,..

,,.

,.i

May2011Volume 1, Issue 2

EI\ CAMIIwww.hercampus.com/brown

staff

-or-<:::;

J I

/'

STAFF WRITERSIvy Alphol1se-Leja

-Chelsea EnglishMichelle Frea

Heather GoodeMoH~ /

Jelena lei sicTiffan,Y M/ndoza

___..lY.!e~nyefzgen,

Lmsa RobledoCamille Spencer

Kade-Chanya Wi °lak

~ART/PHQ:r.Q..

Eve BlazoV'viall Carlson

Cindy OhCarolyn Shash

BUSIN SSDulm AltanMichelle Frea

Hyoju LimI..;ivNam

Sally RothmanCarly Ruiz

COPY~ITORSMichelle Frea='---

Kade-Chanya Wilailak

MJ Batson and April Zhang

EDITORS·IN·CHIEF

(

Fashion is difficult for me. I didn't grow up with Barbiesplaying dress up and planning my dream wedding dress. Evennow, I run around wearing old t-shirts with holes and I'd ratherbe barefoot than in the latest heels. Despite this, recently I'vefound my life revolving around fashion. I spend more timesewing than reading, more time designing than socializing but Ibelieve there's a reason I've ended up on this path--though I'mnot exactly sure why... yet. Being an editor of a fashion maga­zine is far from what I ever thought I'd be doing. I have alwaysbeen critical of the superficial side of fashion especially becauseI know I don't really belong, I will always be the girl in over­sized plaid who is a little offbeat but I've never had rhythm any­ways I suppose.

fi(rJlo<- In our second issue, we've included more photographs ofBrown students who may not necessarily be involved in fashioneither or feel they don't belong. But it doesn't matter. Whoeverdecided that they dictate what is and isn't fashionable is wrong.We all have a style and whether or not that includes wearingholey t-shirts with The Far Side comics printed on them or thelatest from Burberry every Brown student has style and Un­hemmed has every intention of celebrating every aspect that wecan. So, I hope you enjoy our second issue and good luck withfinals!

•

e•1 Drs

I would apologize for the timing of this issue, but let's be realhere. You were going to procrastinate on all the papers and projectsand studying anyway, and this magazine will only occupy a fraction ofthe time you'll end up spend in on Facebook or Tumblr.

It's pretty depressing to be sitting in the stacks instead of on dleMain Green in the gorgeous spring weather. And maybe what you'llfInd in here won't make you much happier, because after all, you'llstill be studying in a concrete library. After looking through the manystylish people in our ginormous street style section, you'll probablywish you were relaxing outside on the beautiful green grass, wearing afabulous outfIt of your own, pink Froyo World cup in hand. Ormaybe you'll want to shop on Thayer Street at a store like NAVA tofInd your next wardrobe staple and browse an unbelievable selectionof cowboy boots. If you're feeling crafty, we've got a few DIYs tosatisfy you. If you're an adventurous type, flying through the air withthe Aerial Arts Society should totally be on your to-do list.

Doing any of those things might be diffIcult right now, but Ibet you're feeling inspired. And while we're on a roll here, there aresome kickass photo spreads in this issue as well. The styling wasperfect and the models were outstanding; I was absolutely blownaway by their serious talent.

This issue is full of incentives to fmish your schoolwork andstart the summer, but procrastinate just a litde longer and read thisissue, because we won't be back until the fall and school is probablymaking your life hell -- you're gonna need all the inspiration you canget.

Much love,

/ // .'

I .

I

~

"\.- able of contents: ~ street style 7

( ) \ fashion 49inside Clara's closet 50

lotus 54

unnenT01ed NAVA 59royal wedding fever 64

beauty 66\ beauty in the imperfection 67

) sunkissed beauty 68

.diy 70necklace & feather earrings 71

high waisted skirt 78

features 82

..I

II

( aerial arts society 83

cortazar 92

cocktail culture 96

Brown fashion show 98

..hotography 116

Cover model: katherine james

photographer: carolyn shasha

r--'-~_-JI

."1J;;t-

4x-".8o

-"

'l •

Blake Beavet' 14: ~1 de8 ne my style as gay 1950s retro. ~

Jennifer Sieber '14: "These shoes were my mom's, so they're vintage.My ring is from Israel- it was made by favorite jewelry designer, Ayala Bar."

Alexan ra Reyes '14: "My l~ today is military mixed with spring floral. My combat

boots are from All Saints, a cool British brand. My bracelet is made from bullet shells."

-.

,.

:> ".- _....

Bruk Addis '11 "Urban Outfitters earrings and skirt, Express shirt,~; sister's Michael

Kors shoes, Zara sweater.n

•r

(

'";

, '

Jazmine Williams '14: "It was a nice day so I threw on a dress.

,

Jenna Dancewicz '11: "rill wearing Converse, Forever 21 s 'irt, Oap shirt, Target be t

and sunglasses frOlll a store in California."

Kate Brennan '14: "My dress is from the Urban Outfitters sale rack. I wear my shiny

black Doc Martens every day-they're my staple".

Maddy Sail '13: "My dress IS from H&M. I love daisies. My bow and leggings are fromAmerican Apparel."

•

-

-- ~ ..

.~

," .

---

-- ,{

.~.

\

Stephanie Harris '14: "I'm wearing an Express dress and AIdo shoes."

MoHy'14

Vyvy Trinh '11

I

Ashtin charles '12: American Apparel V-neck and socks, DIY jean cutoff shorts, Clarks

shoes, Burberry sunglasses. "1 like suspenders."

