hoot magazine: spring/summer 2011

Spring/Summer 2011

RIDER STRONGRIDER STRONG

Spring/Summer 2011

RIDER STRONGWHEN MAN MEETS WORLD

“I don’t usually get stressed out,” Marc Jacobs said. “Except right before a show.” Jacobs premiered as the Perry Ellis designer on 10 April for the Fall ’89 show. SAKS Fifth Avenue’s Ellin Saltz-man said it was very Marc and very Perry. No one really doubt-ed that the Perry Ellis label would survive. After all, Gianfranco Ferre is keeping the Christian Dior name alive and well, while Karl Lagerfeld makes the Chanel suit as hot as ever and continues to create the Anne Klein look. Jacobs has taken control at Perry Ellis, and he is sure to succeed.

“It’s not just to live. It’s all about

trying to enjoy life to the fullest. I’m not an extravagant. I enjoy everything I do. I like my work, I like being with my friends.” So is that the theme to his designs? “I don’t make anything that I think is shocking. I stress individuality. I don’t expect to dress the same woman from head to toe, seven days a week.”

Jacobs wants to see his customers match his pieces with different things to create an individual look. “It’s more satisfying to see the same jacket on two extremes than the same types of peo-

ple.” Sometimes Jacobs won’t neces-sarily do things for the “right reason.” If all the designers were putting black boots on their models, Jacobs would use white boots. Jacobs loves his indi-viduality, and that is part of the reason why he is so successful. It is this natu-ral instinct which helps him along the rough Seventh Avenue. Or, to say it simply, it’s hip to be wearing the trend-iest thing, but hipper not to.

It was rather interesting to sit in the smooth, stream-lined, art deco, wood and steel décor of Perry Ellis Interna-

tional and hear Jacobs say “I’m not big on computers.” Jacobs is not very machine oriented. He doesn’t get into gadgets. Does fashion make a statement about time? “I don’t think of fashion

as a statement on cur-rent events. No one can talk about fashion now. You can’t talk about it till much later.” People need time to pass before analyzing how fashion reflected a time period. What is his favorite time

period? “The reference I have to old movies, etc. are funny ‘cause there is something there that doesn’t exist to-day. There’s a warmth that’s missing. I don’t like a tough woman. My ideal would be the symbol of the anti-thesis to the tough woman.”

So how does Jacobs feel about be-ing treated like a celebrity? “I don’t act like a celebrity. I’ve been living in the apartment I’ve always lived in. I work out every day. I go out with my friends. I haven’t changed my life. That’s just the way I am.”

It’s more satisfying to see the same jacket on two extremes than

the same types of people.

Two months before I was born, in October 1990, Jack Chen (CC ’93), the editor in chief and founder of Columbia’s first fashion publication, Mode, wrote an exclusive article about Marc Jacobs, who was an up-and-coming star in the fashion world at the time. Hoot can only dream about securing an interview with Jacobs now, but it turns out, even 20 years ago, Marc Jacobs—and Columbia students—were ahead of the game. Enjoy a shortened version of the story below. —Noel Duan, Editor in Chief

In the Eye of the Stormby jack chen

3HOOT www.hootmag.org

In This Issue5 LetterfromtheEditor

Features3 IntheEyeoftheStorm6 TeenVogueOnlineEditor NaomiNevitt7 DesignerProfile:ZangToi8 BlackSwanCostumeDesigner AmyWestcott10 ModelBehavior:Daniel Gutsche11 StudentProfile:JakeStavis12 SpringTrendsinStudent Context14 NeighborhoodProfile: Williamsburg15 Refashioner.comwithCyrena Lee

16 CoverStory:RiderStrong

Fashion22 LeopardAccessories26 HootPortrait:KembleWalker28 AndrogynyinFashion30 WinterTrendsinSpring36 ShiftingSilhouettes

Health + Beauty40 SummerMake-UpTrends42 5-DayDetoxDiet44 BeautyProductstoTry46 ShellyXu:CampusHaircutter

A&E45 SummerPlaylist48 GuidetoGallery-Hopping50 CoffeeCold-Brewing52 InstallationattheBrooklyn Museum

Editors in Chief: Noel Duan (CC ’13)

DESIGNDesign Directors: Sharon Wu (CC ’13)

Design Editors:Cathi Choi (CC ’13)

Aisling Hunt (BC ‘13)Hannah Keiler (CC ’14)

Design Assistants:Yishu Huang (CC ’11)

Katie Lee (BC ’14)

FASHIONCreative Director: Vivian Luo (CC ‘12)

Accessories Director: Anna Cooperberg (CC ‘12)Menswear Director: Martin Hamery (CC ‘13)

Assistant Market Editor: Alexandra Gaspard (CC ’14)Associate Stylist: Lydia Ding (CC ’13)

Fashion Writers: Ivan Cheng (CC ’14)

Jacob Inwood (CC ’13)Fashion Assistants:

Priom Ahmed (CC ’14)Christina Chao (BC ’13)

Lydia Ding (CC ’13)Cleo Levin (BC ’14)

Shelby Maniccia (BC ’14)Alex Memmi (BC ‘14)Jennifer Ong (CC ‘12)

Brittany Portman (BC’14)Rubii Pham (CC ’14)

Andrea Shang (BC’14)

BEAUTY + HEALTHBeauty + Health Director: Jina Lim (CC ‘13)

Beauty Editor: Sharon Shum (CC ’13)Beauty Associate: Emma Stein (CC ‘14)

FEATURESFeatures Director: Carla Vass (BC ‘11)

Features Editor: Constance Boozer (CC ’13)Features Writers:

Allison Malecha (CC ’13)Rubii Pham (CC ’14)

Copy Editors: Katie Lee (BC ’14)

Alexandra Lotero (CC ’12)Hannah C. Tippett (BC ’14)

ARTS + ENTERTAINMENT

Arts + Entertainment Director: Nicole Estevez (CC ‘13)Arts + Entertainment Writers:

Devin Briski (CC ’12)Daniel Gutsche (CC ’12)

Alexandra Lotero (CC ‘12)

PHOTOPhoto Director: Damian Tran (GS ‘14)

WEBWeb Director: Rubii Pham (CC ‘14)

PUBLIC RELATIONSPublic Relations Director: Donia Abdelaziz (CC ‘12)

Public Relations Associate Director: Allie Davitt (CC ’12)

ADVERTISING + SALESPublisher: Kavitha Surana (CC ‘11)

Associate Publisher: Tina Tsuchiyama (BC ’13)

Masthead

Letter Editor

“Columbia students love to complain. We always have,” Jack Chen (CC ’93) said to me over lunch at Community Food & Juice. He was the editor in chief and founder of Columbia’s first fashion publication, Mode, back in the early ‘90s,

and I couldn’t help but laugh at how Columbia has changed—and stayed the same. Sure, we love to complain and be cynical, but we also love to celebrate each other’s successes and engage in discussion both in and out of the classroom. We love to go to concerts at Lincoln Center, but we also crave Roti Roll at 2:00 a.m. This issue is about celebrating our peers, both highbrow and lowbrow.

Last August, I flew to Los Angeles in order to style the cover shoot with Rider Strong (CC ’04). I thought I was crazy—who flies to Hollywood for a photoshoot for a school pub-lication, after all? Evidently, it was that moment when I realized how much Hoot meant to me.

I can’t even put it into words. Most freshmen sign up for 50 clubs during NSOP week, try out ten of them, and hopefully find fulfillment in one or two of them. That’s what I thought I would do too. Instead, I met Jina Lim, and we decided to establish our own publication. We were two invisible freshmen who didn’t understand the complexities of Columbia and Barnard bureaucracy, had never been to New York Fashion Week, and were convinced that we could get 4.0 GPAs in spite of the hair-tearing stress of starting a new campus magazine.

Well, Lit Hum reading didn’t get finished, but we did put out our first issue, starring Kelly Killoren Bensimon (GS ’98), in May 2010. We did go to New York Fashion Week every season, got our photos taken by German ELLE, and sat in the front row at a show, across from Robbie Meyers, the editor in chief of ELLE. We did become an official publica-tion at Barnard. We brought Joe Zee and Phillip Lim to Columbia for a panel discussion.

This issue is about holding onto those crazy childhood dreams of ours—and taking the time to appreciate the various talents in our Columbia community. I was blown away by Strong’s dedication to screenwriting and his zeal for filmmaking. It isn’t about fame and fortune for him. I was speechless when Chen showed me an exclusive interview that Mode did with Marc Jacobs—before he was the Marc Jacobs. I became inspired to costume design for this year’s Varsity Show after interviewing Amy Westcott, the costume designer for Black Swan.

And, as always, I am flooded with awe at the talents of my fellow Hoot team. May they continue to impress you too.

Anna Cooperberg (CC ’12), our cur-rent accessories director, will be the new editor in chief starting Fall 2011. I am hon-ored to call her a good friend and one of the most driven and talented fashion en-thusiasts I have ever met at this school—perhaps you’ve seen her stylish self in the pages of Seventeen. She won’t disappoint you.

Again, thank you to CUarts for the generous Gatsby grant. We are honored.

With much gratitude,

Noel Duan Editor in Chief

26www.hootmag.org

from the

Three members of Hoot’s founding team: Sharon Wu, Jina Lim, and Noel Duan.

Editor’sLetter

5www.hootmag.org

Amidst New York City’s ever-changing set of young and pret-ty fashionistas, there is Naomi

Nevitt, a lithe, chic twenty-something who was named amongst the New York Post’s Twenty It Girls for 2010. Nevitt (BC’ 07) grew up in Los Angeles, but always knew that she wanted to come to New York and work in magazine publishing. “When I was little I used to watch ‘Style with Elsa Klensch’ [on CNN],” admits Nevitt. Like the quin-tessentially chic Klensch, Nevitt has proven to be more than just an of-the-moment “It” girl by working at many of the industry’s top media companies, including Refinery29.com and Nylon, before settling into her present post as the web editor of Teen Vogue.

“I’m constantly working with other magazine editors to figure out how to bring their stories to life on-line. I oversee the blog and the online content. I also handle a lot of the business liaisons, so I have to talk to the ad team and the corporate team to make sure that every-thing we’re doing is monetized, and then also overseeing all of our different social media channels—Facebook, Twitter and Foursquare.” Nevitt certainly has her plate full, but does it ever become too much? “It’s very busy, but it’s great!”

