EMPOWERMENT
A note from the Marist Fashion Program
Who will a student become? A great fashion
designer? A legendary merchant? The developer of
a remarkable new product, service or idea? It is a
privilege to assist our students along their journey
to personal and professional success. The goal of the
Fashion Program’s team of instructors is to encourage creativity in all forms of design, product development, business and…thought. We acknowledge
that ambiguity, struggle, and indecision are necessary components of this process. In fact, we celebrate these things, because students discover what
they are capable of by learning to endure them.
Here at Marist, an environment that truly
supports empowerment, education is about the people and possibilities. All of our students prosper as
a result of having honed their critical thinking and
problem solving skills through intensive liberal arts
study. In the Fashion Program, they also have the
opportunity to interact with industry veterans and
rising stars, intern with top companies, and learn
to fearlessly test their own boundaries. That’s the
pleasure of being an educator—a witness to an indescribably wonderful process of evolution.
This magazine is dedicated to our students
—our designers, our wizards of logistics, our remarkable organizers, our networkers, our brilliant
promoters, our writers, our perfectionists, our visionaries. It’s been the pleasure of the entire Fashion Program faculty to know them, and an honor
to introduce their work in this edition of the Marist
Fashion magazine.
Sincerely,
Program Faculty and Staff:
JARED ASWEGAN, JENNIFER BELTON, PETER BRICKMAN, IRENE BUCCIERI, SUZANNE CHIKA, RADLEY CRAMER, JENNIFER FINN, MELISSA
HALVORSON, JODI HARTMANN, ELLIE HEINZINGER, DAVID HEINZINGER, GRETCHEN HIRSCH, GWENNO JAMES, MICHAEL JOHNSON, RICHARD KRAMER, JOHN MINCARELLI, JAMIE PERILLO, SONIA ROY, GLENN
TUNSTULL & JULIE TURPIN
1
MARIST FASHION 2015
136
BEHIND THE SCENES
4
katelyn SALIERNO
64
NYFW
138
MIS EN PLACE
10
BREATHE IN, BREATHE OUT
66
maria CATALANO
140
colette CUNNINGHAM
16
victoria SCHERMERHORN
76
BEHIND THE SCENES
143
CRITICAL MASS
22
THE BESPOKE MAN
80
megan BRADY
146
sabrina MATTERA
46
natalie PALTER
88
deanna PROSKE
154
adele JACKSON
30
abigail TAYLOR
96
GLOBAL STREET TREND
161
RIVER + STONE
34
elisa MORALES
102
kira MELENDEZ
166
marrisa WILSON
40
audrey MAYSEK
108
jill HUB
172
SECOND PERSON PARIS
46
brianna SHERLOCK
113
BETWEEN THE LINES
178
kiana MARKO
54
TAILORED WOOLENS
116
kevin CROWLEY
186
BEHIND THE SCENES
58
CHECKERED PAST
128
THE STORYTELLERS
188
erin McCANN
60
deanna WALTERS
132
sarah GAYDA
195
PREPACKAGED
4
katelyn SALIERNO
Photography by Jake Jones
6
8
BREATHE IN,
BREATHE OUT
The Village of Chefchaouen
and the Roots of Inspiration
BY ALANNA O’CONNELL
Photography by Anna Graney
Before becoming a fashion design major,
Katelyn Salierno believed, as many do, that learning to develop a concept from (sometimes) bizarre
root to full blossom, is a purely cognitive process:
an artist becomes inspired by color, texture, historical period, or place and sets about creating
ZRUNWKDWUHÁHFWVVDLGLQVSLUDWLRQ'HVLJQHUVJURZ
accustomed to being asked what their inspiration
LVKRZWKH\ÀQGLWDQGKRZWKH\NQRZLWZLOOEH
rich enough to bear creative fruit. The reality is
that inspiration can originate from any circumstance, no matter how banal, and is sometimes
felt, rather than known. Frustrated, and Googling
“exotic places” on a humid summer night in front
of the TV with her boyfriend, Katie found a picture that triggered a rapid physical and neurological reaction, making her heart warm as it raced.
Passing her boyfriend the screen, showing a sea of
blue buildings captioned: Chefchaouen, Morocco,
VKHVWDWHGVLPSO\DQGFRQÀGHQWO\´7KLVLVLWµ
Chefchaouen, Morocco is a town with a mural-like landscape, known for its blue medinas and
rich history, well known to artists, designers and
world travelers. From above, this enclave of anguODUVWUXFWXUHVUHVHPEOHVDVPDOOEOXHVHDÁRDWLQJ
in between the ridges of the Rif Mountains—an
ombre of aquamarine, cobalt, periwinkle, royal
and powder blues. On hot days, while the sun is
reaching its peak, the skyline and town become
one surrounding the townspeople in a world of
blue, indigenous to their history.
Although now a place predominantly
populated by Arabs, the blue trademark of Chefchaouen was established in the 15th century
ZKHQDVLJQLÀFDQWQXPEHURI-HZV0XVOLPVDQG
UHOLJLRXVPLQRULWLHVÁHG(XURSHGXULQJWKH6SDQLVK5HFRQTXLVWD,Q-XGDLVPEOXHV\PEROL]HVWKH
sky, heaven, and God. The blue dye, tekhelet, as
mentioned in the Torah, was used in tapestries
for the High Priest and strung to the corners of
prayer garments. Today the townspeople honor
WKLV-HZLVKWUDGLWLRQE\FRQWLQXLQJWRSDLQWWKH
medinas blue and incorporating blue threads into
many of their garments and textiles.
While walking through the twisted yet serene streets that remain to honor its descendants,
one will eventually hit the center of the medina
and its bustling bazaar. A culture of its own,
the bazaar is a contrast to the general calmness
otherwise felt throughout Chefchaouen. Streets
ÀOOHGZLWKEXV\VKRSSHUVKXVWOLQJYHQGRUVDQG
small taxis consume the area. Stands with glass
lanterns resembling miniature hot-air balloons,
ornate rugs, scarves of the highest quality, embroidered kaftans, leather slippers, custom made
WH[WLOHVDQGLPSHFFDEOHLURQZRUNÀOOWKHFHQWHURI
town with color, breaking the continuous stream
of blue. Meanwhile from restaurants nearby, aromas of fresh breads, herbs, mint tea leaves, spices,
olives, chicken tagine, and cookies stimulate the
senses.