::8~--on

~

'"....c JN·C

~

i:i+>0

....c

---~ -....c _

"""'" 'Kerry McKittrick '13: "I wear a lot of thri store clothing. I found this vest at a t n store

in N ashville during a spring break disaester relief trip."

--".8o

.....c

.'

,, .

Marjorie Palmeri '14:"1 usually wear dark colors but it was such a happy day today."

Amanda Lee '13: Dress from an Austrailian street shop. "It's a sunny day and prints

are cool, bright, and happy."

\

\\j

"

, -."

".', "., ,

•

~ .. '

; -, (-

, I

.,"-), -

,I -.v.:~,~~~t«~ / ..t, , , :..,.-.c

Qian Yin '12: "I'm wearing yellow shorts because it's sunny!"

Josette Souza '14: "My dress is from Taipei, Taiwan. I got these shoes for a dollar at the

Vault, and I cut my hair myself."

>......0

oC

.....0""~""';'~':;':~ ~~~-~-'-""",:,,-!''-~~~~

Brent Sto 'es '14: "BDG top, Sperry topsiders, Levi's 511 k aki jeans. "My hat is from an

ebony arts and crafts store from my bometown in Virginia. It's imported from West Africa."

Tina Sankhla '13: "I'm wearing comfy shorts, my grandma's necklace, and

Urban Outfitters sunglasses."

-

Quyen N go '12: "I buy everything on Ebay, including this dress."

Geraud Bablon: "I rolled my pants because I was warm but it works."

Sofia Ruiz '14 "My skirt is from Anthropologie and I'm wearing a Moroccan pendant.~

Gabriel Paz

=0•~0

CO-:'

::E-00=0

...0N.;:

'"~ •0~

0...0

'"Raisa Aziz '11 ~Tllese are my friend's pants from Syria,"

Cbimso Okoji '11: Skagen watcb and Ray Ban aviators.

Alysse Austin '14: Vest from Flea market in Rome.

]03:......:;,: :~

~-

I

-.

,.-

.,.. '..

"-

., .-

"

, ,

, ,

-.

.".,'

•

Amy Sung '14: Flower elress from Macy's anel shoes from Target.

--

Sophie Freedman '12: Skirt fromlstanbul boutique, Burks shoes, and cotton top with buttons.

I/

>

>=~.; ..

!CJ~..::i.J~~~':"'l::ii.·";:"';;;';;'~s;'le:ff:a n~ldd:owu_bello'13

closet

Max Hannon

Caroline HoHman ~Al1lerican Oag socks, combat boots, and PI,illip Lim SllOrtS. w

Madison Utendahl '13

by Ivy Alphonu-Leja

It's obvious that Brown is full of truly stylish people. As a freshman, I am amazedevety day by the unique ensembles I see on my peers, whether they're casually walk­ing through Faunce arch in an amazing pair of boots, or ordering coffee at Blue Statein a great color block dress. Students here know how to dress in rain or shine. evenwhen finals are looming on the horizon. In light of so much fashion inspiration, Ithought it might be prudent to get into the heads -- and closets -- of the people whoinspire me daily with chic basics and artistic accessories. I did not have to look far formy first muse, my neighbor and good friend Clara SternoffBeyer '14.

Clara describes her style as "laid-back" but that does not do her any justice. Oneof the things I admire most about Clara's style is the way she pairs wardrobe stapleswith interesting, personalized accessories to make interesting, effortless outfits. Shemakes girl-next-door necessities look just a little bit edgy and messy, taking them toa whole new level. Her closet was a joy (and a privilege!) to rifle through.

One of the first things I noticed was her enormous collection of sunglasses, withevetything from 50s Esther Williams inspired frames to the classic Brown-approvedwayfarers. She also owns a lot of well-constructed clothing, like the faux leather jacketshe is "obsessed" with, militaty inspired pullovers and simple white button-downshirts. It's always good to have a wardrobe full ofwell-made, ready-to-wear items thatgo with almost everything, because it won't require much fussing to put things to­gether. Clara's laid-back vibe is rooted in a closet full of'throw it on and go' clothing.I also loved her art deeD inspired metallic accessories. For spring, it's best to steer clearof heavier chains, and instead go for pieces with thinner, longer chains in brass (notgold) neutrals.

The first outfit was a new take on wearing All-American basics) inspired by a modern MinnieMouse. I loved the rufHed polka-dotted dress; the combination of navy and white will always befresh for spring. A white button-down is the perfect thing to throw over a spring dress in case itgets a little chilly outside. It will keep the outfit looking crisp, chic, and breezy without the heavi­ness of a cardigan or hoodie. Converse sneakers, when neutral-toned) can take a dress from datenight to classroom. Plus, they are a whole lor easier to walk in than heels! White, round sun­glasses, a must-have for those lazy days outside, complete the look.

For Clara's second look, I wanted to play with texture and patterns. Mixing different prints canbe a daunting task, but as long as at least one of the prints is neutral, it's totally easy [Q do. Clarahad a great nude lace overlay mini dress in her closet from H&M, which I paired with her favor­ite chocolate brown faux leather jacket and sweet navy Roral print Mary Janes from urban Outfit­ters. It's always nice when chic staples for fall, like a leather jacket, work in a spring look. And,Mary Janes are so versatile-they can be worn with virtually anything, they're useful to have inyour wardrobe! Simple gold bangles and tortoise-shell sunglasses provided the finishing touches.

While rooting through Clara's closet, I caught sight ofa fabulous asymmetrical white cotton tankdress by Cheap Monday. This simple silhouette is flattering on all body types, and white is alwaysa go-to spring color. Clara also had a great pair of cocoa brown cork wedges which added thatextra spice to the look. A khaki-green military inspired jacket provides the perfect counterbalanceto the sweet simple dress and colorful Aoral sunglasses. A brass, watch-inspired necklace finishedthe look.

