May 2018

FIT

MAY 2018 Volume 50

Issue 6

May 2018

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MASTHEAD

Andrea Navarro Editor-in-Chief Sophia Ostapenko Managing Editor Kayla Renshaw Treasurer

EDITORS Mason Auman Shani Hashemi

ART

W27

A LETTER FROM THE EDITOR “5,000 Venezuelans migrate every day and more than 87% of those who stay live in extreme poverty conditions.

We are not at war, but we are dying.”

To learn more about Venezuela’s economic and humanitarian crisis visit UNHCR, the United Nations Refugee Agency.

Erin Tucker Art Director Lara de la Torre Photo Editor Ashley Aviles Thuy Anh Dang Alexander Lopez-Guevara Angela Diep Designers

CONTRIBUTORS Andrea Navarro Mason Auman Sophia Ostapenko Lara de la Torre Sandra Stromswold Thuy Anh Dang Ethan Sims Alexander Lopez-Guevara Shani Hashemi Ashley Freundner

Dear reader, When most people find out I’m the editor of W27, this is (almost always) the first question they ask me: “is it hard?” This is (almost always) the answer I give them: “well, it’s more work than all my classes combined.” I’m taking seven classes — and two of them are math. You get the picture.

So why do I do what I do? Because I believe that your stories deserve to be told.

In my years as writer and editor of this newspaper, I’ve tried my hardest to bring you our take on national and international news, cover club events and activities, talk about what’s going on in the city and on campus, showcase your art and personal style, give you advice on how to succeed professionally and, most importantly, voice your thoughts and opinions. I’ve talked to students, faculty and administrators whom I would have never met otherwise. No story was too big or too small — this was my way of finding and making community on campus; of discovering your ambitions, dreams and hopes.

It was fun, stressful, worth it. I am so grateful to have been a part of this newspaper.

My sincerest thank you to the W27 team. We don’t do what we do for praise or recognition: we do it because it’s our responsibility and legacy. I am so proud to have worked with you and to be a part of your growth — I am not worried about the future of this publication because I leave it in your hands. I am certain that my successor, Mason Auman, will continue doing great work and lead W27 in exciting new directions.

Ellen Davidson Alexandra Mann Faculty Editorial Advisors

So, FIT, I hope I could serve you well. It was my absolute honor and privilege to write your stories. Now I have to continue writing my own.

Professor Albert Romano Faculty Advertising Advisor

“I stopped asking how. I just did it. The head is too wise. The heart is all fire.” — Maggie Stiefvater.

Congratulations to the graduate class of 2018. I wish all of us good luck and plenty of success.

Always,

Andrea Navarro Editor-In-Chief

ON THE COVER:

W27 Newspaper

Designed by

@W27 Newspaper

Dee Delancour @W27 Newspaper

www.w27newspaper.org www.issuu.com/w27newspaper

FIT

MAY 2018

contents ON THE BLOCK

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Passing the Torch: A Conversation Between Editors

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Unconventional Minds: On FIT’s New Branding Decisions

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On a Museum Career: Michelle McVicker at the Museum of FIT / Upcoming Spring Events at FIT

DEAR INDUSTRY

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Fashion Against Ableism: An Interview with Elsie Tellier

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David vs Goliath: How Major Fashion Corporations Get Away With Stealing The Work of Small Artists / Bumble Bizz: Swipe Right On Your Professional Future

FEATURES

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Cowboy Bepop Gets Its Own Cafe FIT Presents: The Future of Fashion 2018

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Dee Delancour is Designing for Change

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FIT Tips from the W27 team

THE GALLERY

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Kathryn Godoy Terry Stein

HAUTE CULTURE

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Restaurant Review: “Luke’s Lobster” / Art Exhibition Review: “Painted in Mexico, 17001790: Pinxit Mexici”

HOFIT

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Humans of FIT

MONTH IN REVIEW

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The Art of Detainees at Guantanamo Bay: Property of the US Government

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The Berkshire Museum of Art Is Selling Its Own Art to Survive

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Republican Star Retires: Paul Ryan Leaves Congress / Merit Only Goes So Far: The Art World’s Lack of Diversity and Representation

STYLE ON 27

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Style on 27

PHOT0 COURTESY JOE CARROTTA W27 is PRINTED ON RECYCLED PAPER. PLEASE RECYCLE AFTER READING. A FIT STUDENT ASSOCIATION PUBLICATION.

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ON THE BLOCK

W27

PASSING THE TORCH: A Conversation Between Editors

BY ANDREA NAVARRO AND MASON AUMAN

In anticipation of W27’s transition into the future and as a retrospective about its past, Andrea Navarro and Mason Auman sat down to discuss the role of the Editor-in-Chief. In their discussion, they review the accomplishments of this publication and postulate about its growth.

The tumult of the current presidential regime leads Andrea and Mason to dissect journalism’s place in social change, differing in methodology but finding commonality in the idea that what you’re reading — a newspaper — is paramount to freedom.

Mason Auman: Okay, so my first question for you is: what’s been your biggest challenge as Editor-In-Chief and what do I need to anticipate being a challenge?

Andrea Navarro: Well, my biggest challenge was that I stepped solely into this role in the middle of the semester. Before being on my own, I had to share responsibility with someone else and I couldn’t just make decisions right away, we always needed some kind of consensus or compromise and it was all very time consuming, which is not ideal when you are working in something as fast-paced as a newspaper.

Once I was on my own, there was more pressure but also more control. The biggest challenge is delivering the best product to the student body and ensuring that you do the paper and its contributors justice. I would advise you to ask questions when you need help, but trust yourself that whatever you do or whatever direction that you want to take W27 is the right one. I feel that it’s important to understand why you do what you are doing. This is a big commitment and all you can receive, really, is experience. It’s vital to know what you want and understand what others want so they can get the most out of the experience.

MA: How do you make people want to produce work for you? Because I know on a base level, it has to have to be self-motivated.

AN: I don’t think you can make people do anything.

People are only going to do what they want to do, and that’s another challenge of being the EIC of this newspaper. At the end of the day, I am a student just as everyone who is producing work for the paper is — but they still have to see me as their “boss” and follow my leadership. From the beginning, what I really wanted was for contributors to feel like they could trust me, and that I was someone worth listening.

So I tried to be that person. I don’t trust leaders who just tell people what to do. I always try to be very clear on why I’m making the decisions that I’m making, because If people understand the motivation behind what you’re telling them to do, they will create better work and they will react better to what you’re asking them. Also, it was paramount to create a sense of belonging to a team — I wanted everyone to feel like what we are doing is a collaboration, and everyone’s work has value.

MA: Do you remember your first W27 meeting?

AN: Yes, I did something that was kind of awful. So, basically, I took a red pen and started circling all the mistakes that I saw in their latest issue, I think this was during the Fall 2015 semester. When I was done, it was bleeding red. So, I go to the meeting — mind you, this was my first meeting ever, I didn’t know anyone, I was in my second semester as a Freshman — and the then Editor asks if there’s anyone new. So I stand up, I take the paper I edited, and I say “uh, I found some mistakes.” It felt like all the air was sucked out of the room. Everyone was silent, you could cut the

“It’s impactful to be explicit about what is right and what is wrong. And you need to be impactful to create change.”

tension with a knife, and in my mind I’m thinking, “well, maybe that was a mistake.”

MA: What do I do if someone walks in with a bleeding newspaper and tells me that I fucked up?

AN: Be gracious. Say something like, “okay, I see your concerns.” Because to me, that shows that somebody cared a lot, they took a lot of time to circle all the mistakes they saw and were like “hey, I think you can improve. I think you can do better.” My main priority is always figuring out how to improve. I’m not perfect, obviously, the issues that I put out probably have some mistakes as well. But I learn from them and move forward. More than any award, I always get so happy when people send me emails or tell me in person things like “I think that article you published was very relevant” or “I can see a change in direction, and I appreciate it.” Because everything that you put out is entirely on you. It’s your responsibility, for better or worse. If you ever print something that shouldn’t have been there, you have to be very humble and very gracious and accept that it’s fine, there’s nothing to be done. Next time it will be better, you will try harder.

AN: Something that I tried really hard to do, and quite frankly I think I succeeded during my time as EIC, was to lend a platform to student’s voices. Getting a diverse student range in the paper was important to me. However, I started noticing that a lot of people were producing many editorials and opinion pieces, which are great, but I still think there should be a better balance between published opinions and articles that are just straight-up facts. Yes, we should hear the students’ voices, but at the end of the day, we are a newspaper, and our main role should be to tell news.

MA: On the topic of editorial content — a lot of journalists confuse complacency with being unbiased. I find that to be unhealthy. With topics like Colin Kaepernick, I don’t think it’s being biased to say that he’s right and his cause is valid. That’s just a fact.

And it frustrates me that people are choosing to not stick up for the truth and the facts because they’re worried about appearing unbiased. Just because you’re unbiased doesn’t mean you can’t recognize that there’s a right side and a wrong side.

AN: I agree, but publications also have the responsibility to show the facts and let people make their own opinions out of them. We should never tell people what is right and what is wrong — the truth should speak for itself. I think that what we really need, especially in this time, is to let people be critical and informed in their opinions. Some people will just repeat what they hear in different media outlets and then say it’s not their fault if they get information wrong because that’s just what they keep hearing from places that undoubtedly are biased one way or the other. But people should be accountable for their own thoughts, don’t you think?