With Mercedes-Benz Fashion Week reigning in its newfound home at Lincoln Center, Nevitt recalls her very first Fashion Week experience with nostalgia. “I started interning in Febru-ary and my first day of my internship was Fashion Week. My editor took me to a fashion show. It was Alice Roy and

then I went to a Milly show that will forever stick in my mind. They were just like, ‘Come on, we have a seat!’ And it was at Bryant Park so we just walked down the street from Condé Nast. It gets really dark before a show and then lights get really bright. It was pretty unbeliev-able.”

Although she does not model herself after any specific icon, Nevitt does profess ad-miration for the women with whom she works. “I started in-terning with Jane Keltner [de Valle], the fashion news director who also went to Barnard. Just seeing what she’s done in the past five years is very influential—seeing how people carry themselves and react under pressure is really in-teresting and something I admire. Amy Astley [Teen Vogue Editor in Chief] is

amazing.” To Columbia and Barnard stu-dents with little to no fashion experi-ence, Nevitt advises, “Intern, intern, intern!” But of course, one should al-ways strive to find that happy balance. “Don’t have too many experiences on your résumé. Switching internships every semester—while that’s great to see how different companies work—it’s important to see that someone was trusted in a position for an extended period of time.”

She also advises budding styl-ists and designers to start blogging as a way to create an online portfolio for potential employers to see. “That’s sort of the magic of the Internet: You can talk to people everywhere. No one’s off limits,” Nevitt offers.

True to her scholarly Columbia and Barnard roots, Nevitt adds, “Read all you can and show that you’re more interesting than just fash-ion. I look for people that are multidimensional.” Clearly, poring over those CC books, excelling in those Nine Ways of Know-ing, and attending MoMA

field trips for Art Hum are beneficial in more ways than one.

Academics aside, Nevitt gives some much-appreciated advice on how to avoid future sticky situations. “Don’t talk badly about people. Eve-ryone knows everyone and will repeat everything in this industry,” she ad-vises with a chuckle. Her candid words of wisdom will hopefully help advance Hoot readers’ fashionable pursuits, while saving them from being put in that much-dreaded social hot seat.

That’s sort of the magic of the Internet: You can talk to people everywhere. No one’s off limits.

by rubii pham

Naomi Nevittthe“it”girlbehindtheblog

by carla vass

thebusinessoffashion

Visiting fashion designer Zang Toi in his Upper East Side apart-ment is like stepping back in

time. Elegant crystal chandeliers hang-ing from the high, molded ceilings per-fectly complement the French antique furniture that would not be out of place in Marie Antoinette’s Petite Trianon. I am served coffee from beautiful china carried out on (literally) a silver platter. In short, Toi’s apartment is an aesthetic testament to how he likes to live his life—surrounded by beauty. “I am mo-tivated by one single thing—beauty,” he says.

While Toi hails from Malaysia and still returns at least once a year to visit family, he calls New York home. As a boy, he developed a head for business while helping out in his family’s gro-cery store after school. This business savvy has helped him turn his small atelier, opened in 1989, into a global business. “I’m not afraid to crunch numbers,” he says confidently.

After graduating from Parsons, his first collection was profiled in the March 1990 issue of Vogue. Today, Toi’s designs are available at Neiman Marcus and Saks Fifth Avenue. Many clients also attend his private trunk shows, and the bulk of his business comes from these special orders. Toi is the first to admit that his creations aren’t cheap, but he has managed to find a niche catering to very wealthy clients who are looking for beautifully made garments that will stand the test of time.

Toi describes the woman he de-signs for as confident, with a great sense of style. “No fashion victims!” he laughs. Indeed, his clients are success-ful ladies who love “the finer things in life.” He tells me a great story about Judy Giuliani, who became one of his first clients in 1990. Backstage at a re-cent show, she proudly told his brother that she owns one of his very first suits, and still wears it.

All of Toi’s clothes are handmade in New York City, by a team of no more than 17 people. While this atten-tion to detail ensures that he will al-ways remain more of a couturier than a mass-producer of fashion, this busi-ness model suits him. Despite the cur-rent economic climate, his fiercely loyal clients have not cut back. Luxury will always survive, he says, particularly at the top tier. Instead, he charges that it is the producers who design for the average consumer that really need to rethink the way they design. “There is too much same-ness in the industry,” says Mr. Toi, “After you read one fash-ion magazine, you don’t need to read any more. It’s not a smart business move.”

Toi could teach us Columbians a thing or two about being smart.

Features


Designer Profile: Zang Toi

by noel duan

interviewwiththeblackswancostumedesigner

After chatting with Amy Westcott, the costume designer for “Black Swan,” Hoot is ready to sign up for a dance class at Barnard.

Hoot: How did you get started as a costume designer and stylist? Westcott: It started when I was about five or six. I loved my dolls and attempted to dress them with toilet paper or whatever I could get my hands on at the time. After dabbling in doll clothes for some years, I learned how to sew, through my mom, and started making clothes for actual people—namely me. My dad finally said to me one day, “You could do this for a living,” and the lights sort of went on. I went to Syracuse University and got a B.S. in Fashion Design, and brought my skills to NYC, where I worked on Seventh Ave for four years. I wasn’t really cut out for the Garment Center, so I interned on a film called “Copland.” Then, the ball was in motion.

Hoot: How is working in film different from styling for magazines or advertisements?Westcott: It’s a completely different beast. A film is a major time commitment and you create long-term characters. I think of styling as more “create and run.” There is also such a difference in the amount of time a character has to wear something. For a shoot, anyone can wear something for 15 hours, but if you have it on for 15 days or weeks, that’s another story. You have to think about the comfort and longevity of a garment.

Hoot: What are some of your favorite films and/or television shows, fashion-wise?Westcott: I love things that create something new—even if it’s recreating history, but in a new way. I thought “Shakespeare in Love” was amazing for this. Sandy Powell literally redesigned history, and it was beautiful, giving characters life and making them unique. But I also give special credit to films that didn’t have a ton of money to work with, and look realistic to the point of not noticing them.

Hoot: What is the method of collaboration between you and director Darren Aronofsky? How do you make sure that his vision coincides with your vision?Westcott: We had a lot of meetings. We spoke

Fashion in Film: Amy Westcott

Natalie Portman in

BLACK SWAN; Photo by Niko

Tavernise

and emailed all the time with new ideas, pictures, and thoughts. There was a “creative brain trust” on “Black Swan” that included Darren, Matty Libatique, Thérèse DePrez and myself. We threw around a lot of ideas before we even started the research.

Hoot: What kind of research and preparation went into creating the costumes for “Black Swan?”Westcott: Tons of research of past performances—Swan Lake has been done in every creative way imaginable—but we also looked into the fashion side of things. For example, what has Thierry Mugler done with feathers? Karl Lagerfeld created an incredible swan costume for Elena Glurdjidze of the English National Ballet, which was definitely an influence. However, my most beneficial form of research was sitting in on American Ballet Theater and New York City Ballet classes, and talking to actual dancers there.

Hoot: How did the collaboration with Rodarte come about?Westcott: Rodarte’s Spring 2010 line was very bird-like, inspired by vultures, and was very dark. After I took a look at that and met with Kate [Mulleavy], I thought it could work as a collaborative effort. We threw around a lot of ideas back and forth and had some iChat meetings. They would send us swatches that we would check out, and if they worked, then we camera

tested them. It was an evolution.

Hoot: Teen Vogue has reported that ballerina-style is now making a comeback as a trend, due to “Black Swan.” What are some ways Columbia students can incorporate the dancer look into their everyday wardrobe?

Westcott: Dancers think about the line that they present—top to bottom, a long, lean line—more than the average Joe. This can be achieved through monochromatic looks. For instance, if you wore purple tights, add a skirt in the purple family to carry your eye straight down. Add a boot in that tone, though not necessarily the same color, so that a contrasting shoe doesn’t alarmingly break up the line. Arm

warmers would help too!

Hoot: For Columbia students who want to learn more about costume design or styling, how do you recommend they get started?Westcott: Interning. Everyone in this business, at some point, has worked for free. Don’t have an ego about it, just get in there and prove yourself useful. It’s good to know how fabric works, how to sew, and how to convey your ideas through a sketch. I would always recommend a draping, sewing and fashion illustration class. Not every designer has these skills, but it would give you a leg-up on the competition. I think the most important thing is to have a passion for what you are doing and to be nice to people.

Hoot: If you could go back in time to see your college self, what would you tell her?Westcott: I’d say, “Put down that beer!” Just kidding. I would say, “Keep your eyes on the prize.” It’s my personal motto.

Features


Natalie Portman in BLACK SWAN; Photo by Niko Tavernise

Left: Original sketch by West-cott, pictured above.

Model Behavior

by ivan cheng

interviewwithdanielgutsche(cc’12)

“Zoolander” perpetuated the idea that male supermodels are nothing more than hollow lost-boys who so happen to be ridiculously ridiculously good-looking. We find out from Daniel Gutsche (CC ’12), who interns at Major Model Management, about the truth behind Blue Steel and Orange Mocha Frappucinos.

As a Classical Studies major and accomplished swimmer in high school, it might come as a surprise that Gutsche began an internship with one of the largest modeling agencies in New York. Yet with his unintimidating good looks and instinctive sense of style, Major Model Management does not seem to be that much of an anomaly for the junior. His sisters are both rising stars of the fashion industry, one as a buyer for Prada and the other as the boss of her own personal styling business; for Gutsche, this internship gave him the opportunity to satisfy the creative ambitions that his previous corporate work did not grant him. Speaking on his motivations for pursuing this internship, he shares that he wanted an internship experience where he was genuinely satisfied and personally invested in. Dispelling the myth that fashion internships are parsimoniously exploitative, he even gets paid more at Major than his previous corporate internships.

When thinking about the canon of fashion jobs out there, Anne Hathaway’s rollercoaster journey in “The Devil Wears Prada” often comes to mind. Indeed Gutsche, as assistant to Katia Sherman, the president of Major, often feels the same way about his job. “Sometimes I hold my breath walking into the agency because I’m not sure what monstrosity of a day I will have. Some days like fashion week or campaign season are more stressful,

but most regular tasks include composing model portfolios, running castings within the agency, and helping bookers choose models photo shoots.” This does not mean that he dreads going in for work; his passion and enjoyment are undeniable. Rather, as he insightfully shares, “While the glamour is u n d e r s t a n d a b l y sparkly and attractive to people, I’m primarily interested in the internal processes that make art sell. There is a lot of hard work on both the creative and business ends.” He believes that the fashion industry engages him, as it is one of the few places where both the left and right brains seamlessly come together.

