Measure Magazine, Volume VI
FMAM
THE COLOR ISSUE
MARIST FASHION PROGRAM 3399 North Rd Poughkeepsie, NY 12601 845.575.3000 marist.edu/fashion Facebook: @Maristfashion Instagram: @maristfashionmag ON FRONT COVER Photographer: Rachel Brennecke Designer: Sara Rexford ‘20 Model: Ira Pavlova
ON BACK COVER Photographer: Rachel Brennecke Designers: Anna Cortese ‘19, Jontay Kahm ‘22 Models: Ira Pavlova & Epiphany Lee
Drawing by Sarah Ditterline
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DIRECTORY FM / AM
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FM / AM F M /AM Hot Tamami Erika Rothman Art Director F M /AM Blushing Abigail Hess Art Art Direction The visual visionaries: photoshoots, cre- ative direction, and styling. Assets The control center: collectors and makers of digital assets. Design & Layout The blueprint between the binding: typography, color schemes, and layout. Editorial The connoisseurs of all things language: cap- tions, grammar, and storytelling. Talent T he ultimate team of girl-boss aesthetes: hair, makeup, and model booking. FM/AM’s teams are divided according to each individu- al’s passions and skills. However, skills don’t always fall into one category. All of the teams collaborate to achieve their collective goal. Below, each member of the staff decided to give our inspiration color, Pantone’s “Fiesta” a new name.
F M /AM Big Red Julia Meyer Art
F M /AM Ladybug Rachel Cyr Assets Director
F M /AM Red Velvet Cake Emily Larson Assets
F M /AM Sriracha Charlotte Martin Assets
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F M /AM Passion Amanda McAdam Assets
F M /AM Redhead Katelyn Beebe Design & Layout Director
F M /AM Scarlet Fever
F M /AM Spicy Caitlin Green Design & Layout
Sarah Ditterline Design & Layout
F M /AM Bee-stung Grace Murphy Design & Layout
F M /AM Fire Lips
F M /AM Taco Sauce Catherine Sloat Editorial Director
F M /AM Raspberry Beret Teresa Cimino Editorial
Frankie Ralbovsky Design & Layout
F M /AM Firecracker Makena Gera Editorial
F M /AM Sangria
F M /AM Cherry Bomb Shantelle Clark Talent
F M /AM Chestnut Mare Nicole Sullivan Talent
Michaela Olivero Talent Director
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Exquisite Corpse I Started as a parlor game in which guests collaborated on surrealist figure drawings, the exquisite corpse persists as a cre- ative tool today. Here each student added their own images to a collage without the ability to see the work of their peers, creating a disjointed and bizarre expression of creativity. In this series, the “corpses” are placed into famous works of art, honoring the original pieces through humor and play.
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Nighthawks (1942) by Edward Hopper
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CONTENT & EDITORIAL POLICIES All content, including graphics, art, photographs, and written work, are products of fashion students at Marist College, unless otherwise stated. All editorial pieces in FM/AM are chosen in coordination with the faculty advisor. All attributions are given to the original author in their supporting bylines. All opinions expressed by the authors are original and in their own words. Graphics and illustrations accompanying the editorial pieces are by the Design/Layout and Assets Teams, unless otherwise noted. The clothing present in the fashion editorials are designed and created by Marist Fashion students, excluding “Kindeculiar,” where the garments were selected from the Marist Fashion Archive. Students submit their work during an open design call conducted by the FM/AM Art Director. All photo shoots are conceived of and produced by the FM/AM Art Direction Team.
COLOPHON
PRINTER Meridian Printing
1538 South County Trail East Greenwich, RI 02818 PAPER/STOCK Text: 70# Finch 94 Text Cover:120# Endurance Gloss Cover BINDING Perfect Bound TYPOGRAPHY (Body Text and Feature Titles Only)
THANKS TO
CONTRIBUTORS Katelyn Beebe Ashley Camuso Deivi Castro
Charlotte Martin Corinne McGovern Nicole Merloni Julia Meyer Jennifer Oleary Michaela Olivero Rebecca Richardson
Teresa Cimino Claire Connally Rachel Cyr Whitman Davis
MADE Canvas Regular, Black By Made Type
Angela Richter Erika Rothman Catherine Sloat Maria Stephens Sarah Vermillion Margaret West.
Haille Dinger Makena Gera Nicole Grossman Anne Heffernan My Hoang Claudia Mangione Lindsey Marden
Helvetica Neue Regular 65 medium, Condensed Bold By Max Meidinger
Learning Curve Bold, Regular By Blue Vinyl Fonts A Box For Regular By Junkohanhero Bebas Neue Regular, Light By Ryoichi Tsunekawa
SUPPORT
Bicoastal Model Management John Bridges Hyde Park Antique Center James A. Cannavino Library Amelia Leon
Marist College Greenhouse Marist Fashion Archive Team Marist Fashion Faculty and Staff FACULTY ADVISOR Melissa Halvorson
Neon Neon Regular By Bakoom Studio DISTRIBUTOR Pineapple Media COPYRIGHT
All content included in FM/AM is subject to copyright. No part of this magazine may be reproduced without the consent from the Marist Fashion Program.
The mailbox once symbolized a connection to the outside world. Depending on how remotely a person lived, perhaps the only one. A flag turned up or down just might have meant a message from afar; a letter, a check, a beloved magazine or a long awaited package. MAIL Bonding
BY RACHEL CYR
Poughkeepsie, NY
When free delivery expanded beyond U.S. cities and into rural communities, farmers used a number of random items, such as food containers, as makeshift mailboxes. Eventually, the Post Office Department required “Rural Free Delivery” recipients to choose a mailbox from one of their approved mailbox manufacturers.
