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EMPOWERMENTA note from the Marist Fashion Program Who will a student become? A great fashion designer? A legendary merchant? The developer of a remarkable new product, service or idea? It is a privilege to assist our students along their journey to personal and professional success. The goal of the Fashion Program’s team of instructors is to encour-age creativity in all forms of design, product devel-opment, business and…thought. We acknowledge that ambiguity, struggle, and indecision are nec-essary components of this process. In fact, we cel-ebrate these things, because students discover what they are capable of by learning to endure them. Here at Marist, an environment that truly supports empowerment, education is about the peo-ple and possibilities. All of our students prosper as a result of having honed their critical thinking and problem solving skills through intensive liberal arts study. In the Fashion Program, they also have the opportunity to interact with industry veterans and rising stars, intern with top companies, and learn to fearlessly test their own boundaries. That’s the pleasure of being an educator—a witness to an in-describably wonderful process of evolution. This magazine is dedicated to our students —our designers, our wizards of logistics, our re-markable organizers, our networkers, our brilliant promoters, our writers, our perfectionists, our vi-sionaries. It’s been the pleasure of the entire Fash-ion Program faculty to know them, and an honor to introduce their work in this edition of the Marist Fashion magazine.
Sincerely,
Program Faculty and Staff: JARED ASWEGAN, JENNIFER BELTON, PETER BRICKMAN, IRENE BUC-CIERI, SUZANNE CHIKA, RADLEY CRAMER, JENNIFER FINN, MELISSA HALVORSON, JODI HARTMANN, ELLIE HEINZINGER, DAVID HEINZING-ER, GRETCHEN HIRSCH, GWENNO JAMES, MICHAEL JOHNSON, RICH-ARD KRAMER, JOHN MINCARELLI, JAMIE PERILLO, SONIA ROY, GLENN TUNSTULL & JULIE TURPIN
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katelyn SALIERNO
BREATHE IN, BREATHE OUT
victoria SCHERMERHORN
THE BESPOKE MAN
natalie PALTER
abigail TAYLOR
elisa MORALES
audrey MAYSEK
brianna SHERLOCK
TAILORED WOOLENS
CHECKERED PAST
deanna WALTERS
NYFW
maria CATALANO
BEHIND THE SCENES
megan BRADY
deanna PROSKE
GLOBAL STREET TREND
kira MELENDEZ
jill HUB
BETWEEN THE LINES
kevin CROWLEY
THE STORYTELLERS
sarah GAYDA
MARIST FASHION 2015
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BEHIND THE SCENES
MIS EN PLACE
colette CUNNINGHAM
CRITICAL MASS
sabrina MATTERA
adele JACKSON
RIVER + STONE
marrisa WILSON
SECOND PERSON PARIS
kiana MARKO
BEHIND THE SCENES
erin McCANN
PREPACKAGED
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4 katelyn SALIERNO Photography by Jake JonesPhotography by Jake Jones
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Photography by Anna Graney
BREATHE IN, BREATHE OUTThe Village of Chefchaouenand the Roots of Inspiration
BY ALANNA O’CONNELL Before becoming a fashion design major, Katelyn Salierno believed, as many do, that learn-ing to develop a concept from (sometimes) bizarre root to full blossom, is a purely cognitive process: an artist becomes inspired by color, texture, his-torical period, or place and sets about creating
accustomed to being asked what their inspiration
rich enough to bear creative fruit. The reality is that inspiration can originate from any circum-stance, no matter how banal, and is sometimes felt, rather than known. Frustrated, and Googling “exotic places” on a humid summer night in front of the TV with her boyfriend, Katie found a pic-ture that triggered a rapid physical and neurolog-ical reaction, making her heart warm as it raced. Passing her boyfriend the screen, showing a sea of blue buildings captioned: Chefchaouen, Morocco,
Chefchaouen, Morocco is a town with a mu-ral-like landscape, known for its blue medinas and rich history, well known to artists, designers and
world travelers. From above, this enclave of angu-
in between the ridges of the Rif Mountains—an ombre of aquamarine, cobalt, periwinkle, royal and powder blues. On hot days, while the sun is reaching its peak, the skyline and town become one surrounding the townspeople in a world of blue, indigenous to their history. Although now a place predominantly populated by Arabs, the blue trademark of Chef-chaouen was established in the 15th century
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sky, heaven, and God. The blue dye, tekhelet, as mentioned in the Torah, was used in tapestries for the High Priest and strung to the corners of prayer garments. Today the townspeople honor
medinas blue and incorporating blue threads into many of their garments and textiles. While walking through the twisted yet se-rene streets that remain to honor its descendants, one will eventually hit the center of the medina and its bustling bazaar. A culture of its own, the bazaar is a contrast to the general calmness otherwise felt throughout Chefchaouen. Streets
small taxis consume the area. Stands with glass lanterns resembling miniature hot-air balloons, ornate rugs, scarves of the highest quality, em-broidered kaftans, leather slippers, custom made
town with color, breaking the continuous stream of blue. Meanwhile from restaurants nearby, aro-mas of fresh breads, herbs, mint tea leaves, spices, olives, chicken tagine, and cookies stimulate the senses. It is no shock that Katie experienced such a strong emotional and physiological bond to this
hues and soft layers of her senior collection. Re-cently, scientists have discovered that there are
is inspired. Through fMRIs (functional magnetic -
found the exact neurological process that occurs when a new idea is created. According to their re-search, when inspired, “a constellation of neurons 13
Photography by Colleen Kollar
Photography by Colleen Kollar 15
-ate a neural network pathway.” In other words, a series of neurons are sparked when something seems truly inspiring, which correlates with the strong unexpected emotions felt.
inspiration was just a concept that was formed to satisfy an artist’s creative needs. Most would de-
and originality would seem appropriate. And al-though those are relevant, a look at the etymol-ogy of the word proves it to be something much more enlightening. In the 12th century the term “inspira-tion,” derived from the Old French word inspir-acion, meant the action of blowing on or into. In its oldest form, inspiration is synonymous with the biological process of respiration—drawing of the breath into the lungs. As humans, respi-ration is essential to life; without breathing, life
historical thesaurus traces the evolution of inspi-ration along this historical path: external world > matter > gas > air > moving air > producing a blast of air > drawing in of air. Inspiration has a direct connection to the formation of human life. Inspiration is not just an artistic insight, it is a
-ration, no artist can survive without inspiration.
breathing in or infusion of some idea or purpose into the mind; the awakening or creating of some feeling or impulse, especially of an exalted kind.” Often inspiration sneaks up at unexpected times and from unexpected origins. This is why so many have trouble describing the feelings asso-ciated with it. Katie’s description of her reaction to Chef-chaouen is proof of this: increased heart rate and a feeling of warmth. When the physiological pro-cess of inspiration and its relation to respiration was explained, her experience that night, last summer, began to make more sense. The designer
a spot that makes the neurons of even non-artists
that helped her breathe.