In an industry where appearance seems to be everything, the male modeling world is one that people have the most preconceptions about. “Sometimes people are under the impression that you have to look like a Greek. Obviously appearance is a dominating factor, but models have to know how to work in front of a camera too. More importantly, the most successful models have charisma and personality, know how to affiliate with clients, and sell whatever ‘edge’ they bring to fashion. Sitting pretty can only take you so far.” Major represents a wide variety of male models, though many do fit in with what Gutsche calls the “Abercrombie look.” Yet the world of fashion is ever changing and as trends come and go, so does the preference for certain types of models. Circling back

to which models are most popular, Gutsche shares, “It really depends on the client. Major has been known for having highly masculine male models, and it is generally assumed that we can supply guys with idealized bodies and more classically handsome faces. However, we do also represent some guys with ‘edgier’ looks—guys with unusual facial features that do not necessarily comply with societal standards about what is ‘hot.’”

While movies like “Zoolander” and even shows like “America’s Next Top Model” are presenting a certain view of the modeling industry, it’s interesting to hear Gutsche’s personal take on what models are like. “I definitely think models and the industry at large get an unnecessarily bad rap. My coworkers are some of the brightest and most dedicated people I have met outside Columbia, and I am honored to receive the amount of responsibility from them that I do.” In an industry where beauty is a commodity, it is both comforting and promising that there is much more that lies beneath the façade.

Photographed by Chad Smith

Student Profile: Catching Up with Jake Stavis

by kavitha surana

studyhard,partyharder

Intern-on-the-go Jake Stavis (CC ’13) has already seen his fair share on the front lines of the fashion

world: He’s faked an exotic French name to get into Alexander Wang’s after party, acquired a ridiculous amount of Gray Goose branded items (“bathrobe, golf towels, cocktail nap-kins, hats… I got it all except alcohol,” he joked), hugged Tinsley Mortimer, lent Jeremy Scott his laptop charger, and even avoided fights with fash-ion girls intent on getting into exclu-sive events. “Girls go nuts when they want to get into a party with a Belve-dere open bar—which you shouldn’t be surprised about, considering what they’re wearing,” he remarked of one

fashionista brawl he witnessed. Known to roll into Butler at 2 a.m. after a long day at fashion week, Stavis seems to live a double life.

His resume is long and impres-sive for a mere sophomore, including stints at Guest of a Guest, Harrison & Shriftman PR, People’s Revolution, Pa-per, and most recently StyleCaster, but this art history major stays surprisingly grounded about all the glitz and glam-our he encounters. “I think it’s really important for everyone to work in the service industry at some point,” Stavis said, remembering his high school days hawking fish at a farmers market dur-ing the summer. “Kindness really does do wonders and I wish fashion people could learn that a little bit more. Say-ing ‘thank you’ once in a while would make the fashion industry brighter. ”

How did a fishmonger from Westchester end up with a Twitter ad-diction, a penchant for Missoni prints and an internship working under the infamous PR maverick and reality TV personality Kelly Cutrone of “Kell on Earth?” “Fashion came out of my inter-est in photography,” explained Stavis, who started reading Interview in eighth

grade. “It’s a general arts and culture magazine,” said Stavis. “So I wasn’t picking up Vogue in front of my camp friends who were into Sports Illustrated, but [Interview] still has a very fashion-able eye.” From there, he was inspired to apply “on a whim” to Paper nearly four years ago. “In high school, I did a lot of photography so I started out with that. Then blogging caught my eye,” said Stavis. “It allows a whole new type of tone and coverage that’s up to the minute. There are no limits with the Internet now, something I love about working in that sector.”

By his first week of college, Stavis was photographing celebrities like Erin Wasson for Guest of a Guest, contribut-ing snarky reviews of events to Paper, and hobnobbing as best he could with New York’s social scene. “It’s funny, when people don’t know you, but hear you work for a specific company, they assume you have a certain degree of power,” said Stavis. “When I bump into celebrities, they might talk to me longer than they [would if they] knew I was just an intern.”

For Stavis, who is still in the proc-ess of untangling exactly where his in-terests lie within the industry, some of the best intern experiences have been

learning what he doesn’t want to do professionally. “Definitely, I know I am more interested in the media side more than the PR side now,” said Stavis, af-ter having done two public relations internships (of working with Cutrone he won’t let on much, but said that “she is definitely as spirited as she is on TV.”) He is excited by the shifting nature of print media and hopes to be at the forefront of innovations. “Maga-zines and iPads will be an interesting fit,” he mused, “When you look at a magazine, advertising and editorial content are part of the same thing. You enjoy looking at ads. iPads can blend the beauty of print ads with the flex-ibility of online ads that link and bring you other places.”

Though he spends much of his time checking his Twitter account and watching trash TV, seemingly frivolous activities, Stavis is still a Columbia stu-dent and, like a true Ivy Leaguer, has his own spin on the pop culture indus-try. “I am really interested in social his-tory,” he said. “It’s hard to think about it now, but the things we are reading now in magazines will eventually be in history books. Every day, things that aren’t really considered momentous events really do shape our culture.”

Features


My Fair Ladydocolumbiastudentsneedtotogrowup?

by constance boozer

In the September 2010 issue, Vogue declared that fashion had grown up. Instead of bearing all in the highest heels possible, fashion icons

have now become “ladies.” The basis for this claim? An occurrence as rare as all the planets aligning at once: Chanel, Dior, Louis Vuitton, Prada, Lanvin, and Dolce and Gabbana all featured decidedly grownup looks in the same season.

If you are still not aware of this trend, think of attire that you could potentially wear to the office and then go on the town in with your girlfriends. Although ladylike fashion is not limited to these items, the most prevalent aspects of this trend are button-up collars, kitten heels, camel coats, capes, and structured bodice-full skirts. According to GQ, Don Draper’s and Roger Sterling’s impact on menswear parallels this ladylike style. Although not as ubiquitous as their female counterparts, plaid and steel gray suits and skinny ties are infiltrating the fashion world.

The origin of this style is debatable. Some point at the rising popularity of the television show Mad Men, but Louis Vuitton’s most recent fall fashion campaign ad also created a media stir. Featuring Christy Turlington, Karen Elson, and Natalia Vodianova with prim ponies as they tidy up in front of old-fashioned make-up mirrors, the ad speaks of an elegance only realized in a long-forgotten era. Kate Middleton, or shall we say, Catherine Middleton, Duchess of Cambridge, has also inspired the resurgence of prim and proper.

Even more uncertain is how long this sensation will continue. Many believe it will thrive as long as Mad Men is on the air, which means that this trend’s demise should not be any time soon.

Although New York essentially begot this craze, it is questionable whether Columbia and Barnard students are embracing and contributing to its longevity.

As Columbia sophomore Emily Ostertag says, “I think Columbia has embraced these trends because Columbia is a pretty fashion-conscious place in general.”

However, Maricela Gonzalez, a Columbia sophomore, says, “I see some girls on campus wearing Prada and Louis Vuitton kitten heels, but when push comes to shove, I see way more sweatpants tucked into Ugg boots, especially during midterms and finals.”

Kelly Hines, a sophomore at Ole Miss, informs us that Columbia is not the only school to embrace some of the ladylike trends. “Ole Miss has been impacted by these trends somewhat. Structured suit jackets and grown-up bags definitely have become a rising trend; the kitten heels not so much. I have bought a suit jacket and structured bag to keep up, so those trends have impacted me.”

Although Hines has changed her wardrobe, her student budget prevents her from embracing all aspects of the trend. “College students usually don’t have the money to buy fashion forward clothes.”

Every male Columbia student who answered our inquiries were both unaware of an existence of a

male-counterpart to the ladylike trend and did not seem enthusiastic about wearing suits, especially plaid ones with skinny ties, to class or on weekends. However, a majority of them did wish they could be more like

Don Draper. Go figure.

Although most students at Colum-bia do not seem to embrace what the fashion pundits dictate, almost all college students have acknowledged

that their fashion choices have “grown up” in some way since high school. As Hines said, “My fashion choices have changed since high school, thank goodness.”

In addition, most students noted that what others Columbia students wear around them influenced their choices. “I wore a lot of over the top glitzy rhinestone stuff when I lived in Miami. When I got to Columbia, I majorly toned it down. I was personally influenced by those around me and in the places that I frequented,” said Karishma Habbu, (CC ’13).

Ostertag said, “Once I noticed how fashion-conscious Columbia is, I started dressing a bit more nicely than I did in high school. However, I think what’s most important to people here is having an individual or unique style, and that’s what is important to me, as well, so I haven’t really changed my style all that much.”

Although fashion’s recent grown-up preoccupation seems to be due to a somewhat fleeting obsession with the past, students’ wardrobes are an extension of their personality, reflecting their gradual maturation, something more permanent than our obsession with last spring’s Balenciaga clogs.

Once I noticed how fashion-conscious Columbia is, I started dressing a bit more nicely than I did in

high school.

Features


Neighborhood Profile: Williamsburg

by carla vass

thehipster,notcolonialone

Photographer: Gabriella Landazuri

Let’s be honest: most Manhat-tanites look down their noses at Brooklyn. This is not necessarily

due to any logical inferiority, however. It’s simply because people who live in Manhattan look down on pretty much everyone, except the person who lives in the larger apartment next door, has the better job, etc.

Perhaps it is this attitude that has kept all but a few brave Columbia stu-dents from venturing to Williamsburg. Perhaps it’s the perceived distance. Re-cently, however, I was very surprised to find that the trip to this trendy outpost can be made in less than 40 minutes, and only requires one subway change.

I’ll admit I was formerly a Brook-lyn discriminator. Before making the journey, I worried about time, believ-ing that I would possibly need several hours to make the trip. I also worried

about it getting dark. I’m not sure what I thought might hap-pen, but I was adamant that we get to Brook-lyn “before dark.” An easy subway ride later, I found myself standing on an ador-able, brownstone-lined street. I felt almost like I was in a small town somewhere—albeit one with incredibly trendy looking people wearing skinny jeans and horn-rimmed glasses.