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Poughkeepsie, NY
When the Post Office Department introduced postage stamps in 1847, and the start of “Free City Delivery,” letter carriers began hand-delivering mail to residential properties, cre- ating the need for mailboxes. City-dwelling citizens no longer had to go to the Post Office to get their mail. By 1923, it became mandatory for every home to have a mailbox or letter slot if they wanted to receive mail.
Newburgh, NY
In 1915, the mailbox adopted the tunnel style recognizable today. Post Office employee and engineer Roy J. Joroleman created the style to adhere to U.S. Postal Service mailbox regula- tions. Mailboxes need to be large enough to hold letters and magazines and sturdy enough to withstand harsh weather. Joroleman’s model also included a small flag (usually red) on the side of the mailbox that was used as a signal between the resident and mail carrier to indicate outgoing or incoming mail.
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Peaks Island, ME
The growing preference among customers to use email and pay bills online has forced the U.S. Postal Service to remove tens of thousands of public mailboxes across America. After the September 11th 2001 attacks, the U.S. Postal Service and Homeland Security removed 7,000 mailboxes that posed a perceived threat to public safety in several cities.
Hyde Park, NY
The U.S. Post Office was considerably involved in the early history and development of trans- portation. During the 1800s, the demand for postal mail was increasing, which prompted the U.S. Post Office to launch and aid in the use of several transportation inventions. Trains, steamboats, and stagecoaches were used to deliver mail throughout the 1800s. By 1912, gas powered vehicles were used for postal delivery in eight different cities.
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Fishkill, NY
The U.S.P.S is currently working with housing developers to implement uniform, clusters instead of free-standing, individual mailboxes. Cluster mailboxes would save them delivery time and payroll costs while their funds are steadily declining.
Peaks Island, ME
Nancy Pope, Head Curator of the History Department at the National Postal Museum in Washington, reports that when TV and movie producers want to create a scene that looks American, they use a mailbox or mail carrier.
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Fishkill, NY
Neither email nor cluster mailboxes are able reveal the individual personality that can be put into a stand-alone, residential mailbox. Mailboxes are an extension of the home and can compliment the house or yard. They can be a piece of art, a space to showcase creativity, or tell a story.
Poughkeepsie, NY
Despite its decline, one use of postal mail is making record breaking resurgence: mail-in voting. In 27 states, early voting numbers surpassed total voting numbers in the 2014 mid- term elections, with a sharp increase in the number of people voting under age 30. With the tense political climate and increased voter education, over 40 million Americans voted early in the 2018 midterm elections via mail-in ballots
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K indeculiar /kin-duh-kyool-yer/ n. an exceptionally eccentric relative Edward St. John Gorey, also called the “Grand- daddy of Goth,” was an American artist and writer whose pen-and-ink drawings take you deep into a part of your imagination that you never knew or may have forgotten. This limerick from the “Listing Attic,” offers a window into Gorey’s eerie world,
“A timid young woman named Jane found parties a terrible pain. With movements uncertain, she’d hide in a curtain and make sounds like a rabbit in pain.” A genius and polymath, he drew his first sketch, The Sausage Train, at 18 months and learned to read 18 months later. His love of literature culmi- nated in a collection of 25,000 books. His academ- ic success led him to pursue a French Literature degree from Harvard. Throughout his career Gorey published roughly 100 of his own books and illustrated 300 for other people. Each book was short; filled with illustrations and minimal text. The often gruesome and morbid stories were rendered in fine pen sketches marked by tiny hashmarks and elaborate detail. His artistic style translated well to the stage, as Edward Gorey’s Dracula was nominated for scenic design and won in costume design at the 1978 Tony Awards. All of his drawings feature Edwardian, Victo- rian, and Jazz Age clothing. He used fashion of those eras to underscore his unsettling stories. The articles of clothing used in this story are from the MaristFashion Archive which houses over 1,000 articles of vintage clothing dating back to the early 19th century.
-Staff
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PHOTOGRAPHER Rachel Cyr MODELS Arielle Rothman and Dillion Evans HAIR & MAKEUP Michaela Olivero and Nicole Sullivan
“The governess in the attic attempts to make a cup of tea; Her mind grows daily more erratic from cold and hunger and ennui.” -”The Fatal Lozenge”
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PHOTOGRAPHER Rachel Cyr MODELS (TOP) Arielle Rothman and Dillion Evans (BOTTOM) Arielle Rothman and Angela Richter HAIR & MAKEUP Michaela Olivero and Nicole Sullivan
“Life is intrinsically, well, boring and dangerous at the same time. At any given moment the floor may open up. Of course, it almost never does; that’s what makes it so boring.” -Gorey
“Ideally, if anything were any good, it would be indescribable.” - Gorey
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PHOTOGRAPHER Rachel Cyr MODEL Angela Richter HAIR Michaela Olivero and Nicole Sullivan MAKEUP Michaela Olivero
“My mission in life is to make everybody as uneasy as possible. I think we should all be as uneasy as possible, because that’s what the world is like.” -Gorey
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PHOTOGRAPHER Rachel Cyr MODEL Arielle Rothman HAIR Michaela Olivero and Nicole Sullivan MAKEUP Michaela Olivero
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Dedicated, with love, to the brilliant and beloved, Richard O. Kramer, costume historian, friend, professor and Edward Gorey Fan. (1944-2019) FM/AM FASHION MAGAZINE AT MARIST 20
Can Y ou R ea d T his ?