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victoriaSCHERMERHORN
Photography by Dennis Golonka
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VICTORIA ON THE FUTURE:“I want to do it all. Paraphrasing
Jonathan Safran Foer, my bones groan with all the lives I haven’t lived.”
22 Photography by Eury Fabian
The Bespoke Man
wild extravagance became a relic of the 1920s, the decade during which Gatsby says, “I have
sends over a selection of things at the beginning of each season, spring and fall.” In contrast, the 1930s in America was a frightening time. The wealth of the 1920s had evaporated overnight, leaving the masses to struggle for their survival, while the battered but still comparably wealthy attempted to carry on with what was left
society’s upper tier would gather to talk about the world around them. Although women were more recognized for their fashion choices, men understood the importance of a proper, well-tai-
charged with upholding social standards—it had to signal tradition, status, and economic class. More than seventy years later, the Marist Fashion Program was fortunate to receive a clothing donation from this period. Robert Ma-
-merous suits, jackets, shirts and other accesso-ries that belonged to his late father. The bespoke suits, hand-tailored to the elder Mahoney, exem-plify the craftsmanship of the era. In near-perfect condition the donated pieces allow the modern fashion student to revisit the 1930s and gain in-sight from an important era of menswear; a time that kept earlier traditions alive, while laying the foundation for menswear today. Much of contemporary men’s formal wear
the bridge into the 1920s and 30s was crossed, a man’s evening attire remained rule and tradition
jacket, matching pants, and a white waistcoat. The jacket was double-breasted, cut short to the
BY JULIANNA SHERIDAN
waist in the front and tapering to two longer tails in the back, called a swallowtail or claw ham-mer style. The jacket would have three buttons on each side, while the trousers featured braids of fabric at the outside seams. Under the jacket and waistcoat, men typically wore starched white shirts with removable cuffs and collars. These were detachable for purely practical reasons. Men had many variations of these pieces that could be switched out when these high-use areas became
touch was, of course, a bow tie in either black or white. Robert F. Mahoney, the father of the do-nor, was appointed to the New York City Magis-
-sion in 1939. Mahoney explained that because of his father’s profession, it was expected of him to frequently attend formal occasions. He noted that his father’s fashion changed with the times, which the varied suit styles in his donated ward-robe demonstrate. From a swallowtail coat to a
social event. He was highly educated, intelligent, and renowned for his work in law. As a child of immigrants, Mahoney was pushed to do some-thing more. His success as an educated lawyer
having an education and working hard. My father emerged as a ‘true dandy’.” More than sartorially
and seemed to enjoy achieving the sophisticated appearance that his position required. Mahoney grew up watching his father dress for special occasions and take particular care of his wardrobe. As an artist himself, Ma-honey respects the craftsmanship of his father’s collection and was compelled to keep a few special pieces, including a straw Panama hat that has been worn down to the texture of supple cloth, and a silk top hat in pristine condition. Aside from those keepsakes, Marist Fashion has been entrusted with these historic objects, and the memories that accompany them. We are honored. Thank you to the donor Robert Mahoney, appraiser Diane James of Diane James Antiques, and Mad-ison Sikorski.
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COLLABORATORS
Faculty Mentors
RADLEY CRAMER, MELISSA HALVORSONMICHAEL JOHNSON & RICHARD KRAMER
PRICILLA ALDARONDO (CREATIVE), IGNACIO BORBOLLA(PRODUCTION), SILVIA ISOTTI (COMMUNICATION), TAYLOR MULLIGAN (TALENT), ELEANOR SCHWAB (PUBLICATION) & MARISSA VERALLIS (ART)
Photography
RACHEL BRENNECKE, EURY FABIAN, DENNIS GOLONKA& JAKE JONES
Hair and Makeup
BRIANNA BARRESI, JENNIFER DONOVAN (OWNER, LE SHAG), KARA ELETTO, JESSIE LE MONTAGUE & REBECCA WILLIAMS
Fashion Show Production Class
GABRIELLE AMATURO, KIMBERLY ARISON, LOURDES COLON, EURY FABIAN, MEGHAN FAZIO, SARAH GAUDIO, NENAGH GOERG, ANNA GRANEY, ALEXA HALLAS, LAUREN KURRE, DALE MAURI, MEGANMORELLI, NICOLE MORASKI, BRITTLEY MONANARO, KATHERINEOSBORNE, GRACE RUGEN, SHELBY TUPER, VICTORIA WELLINGTON& CHRISTINA ZURAW
Writing for Fashion Class
KYLE-ANNE BELL, ADRIANNA CICINELLI, JONELLE ENGBERG, AMY FLORENCE, KATHERINE HINES, COLLEEN KOLLAR, DIANE LI, ALANNA O’CONNELL, JAMIE PHILLIPS, STEPHANIE ROMEO, JULIANNASHERIDAN, MADISON SIKORSKI & LAUREN TRAINA
26 natalie PALTER
ON ARCHITECTURE AS INSPIRATION:“There’s a bright, orange, monolithic dome
on top of a hill near home.They call it the Flintstone House.
I would see it whenever we drove to San Francisco.”
Photography by Rachel Brennecke
30 abigail TAYLOR
ON COLOR:“This is my second collection inspired
by botany. I always imagine my clothes in a bright, green setting.”
Photography by Rachel Brennecke
Photography by Rachel Brennecke 35
elisa MORALES
MOST VALUABLE STUDIO TOOL:“I’m a pattern-maker. I wouldn’t be able to make
anything without my dress form.”
47 N. FRONT STREET, KINGSTON, NY 12401845-339-2333
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audrey MAYSEKCRITIQUE PREPARATION STRATEGY:
“I’m a ski racer. Portfolio review is exactly the same as when you’re standing at the start gate.”
Photography by Rachel Brennecke
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46 brianna SHERLOCK
ON GETTING CREATIVELY UNSTUCK:“When I’m uninspired, I go back to draping.”