It is no shock that Katie experienced such
a strong emotional and physiological bond to this
EHDXWLIXOSODFH³QRZUHÁHFWHGLQWKHHQGOHVVEOXH
hues and soft layers of her senior collection. Recently, scientists have discovered that there are
VSHFLÀFSK\VLRORJLFDOHIIHFWVWKDWRFFXUZKHQRQH
is inspired. Through fMRIs (functional magnetic
UHVRQDQFHLPDJHVDQG((*HOHFWURHQFHSKDORJUDSK\UHVHDUFKHUV-RQ.RXQLRVDQG0DUN%HHPDQ
found the exact neurological process that occurs
when a new idea is created. According to their research, when inspired, “a constellation of neurons
Photography by Colleen Kollar
13
ELQGWRJHWKHUIRUWKHÀUVWWLPHLQWKHEUDLQWRFUHate a neural network pathway.” In other words,
a series of neurons are sparked when something
seems truly inspiring, which correlates with the
strong unexpected emotions felt.
%HIRUHWKHVHÀQGLQJVPDQ\EHOLHYHGWKDW
inspiration was just a concept that was formed to
satisfy an artist’s creative needs. Most would deÀQHLQVSLUDWLRQDVPHUHO\D´FUHDWLYHLGHDµ:RUGV
OLNH PRWLYDWLRQ PXVH LQÁXHQFH LPDJLQDWLRQ
and originality would seem appropriate. And although those are relevant, a look at the etymology of the word proves it to be something much
more enlightening.
In the 12th century the term “inspiration,” derived from the Old French word inspiracion, meant the action of blowing on or into. In
its oldest form, inspiration is synonymous with
the biological process of respiration—drawing
of the breath into the lungs. As humans, respiration is essential to life; without breathing, life
LVH[WLQJXLVKHG7KH2[IRUG(QJOLVK'LFWLRQDU\·V
historical thesaurus traces the evolution of inspiration along this historical path: external world
> matter > gas > air > moving air > producing a
blast of air > drawing in of air. Inspiration has a
direct connection to the formation of human life.
Inspiration is not just an artistic insight, it is a
OLIHOLQH-XVWDVQRKXPDQFDQOLYHZLWKRXWUHVSLration, no artist can survive without inspiration.
$PRUHUHODWDEOHGHÀQLWLRQRILQVSLUDWLRQ
DFFRUGLQJWRWKH2[IRUG(QJOLVK'LFWLRQDU\LV´D
breathing in or infusion of some idea or purpose
into the mind; the awakening or creating of some
feeling or impulse, especially of an exalted kind.”
Often inspiration sneaks up at unexpected times
and from unexpected origins. This is why so
many have trouble describing the feelings associated with it.
Katie’s description of her reaction to Chefchaouen is proof of this: increased heart rate and
a feeling of warmth. When the physiological process of inspiration and its relation to respiration
was explained, her experience that night, last
summer, began to make more sense. The designer
KDVVLQFHFRQÀUPHGKHUGLVFRYHU\RI&KHIFKDRXHQ
a spot that makes the neurons of even non-artists
ÀUHZLWKDQ´H[DOWHGDZDNHQLQJµDVWKHPRPHQW
that helped her breathe.
Photography by Colleen Kollar
15
victoria
SCHERMERHORN
16
Photography by Dennis Golonka
VICTORIA ON THE FUTURE:
“I want to do it all. Paraphrasing
Jonathan Safran Foer, my bones groan with
all the lives I haven’t lived.”
21
The Bespoke Man
BY JULIANNA SHERIDAN
22
Photography by Eury Fabian
:LWK WKH *UHDW 'HSUHVVLRQ DW LWV KHLJKW
wild extravagance became a relic of the 1920s,
the decade during which Gatsby says, “I have
D PDQ LQ (QJODQG ZKR EX\V PH FORWKHV +H
sends over a selection of things at the beginning
of each season, spring and fall.” In contrast,
the 1930s in America was a frightening time.
The wealth of the 1920s had evaporated
overnight, leaving the masses to struggle for their
survival, while the battered but still comparably
wealthy attempted to carry on with what was left
RIHFRQRPLFSULYLOHJH'UHVVHGLQWKHEHVWIDVKLRQV
society’s upper tier would gather to talk about
the world around them. Although women were
more recognized for their fashion choices, men
understood the importance of a proper, well-taiORUHG VXLW 'XULQJ WKLV URXJK WLPH IDVKLRQ ZDV
charged with upholding social standards—it had
to signal tradition, status, and economic class.
More than seventy years later, the Marist
Fashion Program was fortunate to receive a
clothing donation from this period. Robert MaKRQH\ 'XWFKHVV &RXQW\ UHVLGHQW GRQDWHG QXmerous suits, jackets, shirts and other accessories that belonged to his late father. The bespoke
suits, hand-tailored to the elder Mahoney, exemplify the craftsmanship of the era. In near-perfect
condition the donated pieces allow the modern
fashion student to revisit the 1930s and gain insight from an important era of menswear; a time
that kept earlier traditions alive, while laying the
foundation for menswear today.
Much of contemporary men’s formal wear
KDVURRWVLQWKH9LFWRULDQDQG(GZDUGLDQHUDV$V
the bridge into the 1920s and 30s was crossed, a
man’s evening attire remained rule and tradition
ERXQGFRQVLVWLQJRIDSHUIHFWO\ÀWWHGEODFNGUHVV
jacket, matching pants, and a white waistcoat.
The jacket was double-breasted, cut short to the
waist in the front and tapering to two longer tails
in the back, called a swallowtail or claw hammer style. The jacket would have three buttons
on each side, while the trousers featured braids
of fabric at the outside seams. Under the jacket
and waistcoat, men typically wore starched white
shirts with removable cuffs and collars. These
were detachable for purely practical reasons. Men
had many variations of these pieces that could be
switched out when these high-use areas became
VRLOHG RU EHJDQ WR VKRZ VLJQV RI ZHDU 7KH ÀQDO
touch was, of course, a bow tie in either black or
white.
Robert F. Mahoney, the father of the donor, was appointed to the New York City MagisWUDWHDVDMXGJHDWWKHHQGRIWKH*UHDW'HSUHVsion in 1939. Mahoney explained that because
of his father’s profession, it was expected of him
to frequently attend formal occasions. He noted
that his father’s fashion changed with the times,
which the varied suit styles in his donated wardrobe demonstrate. From a swallowtail coat to a
QDY\EOXHWX[HGR0DKRQH\KDGDVXLWWRÀWHYHU\
social event. He was highly educated, intelligent,
and renowned for his work in law. As a child of
immigrants, Mahoney was pushed to do something more. His success as an educated lawyer
IXOÀOOHGKLVSDUHQWV·$PHULFDQGUHDP0DKRQH\·V
VRQQRWHVWKDWWKLVLV´V\PEROLFRIWKHEHQHÀWVRI
having an education and working hard. My father
emerged as a ‘true dandy’.” More than sartorially
VHOIDVVXUHG KH H[XGHG FRQÀGHQFH LQ DOO WKLQJV
and seemed to enjoy achieving the sophisticated
appearance that his position required.