On the Love and Loss of Cursive
By Katelyn Beebe
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If “video killed the radio star,” the keyboard killed cursive. Perhaps ‘killed’ is too strong a word, but the curly, right-leaning script is bedridden in Handwriting Hospital, and it’s unclear if it will recover. The word “cursive” stems from Latin’s “currere,” or “to run.” Appropriately, this is the style where the pen only lifts in between words to create spaces or to dot I’s and cross T’s. Cursive originated in the mid-15 th century in direct revolt against the harsh, Gothic type of Johannes Gutenberg’s printing press. Italians craved a more romantic script and developed the smooth, cursive form of writing we now know as Italic. From its origin, elegant script stood as a status symbol and was taught in specialized schools starting in the 1700s. Cursive once stood as a prominent part of the elementary curriculum, up until some foggy point within the last decade. Evidence dates to 2009 when the U.S. adopted the Common Core State Standard Initiative, which put students across the nation on an “equal” playing field for the purpose of college readiness. The Common Core includes different guidelines for every subject; among the fundamental skills for “English Language Arts,” cursive is nowhere to be found. Still, it’s strange as to why people have taken so long to recognize cursive’s absence. Despite the nebulousness around its time of death, small steps have been taken to resuscitate cursive. Fourteen of the 50 states commanded their State Boards of Education to secure cursive as a part of the curriculum once again, but 36 states and the U.S. territories have not made these strides to keep cursive within education. Last fall, the nation’s largest public school system located in New York City, with 1.1 million students, encouraged the teaching of cursive, specifically at the third-grade level. Cursive’s resurgence has been overwhelmingly supported by specialized programs that assist children struggling with dyslexia. Language specialists working with students across the U.S. have found that students with dyslexia benefit from learning cursive. Dyslexia specifically affects a student’s ability to read and sound out letter combinations. Since cursive integrates coordination, motor skills, and memory, the decoding process becomes less rigorous and more systematic. Cursive also assists in the appropriate spacing of letters, further helping these students with a structured decoding process. Apart from these examples, there remains a deficit of cursive teaching in the public-school system. How has the shortage of teaching cursive affected U.S. students? The most glaring example may be Americans’ reliance on electronic and completely impersonal signatures. It is not the same to type one’s name, as it is to craft it. Recently, during the November 2018 midterm elections, many Americans dealt with “handwriting disputes” regarding their applications for absentee ballots. The lack of consistency with some
Should Americans protect this endangered art, or do we send it off into extinction, with the dodo bird and Juicy Couture? Merriam-Webster Dictionary defines a signature as “the name of a person written with his or her own hand” and something of a “characteristic mark.” If people are not adequately taught cursive in their early school years, the issue can span further than absentee ballots. Down the road, these students will have to sign a lease on a car, a mortgage, or banking agreement — even for the delivery of a package. These “signatures” that people claim to have are, often, a combination of one-time scribbles that are ever-changing. Appearing juvenile, these signatures pose the threat of easily being replicated. Without the knowledge of cursive, American citizens will not be able to craft a signature that is distinguishable enough to validate their identity. signatures has shut out tens of thousands of voters from this midterm election who actually are who they claim to be. Absentee ballot applicants are struggling to match signatures from previous government-filed documents within their state, causing difficulty in their quest to express their vote. Florida was riddled with lawsuits over the 2018 midterm election, as state officials “identified” 4,000 out of the 2 million mail-in ballots to be problematic, and thus, discounted them. The criteria for these ineligible ballots is questionable and could hinder voters from casting ballots at all. This is as much an issue for people who were able to successfully vote as for those who were not able. Could American democracy crumble because of the lack of proficiency in cursive? A signature is a form of identification that people are not born with. It is not a fingerprint, genetic material, or a number sequence immediately assigned post birth. A signature is a learned skill that must be consistent in the way a fingerprint is: practiced until it becomes muscle memory. The glide of a pen must feel familiar and of one’s own, rather than a quick, illegible scribble to validate a simple coffee purchase. Every letter that builds a name must be inscribed the same and has to illustrate who the writer is every time. The composition of signatures is what validates that it is this person who signed off on that, not someone else.
