hoot magazine: spring/summer 2013

THE END OF AN ERASpring/Summer 2013

HEALTH + BEAUTYBeauty Editor: Melissa Bai CC ’15

MENSWEARJosephine Kovacs BC ’16

Natalie Moore CC ’15Julian Noisecat CC ’15

COPYNajet Fazai BC ’16

Arianna Friedman BC ’15 Andrew Morrow CC ’14

Hilary Price GS ’15 Bianca Sanon CC ’14

Reina Sekiguchi BC ’16 Tiana Takenaga CC ’14

LAYOUT + DESIGNAmy Fu SEAS ‘15 Sofia Davis BC ‘16

Molly Grund BC ‘16Brittany Gibson CC ‘16

Grace Kim CC ’15Esther Kim BC ’14

Anna Hippee BC ’15

BLOGStephanie Balakrishnan CC ‘15

Samantha Cooney BC ‘16 Rebecca Deczynski BC ‘16

Adriana DiFazio BC ‘15 Lauren Field BC ‘16 Lilian Finckel BC ‘16 Rachel Furst BC ‘15

Sasha Henriques BC ‘15 Vanessa Holländer BC ‘16

Kristen Jolly GS ‘13 Krista Lewis BC ‘15

Shriya Manian SEAS ‘15 Josephine McGowan BC ‘16

Abby Mitchell CC ‘14Rachel Mullinax BC ‘16

Kiani Ned BC ‘16 Katy Nelson CC ‘16 Jordana Roat BC ‘16

Emilia Shaffer-Del Valle CC ‘15 Tiana Stute BC ‘15

Whitney Wei BC ‘15 Bethany Wong SEAS ‘16

Allie Zakon, BC ‘15

FEATURESStephanie Balakrishnan CC ‘15

Kelly Lane CC ‘15 Heather Nickels BC ‘16

Emilia Shaffer-Del Valle CC ‘15

MastheadEditor-in-Chief

Nicole Estevez, CC ’13

Copy Editor Katie Lee, CC ’14Treasurer Jenny Mayrock, BC ’14

WEBWeb Editor: Eric Wong, CC ’15

Web Assistant: Nick Duckweiler, SEAS ’15BLOG

Co-Blog Directors: Esther Jung, BC ’15 and Olivia Aylmer, BC ’15LAYOUT + DESIGN

Design Director: Hannah Keiler, CC ’14FASHION

Creative Director: Helen Chen, CC ’13Menswear Director: Andre’ Fuqua, SEAS ‘15Womenswear Director: Krista Lewis, BC ‘15

HEALTH + BEAUTYHealth + Beauty Director: Jina Lim, CC ’13

FEATURESFeatures Director: Olivia Aylmer, BC ’15

ARTS + ENTERTAINMENTArts + Entertainment Director: Emma Goss, BC ’15

PUBLIC RELATIONSPublic Relations Director: Lexie Sokolow, BC ’15

PHOTOPhoto Director: Esther Jung, BC ’15

PUBLIC RELATIONSStephanie Odiase CC ’14

Dale Padelford GS ’14

ARTS +ENTERTAINMENTJada Hawkins BC ‘16Desi Petkova BC ‘16

Sasha Henriquez BC ‘15Tola Oniyangi BC ‘16

Arianna Friedman, BC ‘16

CREATIVEEunice Yooni Kim BC ’13

Sharon Shum CC ’13Laura Kenner GS ‘13

WOMENSWEARZoë Flood-Tardino BC ‘15

Serena Board BC ‘15Esther Jung BC ‘15Lilian Finkel BC ‘16

Kaela Chambers BC ‘15 Jessica Lin BC ‘15

Sponsored in part by the Arts Initiative at Columbia University. This funding is made possible through a generous gift from

The Gatsby Charitable Foundation.

it has been very difficult to get myself to write this—my second and last letter as Editor-in-Chief of Hoot. Overcome with a wave of so many sentiments, the moment has finally come and my time at Hoot is coming to an end. The last four years at Columbia have been eventful to say the least and I am proud to be able to say that Hoot has carved out and defined a very special place amidst it all. Little did I know the day I nervously prepared for my inter-view to join Hoot my sophomore year that I would one day be entrusted with this position.

Our team has worked so diligently to put our Spring/Summer 2013 issue together. Did the cover look familiar? It should if you also had the privilege to work with the founding members of the magazine who will be graduating with me in a few short weeks. They are all hardworking and inspiring individuals and I have no doubt that they be successful in all of their future ventures. Our cover story features Martin Hamery, Jina Lim, Sharon Wu, and Noel Duan (all CC ’13) as they recall the origins of Hoot and how they reintroduced fashion discourse at Columbia.

Spring has officially sprung and our pages are filled with amazing shoots from our talented and creative editors and their teams. There is also a sneak-peek of original material by Velvet Baton, a new film collaborative co-led by Hoot’s former Menswear Di-rector and founding member, Martin Hamery. Want more? Be sure to check out our guide to the perform-ing arts in the city and catch a few shows before head-ing out this summer. This year’s show at the Met’s Costume Institute, PUNK: Chaos to Couture, is sure to be a hit and our featured article will provide you with what you need to know.

Hoot is grateful to be a recipient of a gift from The Gatsby Charitable Foundation through CUArts. The gratitude is fully extended to our readers and supporters who provide us with the chance to present our work.

A truly heartfelt thanks must also be ex-pressed to Hoot staff both past and present for their tremendous effort in making this all possible. The magazine would not be where it is today without you. It has not been easy, but the camaraderie that has blos-somed and the vibrant energy that I have consistently seen leaves me with no doubt that Hoot will survive to expand and evolve as much as it has since it was founded eight semesters ago. I wish the best to you all. Hoot’s legacy is in your hands and I am excited to hear about and see what is to come.

Editor-in-Chief

Hoot Directors Fall 2012

nicole anD Fall cover star: jessica crensHaw

letter from the editor

1HOOT www.hootmag.org

Features4 End of an Era: Hoot Founders Graduate10 Catch a Rising Star12 Past in Present: Abby Mitchell’s Vintage Love Affair

14 Get to Know: Alina Cheung33 Boys Boys Boys

\

in this issue

34

42

12

22


34

42

Fashion16 The Mod Squad22 Welcome to the Dollhaus28 Urbanity

Health + Beauty34 Stills From Velvet Baton38 What’s Making You Beautiful?

A&E40 Mr. Henry Takes a Bite of the Big Apple

41 Hoot’s Guide to the Performing Arts42 Fashion and Technology at the FIT Museum44 From Ragged to Runway: Punk at the Met

44

table of contents

fit museum

Courtesy of the metropolitan museum of art

END OF AN ERA WRITTEN BY:

sTEphaNIE BalakRIshNaNphOTOGRaphED BY:

Max BaRTIckDEsIGN BY:

haNNah kEIlER

M eet the four founders of Hoot: Noel Duan, Jina Lim, Sharon Wu and Martin Hamery (all CC ’13). Despite their distinct styles and interests, they came

together to found this student-run fashion magazine at Columbia. It all started on a sunny August day during NSOP in the summer of 2009. As current Health and Beauty director Jina Lim tells it, “It was freshman year, during NSOP week, we were walking down Broadway, and I said, ‘Hey, let’s start a fashion magazine.’” For-mer Editor-in-Chief Noel Duan chimes in, “And I was like, ‘Yes, we should.’”