Mahoney grew up watching his father
dress for special occasions and take particular
care of his wardrobe. As an artist himself, Mahoney respects the craftsmanship of his father’s
collection and was compelled to keep a few special
pieces, including a straw Panama hat that has
been worn down to the texture of supple cloth,
and a silk top hat in pristine condition. Aside
from those keepsakes, Marist Fashion has been
entrusted with these historic objects, and the
memories that accompany them. We are honored.
Thank you to the donor Robert Mahoney, appraiser
Diane James of Diane James Antiques, and Madison Sikorski.
COLLABORATORS
Faculty Mentors
RADLEY CRAMER, MELISSA HALVORSON
MICHAEL JOHNSON & RICHARD KRAMER
6WXGHQW'LUHFWRUV
PRICILLA ALDARONDO (CREATIVE), IGNACIO BORBOLLA
(PRODUCTION), SILVIA ISOTTI (COMMUNICATION),
TAYLOR MULLIGAN (TALENT), ELEANOR SCHWAB (PUBLICATION)
& MARISSA VERALLIS (ART)
Photography
RACHEL BRENNECKE, EURY FABIAN, DENNIS GOLONKA
& JAKE JONES
Hair and Makeup
BRIANNA BARRESI, JENNIFER DONOVAN (OWNER, LE SHAG), KARA
ELETTO, JESSIE LE MONTAGUE & REBECCA WILLIAMS
Fashion Show Production Class
GABRIELLE AMATURO, KIMBERLY ARISON, LOURDES COLON, EURY
FABIAN, MEGHAN FAZIO, SARAH GAUDIO, NENAGH GOERG, ANNA
GRANEY, ALEXA HALLAS, LAUREN KURRE, DALE MAURI, MEGAN
MORELLI, NICOLE MORASKI, BRITTLEY MONANARO, KATHERINE
OSBORNE, GRACE RUGEN, SHELBY TUPER, VICTORIA WELLINGTON
& CHRISTINA ZURAW
Writing for Fashion Class
KYLE-ANNE BELL, ADRIANNA CICINELLI, JONELLE ENGBERG, AMY
FLORENCE, KATHERINE HINES, COLLEEN KOLLAR, DIANE LI, ALANNA
O’CONNELL, JAMIE PHILLIPS, STEPHANIE ROMEO, JULIANNA
SHERIDAN, MADISON SIKORSKI & LAUREN TRAINA
25
ON ARCHITECTURE AS INSPIRATION:
“There’s a bright, orange, monolithic dome
on top of a hill near home.
They call it the Flintstone House.
I would see it whenever we drove to San Francisco.”
26
natalie PALTER
Photography by Rachel Brennecke
ON COLOR:
“This is my second collection inspired
by botany. I always imagine my clothes
in a bright, green setting.”
Photography by Rachel Brennecke
30
abigail TAYLOR
elisa MORALES
MOST VALUABLE STUDIO TOOL:
“I’m a pattern-maker. I wouldn’t be able to make
anything without my dress form.”
Photography by Rachel Brennecke
35
47 N. FRONT STREET, KINGSTON, NY 12401
845-339-2333
audrey MAYSEK
CRITIQUE PREPARATION STRATEGY:
“I’m a ski racer. Portfolio review is exactly the
same as when you’re standing at the start gate.”
Photography by Rachel Brennecke
41
44
ON GETTING CREATIVELY UNSTUCK:
“When I’m uninspired, I go back to draping.”
46
brianna SHERLOCK
Photography by Jake Jones
49
51
COMMUNITY AND CORPORATE
PARTNERS
50 ROOTS; ACCESSORIES THAT MATTER LTD.; ADRIANNA PAPELL; BCBG MAX
AZRIA; B.ROBINSON; BADGLEY MISCHKA; BETSEY JOHNSON; CITY OF KINGSTON,
NY; COSIMO’S BRICK OVEN; DE’S JEWELERS; MARK DeZAO; DONNA MORGAN;
TREVOR DUNWORTH; JAMES DURYEA; ELIZABETH BOUTIQUE; FASHIONOLOGY;
DR. ZOFIA E. GAGNON; HADDAD BRANDS; JONATHAN ADLER; LACOSTE;
MAGGY LONDON; MAHONEY’S IRISH PUB & STEAKHOUSE; DR. JOHN MCKINNEY;
NAUTICA; KEVIN PAULSEN; MARIA PHILIPPIS; TERI ROSSIN; SOLOMON PAGE
FASHION & BEAUTY; T&T TOWER ELEVATOR COMPANY INC.; TEA TALK; LEE
WALIS & KARYN WANGENSTEIN
53
Modern Hooded Cape; Designed by Jemma Perri; Photography by Jake Jones
TAILORED WOOLENS
Thanks to a generous donation of weighty woolen fabrics, the Marist junior tailoring class has transformed bolts of traditional plaids and solids by Woolrich into a diverse collection of contemporary
outerwear pieces. The following two examples were completed just in time for the last, Spring snowfall
of 2015.
56
Crimson Cocoon Coat; Designed by Mackenzie Kramer; Photography by Jake Jones
CHECKERED PAST
BY ALANNA O’CONNELL
Textiles tell the story of human history. Weaving may tell tales of triumph, weather
or topography. Tartans may speak of region and
clan. And, like all stories shrouded by the mists of
WLPHVRPHWLPHVDELWRIP\VWHU\OLYHVRQ(QWHU
WKHWDQJOHGWDOHRI%XIIDOR3ODLG-RKQ5LFKDQG
%LJ -RFN 0F&OXVNH\ DOO HPEURLOHG LQ D KH VDLG
he said, twisted tale of the origins of a classic textile. As even greater testament to its murky past,
some call this textile a check rather than a plaid.
Buffalo plaid can best be described as a
two-color textile pattern with large, intersecting
blocks of black and red. Though a simple twill
weave, the fabric’s charm, and perhaps the reason for its enduring popularity, is that a unique
shadow effect is achieved wherever red and black
yarns interlace. The mystery of the textile’s origin, the source of enduring disagreement, is over
who invented buffalo plaid. Some historians say
it was in 8th century Scotland by a family called
WKH 0DF*UHJRUV RWKHUV VWDWH WKDW -RKQ 5LFK
IRXQGHU RI :RROULFK ZDV WKH ÀUVW WR ZHDYH DQG
sell it before the time of the Civil War.