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Cursive is far too young to become illegible hieroglyphics, though one day, if we continue down this road, a Rosetta Stone of sorts may be required to decode what was once commonplace. The founding documents of the U.S. were written in cursive’s continuous style, underscoring that our vital rights and freedoms are similarly unbreakable. How free will we be if the documents that should mean everything to every American cannot be taught or read in their original form, but are instead, “Googled,” and formatted in 12 pt serif type in order to be comprehended? A typeface lacks some of the passion of a fine hand. Cursive handwriting has implied sincerity; one can give a part of oneself to the recipient or the reader. American artist Tauba Auerbach uses her cursive to fund the mission of protecting journalists and educating girls. Beginning with Daniel T. Ames’ Compendium of Practical and Ornamental Penmanship , she copied the word “persevere” in lowercase script; each letter engulfed by its own loop. She says, “The loops are all the same, but the letters are different, so the exercise teaches you to maintain a rhythm amidst otherwise varying circumstances.” Great advice for difficult times. Auerbach has since used penmanship to create a “calligraphy of resistance,” on posters, and large scale public installations. This reserved rebellion could never be achieved across a computer screen. Minimal emotion is required or conveyed by even the dearest “I love you” text message. Imagine a grandmother sitting down at her kitchen table writing a “Thinking of You” card to her granddaughter, a heartfelt hello, who will have next to no idea what it says. There’s an emotional disconnect, and now a child may never know about the November weather in South Jersey, the outcome of a recent surgery, or her grandmother’s wishes to her for the end of the semester. Tenderness and warmth are intrinsic to cursive. A writer’s hand skims across the page when they want you to know and feel something. Is this reading too much into cursive, or is it dying for a good reason? Perhaps it is demanding or difficult or dated. In a day full of electronic signatures, Chromebooks in classrooms, and e-Thank You cards can make cursive seem that way. Is basic handwriting next on the chopping block? Notebooks, pens, and pencils may soon disappear. Should Americans protect this endangered art, or do they send it off into extinction with the dodo bird and Juicy Couture? It has been shown that those who learn cursive have a better understanding of the English language and spelling; cursive forces us to think of writing as a continuous rollercoaster as opposed to being constructed in individual letters and parts. More legible writers are also found to be better at writing composition and clarity. Cursive also acts as a speedy method in note-taking. While typing notes is an
alternative that requires little time, writing by hand assists in processing what is being taught and drives stronger recall down the line. Undeniably, cursive is just as much a writing form as an artistic outlet of a personal identity. If we don’t know how to sign our names, do we exist? Cursive is thoughtful, individual, and fundamentally human. Even the coiled shape of a DNA molecule, two strands bound by the same axis, delivering each person their genetic uniqueness, looks shockingly like cursive. We must refuse to be defined by the mindless scribbles on the bottoms of merchant copies and reclaim our handwritten identities, which are as beautiful and varied as bodies themselves. For Practice
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Illustrations by Sarah Ditterline, Emily Larson & Charlotte Martin
Take it from Elaine By Julia MeyeR
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Elaine is her hairdresser’s favorite client. Every month she has an appointment to get a new colored hair extension spliced into her silver pixie cut. A guiltless gossip, she reports back to her family all the goings-on at the salon and in the town. Her best cosmetic is her optimism, but still, she won’t venture as far as the mailbox without her hair and makeup done. Her laugh surpris- es you; it’s loud, but its sound makes you feel as though you are in on the joke. Elaine’s youth is preserved through her husband and family, they keep her laughing and give her an outlet for her generosity. The most important things in her life, her children, are now raising their own families. She is no longer a primary caregiver, but involved in her grandchildren’s lives almost as much as if she was. It isn’t uncommon to fool her grandchildren’s friends into thinking she is the “cool aunt.” On most days, she can either be found in the kitchen or in her sunroom with her husband and two dogs. Elaine’s life is filled with happiness and abundant love, and because of her family she has always been, in most ways, content, except for one. Her parents gave her a traditional upbringing with little opportunity for rebellious self-expression. But with their passing, and the loss no longer a new wound, Elaine began to consider fulfilling a long-held yearning. Around the age of 65, Elaine got a tattoo of a butterfly on her ankle. A trendy choice at the time, the butterfly was done simply for aesthetic purposes and to free herself from the stigma she had attached to it in her mind. Elaine now has a hibiscus blossom on her other foot, and an explosion of exotic flowers creating nearly a full sleeve on her left arm. She fulfilled a youthful desire to rebel and got addicted. She now considers adding to her sleeve simply for cosmetic purposes. If an appointment with “her guy” is not available, she is not discouraged. Adding to her personal collection of ink has now become a fun activity to do spontaneously. Her decisions no longer controlled by old fashioned conventions, Elaine developed the ability to design her own life. Now, her only concern is not if, but what to get. While up-to-date on the latest trends, Elaine gravitates toward the bright, bold florals, and playful motifs that fit with her personality and won’t go out of style. Trends are followed in hair, clothing, music, and even food. Tattoos are no different, but Elaine’s lotus flower isn’t likely to become the regrettable cliché of a barbed wire bicep band. Of course, it’s her wisdom and experience that allow her to make permanent body art decisions with such confidence and ease.
Are you trying to make a statement, political or otherwise? Do you want the tattoo to serve as a reminder of something important to yourself? Do you want to show support for a larger goal? Is this a rebellious act?
Are you the type of person to get this tattoo? Do you want a tattoo for you or to prove something to other people? Will the design be accepted by others? Do you care what other people think? Is there anyone who may not want you to get this tattoo? Will the design provoke anger in certain peo- ple? Is there a potential chance that someone will confront you about their aversion to your tattoo? Will the tattoo effect where you work or plan to work?
Is there potential to regret the design as you get older and gain more wisdom? If you are underage, do you have permission to get the tattoo? Does the design represent a person who may be temporary in your life? Will this area of your body look different as you age and change the appearance of the tattoo?
If you’re not quite there yet, consider these questions:
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What colors will the design consist of? Is the design dependent on color? What if the color fades?
Are there any stereotypes about the place- ment of the tattoo? Is fading or stretching more prone on this body part? Are you consciously choosing whether or not the tattoo will be visible? If the tattoo is deliberately visible, why do you want it to be seen? If the tattoo is not visible, why is it hidden? Are you trying to hide the design from certain people and not others? Some artists refuse to tattoo fingers or toes because they know it will fade; will your artist tattoo the area you want? Will this part of your body hurt more than another? Is your pain tolerance threshold high enough to get tattooed on this part of your body? What time of year do you want your tattoo? (It can’t be exposed to direct sunlight)
Do you want someone to go with you? If so, who? Who is the most qualified to do this particular design? Is this tattoo artist specialized to work on your type of skin? Are you okay with the artist potentially taking artistic license and changing your design? Will you have the courage to speak up if you don’t like the artists initial sketch? Are you willing to travel to find an artist who will do your concept justice? How much will the tattoo cost? Will the tattoo take one sitting or will you have to return to finish it or to get a touch up done? Is there any physical preparation in the days or hours leading up to the tattoo? Will the parlor be sanitary? Will you have the courage to choose an- other place if it is not clean? If you have considered all of these ques- tions and have satisfactory answers to each, only one question remains:
Do you want to follow a popular tattoo trend? Will the design go out of fashion? Is the placement of the tattoo a trend itself?