1he delicate and pure lotus flower defies its surroundings by emerging from a mud pond. Conse­quently, the lotus can be seen as a representation of Vietnamese women, who have had to overcomemany struggles while remaining beautiful and strong. It was with this idea in mind that Brown's Viet­namese Students Association (VSA) hosted their appropriately titled fashion show "Lotus." One ofVSA's co-presidents, Cherilyn Tran '11, brought the event back after a three-year hiatus, saying, "I feellike it's necessary for VSA to display our national dress and history of identities. Vietnamese women havealways been strong, and the clothing they choose to wear has a way of showing it."

The VSA fashion show, held on April22nd in Alumnae Hall, was divided into three parts: past, pres­ent, and future. Performances by members of VSA separated each section, and Vietnamese food wasserved during intermission. In the past, present, and future segments, traditional Vietnamese dresses(called "<i.o dai") were modeled, and an evolution of dresses was shown. Tran '11 compares this evolution

to the lotus flower. In this beautiful plant, the fruit and flower can be seen at the same time. Similarly,after the Vietnam War, many changes took place, and thus the differences in generations were revealedin dress and culture with the different generations representing the fruit and the flower.

Traditionally, .10 dai are made from either cotton or silk, but a few of the dresses in the show con­tained velvet. A special aspect of "Lotus" was that of the forty dresses displayed, ten were custom madefor the show. Members ofVSA picked out the designs, bought the fabric, and then had them tailored.VSA member and "Lotus" model Dan Chinh Nguyen '14 stated, "the designs were all inspired from

magazines, sites, catalogues and everyday life." This was different from the last show, when a designerflew in with pre-made dresses. While all of the dresses were beautiful, the light blue one worn by modelCortney McCoy stood out the most. It featured a gold collar and waistband, and was in the "future" partof the show. Like most of the other .10 dai, this dress had deep slits to the waist on the sides, and waspaired with white pants underneath.

Overall, VSA did a fantastic job of exhibiting Vietnamese culture and beauty all in one night. The at­mosphere was great, the food was delicious, the entertainment was phenomenal, and of course, thedresses and models were stunning. 1he incorporation of the lotus flower into the theme was carried outperfectly, and the runway was even surrounded by large handmade lotus flowers. This annual event show­cased the fashion of this vibrant culture beautifully.

photo: Larry Aupictured (left to right): Dan Chinh Nguyen, Luisa Robledo

',fAnr ,1Y fI

,1

-'

photo: Larry Aupictured: models of "Lotus"

photo: Wu Ka Lingpictured: Cortney McCoy

NAVA:New and Vintage Apparel

by Tiffmy MendoZll

Come the end of this month NAVA(New And Vintage Apparel) will celebrate itsthree-year anniversary. Located on ThayerStreet, NAVA remains true to its name by of­fering affordable vintage items as well as newstylish trends. The store carers to bothwomen and men of various ages. Upon en­tering, the wooden floors, dim lighting. andiodie music playing in the background createthe perfect ambiance for sifting through theracks of timeless treasures. Ir's almost like ex­ploring your granny's closet, that is, if yourgranny was really into urhan, hip, and chicfashion. The counters are covered with an­tique rings. bangles. earrings, and necklaces.Vintage cowboy boors adorned with fringeand Aoral outline the store's perimeter.Racks of lace scarves, headbands garlandedwith bows, and sequin dresses dazzle theeyes. The store's aesthetic charm is enchant­ing. It warms rhe soul of anyone with giddi­ness for vintage goodies.

On a sunny Saturday morning, AliBurns-Nachwalter, the owner of NAVA, hasjust opened the store when 1 walk in for ourinterview. She's wearing a silk blouse with ablack high-waisted skirt-a look that couldeasily be seen on one of rhe well-dressedmannequins in her display window. Wirh acoffee in hand, she sirs behind the counterand is preparing for rhe day ahead. Lisztoma­nia by Phoenix begins to play on her Pandorastation as she begins to tell me about herself.the store, and her love for vintage fashion.

NAVA:New and Vintage Apparel

How would you describe your store?It's an eclectic mix of new and vintage looks. At first, the business plan was just to foclls onvintage items and I realized we could reach a broader spectrum of customers by offering newitems roo. We really want to keep the good fashion affordable and accessible.

What was the process for creating your own business?I've collected vintage items for a really long rime. It starred when I was working at a campone summer in a really small town in Vermont. There was a store where a guy had a hugevintage department, but there wasn't really a market for vintage in the town so he was goingout of business. He offered to just sell his entire vintage things in bulk for really cheap. It wasright then when I thought, "this stuff is so great, it would be great to have a store." So I

bought all his stuff and I started collecting pieces with whatever extra money I had over thecouple of years. I got more serious about it after I took a women's small business program.

Be sure to check out NAVA on www.shopnava.com !

What goes on behind the scenes of tunning NAVAtAside from being here on a daily basis, I'm constantly spending time looking for

vinrage pieces. I check out a lot of estate sales, different collections, and vintage

warehouses. We go to Las Vegas twice a year for an apparel show called MAGIC.

We also go to New York four or five times as well for FAME, an apparel and ac­

cessory show.

"What are some of the dlfficulties you've run into?There are a lot of decisions need to be made everyday in such a broad spectrum.

It can be overwhelming at times. And running the store myself can definitely be

tiresome as well. My best ftiend from high school who went ro RISD moved

back and is now an online business parmer. So ovet the years things have become

a lot more fun and interesting.