At Columbia, current students interest-ed in fashion have the opportunity to intern all over the city, write about style in small doses for other publications on campus, or contribute to Hoot. Yet prior to Hoot’s found-ing, there was not an established communi-ty in which students could share their ideas and collaborate on fashion-centric projects, from feature articles about alumni working in the industry to large-scale photo shoots. Noel and Jina sought to fill this niche.

Noel first met Jina on her floor. “She had a flower in her hair, and was wear-ing jeans and a nice tank top and strappy rainbow sandals. I said, ‘I like your outfit,’ and that was it.’” Bonding over their mu-tual interest in fashion, the two became fast friends. Former Design director Sharon Wu also lived on Noel and Jina’s floor. Former Menswear director Martin Hamery, who graduated early in December, met the three girls through mutual friends and extracur-ricular activities. The eager freshmen set out to form their very own fashion maga-zine, but soon learned that it was not an easy task.

The process of getting a new campus

publication on its feet was hectic and chal-lenging, especially given how few people were involved. “Our first meetings were in Jina’s room. We asked each other, ‘Do you think we can do this at all?’ And I remember thinking, ‘I don’t think we can,’” Noel says. “Afterwards, we met at Ferris Booth. It was our core group, and then we expanded to 10 or so people.” During one of their meet-ings, Noel and Jina came up with the name “Hoot,” which was inspired by the hidden owl in Alma Mater. Shrugging, Noel says, “It was catchy.”

The four worked together to put up a lot of flyers and used social media to reach out to people all over campus. Sharon ex-

END OF AN ERA

As their time at Columbia draws to a close, Hoot’s graduating founders reflect on their mutual NSOP friend crushes, run-ins with Public Safety (maybe next time, Alma), and post-graduation plans in the fashion industry and beyond.

COVER STORY


plains, “Basically, our first year, we did clothing swaps and bake sales. We even made tea sandwiches in the basement of Carman, and we partnered with Green Um-brella for clothing swaps.”

Forging key connections was another thing the founders learned how to do first-hand. Martin says, “We really had to estab-lish connections with PR companies. For my first Menswear shoot, I literally had to go to stores and ask for phone numbers. It took a long time for PR companies to give us information. I had to target designers or clothing companies that wanted students for their demographic.”

Although establishing a magazine was a difficult task at first, the team’s hard work started to pay off, and Hoot slowly began to receive recognition. They co-hosted a panel discussion in April 2010 with Asian Pacific American Awareness Month, moderated

by Phillip Lim, Tina Chai, Humberto Leon, Carol Lim and SuChin Pak. It was a hit and tickets sold out.

The same semester, Hoot released its first issue with alumna, former model, jew-elry designer and Elle Accessories editor Kelly Bensimon (GS ’98) on the cover. Their first photo shoot, prominently featured in the issue, also led to their first encounter with Public Safety. Their plan to dress Alma Mater in Prada and Valentino did not turn out quite as expected. Noel says, “We were putting our clothes and shoes on Alma, but Public Safety told us it was vandalism, so we had to leave...”

Although the four were uncertain about many things when they started Hoot, one thing they were certain about was the roles they would assume on the masthead. Their interests came naturally. Noel’s inter-est in fashion grew from flipping through

COVER STORY


Vogue and National Geographic. “They were both really good at telling stories and showing you a world beyond your own. I decided I was either going to be a fashion magazine editor or an archeologist. In his-tory class in high school, I wouldn’t pay attention because I would be on Style.com looking at all the runway shows.”

Martin also became interested in fash-ion at a young age. “My mom, a theater director, used to dress me up in various costumes, but fashion specifically became an interest of mine when I went to middle school in Switzerland. People had a lot of money. 13-year-olds were wearing Dior, Burberry, Gucci and Louis Vuitton. It start-ed out with a fascination for designer cloth-ing and a desire to fit in and a desire to have nice things. My first fashion pieces were very designer-oriented, and in high school, I explored the industry further.”

While Noel and Martin’s interests are fashion-focused, Sharon’s interest stemmed from her artistic ability. “I drew a lot. I’ve always been an artistic person, and clothing came with that as a form of self-expression. In middle school, my friends and I would cut up clothes to make our own clothes. In high school, I moved from Toronto to the suburbs of Chicago, where it was very ho-mogenous. I told myself, ‘I’m going to wear anything that I want.’ I won ‘Best Dressed’ when I graduated high school and in col-lege I wanted an opportunity to pursue my interest in art and design.”

Jina became interested in cosmetics af-ter struggling with cystic acne. “It was a ter-rifying experience. So out of personal inter-est, I started reading and doing research on skincare, quite obsessively. Then, naturally, I also started looking at cosmetics, getting to know the brands and ingredients. I’m fascinated by the science behind it. To this day I stay on top of beauty industry news and product releases. Being in charge of Hoot’s Beauty and Health section was the perfect marriage of my pre-med and skin-care interests.” Her mother’s wardrobe in-spired her interest in fashion. “Fashion for me started by digging through my mom’s closet because we were the same size. Her clothes were all crazy. It was really fun.”

Noel and Jina became co-directors, while Sharon and Martin served as the Design director and Menswear director, respectively. As co-directors, Noel and Jina coordinated meetings, organized fundrais-ers, and wrote and edited articles. Due to a rigorous pre-med curriculum, Jina stepped down after their freshman year to assume the position of Health and Beauty director. In her current role, she writes and pitches articles, reaches out to companies and runs beauty shoots.

As Design director, Sharon teamed up with Tim Qin for the first issue to assign pages to each member. “He was the one that made the original magazine templates that I later expanded on. At the time, he was more familiar with InDesign than I was, so I learned a lot from him.”

Martin had the smallest group. “We didn’t have consistent contributors and anyone who was interested in writing

about menswear was free to contribute. Sometimes it was just as small as just me, myself and I.”

Their former roles also go hand-in-hand with their individual sense of style. Noel is the epitome of petite, feminine chic. She opts for clean lines, structured shoul-ders, and loves pops of color with state-ment pieces.

Sharon’s style runs along the lines of casual meets comfort, but Noel adds, “When Sharon dresses up, she really dress-es up.”

Jina’s style is grungy and her outfits are often influenced by menswear pieces while evoking a relaxed L.A. vibe. Martin adds, “It’s like she threw everything together last minute, but it all works.”

“Martin’s style,” Jina says, “is some-thing you would see in an editorial.” Al-though he typically dons all black ensem-bles, he plays with shades and textures to achieve the perfect minimalist aesthetic. He often completes his look with a wedged heel and the occasional statement acces-sory, such as a leather cuff.

Martin says that he would love to work in fashion professionally. “Before, I didn’t know that I was going to go into fashion, but after being involved in Hoot for so long, I now know that I am.”

Noel plans to move abroad for gradu-ate school in the U.K., but has every inten-tion of moving back to New York for a job in fashion—and owning a dog.

Meanwhile, Jina and Sharon are em-barking on different paths: medical school and law school, respectively. Jina hopes to become a dermatologist, while Sharon cites Hoot as an influence on her plan to study intellectual property law. She explains that this type of law “is dealing with the protec-tion and distribution of ideas ranging from artistic works to technology, and it covers things like copyright, trademarks and pat-ents.”