?
What should the scale of the design be? What should the stroke weight be? Will the artist change the scale or stroke weight?
Ready?
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Sans Forgetica A recently developed typeface that encourages memory. https://sansforgetica.rmit
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PHOTOGRAPHER Rachel Brennecke MODEL Epiphany Lee DESIGNER Jontay Kahm ‘22 HAIR & MAKEUP Michaela Olivero
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PHOTOGRAPHER Rachel Brennecke MODEL Epiphany Lee DESIGNER Olivia Spathakis ‘19 HAIR & MAKEUP Michaela Olivero
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PHOTOGRAPHER Rachel Brennecke MODEL Natalia Bukley DESIGNERS (top and bottom) Anna Cortese ‘19 (mask) Jontay Kahm ‘22 HAIR & MAKEUP Erica Di Santi & Michaela Olivero
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PHOTOGRAPHER Rachel Brennecke MODELS Ira Pavlova & Epiphany Lee DESIGNERS (dresses) Anna Cortese ‘19, (masks) Jontay Kahm ‘22 HAIR & MAKEUP Michaela Olivero & Erica Di Santi
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PHOTOGRAPHER Rachel Brennecke MODEL Epiphany Lee DESIGNER Olivia Spathakis ‘19 HAIR & MAKEUP Michaela Olivero
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PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova DESIGNER Jontay Kahm ‘22 HAIR & MAKEUP Erica Di Santi & Michaela Olivero
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By Catherine Sloat In 1666, Sir Isaac Newton began
the surface of the ocean. Typically, if it’s a bright sunny day the blue color will appear more saturated and lighter as it is reflecting off the light blue of the sky, but appear darker on a day that is overcast. Earth’s atmosphere is a compilation of wavelengths that are constantly in motion. Humans are able to see, smell, and hear because the body detects these wavelengths. When it comes to color, wavelengths bounce off of objects to reflect a particular color which the human eye detects. The perception of what color a particular object is, comes naturally to us. In the same way the heart constantly pumps blood throughout the body, or the way a person breathes without having to tell themselves to do so, our eyes instinctively detect color. While the human eye can detect a plethora of different colors, it is actually only a very limited range of
colors on the electromagnetic spectrum. This spectrum is a visual representation of the visible and invisible light wavelengths that exist. The spectrum ranges from ultraviolet to infrared, and between the two is what is visible to humans. The higher end of the spectrum begins with infrared and red, which have longer wavelengths and emit less energy. The spectrum moves along like the colors of a rainbow: beginning with red, then flowing to orange, yellow, green, blue, and violet. Violet has the shortest wavelength and releases the most amount of energy. When a particular wavelength hits an ultraviolet wavelength, the human eye can no longer perceive the color because humans don’t have the specific cones to detect the light at that frequency. To detect these colors the retina in the back of our eyes
performing a series of experiments on the relationship between color and light. By drilling a hole in the shutter of a window, he allowed a beam of light to shine in and pass through a glass prism that revealed a rainbow-like reflection on the opposite wall. What he discovered was the science of color. Through this experiment, Newton not only established proof that color comes in the forms of wavelengths, but also distinguished seven colors: red, orange, yellow, green, blue, indigo, and violet. This scientific discovery led to the creation of the first-known color wheel. Color isn’t innate to objects. The ocean itself isn’t blue or turquoise. When light-waves hit the liquid mass we’re able to identify it as a color. The ocean’s surface is reflect- ing the “blue” wavelengths and absorbing all other colors that hit
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are engulfed by millions of microscopic cells that are
Just like every human has a favorite color, our eyes have a
Hue The physical pigment of a color.
“light-sensitive,” and known as photoreceptors. These little cells take on two forms: rods and cones. Rods are photoreceptor cells that work best in less-intense light, because only one type of rod detects light or low light. Do you ever wonder why children are so afraid of their room in the dark? In a dark room we use the rods in our eyes to see our sur- roundings. Rods are unable to detect color making you “color- blind” to your surroundings and leaving you submerged in a sea of grey shapes. This absence of color gives a child’s imagination the ability to see a monster in the yel- low sweater draped over the back of their desk chair. Cones are primarily used when there is light present. They give us the ability to see in color and are most sensitive to red, green, and blue. The majority of cone cells are located in the center part of the retina, known as the fovea. Cones are primarily situated in this area of the retina because it is best for detecting the strongest amount of light. In a matter of seconds, when a particular wavelength hits the cones in your retina, it sends messages to the ganglion cells in your eye. That message is then passed on to your optic nerve where the message is finally sent to your brain to be decoded. Animals are particularly interesting in the way they see color, as they can see different rang- es of color on the spectrum. Unlike humans, dogs don’t have red cones in their retina and only have blue and yellow. This leaves them col- orblind to the distinction between their bright green tennis ball and a baby’s red toy ball. To dogs, a ball is just a ball. Other animals have multiple cones that allow them to see beyond the colors that humans can. The blue- bottle butterfly, for example, has 15 different photoreceptors. The cones in this butterfly’s eyes consist of ultraviolet, violet, three different shades of blue, one blue-green, four green, and five red, allowing it to see colors far beyond what the human eye can perceive.
