by what one cannot see in a “normal world’’. “I like to see a fabric and imagine how it could be interpreted and altered to be something completely different, something otherworldly,” she explains.

Kobak was first introduced to the manipulation of fabrics when she took a class called Design Sportswear Incubator, where designers “stretch the possibilities of shaping, seaming, handling, and manipulating select fabrics to create innovative, wearable designer sportswear silhouettes and details.”

With this experimentation, Kobak has utilized her full creativity to challenge herself, furthering her designs, individuality, and personal aesthetic.

Kobak was working on a project in a previous drawing class that dealt with destruction and distortion— only giving her a taste of her newfound passion.

So, this new class gave her the perfect opportunity to experiment with what it would look like in textile form. “Again, I just love creating something that did not exist before, and I was given the chance to really make that happen,” Kobak says.

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from Ana Mendieta, Tracey Emin, Annegret Soltau, Ryoko Suzuki and Jenny Saville — many of whom have inspired her collection to this day.

The fresh creative came to FIT not knowing exactly who she was as a designer. “I am so confident in how I design now that I just want to give my intimidated freshman-self a hug and say ‘you will get to where you need to be,’”she admits. While attending FIT, with the help of instructor guidance and designer and industry feedback, Kobak has shaped who she is as a person and a designer.

“I like to see a fabric and imagine how it could be interpreted and altered to be something completely different, something otherworldly,”

“I really connected with my drawing professors Linda Tain and Kathy Strack,” Kobaks says. “They both pushed me to reach my full potential and really helped me evolve as a designer.” Her thesis professor, Jerry Dellova, has also guided her in the development of her collection, as this was her third semester having him. She also made a strong connection with her freshman year professor Mark Blackman, who was of great counsel throughout her time at FIT. Kobak’s brand (Emerson Isa: emersonisa. com and @emersonisa on Instagram) is slowly but surely expanding, as she is thrilled to continue designing handcrafted, quality creations.

Along with growing her brand, Kobak is also looking to work for other designers.

“I have already learned so much in my design internships,” says Kobak. “It’s important to learn from those who are established and experienced, and I am excited to see where this journey takes me next.”

Kobak is influenced by feminist art and artists around the world. She took an art history class called “Beauty: The Human Ideal in Visual Culture,” which introduced her to a multitude of artists

Kobak’s final thesis collection: Metamorphosis: Distortion

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Kobak’s distorted coat

W27 – SPRING 2022

NATALIE GRACE, ISN’T IT DREAMY...

ABOUT THE PHOTOGRAPHY SHOWCASE “WHERE THE LIGHT CATCHES” AND HER LOVE FOR THE 70S

BY DONNA HELLBERG (AMC, ‘22)

H

er photographic work has been featured in NYMag, Paper, Refinery29, Repeller, Seventeen, V Magazine, Who What Wear and Vogue Runway – and she hasn’t even graduated yet.

Natalie Grace Schindler, known professionally as Natalie Grace, is a 22 year-old New York based portrait and product photographer. She is also a graduating senior in the Photography and Related Media major at the Fashion Institute of Technology.

Natalie is currently hard at work on finalizing her project for the Photography department’s senior thesis show “Where the Light Catches” which opens on May 17. The show will feature the work of all 36 graduating students from the Photography and Related Media BFA. In Natalies words, “[we’re] a big mix of different kinds of photography so it’s going to be really interesting to see everyone’s work together.”

Natalie’s project for the showcase is a series of six still-life photos entitled “Isn’t it Dreamy.” The choice of stilllife illustrates her evolution as a photographer since starting at FIT: from portrait photographer to portrait and product photographer. Her approach to each piece was to pick a subject, like a phone, and then gather a bunch of props around it to set a scene. Making it look like it is in a room even though it is in a studio. The six final pieces, selected from a set of eight, are scenes set around, respectively, a cherry pie, a rotary phone and cigarettes, a typewriter with lipstick and nailpolish, Jeffrey Campbell loafers, cookies spelling out “Don’t call me baby” and an Othello game-board with a taxi cab toy and cocktails.

photos. This seems to have a dual meaning to the photographer: on one hand it constitutes a commentary on female control and feminism. On another it shows her own involvement in her work.

“I like having control over every aspect of a photoshoot. [For my thesis] I styled the photos, took them myself and am the hand model for them.”

Inspiration for these pieces came from a long-lasting love for everything vintage.