While they will soon leave Columbia, they are certain Hoot will hold strong and remain a success. “The people who put Hoot together care so much and are tal-ented. We have people with very specific talents and together you can make so many things,” Jina says. “I can’t wait to see who’s running it in five years. I would love to be a doctor and get an email saying ‘Can I in-terview you?’”

Martin cites the fresh energy of today’s fashion industry as fuel for Hoot’s lasting impact. “It’s pulling different skills to cre-ate something that has to do with fashion. It’s exciting.”

Looking back, Noel gushes, “Our founding team was strong and committed. It’s amazing to see how people can grow in Hoot. In the beginning, Hoot was my life and I can very much say that Hoot changed my path at Columbia. Hoot has changed a lot.”

“I can’t wait to see who’s running it in five years. I would love to be a doctor and get an email saying ‘Can I interview you?’”

COVER STORY


Catch arising s t a rIn her new role as frontwoman of the campus-bred band Star and the Sea, Dominique Star prepares for her next big gig: graduation to the New York City music scene.

WRITTEN BY:kEllY laNEDEsIGN BY:

MOllY GRuND

pHotograpHs proviDeD by Dominique star


When I catch sight of Dominique Star on a chilly February eve-ning, she has just come from

rehearsal with her band and is lug-ging her guitar case over her shoulder. When we sit down to chat, she opens it to reveal a glittery purple guitar. “Everyone thinks Daisy Rock guitars are bad because they’re for girls,” she jokes, strumming on it affectionately, “but they’re not!”

Dominique, a singer-songwrit-er, has been toting her instrument of choice around more often than usual. This semester, she founded the band Star and the Sea with the help of bass-ist and fellow senior Natalie Weiner (CC ’13). The group describes their sound as “when indie-pop and soul fall in love.” Dominique and Natalie met while studying abroad in Paris last year and were interested in play-ing music together. While most of her friends went away over winter break this year, Dominique stayed on cam-pus and got down to some serious songwriting. When everyone else re-turned to the city, she and Natalie re-cruited more musicians. Today, they play alongside Emily Hamilton (CC ’13) on keys, Jacob Sunshine (CC ’14) on guitar and Isaac Bunch (CC ’14) on drums. While the band’s membership remains in a state of flux—which as Dominique points out is just like the flow of the sea—she has remained the frontwoman. As the end of her senior year draws near, Dominique plans to pur-sue music after graduation with the band serving as her launch pad into the New York music scene.

Amid the recent explosion of new talent on the campus this semes-ter, Star and the Sea has gained promi-nence at Columbia through the release of their video for their song “Winter in New York” and performances at well-attended campus events like Glass House Rocks. Yet they have also played their way around the city at venues like The Bowery Electric, The Bitter End and The Paper Box. Dominique says that she was very anxious when she initially started booking off-campus shows. “Now, we play out every week, and I don’t get nervous at all!” she says with a laugh. She also mentions that she has suffered from anxiety in the past about the quality of her songwrit-ing, noting that last winter’s collection of songs is the first that she has ever felt confident enough to play in public. She sometimes feels that “all of the songs have been written already. How do you write something new and make it good?”

Once you meet Dominique, it

is hard to picture her as the kind of per-son who would suffer from any sort of songwriting nerves or pre-show jitters. She dresses with an eclectic flair that stands out on stage. Her style makes sense for someone who has long want-ed to perform and who got her start in the world of performance through a role as Jacques the mouse in a com-munity theater production of Cinderella at age 6. On the day of our interview, she sports a vintage gray dress, and her long hair—which glistens from gray-blonde to purple—fittingly evokes that of a mermaid. Though she admits to a lifelong love of clothing that stems from the influence of her fashionable mother, she explains that her choice of stage outfits is especially significant. “When I’m performing, I need to be in a certain character because I’m usually shy,” she says, noting that high heels are essential. “I usually go for kind of dramatic things that sparkle or move well. I like to think that my music is kind of melodramatic. I keep compar-ing it to a Baz Luhrmann movie.”

The sparkles that cover her clothes and guitar, the romantic hair, the heels—all of these stylistic elements do more than just help Dominique garner attention on stage. They also echo the statement she hopes to make in her music. “I feel like the music scene [at Columbia] is kind of a boys’ club, which doesn’t always go hand-in-hand with fashion,” she says. Dominique is intent on expressing herself through bold details, whether it is the color

of her hair or the emotional texture in her music. “Columbia’s environment can sometimes be very contained,” she says. “I have always tried to be a little different, and as the years have pro-gressed, it has really come to be.” Her lyrics, while certainly influenced by her time in New York, also contain a sort of backlash against the stressful universi-ty culture, which often keeps students in writing papers on weekend nights, instead of going out to shows around the city. “The themes I write about are feeling our feelings,” she says. As Dominique looks toward May, she is sure of only two things: 1) she will decorate her graduation cap with studs or rhinestones because, as she says, “I’m like a magpie. I have a penchant for things that glitter,” and 2) she hopes her post-grad plans will in-clude music. “I’ll be in New York, Aus-tin, or L.A.,” she says, “and I’ll have to get a day job to pay my rent.” Watch-ing Dominique pack up her guitar and adjust her hat over her locks, it is hard to believe this girl could go anywhere unnoticed.

FEATURES

"I like to think that my music is kind of melodramatic. I keep comparing it to a Baz Luhrmann movie.”

"The themes I write about are feeling our feelings... columbia Admir-ers exists because we’re afraid to talk to people."

When junior Abby Mitchell (CC ’14) stumbled upon her favor-ite vintage clutch on a shop-ping excursion in Los Ange-les, she immediately fell for

its delicate floral pattern and 1940s charm. While the handbag is lovely in and of itself, what makes this vintage find a prized pos-session is the small handwritten note she found tucked inside—signed by none other than Frank Sinatra. “It doesn’t matter if it’s a real card from Sinatra,” she says, smiling. “I’ve created a whole fairy tale about this Hollywood wife carrying this bag.”

While not every piece in Abby’s exten-sive vintage collection comes with a story quite like that one, they all share the same sense of fun and imagination that sparked her love of fashion, particularly vintage. “I was a huge history nerd, and I started exploring the past decades of fashion and found these amazing women in film and in books that, as a middle schooler, I looked up to and wanted to be like: Jackie Kennedy, Twiggy, Diana Vreeland,” she says. “I first wanted to be part of the fashion industry because of the amazing film “Funny Face” where Audrey Hepburn basically falls into a modeling career with Fred Astaire as a fictionalized Avedon. It’s all about pizzazz and style, and that’s what I wanted my life to be.”

Abby has certainly succeeded in creat-ing such a life. Since starting at Columbia, Abby has served as Arts and Entertainment editor of the Columbia Daily Spectator, and now regularly contributes style stories to the section as a senior staff writer. Off cam-pus, Abby has worked her way up from obligatory intern tasks at big-name fash-ion houses where she recalls nearly getting fired over a yogurt, to working as an edito-rial assistant at e-commerce startup Shop-tiques. In describing her current experience at Shoptiques, she says, “I walk in the office and work with these powerhouse business-women who are pushing boundaries in new and exciting ways.”