Photography by Jake Jones
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50 ROOTS; ACCESSORIES THAT MATTER LTD.; ADRIANNA PAPELL; BCBG MAX AZRIA; B.ROBINSON; BADGLEY MISCHKA; BETSEY JOHNSON; CITY OF KINGSTON, NY; COSIMO’S BRICK OVEN; DE’S JEWELERS; MARK DeZAO; DONNA MORGAN; TREVOR DUNWORTH; JAMES DURYEA; ELIZABETH BOUTIQUE; FASHIONOLOGY; DR. ZOFIA E. GAGNON; HADDAD BRANDS; JONATHAN ADLER; LACOSTE; MAGGY LONDON; MAHONEY’S IRISH PUB & STEAKHOUSE; DR. JOHN MCKINNEY; NAUTICA; KEVIN PAULSEN; MARIA PHILIPPIS; TERI ROSSIN; SOLOMON PAGE FASHION & BEAUTY; T&T TOWER ELEVATOR COMPANY INC.; TEA TALK; LEE WALIS & KARYN WANGENSTEIN
COMMUNITY AND CORPORATEPARTNERS
TAILORED WOOLENSThanks to a generous donation of weighty woolen fabrics, the Marist junior tailoring class has trans-formed bolts of traditional plaids and solids by Woolrich into a diverse collection of contemporary outerwear pieces. The following two examples were completed just in time for the last, Spring snowfall of 2015.
Modern Hooded Cape; Designed by Jemma Perri; Photography by Jake Jones
56 Crimson Cocoon Coat; Designed by Mackenzie Kramer; Photography by Jake Jones
Textiles tell the story of human histo-ry. Weaving may tell tales of triumph, weather or topography. Tartans may speak of region and clan. And, like all stories shrouded by the mists of
he said, twisted tale of the origins of a classic tex-tile. As even greater testament to its murky past, some call this textile a check rather than a plaid. Buffalo plaid can best be described as a two-color textile pattern with large, intersecting blocks of black and red. Though a simple twill weave, the fabric’s charm, and perhaps the rea-son for its enduring popularity, is that a unique shadow effect is achieved wherever red and black yarns interlace. The mystery of the textile’s ori-gin, the source of enduring disagreement, is over who invented buffalo plaid. Some historians say it was in 8th century Scotland by a family called
sell it before the time of the Civil War. Perhaps it is with a Scottish family in the 8th century where the journey of buffalo plaid begins. The MacGregors were a clan of fearsome warriors that were banished from the Highlands
changed his last name from McGregor to MacClus-key (later McCluskey) in a last effort to hide his
the VI had placed a bounty on his head, wishing to completely annihilate the family name). Big
his new name and adopted culture. Soon after his arrival in North America, MacCluskey developed a talent for hunting buffa-
-key discovered that also following herds of buffa-lo were recently “encountered” Native American groups displeased with the new competition for hunting ground. Cleverly dressed in his homeland Tartan, the ever-charming and pragmatic Mac-Cluskey began to trade his heavy woven Scottish blankets for buffalo hides with the Sioux and Cheyenne warriors. They were captivated by the rich red color and believed it to be the spirit blood of MacCluskey’s old enemies, which would act as a guardian in battle and offer immortality. Of course the story doesn’t end there. It was Woolrich, the “Original Outdoor Clothing Company” that cemented the textile’s role in
Pennsylvania and began selling woolen products to lumber camps throughout the area. Buffalo plaid shirts, the most popular sellers, remained among his offerings throughout the company’s expansion. Known for quality products for the outdoorsperson of any age, Woolrich popularized buffalo plaid as the fabric of the hard working,
Today, this textile remains not loyal to one story, one country or one fashion perspective.
-ture of the MacGregors, contemporary designers frequently revisit the pattern to lend their col-lections a rebellious quality. In fashion parlance, a perennial trend is one that returns, again and again. Buffalo plaid has most recently shown up on runways in Fall of 2012 with Yohji Yama-moto’s collection for Adidas and in the Fall 2014
labels claim to have taken their inspiration from
1990s—no mention of 8th century Scotland, Big
CHECKERED PASTBY ALANNA O’CONNELL
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CLASS OF 2015FASHION MERCHANDISERS
Marisa A. AbbattistaPricilla D. AldarondoZhen BiRachel A. BowersDanielle BuckleyAlexandra R. BuxtonCaroline M. CarakerTrina R. CardamoneKayla N. ChozenBrianna C. ConleyEmily C. CullinanGiana J. EmanueleSheridan G. FauvellSamantha D. FrederickSarah B. GaudioBlair A. GageChloe E. GeniseAlison M. GillinHanna G. Ordas GuardiaKatherine GuinawHulya GurhanEmma J. HaileyBrianna N. HarrisonDanielle A. HelwigKimberly M. HowerCarla Jo Huskins
Silvia I. IsottiMonet A. JacksonNoor M. KanooAlexandra R. KramerTaylor A. KuzmaChunyiming LiStephanie J. LubovCourtney E. LucasKahlilah LilleyPaige N. MalengoLaura E. ManhartSilvia R. MartinsChloe MayoneDale L. MauriCaitlin C. McCarthyShannon M. McNameeStephanie M. MelnickNicole MonacoTracey L. MorrisonMelissa S. MorrisseyTaylor M. MulliganSkylar N. NorrisJacqueline J. OhnMegan E. OmalleyLindsey T. PaveroCodi Jo Peras
Reese M. PerlinAmanda J. PichiaralloKimberly PizzoKelsey M. PlateJamie L. PlukasNicholas F. PrietoMichelle PrisciottaNicole T. RendeHeather M. RodkeyKathryn M. RogersStephanie RomanGena M. RussoCaitlyn SabiaEleanor L. SchwabAbigail E. SmallLeslie B. SullivanMengyao TangJillian N. ThompsonCatherine R. ThomsonJacqueline TrauringKaila F. VanAkkerenRachel J. VarneyKristin N. VecchiarelliChristine M. VenutiMarissa A. VerallisWenwen Yan
60 deanna WALTERS
ON WHAT IT TAKES:“Endurance…endurance and love, you just
have to have them.”
Photography by Rachel Brennecke
Marist College recognizes Nanette Lepore for her achievements in the fashion industry, with the
messy buns and natural makeup, alongside the designer and her daughter. Opposite page: more scenes from New York Fashion Week on September 7, 2014.