Full of restaurants, coffee shops, bars, and boutiques, Williamsburg is truly a gem. Even better news: all seemed to offer much more reasonable prices than Manhattan. Stroll down Bedford Avenue and discover Jumelle

(148 Bedford Avenue), a boutique that offers quirky labels like APC, perfect for pricey Williamsburg-hipster dress-ing. Sir (129 Bedford Avenue) was another standout, and featured gor-geously crafted silk dresses. Once you get tired of shopping for vintage and other original finds, you can embark on a food-crawl. On any given street you might find Vietnamese, Thai or Turkish food. Williamsburg is also incredibly eco-conscious, and a vegetarian’s para-dise. Radish Bakery (158 Bedford Av-enue) offers delicious coffee, pastries, and other treats made from organic and local ingredients. For the more adventurous in our party, Doner (189 Bedford Avenue) was a bit hit, offering delicious falafel, kebab, and a plethora of traditional dishes—definitely worth the subway ride!

Hoot Pick: Bigdepartmentstoresnotfulfillingallofyourfashionneeds?Tiredofshowingupwearingthesamethingastwootherpeople?Tryboutiika.com,adirectorythatallowsyoutosearchforboutiques by neighborhood. The sitealsoincludesvintageandconsignmentshops.Nolegworknecessary!

With “sustainable design” a recent – and overdue – catch phrase of designers in the

post-recession era, a return to the bar-ter economy might be in order. How refreshing and timely then, that a new online shopping website has appeared on the scene based on this premise. Launched in July 2010 by founder Kate Sekules, ReFashioner.com is making strides towards changing the way avid fashionistas consume – good news for

students with big shopping appetites but tight budgets.

Many Columbians are already fa-miliar with designer bargain-hunting, routinely browsing eBay, Gilt Groupe, and other shopping websites to search for high-fashion goods at reduced prices. Instead, ReFashioner focuses on working with what you’ve already got, helping those with designer-mania re-use and recycle their under-worn cloth-ing. Users upload pictures of items they are willing to part with and are awarded “ReDollars” to spend on the site, allowing them to exchange their lightly used pieces for someone else’s castoff. After all, everyone knows the frustration and guilt that comes with too many impulse-buys: a trend or style that inspired “gotta-have-it-now” cravings in the store ends up gathering dust in the back of the closet. As user AverySpofford wrote of a slinky gold lamé Marc Jacob’s top she posted for swapping, “[I] bought it because I love everything gold right now and eve-rything Marc Jacobs always!...but it’s just not really my style.” Luckily, using ReFashioner she can trade it for some-thing that she will actually wear. One woman’s trash is another woman’s treasure, and so the fashion-recycling wheel begins to spin.

“ReFashioner to me, simply, is the future,” says Cyrena Lee (BC ’10), who works for the company. Lee got her start writing for school publica-tions and interning at DailyCandy.com during her years at Columbia. After a quick stint working in advertising at Ogilvy in Shanghai, Lee landed the job of “Manager of All Things” as ReFash-ioner was gearing up. “I was excited beyond belief when I was offered the job,” she said. “The contrast between working within a massive international company and a start up is probably as great as that between Chinese culture and American culture.”

Besides the satisfaction Lee takes in being an integral part of a small company, (her duties include dealing with customer service, appraising up-loaded pieces, and managing tweets and Tumblr posts), she also feels she is contributing to building a new “ethos” and community in the fashion world.

“We stand for a step towards quality, sustainability, and an ethos of reusing, repurposing, and sharing, while simul-taneously stepping away from the cul-ture of quick and mass consumption.”

ReFashioner isn’t another imper-sonal website, but a network where members can share stories and memo-ries, speaking to a particular nostalgia inherent in designer shopping. “What one wears becomes a moving extension of the self and takes with it memories and experiences of our lives,” explains Lee. Members of ReFashioner often write extensive profiles of their fash-ion tastes, follow each other’s “clos-ets,” and even collaborate in fashion pursuits. “My favorite story revolves around a pair of Frye boots,” recounts Lee. “One ReFashioner saw on anoth-er’s closet that she liked such boots, and thought of her own neglected pair. She uploaded them, and fatefully, they happened to be the exact size of the [person who wanted them]! They both sent such sweet emails, marveling at the funny fashion tinted fate.”

Lee realizes that the biggest chal-lenge of ReFashioner is getting people to participate. “So far we’ve had a phe-nomenal amount of interest and appli-cations to be members since our first press coverage,” she says, but admits, “It is true that it takes some effort to get out that digital camera and take photos of clothing in a suitable manner. I think some people also may be unwilling to part with designer pieces.” For those of us at Hoot who recognize a good cause – and opportunity – when we see one, the effort it takes to participate is well worth the pay off and is an invitation to rethink the way we consume. “I’d like to imagine in the future people using it as a verb, like, ‘I refashioned this,’” Lee says. Here’s to hoping the new verb catches fire with a fresh generation of Columbians.

Sustainable Vision

by kavitha surana

re-thinkingconsumerisminthedigitalage

Features


White Taupe Seersucker Unisex Cotton Bow Tie, American Ap-parel; Pinpoint Oxford Long Sleeve Button-Up Shirt, American Apparel; Jeans, Joe’s Jeans; Windbreaker; Ben Sherman; Belt, A+R (aplusrstore.com).

RIDER STRONG:

“The great narrative of Hollywood is that the person came from nowhere and had natural talent and no education and no formal technique. [Hollywood]

hates the idea that someone went to film school and followed a book and actually learned technical skills. No one wants to tell that story,” says Rider Strong (CC ’04), ruminating upon the impact of his Columbia education on his performing career. Ap-parently, no one in Hollywood cares. Hear that, Trustees?

Plenty of Columbia students grew up watching “Boy Meets World in the ‘90s, but few know that Strong, otherwise known as Shawn Hunter, graduated magna cum laude in English after transferring from Occidental College in Los Angeles. This ‘90s teenage heartthrob with the iconic hair flip played the bad boy of the popular sitcom—the “poor, dumb best friend” who be-came the “dumb, poetic, soulful rebel,” he says.

Strong recalls his memories at Columbia fondly, specifically with his favorite professor, the late Karl Kroeber, who taught a Native American stories class. He admits that he did not ini-tially have an interest in the course, but Kroeber brought a new perspective to his study of English literature. The two ended becoming good friends, as Strong helped Kroeber create a new Native American contemporary stories class.

In spite of his rigorous academic involvement in college, Strong did not have the “typical” Columbia College experi-ence. “I wasn’t super social because I didn’t live on campus. I think now, I have three or four friends from Columbia I keep in touch with. When I came to Columbia, I was already 20. Most of the people I hung out with were General Studies,” he says. He ended up living in the East Village after a brief stay in the West Village (“It wasn’t really my style,” he explained.).

Going to class with students who were younger than him, such as Lit Hum with freshmen, felt “weird” to him, he admits,

stylist and author: noel duanassistant: elaine lowphotographer: shiloh strongmake-up: christa mccarthyhair: mandi aparicio

hownewyorkcynicismdidn’tbreakhisboyishcharm

CoverStory


FROM LA TO NYC

I think you overload and shut down and become cynical while you’re [at Columbia]. It’s like, intellectual overload, and you think you’re always going to find

people like that, and you’re just not.

Columbia Sweatshirt;

Wool Peacoat, American

Apparel; Scarf, American

Apparel; Khaki Pants; Ben

Sherman; Shoes, Model’s Own.

CoverStory


[Hollywood] hates the idea that someone

went to film school and followed a book and

actually learned technical skills. No one wants to tell

that story.

Shirt, Ben Sherman; Rod Skinny Jeans; Ben Sherman; Shoes, Model’s Own.

but Strong loved and cherished every moment of conversation with his peers and professors—especially after he moved back to Los Angeles. “I think there’s a tendency—and I even fell into this trap—to get overwhelmed by the fact that everyone is really great, like everyone is really talented, and really smart, and really good at whatever they do. I think you overload and shut down and become cynical while you’re there. It’s like, intellectual overload, and you think you’re always going to find people like that, and you’re just not,” he says.

After college, Strong moved back to Los Angeles, where he and his brother, Shiloh—who was the photographer for this story—began directing, produc-ing, writing, and filming short films together. Their film, “Irish Twins,” pre-miered at the 2008 Tribeca Film Festi-val, and their television commercial in support of the Barack Obama presi-dential campaign, “It Could Happen to You,” won MoveOn.org’s contest for funniest ad and aired on Comedy Cen-tral. They also recently wrote a graphic novel called Blood Merchant. “The goal is to get somebody to give us money to make a full-length movie,” Strong says.

While Strong is a jack-of-all-trades in Hollywood, he humbly admits that he has no expertise when it comes to fashion. His one signature piece is a pair of motorcycle boots, which he has worn since his days on “Boy Meets World.” He also used to own the leath-er jacket that his character wore on the show. Disney would not let him keep it, so he bought a fake leather jacket and swapped them before the costumes en-tered the studio archives. Unfortunate-ly, the real jacket from the show was stolen from his car in Brooklyn, while

the fake jacket is locked up safely. “Dis-ney doesn’t know,” he smirks with a tinge of remorse.

Though his hair is now too short to properly run his hands through, Strong admits that he has become very self-conscious about the seemingly in-nocuous act, which was a signature move of Shawn Hunter’s. “When I had long hair, I had the urge to do it all the time,” he says. Underneath the fancy books, there might still be a trace of rebel Shawn Hunter after all.

CoverStory


Hugo Boss Suit; Model’s Own; Shoes, Model’s Own; Necktie, Model’s Own; Silver Cock-roach Pin, A+R (aplusrstore.com).

styled by: anna cooperbergphotographer: damian tranmakeup artist: sharon shum

model: kylie rogers

Wild Ones: Leopard Accessories

BOHO GLAM GAL Rose gown, H&M, $34.95.

Sequined jacket, Forever 21, $27.80. Leopard clutch, Top-

shop, $50. Leopard booties, Top-shop, $70. Dangle earrings, styl-ist’s own. Heart ring, Jules Smith, $48; Pearl ring, Disney Couture,

$69, both at Karmaloop.

styled by: anna cooperbergphotographer: damian tranmakeup artist: sharon shum

model: kylie rogers

Accessories

Wild Ones: Leopard AccessoriesSpice up your regular outfits with a touch of leopard. No matter yourpersonal style, you can bring extra interest with a leopard shoe, handbag, or hat. Whether you’re looking for a prim style, a “walk on the wild side,” or a whimsical evening look, this animal print can add just the right amount of spark to an otherwise normal outfit.