Through Spectator and her various in-ternships, Abby has developed an impor-tant and inspiring relationship with the fashion industry, along with a passion for it. Yet, in her time spent outside of school and work, Abby experiences fashion in more imaginative ways.

Her Upper East Side bedroom, which she considers an extension of her closet,

WRITTEN BY:EMIlIa shaffER-DEl vallE

phOTOGRaphED BY:EMIlIa shaffER-DEl vallE

DEsIGN BY: EsThER kIM

aND haNNah kEIlER

With a closet chockfull of clothing with stories to tell, this CC student has no

shortage of conversation-starting outfits.

printed of the Brooklyn Flea—obviously one of my favorite spots in the city.” On an-other important occasion, her 21st birthday, Abby drew inspiration from Sex and the City and made herself a pink tulle tutu. “I had my Carrie Bradshaw moment,” she says proudly.

Abby acknowledges that dress-up, fashion and a love for beautiful vintage clothing can be associated with frivolity and vanity. But such superficiality has no place in Abby’s wardrobe. For her, vintage connotes a nostalgic curiosity for eras past and an inspiring desire to embrace her in-dividuality as a modern woman. “Fashion seems like it’s all about appearances: buy-ing something that’s pretty, buying some-thing just because it’s from a big name la-bel,” she says. “The amazing thing about fashion, though, is the fact that it’s tied to how you see yourself and feel. I invest in fashion because I want to be different and express myself and take risks.”


pays homage to all things vintage. Her clos-et overflows with beautifully crafted coats, racks of wild shoes and perfectly tailored dresses from eras past. The shelves above her bed house an extensive collection of bags and clutches, and a stack of delicate hatboxes sits precariously on her window-sill. For Abby, fashion is about uniqueness, personality and a healthy dose of the whim-sical. Vintage pieces, and the histories be-hind them, perfectly fit her philosophy. She explains, “The great thing is that you buy something that had a previous life.” Often, this previous life remains a mystery to the new owner. Sometimes the pieces carry fa-milial sentimentality and history; Abby has some pieces from her mother, another vin-tage enthusiast whose style and taste Abby greatly admires.

Abby’s hats are undoubtedly the most

beloved part of her collection. “There is no better way to express your personal style than with a hat,” she says. “They are so fun and amazing.” Her collection contains ev-erything from a black pillbox hat inspired

by Jackie Kennedy, to a brilliant blue tur-ban, to a blue and white striped hat topped with a curly cue—the first one she ever purchased. Most of Abby’s hat collection comes form Yvonne Potter, a vendor at the Brooklyn Flea whom Abby calls her “fairy godmother.” As she tries on each one and excitedly chooses the perfect geometric necklace or brocade Tibi dress to pair them with, Abby resembles a young girl digging through her dress-up trunk. “You are put-ting on a personality, putting on a persona that you want to be for a day,” she muses as she climbs atop her bed in search of another hat to share.

Abby’s vintage clothing and accesso-ries are not only integral parts of her daily, wearable wardrobe, but also an inspiration that she then uses to create her own one-of-a-kind pieces. For a recent awards dinner, she made and wore a unique and themati-cally appropriate dress. “It was super per-sonal: mine was made only out of the pages I’d put together for the A&E section of Spec with the breastplate covered in pictures we

FEATURES

Get to Know: AlinA CheunGA BArnArd GrAduAte Borrows from the Boys

for her mensweAr-inspired ACCessories line, terrACottA new yorK.

WRITTEN BY:hEaThER NIckEls

phOTOGRaphED BY:EMIlIa schaffER-DEl vallE

DEsIGN BY: EsThER kIM


According to banker-turned-fash-ion-designer Alina Cheung (BC ’07), her ed-ucation at Barnard provided a foundation for everything she has done following her graduation. After majoring in economics, she became an investment banker for Cred-it Suisse straight out of college, specializ-ing in consumer banking. While working in the male-dominated world of business and banking, she and her current business partner, Yidi Xu, a Georgetown graduate, discovered the ultimate sartorial inspira-tion. Today, Cheung handles the East Coast sales almost exclusively, while Xu handles those on the West Coast. Influenced by the simplicity of patterns found in bowties and dress socks typically sported by men, Cheung and Xu founded Terracotta New York. Borrowing from the boys has proven to be a successful business model.

Terracotta New York is named after the famous Chinese terracotta warrior stat-ues constructed around 200 B.C.E. One of the main features of the warriors is their “scarves,” which were the first artistic and visual representation of cloths tied around the neck. Cheung incorporates this timeless look into her designs. The brand is known for funky, whimsically patterned scarves, bowties and neckties, and embraces bright colors, intriguing textures and vibrant fab-rics in an array of accessories for women.

Terracotta’s wares are produced in Italy by the same factory used by fashion houses such as Alexander McQueen and Jane Carr. From the pricing analysis and research they conducted before starting their brand, Cheung and Xu found that scarves of superb quality usually cost $300. The pair keeps the price point within $180-$250, using different pricing strategies that maintain high quality and make luxury items more affordable. Hoot caught up with Cheung to talk about her company, her suc-cess, and why she credits Barnard for influ-encing and shaping her into the intelligent businesswoman she is today.

Hoot: Given your interest in fashion de-sign, how did you end up at Barnard?

Alina Cheung: Right before I came to Barnard, I had applied to FIT (Fashion In-

stitute of Technology). I was always into design, but my parents were like, “What will you do with a fashion degree?” Aside from that, my Co-founder, Yidi Xu, and I were in finance—investment banking. We covered the retail consumer sector, from Nordstrom to Levi’s to Tory Burch. It gave us good insight into the retail industry, and we thought we’d connected with a good network of people who themselves had good connections.

Hoot: What was your experience like transitioning from a job in the corporate world and banking, to the fashion world and design?

A.C.: Yidi and I have always been risk takers. In finance, it was always that after three years, you’d get promoted. We liked the fact that everything was safe. This was a risk for us, but we’re happy we did it. We had to get together a business plan, and then we left in April last year. From then, it’s been dealing with suppliers and manufacturers, and finding the right one. It’s still a process, but I think we made the right choice. We’re happy and the company seems to be going in the right direction.

Hoot: Do you feel that Barnard gave you the tools to be able to make that transi-tion smoothly?

A.C.: Barnard really helped me be a strong woman in a sense; it gave me con-fidence. There’s a great support network. I’m also a part of 85 Broads, a women’s net-working group in the city and everyone’s been very supportive of us there. The un-derlying theme is that Barnard has given me a lot confidence to know that I can do whatever I want to do. Even in finance too, it was very helpful. Everyone asks whether I regret leaving investment banking, and I don’t think so. I got that initial skill set

that really helped me. Right now, with all of the modeling and numbers and industry knowledge, it’s definitely helped me there as well.

Hoot: Your brand is unique in terms of its design aesthetic. Why menswear for women?

A.C.: Being in finance, it was a very male-dominated industry. We’ve always been inspired by the simplicity and pat-terns in menswear, whether it be checkers or stripes. We found it was a way for men at work to express themselves, and you could see their personalities through their acces-sories. We wanted a line that would allow women to do a similar thing. We found out there was a market gap niche for it.

Hoot: Do you feel like the line has in-spired your personal style or vice versa?