What are some trends or items you would recommend for summer?I love cowboy boots. I wear them with everything. They are great with summer

dresses. And we have a ron in srock. We have been reconsrructingvintage dresses,

making them a bit more modern. As for accessories, the feather trend is reallykilling it. We will be overAowing wid, feathers, beads and all sorts of tribal­

inspired jewelry!

How do you select the clothes and accessories in the store?It's very instinctual. We keep our eyes out for what the bigger trends are. We take

into consideration the colors and the cuts for every season. Bur really, you never

know what there is going to be out there. The selection is really more in the

moment, what grabs the eyes.

Well, everything here definitely grabs the eyes. So, what is your favoritething about your job?

Working for yourself. Although it is very stressful, it's so very rewarding. It's

self-motivating. Also, it is great being able to have a partner who's your best

friend. We actually live in the same house. We have an attic, which is where our

warehouse and phoro studio is. There are constantly dress up moments, photo­

shoots, and new ideas happening. Moreover, everything is always changing-it's

nor just the same thing everyday. Plus, we have a pretty loyal following. It's super

amazmg.

by Michelle Frea

noun: an intense obsession with the nuptials of Prince William to Cath­

erine Middleton; you know you have "Royal Wedding Fever" when you wake

up at 3:30 am to catch the live news coverage of the event.

The first step is to admit you have a problem, so I'll confess.. .! have been struck withRoyal Wedding Fever. Over a week has passed since I watched William (finally) take Kateas his lawfully wedded wife, yet I cannot stop thinking about the ceremony, the bride andgroom, the best man, the maid of honor, and especially the fashion. I live on PembrokeCampus, yet trekked over to Wriston in the wee hours of the morning so that I could watchthe guests file into Westminster Abbey on a bigger TV screen. A5 an American, I was fasci­nated by the strange hats that the guests wore.

One hat that I won't forget was worn atop Princess Beatrice's head. 1he beige concoc­

tion, designed by Philip Treacy, was compared to antlers and even an octopus. It garneredfierce criticism, but also had a lot of support -- a Facebook page was dedicated to this origi­nal hat! Also wearing Philip Treacy, Victoria Beckham wowed in her posh dark creation,while her dashing husband, David Beckham, channeled his more ritzy side in a top har.

\

Once Kate Middleton arrived in the Rolls Royce, all eyes were transfixed on her and hergorgeous gown. Unlike her mother-in-law, the late Princess Diana, Kate kept the informa­tion about who was designing her wedding dress closely guarded. Once K1.te stepped outof the car outside of Westminster Abbey, it was revealed that she collaborated with designerSarah Burton of Alexander McQueen to create the ivory satin dress. Burton also designedPippa Middleton's maid of honor dress, which was also ivory satin, but was form-fittingand simple, with a cowl front. The dress was gorgeous, and caused many to speculate thatPippa took attention away from Kate.

Kate's stunning wedding gown of the century was reminiscent of Princess Grace Kelly's1956 wedding dress. It was elegant, regal, yet understated all at once. Rather than goingfor an ostentatious billowing gown with a twenty-five foot train as Princess Diana did, Kateopted for a sleeker version ofGrace Kelly's lace long-sleeved dress. While both dresses hadthe intricate lace on the bodice, the full skirt, and relatively short train, Kate's dress was

more modern, with a deep V-neck rather than a high neckline like Grace's. She managedto look like a princess without appearing too unapproachable and stuffy. Overall, Kate'swedding dress was a timeless piece, and has created quite a stir in the fashion world. Repli­cas of the dress have been designed, and many brides will surely rush to buy them to createa fairytale wedding of their own.

,,

Beauty in the Iinperfef1tionby Meric Ozgen

I waited for them to open the bandages. With a petsisting urge to stop them in theprocess because I did not want to see. I did not want to see five inch scars.

In an attempt to cheer me up, my dad was telling me that I could blame my scarsfor not having to become a model. Yeah, right. The doctor, on the other hand, wasbusy giving suggestions for tattoos large enough to cover them. That is, only after thesecond surgery and yes, there would have to be a second one to remove the titaniumplates. Wonderful.

The blood-clotted stitches, not much different than a poorly stitched coarsefabric, scared me more than anything else. And always, there were people who stared.I wasn't on good tenns with my scars at all; we did not like each other. They wouldtum a dark purple when I was cold, making me stand out more than I wanted to. Ob­viously they didn't like me. And I didn't like them either. Who would?

I always thought there were be things that you just wouldn't be able to get usedto. Not everything could be accepted and they didn't have to be. However, the secretlied in dose observation. I was obsessed with them because I strived to understand.At some point I became fascinated with them, they were so unreal. Then I began tounderstand why people stared at them.

1. They were an imperfection after all. That caught the eye. A fault. Somethingthat disrupted the symmetry, the usual way of things. But it was, in the end, a defini­tive feature. It was like recognizing your laptop from that big scratch on its back, ora notebook stained from that huge splash oflatte on its cover.

2. They were ugly. Let's face it. But wasn't it fascinating to see how the body re­covered? This admiration changed the way I saw them. They were more than hastilydrawn lines now. They were signs that in the end, no matter what, pain was goingto subside and wounds would heal.

3. They were mine. Permanent. Like a tattoo you didn't choose to have. To bethere and to stay with you your whole life. No matter how unpleasant the way I gotthem, I had gotten them after all. And it is easier to stare at others' wounds than tosee your own. And wonder the story behind it. They were curious, that's why.