An overarching theme throughout the photos is the society of the 60s and 70s.

Natalie talks about how she looked to shows like “Mad Men” and “Twin Peaks” as part of her research and that they had a clear influence on the final pieces.

Indeed, the first piece, representing a cherry pie, was inspired by diner scenes An exciting new technique that Natalie in “Twin Peaks” where they frequently is incorporating in her work is composite referenced that specific kind of pie. editing: she is surrealistically inserting A noteworthy addition that the her hand in several places at once in her photographer has made to the exhibit is

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Spring into Summer Issue

“CHERRY PIE”

“ROTARY PHONE”

PART OF THE ISN’T IT DREAMY SERIES

to make these references to life in the 70s come into life in audio form. She sourced a vintage phone table and corresponding rotary phone, through which visitors will be able to listen to vintage ad soundtracks and sound bites from the aforementioned TV shows. She’s hoping this will provide further context to the pieces and really immerse the viewer in her distinct mix of art and advertising.

Pique your interest yet? Now all that remains is to go see the show! “Where the Light Catches” opens on May 17 in the lobby of the Pomerantz (D) building and will be on until May 29. The exhibit will be open to the public from 9 a.m. to 9 p.m. daily so bring your friends and family!

PART OF THE ISN’T IT DREAMY SERIES

“[WE’RE] A BIG MIX OF DIFFERENT KINDS OF PHOTOGRAPHY SO IT’S GOING TO BE REALLY INTERESTING TO SEE EVERYONE’S WORK TOGETHER.” NATALIE ABOUT THE PHOTOGRAPHY SHOWCASE

Psst … If you want to talk to the artists about their work they will be present on the evening of May 17 from 4 p.m. until close.

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W27 – SPRING 2022

The Actions To Speak Louder

by Rebe cca Yoo (ITM, ‘2 3)

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The

Press is power. Words have the power to move crowds and influence culture, especially those who are un-opinionated or uneducated. So, power to the holder of the pen – or in modern times, the clickclack of our laptops. However, the true power is in controversy. Controversy ignites or offsets readers’ minds to provoke important dialogues that never existed before. W27’s Editor in Chief, Prerna Chaudhary, reminisces about the time when she, in her own words, “lowkey blew up the school,” by writing an article about the unacceptable behaviors of the very high school that would soon publish those opinions in their own student newspaper.

Prerna: “I ended up writing a piece about how my high school was a racist and segregated environment. It was something that a lot of students felt, but not openly talked about. Teachers told me they liked my article, but also told me stories of other teachers who didn’t. The fact that my writing [could] produce a reaction from adults, as well as people my age… I was like, yeah I can write, I can do something. So when I transferred to FIT in fall of 2019, the first thing I did was join the student newspaper. I knew that I wanted to get my thoughts out there.”

As a Writing Consultant at FIT’s Writing and Speaking Studio, not only does Prerna workshop other students’ writings, but she also receives ongoing education with socio-linguistic readings, writing pedagogy, and writing rhetoric frameworks. As horizons began to stretch wide beyond her peripheral, it made her question, why are we learning to write in a certain way? Of course, standards for press are set for cohesive reasons, but does it really matter how my sentence is structured if the reader can understand my overall message? Why obstruct a

Spring into Summer Issue

writers’ voice, when their style preference should be the dominating drive of the article? “I try to tell writers that you don’t have to write a certain way. Everything is your own opinion, embrace that.”

She advises, “every article is different for each issue. That’s part of FIT’s character.”

Prerna prides in a culture where the arbiof work at today. Prerna says, “I wanna trary standard no longer exists. be like, these are the things I cared about at the time. It’s one authentic version, of Prerna: “I never want to be a control many versions, of myself.” Like a way of freak about being an Editor in Chief. documentation of a writers’ journey and/ By not telling the writers exactly what I or career, what matters is that the soonwant from them, this lets them explore to-be archives may represent a willing different ideas and turn that into someand courageous spirit to authenticity. thing I would’ve never imagined myself.