A.C.: Everything is menswear-in-spired. When we were in finance, all the surroundings were pretty much inspiring. A part of it is that we really want to show people how to wear our products, so you don’t just have to wear a scarf around your neck. You can wear it as a headscarf or wrap or braid them on your pocketbook or wear it as a belt. It’s good to just try out everything.

Hoot: How would you describe your products, and when or for whom are they wearable?

A.C.: Our pieces are fun. They’re al-ways conversation starters.

Interested in adding Terracotta New York products to your own closet? Check out the col-lection at www.terracottanewyork.com or www.boticca.com.

FEATURES

mod sQuAd

the


mod pHotograpHeD by//esther JunGstyleD by//Krista anna leWis

Design by//anna hippee

Hair & maKeup by//lilian finCKelmoDels//JessiCa lin, Zoë flood-tardino, serena Board, and Kaela ChamBers

Womenswear

Zoe: dress: aCne, JeWelry:

model’s oWn

womenswear


jessica: shirt: Zara, JaCKet, shirt, sunGlass-es: VintaGe, shoes, tiGhts: model’s oWn

serena: dress: Zara

womenswear


Kaela: sWeater, sKirt: VintaGe

DOLLHaus

WELCOME TO THE

StylED BY: Helen ChenPhotographeD BY: eunice Yooni Kim Hair & Makeup: Sharon Shum Model: Laura KenneRdesign BY: brittany Gibson

top: h&m |sKirt: stylist’s oWn


DOLLHaus

top: h&m |sKirt: stylist’s oWn

top: stylist’s oWn |pants: h&m

creative

dress, tiGhts: stylist’s oWn | shoes: ralph lauren


headBand. Bustier: stylist’s oWn | pants: h&m

creative

neCKlaCe, top: stylist’s oWn | pants: h&m


headBand, dress, BaG: stylist’s oWn

creative

urbanity STYLED BY: ANDRE’ FUqUA

STYLIST ASSISTANT: JOSEPHINE KOVACSMODEL: JULIAN NOISECAT

PHOTOGRAPHED BY: NATALIE MOOREHAIR AND MAKEUP: JOSEPHINE KOVACS

DESIGN BY: AMY FU

shirt – Zara

shirt - stylist’s oWnshorts - laCoste

menswear


menswear

sWeater - ameriCan apparelshorts - ameriCan apparel

shirt - h&mpants - leVi’s

sWeater - ameriCan apparelshorts - ameriCan apparel


menswear

tanK - ameriCan apparelshorts - h&m

SSometimes menswear is forgot-ten amidst a sea of false lashes and mountains of stilettos, but, take note, menswear has its

own unique spot in the fashion indus-try. It exudes its own traditions, quirks, and possibilities and can easily be in-corporated by all.

Basics vs. TrendsBasics provide stability as a solid foun-dation for experimentation. Mean-while, trends are a great way to boost one’s wardrobe and complement more classic pieces. A tailored shirt in a bold print or color will instantly pair with well-fitted shorts or pants. Switching between which article will be more in the realm of a neutral tone, ensuring that the outfit remains grounded, will provide endless outfit combinations.

Basics

•Straight leg, dark wash jeans •Straight leg, cotton trousers in any tone•Brown leather shoes •Canvas sneakers•Crisp button-down•Classic backpack or messenger bag Trends

•Neon accents on clothing and acces-sories•Bold sneakers in terms of color and style•Printed t-shirts•Patterned socks

Keeping Cool, Keeping Casual “Sweatpants are a sign of defeat. You lost control of your life so you bought some sweatpants.” - Karl LagerfeldSweatpants are in fact acceptable (sor-

ry, Karl) as long as silhouette, color, and materiality are taken into consid-eration. While fashion has roots in for-mality, sportswear-based ensembles are becoming the norm in many set-tings. A great way to start is with ADI-DAS, specifically the ADIDAS SLVR collection and Yohji Yamamoto’s Y-3 line. One should not be limited to a single look or store. Sources of inspiration abound not only on campus and in the city, but also in print material and online via style blogs and magazines. Lookbooks and advertising campaigns are designed to present consumers with visual information about their clothing. To set out and stock up, check the J.Crew Men’s Store, Cheap Mon-day, Topman, Vince, Thom Browne’s Black Fleece line for Brooks Brothers, A.P.C., Odin, GANT by Michael Bas-tian, Onassis Clothing, and infinite lo-cal businesses and menswear shops in the city like Alter and The Brooklyn Circus.

“Sweatpants are a sign of defeat. You lost control of your life so you bought some sweatpants.”

- Karl Lagerfeld

MENSWEAR

BOYS


BOYSBOYS

menswear

onassis (soho Concept store)

71 Greene streetnew york City, ny 10012

(212) 966-8869

odin (flagship store)199 lafayette street

(212) 966-0026

topman478 Broadway

new york, ny 10013(212) 966-9555

the Brooklyn Circus nyC 150 nevins street

Brooklyn, ny 11217(718) 858-0919

a.p.C131 mercer street

new york, ny 10012.(212) 966-9685

alter men 109 franklin street (at Greenpoint avenue)Brooklyn, ny. 11222

(718) 784-8818

Each issue of Hoot Magazine is like a Columbia year- or semester-book for me and other graduating seniors of Hoot. Looking at the first Beauty section, I still relive the pang of excitement I felt in my stomach at the first shoot in Jeffrey Zhang’s midtown studio with Sharon Shum (CC ’13) and Megan Armstrong (CC ’13). I remember exactly what kinds of bands I used to listen to, and with whom I went on adven-tures during the production of each issue. Among the many things I love about Colum-bia, Hoot is one of the hardest with which to part. As my Co-founder Noel Duan (CC ’13) likes to say, “It’s my baby.” From an idea that struck me while eating ice cream on Broadway with Noel to now—a four-year old growing magazine with some of the most creative and talented people at Columbia on its masthead—Hoot has come a long way. But there will be many more pleasant surprises after us founding members graduate. I have absolute faith in the edi-torial board to never become complacent and always move forward with both the print issue and our amaz-ing Hoot Blog (run by always-inspiring Olivia Alymer and Esther Jung, both BC ’15). I am sure there will be a day when Hoot is read and recognized by everyone at every school within the university. I envision Hoot to be a creative platform for even more students and the go-to medium through which students can talk about and celebrate fashion, beauty and health at Columbia. And I hope some day, Columbia will provide funding to print as well. I would like to thank everyone who helped jumpstart the magazine, including my superwoman Co-founder and Co-Editor-in-Chief Noel, who has pulled more all-nighters for Hoot than anyone else, and Jennifer Nam, makeup artist extraordinaire, for bringing a suitcase full of makeup to 116th Street to teach the Beauty staff the ins and outs of editorial makeup. I also owe thanks to Alan Ennis, President and CEO of Revlon, for the generous donation of all products in every single shade that started the Hoot “beauty closet.” Thank you Eva Chen, then-Beauty and Health Director of Teen Vogue, for sharing valu-able beauty and health industry contacts. Those who donated to our Kickstarter campaign, advertisers and CU Arts Gatsby Charitable Foundation, thank you for helping us print each issue. To all on team Hoot: I am honored to have worked with the most inspiring, proactive and hard-working bunch of go-getters at Columbia. Ask for help, push yourselves, come up with ridiculous ideas then materialize them, but stay healthy. Dear readers, please continue to read Hoot and support us by following our truly awesome blog at www.hootmag.org/blog and our Twitter @hoot-mag. Tell us what you would like to see, and maybe even join the team!