MA: But it’s irresponsible for a publication to approach injustices with complacency. For example, when Donald Trump does something ridiculous or he takes rights away from a major group of people — something he has done and will continue to do — it’s irresponsible for a publication to mention his actions without applying a more tangible conclusion containing answers to why it matters and why it’s fucked up. News organizations and publications will present that Donald Trump wants to build a wall at out border but won’t explain why that is categorically ineffective, wasteful and hateful. There needs to be a stronger voice of resistance from all media outlets that aren’t sources of propaganda like a Fox News or a Sinclair Broadcasting. I’m not saying that we’re on the same level or need to fulfill the same purpose, but I think it’s important for W27 to be part of a greater solution.

AN: What we need to understand is what is the role of a newspaper and what is the role of a journalist. We presents facts and truth — if you are a good enough writer, you can present an issue or a situation in a

“I don’t think we should shape a narrative of right or wrong, because truthfully, things are never as simple as that.” way that makes the reader understand why it matters without saying “and this is wrong because…” or “this is good because…”. That is not, and should not be, the responsibility of the journalist. We should never tell people what to think. I know what you mean, and I personally feel partial to it, but as a journalist, I understand that is not my mission. That is not reporting. That is one of the reasons I think that it’s so important that people, specially our contributors, actually study and take a class or two about journalism.

You learn how to say what you mean without actually stating an opinion. That’s why we quote people, that’s why we use statistics, that’s why we back everything with facts. The truth should never be explained — it should speak for itself.

MA: It’s impactful to be explicit about what is right and what is wrong. And you need to be impactful to create change.

AN: There is a space for editorials, and there is a space for news, and it’s important to differentiate both. You have to believe that people want to make the world better, and be hopeful that change is happening — only it never happens in the ways we imagine. I believe we can create change as journalists by saying the truth, backed by facts. I don’t think we should shape a narrative of right or wrong, because truthfully, things are never as simple as that. It feels like oversimplifying the issues of our time.

FIT

MAY 2018

Unconventional Minds: On FIT’s New Branding Decisions

BY SOPHIA OSTAPENKO

“Fashion Institute of Technology: Where Creativity Gets Down to Business” has been the slogan of all of FIT’s advertising campaigns and promotional materials for many years. Yet recently, the institute sent out a survey to its students to describe how they feel in regards to the university and what changes could be done in order to get more prospective students to apply to the one of the most famous fashion schools in the United States.

After the survey was slipped into the email inboxes of the FIT community, the school gathered information and hopped on the train of rebranding the image of the institution. The result, which was recently shared through various FIT social media platforms such as Facebook and LinkedIn, was two videos inspired by the majors that are a part of the Art & Design and Business & Technology schools. However, many current students were not excited about the rebranding decisions. Although the video shared is a fun graphic that intertwines the themes of New York City and FIT, many believe that it does not represent what makes the college unique.

The Fashion Institute of Technology currently lists 30 majors in the “Programs” section of its website, yet the content of the new videos created by the FITxPentagram Design Team focused solely on the beauty and fashion-related programs. The videos, titled “FIT: Unforgettable” and “FIT: Unfolding” feature shoes, clothes and makeup in an abundant of bright colors and graphics, but it does not emphasize

the fact, for instance, that FIT is one of only two schools in the United States which offers unique majors such as Toy Design, or that Advertising and Marketing Communications is one of the most popular majors at the school. Although the video is certainly not the only form of promotional material, it is still lacking information on the variety of what FIT has to offer. It also felt somewhat alienating to the male population, a target market that the school could work harder to attract, since currently only 15% of its students are men.

The promotional videos feature a few words that begin with the prefix “un” in order to play on the concept of their new slogan, “Unconventional Minds.”

“Unbound,” “Undeniable,” and “Uncaged,” “Unordinary” and even “Unboring” (which, according to the Merriam-Webster dictionary, is not a word) were just a few of the words included in the video. And although FIT and its community of students are certainly “unstoppable” and “uncommon,” it would’ve been interesting to experience why those specific word choices define the FIT community. This is a case of show, don’t tell -- the videos tell us that there is no other university and community like FIT, but don’t show us what really is it that makes us unique.

The rebranding is a great idea, as it could be refreshing to add something new to a previous concept, or alter the existing one.

Whether the idea to rebrand came about because the previous slogan, “Where Creativity Gets Down to Business” was slightly similar to the Laboratory Institute of Merchandising, also known as LIM’s “Where Business Meets Fashion,” or because FIT was simply aiming to refresh its image, it is worth questioning whether the rebranding could be a part of a bigger, nationwide issue?

According to The Atlantic, “just over 82 percent of the students who were highschool seniors during the 2013-14 year graduated, up from 81 percent the year before.” However, even though the high school graduation rates are on the rise, it does not guarantee that high school seniors are applying and entering colleges.

PHOTO COURTESY FIT: UNFORGETTABLE & FIT: UNFOLDING

According to the National Student Clearinghouse Research Center, more students are choosing not to enroll into colleges, despite increases in financial aid provisions. As The Atlantic’s Alia Wong reports, “the number of students enrolling in colleges and universities this year is 1.7

percent lower than it was last year. (The percentage of high-school graduates who immediately enrolled in college fell from 69 percent in 2008 to 66 percent in 2013.)”

The decreases in college enrollments could be attributed to a variety of reasons. First, some students choose an “unordinary” path, deciding to not pursue their dreams in college and finding other tasks and activities to replace their college experience. Besides, some students simply cannot afford higher education.

As the prices of college education have increased, so have all of the worries that come with paying off student loans. In addition, some students do not feel as if a college education will guarantee them a paying job which would allow them to support themselves once they get a degree.

Another reason that could be a part of the decision to not pursue a college education is attending vocational schools, or finding satisfying employment prior to attending college. Due to many young adults not choosing to follow a traditional path, many colleges nationwide are now attempting to figure out how to attract those who are willing to apply and attend their universities. Indeed, rebranding the images of various institutions might lead to a higher, more recognized spot nationwide, allowing universities to attract and keep their fair share of students.

FIT’s decision to rebrand might have come as a result of wanting to attract more “unconventional minds” into the institution. However, although FIT is considered a college, it is much more than an educational establishment. It provides hands-on experience for its students, compelling them to learn how to balance social, personal and work lives, all while living in the midst of one of the most competitive cities in the world.

Therefore, if FIT decides to rebrand one more time, or consider altering the current branding of the university, it would be interesting to position the university as more than just a fashion institution in a big city. It would be great to see all of what FIT has to offer, including the high variety of majors, clubs and programs, as well as the unique environment the college offers. FIT is a diffusion of creativity and business, and it should certainly show that one is not divided from the other: they work hand-in-hand to create the products and services of the future. FIT is more than a college; it is an institution where a multitude of different minds coexist.

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ON THE BLOCK

W27

On a Museum Career:

Michelle McVicker at the Museum of FIT

BY ANDREA NAVARRO

If there is one resource that is criminally underutilized by FIT students is our very own museum. I talked to Michelle McVicker, the Collections and Education Assistant at the Museum of FIT about the museum’s role in our institution, dream exhibitions and how FIT students and visitors can use the museum’s clothing in their next projects and research.

Andrea Navarro: What do you do at the Museum of FIT? Michelle McVicker: This is a relatively new position, but mainly, I increase engagement for professors and FIT students with the museum’s study collection, which consists of 1,000 garments (the permanent collection is formed by up to 35,000). The clothing is used for educational purposes, to provide students with tactile learning by being able to touch different textures and fabrics while also looking at their construction. I also help with the “100 Years of Fashion” presentation, in which I show 25 garments representing a century of fashion history in one hour. Additionally, I give some of the museum’s exhibition tours and help with research appointments. We offer grad students working on their thesis the opportunity to look at the garments we have in our study and permanent collections. I can show them up to five garments to see for a one hour appointment, where I do all of the handling but they are allowed to take pictures for references.

I also help with preliminary curatorial research for upcoming exhibits, since we usually start planning our exhibitions up to two to three years in advance.

It’s all really fun.

AN: What led you to take this career path?

MM: When I was in high-school I interned at the Chicago History Museum, in a program that encouraged teens to go into the museum field. Maybe it’s different in New York, but in another places teenagers don’t really go to museums. So one of the people I shadowed during the internship was the costume curator at the time, Timothy Long, who is currently a curator at the Museum of London. Back then, they were working at a Charles James exhibit (2008), and I remember that we all put on globes and white lab coats and when they took off the lid of the box that held his yellow butterfly dress, I wanted to cry. That was the moment when I was like “I don’t know what this is called, I don’t know what he is doing, but I want to do it.”

AN: What did you went to school for?

MM: In undergrad I studied Costume Design, so I worked in the theater costume shop. I actually sew and made patterns, which gives you a whole different understanding of clothes and how they are made. I then went to Parsons for my Master’s degree in their Fashion Studies program, which is very heavy on theory, so I had to find other ways to develop my materiality and get outside experience. I had experiences helping in exhibits in the Museum of the Moving Image, as a summer intern in the Costume Department of the Chicago History Museum and worked full-time for a year in the Metropolitan Museum’s Costume Insti-

tute as a Collection Management Assistant.