“Don’t you want to see how you grow and And this goes [for] everyone else that’s a know yourself better?” Prerna challenges part of the newspaper, writers, graphic even the everyday writer, “you don’t have designers, photographers, artists, editors to write for other people, or to get puband illustrators. I’m just focused on writlished, keep writing for yourself.” ing, because that’s my area. Delving into asides is a part of writing to get started So if we can learn anything from Prerna with one idea, and once you get to writand her leadership at W27, it’s her vision ing, it becomes a whole different [piece]. for inclusivity that allowed the writers’ I’m happy that it took [the writer] someexperimentation to grow as artists. If you where else. ” haven’t met Prerna yet, next time you see her, make sure to say hi before she picks Prerna was in class when her friend up her bags to go study abroad for her slipped the physical copy of the Collage last semester. She swears she’s an extroIssue onto her desk. Her eyes razzle dazvert. Some conversation sparkers: she’s an zled to finally meet face-to-face a familavid reader of culture and sci-fi, a famiar, but unfamiliar, project. Sounds like ily person, a vegan, someone who loves a Tinder date finally gone right. So, so to dye her hair. OK, now it’s starting to right. Holding the physical copy filled sound like a Tinder profile, anyways. Aland exceeded every satisfaction level, as though she leaves soon, her impact on her eyes glistened at the cover and she W27 further fosters the culture of comscreeched for an hour. “I was so excitmunity and embraces the collaboration ed. It’s so physically gorgeous, and very between the mix. And of these, comes symbolically beautiful.” The true beauty down to our own acceptance of our was to feel the weight of the newspaper. unique traits and opinions to share with To hold the spread, between her two the world. The culture of individuality is thumbs and index fingers, and physicalhonored at W27, which leaves room for ly feel the fruition of her team’s talents W27 to continue to flourish within the and strengths. The word “collage” derives realm of “unconventional minds,” which from the Greek word “glue,” in which the will stay at FIT forever. issue truly glued together everyone’s individual voices and strengths.

“Your voice matters,” Prerna boldly declares to the future writers of W27.

The newspaper’s physical copy is an artifact of the writers’ contributions.

Perhaps a few decades down, the writer may look back to find the quality of the voice that produced this kind

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W27 – SPRING 2022

ReturN and Adapt

by Kaili Woop (Fine Arts, ‘23)

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hanneling creativity became a challenge for many students when FIT initially went under lockdown in March 2020, especially for art and design majors. The lockdown forced students to work from home, which had various obstacles; however, there were some benefits to working from home.

The lockdown forced her to be isolated from other people, causing a sense of disassociation and lack of motivation.

Hairston had to adjust to working on her projects in her bedroom in Brooklyn.

Despite the challenge of working in her room, all she needed was her headphones and music to be fully immersed in her Commuter students particularly felt that work. they had more time to work on projects Over time, Hairston was able to adjust to as well as their own personal work since creating her work at home. Since she was they did not have to worry about getting a commuter student, she no longer had up early to arrive for their class at 9 to worry about getting up early to come a.m. A commute from one of the other to class. “When I was at home, the energy boroughs to Manhattan and back can was endless.” She had more time to stay take up a total of two to three hours out up and work on her own personal projects of a student’s day. including her dolls, learning digital art In the Associate’s Fine Arts program and expanding her knowledge in history. at FIT, the students learn the basics Hairston held herself accountable during of composition, value and direct quarantine by being ambitious with observation. Jada Hairston (Fine Arts, her work and maintaining a great work ‘23) was one of the few first year students ethic. For example, during quarantine she at the time who already had a sense of her taught herself how to create stop motion own style and subject matter she wanted videos and animations of her dolls. They to depict in her art. Unfortunately, she are a representation of her fantasies and was only in her second semester at FIT being in her own world. when the lockdown began; however, she is one of the students who was able to adjust and excel from the challenges the pandemic brought.

sometimes also need to escape from the world.” Hairston believes that people need to escape to something that makes them feel something in their unconscious to help them understand their emotional wavelengths.

Opera Singer by Jada Hairston (2020)

“Stop motion is another way of bringing Hairston has been passionate about fantasy to real life.” creating dolls and costume design before Hairston’s art is separate from her she came to FIT. Prior to creating her identity and becomes immersed in her own dolls, she started to collect them in When the lockdown initially happened, work to disassociate with reality. “Being middle school and discovered Japanese Hairston struggled to stay engaged in my own world helps alleviate the ball jointed dolls that depicted her with her work due to being at home. anxiety and pain I feel. I think audiences favorite anime characters. Unfortunately,

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The

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Painting by Jada Hairston (2022) these dolls are extremely expensive, but Hairston was determined to learn to create her own. She had a lot of trial and error with the structure of her dolls.