Moving forward,

Jina LimCo-founder, Beauty & Health Director

A Letter From Jina Lim CC ’13, Beauty Director and Hoot Co-founder


hoot presents:Stills from Velvet Baton’s “Stage 1: Chinatown” video

DirecteD by constance castillo anD Martin léon HaMery

cineMatograpHy by Vanessa HollanDer

styleD by Martin léon HaMery

Make-up by Jina liM

Design by HannaH keiler

beauty + HEALTH


beauty + HEALTH

WHAT’S MAKInG YoU BeAutiful

WRITTEN BY:MElIssa BaI

phOTOGRaphED BY:MElIssa BaI

DEsIGN BY: GRacE kIM

Looking at the ingredient labels of beauty products can be like a nightmarish throwback to

organic chemistry. Add to that all of the claims companies throw on the front, “Ban-ishes breakouts instantly!” and “Reverses aging by fighting free radical damage!”, which may or may not be padding the truth. Fortunately, with knowledge of pop-ular ingredients for certain skin concerns, shopping for skin care can be an informed and pain free process, unlike perhaps that orgo midterm.

Moisturizing Moisture is important for all skin

types, not just dry skin. Board-certified der-matologist Dr. Juanita Punwaney empha-sizes that “a good moisturizer can plump up fine lines and make a complexion look brighter and younger. In fact, moisturizer is the secret ingredient in many products that promise visibly reduced fine lines in 24 to 48 hours.”

There are four classes of moisturizers: occlusives, humectants, emollients, and rejuvenators. Most moisturizing products have a combination of these different class-es.

Occlusives form a layer on the skin to prevent water loss and are most effec-tive when applied to damp skin. Luckily, dimethicone is a common hypoallergenic and non-comedogenic occlusive. Humec-tants such as glycerin, hydroxy acids, and propylene glycol work by enhancing wa-ter absorption into the epidermis. Emol-lients fill in the crevices of the face, making skin appear smoother and softer. Common emollients are fatty acids, which are found in natural oils such as mineral oil and grape seed oil. Rejuvenators replenish the skin proteins collagen, keratin, and elastin to smooth fine lines. “I personally like the skin-feel of moisturizers containing ingre-dients such as colloidal oatmeal, dimethi-cone, ceramides, and petrolatum. There are many good moisturizers on the market, both expensive and inexpensive” says Dr. Punwaney.

Anti-Aging

Most anti-aging products aim to in-crease collagen and elastin production as well as plump the skin to fill in wrinkles. Peptides, retinoids, and vitamins E and C are most often used. Alpha hydroxy acids (AHA) and beta hydroxy acids (BHA) are

also popular ingredients; however these can increase UV sensitivity so plenty of sunscreen should be used. By now it’s well known that too much sun exposure can cause premature aging, sun spots, and even skin cancer. “When applied daily, a broad-spectrum (meaning it offers both UVA and UVB protection) sunscreen helps protect the skin from damaging ultraviolet rays that can cause age spots, deep wrinkles, and a leathery texture. With daily use, a broad-spectrum sunscreen also may allow the skin to repair some prior damage” says Dr. Punwaney. Higher SPF is not necessar-ily better, SPF 30 reapplied throughout the day as needed is more effective than a one-time application of SPF 100. Wait 20 min-utes for the sunscreen to be absorbed before applying other products or going outside.

Is Natural Really Best?

Many companies boast of having all-natural products without harmful chemi-cals, but beware this naturalistic fallacy. According to Dr. Punwaney “While the words ‘natural’ and ‘organic’ certainly make a product seem safer, most ingredi-ents cannot be added to skin care products in their natural state. Ingredients such as plant extracts undergo extensive process-ing in which they are modified and chemi-cally synthesized before being added to the product. This makes the terms ‘natural” and “organic’ misleading. Be careful when selecting products labeled “natural” or “organic” as ingredients in these products could lead to contact dermatitis because they contain essential oils and fragrances that can cause allergy. While some ‘natural’ ingredients may be beneficial to treat a par-ticular condition, others may be harmful.”

Dr. Punwaney recommends colloidal oatmeal, which “stands out among the nat-ural products because it has been officially recognized by the FDA for its anti-itch and protective skin-soothing properties in the context of eczema and contact dermati-tis.”

Parabens are making a stir for suppos-edly causing adverse health effects such as breast cancer, and so many companies are becoming paraben-free. Which, accord-ing to Dr. Punwaney may be misleading, “Parabens are the most widely used preser-vatives in cosmetic products. Preservatives may be used in cosmetics to protect them against microbial growth, both to protect consumers and to maintain product integri-ty. Parabens are usually easy to identify by

name, such as methylparaben, propylpara-ben, butylparaben, or benzylparaben. The Cosmetic Ingredient Review reviewed the safety of methylparaben, propylparaben, and butylparaben in 1984 and concluded they were safe for use in cosmetic products at levels up to 25%. Typically parabens are used at levels ranging from 0.01 to 0.3% The FDA believes that at the present time there is no reason for consumers to be concerned about the use of cosmetics containing para-bens.”

Dermatologists should always be consulted about major skin troubles or concerns over ingredients. They can also prescribe stronger products that are not available over-the-counter. Building the perfect routine may be a long process of tri-al and error. Understanding the ingredients behind skin products helps consumers cut through exaggerated claims and confusing labels to put their best face forward.

Skin care may be last in the list of pri-orities for many Columbia students, behind club meetings and LitHum papers, but Dr. Punwaney recommends a simple regime for Columbians to maintain healthy skin:

“You’re never too young to begin a great skin care regimen! In fact, taking good care of your skin in your youth is the best way to ward off signs of sun damage and aging in the future. In general I rec-ommend washing your face with a gentle cleanser (or a cleanser for acne-prone skin containing salicylic acid if you are prone to acne) twice a day in addition to washing after sweating heavily. Remember to use a nonabrasive cleanser which does not con-tain alcohol, and to use only your fingertips (rather than a washcloth or mesh sponge) to gently apply the cleanser, especially if you have sensitive skin. It’s very important to wear a moisturizer with broad-spectrum sunscreen that has an SPF of at least 30 ev-ery day before going outside.”

Dr. Juanita Punwaney, MD, FAAD is an alumnae of both Co-lumbia College ’87 and Columbia College of Physicians and Sur-geons ’91. Her recent honors and achievements include selection by Consumers’ Research Council of America for prestigious recognition

in “Guide to America’s Top Dermatologists” 2010, 2011 & 2012 Editions, and recognition for individual achievement in 2011 Cambridge Who’s Who Registry Among Executive & Professional Women in the field of Research, Medicine & Healthcare.

beauty + health


Dwight Henry, best known for his role as Wink in the film Beasts of the Southern Wild, is famous around New Orleans for his off-screen talent: baking. Before becoming an actor, New Orleans native Henry ran the neighborhood’s fa-vorite bakery, The Buttermilk Drop Bakery and Café. After showing the world his acting chops and garnering the attention of Hollywood, Henry is preparing to open a New Orleans-style bakery in Harlem this spring.