MARIST AT NYFW
Photography by Timothy Maggio/Vinepod
Photography by Dennis Golonka 67
maria CATALANO
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WHAT’S ON MARIA’S HEADPHONES:“(Laughs) Really intense rap, really loud.
It keeps me motivated.”
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BEHIND THE SCENES 77
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SCHOLARSHIPSPROVIDED BY
AGM ASSOCIATION OF GOLF MERCHANDISERS
ALECIA HICKS FORSTER SCHOLARSHIP
CUTTY SARK SCHOLARSHIP
DOMINIQUE-DANIELA SCHOLARSHIP
DUTCHESS COUNTY HOME BUREAU
EVA BLOCK MEMORIAL FUND
FASHIONOLOGY SCHOLARSHIP
KATE SPADE & CO. FOUNDATION SCHOLARSHIP
MARIST FASHION PROGRAM SCHOLARSHIP
MARY ABDOO SCHOLARSHIP
YMA/FASHION FUND
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JAMES AGUIAR, MODERN LUXURY
BJÖRN BENGTSSON, GREG NORMAN COLLECTION
NINIVE GIORDANO, NINE WEST
MICAH GROSSMAN, JONATHAN ADLER
MARK HALDEMAN, PAUL SMITH
CHRIS MANLEY, SURFSIDE SUPPLY COMPANY
DOMINIQUE DANIELA PINO-SANTIAGO, DOMINIQUE DANIELA
Fashion Program Advisory BoardMARY KITTLE, VP, STRATEGIC PLANNING, KAHN LUCAS LANCASTER INC.
ALAN KRISFALUSI, VP, HUMAN RESOURCES, ROSS STORES
CHRIS MANLEY, OWNER, SURFSIDE SUPPLY COMPANY
JR MORRISSEY ‘88, ADVISORY BOARD CHAIR, OWNER & CREATIVE DIRECTOR, MORRISSEY
DOMINIQUE-DANIELA PINO-SANTIAGO, OWNER & DESIGNER, DOMINIQUE DANIELA
MATTHEW SIROTA, DIVISION PRESIDENT, MAGGY LONDON
TOM WARD ‘69, CEO (retired), MAIDENFORM
MARIANNE WEBBER ‘90, DESIGNER, QUICK TURN CLOTHING
SUPPORTERS
80 megan BRADY
DREAM COLLABORATION:“The artist Peter Max. My aesthetic is starting to
get a little more eccentric and over the top.”
Photography by Jake Jones
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Le Shag. HUDSON KINGSTONEAST VILLAGE, NYC
ARTISTS/STYLISTS
JENNIFER DONOVAN—OWNER & STYLISTKARA ELETTO—HAIR/MAKEUP
BRIANA BARRESI—HAIR/MAKEUPREBECCA WILLIAMS—HAIR/MAKEUP
JESSIE LEE MONTAGUE—MAKEUP
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deanna PROSKE
Photography by Dennis Golonka
deanna ON CRITIQUE:“Being silent is the harshest thing they could do.”
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This page, photos by (clockwise from left): Katie Labozzo, Jillian
Gasarowski, John Scott, Anne Preis, Michelle Bedard, Bonita
Fowler and John Scott.
Opposite page, photo by Bonita Fowler.
paris
london
This page, photos by (clockwise from left): Madison Sikorski, Madison
Sikorski, Nicole Giambagno, Alexis Chomat, Kristi Pentecoste,
Karli Bruno and Kristi Pentecoste.
Opposite page, photo byKristi Pentecoste.
This page, photos by (clockwise from left): Lillie Tuthill, Hannah Dayan, Emily
Leavitt, Rachel Colwell, Emily Leavitt, Natalie Vayda and Rachel Colwell.
Opposite page, photo by Hannah Dayan.
Forza Fur-enze!CAPTION WINNER: KATELYN SALIERNO
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kira MELENDEZ
Photography by Dennis Golonka
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kira ON HOLIDAY:“I watched a documentary with my parents that I fell in love with, Dogtown and Z-Boys, thatactually went on to inspire my collection.”
jill HUB
Photography by Jake Jones
JILL’S MOSTMEANINGFUL ARTICLE
OF CLOTHING:“I have a mink
bolero that my grandma gave me. She was a
seamstress.”
BETWEEN THE LINESAn Exploration of the Gender-neutralFashion MovementBY JONELLE ENGBERG
Men wear pants and women wear skirts, right? Gender normative dressing is still, well, the norm, and any deviation from these expectations can result in headshakes of disapproval. Gender neutrality, on the other hand, is a movement to-wards freedom and integration that is permeating popular culture, fashion and mainstream house-holds. It isn’t a concept to be feared.
reality show premiered on MTV. The host, La--
ages teens to be comfortable in their own bodies no matter how they identify. The recent winner of the 2015 Golden Globe for Best TV Comedy Series, Transparent, follows the story of a father who announces he is transgender and begins his
popular culture is affecting the way we view what is considered “normal.” Perhaps the next step will be the integration of more androgynous fashion choices in the mass market?