Perhaps it is with a Scottish family in the
8th century where the journey of buffalo plaid
begins. The MacGregors were a clan of fearsome
warriors that were banished from the Highlands
RI6FRWODQGE\.LQJ-DPHV9,:LWKQRZKHUHWR
JR WKH 0DF*UHJRUV ÁHG WKH FRXQWU\ GLVSHUVLQJ
DVIDUDV1RUWK$PHULFD2QHRIWKHP%LJ-RFN
changed his last name from McGregor to MacCluskey (later McCluskey) in a last effort to hide his
LGHQWLW\6RPHDFFRXQWVFODLPWKDW.LQJ-DPHV
the VI had placed a bounty on his head, wishing
to completely annihilate the family name). Big
-RFNDIIDEOHDQGFKDULVPDWLFDGDSWHGHDVLO\WR
his new name and adopted culture.
Soon after his arrival in North America,
MacCluskey developed a talent for hunting buffaORIURP&DQDGDGRZQWRWKH'DNRWDVDQGUHOLHGRQ
WKDWSURIHVVLRQWRVXUYLYH(YHQWXDOO\0DF&OXVkey discovered that also following herds of buffalo were recently “encountered” Native American
groups displeased with the new competition for
hunting ground. Cleverly dressed in his homeland
Tartan, the ever-charming and pragmatic MacCluskey began to trade his heavy woven Scottish
blankets for buffalo hides with the Sioux and
Cheyenne warriors. They were captivated by the
rich red color and believed it to be the spirit blood
of MacCluskey’s old enemies, which would act as
a guardian in battle and offer immortality.
Of course the story doesn’t end there. It
was Woolrich, the “Original Outdoor Clothing
Company” that cemented the textile’s role in
$PHULFDQ FXOWXUDO KLVWRU\ ,Q -RKQ 5LFK
DQLPPLJUDQW(QJOLVKPDQEXLOWKLVÀUVWPLOOLQ
Pennsylvania and began selling woolen products
to lumber camps throughout the area. Buffalo
plaid shirts, the most popular sellers, remained
among his offerings throughout the company’s
expansion. Known for quality products for the
outdoorsperson of any age, Woolrich popularized
buffalo plaid as the fabric of the hard working,
DGYHQWXURXVDQGVHOIVXIÀFLHQW
Today, this textile remains not loyal to
one story, one country or one fashion perspective.
3HUKDSVURRWHGLQWKHGHÀDQWIUHHGRPORYLQJQDture of the MacGregors, contemporary designers
frequently revisit the pattern to lend their collections a rebellious quality. In fashion parlance,
a perennial trend is one that returns, again and
again. Buffalo plaid has most recently shown
up on runways in Fall of 2012 with Yohji Yamamoto’s collection for Adidas and in the Fall 2014
VKRZRI/RQGRQGHVLJQKRXVH3UHHQ(DFKRIWKHVH
labels claim to have taken their inspiration from
WKH*UXQJH(UDRIPXVLFDQGIDVKLRQLQWKHHDUO\
1990s—no mention of 8th century Scotland, Big
-RFNRU-RKQ5LFK
CLASS OF 2015
FASHION MERCHANDISERS
Marisa A. Abbattista
Pricilla D. Aldarondo
Zhen Bi
Rachel A. Bowers
Danielle Buckley
Alexandra R. Buxton
Caroline M. Caraker
Trina R. Cardamone
Kayla N. Chozen
Brianna C. Conley
Emily C. Cullinan
Giana J. Emanuele
Sheridan G. Fauvell
Samantha D. Frederick
Sarah B. Gaudio
Blair A. Gage
Chloe E. Genise
Alison M. Gillin
Hanna G. Ordas Guardia
Katherine Guinaw
Hulya Gurhan
Emma J. Hailey
Brianna N. Harrison
Danielle A. Helwig
Kimberly M. Hower
Carla Jo Huskins
Silvia I. Isotti
Monet A. Jackson
Noor M. Kanoo
Alexandra R. Kramer
Taylor A. Kuzma
Chunyiming Li
Stephanie J. Lubov
Courtney E. Lucas
Kahlilah Lilley
Paige N. Malengo
Laura E. Manhart
Silvia R. Martins
Chloe Mayone
Dale L. Mauri
Caitlin C. McCarthy
Shannon M. McNamee
Stephanie M. Melnick
Nicole Monaco
Tracey L. Morrison
Melissa S. Morrissey
Taylor M. Mulligan
Skylar N. Norris
Jacqueline J. Ohn
Megan E. Omalley
Lindsey T. Pavero
Codi Jo Peras
Reese M. Perlin
Amanda J. Pichiarallo
Kimberly Pizzo
Kelsey M. Plate
Jamie L. Plukas
Nicholas F. Prieto
Michelle Prisciotta
Nicole T. Rende
Heather M. Rodkey
Kathryn M. Rogers
Stephanie Roman
Gena M. Russo
Caitlyn Sabia
Eleanor L. Schwab
Abigail E. Small
Leslie B. Sullivan
Mengyao Tang
Jillian N. Thompson
Catherine R. Thomson
Jacqueline Trauring
Kaila F. VanAkkeren
Rachel J. Varney
Kristin N. Vecchiarelli
Christine M. Venuti
Marissa A. Verallis
Wenwen Yan
59
ON WHAT IT TAKES:
“Endurance…endurance and love, you just
have to have them.”
60
deanna WALTERS
Photography by Rachel Brennecke
Photography by Timothy Maggio/Vinepod
MARIST AT NYFW
Marist College recognizes Nanette Lepore for her achievements in the fashion industry, with the
6LOYHU1HHGOH,FRQ$ZDUG$ERYH%ULJKWH\HGPRGHOVWDNHDÀQDOZDONGRZQWKHUXQZD\ZLWK
messy buns and natural makeup, alongside the designer and her daughter. Opposite page: more
scenes from New York Fashion Week on September 7, 2014.
maria CATALANO
Photography by Dennis Golonka
67
68
WHAT’S ON MARIA’S HEADPHONES:
“(Laughs) Really intense rap, really loud.
It keeps me motivated.”
71
72
74
BEHIND THE SCENES
77
SCHOLARSHIPS
PROVIDED BY
SUPPORTERS
AGM ASSOCIATION OF GOLF MERCHANDISERS
ALECIA HICKS FORSTER SCHOLARSHIP
CUTTY SARK SCHOLARSHIP
DOMINIQUE-DANIELA SCHOLARSHIP
DUTCHESS COUNTY HOME BUREAU
EVA BLOCK MEMORIAL FUND
FASHIONOLOGY SCHOLARSHIP
KATE SPADE & CO. FOUNDATION SCHOLARSHIP
MARIST FASHION PROGRAM SCHOLARSHIP
MARY ABDOO SCHOLARSHIP
YMA/FASHION FUND
78
6LOYHU1HHGOH-XGJHV
JAMES AGUIAR, MODERN LUXURY
BJÖRN BENGTSSON, GREG NORMAN COLLECTION
NINIVE GIORDANO, NINE WEST
MICAH GROSSMAN, JONATHAN ADLER
MARK HALDEMAN, PAUL SMITH
CHRIS MANLEY, SURFSIDE SUPPLY COMPANY
DOMINIQUE DANIELA PINO-SANTIAGO, DOMINIQUE DANIELA
Fashion Program Advisory Board
MARY KITTLE, VP, STRATEGIC PLANNING, KAHN LUCAS LANCASTER INC.