AN: What’s your favorite exhibition that you’ve ever or worked on?

MM: “Making Mainbocher: The First American Couturier” (Chicago History Museum) and “Manus x Machina: Fashion in an Age of Technology” (Met’s Costume Institute).

AN: If you had all the resources in the world, what would you do as your dream exhibition?

MM: Heritage Tourism and Fashion: all the stereotypes of the native costumes that people buy when they travel.

AN: Who is your favorite curator?

MM: Oh, that’s a hard one! I like what a lot of people are doing. I guess I would say Judith Clark. She is a curator but she also does exhibition design. She was the one who first opened me up to the idea of showcasing visibly worn clothes.

Upcoming Spring Events at FIT

BY LARA DE LA TORRE The end of a school year is always an exciting time at any college: seniors are graduating, underclassmen have the freshstart of a new semester to look forward to and summertime is closer than ever. Aside from all those clichés, the end of a school year is also something to look forward to because of end-of-the-year events. FIT has two especially exciting events coming up that are sure to break up the monotony of these last remaining weeks of school. First,

there is FIT’s annual Springfest Concert on Wednesday, May 9; held at Terminal 5 in Hell’s Kitchen. This year’s show will be opened by rapper Kelechi and DJ Zeke and headlined by Grammy-nominated singer, songwriter and dancer, Kehlani. Free for all FIT students, be sure to check the Student Government’s Instagram page, @ fitstudentgov, for more details.

PHOTO COURTESY: STUDENT GOVERNMENT ASSOCIATION

The Chair of the Concert Committee, Sonne Bajwa, explained that A$AP Ferg, 21 Savage, Gucci Mane and Cardi B were among the first artist names thrown around by the student Committee in the planning stages of the concert. Ultimately, Kehlani won the spot because the majority of the Committee members agreed that she would be the one to please the most people within FIT’s student body. Once the decision was made, actually booking Kehlani proved itself to be a challenge, “The conversation started in late Summer/early Fall (2017)… there would be communication, contractual discussions back and forth and then silence,” Bajwa explained. However, thanks to the team work and dedication of our Student Government, issues have been resolved and FIT is free to look forward to an amazing show.

The second long-awaited event coming up at FIT is the Spring Semi-Formal, which

is to be held two days after the Springfest Concert, on Friday, May 11. The Committee behind the dance chose Chelsea Piers as the venue for this year’s event because of its convenient location, which will simplify any travel students may have to do. The Chair of the Semi-Formal Committee, Paul Wederski, explained how the theme, Manus x Machina, was conceived and what exactly it is going to entail. “We had a list of ideas and the Committee and I all really enjoyed the MET ball’s version of the theme; it was a unique event… Expect a lot of fluorescent and LED lighting, lots of technology features and futuristic decorations,” Wederski said.

Another topic addressed was the reason the dance is not free this year. “We’ve seen the demand (of students wanting to attend the Semi-Formal in past years) and the only way to meet it has been to charge everybody. By charging, we’ve gotten the amount of spots up to 450 people as opposed to the 200-some spots we’d gotten in the past without charging anyone,” Wederski explained. However, with so many students opposed to being charged, we will see if this will happen again next year or not — regardless, it is sure to be a night to remember.

FIT

FASHION AGAINST ABLEISM AN INTERVIEW WITH ELSIE TELLIER

BY SANDRA STROMSWOLD

MAY 2018

Elsie Tellier is a Mexican/Canadian from Winnipeg, Canada, who is currently studying sociology as a Junior at Harvard University. The struggles associated with Elsie’s disorder, Cystic Fibrosis, are very real, yet she refuses to be simply labeled as a “sick girl.” She is an exemplary Harvard student and an advocate for the disabled community. In her popular blog, Lung Princess, Elsie discusses fashion and disabilities. Her work has led her to be featured in publications such as Teen Vogue.

Sandra Stromswold: When were you diagnosed with Cystic Fibrosis and how did that change how you went about your day to day life?

Elsie Tellier: I was diagnosed when I was twelve years old, which is a pretty late diagnosis for Cystic Fibrosis.

I was constantly misdiagnosed due to racism on the fact that my mother couldn’t speak English. My life expectancy at the time was 30, although it’s now 37.

I was basically told, “your life is almost half over.” So I decided, before I die I want to go to college. So from there on out, I worked for six years to get into Harvard University.

SS: When and why do you use the wheelchair?

ET: When I was fourteen, I had an infection that traveled to my vestibular system. I couldn’t walk properly and that took years to recover from. For the

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caught in the wheels or get dirty.

SS: Your wheelchair has hand-painted designs on the sides. Did you paint that yourself? What was your inspiration for the imagery you chose?

ET: My cousin is a professional artist and she painted my wheels for me as a birthday present. I basically gave her an idea of what I wanted, and she took the design from there. The roses side is kind of like a pun.

When kids say Cystic Fibrosis, they’ll often say it like “65 roses.” So it’s an ingroup term for CF. And roses are happenstance my favorite flower. And then I love galaxy prints and I also really like Star Wars, so that became the design for the other side.

SS: What is the experience of being a disabled person in today’s society? What are the difficulties?

ET: Being in a chair you’re looked at differently. You’re either invisible, you’re something to pity, or you’re like a baby. I never felt being in a chair made me ugly, but the people around me made me feel either invisible or undesirable. For so long disabled people have either been forcibly killed off or taken out of public view. To an extent that’s still true. Buildings are inaccessible, so how can we be involved in everyday things when we can’t even get inside. But for me, my biggest issue is a lack of respect for keeping spaces safe for people who are sick. I wish people would respect the fact that I’m going to be in the hospital a lot. I’m not always going to be there. It’s not that I’m lazy or unreliable, it’s just that my body is literally dying and I can’t control that.

SS: There’s not a lot of representation of people with disabilities. What do you think the world needs for people to understand that you exist and that you have these needs?

PHOTO COURTESY @65PINKROSES

ET: I think we need to see more representation of sick and disabled people just being people. So often when I see other CFers become popular, we can only see them as being representatives for illness and not normal, functioning people. But it’s so important to see disabled people as something more than their illness. For me, I’m interested in fashion, I’m a Harvard student. I’m a hard worker. Ultimately, I want to take away this shadowy mystery of disability and illness.

You can see me take fun fashion photos that I did on a day I was feeling well for an hour with my sister. But there are also times when I’m coughing up blood and need to go to the hospital. Both exist in my life.

most part, I don’t use my chair as much anymore.

I only use it if I have a bad infection and I can’t walk very far without getting overly tired. I also have a lot of arthritis problems. If I’m having a lot of joint pain, then I’ll use it. But at Harvard the chair can actually be a hindrance because of the hills and whatnot.

SS: Currently you’re studying sociology at Harvard, but originally you were considering a career in fashion.

Where does your interest in fashion come from?

ET: My birth mom passed away just before I was born.

She was known for being very fashionable, very trendy.

My aunt had a very classic style, she was someone who loved Chanel and Dior. My birth mom was more of a Moschino or Gucci person. I’m somewhere in between.

I’m really more into the stylist side of fashion. I’m not good at sewing. I’m not a very talented designer, but I have a good eye for what looks good on different bodies.

SS: How do you change the way you dress when you use your wheelchair?

Follow Elsie @65pinkroses

ET: The main thing I take into consideration is what looks good sitting down. You have to be aware of how long your skirt is and know that it will look shorter in the chair. I don’t want to wear something that’ll fold awkwardly at the waist. Jackets are awkward because they are designed to be pretty stiff and straight cut, so it reduces mobility of the arms, which is difficult for operating a wheelchair. If I want to wear sleeves I have to be able to roll them up, because otherwise they get

SS: How does the fashion industry continue to fallshort in terms of inclusivity? Do you think it could change?

ET: I think the biggest waves of change will happen when we see bigger name designers taking a stand.

We yield to big-name brand so much that we’re willing to let things slide. Karl Lagerfeld has stated he does not want to design for fat women [EIC note: Lagerfeld has recently stated that if models “don’t want to have your pants pulled about, don’t become a model! Join a nunnery, there’ll always be a place for you in the convent.”]. We let designers appropriate and say unsavory things. It’s a similar problem to what Hollywood has. We excuse big names of terrible things because we like their creative output. But really there are just as many talented young designers who aren’t offensive and who are willing to design for a broader market.

SS: What message do you want FIT students to take away from this interview? How can they be allies and continue to make the world a more inclusive place?

ET: My advice is to find the niches that are being underserved and serve them yourself. You don’t have to be a disabled designer to design for the disabled community. If you’re not someone who’s in that minority, you talk to people who are. I’d love for people to reach out to me and ask “what do you want to see?.”

In terms of fashion in general, I think my send-off is to look to the masses, look to what people want. Talk to people and reach out to minority communities and reach out to disabled people. Think about what you would want to wear, and ultimately you’ll do well.

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DEAR INDUSTRY

W27

BUMBLE BIZZ:

SWIPE RIGHT ON YOUR PROFESSIONAL FUTURE

BY ETHAN SIMS

PHOTO COURTESY BUMBLE

In an age where it feels like everything you can think of seems to have an app to go with it, it can be hard to figure out what’s a good use of phone storage and what’s going to be screen clutter.