Hall,” androgyny has been a persistent undercur-rent in the fashion world, re-emerging every so of-
ten to remind us what resides beneath our safety net of tradition and the things deemed “normal.” Androgynous fashion often carries a nega-tive connotation because of a belief that it places a person in a grey zone, void of gender identify-ing characteristics. The conventional perception is that certain articles of clothing, like a skirt, are strictly tied to the female gender and any depar-ture from this is perverse. However, androgyny is not the removal of gender, but rather the combi-nation of masculine and feminine characteristics. In essence, it brings together two seemingly dif-ferent things and creates one limitless interplay between identities. Raising children with humanistic ideals and to dream beyond the realms of gender stereo-typing was famously explored by the Free to Be You and Me campaign, conceived in the summer of 1972. This project was the creative brainchild of Marlo Thomas and Letty Cottin Pogrebin. While searching desperately for a bedtime story that was not deeply imbued with gender stereotypes, the two of them realized, to their disappointment, that they were looking in vain. Together they de-vised a body of work including a book, a play, a
musical album, and a television special based on themes such as “the human need for love…the im-
-ative relationships,” none of which regard gender. Understanding that in order to change the world you have to start with the young, they focused all of their energy on children. By casting little girls as “princesses,” or “wives in training,” and little boys as “soldiers,” or “sports stars,” we narrow their experiences of life. Girls’ clothing and boys’ clothing is clearly designated by signage and color upon entering a store. “Boys” or “Girls” placards hang from ceil-
-cating a stark partition. Shoppers are forced to choose between the “male side” or the “female side,” leaving the “other” unconsidered. Shopping can be a frustration to those who fall outside these
the child to vehemently reject alternative gender roles later in life. Marlo and Letty realized that this was not the world they wanted for their chil-dren and sought to broaden the discussion. Some believe responsibility rests with the fashion industry, an understood catalyst for change, to provoke new mindsets within soci-ety. However, even fashion, a common outlet for self-expression is bound by certain rules and tradi-tions. The word, agender, is the preferred term for those who move freely between genders or choose not to put a name to how they identify. As people begin to be more comfortable when confronted with questions regarding gender, individuals al-low themselves to adopt more freeing terms, such as agender. On March 12, 2015 the London de-partment store Selfridges & Co. on Oxford Street, launched its Agender Project. According to cre-ative director Linda Hewson, “the project will act as a test bed for experimentation around ideas of gender—both to allow our shoppers to approach the experience without preconceptions, and for us as retailers to alter the way we shop for fashion going forward.” Only now are we beginning to see the environment Marlo and Letty dreamt of back
-ing suit. Selfridges is revamping its entire three-sto-ry retail location into a gender-neutral shopping experience. This experiment aims at promoting
designers who have dedicated their talent and energy to a re-examination of gender norma-tive dressing, including: Natalia Manzocco, Sara Medd of Greyscale Goods and Nicolo Formichetti for Nicopanda. This unique environment allows shoppers to step into a space where individuals are safe to express themselves in non-traditional
single mannequin throughout the Oxford Street store. Instead, gender-neutral art, photography, written pieces and articles of clothing will form the overall aesthetic. By removing gender, the clothes are allowed to speak for themselves, and for those who wear them. Hewson believes strong-ly that what her company is doing will bring at-tention to a seriously underrepresented apparel category. One of the labels being promoted by the Agender Project is Greyscale Goods— “beyond labels…just goods.” This Los Angeles based brand found its niche in gender-neutral clothing. It will
-ed into a brick and mortar store since its launch as an online merchant. Most pieces are neutral in color and have a classic look. Bow ties, skinny jeans and timeless white t-shirts are quintessen-tial to the brand and its image. Since it is becom-ing more common for customers to shop both the men’s and women’s departments, contemporary style has slowly shifted toward androgyny. This
-sciously, with doors opening to new designers that were previously shut tight. Gender-neutral fash-ion is securing its place in fashion, and Hewson is taking advantage of this opportunity to show-
market. By drawing the focus away from gender and towards the innate human needs for love and acceptance, an experiment like the Agender Project becomes much more than a store concept, but a representation of a cultural shift. By em-powering all of us, no matter our identity, we can dissolve the barriers of a limiting, intolerant, and exclusive society and create one that is more ac-cepting, open-minded, and cosmopolitan. Back to our question: men wear pants and women wear skirts, right? The answer lies between the lines.
Theatrical performances, rehearsal studios, youth theater programs,
private parties.
323 WALL STREET UPTOWN KINGSTON 845.338.8700
Photography by Dennis Golonka 117
kevin CROWLEY
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KEVIN’S MOST PRODUCTIVE HOURS:
wake up at 6:50, take a shower, and get to the studio no matter what I did the night before.”
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Lately, consumers have become discon-nected from the story behind their clothes. Manu-facturing overseas has created a great barrier be-tween the wearer and the maker. Some, however, are beginning to revive the relationship between the craft and the consumer. What started as a
has developed into a full brand, called The Local Branch. The pair drives across America in a pick-up truck pulling a renovated 1970s Airstream— a travel trailer that serves as a headquarters as well as their workshop and home. Whether in the Grand Tetons of Wyoming or on the Bourbon Trails of Kentucky, the couple attempts a bal-
THE STORYTELLERSance between exploration and work. From their aluminum fortress, merchandise such as leather holsters, quartz necklaces, and clothing adorned with bison, arrowheads, and Navajo-inspired
is tagged with a description of its inspiration and the location in which it was made. A short note
the buffalo design or the fact that their item was created in Malibu, California, communicates that this is not just another t-shirt, but a wearable sto-ry of the American frontier. The development of the brand is organ-ic—a natural extension of themselves. Meeting
BY KYLE-ANNE BELL Photography by The Local Branch
the creative couple through video chat offered a small window into their adventurous, poetic way of life. The call began with a welcoming smile from Mackenzie, who graduated from Marist Col-lege in 2008, majoring in both Studio Art and Ra-dio, TV, Film. Casually using the sewing machine in the back corner was Blaine, who would later spontaneously turn from his work to offer spurts of insight. After college, Mackenzie and Blaine moved to San Francisco where they found them-
Local Branch was spawned from a simple desire to create under their own rules, and the couple
at craft shows. “It’s not in my blood to be working for someone else,” explained Mackenzie. Soon the Local Branch became too big to be a mere side project and its rapid growth allowed them to dive fully into their entrepreneurial dream. Quitting
-ple dedicated a year to revamping the brand and creating a website. Mackenzie had the idea to buy and restore an Airstream trailer found on Craig-slist. Stopping to breathe the open air along the way, they took their craft on the road. The couple describes the brand’s style as “Americana.” But their craft goes beyond the mere emulation of a style. Mackenzie and Blaine are seekers of truth. The product description of the Buffalo print t-shirts describes the animal as representative of “the best and the worst of the American story. It will forever remain an em-blem of our shared identity.” This provocative
caption warrants a response. “That’s for Blaine,” answered Mackenzie turning to him with a beam-
articulates the story behind the hand-drawn print, which involves a live observation of the majestic buffalo at Yellowstone alongside a his-torical account of their use in American currency, and a less positive note of driving them to near extinction. Their craft is not only inspired by the triumphs of the American pioneer, but also their tribulations and ever-haunting missteps. The de-scription that accompanies the purchase allows the customer to wear the piece armed with the knowledge of its heritage. “Travel has informed our vision,” ex-plains Mackenzie. Last summer, she and Blaine took an unplanned venture to the Navajo Nation, a Native American reservation in the southwest-ern part of the country where Utah and Arizona meet. Mackenzie wrote about the trip in The Lo-cal Branch blog, and it seemed she was search-ing for the words to illustrate the spiritual nature of the reservation. Though not easily translated into speech or text, the experience was rendered in their designs with a great respect. They met a
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Navajo elder who was a weaver in the communi-ty. She taught them the symbolic, mythological, and sacred elements of the ancient craft. Navajo weaving most directly inspires the brand’s Trian-gle print, symbolizing “water and the feminine spirit.” This authenticity, too seldom seen, is in-tegral to The Local Branch. A question rises from the meeting with Mackenzie and Blaine: How does this migration across the states and conscious artisan approach
is aware that while working from the road may be romantic, it may be unsustainable. The jour-
-fore having kids and settling down. Mackenzie described the possibility of farmstead property where they can employ like-minded people. The
Local Branch looks forward to a future of steady expansion, artistic collaboration, and of course taking the Airstream out for an occasional spin. For now Mackenzie and Blaine are still collecting tales from the road, sharing them with us—one print, one holster, one visual conversation at a time.