GOOD GIRL Felt coat, TOV at Modcloth, $149.99. Leopard tote, Top-

shop. Leopard headband, Kar-maloop, $11. Leopard gloves,

stylist’s own.


ROCKER CHICKMoto jacket, BB Dakota at Modcloth, $94.99. Leopard tank, Silence & Noise at Urban Outfit-ters, $28. Leopard beanie, Free People at Karmaloop, $38 Lay-ered necklace, Betsey Johnson at Karmaloop, $65. Dagger ring, Noir Jewelry at Karmaloop, $64.

Accessories

TOPMAN denim jacket; Soto Smith

t-shirt;Levi’s jeans

The Guy: Columbia first-year Kemble Walker worked his nights in high school as a DJ back home in Sydney, Australia. “I’m into deeper electronic music,” he says, “’which is like a crossover between classical composition and club music. It is not that popular and isn’t immediately good for parties, but it’s been great to see how open-minded Columbia is in exploring new genres of music.”

The Look: To change things up, light denim is a good counter to the dark shades of winter. A loose top paired with a thin jacket is a comfortable combination for the intemperate weather of a New York spring.

HOOT PORTRAIT

styled by: martin hameryphotographer: amrita mazumdarmake-up artist: jina lim

MM6 by Maison Martin Margiela blazer; NSF top; Levi’s 511 skinny jeans; Balmain belt.

Menswear

27

After a morning of last-minute preparations and frantic sprints across Broadway, I actually

succeeded in not arriving fashionably late to my class, The Economics of Gen-der, for which I was to lead a discus-sion about Betty Friedan’s “Feminine Mystique.” Recognizing my partner in the front of the classroom, I managed to send a meek smile of recognition as I approached her, but before we had even exchanged “hello’s,” she dropped her jaw and exclaimed in shock: “Are you wearing concealer?!”

“Technically Dior tinted moistur-izer… But do you have your notes and the articles? I have an extra copy just in case you forgot.”

“Wait! Since when do you wear concealer? Wait, did you say Dior?”

Tamara continued her inquisitions about my “makeup” during the few moments that we had before class be-gan, only to be temporarily silenced; our professor, gesturing from the far corner of the classroom, indicated that tabling our Dior discourse would be appreciated now that class had started. With that invitation, I quickly turned to face the Barnard/Columbia cohort to brooch a new and more welcomed topic: Betty.

Little did I know how befitting the discussion topic would be, not only with regard to the onslaught of ques-tions posed by my Economics study buddy, but, more importantly, with regard to my manifesto that I seek to develop within this piece—what I shall call my anti-masculine manifesto in

the fashion world. By drawing upon a theoretical framework in queer studies and the philosophical propositions of Jean Beaudrillard, I seek to engender a critique against gender and gender norms, in respect to what I shall argue to be the heteronormative bias and zeitgeist that is portrayed, symbol-ized and legitimized not only within popular fashion publications, but also within the organization of fashion re-tailers themselves. Do not let Condé Nast, among others, fool you, scrupu-lous reader; what is ostensibly mod-eled as “en vogue” in contemporary men’s fashion publications—through advertisements, center folds and sun-dry features sections—is most often a politicized and value-laden image that diverges from the real styles and trends of real “(wo)men,” who embrace a much more liberal or loosely defined standard of conservative constructions of gender. Indeed, contemporary men, “queer” or otherwise, are actively en-croaching upon the territory of “chic,” as they radically battle for their rights against the ancien régime of simplified and unrealistic gender binaries.

But first, some rudimentary defini-tions and clarifications of terminology. The umbrella term of “Queer Theory” seeks to break down dichotomies, blur boundaries, and illuminate the role of language in stabilizing and reproduc-ing normative social structures. As a theoretical construct, “queer” can be used to destabilize artificial construc-tions of gendered categories; however, it is a construct that has come to have serious consequences for people’s lives and self-identifications. The term “queer” is often misused as a descrip-

tive term of those who are outside gen-der or sexual orientation norms, which actually works against the theoretical tenets of Queer Theory. More true to the academic use of the word, queer should be understood as a process of identity; rather than being queer, one does queer or one is becoming queer. As a concept, it should not be understood as a fully inhabited or completely de-fined category of identity, as the gen-der theorist, Judith Butler, argues. Its meaning is malleable, temporal, situ-ated, used for its momentary political efficacy and future oriented imagining (Butler, 1993). In other words, the word “queer” from queer theory is intended to destabilize identity or to create an-other identity category. With this con-cept in mind, the suitability of utilizing queer theory as a critical tool for pin-pointing the conservative (i.e., “het-eronormative”) zones through which fashion media outlets operate becomes clear—functioning like a powerful magnascope that may illuminate the highly segregated and “gendered” im-ages manifest within men’s fashion media.

Whether or not one identifies him or herself as male or female, fashion publishers and editors will assign the reader to one category or the other to maintain a sense of reality in which heteronormativity is an organizing social principle. As Marylin Frye ar-gues in The Politics of Reality: Essays in Feminist Theory, gender demarcations are ubiquitous social constructs that re-inforce the binary gender system and make alternatives inarticulate.

We need only to take a short sub-

by jacob inwood

thegenderbinarywithinfashion

Engendering Difference:

What’s Really in “Vogue”

way ride or cab to see this evidence for ourselves—to the homes of fash-ion houses along Fifth and Madison Avenue or South of Houston. Stores, especially department stores, them-selves symbolically conform to het-eronormative habits of dichotomous gendering of social subjects. Although some stores sell clothes associated with different sub-cultural groups, nearly all neatly separate out the clothes in-tended for men from the clothes in-tended for women. Ready-to-wear and apparel are not the only consumer products that are overtly gendered; ac-cessories from soap, shaving supplies, perfumes, belts, and, in general, virtu-ally anything that a person can put on their body is gendered by production, packaging, and placement. Stores often go so far as to put men and women’s body products in separate aisles, floors, or on separate sides of isles. Products with no obvious difference, such as athletic shoes and belts, are often sized differently and put in women’s or men’s sections of stores. Most people probably never seriously question why they shop in the part of the store spe-cifically designated for the gender with which they identify. However, stores neatly organize in accordance to het-eronormative agendas—into dichoto-mous masculine and feminine sections, as well as products carefully labeled and sold as women’s and men’s. They illustrate and contribute to the catego-rization of post-industrial Americans as always exclusively either masculine, indicating a male body, or feminine, in-dicating a female.

Nevertheless, despite these divi-sions, many men today audaciously

trespass engendered commodity clus-ters and approach cosmetic counters, in search of their desired skinny jeans, jeggings, eyeliner or concealer. As Co-lumbia senior, Christina Tekie (CC ‘11), affirms, “Both in New York and LA, where I’m originally from, I saw guys—skaters or gay men—trying on skinny jeans next to me in the ‘wom-en’s section,’ but it never phased me. And it didn’t seem like other custom-ers or employees were shocked either. This definitely seems to be an accepted behavior in many stores.”

Yet this begs the question as to why leading men’s fashion publica-tions, including Vogue Hommes In-ternational, fail to depict this ever-in-creasingly popular trend. In the latest spring issue, with James Franco on the cover and centerfold, he is styled in conservative tailored Gucci formal wear (despite the rather androgynous style of the brand’s Spring/Summer men’s ready-to-wear collection, with

elegantly dyed scarves replacing tra-ditional ties in pseudo-suit styles). Yet within Vogue’s glossy pages, Franco wore black suits, unembellished white shirts and solid black ties. It seems as if the color schema itself embodied the simple gender binary that men’s fash-ion media often espouse and continue to perpetuate.

The day when editors, stylists, and models like Franco—aside from select scenes in “Milk”—can comfort-ably concede to the dynamic reality of a genderqueer fashion philosophy, and cease to conceal the antiquated modes of simplistic gender binaries, will be a triumph of truth and testament of progress for the multifaceted world of men’s fashion media.

Features


Rad Hourani fashion show

Put winter favorites like fashionable fur vests and statement capes and coats to good use during chilly spring nights. Pair with soft neutrals, creams, and dreamy pastels in smooth silks to look light and romantic, yet pleasantly snug.

Bringing Winter to Spring

model: kimberly corlissphotographer: serena piolstylist: vivian luo

Soft Kaleidoscope cream silk mint

condition dress, Twinkle by Wenlan,

twinklebywenlan.com; Cropped Fur Waterfall Vest, Alberto Makali, albertomakali.com; Long Braided Chain

Necklace by Waejong Kim, Loopy Mango, $265, loopymango.

com; Boots, model’s own.

Fashion


Metallic Amber Dress in smoke, Alice and Trixie, shopaliceandtrixie.com; Studded Rhinestone Black Leather Gloves by Dents England, Loopy Mango, $115, loopymango.com; Mena Dress Boot by Christian Siriano, Payless, $60; Jacket, stylist’s own.

Wilkings Pant in Taupe, BB Dakota,

$70; Pastel Patchwork Henley, plenty by

Tracy Reese, $249; Cup Baggy Mid,

Pewter Canvas, United Nude, unitednude.

com; “Tutu” Layered Tulle Flower Headband in Nude,

Tarina Tarantino, $150; tarinatarantino.com.

Fashion


Cropped Lamb Fur Vest, Alberto Makali, albertomakali.com;Galaxy Ginger Scarf, Elizabeth Gillett, $78, elizabethgillett.com;Cream Patterned Pointelle Tights, Topshop;Satin Slip in Antique White, Victoria’s Secret.

Skingraft Capelet, Convent NYC, $260.

conventnyc.com;Dress and necklace Twinkle by Wenlan.

twinklebywenlan.com; Geometric Knuckle

Double Ring, Babel Fair, $99. babelfair.com;Dainton by Senso in

Black, Solestruck, $170, solestruck.com;

Bangle and Sunglasses, Forever 21.

Fashion


Dressing for New York City

by amanda wong

Seconddeckseconddeck

DO IT BIGMake a state-

ment at the club, in the mall, at your mother’s

house with big hair. Tina wears dress, Versace;

shoes, Dior; scarf, Alexander

Wang; legs, Dr yomomma; wig,

I Love Hair.

Take your pick between loose, flowing layers of luxurious sheer romantic fabrics and intimate lace detailing or choose more fitted menswear-inspired looks this spring. Keep cool in simple but bold accessories, and don’t forget to find that perfect pair of modern yet functional sandals to accompany you on those summer adventures without sacrificing too much comfort.

Elie Tahari Malia Dress, $328.00.Shoes, model’s own, Sergio Rossi.