These days a phone is the most powerful tool a person can have — it has the ability to reach millions of people, promote yourself, sell things and create businesses with just a wifi connection.

One of the top apps to hit the app store shelves is Bumble, the revolutionary female-first dating app.

Bumble Bizz is a separate extension with a similar format, only it is used for networking. You’ve probably heard how important it is to network and meet the right people for future job opportunities and build connections, but do you have any idea how to get started? Bumble Bizz gives people a kickstart to networking relationships: simply swipe through people in your field that you think you could benefit from. This app is especially helpful for young designers and young people about to start working around the design field.

Designers need a healthy network of people competent in different areas of expertise, many assignments you will be given in the future will involve things you don’t have much knowledge of.

The best professionals don’t know how to do

everything, they just know someone who is really good in different things.

After graduating from college, you are competing with your classmates, but also people from other hundreds of schools, as well as past graduates and even people who skipped college. It’s a saturated market, but with Bumble Bizz you can talk to potential employers beforehand and get to know exactly what they are looking for in an employee, so you can walk into an interview confident and collected.

Studies conducted by The Academic Job Search Handbook show that almost all job openings are filled through networking . If you make no effort to network or market yourself as a professional, you are cutting yourself off to over 80% of the job opportunities on the market, and this is especially true for designers. The earlier you start networking as a college student the stronger will be the foundation you will build, and that will pay off in the future. In many cases you may be competing against people who are older than you and have more experience, but if you can network yourself correctly you’ll have a much better chance at snagging that job. Bumble Bizz is formatted as a mobile social media app, and who does social media better than this generation?

DAVID VS GOLIATH:

HOW MAJOR FASHION CORPORATIONS GET AWAY WITH STEALING THE WORK OF SMALL ARTISTS

BY THUY ANH DANG

This past March H&M got sued again for using graffiti work without permission, just after having being involved in an international racial scandal for putting a “Coolest Monkey in the Jungle” t-shirt on a black child model.

Jason Williams, who goes by the name Revok, claimed copyright infringement since he had never given H&M permission to use his graffiti on their New Routine activewear. This time, however, H&M may have the upper hand. Since the graffiti was created illegally in a park, H&M could file the evidence of this activity against Revok — which was exactly what they did. H&M’s lawsuit against Revok caused outrage among other street artists and online users. For them, it was an act of a big corporation threatening and using a loophole to devalue a small artist’s work. KAWS, a world famous graffiti artist who collaborated with UNIQLO in 2017, posted “R.I.P. H&M” on Instagram to support Revok. After many street artists including INSA and Lady Aiko called for the boycott of the brand, H&M decided to withdraw the lawsuit.

corporations, but becomes simply unattainable for starting designers and artists. For logo trademarks used by brands like Lacoste, the cheapest option would be to register an online trademark for $300.

If startups ought to work with attorneys, which is the most secure option, the price for this service could go up to $1,500 to $2,500.

Utility patents — which are used for technological inventions in Velcro, Kevlar and Nike — are just as important as design patents. However, the two patents have different price points. Usually design patents are cheaper, but they could cost an average of $1,500 to $3,000 for one unique design, as stated by UpCounsel. If startups want to register other similar designs, they would have to pay the same amount for each design. This amount of money includes filing, counseling, reviewing and examining. The process takes at least six months to obtain. According to fashionista.com, utility patents cost as much as $8,000 if the construction of the design is complex. In a fast paced industry like fashion, unless the design is a company signature, it may not be sensible to file a patent for seasonal designs.

However, H&M has never been the only major fashion company that gets profits by stealing the work of other artists and designers. One very similar case happened between designer Jeremy Scott and graffiti artist Rime. Rime was not as lucky as Revok who received huge social media support. In the end, Rime could not argue against his illegal graffiti work, and his case was dropped.

As for suing other companies, independent artists such as LA illustrator Tuesday Bassen could easily spend up to $2,000 for an attorney to file a lawsuit, which is what she did when she sued Zara for stealing her pin designs. However, without huge social media followers and backup, many of these artists and designers could get sour outcomes.

There are a couple of ways for independent artists to protect their work, but it involves an enormous deal of money — which is not a problem for big

Though plagiarism is morally wrong, unlike intellectual scientific research, there seem to be very little to no copyright laws written to protect

fashion stealing. The American copyright laws were written in 1976, when the nation was more of a manufacturing nation, and it has not been updated for the modern days to protect the growth of independents designers, even with the presence of American powerhouses like Michael Kors and Donna Karan. Today, independent artists and designers pressured by the power of massive companies could either be threatened, like Revok, or paid a small amount in exchange for silence.

With such a difficult environment for new artists and designers to emerge, they can only rely on the power of social media to help them prevent the costs of expensive lawsuits. However, even social media users are accomplices to the attractiveness of merchandise from companies that can produce cheaper imitations than small designers’ original creations. It is the responsibility of customers to change the ways in which clothing is seen. Fast fashion creates clothing not meant to last and many times at the expense of workers living in inhumane conditions. Many of the emerging brands of today have a much better awareness of the problem, which reflects on the quality of the clothing and working conditions. Of course, this usually raises the prices of clothes.

On the long run, though, creativity is worth respecting. It creates advancement, freedom and it should not be devalued or taken advantage of. Big companies are still exploiting vulnerable, independent designers and it’s the consumer’s job to protect them by deciding how to spend their hard-earned dollars.

FIT

MAY 2018

COWBOY BEBOP GETS ITS OWN CAFE

BY ALEXANDER LOPEZ-GUEVARA

I

f you like anime and manga, surely you have heard about the many cafes in Japan that have devoted themselves to hosting pop-ups and themed services that pay homage to famous anime and manga series. Fans of the genres are welcome to come and enjoy an enticing and memorable atmosphere that showcases art, in many mediums, from the anime/ manga itself. Along with illustrated walls, tables and menus, fans have the choice of indulging in drinks and pastries that are based off of the many themes, environments and characters from a specific series. The availability of these themed cafes draw in hundreds, if not thousands of fans to wait in line, make reservations (lottery-style) and —in a way—celebrate the overall achievement of said series.

Recently, it was announced that Cowboy Bebop, the hit series that aired in Japan exactly 20 years ago, is teaming up with Animate Cafe in Osaka and Akibahara to celebrate the special occasion. Cowboy Bebop stands along as a monumental achievement in not just anime, but storytelling in general.

Composed of four main characters—Spike, Jet, Faye and Edward—the show takes references from western flicks, film noir, science fiction and action movies. The musical score touches on jazzy themes, often relying heavily on sax driven melodies and a melancholy piano. And tying it all together are the underlying themes of Cowboy Bebop—themes that touch on loneliness, relationships with the past regarding anachronistic characters and the heartbreak of relationships that don’t withstand the test of time and fate.

Cowboy Bebop will join the cafe ranks of series like Hunter × Hunter, Yu Yu Hakusho, Dragon Ball Z and (of course) Studio Ghibli. These cafes stand out for their unique pastries and merchandise, while staying true to the cafe culture that has been established, cultivated and nurtured by Japan since the post World War II era. Initially turned down by the general public, coffee eventually made its way into places that would sell tea: kisattens. As more and more people demanded coffee, kitassens took it upon themselves to serve about 90 percent of the imported coffee back in the early 70s. Along with the popularity of coffee came new ways of attracting new clients. Two avenues were formulated: one was entertainment cafes—think of anime themed cafes and maid cafes—and the other was a devotion to the improvement and mastery of roasting and brewing coffee to its finest form.

The former obviously caught fire quickly amongst fandoms and tourists who wanted a sort of sanctuary to express a general interest in the genres of anime/manga. Many cafes not only offer coffee and food, but also offer plenty of books, computers, spaces for relaxation, video games and television and movies—all devoted to the awesomeness of these genres.

These sorts of tributes do not exist in their own vacuum; over here in the US, pop up shops paid homage to famous characters in films as well as iconic television shows.

Such examples included a pop-up version of Los Pollos Hermanos, the restaurant owned by one of the villains in the hit series, Breaking Bad; Will Ferell was the subject of a bar that opened in Lower East Side here in New York called Stay Classy (it eventually closed, but made waves for more pop-ups in other places). This sort of culture resonates with fans because it allows them to connect in a better way to their fandoms—even the ones that are no longer running.

Cowboy Bebop had only 26 episodes, which were translated and aired in the US back in 2001. Regardless, it’s a great thing to hear about its revival in this manner, and it’s a great way for fans to connect and rejoice in the legacy of Cowboy Bebop once again.

ART BY ALEXANDER LOPEZ-GUEVARA

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10 FEATURES

W27

FIT presents:

The Future of Fashion 2018

BY MASON AUMAN FIT’s vision for the Future of Fashion was presented this past May 3 to a crowd of fashion industry veterans, faculty, students and their families. The runway show displayed an excess of 70 looks, all approaching the concept of fashion’s changing landscape through a unique lens. This materialized in the merging of traditional fabrics and new technologies while also making strong cases for maximalism and eccentricity.

Award winners included Elaine Black, Lauren Barkley, Liana Jaime-Lopez, Stacy Isaacs, Michelle Ortega, Laurin Cabralissa, Charlotte Sasko, Paola Lizano Uana, Michelle Yeon and Kaitlin Barton – with Chaya Hoffman securing the People’s Choice Award.