“Originally what held me up was the fact that I couldn’t figure out joints and how to make them. If a doll isn’t structurally sound, it’s bound to fall apart.” This is still a challenge for Hairston to improve; however, her overall craftsmanship has developed and she has been experimenting with other media to create her dolls, including fabric. Her dolls are inspired by Marina Pyckova’s “Enchanted Doll.” Hairston’s painting style is influenced by impressionism and decorative art techniques used by Austrian symbolist painter, Gustavo Klimt. She enjoys the pattern design in his paintings and incorporates them in her work, typically in the clothing she depicts. Hairston taught herself how to sew in highschool, which would later become significant in her work at FIT. Hairston’s art portrays her interest in ancient history, fashion and folk costume. Growing up Catholic led to her fascination with and incorporation of ancient culture and the culture of worship.

After returning to FIT in person, Hairston is committed to creating her best work because she is surrounded by

her peers. The commute to NYC may be lengthy from Brooklyn, but it plays a role in her life experiences and further contributes to creating her art. She believes that the quarantine made a lot of artists, including herself, have an art block. The lack of new life experiences led to a lack of new ideas. Now that she can socialize with others and explore what NYC has to offer, her artmaking can thrive.

Hairston is currently experimenting with the combination of painting and screen printing on fabric to create her dolls. She enjoys being surrounded by her peers in the fine arts community because of the inclusivity and positivity that exists in the Fine Arts department. She loves to participate in art critiques and finds them to be more helpful in person than online because she can be fully engaged with seeing the work in the environment rather than from a computer screen. She now has more storage for her art supplies in the various lockers and art cubbies in school rather than overcrowding her bedroom. Hairston is determined to take full advantage of the different machinery, workspace and techniques the Fine Arts department offers to enhance her work.

This includes using saws to cut wood, printmaking open lab hours, Oomoo casting and more wall space to work on large tapestries and paintings.

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All artists experienced unexpected circumstances during the quarantine yet still found ways to continue their creativity. Many artists discovered new ways to think and complete their artmaking process. These uncertain times in isolation made art students reflect on the emotions they were feeling while experiencing the lockdown, which the audience can relate to when viewing the art created during quarantine. The students in the School of Art and Design feel grateful to return to the creative, free spirited environment that lives and thrives at FIT.

Screenprint Doll Head

by Jada Hairston (2022)

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President Julia Iannacone (Advertising and Digital Design, ‘24) and Vice Presidents Nicholas Falbo (Illustration, ‘23) and Krista Wolfe (Illustration, ‘23) are passionate people who are working hard to bring this dream to reality. These three were heavily inspired by the artist alleys at popular conventions such as MoCCA Arts Festival and Anime NYC, and Wolfe said that “tabling seemed so fun… why can’t we also do this?”

was enthusiastic about the club. “I’m surprised it hasn’t been done before, I’m really glad it’s happening. FIT hasn’t given anybody outside of like Illustration a proper opportunity to actually get their work out there,” Klenske said.

Some students at FIT feel they are lacking a safe space to try selling their craft and getting the real-world experience of marketing their personal brands – somewhere they feel comfortable experimenting and trying new things when it comes to their art and merchandise.

Though the plans for this club had only begun in March, by the beginning of April, the excitement had grown tremendously. With over 160 responses to an initial interest form and about 50 members in the club’s Discord server, they are well on their way to hosting a large and successful event. When speaking about their club, the founders placed a large emphasis on the artistic community they were trying to build. Not only could this club be a space for individual artists spanning all FIT majors to grow and improve, but also for them to make connections and work together to produce something greater than themselves.

Unfortunately, most of these conventions require high fees for artists to have a table, something that is not realistic for art students. This inspired them to create their own club to give students an accessible outlet for this without having to pay fees.

According to the founders, something that FIT lacks is a space for students to promote themselves both as artists and as business owners with their own personal brands. They decided to start the Artist Alley Association instead of waiting for the school to meet this need.

At weekly meetings, they want to host studio time for members to prepare merOne of the first members of the associ- chandise for their tables, and hopefully ation, Jensen Klenske (Illustration, ‘24), rely on and help other artists with their

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illustration by Nicholas Falbo

Students in search of an outlet for creativity and artistic exposure will soon have a club to deliver them just that.

Starting in Fall 2022, the Artist Alley Association will kick off as a club dedicated to hosting events where students can promote and sell their art and merchandise.