My scars were grotesque at the start. Yet, they have grown beautiful with time, as

they became a pattern on my skin just like a birth mark rather than an abrasion.Even though we tend to conceive imperfections as bad, I have leamed to embracemine. Because it was only then that I could live with them, live with the fact that Ihad to have this surgery and what had led to it. Even though I hadn't personallychosen to carry it on my skin, I would always carry it in my mind as a memory. Nowthat I have this scar on my arm, I have a physical reminder. Maybe you cannot seehow they can be beautiful, but it's okay. The beauty is in the eye of the beholder.

•

>•

GiorgioArnin Grani

line your eyes

highlight with tand be datinl

Revlon Top Speed Nail Enamelin Peachy

perfect for when you're rushing off

to a summer picnic

Revlon Super Lustrous Lip Glossin Lilac Pastelle

a hint of color but lots of shine!

Lancome Paris L'Absolu Nuin #29 Beige Tulle

for an irridescent, summery lip

Revlon Color Burst in Hot Pinksummer's IT color and our favorite,

hottest pink

Revlon Top Speed Nail Enamelin Cupid

the built-in topcoat means the

color sets in 60 seconds!

by Heather Goode and Kade-Chanya Wilailak

Essie Nail Polishin Aruba Blue

so blue you'll be seasick!

or Turks & Caicosfor Airty, tropical nails

Givenchy Le Prismissime9-Color Eyeshadow

looks flashy in its case, but Ratters

rhe skin as well - plus, it includes 3

different brushes!

Revlon 2-in-lCustomEyes Mascara

adjust the bristles to go from long

and sexy to thick and defined lashes

nani Eyes to Killite Turquoisewith the dark blue,he luminescent grey,

g with bright blue

\

Gem Necklace 8e Feather Earringsby Camille Spencer

A peek into Urban Outfitters says that this

spring we like feathers and smooth gems as the

main elements in our jewelry. They have an

earthy, easy feel to them. But if you'd rather not

spend quite as much as popular stores want you

to, we're here to help.

Gem Necklace &: Feather Earrings

What tools do I need?The only real specialty items you'll

need are a pair of flat-nose pliers for

bending wire and opening up chain

links, which you'll use to connect dif­

ferent pieces of jewelry together.

You'll probably want two - one to

hold small pieces together, and one

to actually manipulate them. The

wire you use should be thin enough

to clip easily with scissors.

Where can I find these materials?Check out the RISD store and/or the

RISD 3D store (both on South Main

St). Thayer is an odd street full of

specialty stores where you might find

these supplies - for instance, the

dream catcher came from Spectrum

India, but you could also try Pie in

the Sky. You can use old necklaces

for chain loops.

Gem Necklace

1. You'll need a few feet of thin wire in any color that pleases you, something to string it on (chain or

twine or string) and a pendant. I chose this purple stone from Spectrum India, but any knickknack

would do. Look around on your desk - got any small and charming but useless items lying around~

(Llama figurine, you're next.)

2. Make a cradle for your pendant to sit in without slipping our. Wrap it around the bottom. Crisscross

it multiple times - this will accomplish both looking cool and holding it together. You'll need about

twelve inches of wire to do this comfortably. Leave about one inch of free wire at the apex of your pen­dant - you'll use this later.

3. Wrap until you have about two inches of wire left. Twist these with the other end of the wire a few

times, rhen make a loop. Twist the remainder of the wire around to secure it.

4. Clip off extra wire as closely as possible and make sure rhe loop is closed.

Gem Necklace

5. String it onto whatever you'd like.Smile and enjoy your cool points.

I

I

I

Feather Earrings

I. You'll need fearhers (rhesefortunately came held to­

gerher by a wooden bead, bu ryou could also use a short

lengrh of wire ro hold severalfeathers together. You'll also

need two earring hooks, about

a yard of craft chain, jewelrypliers, scissors, and about an

hour of free time.

2. Harvest your feathers! Ifyou're going the 'dismantle a

dream-catcher' route, clip them

off while leaving about two

inches of cord attached. I used

three sets of feathers for each

earnng.

3. Open up one chain loop with your pliers and lise the extra string to tie the feathers to

rhe loop. Close rhe loop.

Feather Earrings

5. Attach a few chain links to an earring hook - just afew ifyou're going for a cascade effect. Attach one ofthe pairs of feathers. This will be your shortest one.

6. For a thoroughly dramatic look, attach a slightly longerlength of chain to the earring and then close another

feather-pair loop onto it. Repeat with your longest chainlength - about twelve links.

4. Repeat five more times./

Feather Earrings

6. Do it again! Secure the knots that attach the feath­

ers to the chain with a little clear nail polish.

Wear your new earrings out. Let them blowin the wind, you bohemian.

thritted shorts to high-waisted skirt--

by April Zhang

1. Hit up a thrift store for cheap, pleated, granny shorts.

Pick one that fits you at the waist.

2. Turn them inside out.

3. Cut open the inseam.

thrifted shorts to high-waisted skirt

4. Lie flat to create a front seam and

back seam of the skirt.

5. Pin and sew along

indicated lines.

6. Trim excess fabric.

7. Iron seams,

shorten and hem

skirt if desired.

Done!

Vault is a student-run thrift store and upcycling initiative.Come browse our collection of quality, gently used goods, or

donate your own for store credit.

Vault is a Brown Student Agencies Program. To learn more, visithttp://bsa.brown.edu/

ociet!)by Mo Hy and Camille Spencer

If you've ever passed by Ashamu Dance Studio

during the evening hours of the weekend, perhaps

stumbling over to Wriston Quad or running to Jo's,

you might have had the chance to see your fellow stu­

dents doing something entirely different with their

Saturday night.