The BFA Senior class produced their items under the tutelage of designers and industry critics, who ultimately selected which garments would make it onto the runway on May 3. The students were mentored and critiqued by Yigal Azrouel, Flora Backer, Phyllis Chan, Amanda Hsiao, Bibhu Mohapatra, Josie Cruz Natori, Dushane Noble, Sharo Tal, Karolina Zmarlak and Zac Posen. Wearing a light grey suit and a warm smile, Posen drifted about in the front row before the show started; greeting, air kissing and having his photograph taken with an unending stream of colleagues, friends and admirers. The runway

A LOOK BY MICHELLE YOON

looks were in several specializations which included Intimate Apparel, Special Occasion, Knitwear, Children’s Wear and Sportswear.

Sportswear was a particularly dominant fixture, with even other specializations taking nods from the concept and styling of technical and casual performance wear.

While tastes and styles of clothing certainly varied, each design was unified by a potent inclination towards the future.

Some students, like Grace Insogna, translated the idea of “the future of fashion” garments that represent a celebration of identity and fearless dressing. In Insogna’s case, that translated into a colorful knitwear kit with a rainbow pattern that highlighted the future of humanity and our rights. Another garment looked toward the future in a similar manner – with streams of straps looping over and hanging from a color-block dress that read “equality” repeatedly. Another model in a denim ensemble marched down the runway with “Catch 22” emblazoned on her chest and a red bandana dangling from her hip. These clothes look toward a future that is not always guaranteed for groups who face oppression or opposition. It’s a future that fashion can and should confront. And the FIT’s graduating class is doing just that.

A LOOK BY GRACE INSOGNA

FIT

MAY 2018

A LOOK BY LAUREN BARKLEY

A LOOK BY STACY ISSACS

A LOOK BY MICHELLE ORTEGA

A LOOK BY LIANA JAIME-LOPEZ

A LOOK BY CHARLOTTE SASKO

A LOOK BY KAITLIN BARTON

A LOOK BY PAOLA LIZANO-UMANA

A LOOK BY CHARLOTTE SASKO

PHOTOS COURTESY: STEVEN VLASIC

A LOOK BY ELAINE BACK

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W27

FEATURES

Dee Delancour is

Designing for Change

BY MASON AUMAN

I recently sat down with graduating senior, Dee Delancour, to discuss her experience as a Packaging Design major at FIT. Dee is one of only 23 students in the program, which she entered upon completing her associates degree in Communication Design. In addition to discussing her design sensibilities, Dee and I explored the vast array of areas that Packaging Design students can explore and the ways in which the major supports individual creative perspectives. Now at the tail end of her two year bachelor’s program, Dee shares her thoughts on the major’s strong – and not so strong – suits and gives advice to prospective Packaging Design students.

Mason Auman: I noticed that you’ve designed some images that are seemingly promotional.

What do you think is the role of Packaging Design in advertising?

Dee Delancour: I think packaging is one of the major advertising touchpoints for a brand. People associate Coke with its color but also its shape.

People have packages in their houses, on their shelves and in their bags. It’s really an intimate experience. I see myself as a “brand experience designer,” which sounds really pretentious – but it’s true. Brands aren’t really singular things anymore – they’re entire worlds.

MA:You mentioned packaging is an intimate experience, which I think is really interesting.

What made you want to engage with packaging in such a meaningful way?

DD: When you think about “oh, this is a package that I got as a kid,” that’s an example of a memory we have with a product. We also base a lot of our purchasing decisions on packing.

Through packaging – really in all forms of design, but especially though packaging – I have the

opportunity to speak to people directly. I think that made the field an attractive prospect for me and an exciting thing for any designer to consider. Even though it is a consumer-facing area, packaging does create connections in a tangible way.

MA: Translate what you feel people are going to connect with from design to actual product is a skill that you need to develop over time. How has the major allowed you to develop your direction and sense of design?

DD: It’s a combination of being consumer-driven and knowing how to communicate to the consumer what they may not know they want yet. There are definitely risks that you can take. For example, if I say that I want to take an existing desire a step further – that’s where there is opportunity for some innovation. And the major really supports that.

In addition to being commercial, we’re a creative field.

MA: You’ve produced work specifically for school and possibly work outside of FIT..

What is your favorite thing that you’ve produced to date?

DD: The Packaging Design major allows me to do more than just packaging. I love when I can pursue projects that are centered around events – resulting in posters and things like that. I really enjoy the projects that entail event branding.

But I’ve also found that I have a passion for User Interface design for apps, which is totally different from traditional packaging. The digital content offers a lot of opportunity and the major supports that.

MA: What’s the process of designing a UI for an application?

DD: I start with a great deal of research – talking to people about apps with similar features and functionalities. That way I can decide what works and what doesn’t. I follow that with sketching and planning. After that is the most fun part – the actual design. It’s something that I just started learning this year, but it’s been thrilling to develop my knowledge and inject it into my portfolio.

MA: Are there any themes that you find yourself revisiting often when you design?

DD: Definitely. Especially for my portfolio, recently. I have a big passion for representation, so I like to do projects that represent specific people or groups – for example, I like to use photography of people of color so that we can have our voices amplified. I just did a project that centered around artistic black women and that was a lot

of fun. I also care a great deal about mental health and wellness, I have two projects that I’m currently working on that are associated with those areas.

MA: Do you think the major’s guard rails are set wide enough to allow you to explore these sensibilities?

DD: Yes, as long as it makes sense. We can do passion projects – but they have to make sense for the concept that we’re developing. As long as we produce work through a business-lens, we can go in any direction in terms of concept.

FIT

MAY 2018

MA: Are there any design trends that you’re tired of seeing?

DD: I think that we live in an age when there are so many different types of niche markets. Because of the internet, a lot of voices are being heard. One thing I’m really tired of is the notion that all products need to appeal to everyone. There are so many different types of people – and remembering that is a way to push design forward.

MA: So, you think specificity is an asset as opposed to a hindrance?

DD: Yeah – and that’s where you can really connect with people. It can be hindrance for large brands, but smaller brands are able to really utilize specific markets. Glossier is a great example of this. They’ve tailored their message greatly for a very specific consumer and this has proven to be a benefit to them.

MA: How do you feel about their packaging?

DD: If I did that packaging in our major, I think I would be tormented. The major puts a lot of emphasis on storytelling and depth. What Glossier is doing is very good for their market, but it lacks depth. It’s very Instagram-friendly. I have a project in my portfolio right now that is an Instagram-friendly piece, so there is a definitely a place for this type of content, it just can’t be all you do.

MA: Is there a brand whose packaging is a total misrepresentation?

DD: Have you heard of the controversy regarding Tropicana? I believe it was 10 years ago or so.

MA: I haven’t, can you fill me in?

DD: They were trying to be perceived as a healthier brand – but in doing so, stripped away everything that makes their

packaging unique. With that, they lost their brand equity and their sales were harmed greatly as a result. The bottles with the new design were on shelves for a week before they had to be removed. The issue in cases like this isn’t even that the new design is bad. But introducing changes so quickly when your consumer already sees your brand in a certain way is a fast way to alienate a consumer who doesn’t want to re-acclimatize to understand a brand.

(EIC note: On 2009, Tropicana launched the new packaging for its best-selling Pure Premium Orange Juice, replacing the classic image of the orange and straw with a transparent glass filled with orange juice. A few days later, consumers started criticizing the new design and sales dropped by 20%. The package design fiasco cost Tropicana $50 million in sales).

MA: Is there a brand that has impressed you recently?

DD: This isn’t really packaging, but I’m thinking about The Wing. It’s a co-working space for women that has a few locations in New York. They’ve done a really great job with consistency and diversity in their identity. Their design was done by Pentagram – a huge design firm in the city. Their physical space is connected to all of their online accounts effortlessly.

MA: If you had any critiques of how the school operates the Packaging Design Major, what would they be?

DD: The school does a good job of listening to their students.

The small group of people in this major facilities good communication. The curriculum could be improved and evolved in a couple of areas and the faculty and administrators are working effectively towards that goal. I would just like to say that giving students the opportunity to work outside of just packaging would be really helpful in our educational process.

I would like to end by encouraging anyone considering Packaging Design to pursue it because it is an unrestricted field that allows you to explore different areas of design. Packaging Design gives students the opportunity to find themselves as multifaceted designers.

You can see more of Dee’s work in her website, deedalencour. com and her social media, @deedalencourdesign

This interview has been edited for length and clarity.

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FEATURES

W27

FIT

Tips from the W27 team: Mason Auman, Editor: Even though it’s daunting to be faced with the prospect of meeting and connecting with people at FIT, go out of your way to do it. The awkwardness that comes with introductions is a small price to pay for a potential friend in a place that doesn’t do a great job of promoting personal connection.

Erin Tucker, Art Director: Well, this is only my first year and I’m still figuring everything out. But so far, I’d say my best advice is to just put yourself out there. It’s hard, but worth it.

Also, sometimes it’s easy to forget you’re in New York, where most of us have always wanted to be. So take advantage of the time you do have. It really is a great city to live in, especially at this age.