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photo by Jessica Lyle left to right: Nicholas Falbo, Julia Iannacone, Krista Wolfe

tabling preparation as well. According to Falbo, the studio sessions could be used for “helping each other spitball ideas, giving critique, feedback and advising each other on supplies and materials we should use.” Iannacone agreed, saying: “one person might not know the first thing about making stickers, but they’re fantastic at figuring out print quality and color composition… and then someone might be the opposite and they can help each other.”

sold as well as prepare the members for what may be their first time tabling and selling their artwork.

Iannacone, Falbo and Wolfe aim that the members of the Artist Alley Association will be able to gain unique experience that would normally be hard to gain as a student. They hope that the young artists of FIT can learn valuable lessons like how to market themselves and that they are not alone in the art community. Their ultimate goal is to create a safe space for The current plan is to host Artist Alley members to try, fail and succeed, with a events twice a semester, and the board supportive community to back them up. members hope to be able to use the breezeway for these events. This location The first Artist Alley Association event is is optimal because of the foot traffic of expected to take place in September 2022. not only students but the general public Keep an eye on their Instagram account on 27th Street. The weekly meetings will (@fitartistalleyassociation) for more inbe used to prepare merchandise to be formation and updates.

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, I remember being a high school senior, weighing the pros and cons of every college I had applied to. One of the things that stood out to me about FIT was all the minors I could graduate with. The options are equal parts overwhelming and exciting, but I think this is a unique opportunity that FIT offers that often gets overlooked.

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ph Donn a Hellberg omas oto t

by Isa bella Notar FIT is mostly known for being an art and design school, but what about the students that are pursuing a more business oriented career? They’re not completely left out of the creative side of FIT because of the Creative Technology and Design Thinking minors that are open to all students. Donna Hellberg (AMC, ‘22) used the courses in these minors to learn more about layout, experience and web design, and softwares like After Effects.

She says, “I wanted to add design to my major. I am AMC and we don’t get a lot of design work,” and pointed out that

her Design and Interaction class taught her AR and 3D printing. The co-conspirators of the Creative Technology minor, Professor C.J. Yeh and Professor Christie Shin comment, “We are living in the age of digital media so being able to command creativity afforded by technology is critical. We are always actively updating our curriculum to bring new and exciting things such as AR, VR, and Metaverse into our classrooms.”

la ph Stephe n Campanel nella oto a b y Ste phen Camp Stephen Campanella (Illustration, ‘22) also found ways to broaden his interests as an artist and designer. He says, “FIT’s Film minor was a surprise to me, allowing me to view films in various genres such as Science Fiction, Italian Cinema, Crime and Law, as well as courses based on the history of iconic films, past and present. As an illustrator with a focus in film and poster art, taking these courses aided me in thinking critically and thematically about the art I create, turning

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poster art into stories and depthful imagery, rather than just portraits sometimes.

I’ve learned that having courses accompany your interests is extremely beneficial to being inspired and figuring out a way to bring those personal passions into your own body of work.”

Outside the realm of the arts, minors like Fashion History, Theory and Culture can help you deepen your critical thinking.

The co-coordinator, Professor Justine De Young, gave her insight on the minor saying, “I’m particularly proud of HA 237: Global Fashion: Ancient Origins to Modern Styles, which surveys the history of fashion in cultures beyond Europe. Understanding the rich fashion histories of global cultures is vital today for anyone working in fashion. HA 342: The History of Textile Design is often overlooked, but [a] super interesting course that is also global in scope.” This minor is frequently overshadowed by History of Art, the largest minor at FIT. Looking ahead to Fall 2022, Professor De Young also mentions that there will be three new History of Art courses: HA 318: Repositioning Ancient Egypt and Rethinking Egyptology; HA 319: Art History and Conservation; and HA 320: Animals, Architecture and Aesthetics, as well as a new tenure-track faculty member Dr. Andrea Vázquez de Arthur joining in the Fall.

No matter what career path you end up on, having an understanding of the world around you is an indispensable tool to have. Professor Yasemin Levine, co-coordinator of the International Politics minor, echoes this idea in saying, “International Politics helps us understand

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the power dynamics of why countries, organizations and even terrorists, do what they do. Through an in depth look at power dynamics between different actors on the international stage, we can gain a better grasp of the world we live in.” Being able to learn as much as possible about any number of subjects is at the core of the minors at FIT, which is what personally makes it so hard to choose just a few.

A similar passion is shown by the coordinator of the Women and Gender Studies minor, Professor Melissa Tombro.