Shifting SilhouettesShifting SilhouettesShifting Silhouettes

styled by alex memmi, jennifer ong, brittany portman, andrea shangmodel: angelica kolesarphotographer: vivian luo

Fashion


Chantelle Icone Demi bra, $98, journelle.com; Top Shop White Blazer; Dress Pants, Vintage.

Chan Luu Sterling Silver Wrap Brace-let on Beige Leath-er, $195, chanluu.

com. Flutter by Jill Golden, Large

Square Studded Bangles. Steven

Alan, Spring Scout Jumpsuit, $248,

stevenalan.com

Elle Macpherson Dentelle Underwire Bra in Cameo, $65, journelle.com; Chan Luu Viscose Ballet Skirts with Nylon Mesh Overlay, $195, chanluu.com; Double Knuckle Jewelled Ring, Forever 21.

Fashion


by jina lim photo: edson bobadilla makeup: sharon shum & emma stein hair: dominique starmodels: dana kim & anne inkpen

Summer FictionMAKE UP FOREVER Eyeshadow in Tangerine 18 and Light Blue

118, Sephora.com

customizetheboldlipstickandmoderneyeshadowtrendsthatdominatedSpring2011ready-to-wearrunways

CALI ORANGES & BLUES

Beauty


Mary Kay Cream Eye Color in Beach Blonde and Iced Cocoa, Marykay.com

Revlon Super Lustrous Lipstick in Fuchsia Fusion, local

drugstores

RAZZLE DAZZLE ‘EM

THINK BRIGHT PINK

It was the end of winter break and I had just one more week to enjoy my mother’s home cooking when I

agreed to go on a five-day detox juice diet with iZO Cleanze. Why did I forgo roasted eggplant and basil chicken to drink nothing but organic, vegan juices all day? A favorite of celebrities like Emily Deschanel and Emma Wasson, iZO Cleanze offers a juice cleanse and a “superfood” cleanse, both of which claim to carry advantages from increasing skin elasticity to kicking additions to even catalyzing spiritual awakening.

Although those assertions may sound a bit farfetched, I was drawn to the product’s many positive testimonials, a glowing review from ELLE, and its main goals: to flush out environmental toxins, boost energy levels, and promote weight loss in a non-invasive way. I did not need to lose weight but I figured it could not hurt to shed the nineteen years of toxins that have built up in my body and get a bit peppier in the process. Plus, iZO Cleanze makes the detox so convenient; built for busy professionals, the freshly made juices are delivered daily to your doorstep giving you no excuse to ignore your regime.

But surely college students are a completely different breed of animals

from professionals with our penchant for greasy food, haphazard schedules, and maybe even aversion toward the treadmill. Can iZO Cleanze win over the college crowd too?

------

Day 1: Woke up to a giant cooler on my porch. After unpacking many icepacks, I find twelve labeled bottles of liquids and a schedule of what to drink every hour. I drank the first two juices very reluctantly. Despite glowing reviews praising the juices’ fresh refreshing taste, I found the first one tasting like watery algae and the second, although containing berries, tasted just like the first but sweeter. The teas that followed, albeit bitter, were much easier to drink. At about noon, the real treat came in the form of an almond protein shake that was actually really delicious. More teas and juices make up the rest of the schedule. Surprisingly, I was not in the least bit hungry – in fact, I could not finish all the juices and started only drinking about half of each bottle by the afternoon. I did however have a mild headache all day but that is apparently normal at first as your body adjusts to the detox.

Day 2: Despite the headache on Day 1, I woke up early and refreshed. I had a lot more success getting everything

down – my body now seems more receptive to ingesting the pond-water-esque concoctions. I’m starting to really miss warm meals since all the juices are cold and despite not being hungry, I do not feel satisfied as the almond shake is the only drink that tastes filling. Day 3: I feel quite good. Had an amazing night’s sleep and have been feeling alert all day. It is both nice and unusual to feel pleasantly replenished without the side-effects of eating big meals such as bloating and drowsiness. With that said, I am dying for something solid. The almond shake is sadly becoming the highlight of my day.

Day 4: FOOD. Need FOOD.

Day 5: One. More. Day.

------

Thus concluded my five-day detox. By the end, I reached near frenzy in my desire for real food and had to force the juices down my throat every hour. For someone who eats few big meals rather than eating often, having to drink liquids every hour without being hungry or thirsty became a real challenge. It was also rather inconvenient to have to drink so frequently, as I went about my daily activities, for I would have to carry

by sharon wu

renouncingsolidfoodonhypeddetoxdietFive Days of Cleansing: iZO Cleanze

multiple bottles of juices in my purse, which would get warm and become even less appetizing.

However, I did feel healthier after the cleanse, as if my body was filled with light, leafy, nature-y goodness. It did not cause any astonishing change in my body or prove life-changing, but I did sleep soundly, wake up easily, feel energized throughout the day, and develop that cheesy bounce in my step. I also did not end up losing weight, but iZO Cleanze claimed not to cause unnecessary weight loss and I did not need it, so I was relieved.

Therefore iZO, for the most part, lived up to its hype, but boy was I relieved to be eating solid food again. As for its appeal to young people, I found it difficult to integrate into my only semi-busy summer schedule let alone hectic college life in full-swing. For the well-disciplined, a detox is well worth a try. But at $150/day, you might want to opt for a more affordable option.

We interviewed Kristie Koerner, Columbia’s own Registered Dietitian and member of the American Dietetic Association, for her thoughts on detoxing. Hoot: What is your take on the whole detox fad?Kristie: I do not promote any type of pill or diet and do not think either are necessary. If you eat the right amount, drink enough water, and exercise, normal digestion should rid your body of most toxins without side-effects. Toxins will exist unless you forever avoid going outside. Hoot: Do you think detoxing is effective for everyone? Why didn’t I lose weight?Kristie: It depends on how you ate

before the detox. If you ate unhealthy before, then you would probably experience a bigger difference. If you already ate healthy and in moderation, it is probably not going to have a large effect. Fat retains water, and depending on how much you already have, water can go in and out and you may not lose weight. Hoot: What do you think of the claims that iZO and other diets make?Kristie: Yes, you may rapidly shed unwanted weight, but it is most likely water weight. Once you start consuming solid foods again, you will probably regain the water weight. Claims about glowing skin more than likely relate to hydration, consuming less sodium, and avoiding fried foods on this diet. It will detoxify the body of some pollutants by cleaning out the colon and digestive tract. It may increase short-term physical energy since you are not be overeating, but I do not believe that you will maintain that energy.

Hoot: Some of the celebrity testimonials claim they cleanse every month. Is that unsafe?Kristie: I do not think that it should become a monthly habit. Maybe once every 4 months, or 3 times a year. Plus, it is expensive and does not seem economical for most people, especially college students. Hoot: Are there negative side-effects that we are not told about?Kristie: First, I doubt there is enough protein in this diet. For growing children and young adults, they should consume at least 1gram of protein for every kilogram (pounds divided by 2.2) of weight . A regular chicken cutlet (4-6 ounces) has about 20 grams of protein. Second, if you continue to

fo l low this cleanse, your body will become used to metabolizing liquid and it may become harder for your body to metabolize solid foods, leading to gastrointestinal upset (constipation, diarrhea, bloating, reflux, etc...). Third, it will more than likely put a damper on your personal, work, and social lives, as you will need to carry around liquid and not eat with friends. It will be hard to go to restaurants, parties,

work (constantly stopping to drink), traveling…Ultimately, it’s effects are different from person to person. The amount of calories one gets from this diet may not be enough to meet their needs. It does not appear to account for height, weight, and body fat. If a marathon runner followed this detox for a prolonged period of time, he or she would develop serious side effects. A healthy person should be okay to follow this diet for a short period of time, but no sick or elderly person, pregnant woman, or child should ever follow this diet without a doctor’s recommendation.

Health


Both [cleanses] claim to carry advantages from increasing skin elasticity to kicking addictions to

even catalyzing spiritual awakening.

YoucanreadmorehealthytipsfromKristieat:http://crownnutrition.tumblr.com.

Favorites for aDreamy Midsummer’s Night by jina lim


1.

2.

3.

5.

4.

8.

9.

10.

7.

6.

1. SephoraSunSafetyKit

Sephora.com

2.Palmer’sRepairing

ConditionerPalmer’sConditioning

ShampooLocal drugstores

3.TarteAmazonianClay

Long-WearBlushinTipsySephora.com

4.BremennLabs

EmergencyZitStickBremmenlabs.com

5.MaryKayTimewise3-in-1

CleanserMaryKayTimewiseAge-

FightingMoisturizerMarykay.com

6.TarteLipSurgenceNaturalLipLuster

Tartecosmetics.com

7.OlayEyeIlluminator

Local drugstores

8.NarsIlluminatorinSuperOrgasm

Narscosmetics.com

9.NotYourMother’s

VoluminizingHairsprayShape&ShineHairspray

TexturizingHairsprayThermalStylingSheild

SprayFrizzControlHairCreamCurlDefiningHairCream

Ulta.com

10.BremennLabsHylexin

Bremennlabs.com

Summer Playlist 2011

by daniel gutsche

concertsforpopprincessesandhipstersalike

DANCE/POP:BRITNEYSPEARS

Maybe you have been feeling “Lucky” as we head into finals season—“Stronger” than last semester now that theses are turned in, perhaps even “Toxic” with UV radiation after your first exposure to the sun in six months during spring break. Yet, do you still find yourself begging “Gimme More” on your hands and knees burning for summer fun? Fear not all ye faithful pop princesses! Britney is back and she is going to keep you dancing “Till the World Ends.” Expect some entrancing club hits like “I Wanna Go” and “Big Fat Bass” from Femme Fatale—released March 25th—to ring relentlessly in your heads many a morning after because this album is in it to win it. Competing with highly anticipated developments from Gaga and Beyoncé, Britney has already scheduled a North American summer tour, starting in California in mid-June and ending in Canada August 13th. Tickets are on sale now.