ALAN KRISFALUSI, VP, HUMAN RESOURCES, ROSS STORES
CHRIS MANLEY, OWNER, SURFSIDE SUPPLY COMPANY
JR MORRISSEY ‘88, ADVISORY BOARD CHAIR, OWNER & CREATIVE DIRECTOR, MORRISSEY
DOMINIQUE-DANIELA PINO-SANTIAGO, OWNER & DESIGNER, DOMINIQUE DANIELA
MATTHEW SIROTA, DIVISION PRESIDENT, MAGGY LONDON
TOM WARD ‘69, CEO (retired), MAIDENFORM
MARIANNE WEBBER ‘90, DESIGNER, QUICK TURN CLOTHING
79
DREAM COLLABORATION:
“The artist Peter Max. My aesthetic is starting to
get a little more eccentric and over the top.”
80
megan BRADY
Photography by Jake Jones
83
84
HUDSON
EAST VILLAGE, NYC
KINGSTON
Le Shag.
ARTISTS/STYLISTS
JENNIFER DONOVAN—OWNER & STYLIST
KARA ELETTO—HAIR/MAKEUP
BRIANA BARRESI—HAIR/MAKEUP
REBECCA WILLIAMS—HAIR/MAKEUP
JESSIE LEE MONTAGUE—MAKEUP
deanna PROSKE
88
Photography by Dennis Golonka
deanna ON CRITIQUE:
“Being silent is the harshest thing they could do.”
92
paris
This page, photos by (clockwise
from left): Katie Labozzo, Jillian
Gasarowski, John Scott, Anne
Preis, Michelle Bedard, Bonita
Fowler and John Scott.
Opposite page, photo by Bonita
Fowler.
london
This page, photos by (clockwise from
left): Madison Sikorski, Madison
Sikorski, Nicole Giambagno, Alexis
Chomat, Kristi Pentecoste,
Karli Bruno and Kristi Pentecoste.
Opposite page, photo by
Kristi Pentecoste.
ÁRUHQFH
This page, photos by (clockwise from left):
Lillie Tuthill, Hannah Dayan, Emily
Leavitt, Rachel Colwell, Emily Leavitt,
Natalie Vayda and Rachel Colwell.
Opposite page, photo by Hannah Dayan.
Forza Fur-enze!
CAPTION WINNER: KATELYN SALIERNO
Photography by Dennis Golonka
kira MELENDEZ
102
kira ON HOLIDAY:
“I watched a documentary with my parents that I
fell in love with, Dogtown and Z-Boys, that
actually went on to inspire my collection.”
106
jill HUB
Photography by Jake Jones
JILL’S MOST
MEANINGFUL ARTICLE
OF CLOTHING:
“I have a mink
bolero that my
grandma gave
me. She was a
seamstress.”
BETWEEN THE LINES
An Exploration of the Gender-neutral
Fashion Movement
BY JONELLE ENGBERG
Men wear pants and women wear skirts,
right? Gender normative dressing is still, well, the
norm, and any deviation from these expectations
can result in headshakes of disapproval. Gender
neutrality, on the other hand, is a movement towards freedom and integration that is permeating
popular culture, fashion and mainstream households. It isn’t a concept to be feared.
,Q 2FWREHU RI WKH ÀUVW WUDQVJHQGHU
reality show premiered on MTV. The host, LaYHUQH&R[LGHQWLÀHVDVWUDQVJHQGHUDQGHQFRXUages teens to be comfortable in their own bodies
no matter how they identify. The recent winner
of the 2015 Golden Globe for Best TV Comedy
Series, Transparent, follows the story of a father
who announces he is transgender and begins his
URDGWRZRPDQKRRG(DFKRIWKHVHH[DPSOHVIURP
popular culture is affecting the way we view what
is considered “normal.” Perhaps the next step will
be the integration of more androgynous fashion
choices in the mass market?
/RQJEHIRUH'DYLG%RZLHVSODVKHGJOLWWHU
RQKLVIDFHDQG'LDQH.HDWRQSRUWUD\HG´$QQLH
Hall,” androgyny has been a persistent undercurrent in the fashion world, re-emerging every so of-
ten to remind us what resides beneath our safety
net of tradition and the things deemed “normal.”
Androgynous fashion often carries a negative connotation because of a belief that it places
a person in a grey zone, void of gender identifying characteristics. The conventional perception
is that certain articles of clothing, like a skirt, are
strictly tied to the female gender and any departure from this is perverse. However, androgyny is
not the removal of gender, but rather the combination of masculine and feminine characteristics.
In essence, it brings together two seemingly different things and creates one limitless interplay
between identities.
Raising children with humanistic ideals
and to dream beyond the realms of gender stereotyping was famously explored by the Free to Be
You and Me campaign, conceived in the summer
of 1972. This project was the creative brainchild of
Marlo Thomas and Letty Cottin Pogrebin. While
searching desperately for a bedtime story that
was not deeply imbued with gender stereotypes,
the two of them realized, to their disappointment,
that they were looking in vain. Together they devised a body of work including a book, a play, a
musical album, and a television special based on
themes such as “the human need for love…the imSRUWDQFHRIFUHDWLYLW\DQGWKHEHQHÀWVRIFRRSHUative relationships,” none of which regard gender.
Understanding that in order to change the world
you have to start with the young, they focused all
of their energy on children.
By casting little girls as “princesses,” or
“wives in training,” and little boys as “soldiers,”
or “sports stars,” we narrow their experiences of
life. Girls’ clothing and boys’ clothing is clearly
designated by signage and color upon entering a
store. “Boys” or “Girls” placards hang from ceilLQJVRUKRYHULQWKHPLGGOHRIVHOOLQJÁRRUVLQGLcating a stark partition. Shoppers are forced to
choose between the “male side” or the “female
side,” leaving the “other” unconsidered. Shopping
can be a frustration to those who fall outside these
GHVLJQDWLRQV'LVFRXUDJLQJH[SORUDWLRQPD\OHDG
the child to vehemently reject alternative gender
roles later in life. Marlo and Letty realized that
this was not the world they wanted for their children and sought to broaden the discussion.