She says, “The future of FIT rests on the ways we actively embrace diversity and critical thinking. I created the Women and Gender Studies minor to provide a much needed framework for new and existing courses that allow students to examine and focus on the construction of gender as it intersects with race, ability, nationality, ethnicity, age and sexual orientation. Providing safe spaces for students to tackle challenging topics is essential and I am proud of all of our professors who have created courses that allow students opportunities for growth in this way. Most of us are searching for language to help us understand the world around us and our place in it. The WGS minor is committed to helping students acquire that language and become better informed global citizens.”

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Studies, and Jennifer Poon (AMC, ‘22), with minors in Film and Media Studies, Women and Gender Studies and English, have a lot to say about their choices.

Why did you choose your minors?

Ethan: I didn’t intend to choose these minors, I took a bunch of classes that were useful to me, then I realized, “Oh, I can double minor, that’ll look fancy on a resume.” The Spanish classes were taken partly as necessity, and partly as vengeance against my younger self for not learning the language. The film classes started as a way to enhance my freelance editing work through post-production offerings, but then I started to take some fun classes to rummage around for some missing pieces of the person I want to be.

What were your favorite classes from these minors?

Ethan: Screenwriting II with Darren Anderson has been an enlightening exploration of my continual failure to turn my imaginative worlds into followable stories, but Darren is one of the few people I’ve met who can truly give 100% constructive criticism. I’ve also enjoyed Latin American Cinema and Resistance, Mario Valero brings such an infectious passion into his lectures he makes it hard not to sit on the edge of your seat and feel the history sliding along your skin. I know a The professors at FIT aren’t the only ones lot of people take movie watching classes passionate about these subjects. Students as blow offs to fill requirements, but this like Ethan Sawyer (AMC, ‘22), with mi- is one of those where you should really nors in Spanish and Film and Media

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yer Ethan Saw e Jung photo by Clair

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pay attention, the various interpretations of resistance are fascinating, and if you haven’t studied Latin American history and want to get into it, this is a glorious open gate begging to be passed through.

Maybe some of the things I’ve learned about cinematic technique in the Film minor will help me create an effective, poignant video ad for a company. Taking WGS courses might have helped me better understand the psychographics of an audience or a target market. What’s important is that I chose to do these academic minors because I am passionate about their subject matter, and that they guided me in making the most out of my time at FIT.

Jennifer: Within the WGS minor, my favorite course was probably EN279 Women’s Writing: 1900-Present. Melissa Tombro is open-minded and attentive, and implements a truly diverse and well-rounded curriculum — don’t expect Virginia Woolf or Sylvia Plath if you take this class!

Would you suggest other students to pursue the minors you did?

How has taking these classes outside of your major shaped your experience at Ethan: If you don’t speak Spanish, learn FIT? it. Now. Especially if you want to expand your job opportunities. Yes, the process is Jennifer: I’m an AMC major, so much of hard. Yes, it takes forever. Big oof, just do my required courses have an emphasis it. If you get a film minor, do it because on marketing, branding and business — you love writing about and creating visuI wanted to be able to explore my more al stories, and you’d like to get better at personal and artistic interests in an aca- it. Don’t be a dumb-dumb and think you demic setting as well. It was important to can watch movies for five classes straight, me that I did not lose track of these in- learn nothing and get a minor out of it. terests, and that I would carry them with me and have them grow and prosper as I Jennifer: I would suggest students condid. Of course, pursuing three academic sider taking at least one minor, in some minors is not an entirely easy feat, but I subject that you feel strongly about or believe that getting to take these courses have a deep desire to learn more about. A alongside my major-related courses have schedule with only major-related coursprovided me with a richer and more in- es and required gen eds, while perhaps a formed educational experience at FIT. bit more free and open, can be dull and uninspired. While you’re here, you may Do you think the experience you had as well take more pleasure out of your in these minors and the skills you’ve classes. learned in them will help your professional career?

College is all about exploring your interests and the world around you as much Jennifer: Honestly, who knows for sure if as possible before you’re launched into and how the information I’ve learned in the “real world.” It is the time to learn for these minor courses will affect my profes- the sake of learning and to try new things sional career. Perhaps the improvement knowing you’ll be caught if you fall. So I’ve experienced in my writing skills take advantage of everything FIT has to while doing the English minor will help offer and expand your knowledge! me write some great copy for a brand.