These are the members of the Brown Aerial Arts

Society. Performing impressive feats on equipment

that include single and double trapeze, the lyra (an

aerial hoop), and silk, which allow performers to use

the movements of their bodies to suspend themselves

midair.

Created almost a year ago by two Brown students,Alexis Shusterman '13 and Zack Bodinger '13, the

club was born after the co-founders mutually discov­

ered their passion for aerial arts. They agreed to create

a space where they and others could share their love

of defYing gravity. After generating strong interest at

the Students Activities Fair and performing in the

Fall Dance Concert, they convinced the UCS that

Aerials was a clear and growing presence on campus.

Thus, the dub made an unprecedented jump from

category 1 to category 3 recognition as a campus or­

ganization.

We had the chance to speak to Zach Bodinger,

one of the co-founders, about the weekly thrills and

perils of the Aerial Arts Society.

Why did you start the aerial arts society?After Alexis, who has been involved in aerial choreography

for about 12 years, emailed me freshman year because she'd

found out through a mutual friend that I'd been involved in

trapeze, I decided to dedicate myself to this club. It was the

closest thing I could get to doing what I loved. I spent six

summers at camp where I learned flying trapeze (similar to

what you might see at the circus). At twelve, I was catching

people 30 feet in the air. Now, I spend my summers teach­

ing a class on the Hudson River doing just that. Anyone can

sign up. You learn a trick within two hours, and we work

you up to flying. Even my mother did it.

What sort of physical conditioning do you need inorder to do trapeze?

OUf practices last for two hours. The first half hour is a

warm up, where we might do floor acrobatics with partners.

The next half is structured practices where more experienced

members teach beginners on the lyra, the silk, or the tra­

pezes. The next half hour is practicing wha t they already

know, and there are also instructional stations. The last part

is conditioning and core and upper-body work.

"What sort of mentality do you need to do aerial arts?When you're working on aerial arts, it's hard to focus on

anything but exactly what you're working on because you

have to be so involved in exactly what you're doing in that

moment. Doing aerial arts forces me to remove myself from

everything else. It reminds me of the motto of the summer

trapeze school in New York I work for: "Forget fear. Worryabout the addiction."

"What is it about aerial arts that attracts you to it?I love climbing, the freeing feeling of being in the air - it's likecontrolled chaos.

"What sort of people are attracted to aerial arts?1here's really not a specific type. Most members have no expe­rience. We're just looking for people who have a positive atti­tude and are looking for ways to de-stress and play around,people interested in improving themselves physically andemotionally in a controlled environment. Here, they get topush the boundaries of what they think they can do on aweekly basis.

"What aspects of the dub do you think make it attractive?It's a lot offun but also a great way to de-stress. You work onaccomplishing a goal while strengthening your body as well asyour confidence and trust; you're learning not only with yourmind but also with your body. Not a lot of strength is re­quired for a lot of the moves. We stress that form is veryimportant... it's about making the moves smoother, not

checking another off your list. We want people to learn to ex­press themselves on this equipment.

Has aerial arts helped you in other ways in your life?Definitely. It's made me more confident and able to stay calmin situations that may othenvise be stressful. It's given me astrong understanding of my body and a respect for its limita­tions. You also gain a group of people you learn to trust. It's agood way to bond with others and learn to support one an­other - literally.

Ifyou're interested in getting involved in the Aerial Arts Soci­ety, email Zachary_Bodinger@brown.edu orAlexis_Shusterman@brown.edu.

Colombian Fashion'sNew Golden Boy

by Luisa Robledo

A pink maxi skirt that alludes toValentino's ballerina aesthetics flows over atight black dress with ripped-out sleeves ­srrikingly feminine while daringly chic. Es­teban Cortazar's clothes for El Exito, rheColombian equivalent of Wal Mart com­pile a myriad of styles and trends into onccohesive collection that exudes coolness.Loose t-shirt with vibrantly colorful printsof indecipherable shapes stand out in theracks, luring women from allover town.His clothes have become decently pricedcoveted jewels.

Cortazar used to be the mastermindbehind Emanuel Ungato. After PeterDundas' brief and fairly unimpressivethree collections, the house needed some­onc who wasn't afraid to innovate. Withhis perfectly tailored mini-dresses. viva­cious colors and avant-guard silhouettes.Cortazar revamped the brand's identity.At the time, he was only a 23-year-oldwith a minuscule clothing label based inNew York, but he was up for the challenge- he wanted recreate the brands identity,inject it with a modern take on femininity.

"As the beautiful Hanne Gaby, Cortazar's museand the face ofhis collections, strutted down therunway wearing cutout jersey dresses"

In 2009, however, Corrazar parred wayswirh the Parisian house. A bold (and ut­terly ludicrous) choice from the manage­ment team to hire Lindsay Lohan as a cre­arive director caused the schism berweenthe brand and designer. Corrazar refusedto work alongside the reckless actress,which incidentally got him fired a mererwo years after joining the brand.(Needless to say that Lohan's five minutesin the fashion industry were rather disas­trous, and the actress left brand monthslater without much explanation.)

He then decided to return to his homecountry, Colombia, to bring what he hadlearned in Paris and merge it with localtrends. To do so, he stemmed away fromcreating a high-end label and instead parr­nered with El Exito, paralleling the foot­steps of Karl Lagerfeld and Lanvin's AlberElbaz, who created affordable yet incred­ibly chic lines with H&M. His first collec­tion in 2010 received raving reviews andwomen flocked to the nearest store to buyhis clothes. He had become Colombianfashion's new golden boy.