Music Suggestions: Jennifer Lopez – “On the Floor” (ft. Pitbull)Victoria Justice & the Victorious cast – “Beggin’ on Your Knees”LMFAO – “Party Rock Anthem” (ft. Lauren Bennett & GoonRock)

Shows/Concerts Suggestions:Lady Gaga on Good Morning America (May 27, 2011)

COUNTRY:TAYLORSWIFT

If summer for you is less “underground warehouse dance parties” and more “Southern comfort,” do not worry; we have got you covered. Promoting the October release of her third studio album, multi-platinum artist Taylor Swift is breaking onto the scene with the Taylor Swift Speak Now World Tour. The tour begins its North American leg on May 27th in Omaha, Nebraska. With fan fever ablaze following Swift’s reception of the Academy of Country Music’s Entertainer of the Year award, screeching teenyboppers everywhere—and mature collegiate folk like us—can look forward to some nostalgic revivals of hits such as “Love Story” and “You Belong with Me,” as well as the latest sensations from her album Speak Now. Tickets are on sale now, so flex those fingers and snag yourself a seat at taylorswift.com/tour.

Music Suggestions: Leighton Meester – “Summer Girl”Carrie Underwood – “There’s a Place for Us”Emmylou Harris – “The Road”

Shows/Concerts Suggestions:Kenny Chesney’s Goin’ Coastal Tour (now through August 28, 2011)

ALTERNATIVE/ROCK:MUSICFESTIVALSGALORE!

Fine, so sparkly blonde divas and their prepubescent entourages are not really your thing. Understandable. Are you looking for a grungy basement to crash or some other shadowy venue for your hipster dances instead? If so, there is Rubulad every few weekends here in the city to quench your music thirst, but feast your eyes (and ears) on music beyond this urban landscape we call currently home. Events such as Sweetlife Festival (Maryland), Bamboozle (New Jersey) and Bonnaroo (Tennessee) will be hosting the likes of Girl Talk, Crystal Castles, the Strokes, Empire of the Sun and more throughout the spring and summer. These marathon musical experiences are crowded and exhausting, but nothing brings the boys and girls to the yard like these killer lineups. Admission is highly coveted and competition is fierce, so be sure to check out websites that resell tickets and you will be set for an unparalleled summer adventure.

A&E


Illustrations by Angelica Kolesar

#

I’ve had one unhappy customer so far. She wanted

her fake weave cut.

#

Found: Student Haircutter Extraordinaire

by jina lim

shellyxu’smidas-likehandsatwork

Ever wish you could save time and money by getting a haircut in your dorm room without the

risk of an irreversible disaster? Even those with less-than-gifted, well-coor-dinated hands can do so easily now. Hoot has found a talent that can save dimes and the stress of finding the per-fect hairdresser while away from your favorite hair stylist from home! Shelly Xu, a sophomore in Columbia Col-lege double major-ing in Sustainable Development and Economics-Political Science, is on the rise as the campus hair cutter extraor-dinaire.

“I started cut-ting hair about four years ago, and I’ve been cut-ting my own hair ever since. I’m to-tally attached to my own haircuts. It’s just more special when it’s your own work,” Xu says. She has been cutting others’ hair for about three years. At Columbia, she has already given over twenty haircuts—mostly for her close friends and acquaintances who heard about her flair through word of mouth.

Xu’s part-time haircutting career started out as a fun activity that didn’t involve any profit. “I like to make peo-ple look good and feel good! My first gig was cutting a friend’s long hair. She cried at first but ended up liking it.”

Her worst experience? “I’ve had one unhappy customer so far. She

wanted her weave cut. I tried my best but it was very difficult—cutting syn-thetic hair is so different. She ended up taking out her weave.”

Xu also happens to be a talented il-lustrator who makes dresses outmade of paper and newspaper. No wonder she has an eye for finding flattering, well-proportioned hairstyles for all her friends and clients!

Her tip for cutting bangs for be-ginners: “Don’t cut horizontally—cut vertically and diagonally and remem-ber to follow the natural flow of your hair.” But still scared? No worries, Xu’s prices start at $5 and rarely exceed $20. Ladies and gentlemen, remember to email Shelly Xu ([email protected]) next time you want a quick trim, new bangs, or even a full style makeo-ver.

Still not convinced? Hear from a first-time customer, Evan Welber (CC ‘13), who says “I’m very pleased. She exceeded my expectations.” Hoot’s seal of approval goes to Xu.

Beauty


I’m totally attached to my own haircuts. It’s just more special when it’s your own.

BEFORE AND AFTEREvan wanted a neater, more profes-sional look suitable for interviews, so I cut the long bangs that used to cover her face. Not only does he look cleaner, but it is also easier to keep the hair in a good shape if it’s short.

I started working from the back. Most people don’t know this since they don’t see the backside of their hair, but the hair from the back gives off the first sign that a haircut is in need. Evan’s hair was long and thick in the back, which made the profile view messy and bumpy. I lay-ered the back and gave it a more fixed shape. I also trimmed the top.

A Guide to Gallery Hopping

by nicole estevez and alexandra lotero

Installation view Sarah E. Wood: Tilt at Kate Werble Gallery, New York. All photos courte-sy of Kate Werble Gallery. Image Elisabeth Bernstein Photography.

Galleries are a great alternative to museums. You can beat the crowds and the admission fees with galleries while also exposing

yourself to many pieces that will most likely head straight to private collections directly after the shows. Unlike museums, gallery exhibitions come and go quickly and there are plenty of them to go around. You will only have to wait a couple of weeks, and not months, to catch a new collection at a specific space.

WHERETOGOOption A: Plan AheadSimilar to concerts, everything is either already

here or travels to New York City at some point. Whether it is Rauschenberg or Picasso, it is bound to be located in a gallery somewhere. While the big names certainly abound, one should take the opportunity to check out established and emerging contemporary artists as well—but where to go?

Refer to sites such as ARTCARDS (artcards.cc/), the New York Times (nytimes.com), and New York Magazine (nymag.com) for the most up-to-date listings. ARTCARDS is a great resource because you can pick from several cities (New York, Miami, San Francisco or Los Angeles) and can receive email updates about upcoming gallery openings in your city every week. The New York Times and New York Magazine are, of course, more specific and you can narrow your searches on their sites to a specific borough or neighborhood.

Consider visiting the Rainforest Art Foundation (36-58 37th Street) in Queens the next time you are in the area. In the Foundation’s single expansive gallery, every piece of art is accompanied by a quotation by the artist explaining the personal significance of his or her respective work. The

theperfectwaytorackupsomepointsintheculturedepartment

Installation view Anna Betbeze: Moss Garden at Kate Werble Gallery, New York.

Arader Gallery (1016 Madison Avenue) occupies an entire five-story Upper East Side townhouse while Gallery 71 (974 Lexington Avenue) is a unique gallery that focuses on artwork depicting New York City.

Option B: Wander Around

You can stumble upon the most unexpected shows or spaces (pop-up installations anyone?) by simply wandering around. Seasoned hoppers will agree that Option B is clearly the most adventurous and can be done alone or with a buddy. If you want to do this, you should probably select one of two locations (or both!): Chelsea and SoHo. They are the places to go to when you have time to spare and no more than a thirty-minute train ride from campus on the 1 train. In these two neighborhoods, there are many blocks with several spaces on either side of the street or a handful within a one- to two-block radius.

In SoHo, check out spaces on West

Broadway between West Houston and Spring Street. Be sure to also visit those off the beaten path such as Renwick Gallery (45 Renwick Street), Kate Werble Gallery (83 Vandam Street), and Gavin Brown (620 Greenwich Street).

In Chelsea, tons of great galleries

can be found sandwiched between 10th and 11th Avenue from 20th to 26th Street. Zigzag your way through this area for some of the best work and shows in the city. You will not regret it.

WHENTOGO:OPENINGSOpenings are a great way

to surround oneself with other aficionados. You never know whom you will run into! Openings are usually held on Thursday, Friday, and Saturday nights around the city between 6:00 and 9:00 p.m. Just be sure to treat yourself to a lovely dinner beforehand. More and more galleries are located in elevated spaces, so getting there is part of the adventure.

WHENTOGO:DURINGTHEWEEK

If you prefer to view art on your own time and without all of the noise, hop on the train when you can during the week. Most galleries are closed on Sundays, but when they are open it

will most likely be Tuesday through Saturday from 10:00 or 11:00 a.m. to 6:00 p.m. Do not be afraid if it happens to be 5:59 p.m. and you are just walking through a gallery’s door. Most places will be kind enough to let you enjoy the works for a few extra minutes.

Consider these tips and see what you will find this summer!


While the big names certainly abound, one should take the opportunity to check out established and emerging

contemporary artists as well, but where to go?

A&E

The Light Show at Kate Werble Gallery, New York.

Food Trend: Cold-Brewed Coffee

Working at Joe has its downsides, but skip-ping lines and staying up-to-date with the latest trends in this culinary capital is cer-

tainly not one of them.

Because I am a barback at NoCo’s newest hot spot, cold-brewed iced coffee came on my radar just in time for those fleeting “lunch on the steps”-wor-thy days and jacketless evenings that flirt with stu-dents between spring rains. Unlike traditional iced coffee, cold-brew is never hot. The ground-up beans are soaked overnight with water in a fridge, a dif-ferent chemical process which brings out a different side to the complex coffee beans. Also, unlike other methods, it is safe to brew in your own room.

While the heat of espresso and drip-brewed cof-fee balance the acidic bite of the bean, traditional iced coffee always seemed a little off—too harsh-tasting to be a relaxation drink, too mellow for a morning pick-me-up. Cold-brew is the perfect compromise. True to what is said, a cold-brewed cup retains the in-tensity and nuanced flavor while dropping the acid-ity of both a hot and traditionally chilled cup of joe.

The slow absorption process allows the acid in the beans to break down more than in hot-brewing processes, leaving the nuanced flavor of the beans stripped down and smoother. “Cold-brew is richer, has more body. It is more of an intense experience,” says Jessica Bertin, manager of the Columbia Joe. “Espressoheads” can now experience a whole new side of their favorite blend. This slow brewing proc-ess also allows more caffeine from the beans to get absorbed into the concoction, so without distillation, cold-brewed coffee can give unexpected jitters.

At Joe, the café decides which single origin blend to cold-brew by trying them all and talking about it—a process that led them to serve their Sulawesi blend. Bertin mentions that their Bolivia beans “would also be baller.” She explains that the unique brewing process lends itself better to rich, chocolaty tones, than vegetal ones, but it can be hard to pre-dict how the method will change the taste and nature

by devin briski

DIYisn’tjustforaccessoriesanymore

DO IT BIGMake a state-

ment at the club, in the mall, at your mother’s

house with big hair. Tina wears dress, Versace;

shoes, Dior; scarf, Alexander

Wang; legs, Dr yomomma; wig,

I Love Hair.Joe is the only place on campus to this brew at the moment, but cold-brewing is open for experimentation with a variety of blends at home.Photos by Samuel Draxler.

of the blend, which is why Joe experi-ments.