When Beasts of the Southern Wild began production, the filmmakers stopped by The But-termilk Drop each morning for mouth-watering pastries and great conversation with the baker himself. They were still searching for an actor to play their lead character, Wink, and Henry al-lowed them to hang audition flyers in his bakery. The casting director suggested that Henry audi-tion for the role, but Henry laughed him off with the excuse that he had a bakery to run. After a lot of convincing, Henry did one reading with the movie’s star, Quvenzhané Wallis, and a month later, he received a callback.

Because running the bakery was always Henry’s top priority, he was initially reluctant to step into the studio limelight. In the months be-tween his callback and receiving the part, Henry relocated his bakery. Casting directors could not find Henry during this period, but after they tracked down his new location, they informed him that he had received the part. Henry was flat-tered, but he politely declined. He simply could not leave his bakery.

Henry’s success as a baker did not come easily; he struggled to get The Buttermilk Drop off the ground. As a father of five, no one believed in his dream of being a baker. He spent years work-ing two jobs to start his business. He took care of his family with one check and bought a piece of baking equipment with the other. After so much dedication to his craft, Henry struggled with the

idea of picking up and walking away from his bakery to pursue film. He claimed he was plan-ning to pass on the bakery to his children and was not going to throw away their future for a possible movie career.

The filmmakers were persistent. They came back every day until they flattered Henry so much that he felt as if he were the only per-son capable of filling the role. He agreed to take the role if, and only if, they worked on his time schedule. At all hours of the night, acting coaches and film personnel trained Henry in his bakery as he rolled dough, filled doughnuts and prepared his beloved buttermilk drops. Today, Beast of the Southern Wild has gained great respect from the Academy. Henry filmed another movie, Twelve Years a Slave, with Brad Pitt. Yet New Orleans lo-cals can still count on seeing Henry at work in the bakery.

Now, he is taking his New Orleans fla-vor to Harlem. The debut of his new bakery, Mr. Henry’s, is all thanks to restaurateur Richard No-tar. Notar tasted Henry’s buttermilk drops at the Sundance Film Festival’s premiere of Beast of the Southern Wild, where Henry was handing out his pastries. Notar fell in love and approached Hen-ry about opening a bakery next to Notar’s jazz club. Henry is expected to bring New Orleans’ unique taste to New York, from king cakes, but-termilk drops and beignets, to classic New Orlea-nian specials such as gumbo.

A born and raised New Orleanian, I have to say that I have not tried anything in New York that compares to the intense Creole and Cajun flavors of southern-style dishes and des-serts. Henry’s desserts are delectable and simply scrumptious. To have the taste of home right up the street will be something truly special. The bakery will open in the space once occupied by the historic Lenox Lounge at 288 Lenox Avenue between 124th and 125th street.

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Dwight Henry at his New Orleans bakery. Courtesy of The Buttermilk Drop.

Jada-Ashley Hawkins

performing arts

From student prodigy concertos to celebrity stand-up, manhattan has an abundance of noteworthy and accessible events at any price point. no need to wait in line at tKts. just grab your friends, your metrocard, a cup of coffee and get ready to sleep no more.

danCenew york City Centerin the 1940s, new york City mayor fiorello laGuar-dia created the city’s first performing arts center, the new york City Center. today the space is the center stage for alvin ailey, american Ballet the-atre, new york City opera, and many more com-panies that embody the energy and spirit of the city. in their mission to keep entertainment acces-sible, tickets start at $25. upcoming events include Ballet flamenco de andalucía’s Metáfora; The Giacomo Variations, with John malkovich portray-ing multifaceted Venetian Giacomo Casanova; and On Your Toes, rodger and hart’s vaudeville/ gangster/ballet fusion.

131 W. 55th st. (Between 6th and 7th avenues), midtown Westfor tickets call 212-581-1212 or visit www.nycitycenter.org/

92nd street y92y offers an array of affordable dance perfor-mances and concerts. it also brings enriching cul-tural experiences, speaker series and high-profile celebrities directly to the public. Check out the 92y faculty Concert series (tickets are free!) and fridays at noon, a pay-what-you-what dance and discussion with the choreographers.

1395 lexington ave. (Between east 91st and 92nd streets), upper east sidefor tickets call 212-415-5500 or visit www.92y.org/uptown/performing-arts.aspxBe sure to also check out their tribeca location.

musiCthe Bowery BallroomWith reasonably priced acts and an intimate at-mosphere, the Bowery Ballroom—the less conven-tional option than terminal 5—is well worth the commute. this season’s shows include Kate nash,

thao & the Get down stay down, and mtV’s artist to watch, twenty|one|pilots. if any of the bands sound unfamiliar, check out “the house list” on-line to sample featured artists. Bring cash for the $2 coat check and cheap drinks. tickets usually range from $15-25.

6 delancey st. (Between Chrystie street & Bowery), lower east sidefor tickets call 212-533-2111 or visit www.boweryballroom.com/

theaterupright Citizens Brigadestand-up comedy is a hit or miss, but when uCB alumni go on to perform and write for Saturday Night Live (like co-founder amy poehler), the Daily Show with Jon Stewart and 30 Rock, they probably have it figured out. UCB offers three to four shows of long form improv each night with performances ranging from free-$25. Be sure to check out maude night, assssCat 3000 and the free 9:30 show. ar-rive early; the line begins forming around 8 p.m. and seating is general admission.

307 W. 26th st. (Between 8th and 9th avenues), Chelsea153 e. 3rd st. (between avenue a & avenue B), east Village for tickets call 212-366-9231 or visit newyork.ucbtheatre.com/

la mama experimental theatre Clubsince its founding in 1961 by american playwright and costume designer ellen stewart, la mama has been a vibrant part of the east Village. Check out Oedipus Rex XX/XY (What if oedipus were a wom-an?) and After an Earlier Incident (a dyschronic romeo & Juliet), a theatrical meditation that ex-plores oppositional philosopher Jacques derrida’s “hauntology” in popular music and art. tickets range from $13-25.

74a e. 4th st. (between second avenue & Bow-ery), east Villagefor tickets call 212-475-7710 or visit www.lamama.org/

hoot’s guide to nyc’s

La MaMa Experimental Theatre Club

Arianna FriedmanDesign by: Anna Hippee

A&E


Many of us today would agree that fashion and technology have just recently become “besties.” Though edgy and modern, the “techno-fashion” aesthetic—the metallic ensembles in stores

and pointed shoulder pads on runways—is a trend 250 years in the making. At the Fashion and Technology exhibit at the Museum

at FIT, visitors can witness the interplay between fashion and technology that extends from the mid-18th century

to the present. The exhibit explores the impact of technology on the produc-tion, materials, aesthetics and function of fashion. From the practical to the shocking, from the everyday to the status of

art, from the feasible to the unimaginable, Fashion and Technol-ogy presents over 100 garments, accessories and textiles. It

showcases a multitude of fashion inventions and developments that range from the pragmatic sewing machine to supposedly

futuristic frontiers, such as garments created through computer-aided design (CAD) software that are brought

into reality with a 3-D printer. Sequined dresses constantly stud the red carpet today and are

easy to find in department stores. However this sparkly creation emerged in the 1920s. As one enters the Art Deco stretch of

the exhibit, a 1924 evening dress from France made of gelatin sequins and crystal and gold beads will immediately catch one’s

eye. Sequins, the small shiny fragments that give everything a glam look, were invented at this time. The development of new technology and the need for creative materials led to the

production of sequins from natural animal by-products. In fact, gelatin sequins were the precursor to modern plastics.

fAshion And teChnoloGy At the fit museum WRITTEN BY:

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The exhibit features another often-overlooked creation: the zipper. Invented in 1913, the zipper replaced the hook-eye closure, thus reducing the amount of time it took women to get dressed. Besides speed-ing up the dressing process, the zipper was also revolutionary since it served as both a functional and a decorative element. Elsa Schiaparelli made the zipper a key feature in her designs, such as her 1933 butterfly-pat-terned dress with a short zipper in the back. In 1955, Charles James designed a velvet and satin dress with a three-foot zipper running on the bias, giving the zipper a state-of-the-art quality.