'/1 bold and absolutelyludicrous choice to hire

Lindsay Lohan "

His latest line showcased the versatiliry ofhis talent. As the beautiful Hanne Gaby,Cortazar's muse and the face of his collec­tions, strutted down the runway wearingcut-out jersey dresses, rompers and asym­metrical jackets, it became clear that thisman wanted to change the way Colombiainteracted with fashion. In contrast withthe rest of the major designers who usuallycreated bubble dresses in all colors andstick to the more classic feminine aesthet­ics' Corrazar brought downtown coolnessand rough sophistication. He redefinedsexiness with his rocker chic tunics andturned something as simple as a t-shirr intoa mesmerizing piece of clothing. His cre­ativity will continue to bring the unex­pected to the runways, revampingColombia's fashion industry, which hadbeen static for way too long.

''Cortazarbroughtdowntowncoolness and rough sophistication. /I

f

by Chelsea English

When I turned the corner to enter the Cocktail Culture: Ritual and Invention inAmerican Fashion 1920-1980 exhibit at the RISD Museum, my eyes grew largewith delight. All the dresses, jewels, and other cocktail-related objects were dis­played as if they had been pulled out of the home of the most fabulous woman onthe planet. The draft from the air duct was transformed into a light breeze thatplayed with the fabric of the outfits and made them come alive, and from thatpoint on, the connection between all of the things on display and the roles theyplayed in the lives of real people over the years was apparent.

It was tempting to simply rush around the whole exhibit, moving from one de­lectable dress to another. The combination of objects created a feeling of desire.This partially stems from the love affair so many people have with Audrey Hep­burn, especially as Holly Golightly in Breakfast ar Tiffany's. The audio from theprojector in the opposite room periodically featured Moon River, referencing thethe film and the iconic Givenchy little black dress Hepburn wore in it. The LBOhas become a staple, especially in terms of cocktail parties. The black Dior cocktaildress in particular made me want to abandon my life as a college student andsomehow travel back in time to experience what it would have been like to be at acocktail party of the past, wearing a dress from the exhibit of course.

The little blurbs that accompanied individual pieces as well as groups of objectsdid a splendid job at delivering the conrext for the different types of apparel andaccessories. If you're not careful, though, it's easy to miss the depth of the exhibit,

which goes much further than well designed objects. At first glance it may seem asif the world of cocktail parties is an elite and superficial one. Though the affluentplaya major role in the culture) it is very in tune with what was happening in soci­ety in general. The 1920s had flappers, prohibition, and jazz, which were all di­rectly involved with cocktail culture. Yet in the years ofWWII, when there was ra­tioning and therefore less availability of fabric, the slinky dresses of the thirties hadto be abandoned for simpler suits that could go from day to night. Hippie cultureof the 60s even made its way into cocktail, and is evident in the Chanel tunic ondisplay. To wander around the space and create a timeline in my head involvingthe history and the objects was wonderful and enlightening.

When it comes down to it, though, cocktail culture is not meant to be focusedon the events of the time period. It's about the alcohol. There's a sprinkling of

glasses and seltzer spritzers around the exhibit, as well as an adorable penguincocktail shaker, that all help to remind the visitor that drinking was a major partof the whole ambiance. Across the decades, the vibe of a cocktail party is largely in­fluenced by the presence of liquor. The feeling offreedom that cocktail parties pro­vide comes from drinking a well-made cocktail while dressed with the intention ofreaping the benefits of (tipsy) socializing.

The homage to the cocktail party that has been setup is too glamourous to missout on. If just being in the presence of the Balenciaga pillbox hat with a feathercascade made me swoon, imagine the effects of the entire exhibit. It's serious fash­

ion at its most fun.

Brown University'sFirst AnnualFashion Show

by]elena ]elusicphotos by Michelle Frea

Vivian Carlson

The show opened with Vivian Carlson '14. Carlson's dresses combined

soft shapes and soft materials and effectively balanced girly and feminine

styles. As if they were made for modern princesses, Carlson's dresses

were glamorous with a perfect dose of elegant functionality.

Austin Snyder

Austin Snyder's '13 white dress vowed the audience with its unique combination of

soft and sharp shapes and unusual yet effective materials. As he does not believe in

trends, especially not in his own work, Snyder's inspiration came initially from the

materials he used - recycled floral nets. He comments: "After establishing a

medium to work with I began using the work of Frank Lloyd Wright as a jumping

off point, thinking about his use of the fragile and sturdy, especially in his stained

glass work. This juxtaposition mirrored a time in my life when I fluctuated between

strength and vulnerability, which is where the silhouette came from; a strong

shield-like front with a fragile zippered racer back." Snyder mentions Riccardo Tisci

of Givenchy and Nicolas Ghesquiere of Balenciaga as his role models. A tribute to

the ideas of these two major designers can certainly be felt in Snyder's playful syn­

thesis of the traditional and the avant-garde. Snyder had several months to work on

his piece and he describes that he felt fine before the show, but that he felt like he

was"on top of the world after."

]ina Park

Jina Park' 11 describes her designs as intended for the contemporary woman

who is elegant yet down to earth. Her dresses were inspired by the materials

they were made of and the models who were wearing them. Because of that,

the femininity and elegance of Park's designs seems effortless. The effective

simplicity of the dresses is reminiscent of Yves Saint Laurent's ideals that Park

greatly admires. However, the bold details, for example a big bow on the back

of one of the dresses, add a dose of edginess to the simple elegance of the

dresses and make them intriguing and unique. As someone who enjoys making

clothes that people feel good in, Jina was especially flattered by the positive

comments she got after the show.