Andrea Navarro, Editor-in-Chief: Just going to classes is not enough — make an effort to put yourself in situations that will help you grow (internships are cool, but I specially advice volunteering at something you are genuinely passionate about). Also, don’t sacrifice your mental and physical health at the altar of academic success. Work hard, but take care of yourself.

Shani Hashemi, Editor: Lara de la Torre, Photo Editor: Don’t forget to explore; this is the most important piece of advice that applies to any student attending school in New York City. Never let yourself get too caught up in the rush, the stress, the anxiety; it’s ok to put down the laptop for a little bit and take full-advantage of the unique city you’re living in.

Sophia Ostapenko, Managing Editor: Don’t be afraid to try something new. Whether a new extracurricular activity, a new food or a new sport, don’t be afraid. Jump to it, because you might end up regretting it after the opportunity is gone.

Time management. It may seem like you either have a lot of time or not enough, but work can build up quickly, so be sure you handle your time wisely so you can work hard and play hard. Also, don’t be afraid to ask professors for help. If you are having trouble, reach out and they will help you.

FIT

MAY 2018

Alexander Lopez-Guevara, Writer & Designer: The worry of not getting better should be greater than the worry of not getting a job. From what professionals tell me, it’s more important to focus on craft and self-improvement (which involves experimenting, learning, growing and researching); the job opportunities will come. We just have to be as prepared as possible.

Angela Diep, Designer: Get dressed up at least once a week. It might take a while to get ready, but if you look good you will also feel good and confident. You’ll be surprised by how much it can make your day.

Thuy Anh Dang, Writer & Designer: It’s never too late to do the things you love if you set your heart, mind and soul to it. Life is a journey and we are all trying to figure out our paths. So I say chill out, have fun, work hard and things will start to come in place. Time is not the determinant to your future, you are.

Sandra Stromswold, Writer: Don’t let inspiration go to waste, have a place to write down your ideas!

Ashley Aviles, Designer: When you have a creative block, it really helps to make time to go out and find some inspiration!

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THE GALLERY

W27 Each month, we feature artwork from FIT students. Whether it’s something you’re pursuing professionally or just trying to have fun with, nothing is too big or too small for The Gallery.

THE GALLERY

Kathryn Godoy Fine Arts, 1st Year

“My work has a centralized focus on developing form through organic shapes of color. My recurrent motifs are growth, individuality and sexuality; but my most recent work pays particular attention to understanding my origins and strengthening my connection to my ancestors.”

Follow Kathryn on Instagram: @kathryngodoy

FIT

MAY 2018

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Terry Stein Art History, Senior Learner

Madame Rubenstein’s Exhibit

By Terry Stein The exhibit in eight rooms glides over her long life.

Red lipstick, Balenciaga, African masks and miniature rooms.

Come to Madame’s and learn about posture, Learn about massaging under the chin, And become Beautiful.

“There was an excellent exhibit at the Jewish Museum which included designer clothing and art belonging to Rubenstein. I very carefully perused each of the eight rooms and came up with this short poem including the Balenciaga dress she is wearing.”

Graham Sutherland Helena Rubinstein in a Red Brocade Balenciaga Gown 1957

The Spring Semester

By Terry Stein Art and fashion reigned Velázquez and the Infanta The matador and the bolero Encapsulate, deep and dark clothes The Prado, Toledo and the Basque region.

Balenciaga and castanets.

Ole’s and foot dancing Skirts uplifting, Veils covering, Layers form-fitting.

I hear Carmen singing the Habanera Sublime and delicious The beat is syncopated The hands clap, drum and play.

Diego Velázquez Infanta Margarita Teresa in a Blue Dress 1659

“I studied Fashion and Art History for one year at FIT. When we studied Balenciaga in relation to Velázquez and the Infanta, it had a memorable impact on me.”

Would you like to see your artwork featured in The Gallery? Send us an email to w27_newspaper@fitnyc.edu for a chance to have your work featured in our next issue.

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HAUTE CULTURE

W27

LUKE’S LOBSTER

BY LARA DE LA TORRE

The first time I went to Maine, I was 15 years old; it was summer vacation and my family and I spent a week living in a cavernous wooden cabin on Lake Damariscotta. Warm, firefly-lit nights eating cold, crunchy balsamic-dressed salads followed by freshly-grilled skirt steaks seasoned with lime, Corona, and Lawry’s salt; these are the flavors I remember the most at the thought of Maine… aside, of course, from my equally vivid memories of the local lobster rolls. They were lusciously sweet and fresh yet buttery and salty all at the same time. I had never before eaten something so unassuming, so simplistic, so darn good.

It’s been six years since that trip and I still dream of those crazy little New-England sandwiches. So thankfully, after suffering through many a Paneraimitation lobster roll, I was recently introduced to

With over ten locations to choose from in the New York City-area alone, I knew I would have absolutely no problem finding a Luke’s Lobster to eat at. While researching for this review, I actually visited two out of the twelve total restaurants here in the city: the Times Square location (housed in City Kitchen, a hip food hall similar to Gotham West Market) and the NoMad location (right across from Madison Square Park and about a 10 minute walk from FIT).

Both experiences were consistent in quality, service and wait time. When I first visited, I indulged in a whole lobster roll and found that it was the perfect portion for a nice, light lunch. The lobster was fresh, chilled, and perfectly seasoned with a triple threat of mayo, lemon butter and the restaurant’s signature spice-blend. On my second visit, I decided to branch out and try the “Luke’s Trio,” a sampler of all three rolls on the menu. Crab, shrimp, and lobster, all cradled in what I found to be the most noteworthy facet of my two visits to to the restaurants: the buns. Light and fluffy on the inside, warm, toasted and buttery on the outside: all the key features of a vessel worthy of containing such delicious seafood. All in all, with prices being a bit higher than the restaurants profiled in my last reviews, Luke’s Lobster is a place to visit if you want to splurge a little bit. So with a recent tax return deposit in the bank and a nice sunny day out, this lobster roll spot is worthy of some extra spending.

ART EXHIBITION REVIEW:

“PAINTED IN MEXICO, 1700-1790: PINXIT MEXICI” PHOTO COURTESY LARA DE LA TORRE

PHOTO COURTESY LARA DE LA TORRE

RESTAURANT REVIEW:

Luke’s Lobster. Opened in 2009 by Luke Holden, a Maine-native himself, the restaurant has since become synonymous with everything lobster roll.

Serving a straightforward, no-nonsense menu, the self-proclaimed “shack” doesn’t hide behind any gimmicks. Three different types of seafood rolls, two different soups, several seasonal dishes, and three variations of potato chips: that’s all there is to it.

BY LARA DE LA TORRE When I first heard that the MET was going to hold an exhibition solely showcasing Mexican painters from the 1700’s I could hardly believe it. The image that has accompanied any information on the exhibit since it was first announced at the beginning of the year is an eye-catching portrait depicting a young Mexican woman in rich European clothing.

Sleeves and collar extravagantly embroidered, elegant pearl jewelry, and the strategic placement of fake birthmarks — a style of dress that I had never before seen applied to a Mexican woman.

I am a first generation Mexican on my mother’s side and a second generation Mexican-American on my father’s side. I have always taken pride in my culture and any time I am given a chance to learn something new about where I come from, I immediately want to absorb as much information as I can. This show opened my eyes as to how uninformed I’ve been about certain aspects of my culture, specifically Mexico’s relationship to Spain after having been conquered in the year 1519. The Met’s show is, as quoted from their website, “…the first major exhibition devoted to painting in New Spain (Mexico) during the 18th century.” The show features 110 paintings, many exhibited for the first time. The majority of the pieces depict religious themes while there are also portraits, landscapes and scenes of everyday life.

The show could have easily taken a very political turn but clearly chose not to: many descriptions accompanying the displayed pieces completely neglected to touch upon the extreme racism that has plagued Mexico since its colonization nor the brutal destruction of an entire culture that to this day still exhibits the effects of the wounds inflicted by the Spanish hundreds of years ago. Regardless of this blatant glazing-over, the exhibition is an incredibly significant one in the history of Mexican art; paintings that have never before had a platform to be shown are just now seeing the light. In this ever-changing world we are a part of, it is so important to take advantage of all the newly represented voices that have been pushed aside in the past. On view in the Met Fifth Avenue’s Gallery 999 from now through July 22, I recommend anyone interested in learning about a generally overlooked facet of the Mexican culture to see the exhibition.

FIT

MAY 2018

19

HoFIT HUMANS OF FIT

BY LARA DE LA TORRE

GRACE MCCARTY FASHION DESIGN What’s your favorite way to procrastinate?

It’a lot of different things; it depends on my mood. Sometimes it’s Youtube videos, sometimes it’s hanging out with my friends… but mostly Youtube videos.

What was a significant turning point in your life?

My sophomore year of high school I did a precollege program at SCAD; it was the first time I wasn’t concerned with what other people thought, the first time I was around creative people like me. It was such a comfort and from then on, I really embraced the design future I wanted to pursue.

What’s your favorite thing about your family?

That we are so diverse but we still find so many ways to relate to and celebrate each other.

When’s the last time you were proud of yourself?

In the last step of judging for the Future of Fashion Show here at FIT, I wasn’t selected to be a part of the show. However, it didn’t bother me because for the first time, I hadn’t let anyone sway or influence my design perspective; I created what I wanted to create and I’m proud of what I accomplished regardless of getting into the show or not.