Tint To make a color lighter by adding white.
favorite color as well. More than half of the cone cells react the strongest to red wavelengths. Why? Typically the human eye has the most “red” cone cells, which is why red is one of the most dominant colors that humans perceive and why warm tones cause a stronger reaction than cool tones.
Shade To make a color darker by adding black.
Tones The lightness or darkness of a color that can be changed by adding grey. Chroma Helps identify a particular saturation of a color or the intensity of the color and where it falls on the col- or spectrum. A higher chroma makes a more intense, rich color. Lower chro-
GLOSSARY
ma results in a more subtle, duller color.
Primary colors Three different colors that are the base of all colors. They are red, blue, and yellow. Secondary colors Colors made by the mixture of two primary colors. They are orange, violet, and green.
How to Read the Following Pages
Tertiary colors A mixture of one primary and one secondary color.
Complementary colors C olors that lie opposite to each other on the color wheel. Typically extremely pleasing to view because of high contrast. Triadic color scheme Three colors that are evenly spaced out on the color wheel to form a triangle of completely different colors. Most pop- ular is the triangle of primary colors. Split-complementary scheme Any base color on the wheel and the two colors adjacent to its complementary color. Analogous color scheme Colors that lay next to each other on the wheel. This color scheme is usually the most aesthetically pleasing because it is so commonly found in nature. Monochromatic colors This scheme originates with one base color and varies by adding different shades, tints, and tones.
Each participant in recent Creative Theory Class was given a slice of the 12 part color wheel and asked to explore the hue from warm to cool through Smartphone photography, with subject matter unimportant, The colored dots pictured next are a portion of the students’ massive col- laborative color wheel. So, how do you read the graphic? Each column, from top to bottom, represents a monochromatic color scheme.
Each row, from left to right, rep- resents an analogous color scheme.
Now, when the top or bottom pages are flipped, the color matches up with its complement.
Value The the amount of light a color embodies.
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GIVE ME A COMPLEMENT
PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova
DESIGNER Kiersten Litton ‘19 HAIR & MAKEUP Erica Di Santi
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PHOTOGRAPHER Rachel Brennecke MODEL Natalia Bukley DESIGNER Dylan Skinner ‘21 HAIR & MAKEUP Michaela Olivero
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PHOTOGRAPHER Rachel Brennecke MODEL Nicholas Beebe DESIGNER Peggy Chiang ‘19 HAIR & MAKEUP Michaela Olivero
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PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova
DESIGNER Keshet Levine ‘19 HAIR & MAKEUP Erica Di Santi
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PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova
DESIGNER Madyson Gabel ‘19 HAIR & MAKEUP Erica Di Santi
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PHOTOGRAPHER Rachel Brennecke MODEL Ira Pavlova
DESIGNER Kiersten Litton ‘19 HAIR & MAKEUP Erica Di Santi
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licking THE CANVAS CLEAN
By Haille Dinger Molecular gastronomy is a sensual experience; through sight you are educated, through scent you are fascinated, and through taste you are captivated. The dish is transported from the palette of the plate onto its new canvas—the tongue and palate.
TRIP TO LA HAVANA Cigar smoke-infused ice cream
extruded into a cylinder of dark chocolate; served with a take on the classic “mojito.”
PHOTO: El Celler de Can Roca
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Jordi Roca in conversation
Spanish pastry chef, Jordi Roca, considered the “World’s Best” by Restaurant Magazine and featured on Chef ’s Table, explains the importance of the interplay between taste and appearance along with his favorite creations .
World renowned chef and molecular gastronomist, Jordi Roca, developed an interest in pastries after recognizing that cooking didn’t have to be a chore; it could be an experience, it could tell a story, it could defy social norms. Roca’s restaurant, El Celler de Can Roca, ranked No. 1 on “The World’s 50 Best Restaurants” list, twice, holds three Michelin Stars and continues to re-imagine dining as more of an artistic experience than simply a means to satisfy hunger. For Chef Roca, food has evolved beyond taste alone. Appearance plays a key role in creating a successful dish. “The way you invite the guest’s senses to approach the dish is going to define the taste experience,” says Roca. He is a craftsman, finding his inspiration from childhood experiences, the world of art, and other scientists. Roca states, “It’s like jazz—rather than sketching or having a mind picture, it just happens.” By blowing sugar the same way a glass artisan manipulates hot glass into graceful designs, Roca creates an edible floral arrangement captured in a transparent shell of sugar. Called Flower Bomb, it’s supposed to taste like a flower shop.
Childhood is a common theme among Roca’s dishes, because, often, those memories represent the playful side of life. Rainy Forest, a tree shaped dessert made from carob cookie, ice cream, fennel, and fir tree granite, incorporates a distilled dirt that is meant to transport the diner back to when they were a child, running through the grass barefoot, climbing up trees, unafraid of the world. When that whiff of moist dirt enters the nostrils, the reality of present day temporari- ly fades and the emotions evoked, engender both trust and curiosity. Molecular gastronomy is a mind game resulting in isomalt-encapsulated olive oil, glass potato chips, and transparent ravioli. Such techniques give a strawberry the ability to taste like a tomato or ice cream to taste like tobacco; changing the identity of something we
thought we understood. The science behind progressive cuisine is like an artist’s paints— the medium of storytelling.
RAINY FOREST Inspired by Roca’s childhood.