Technology has also inspired fash-ion designs. In the Prada Spring/Summer 2008 collection, each outfit was accompa-nied by an animated video that combined futuristic themes and natural motifs. The colors of the ensemble—chartreuse velvet, purple patent leather and green suede—supported its sci-fi nature and romantic flair. The accompanying video component complements the line by showing a beast that hands a woman a Prada purse as she emerges from a flower. This piece fuses ca-nonical artistic movements with technology to portray fashion as a bridge between the past and the future.

Less futuristic than innovative, tshirtOS is a highly original t-shirt type that tangibly combines fashion and technology. The creator, CuteCircuit, commissioned by Ballantine’s, establishes a platform for the expression of ideas on the plain white sur-face of a regular t-shirt. The tshirtOS can connect to the Internet, take pictures, upload them to Instagram, display tweets and per-form a variety of other functions. A prime example of wearable technology, the tshir-tOS revolutionizes fashion by physically incorporating technological design with ready-to-wear clothing. The beauty of this concept lies in the ability of the fashion con-sumer to choose the application, program or media that he or she wants to use at that time. The tshirtOS portrays fashion as an ex-pression of self through technology.

Where will the relationship be-tween fashion and technology go next? What new frontiers will it create? After wit-nessing the numerous interactions between these two seemingly distinct fields, one can only wonder and imagine. Fashion and Technology opens up the imagination to new possibilities and shows that in the world of fashion, anything is possible.

A&E


Charles James, evening dress, black velvet, green satin, circa 1955, USA

FROM RAGGED TO RUNWAY:

THE EVOLUTION OF PUNK FASHION

written by sasha henriques // design

by molly grundsid ViCious, 1977Courtesy of the metropolitan museum of art, photoGraph © dennis morris - allriGhts reserVed

and labels, including Phillip Lim and Saint Laurent, who utilized punk rock elements in their collec-tions. In Paris, Versace, Chanel and Fendi all incorporated punk influ-ences as well.

The Met Costume Institute exhibit showcases over 100 gar-ments, both original punk looks from the 1970s inception and recent high-fashion creations. Juxtaposing the two, the multimedia exhibit il-lustrates how prevailing and ever-influential the punk vision remains in the world of fashion today. The show includes seven galleries that detail the history of punk fashion and provide examples from four different categories of do-it-your-self techniques: hardware (think studs, chains and zippers), brico-lage (customization and recycling), graffiti and agitprop (provocative images and phrases on clothing), and destroy (rips, shreds and de-constructionism).

Key pieces to look forward to include Elizabeth Hurley’s in-famous safety pin dress designed by Versace, a McQueen ball gown with a fragmented picture of the Queen patched on the bodice (a safety pin through her nose, no less), a Moschino mermaid-sil-houette dress made entirely out of black garbage bags, and a black tweed suit by Chanel that is littered with holes and rips. Other labels and designers to look for include Balmain, Dior, Dolce & Gabbana, John Galliano, Balenciaga, Viktor & Rolf, Marc Jacobs, Comme des Garçons, Helmut Lang, Rodarte, Prada, Givenchy and the “Queen” herself, Vivienne Westwood. As the Ramones once wisely sang, “Well, New York City really has it all.”PUNK: Chaos to Couturemay 9-August 14, 2013metropolitan museum of Art1000 5th Ave (Between east 80th and 84th streets)new york, ny 10028


A&E

Safety pins, ripped jeans, mo-hawks and motorcycle boots are not what one would ex-pect to find gracing the pag-

es of Vogue, but the underground punk fashion movement is now an emergent mainstream trend. Though punk started as a striking-ly independent musical subculture, its utilitarian, anti-materialistic aes-thetic was so intriguing that punk fashion eventually made its way to international runways. This year, the Met Costume Institute is offer-ing a new exhibit on the history of punk fashion with Punk: Chaos to Couture, which runs through Au-gust 14 and explores the influence of punk style on high fashion.

In the mid-1970s, punk emerged both in New York and the United Kingdom, its epicen-ter being London, though its exact origins are unknown. While New York punk was all about the musi-cal statement, music meant to defy mainstream culture, London punk was a rebellion against political and economic unrest experienced by the city’s working class. The aes-thetic began with the veritable king and queen of punk fashion: Mal-colm McLaren and Vivienne West-wood. Living together in London in the late ’70s, the duo managed and designed for their alternative, fetish-fashion boutique, SEX. The store attracted rebellious youths, including the young Sid Vicious and Johnny Rotten, who went on to form arguably the most influential punk band of all time, Sex Pistols. Influenced by the grungy, non-conformist anti-fashion sported by Sex Pistols, Westwood and McLar-en began to make punk-inspired clothing to sell in their shop and to exclusively dress the members of Sex Pistols. Yet they were not the only ones to realize the move-ment they had stumbled upon was powerful and utterly unique. The trend caught on quickly. By 1980, punk clothing was being sold by

mass retailers. Just three years after the formation of Sex Pistols, punk officially entered the mainstream scene, and thus, the anti-fashion became fashionable.

While Westwood did not in-vent the movement’s iconic look—a hodgepodge of dirty, ripped cloth-ing inspired by working-man wear, bikers and BDSM—she defined and refined it in her own ground-break-ing collections. Westwood realized that punk needed to look unfin-ished and destroyed, yet simplistic. She conceptualized a revolutionary deconstructive vision never before seen in the fashion world.

The first mainstream de-signer to truly embrace punk was Zandra Rhodes. Her game-chang-ing 1977 collection, Conceptual Chic, was one of the first runway collections to utilize the punk aes-thetic. In a complete departure from her former methods, she was profoundly inspired by the punk movement and made the style al-most sophisticated, using golden safety pins and chains to delicately link together ragged hems and rips in the fabric. Interest in punk style only grew over the years and with the advent of grunge in the ‘90s came a revival of the classic non-conformist look. Punk exploded in the fashion world, inspiring designers like Jean Paul Gaultier, Marc Jacobs and Karl Lagerfeld for Chanel.

As curator Andrew Bolton is quoted in the museum’s press materials, designers latched onto the punk aesthetic because of its “youthful rebelliousness and ag-gressive forcefulness.” Punk not only epitomizes these very factors, but also symbolizes a freedom from conventional society. Iconoclastic and enduring, the punk look con-tinues to appear in runway collec-tions. This past New York Fashion Week featured dozens of designers

hoot magazine: spring/summer 2013

Documents

esther kim bc

esther jung bc

arianna friedman bc

krista lewis bc

sasha henriquez bc

rachel mullinax bc

sasha henriques bc

rachel furst bc