What sets you apart from everyone else?

I am never willing to settle; I’m constantly seeking out a new challenge to tackle. Instead of working with the system, I’m willing to up-root it to improve it.

What do you have faith in?

I have faith in humanity; I believe people are inherently good and that we can all work together towards a greater good.

AMANDA PITA ILLUSTRATION What’s your favorite way to procrastinate?

Binge-watching Netflix.

What was a significant turning point in your life?

Probably coming to this school; it was a completely new and different experience for me. Meeting new people and finally feeling like I found a place I could belong, a place I could really be myself.

What’s your favorite thing about your family?

Our culture. It’s pretty mixed because my parents are Cuban but I was born here, so we really try to keep certain Cuban traditions alive while still living like an American family. It really brings us all closer together.

When’s the last time you were proud of yourself?

The last time I did a presentation in my psychology class. I usually get so nervous when in comes to public-speaking; it’s never been

easy for me to get up in front of people and talk.

Every time I confront and get over a fear, I’m always really proud of myself.

What sets you apart from everyone else?

I guess my style; I always like to change up my look whether it’s my clothes, my makeup or my drawing style, I always love to experiment.

Lately I’ve really been into abstracting the human face in my artwork…

What do you have faith in?

I have faith in a lot of things: I have faith in God, first and foremost. I have faith in myself that I’m going to be able to be successful one day and I have faith in my friends and family that they’re always going to support me and move me along in the right direction.

NIASIA PALAR FASHION DESIGN What’s your favorite way to procrastinate?

Sleeping.

What was a significant turning point in your life?

My grandma dying. That was the biggest turning point I’ve had, to this day it still affects me.

What’s your favorite thing about your family?

That’s hard, all my family is split-up. I don’t really feel like I’ve experienced a real family.

My parents separated and my mom is a single mother; she went back to school and worked a full-time job and was raising me by herself at the same time. Before my little sister was born, my dad was always in and out of my life whenever he felt like it.

PHOTOS COURTESY LARA DELATORRE

When’s the last time you were proud of yourself?

I hadn’t sewed in two years, maybe more, since my grandma died. I took a semester off, I wasn’t really doing anything that made me happy until one day, my boyfriend was able to convince me to start up my sewing machine again. I began

to pour my emotions into that and I finally finished a skirt. It didn’t even take me that long to make, but it was a really cool moment for me because I was able to push past everything that I’d been dealing with and face it right there at the machine.

What sets you apart from everyone else?

That I don’t want to be a slave; I don’t want to get caught up in this society where we are basically brain-washed. We’re told what to think and how to feel by everything: social media, the news, television, etc. I want to understand me for me without any exterior factors.

What do you have faith in?

Still working on that…but I do always have faith in the Universe, everything around us; the animals, the trees, just our natural world in general.

20 MONTH IN REVIEW

W27

The Art of Detainees at Guantanamo Bay:

Property of the US Government

BY ALEXANDER LOPEZ-GUEVARA

Prisoners and incarceration are popular subject matters across all forms of media. Detailed explanations of the current horrors facing American society are common, and the public becomes familiarized with the faces behind said crimes for only a moment. Perhaps that moment is the news in the morning, a lunch break at a café or a page on a daily newspaper. Hardly does that moment of familiarity last long, and the face of the criminal joins an institution far away from the public eye. Names and faces are forgotten as the day continues, and all responsibility and attention is left to the judicial powers of the country.

It’s important to know that these powers are not always in the right. The ability to put dangerous men away is not an easy procedure, much like discerning if a man is dangerous or not and if he should be freed. The latter ability is one that seems to be a problem for the judicial system, especially when it pertains to a specific group of men: the detainees at Guantanamo Bay — the most notorious military prison in the country.

The prison’s initial development began with the plan of tracking down terrorists through George W. Bush’s War on Terror following the 9/11 attacks.

According to Spencer Ackerman for The Guardian, around the time of the attacks, Afghanistan had been in an uproar due to political conflict, and many men within said country became subject of accusations (with little to no proof ) and eventually, imprisonment. The US would go on to invade the country (with the goal of bringing terrorists to justice) and take many of these men — some as payoffs — to the Guantanamo Bay prison. In the following years, the rights of these men would be up for debate.

Is the detainment of terrorist suspects (without pending trials) for an indefinite amount of time legal? Can these men be denied their right to a fair trial if they were never initially involved with US standards of law? Can these men — isolated and stripped of their rights — be allowed to showcase their art outside of their prisons and keep it as their own?

PHOTO COURTESY ALEXANDER LOPEZ-GUEVARA

That last question has been pondering for some time, following an exhibition at John Jay College in New York City, back in January of this year. The exhibition was titled “Ode to the Sea” and was composed of paintings and sculptures that took inspiration from a sea unseen by the detainees. Erin Thompson, a professor of art law and crime at John Jay College, stated that the exhibition was built around the symbolic meaning of the sea for many of the detainees: that of hope and fear. Since many of the detainees await a fair trial and freedom, knowing that the likelihood of it is minimal, it’s easy to compare the situation to a ship at the mercy of waves. The ability to create art gives the detainees a good way to pass time and tell stories, especially when the works themselves are distributed to the public.

After only a month of its initial opening in October of last year, the US Department of Defense spokesperson Ben Sakrisson stated that, “items produced by detainees remain the property of the U.S. government.” Detainees would not be entitled to their art should they be released from prison. Fear has even sprung up amongst detainees who have

heard rumors regarding the burning of their works.

But why did the Department of Defense decided to take this stance on the matter as soon as the exhibition made national news? Was it perhaps because more people were learning about Guantanamo Bay’s flawed foundation?

Was it because over a year ago it was up for a complete shutdown during the Obama administration? Was it because under Trump, it will remain open?

The detainees who benefit most from the art department are subject to an institution that denied them the right to defend themselves and, according to Richard Jackson, the Deputy Director of the National Centre for Peace and Conflict Studies in the University of Otago, provided no proof or evidence as reason for imprisonment and now, denies them a basic right to share and keep their work. Without the distribution of the works, the men confined to cells return to a realm away from public attention.

Though the war on terror continues, discernment and the value of time, truth and clarity should be paramount in the future of Guantanamo Bay. Hopefully, justice prevails — for every side.

FIT

MAY 2018

The Berkshire Museum of Art Is

Selling Its Own Art to Survive

By Alexander Lopez-Guevara

If you know commercial art, you know Norman Rockwell.

An illustrator from the golden age of illustration, he is best known for capturing ideal moments of American life for the Saturday Evening Post. One of his most famous paintings has recently been the subject of much controversy because of the circumstances surrounding its original home: the Berkshire Museum of Art in Massachusetts. One of the most riveting works in its collection, it had stood alongside artists such as John Singer Sargent, Gregory Crewdson, Red Grooms and many more.

The Berkshire Museum, known for its devotion to the arts, has also been dedicated to natural science and history — it stands alone for its valuable collections and reputation. Despite its richness, it is apparent that economic issues have become catalysts for a new vision of the museum’s future. Loss of major patrons and an increasing operational deficit meant that the Berkshire Museum’s board members had to act fast if the museum was to be kept operational in the future. Board members discussed plans regarding increasing membership prices, corporate sponsorships and gala revenues. But alas, it was still not enough to support the museum’s future.

The final solution, despite backlash from local government, protesters and other museums, was to sell up to 40 works of art — enough to cover a proposed $55 million budget. The money would be used to renovate the museum and implement new programs that are geared towards advancements in science and technology.

Norman Rockwell’s “Shuffleton’s Barbershop” was possibly the most expensive artwork of the batch, valued at $20 to $30 million, according to Sotheby’s. The sale made headlines when it was announced that the purchaser would be George Lucas himself — the mind behind Star Wars. It was then that a question came up: is it right for a museum to sell its works for its own survival?

A court agreement was met that stated that the Berkshire Museum would stop selling once it reached its specified budget, and Lucas’ purchase of the painting is one of many expected purchases. The plan is to hang the painting in Lucas’ upcoming museum, set to open in 2022, which will be devoted entirely to narrative art. In the meantime, it is being held at the Norman Rockwell Museum in Stockbridge, Massachusetts.

The amount of legal matters and craze that occurred throughout the past two years jarred the community surrounding the Berkshire Museum. Despite the intentions behind the sells, many agreed that an institution should not treat works of art as commodities, but as valuable resources that link the present with history. When a museum decides to make direct profit off such resources for its own sake and survival, ethical issues are bound to spring up. What is the purpose of a museum if not to house, protect and define important pieces of history?

It’s important to recognize that in basic terms, a museum is a business. It cannot maintain itself without sufficient funds and cannot enable reinvention either.

The president of the museum, Elizabeth McGraw, has stated that they have tried everything they could to rely

PHOTO COURTESY OF ALEXANDER LOPEZ-GUEVARA

on external sources of income. Negative feedback was respected and understood; she too was deeply concerned for the works of art, but it was apparent that there was no other way. She mentioned that the New Vision plan will take into consideration the best ways to move forward with the new budget plan. Much of it will be used to renovate infrastructure and will also be used to advance the museum’s relevance in terms of technological achievements and educational programs. Despite the relinquishing of the works of art, the institution stands by its original mission: to spark innovation and creativity through art, history and natural science.