Arlando Battle

Arlando Battle' 12 describes the themes of destruction, rebuilding and starting

over as central to his designs. Jean Michel-Basquiat and zigzags inspire the

decadent style of his designs. Howevet, Arlando is also very much interested in

new modes of expression in fashion - "I do think the next step in fashion will

be environmentally-reactive-clothing or human-interactive-clothing which we

can interact with by use of computers. I am interested in the avant-garde and

the cutting edge of fashion. I like to look at things that make me see items

being used in new ways. For instance, Martin Margiela's Duvet Coat seems

really stupid but there is something silly, magical, and childish about it that

makes the coat special." Arlando says he felt the same before and aftet the

show, but describes that he was feeling ecstatic! He explains that fashion is not

a one-night thing, and for him designing means constantly working to express

his vision.

April Zhang

April Zhang' 13 says she "lives in a technicolor world full of right triangles and

smiles." April's color palette for the show was inspired by random people she

saw on the street - she noticed that many of them combined orange and teal.

The colors of April's designs are always in a joyful contrast, and that is what

makes them so effective. Combined with them, right angles provide an uncon­

ventional pattern that emphasizes the colors and adds to the joyful contrast be-

cause, after all, the shape of the right angle is somewhat reminiscent of the

shape of a smile. The geometrical aspect of April's design is further balanced by

romantic, yet elegant designs of the dresses. Such a combination of elegant and

playful is unique to April as she tells us - "If you can pull something off, then

wear it, no matter how crazy others might think it is. It's all about owning

your look, not following trends." Right before the show, in the spirit of her en­

ergetic collection, "excitement and joy outweighed the nerves" so that right

now April is experiencing Brown-Fashion-Show-withdrawal- a condition fa­

miliar to many of its participants.

Jonathan Chung

M] Batson

batson

Circuses, clowns and their potential to slip from funny to creepy inspired M] Batson '13. Her collection

has its narrative - black balloons signify the first clown's transition from good to evil, off-stage laughter

becomes scary rather than comic and the background music changes to bass-dominated electro. As the

runway becomes the metaphorical circlls space, that circus is no longer the safe space of our childhood.

Three jugglers are the only ones we see in the dark, as Batson's show becomes an almost theatrical experi­

ence that prepares the audience for the fascinating designs that come after. Except for the first one,

Batson's clowns seem morally ambiguous to us - they are attractive and confident women, but there is

something about their performance that disrupts the vision of the happy clown from our childhood. The

designs themselves are playful and unpredictable - they change the traditional goofy clowns into beautiful

women and it is the interplay of the contrasts of adult and childlike, good and evil and funny and creepy

that articulates the dynamics of Batson's performance, at the same time a theatrical and a fashion experi­

ence. Batson explains that she does not think about trends. Rather, she came up with the idea for the nar­

rative of the show while mixing the music for it. Her designs, story, performance and music are all con-

nected into an artistic structure that creates meaning in and for itself. Batson emphasized the great workof her models - Christina Berry' 13, Analise Roland' 13, and Courtney McCoy' 14 and the jugglers ­

Guillaume Riesen' 12, Patrick Till' 13, and Jinaabah Showa '11.

Alexandra Schultz

At the same time a designer and the main organizer of the show, Alexandra Schultz' 11 presented her collec­

tion, "Ragamuffin," which she describes as "an unapologetically girly, fuffiy, whimsical, layered, lacy, volumi­nous, sweet, cheerful, charming street urchin fairytale." She aspires to create clothes that can be timeless, and

this was especially apparent when she presented her first design - a colorful shirt with a bow. Just like the rest of

her collection, the shirt is very detailed, bur somehow does nor seem to be specific to a season or a specific

trend. Schultz's combination of urban and romantic is intriguing precisely because it does not adhere [0 any

specific norms or regulations.

At the end, Schultz invited everyone to participate and get involved next year to design, model, advertise, do

hair and makeup or help backstage. The kind of show Brown had this year definitely lived up to its tide of the

"most fashionable ivy," not only because of rhe clothes rhemselves, but also because of the unique experience

we had to explore and redefine our concepts of fashion through interacting and working wirh others.

BEHIND THE SCENES:Brown Fashion Show

by Kade Wilailak and Meric Ozgenphotos by Cindy Oh

Before 4.30pmThe designers finish the last touches on their clothes.

4:30 pmThe coordinators, hair stylists and makeup artists get together in Studio 4 of the Granoff

Center. The tables, clothes racks, cosmetics, and hair materials are prepared.

5.00pmThe models starr coming in. Designers start to dress their models and finalize styling with

hair and makeup artists.

5:30pmA5 designers and models arrive, the coordinators explain rhe style and concept of each designer's

aesthetic. 1he models read magazines and chill while everyone else freaks out!

5:45pmStyling begins. The hairstylists start straightening, curling, blow-drying, pinning, and hairsprayingthe models' hair; rhe makeup artists apply foundation, eyeshadow, lipstick, and mascara. Models

start to stress our now too!

6.30pmEveryone drops everything and hurries to Studio 1 for a run-through. Nerves are high.

7:15pmAfter working our the kinks during the run-through, designers, models and stylists run back to

Studio 4 (0 finish up hair and makeup.

8:20pmThe show finally starts!

I

photogritfb7.. C4rolyn Shash., April Zhangmod~k: IVzthmnrJama, Suphilni~Wong. BrittAnylona, Brmt Stoka, Jmnifir Siebu, Anna Mus~lmann

'..IIyl~Ew Blaw

I

,

•

I

I

I

•

,

•

"

•

r

,

•

/,!

•

/,