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sarah GAYDATOP HAND-ME-DOWN:“I have this shirt of my mom’s that she used to wear in her twenties—it’s denim with embroidery on the pockets. I love wearing it.”Photography by Dennis Golonka
BEHIND THE SCENES 137
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Writing & Concept: Stephanie Romeo; Styling & Concept: Diane Li; Photography by Shelby TuperL-SQUARE
NO. 2 PENCIL
INVISIBLE ZIPPER FOOT
LOOP TURNER
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POINT TURNER
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CLEAR TAPE
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With mental clarity and the proper equipment at hand, an uninterrupted thought process, perhaps the artist’s most crucial tool, is attainable. French for “put in place,” mis en place is the culinary term for what artists and designers also recognize as an essential ingredient to the creative process: forethought. About more than just saving time, or organizing a workspace, mis en place is a strategy for uncluttering the mind and making room for ideas.
MIS EN PLACE
Photography by Jake Jones colette CUNNINGHAM
CRITICAL MASSHow 3D Printing is Reshaping FashionBY JULIANNA SHERIDAN
Senior fashion designer, Colette Cunning-ham has one simple piece of advice for her peers: “Pursue what you love,” she said. “Make yourself learn about it.” That’s what the designer did when
senior collection. Speaking with such passion and knowledge on the topic, she recognizes how this new technology is revolutionizing the fashion in-dustry.
printers have recently become popular as the in-dustry looks for alternatives to traditional textile
also known as additive manufacturing, takes a substance such as plastic, and builds it into a solid, three-dimensional object. According to
can be attributed to the trend moving away from printing rigid structures and toward more tac-tile pieces. What was once used as a way to build
printing is now at a critical meeting point with the mass market. The technology is being used to
International Space Station to viable organs from
just beginning to realize its full potential. Fash-ion designers have begun to pair this new tool with their apparel and accessory designs, produc-
with the machines. Aaron Isaac, a 25-year old entrepreneur,
on what keywords consumers are searching on Google. From the most sought after engagement rings, to the latest necklace trend, Isaac is taking advantage of cutting-edge technology to create a unique business model. One of the most allur-
consumers can add and alter details at will. By using printers, people can create exactly what
Cunningham believes that the potential for cus-tomization will shape the future of the fashion in-dustry, especially when printers are able to create materials that look and feel like familiar fabrics for consumers.
Fashion Technology in the Marist College Fashion Program, agrees. He says, “As soon as someone
that will be at least as cataclysmic for the current
been for the music industry or the Internet has been for newspapers.”
in spite of its current reliance on plastics, could be heightened sustainability. Traditional manu-facturing methods involve taking away from the original material and creating waste of costly raw goods, an expensive and unsustainable prac-tice. Consumers could use recycled plastic water
melt down older pieces to create new designs. There are many other substances that are used
based materials. The opportunity for growth in this area is massive, and the sustainability fac-tors are attractive to many industries. With ad-ditive manufacturing, claims Asheen Phansey of greenbiz.com, “the product is printed layer by layer…because this operation can be performed without huge, high-throughput machinery, it can be performed at hundreds or thousands of remote locations—or millions, if you consider the po-
near zero waste.” This means that in the coming years, individuals could have the capacity to pro-duce objects at home for everyday use, creating less reliance on factories, which contribute too much of the world’s pollution. Companies could focus on the intellectual capital, or the value of its designs, versus the cheapest way to make them. Cunningham shares a story of a designer whose dream is “[that] clothes don’t have to go through the whole fashion production cycle. Consumers can just have a pattern and the materials to make something at home.”
-atively easy, with a little knowledge of comput-
the printer where the creation process begins. As the nozzle of the printer moves from side to side,
each layer of additive is meticulously printed on the other by cross-section. Like a glue gun, the
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For Cunningham the process of printing one of the support pieces for her senior collection took nearly 70 hours to complete. “Colette…has really taken the ball and run with it. [She] now knows
Beginning in the Spring of 2014, Marist
-structor Richard Kramer at the request of Pro-
printing was offered in art and design programs,
Colette has taken advantage of a wide-spread enthusiasm among artists, programmers,
modeling and printing in fashion course, Cun-ningham reached out to Matt Frieburghaus, an
modeling software. And when she realized she would need more advanced, commercial print-ers than were available to her in the fashion pro-
-signs as the main support pieces of the garments in her senior collection, inspired by the physics and science behind water. As her ability to ma-nipulate the models on the computer increases, the possibilities grow for her designs to become more intricate and inspired. “Really, as I see it, these collaborations have not only strengthened my work and the execution of it, but [they] are what is actually making this happen,” she said.
-signs to life, allowing even the most bizarre facets of our imaginations to become something materi-al. This technology has the ability to impact the world in ways that are immeasurable as people
whether or not it will be able to evolve at the same rate as the demand of designers and consumers.
146 sabrina MATTERA
UNIFORM FOR LIVING:“I like a lot of dresses—especially breezy ones.
Either a romper or a dress... or shorts and a nice,
Photography by Rachel Brennecke
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154 adele JACKSON
PLAYLIST ESSENTIALS:“From house music like Yellow Claw to more
chill stuff like Susanne Sundfør or alt-J.”