Of the pieces that have been sold, we know that Rockwell’s piece will remain in the mainstream of American culture and art. One can hope that the rest of the works go to safe institutions that share a similar mission as the Berkshire Museum.

21

22 MONTH IN REVIEW

W27

Republican Star Retires: Paul Ryan Leaves Congress

BY SHANI HASHEMI

The Speaker of the House of Representatives, Paul Ryan, has decided not to seek re-election and retire from congress. This was a huge blow, not only to the GOP Republicans, but also to many who saw him as a stable leader in the tremulous Trump Administration. “I like to think I’ve done my part, my little part in history to set us on a better course,” Ryan said about his decision to CNN. Ryan retiring is not very shocking, as many government officials have stepped down this year. Here, we investigate why this keeps happening.

Representing the state of Wisconsin, Ryan reluctantly took the job of Speaker in 2015 after John Boehner stepped down. Since then, he has helped translate GOP agenda items into legislation, such as a series of tax cuts and rolling back banking legislation which was put in place under the Democrats. He is also the one who organized the President’s agenda, even though said agenda was not exactly followed.

The tax law that passed last year will be his legacy, and he seems content with that.

Yet, Paul Ryan is seen as an ultra-conservative, and has received much backlash over the past year, which could have forced his decision. There has been ill response to his tweet about tax cuts, the recent oust of House Chaplin and his general conservative politics. The pressure could build up on anybody and make them want to quit. However, Ryan has been resilient and has no regrets about his time in office.

At just 48 years old, Ryan seems too young to retire, but this has been planned for months now. Despite the backlash, Ryan claims the reason for his exit is his family and the fact that he does not get to spend

as much time with them. As a husband and father of three, he doesn’t want to be a “weekend dad.”

The impact of losing his father at the age of 16, which he has spoken about throughout his career, has affected him and pushed him to put his family first. The President, Vice President and Republican Party said they understand and respect his decision, with President Trump tweeting his support. Holding both the House and the Senate majority along with the Presidency, the Republicans should feel secure.

However, Ryan’s departure will be a hard loss to his party members, and will be even harder to fill his position. The most likely candidates to be his replacements are the House Majority Leader Kevin McCarthy of California and the Majority Whip Steve Scalise of Louisiana — but the Republicans have to make sure they win the majority first in the upcoming elections.

Spots are open on the Republican Party and they need some winners to keep their position in the House. In next year’s battles, Democrats need only 24 seats to flip the House and two to take the Senate.

In every midterm election since the Civil War, the president’s party has lost and with the Democrats targeting 91 congressional districts, they will have to work extra hard not to lose.

Recently, as many as 43 House members, including Ryan, are leaving office. They are retiring, running for another office or outright resigning. Why is that? One reason seats have opened is as a result of sexual harassment inquiries or accusations on both sides. Among Democrats, Reps. Ruben Kihuen of Nevada and John Conyers of Michigan announced they would leave Congress following

pressure to resign, though Kihuen plans to finish his term. On the Republican side, Rep. Trent Franks of Arizona resigned and Rep. Blake Farenthold of Texas announced he would resign, both following sexual harassment accusations.

Many of the Republican retirements are also occurring in districts where President Trump narrowly carried the vote, like in New Jersey and Michigan. Members from these districts could face tough re-elections this year, when the Democrats are expected to be strong performers and buyer’s remorse spreads.

Republicans who say they will run for other offices are more likely to come from districts where Trump performed well because they vote in alignment with the President at a high rate. They may count on continued support from his base to bring them into higher office.

The Republicans and Democrats who are retiring largely vote along party lines, with a few exceptions.

They also have levels of support for the President’s agenda similar to those of their respective parties. Past research has found the emergence of “strategic retirement” by politicians when they think re-election is less likely. The recent results in Virginia and Republican departures suggest this phenomenon may be in effect.

Only time will tell who will retain government power during the next midterm elections on Nov. 6. With so many seats up for grabs, it could go either way.

And one never knows, this might not be the last we hear of Paul Ryan. He may come back for the next presidential run.

Merit Only Goes So Far:

The Art World’s Lack of Diversity and Representation

BY ASHLEY FREUNDNER

Controversy has recently sparked regarding the Brooklyn Museum’s recent appointment of Dr. Windmuller-Luna, 31, as the new curator for African Arts and Photography. Many are deeming this to be a real life “Black Panther” moment.

In a statement to the New York Times, Marla C. Berns, one of the directors at the Fowler Museum at the University of California, Los Angeles, which hosts and highlights many arts and materials of African American culture stated that “there were not a lot of curators and academics of AfricanAmerican or African descent who specialized in

PHOTO COURTESY OF ASHLEY FREUNDNER

African arts.” While this statement is true, there is also a major lack of representations for curators of color in the art world.

Many Brooklyn residents feel that this appointment is representative of the gentrification of the borough over recent years. “The displacement of the diversity and unique cultural identities that make Brooklyn so significant in the legacy of hiphop music, immigrant communities/enclaves, and food in New York City – are happening now” said Teju Adisa-Farrar to The Guardian. “Any cultural and/or art space that is situated in Brooklyn has a responsibility to – at least – feign an awareness of this reality.”

The are plenty of people in the artworld, many of them black, who are missing out the chance to curate a collection representative of their heritage. However, the Brooklyn Museum has since released a statement defending their hiring decision, stating that the museum “unequivocally” stood by its selection of Windmuller-Luna for the position. In a statement to the New York Times, a representative of the museum expressed that they “were deeply dismayed when the conversation about this appointment turned to personal

attacks on this individual.”

With this all in mind, the issue with this appointment can also lend to the conversation of the constant gentrification of Brooklyn neighborhoods which are displacing families who’ve been living in the borough for generations.

Although the qualifications for those appointed as curators are based upon merit, it’s important to point out that there could be people just as qualified that still could help the Brooklyn Museum to stay in touch with the borough’s struggles, and not be lost entirely to the issue of gentrification.

Many areas of Brooklyn are being turned into new havens for the young and wealthy, moving into the area in search of the new ‘hip’ location.

The art world continuously claims to be inclusive, yet it’s interesting that many groups are still not represented in museums. The majority of the population can’t name five female artists, and as mentioned before, many curatorial position aren’t held by people of color. With all the continual shifts that are currently happening in our society, it’s absurd that more groups still lack this viability.

Merit and degrees are important when it comes to curatorial positions, however, it’s important to recognize this lack of representation so future exhibitions shows us a more accurate reality of contemporary lives.

FIT

MAY 2018 23

24 STYLE ON 27

W27

style on 27.

BY ANDREA NAVARRO & MASON AUMAN

KT SMIT

FASHION BUSINESS MGMT.

JAKE VALLIERE

ACCESSORY DESIGN

1. Today I’m working on the showcase of my club, RenegadePR. I’m the Head Stylist, and we are wearing all-red outfits.

1. It’s Friday and it’s nice out, so I wanted to wear something that feels Spring-y. Also, every time that I can wear pink, I’ll do it.

2. How hyped streetwear is. Logomania. Everything shouldn’t be about brands—how can you make styles and trends different and truly your own?

2. Supreme everywhere. Some people just get it for the brand name.

AUTUMN NEWCOMB PRINTFX / VID. EDITING

1. The weather completely influenced by clothes today. Also, it makes me feel good to wear things that showcase that I’m proud of my heritage—I’m Mexican from my mom’s side. This is Helado Negro’s “Young, Latin & Proud” t-shirt.

2. I think people rely too much on buying expensive things to be fashionable, but usually the most interesting outfits come from thrift shopping or unusual places.

I’m also kind of sick of seeing the Thrasher t-shirt everywhere.

ARMANDO MALDONADO FASHION DESIGN

1. Mood, honestly. I woke up and wanted to get super glammed up for no reason. I base my looks around my makeup and get my brooches from vintage stores and Etsy.

2. All-black. You go to fashion school, you are wearing all back.

Like, okay, we get it. (EIC note: Both editors were wearing all-black looks at the time of this interview. We found this answer deeply amusing).

1. How or why did you pick what you are wearing right now?

2. What is a trend you keep seeing at FIT and you can’t stand now?

ANDRES COLON PHOTOGRAPHY

1. I woke up, I was in shorts, the window was open, it was fucking cold. So I put on the Dickies I’ve been wearing for more than 3 days, and a hoodie.

2. Nike and Adidas together.

Logo-mixing. Denim jackets with leggings.

ALEXIS CROKER-BENN FASHION DESIGN

GRACE INSOGNA FD–KNITWEAR

1. Today I wanted to match my thesis garment! My personal style is very colorful and I love clashing patterns.

2. Athletic wear all the time and yoga pants when you are not coming from the gym.

MAKOTO SCHENCK

FASHION BUSINESS MGMT.

1. The weather is so nice and you can finally pop out and wear whatever you like! I really like colorful and bold things, so that’s why I decided to wear the rainbow today.

1. It was just sort of the first things I saw in my closet and I put them together. I got my pins at different places: a zine fair, the Met museum, a trans visibility march.

2. I feel like the colorful camo pants are overdone now.

2. Non-Chinese people wearing Chinese inspired things or just traditional East Asian dress in a sexy way. I feel like there’s already a problem with East Asian women being too sexualized in media, and that just sorts of adds to the problem.