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The

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Selected Works from the 2022 Graduating Student Exhibition

The Graduating Student Exhibition will be on display throughout the month of May, opening May 17th, in the Museum at FIT.

Amanda Jordan Buddy Birthday Oil on Aluminum Panel “I love to create art that tells a story that can either be straight forward or interpreted by the viewer themselves. I loved creating a story within this piece that uses my dog Buddy as the main subject. I wanted to relay to the viewer a fun narrative that tells the story of Buddy on his birthday, where he is the one to receive the smallest slice of cake. It was super fun to mess with the lightning on this piece and use it to dramatize the scene. Taking painting classes at FIT helped me realize my love for using oil paint and helped develop my skills in what is now my favorite medium to use!”

Kelly Cao One With the Cats Gouache

left to right Mackenzie Panessa Why Do Cats Purr?

Gouache and Colored Pencil May Bukowski

Reflections

Oil on Aluminum Panel Maria Jessica Mennella Going Back Digital

Niko Lopresti Necropolis Digital

Kevin Ezekiel Flores del Villar Girl and Her Pet Dinosaur Digital

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Leslye Chang The Built Bully Oils

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Melanie Wong – Fenrir Oil on Aluminum Panel

“This piece is called “Fenrir” and it’s an oil painting on a gesso board. I wanted to depict the scene before Ragnarök happened. I wanted to depict this scene of Fenrir being helpless but still aggressive as Odin’s ravens came to visit him. I wanted to illustrate how massive Fenrir is, since he is this giant wolf that devours the sun according to Norse mythology.”

Raquel Johnson Fantastic Mr. Fox Acrylic and Oil

Anna Voss – Diluvium Oil on Aluminum Panel

“I work mainly in digital media and in oil paint.

In my illustrative work, I love to focus on fantasy themes and hope to work on creating book covers/ book illustrations in the future. For my more personal work, I tend to take a conceptual approach and dig into the emotional impact of my pieces. “Diluvium” is a dive into the last few years and how they have impacted me and my mental health. My professors have encouraged me to create work with meaning that I’m proud of, and I’m grateful for having such wonderful people to help me along the way.”

Julianna Lee-Cassara Skeleton Parade Digital

Noah Kramer Mustachio Digital

Alejandra Yancey – Sleepwalks Digital

Chelsea Reyes Can You See Me? Digital

”I get inspiration from walks I take around my neighborhood. The fleeting light contrasted against weathered spaces never ceases to move me. In my process, I use a combo of photos for reference and start traditionally, and then when things go awry, I finish digitally. I love space for spontaneity. Experimentation and improvisation are my methodology.”

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Dana Moore Smiley Man Deck Acrylic on Oak Wood

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Matt Anderson Rising Sea Levels Digital

“This piece is the cover to a recent book I designed that is titled ‘The Disaster Book.’ The series is a collection of digital drawings that depict natural disasters like earthquakes and avalanches, and some not so natural disasters like an alien invasion. My time at FIT has been spent alongside some of the most hardworking and driven young artists I know. As well as some of the most knowledgeable professors and guest speakers that are all essential to what makes FIT so special.

I plan to continue to grow and expand my skill set in the world of design and illustration long after graduating this coming May.” Stephen Campanella 20th Anniversary of Harry Potter Graphite, Adobe Photoshop

Colleen Kornish Nandor and John Oil on Gesso Board

“Nandor”(from “What We Do in the Shadows” (TV Series)) was painted for a ‘market of our choice’ assignment, in which I chose ‘historical realism’. I figured- ‘hey - it doesn’t get more interesting than a 746 vampire from the Ottoman Empire when it comes to doing a google deep dive!’ Every aspect of this painting is a nod to Iranian art from the 1200’s to now. The patterns on the walls are all taken from ancient rug patterns and tile mosaics, and Nandor’s cape and weapon (a shamshir) are also period accurate!

“FIT’s Illustration program has been a life-changing experience for me. I’ve always loved film and music, and the program has allowed me to translate those passions into my portfolio, creating posters, prints and advertisements combined with detailed illustration and bold graphic elements. The program taught me how to combine traditional illustration with modern industry design techniques, while still creating work that speaks to myself and the viewer. Studying design in NYC has helped project me into the art world like no other school can. Thanks to all of the inspiring professors along the way!”

left to right Renee Chan Reality Trip Gouache, Acrylic, Pencils, and Markers

Oscar Yohe-Tapia Emerge Digital

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