Some believe responsibility rests with
the fashion industry, an understood catalyst for
change, to provoke new mindsets within society. However, even fashion, a common outlet for
self-expression is bound by certain rules and traditions. The word, agender, is the preferred term for
those who move freely between genders or choose
not to put a name to how they identify. As people
begin to be more comfortable when confronted
with questions regarding gender, individuals allow themselves to adopt more freeing terms, such
as agender. On March 12, 2015 the London department store Selfridges & Co. on Oxford Street,
launched its Agender Project. According to creative director Linda Hewson, “the project will act
as a test bed for experimentation around ideas of
gender—both to allow our shoppers to approach
the experience without preconceptions, and for us
as retailers to alter the way we shop for fashion
going forward.” Only now are we beginning to see
the environment Marlo and Letty dreamt of back
LQWKHVXPPHURI)DVKLRQLVÀQDOO\IROORZing suit.
Selfridges is revamping its entire three-story retail location into a gender-neutral shopping
experience. This experiment aims at promoting
designers who have dedicated their talent and
energy to a re-examination of gender normative dressing, including: Natalia Manzocco, Sara
Medd of Greyscale Goods and Nicolo Formichetti
for Nicopanda. This unique environment allows
shoppers to step into a space where individuals
are safe to express themselves in non-traditional
IRUPVRIGUHVV&XVWRPHUVZRQ·WEHDEOHWRÀQGD
single mannequin throughout the Oxford Street
store. Instead, gender-neutral art, photography,
written pieces and articles of clothing will form
the overall aesthetic. By removing gender, the
clothes are allowed to speak for themselves, and
for those who wear them. Hewson believes strongly that what her company is doing will bring attention to a seriously underrepresented apparel
category.
One of the labels being promoted by the
Agender Project is Greyscale Goods— “beyond
labels…just goods.” This Los Angeles based brand
found its niche in gender-neutral clothing. It will
EH WKH ÀUVW WLPH *UH\VFDOH *RRGV LV LQFRUSRUDWed into a brick and mortar store since its launch
as an online merchant. Most pieces are neutral
in color and have a classic look. Bow ties, skinny
jeans and timeless white t-shirts are quintessential to the brand and its image. Since it is becoming more common for customers to shop both the
men’s and women’s departments, contemporary
style has slowly shifted toward androgyny. This
QDWXUDO ÁRZ KDV EHHQ KDSSHQLQJ DOPRVW XQFRQsciously, with doors opening to new designers that
were previously shut tight. Gender-neutral fashion is securing its place in fashion, and Hewson
is taking advantage of this opportunity to showFDVHDQDJHQGHUVHOOLQJÁRRULQOLJKWRIDFKDQJLQJ
market.
By drawing the focus away from gender
and towards the innate human needs for love
and acceptance, an experiment like the Agender
Project becomes much more than a store concept,
but a representation of a cultural shift. By empowering all of us, no matter our identity, we can
dissolve the barriers of a limiting, intolerant, and
exclusive society and create one that is more accepting, open-minded, and cosmopolitan. Back to
our question: men wear pants and women wear
skirts, right? The answer lies between the lines.
Theatrical performances, rehearsal
studios, youth theater programs,
GDQFHFODVVHVFRQFHUWVÀOP
private parties.
323 WALL STREET
UPTOWN KINGSTON
845.338.8700
kevin CROWLEY
Photography by Dennis Golonka
117
118
120
123
KEVIN’S MOST PRODUCTIVE HOURS:
´$0,·PWKHÀUVWRQHKHUHHYHU\VLQJOHGD\,
wake up at 6:50, take a shower, and get to the
studio no matter what I did the night before.”
124
127
THE STORYTELLERS
BY KYLE-ANNE BELL
Lately, consumers have become disconnected from the story behind their clothes. Manufacturing overseas has created a great barrier between the wearer and the maker. Some, however,
are beginning to revive the relationship between
the craft and the consumer. What started as a
KREE\IRU0DFNHQ]LH(GJHUWRQDQG%ODLQH9RVVOHU
ance between exploration and work. From their
aluminum fortress, merchandise such as leather
holsters, quartz necklaces, and clothing adorned
with bison, arrowheads, and Navajo-inspired
SULQWV DUH KDQGFUDIWHG DQG VHQW RXW (DFK LWHP
is tagged with a description of its inspiration and
the location in which it was made. A short note
has developed into a full brand, called The Local
Branch. The pair drives across America in a pickup truck pulling a renovated 1970s Airstream—
a travel trailer that serves as a headquarters as
well as their workshop and home. Whether in the
Grand Tetons of Wyoming or on the Bourbon
Trails of Kentucky, the couple attempts a bal-
Photography by The Local Branch
WR WKH FXVWRPHU UHIHUHQFLQJ WKH VLJQLÀFDQFH RI
the buffalo design or the fact that their item was
created in Malibu, California, communicates that
this is not just another t-shirt, but a wearable story of the American frontier.
The development of the brand is organic—a natural extension of themselves. Meeting
the creative couple through video chat offered a
small window into their adventurous, poetic way
of life. The call began with a welcoming smile
from Mackenzie, who graduated from Marist College in 2008, majoring in both Studio Art and Radio, TV, Film. Casually using the sewing machine
in the back corner was Blaine, who would later
spontaneously turn from his work to offer spurts
of insight. After college, Mackenzie and Blaine
moved to San Francisco where they found themVHOYHVGLVVDWLVÀHGZLWKWKHLUFRUSRUDWHMREV7KH
Local Branch was spawned from a simple desire
to create under their own rules, and the couple
EHJDQVHOOLQJWKHPHUFKDQGLVHWKURXJK(WV\DQG
at craft shows. “It’s not in my blood to be working
for someone else,” explained Mackenzie. Soon the
Local Branch became too big to be a mere side
project and its rapid growth allowed them to dive
fully into their entrepreneurial dream. Quitting
WKHLUGD\MREVDQGFORVLQJWKH(WV\VKRSWKHFRXple dedicated a year to revamping the brand and
creating a website. Mackenzie had the idea to buy
and restore an Airstream trailer found on Craigslist. Stopping to breathe the open air along the
way, they took their craft on the road.
The couple describes the brand’s style as
“Americana.” But their craft goes beyond the
mere emulation of a style. Mackenzie and Blaine
are seekers of truth. The product description of
the Buffalo print t-shirts describes the animal as
representative of “the best and the worst of the
American story. It will forever remain an emblem of our shared identity.” This provocative
caption warrants a response. “That’s for Blaine,”
answered Mackenzie turning to him with a beamLQJ H[SUHVVLRQ $ WKRXJKWIXO ÀQH DUWLVW %ODLQH
articulates the story behind the hand-drawn
print, which involves a live observation of the
majestic buffalo at Yellowstone alongside a historical account of their use in American currency,
and a less positive note of driving them to near
extinction. Their craft is not only inspired by the
triumphs of the American pioneer, but also their
tribulations and ever-haunting missteps. The description that accompanies the purchase allows
the customer to wear the piece armed with the
knowledge of its heritage.