155Photography by Rachel Brennecke
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RIVER + STONEBY KATHERINE HINES
There’s a new clothing brand along the shores of the Hudson River, and it’s called River + Stone. “The word ‘river’ connects the brand to the ever-changing movement of fashion. ‘Stone’ links the brand to the tradition and history of Marist and the Hudson River Valley,” explains
River + Stone is a clothing and accesso-ry collection for men and women that represents a modern attitude toward fashion, and a nod to historic college imagery. The brand includes ap-parel with creative graphics derived from vintage photographs discovered in the Marist College archives. Students found images from “the crew team, the Poughkeepsie Regatta, and Lowell
Finn, who helps students utilize smart business and advertising strategies on the retail side of the industry. At the same time students are coming up with these designs, they must tune into and re-main aware of what is happening in the market-
contributes to the creation of this line that em-braces school spirit with a heightened attention to current trends. Once the process of evaluating material gets underway, the students explore transforming the visuals into dynamic, modern, and saleable designs. River + Stone also provides opportunities to spotlight the work of talented fashion design
students. Senior design student Kevin Crowley has created signature pieces for the brand. Crow-ley revamped and super-colorized fox graphics and the historic Marist “M,” modernizing tradi-tional symbolism for the fashion-forward wearer. Pushing these new concepts does not go without challenge. Promoting a new fashion brand is a major undertaking, as well as a learn-ing opportunity. This became the primary goal for one senior capstone project, whose team creat-ed the River + Stone Rep Program. Fashion line representatives, who are chosen from the Marist
Stone apparel, and serve to promote the brand as they give tours to prospective Marist students. The capstone team also focuses heavily on using social media. Once the merchandise was integrated into this promotion platform, even “alumni were calling and wanting it,” comments
Originally the vision of President Murray, River + Stone continues to evolve. “We are ready to expand the business,” remarks Hartmann. River + Stone hopes to someday have its own retail space, and a thriving e-commerce site. No matter what happens in the future, collaboration among students and their faculty remains key to the brand’s growth. With a sense of pride, Hart-mann articulates, “These individuals are demon-strating their teamwork, and the Marist Commu-nity has taken notice."
Spectators could observe the Intercollegiate Rowing Association races from open-air rail-road cars operating along the Hudson River.
At left is a ticket stub from one of these rides in 1922.
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A panoramic photograph of the Intercol-legiate Rowing Association Race of 1917
is one of the collection’s most instantly recognizable prints. It is shown here on a long-sleeved T-shirt for men and women.
Photography by Eury Fabian
Classic short-sleeved T-shirt featuring Babe Ruth during a charity baseball event with
Lowell Thomas and the Nine Old Men in 1937.
Women’s T-shirts include fitted styles. Here, the Marist “M” has been placed at the hip
in metallic gold.
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"The word 'river' connects the brand to the ever-changing movement of fashion. 'Stone' links the brand to the tradition and history of Marist and the Hudson River Valley," explains Radley Cramer, Fashion Program Director.
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marrisa WILSON
Photography by Rachel Brennecke
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MARRISA’S FAVORITESTUDIO TECHNIQUE:“I love sewinginvisible zippers with the invisible zipper foot. I actually offer to do it for any of the other designers, too.”
Imagine traveling to a major city so in-tensely serene that when the sun rises over tiled rooftops no higher than a few stories, you can step out on the balcony, look ahead, and actuallyhear your own thoughts. What colors will you see? What scents will you smell? What will you eat today, and with whom? What if something unimaginable happens
that seems to threaten this serenity? I was there, and I can tell you.
in the morning, report to class at Mod’ Spe, fall
SECOND-PERSON PARISbasic French, and walk away remembering a handful of phrases. Visit the Fondation Pierre
regrettably, wear heels. You will not make this mistake again. That evening you are made aware that a violent terrorist attack has occurred in an-
other part of Paris; that your chaperones, French instructors, Marist adminstrators and family at home are concerned for you. It’s scary. You will be taken to dinner by your chaperones and given a curfew of 10 p.m.
-hibit and get blown away by all the vintage de-
BY GIANNA CONSILVIO
Photography by Radley Cramer, Anna Graney & Melissa Halvorson
signer items in front of you, from Schiaparelli sweaters to Balenciaga gowns. Ride the Grande Roue and convince the guy operating it to let you ride for two full turns. When you get off the Fer-ris Wheel after what feels like hours, go to Ange-lina’s and order the “chocolat chaud.” Although there seems every good reason to panic given yesterday’s events, it isn’t neces-sary. Paris does not panic.
and learn to bead on silk. I’m serious, they let Fashion Merchandising majors use needles and thread, and it works! Order escargot at lunch that day with your group and then refuse to eat them. You’re allowed. There will be a dramatic resolu-tion to the most immediate threats facing Paris, but a curfew is still in place.
-Pont des Arts (Lovelock
-rant by your apartment and make friends with the waiter because he will eventually bring you free macarons. Curfew is relaxed, but you are asked to stay within a few blocks of the apartment.
market with the chaperones. That night, walk with 1.5 million other people who reject terror-
Charlie! -
tional, and only interested in representing their country’s goodness. A French couple thanks you and your friends for joining the event. You feel as if you have experienced the essence of France in that simple walk. You remember this as one of the most moving events you will ever witness.
-al. Take a ridiculous amount of pictures and stay there long enough to see it light up and twinkle. It has been determined safe to let you roam free again.
of the day to get started on the big group project
day of class. For this project you have to go to various stores, ranging from H&M and UNIQLO
in the upscale designer stores, and it will make for great stories (for instance, that time Chanel chased you out of the store, saying you need a
questions).
they are Chanel tweeds at the fabrication house that makes them. Later you will take a trip to Galleries Lafayette, for more “project research.”
the Marist College Fashion Program director, your academic advisor, and various teachers from Mod’Spe. You realize that in the span of a week and a half you learned an incredible amount. You return to the Left Bank and take a boat tour around Paris trying not to focus on the fact that you only have one more day in this sur-real, beautiful city.
Afterward, you join your chaperones for a round of celebratory beverages and dinner. This will be the last time the whole group is together, but you will be having too much fun to get upset.
to do everything still left on your to-do list. The day will start off with breakfast at a nice café
-say, a train station that was transformed into a museum. Next you will attempt to see the Mona Lisa at the Louvre, but because it’s Saturday, the line will be ridiculously long, and you and the group will settle for taking tourist-y pictures of the glass pyramid. For the last night in this stunning city, you and your group will splurge on dinner at Ladurée and melt over the legendary macarons. It will truly be the perfect ending to an unbelievably wonderful trip.
Two days later: You will be back on cam-pus in Poughkeepsie, and for a while, everyone will come up to you saying, “How was Paris?” I loved all your Instagrams. I can’t believe there were attacks while you were there, how scary!” And every time someone brings up the trip, you will smile genuinely and try to explain that the trip was so amazing it’s almost indescribable—there aren’t adequate words.