Joe started serving cold-brew two summers ago, which is apparently common for “third wave cafés,” ac-cording to Bertin. She identifies the real trend starter as experimental San Francisco-based espresso chain Blue Bottle (which recently opened loca-tions in Brooklyn and downtown Man-hattan). “People started asking about it after that,” says Bertin. In the past cou-ple years, the trend has risen quickly, peaking during summer months, and remaining in the minds of dedicated consumers. This spring, renowned P o r t l a n d - b a s e d Stumptown an-nounced a limited sale of pre-bottled cold-brewed cof-fee, big news to the food blogosphere. However, Bertin thinks that the mass-production of cold-brewed coffee un-dermines its draws—artisanal, fresh and produced in small quantities.

Broadway’s other coffee connois-seur mainstay, Oren’s, has yet to catch onto the cold-brew buzz, sticking with traditionally iced cups for the summer. This makes Joe the only place in Morn-ingside Heights currently offering this brew. Of course, being more labor in-tensive and time-consuming, cold-brew is also more expensive—a small is priced at $3 (as compared to $2.25) at Joe and a large at $4 (as compared to $3). But that is even more reason for students to barista it themselves, no? DIY, the preferred methodology of

punks in the ‘80s and suburban dads, makes sense in this case. It is cheaper, more eco-friendly, and can be impres-sively high quality with a little experi-mentation.

I cold-brew my own coffee under the guidance of my Joe mentor curat-ing a selection of three beans to experi-ment. I begin my own cold-brewing experimentation with Joe’s Sulawesi, and two other blends available at West-side: Major Dickason’s Blend, a family favorite of mine, from Bay Area-based Peet’s Coffee & Tea ($13.99) and Crop

to Cup’s Iced African ($8.99), a cost-ef-fective and self-proclaimed eco-friend-ly blend specifically designed for iced tea unfamiliar to me.

I am currently only making single servings for a few friends and myself, but brewing in bulk is possible and recommended. Some also say that de-signer water will render the concoc-tion smoother and creamier. I mix ap-proximately two tablespoons into three small cups with temperate water and cover them in plastic wrap and store them overnight. The next day, I create a makeshift “drip bar” to filter the re-sults. It is recommended that one uses a superfine strainer (for those with a fully stocked kitchen) or cheesecloth,

but I tend to resort to an old pillowcase out of frugality. After it is strained, the coffee is intensely strong and must be diluted with approximately the same amount of water—though you can also do it to taste—and filled with ice.

Though my homemade Sulawesi does not have much on Joe’s expertly produced blend, the complexity of the blend lends itself well to the lack of acidity, bringing out a more nuanced taste. Peet’s Major Dickason’s Blend with its rich, nutty undertones does not translate as gracefully to cold-brew as I

would have expect-ed; without heat and acidity, the normally intense yet comfort-ing brew lacks its kick, leaving the nutty taste with an unexpected soft-ness. Crop to Cup’s Iced African is proof that paying more

does pay off, especially in the case of cold-brew. Though meant for iced cof-fee, the burnt and abrasive tones of this blend do not lend themselves well to the muted nature of cold-brew. Cold-brewing only makes sense for connois-seurs looking to experience a new side of their favorite blends, so investing in the highest quality beans makes sense.

With the recent success and spread of artisanal espresso cafés in New York, experimentation with both the tech-nique and taste of coffee are sure to continue in the coming years. The ease of concocting this latest trend at home will leave students unable to resist sacrificing a pillowcase or two to the creamy coffee gods this summer.

A&E


Experimentation with both the technique and taste of coffee are

sure to continue in the coming years.

How to DIY it: Use a strainer, cheesecloth, or even a pillowcase (pictured here) to create a drip bar for your concoction.

reOrder at the Brooklyn Museum

The Brooklyn Museum, one of New York’s oldest and largest art museums, has added to its

vast and illustrious collection of art an architectural intervention in the mu-seum’s Great Hall. The Brooklyn-based creative practice Situ Studio took on the original McKim, Mead, & White designed space with its installation reOrder: An Architectural Environment, transforming the classically geometric organization of the room into a dy-namic arrangement of bulbous fabric canopies pulling visitors in and around the space. Hoot was fortunate enough to discuss the project with Situ Studio to learn more about the installation.

Hoot: How did this all come about? Why the Brooklyn Museum?Situ Studio: We became acquainted with the director of the museum, Ar-nold Lehman, during Art Basel Miami in 2007 when he stepped into one of our Solar Pavilions. A three-year-long conversation followed—first discuss-ing how we might install one of our pavilions in the museum and conclud-ing with a site-specific installation pro-posal for the Great Hall. The idea for

reOrder competed against submissions from a number of artists, which have not been disclosed.

This large-scale intervention con-sists of large sheets of fabric extending out into the open volume of the room. Each canopy is unconventional and at-tached to one of the sixteen columns supporting the ceiling of the room. The protruding forms mask the uniformity of the supporting pillars underneath. According to Situ Studio, it sought to transform “the ornamental logic of the classical order in service of the com-plexities of a contemporary institution-al program.” The two identities of the museum—the tradition of historical significance and the emphasis on main-taining present-day relevance—mesh in this installation, giving the space new life.

Hoot: What have your past design projects been like and where does reOr-der: An Architectural Environment fit in?Situ Studio: reOrder continues a number of ideas first tested in our Solar Pavilions. The pavilions are each “cel-lular assemblies” where we create a set of parts, or cells, which can be quickly

assembled to create architectural struc-tures. The parts included a series of notches or perforations, which allowed for the parts to assemble freely and are somewhat ornamental artifacts of the fabrication. With reOrder, we created a construc-tion system that had a high degree of flexibility. The ornamental qualities are a direct result of the fabrication tech-niques and material properties.

The project also relates to a series of installations that we created for the Frank Lloyd Wright exhibition at the Guggenheim a couple of years ago. We studied the architecture of the museum and created models that engaged with the components of the building.

The bulging, glowing fabric forms attached to the pillars are immediately striking upon entering the Great Hall. The scale of the project—reaching to the ceiling of the 10,000 square-foot room—initially dominates the expe-rience of walking through the room, but soon becomes manageable as one interacts with the uniqueness of each individual column. One experiences both the magnitude of the entire room and the shelter of the smaller spaces

by jesse bakker and nicole estevez

getoutofmorningsideheightsthissummer

The Brooklyn Museum’s Great

Hall exudes a quasi-ethereal vibe

upon entering the transformed space.

beneath the awnings on the columns almost instantly. The pieces function not just as spatial organization, but also as vibrant pieces of art to be viewed in their own right.

Hoot: Why did you choose the materi-als that you did and what kinds of chal-lenges did they and the overall project present during construction?Situ Studio: Fabric was chosen as the primary material because it is relative-ly inexpensive and easy to work with at the scale of the construction. When the project began we looked at the pattern-ing the fabric but decided to work with 60” wide strips of material to eliminate waste and to be able to easily tailor the fabric during con-struction. When the project closes the fabric can be rolled up and easily recycled. The pleating is done to gather the fabric as the volumes change shape. The 2,200 yards of fab-ric were donated to the project by Sunbrella.

At the base of the columns we created tables and benches with a plastic material known as solid surfacing, donated by LG Hausys. The material is durable and can be shaped by thermoforming. The radii of the curves were partially defined by the bending properties of the material.

The design was tested through a number of material studies, models and mock-ups. By the time we began building at the museum, the construc-tion system was well tested and the three-week installation went very smoothly.

With these tables and benches, the room becomes a stopping place, a hub for interaction. On one’s visit it is pos-sible to relax on the smooth, fabricated seats watching children clambering up onto one of the taller benches while

other people congregate in conversa-tion or snap photos. Four large white walls surround this central area sepa-rating the circulatory avenues on the periphery from the lounging spaces within.

The installation creates a new se-ries of social spaces where people can sit as they take a break from looking at the different galleries, pass through on their way in, or gather just to hang out. What used to be a large centralized hall dividing the wings of the museum has now become a destination of its own where the architecture facilitates human interaction and not just artistic contemplation.

Hoot: What do you want visitors to get out of the installation?Situ Studio: We hope that the project provokes or inspires novel ways of relating to the architecture of the mu-seum and interaction in a grand public space. Since the opening we’ve enjoyed hearing impressions and watching people engage the work in ways that we had not imagined. We look forward to seeing the space host several events this year, including the museum’s an-nual ball at the end of April. Hoot: This installation will be up through early January. Do you have many other projects currently in the works? What can we expect from Situ

Studio in the future?Situ Studio: We’re currently working on a large project in collaboration with Goldsmiths College in London called Forensics Architecture. The project consists of several case studies where we compile and render spatial evi-dence for review in human rights cases being tried in international courts. We are also working with a geologist at Princeton University on digitally mod-eling a series of 640 million-year-old fossils, which may be some of the old-est known animal life forms on Earth. With both of these projects we’re ex-perimenting with architectural means and tools to do work in other fields. At

this point in the development of our practice, we’re explor-ing alternatives to the conven-tions of the architectural pro-fession.

The installation will be up through January 15, 2012 and is an easy trip on the 2 or 3 train to the Eastern Parkway/Brooklyn Museum stop. With summer upon us, the Brook-lyn Museum, which is next to Prospect Park and the Brook-

lyn Botanic Gardens, is a great destina-tion for seeing art and getting off cam-pus for a few hours.

A&E


One experiences both the magnitude of the entire room and the shelter of

the smaller spaces

reOrder in numbers:• 2,200yardsoffabric• 1.5milesofrope• 1156 feet of 1-1/4” bent steel

tubing• 3,149CNCmilledplywoodparts• 110thermo-formedsolidsurfacing

parts• 1624-foothighcolumns(canopies

willcoverapproximately22feet)• Diametersrangingfrom5-20feet• 20peopletoinstall

www.brooklynmuseum.org/exhibitions/reorder/

www.situstudio.com/design/

Courtesy of Situ Studio. Image Keith Sirchio for the Brooklyn Museum.

2,200 yards of fabric were used to create these large, bulbous forms.

Take a seat! The bases of the columns also serve as seating

for museum visitors.

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

The Gatsby Charitable Foundation.

hoot magazine: spring/summer 2011

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