“Travel has informed our vision,” explains Mackenzie. Last summer, she and Blaine
took an unplanned venture to the Navajo Nation,
a Native American reservation in the southwestern part of the country where Utah and Arizona
meet. Mackenzie wrote about the trip in The Local Branch blog, and it seemed she was searching for the words to illustrate the spiritual nature
of the reservation. Though not easily translated
into speech or text, the experience was rendered
in their designs with a great respect. They met a
Navajo elder who was a weaver in the community. She taught them the symbolic, mythological,
and sacred elements of the ancient craft. Navajo
weaving most directly inspires the brand’s Triangle print, symbolizing “water and the feminine
spirit.” This authenticity, too seldom seen, is integral to The Local Branch.
A question rises from the meeting with
Mackenzie and Blaine: How does this migration
across the states and conscious artisan approach
ÀW LQWR D ORQJWHUP EXVLQHVV SODQ" 7KH FRXSOH
is aware that while working from the road may
be romantic, it may be unsustainable. The jourQH\ ÀWV WKH ´LQEHWZHHQ WLPHµ RI WKHLU OLYHV EHfore having kids and settling down. Mackenzie
described the possibility of farmstead property
where they can employ like-minded people. The
Local Branch looks forward to a future of steady
expansion, artistic collaboration, and of course
taking the Airstream out for an occasional spin.
For now Mackenzie and Blaine are still collecting
tales from the road, sharing them with us—one
print, one holster, one visual conversation at a
time.
131
sarah GAYDA
TOP HAND-ME-DOWN:
“I have this shirt of my mom’s that she
used to wear in her twenties—it’s denim
with embroidery on the pockets. I love
wearing it.”
Photography by Dennis Golonka
132
BEHIND THE SCENES
137
a.
L-SQUARE
b.
NO. 2 PENCIL
c.
INVISIBLE ZIPPER FOOT
d.
LOOP TURNER
e.
PAPER SCISSORS
f.
FABRIC SCISSORS
g.
STRAIGHT PINS
h.
SNIPS
i.
PATTERN NOTCHER
j.
CUTTING BOARD
k.
TRACING WHEEL
l.
POINT TURNER
m.
SEAM RIPPER
n.
BUTTONS
o.
FASHION TAPE
p.
TAPE MEASURE
q.
CLEAR TAPE
Writing & Concept: Stephanie Romeo; Styling & Concept: Diane Li; Photography by Shelby Tuper
a.
k.
g.
b.
l.
e.
m.
n.
h.
o.
d.
p.
c.
i.
q.
f.
j.
MIS EN PLACE
138
With mental clarity and the proper equipment at hand, an uninterrupted thought process, perhaps
the artist’s most crucial tool, is attainable. French for “put in place,” mis en place is the culinary
term for what artists and designers also recognize as an essential ingredient to the creative process:
forethought. About more than just saving time, or organizing a workspace, mis en place is a strategy
for uncluttering the mind and making room for ideas.
Photography by Jake Jones
colette CUNNINGHAM
CRITICAL MASS
How 3D Printing is Reshaping Fashion
BY JULIANNA SHERIDAN
Senior fashion designer, Colette Cunningham has one simple piece of advice for her peers:
“Pursue what you love,” she said. “Make yourself
learn about it.” That’s what the designer did when
VKH GHFLGHG WR LQFRUSRUDWH ' SULQWLQJ LQWR KHU
senior collection. Speaking with such passion and
knowledge on the topic, she recognizes how this
new technology is revolutionizing the fashion industry.
8QGHUGHYHORSPHQWIRURYHUDGHFDGH'
printers have recently become popular as the industry looks for alternatives to traditional textile
DQG DSSDUHO SURGXFWLRQ SURFHVVHV ' SULQWLQJ
also known as additive manufacturing, takes
a substance such as plastic, and builds it into a
solid, three-dimensional object. According to
&11UHVHDUFKÀUP&DQDO\VH[SHFWVWKHPDUNHW
IRU'SULQWHGJRRGVWRTXDGUXSOHWRPRUHWKDQ
ELOOLRQLQWKHQH[WÀYH\HDUV7KLVJURZWK
can be attributed to the trend moving away from
printing rigid structures and toward more tactile pieces. What was once used as a way to build
DQ DUUD\ RI SURWRW\SHV IRU PDQ\ LQGXVWULHV '
printing is now at a critical meeting point with
the mass market. The technology is being used to
SULQW DQ\WKLQJ IURP PHFKDQLFDO À[WXUHV RQ WKH
International Space Station to viable organs from
VWHP FHOOV (QJLQHHUV DUWLVWV DQG VFLHQWLVWV DUH
just beginning to realize its full potential. Fashion designers have begun to pair this new tool
with their apparel and accessory designs, producLQJPHVKWH[WLOHVVFXOSWHGVKRHVDQGÀQHMHZHOU\
with the machines.
Aaron Isaac, a 25-year old entrepreneur,
PDNHV FXVWRP ' SULQWHG MHZHOU\ PROGV EDVHG
on what keywords consumers are searching on
Google. From the most sought after engagement
rings, to the latest necklace trend, Isaac is taking
advantage of cutting-edge technology to create
a unique business model. One of the most allurLQJ DVSHFWV RI WKLV WHFKQRORJ\ LV LWV ÁH[LELOLW\
consumers can add and alter details at will. By
using printers, people can create exactly what
WKH\DUHORRNLQJIRUWRUHÁHFWWKHLUSHUVRQDOVW\OH
Cunningham believes that the potential for customization will shape the future of the fashion industry, especially when printers are able to create
materials that look and feel like familiar fabrics
for consumers.
0LFKDHO-RKQVRQ3URIHVVLRQDO/HFWXUHURI
Fashion Technology in the Marist College Fashion
Program, agrees. He says, “As soon as someone
ÀJXUHVRXWKRZWRSULQWZLWKPDWHULDOWKDWLVDV
VRIW ÁH[LEOH DQG GXUDEOH DV FRWWRQ RU FDVKPHUH
that will be at least as cataclysmic for the current
IDVKLRQ EXVLQHVV PRGHO DV VD\ ÀOH VKDULQJ KDV
been for the music industry or the Internet has
been for newspapers.”