PHOTO: El Celler de Can Roca
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HD: Give me your own definition of molecular gastronomy. JR: It is the way that most people refer to contemporary or “avant-gar- de” gastronomy, a term that a scien- tist used that became popular very fast. Rather than molecular, for me, the term “modern” or “avant-garde” is more appropriate. HD: How did you become interest- ed in taking food apart? JR: While eating I became inter- ested in the different textures that were in one spoonful. HD: Are there any techniques you would consider to be out of fash- ion or out of date? JR: I don’t consider any technique out of fashion. Any way of cooking can be very new in the right context. We are now doing macerations and distilling as they were done centuries ago. HD: Some believe that the taste of food is what matters most. The ap- pearance and experience of eating does not play an important role. Do you agree? JR: To me, everything deserves at- tention—So does the presentation, so does the taste. The way you invite the guest’s senses to approach the dish is going to define the taste experience. HD: Do you think of yourself as a scientist or an artist?
JR: I consider myself a craftsman doing his crafts the best he knows. Sometimes I find inspiration in the world of art, other times in science. It helps me to understand the changes in the food and helps me to advance. HD: Growing up what was your favorite dessert? JR: Crema Catalana. HD: Have you tried to replicate that dessert or evolve it in any way since you have become a pastry chef? JR: Yes, now I’m doing a tangerine dessert very similar to it. I always reinvent it. HD: What are you working on this week? JR: On a dessert that tastes like pen- cils and erasers— a jump to child- hood school times. HD: Speaking of childhood, how did you make the flavor of moist dirt for Rainy Forest? JR: With real moist soil from the woods that surround the restaurant [El Celler de Can Roca] and a still that allows us to capture aromas that we can turn into flavors. HD: Would you say that it tastes how it might smell? JR: Yes.
HD: What dish of yours took the longest to perfect? JR: Anarkia— it’s a dish with more than 40 different elements. It has been worked on for 10 years and it keeps evolving and improving, as it is deliberately imperfect. HD: What is the best mistake that you’ve ever made that had a positive impact on a dish? JR: Putting cigar smoke into a dish. It opened up the door to volatile aroma. HD: How long did it take to mas- ter the complicated technique of spherification? JR: I guess you mean the technique of “blowing sugar.” Spherification is a technique developed by Albert Adrià. It took me some time, but when you practice a new technique that does not exist yet in cuisine, you aren’t concerned with time. HD: What do you think the next major innovation is in molecular gastronomy? JR: Enfleurage and distillation. These are two processes that allow us to turn things that are not edible into something that is. HD: What is a culinary trend that you don’t like or don’t want to work with? JR: Adding avocado to a toast.
ORANGE COLOUROLOGY : This dessert cleanses the palate with both sweet and fresh flavors. PHOTO: El Celler de Can Roca
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Q. Foam or gels? A. Creams.
Q. Brittle gels or fluid gels? A. Brittle ones.
Q. Spherification or powdering? A. A bit of each.
Q. What is your favorite ingredient? A. Cocoa.
Q. Lemon or lime? A. Lime.
Q. Parsley or cilantro? A. Cilantro.
Q. Strawberries or raspberries? A. Strawberries.
Q. Sweet or savory? A. Savory.
SOURDOUGH ICE CREAM : With cocoa pulp, fried lychee, and a sherry vinegar macaron.
PHOTO: El Celler de Can Rocaca
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HD: What a cool job—food artist?
TO: For me, food is art. It conveys more than just good and sustainable meals. I create unique and memorable experiences using science, art, and a pinch of madness. But, it wasn’t until I started my Instagram in March 2017 that my interest in food styling began. Before that, I had no idea that I could make dishes in this way. I started my business in June 2017 because companies started wanting my help to develop vegan fine dining dishes. All my food creations are plant-based, (vegan). I chal- lenge ideas of vegan cuisine by creating beautiful, tasty and entertaining dishes that aren’t just salads. This is to normalize and show that plant-based food is for all of us to enjoy. HD: What ingredients and techniques did you use to make “Summer Snow?” TO: The ingredients I used to create summer snow was water flavored with wild strawberry, maple syrup, and a pinch of soya lecithin powder. Then I use some- thing called a foammachine, a tool used in molecular gastronomy to create bubbles. The machine blows air through a hose, and when you put this hose in the liq- uid, which is mixed with lecithin powder, the bubbles are created. HD: What is your creative process like when you cre- ate art from food? Is there anything that inspired the “Summer Snow” dish? TO: It’s time consuming to create my dishes. I need time to get inspiration, which can be different. I get the most inspiration from nature where I love to go out walking and analyzing everything around me. When I have an idea in my mind, I start to develop the recipe. Once everything is developed for the dish, I get to start with the styling, which is the best part. It’s almost like a meditation for me. Which dish is your personal favorite? “Mermaid Lake.” It is elegant, beautiful,and so tasty.
SEA BREEZE : Fuschia cauliflower, bright green asparagus, and Haricots Verts are garnished with flowers and vegan cream cheese.
Tora FLORA Q & A Tora Olsson, a Swedish food artist reimagining vegan dishes, shares her creative process and favorite techniques.
All photography by Tora Olsson
Olsson, known professionally as Tora Flora, holds a Bach- elor’s degree in Gastronomy and a Master’s in Food and Meal Science. She defines the termmolecular gastrono- my as: “[A collaboration] between chefs and scientists who create high-quality foods with specific sensory characteristics that will satisfy the consumer…Through different combinations of ingredients and different cooking methods, the original shape and consistency of the food can change, which can create new experienc- es…[The practice] also has the purpose of entertaining consumers through the social, artistic and technical components of cooking.”
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SUMMER SNOW : A delicate flower immersed in a strawberry pearl rests next to an array of marinated rhubarb twists, strawberries, and caramelized maple syrup., then topped with wild strawberry snow-bubbles.