Sometimes, shared memories are the most
friends; you have classes with some of them, live with some of them, and hardly see others. When
inside jokes and nods of recognition, more sub-
words—they will know exactly what you mean.
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kiana MARKOON RANDOMNESS:
“Last year I drew the words ‘arty’ and ‘sex’ out of a hat. That’s the title of my senior collection.”
Photography by Rachel Brennecke
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BEHIND THE SCENES 187
erin McCANN
Photography by Rachel Brennecke
PRE-PACKAGEDA History of Feminine Culture Set Ablaze Through ShoppingBY KYLE-ANNE BELL
designer found inspiration from one of the darker corners of literature, a narrative that was fester-ing under the polished surface of the Victorian era— a time when upper and middle class wom-en were expected to remain within the walls of their households. These walls take on a charac-ter role in Charlotte Perkins Gilman’s 1892 short story, “The Yellow Wallpaper,” which follows the odd relationship that develops between the narra-tor and the wallpaper of her room. The woman’s husband, a doctor, has diagnosed her with “tem-porary nervous depression,” and the prescribed treatment is to rest in the upstairs room of their summerhouse. She is to take a break from social engagement, from being a mother, from writing, from anything that provokes thought or emo-
-tellectual solace in studying the wallpaper. This morphs into an obsession, and she begins to imag-ine a woman trapped in the pattern. Here lies Gil-man’s comment on the oppression of women; the wallpaper is emblematic of a patriarchal social pattern. Nails tearing into the paper, the narra-tor propels herself into a state of insanity that
proves uncontrollable by her husband—and what a unique mode of rebellion. This once perfectly postured woman is McCann’s muse. “She took a strange path to lib-eration,” commented McCann, with an unassum-
herself to put down her work. This candid remark may expose a truth about women’s progress. In
women of action were outliers, with their suf-fragette agenda just gaining momentum. Aver-age, privileged women started more cautiously;
so they did—they went shopping. At one point, shopping was perhaps a vehicle of liberty. How-ever this vehicle, so fueled by consumerism, has placed women into another wallpapered room not easily escaped. 21st Century consumerism has a gender, and it is female. It’s been determined that wom-en make 85% of all US consumer purchases. In 2010, Time magazine published a story about this economic power in a piece titled, “The Rise of the Sheconomy.” This notion of women and their manic spending tendencies has been so in-
stilled into popular culture that novelist Sophie Kinsella could attribute her series, “Shopaholics” to it. There is an idea that the desire to accumu-late things is embedded in the female psyche—to be drawn to fashion is to be feminine. Imagine if the narrator of “The Yellow Wallpaper” was a Victorian male. This obsession over the pattern, shape, and color of a wall covering seems unlike-ly. Perhaps the advent of shopping was to engage women’s supposed frivolous nature. This, howev-er, is inaccurate from a historical viewpoint. The female shopper did not initiate the commercial market; she altered it.
--
per class shoppers were predominantly male. The main draw to the shop in the 17th and 18th cen-turies was not the merchandise, but typically the young and beautiful shop girl. As a man perused
-tation going on. So, if shopping was primarily a man’s sport, what ignited the female shopper? After the French Revolution, men did not want to appear aristocratic—the powdered faces, and
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frockcoat was born. Marist professor of costume history, Richard Kramer explains that the bour-
so that role was delegated to the woman of the house. The simplicity and functionality of mens-wear was juxtaposed by the adornment of his wife and daughters, in which opulence trumped the practicality of clothing. Shopping was no longer a man’s game, and with the addition of the “second sex” retail-ers felt they had to make the space more comfort-able. Retailers became more concerned with the idea of merchandising. Lighting, décor, layout, and inviting displays combined to create an en-vironment that became central to the shopping experience. Thus, this new escape for women was never far-removed from the comforts of home, pretty wallpaper included. In 1899, Thorstein Veblen’s The Theory of Leisure Class criticized the role imposed on wom-
society “propriety requires respectable women to abstain more consistently from useful effort and to make more of a show of leisure than the men
of the same social classes…her sphere is within the household, which she should ‘beautify,’ and of which she should be the ‘chief ornament’.” While France was in revolt, industrialization and
-mately evolving into the fast fashion experienced today. Not only was the woman encouraged to “beautify” herself, now fashion could be attained and consumed at a rate never seen before. Con-sumption and waste was introduced into our ex-perience in the 19th Century, and has yet to be purged from it.
of the Victorian shopping culture in the West -
sure. Rappaport argues that shopping helped create a feminine culture outside the private
district was the rise of women’s clubs. They be-came platforms for feminist debate. Within this feminine culture progressive minds collided, and soon women were pressing for power outside their husbands’ wallet. The Pioneer Club resided in this district and set out to further the Women’s Suf-frage Movement. Rappaport also hints that while many of these clubs saw their activities as alter-natives to shopping, the money needed to gain
of all classes. Retail and feminist platforms inter-sected not only geographically, but also through
-ing wealthy women into the area. Together they perpetuated the feminine model of being the “big spender” of the household, and the idea that true
In the mid-1800s there was a difference in opinion among feminists when it came to shop-ping. Some detested the commercial culture; oth-ers were more pragmatic. They focused on get-ting the woman involved in the city, never mind what brought her there. But what brought her there—into the public sphere—does have serious repercussions for today’s woman. Consumerism and women’s progress bleed into each other so profusely it often stings. If feminine culture has been plagued by consumerism, then the marks of femininity found in clothes make the wearer susceptible to being read as frivolous. Today the woman’s “power suit” does not only evoke the power of masculinity, but also disables consum- 197
erist indicators—it is deemed the “smart” choice. Perhaps the most frustrating component is that
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“too feminine to be taken seriously” line is a mys-tery.
confronts it head on in her collection. She de-scribes her collection as having contrasts of mas-culine and feminine characteristics. For her sur-
and coating them in plaster of Paris. This use of
plaster not only alludes to the walls in Gilman’s story, but as McCann explains “it’s about taking
a provocative choice by the young designer. Her collection is infused with questions that rip into prepackaged ideas of femininity. Over 150 years after Gilman’s The Yellow Wallpaper, the story continues, and it is completely ours. We decide what happens next.
Photography by Anna Zhylyak
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Mid-Hudson Civic CenterAfternoon Show - 3pmEvening Show - 7pm
Friday, May 8, 2015
Purchase your tickets at ticketmaster.comEmail [email protected] for more information
MARIST FASHION 2015