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MERMAID LAKE : Wheat berry risotto lies at the base of this dish and is completed with mushrooms, truffle, carrots, and thyme.
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BLOODY SNOWWHITE : A snowball inspired dessert filled with a sweet mixture of cashew-nut dough and white chocolate sits atop a vibrant red pool of strawberry-raspberry sauce. Strawberry bubbles are added for decoration and flavor.
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glossary
MOLECULAR GASTRONOMY: A sub-discipline of food science that enables chefs to ex- periment with unusual flavor combinations and cooking techniques through the knowledge of physics, chemistry, and/or biology. DISTILLATION: The action of purifying liquid through the process of heat- ing and cooling.
SPHERIFICATION: A technique that enables one to imbue a flavorful liquid, with the appearance of being solid. FOAM: Created by trapping air with a solid or liquid substance. GEL: The technique of turning a liquid into a solid. Gels have a jelly like texture.
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BRITTLE GEL: A gel that is firm in nature, yet fragile at the same time. Brittle gels crumble and create a melt-in-your-mouth feeling. FLUID GEL: A controlled liquid that is both thick and spreadable at the same time. iSOMALT: A sugar substitute used for its sugar like-properties.
DRYING & POWDERING: Drying food intensifies its flavor and changes its texture. Food can be dehydrated and transformed into powder for a textural experience. ENFLEURAGE: The practice of extracting perfumes and oils from flowers through the use of fat.
OLD BOOK : Earl grey tea-infused cream is accompanied by layers of phyllo, caramelized pasta sheets, and drops of “old book essence.” This dish was created as a tribute to the book In Search of Lost Time by Marcel Proust.
PHOTO: El Celler de Can Roca
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MODEL Carty Caruso SHIRT AND VEST Roger Seifert ‘21 (fashionmeansfreedom.com) PANTS Lauren Schottenfeld ‘21 HAIR AND MAKEUP Michaela Olivero
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HONOR ROLL ALL IMAGES SHOT ON KODAK PORTRA 400 FILM BY JERRY PENA
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MODEL Carty Caruso SHIRT AND VEST Roger Seifert ‘21 (fashionmeansfreedom.com) PANTS Lauren Schottenfeld ‘21 HAIR AND MAKEUP Michaela Olivero
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FROM LEFT Hartley Walker-Money ‘21 Whitman Davis ‘21 Roger Seifert ‘21
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Roger Seifert ‘21
MODEL Aviona Carrigan DRESS Alexa Wisnieski ‘19
SKATESOCK Erika Rothman ‘19 HAIR & MAKEUP Michaela Olivero
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MODEL Aviona Carrigan DRESS Alexa Wisnieski ‘19
SKATESOCK Erika Rothman ‘19 HAIR & MAKEUP Michaela Olivero
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MODEL Aviona Carrigan SWEATER Alexa Wisnieski ‘19 PANTS Lauren Schottenfeld ‘21 HAIR & MAKEUP Michaela Olivero
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MODELS (right) Aviona Carrigan (left) Janine Tondu SWEATER Alexa Wisnieski ‘19 JACKET Joanna Musacchia HAIR & MAKEUP Michaela Olivero
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MODEL Janine Tondu TOP Keshet Levine ‘19 PANTS Raina Rosario ‘19 HAIR & MAKEUP Michaela Olivero
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Whitman Davis ‘21
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MODEL Janine Tondu DESIGNER Keshet Levine ‘19 HAIR & MAKEUP Michaela Olivero
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Oftentimes, the disparity between what a wom- an wants and what she gets can be striking. “I’m sitting here, and I’m wearing a fancy suit with designer shoes and a designer handbag—but underneath it all is this torn, ripped, five-year- old bra from Target,” noted Jane Fisher one day in business school. To her, the contrast seemed almost comical. There was a stark difference between her clothes and her bra, and she noticed a wide gap between what she wanted and needed, and what she had. When it came to bras, the only options available to consumers were astronomically priced, impractical, and uncomfortable—or, they were inexpensive and cheaply made. Obviously, something needed to change. Bras have historically been advertised for how good they can make women look, not how good they can make women feel. Extra padding that squeezes and pushes, materials that look great on a shelf, but not under a shirt, and features that make little sense, (who can even reach a strap that adjusts in the back?) do not constitute a good bra. Unfortunately, bra companies just haven’t seemed to get that. Until now. As women begin to demand fit for all tastes and body types from their bra companies, the industry is slowly starting to rise to meet these needs—and there’s one brand at the forefront of the revolution. Founded in 2016 by Jane Fisher and her business partner Jenna Kerner, Harper Wilde is creating a new breed of bra. Made by women, for women, their bras are what women truly want. They’re affordable, comfortable, and free of frills, injustices, and absurdities. Better yet, customers can try their selections on at home, at their leisure, returning those they don’t want. Frequently referred to as the “Warby Parker of Bras,” Harper Wilde recognizes that given privacy and time, bra shopping can be so much less painful. Fisher and Kerner focus on “Lifting Up The Ladies” and changing bras (and bra shopping) for the better—whether that means becoming CEOs in an ironically male-dominated industry, supporting the next generation of young women with opportunities for education, or physically holding up the “ladies” of every woman who wears their bras. The brand is backed by the motivation to challenge every aspect of the hypersexualized and humorously absurd bra industry. Named after Harper Lee and Laura Ingalls Wilder, female empowerment is at its core. From revolutionizing a bra’s smallest design detail, to infiltrating the highest rungs of the corporate ladder, these women are changing everything from how bra straps
All photos courtesy of Harper Wilde
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