$QRWKHUSRWHQWLDOEHQHÀWWR'SULQWLQJ
in spite of its current reliance on plastics, could
be heightened sustainability. Traditional manufacturing methods involve taking away from the
original material and creating waste of costly
raw goods, an expensive and unsustainable practice. Consumers could use recycled plastic water
ERWWOHVDVÀODPHQWIRUWKHSULQWHUVRUWKH\FRXOG
melt down older pieces to create new designs.
There are many other substances that are used
ZLWK ' SULQWLQJ LQFOXGLQJ FRPSRVWDEOH FRUQ
based materials. The opportunity for growth in
this area is massive, and the sustainability factors are attractive to many industries. With additive manufacturing, claims Asheen Phansey
of greenbiz.com, “the product is printed layer by
layer…because this operation can be performed
without huge, high-throughput machinery, it can
be performed at hundreds or thousands of remote
locations—or millions, if you consider the poWHQWLDORID'SULQWHULQHYHU\KRXVHKROG³ZLWK
near zero waste.” This means that in the coming
years, individuals could have the capacity to produce objects at home for everyday use, creating
less reliance on factories, which contribute too
much of the world’s pollution. Companies could
focus on the intellectual capital, or the value of its
designs, versus the cheapest way to make them.
Cunningham shares a story of a designer whose
dream is “[that] clothes don’t have to go through
the whole fashion production cycle. Consumers
can just have a pattern and the materials to make
something at home.”
7KH SURFHVV RI XVLQJ D ' SULQWHU LV UHOatively easy, with a little knowledge of computHUDLGHGGHVLJQ&$'VRIWZDUH$IWHUGHVLJQLQJ
WKHPRGHOXVLQJ&$'LWLVSXWWKURXJKDSURJUDP
NQRZQ DV D VOLFHU WKDW VHSDUDWHV WKH ' PRGHO
LQWRLQGLYLGXDO'OD\HUV7KHÀOHLVWKHQVHQWWR
the printer where the creation process begins. As
the nozzle of the printer moves from side to side,
each layer of additive is meticulously printed on
the other by cross-section. Like a glue gun, the
OLTXHÀHGUDZPDWHULDOÁRZVRQWRWKHEXLOGSODWIRUPFUHDWLQJD'REMHFWDOEHLWVORZO\IRUQRZ
For Cunningham the process of printing one of
the support pieces for her senior collection took
nearly 70 hours to complete. “Colette…has really
taken the ball and run with it. [She] now knows
PRUHDERXW'SULQWLQJWKDQDQ\RQHDW0DULVW³
VWXGHQWRUIDFXOW\µVD\V-RKQVRQ
Beginning in the Spring of 2014, Marist
)DVKLRQ EHJDQ RIIHULQJ WKH ' SULQWLQJ FODVV
ZKLFK ZDV GHYHORSHG E\ -RKQVRQ DQG IHOORZ LQstructor Richard Kramer at the request of ProJUDP 'LUHFWRU 5DGOH\ &UDPHU ´0DULVW )DVKLRQ
ZDV WKH ÀUVW SURJUDP LQ WKH FRXQWU\ LI QRW WKH
ZRUOGWRRIIHUD'PRGHOLQJDQGSULQWLQJFRXUVH
LQ WKH FRQWH[W RI IDVKLRQ GHVLJQ 8QWLO WKHQ '
printing was offered in art and design programs,
EXWQRWLQIDVKLRQµVWDWHV-RKQVRQ
Colette has taken advantage of a widespread enthusiasm among artists, programmers,
GHVLJQHUVDQGIDFXOW\$IWHUKHULQWURGXFWRU\'
modeling and printing in fashion course, Cunningham reached out to Matt Frieburghaus, an
$VVRFLDWH 3URIHVVRU RI 'LJLWDO 0HGLD DW 0DULVW
ZKR KHOSHG KHU WR IXUWKHU KHU NQRZOHGJH RI '
modeling software. And when she realized she
would need more advanced, commercial printers than were available to her in the fashion proJUDP VKH VRXJKW WKHP RXW 6KH LV XVLQJ ' GHsigns as the main support pieces of the garments
in her senior collection, inspired by the physics
and science behind water. As her ability to manipulate the models on the computer increases,
the possibilities grow for her designs to become
more intricate and inspired. “Really, as I see it,
these collaborations have not only strengthened
my work and the execution of it, but [they] are
what is actually making this happen,” she said.
' SULQWLQJ KDV EURXJKW WKHRUHWLFDO GHsigns to life, allowing even the most bizarre facets
of our imaginations to become something material. This technology has the ability to impact the
world in ways that are immeasurable as people
ÀQGQHZZD\VWRSXVKLWVOLPLWV7KHTXHVWLRQLV
whether or not it will be able to evolve at the same
rate as the demand of designers and consumers.
UNIFORM FOR LIVING:
“I like a lot of dresses—especially breezy ones.
Either a romper or a dress... or shorts and a nice,
ÁRZLQJWRS2ND\DQ\WKLQJÁRZLQJµ
146
sabrina MATTERA
Photography by Rachel Brennecke
151
PLAYLIST ESSENTIALS:
“From house music like Yellow Claw to more
chill stuff like Susanne Sundfør or alt-J.”
154
adele JACKSON
Photography by Rachel Brennecke
155
RIVER + STONE
BY KATHERINE HINES
There’s a new clothing brand along the
shores of the Hudson River, and it’s called River
+ Stone. “The word ‘river’ connects the brand to
the ever-changing movement of fashion. ‘Stone’
links the brand to the tradition and history of
Marist and the Hudson River Valley,” explains
5DGOH\&UDPHU)DVKLRQ3URJUDP'LUHFWRU
River + Stone is a clothing and accessory collection for men and women that represents
a modern attitude toward fashion, and a nod to
historic college imagery. The brand includes apparel with creative graphics derived from vintage
photographs discovered in the Marist College
archives. Students found images from “the crew
team, the Poughkeepsie Regatta, and Lowell
7KRPDVµ VD\V 3URIHVVLRQDO /HFWXUHU -HQQLIHU
Finn, who helps students utilize smart business
and advertising strategies on the retail side of the
industry.
At the same time students are coming up
with these designs, they must tune into and remain aware of what is happening in the marketSODFH7KHFODVV3ULYDWH/DEHO'HYHORSPHQWOHG
E\SURGXFWGHYHORSPHQWH[SHUW-RGL+DUWPDQQ
contributes to the creation of this line that embraces school spirit with a heightened attention to
current trends.
Once the process of evaluating material
gets underway, the students explore transforming
the visuals into dynamic, modern, and saleable
designs.
River + Stone also provides opportunities
to spotlight the work of talented fashion design
students. Senior design student Kevin Crowley
has created signature pieces for the brand. Crowley revamped and super-colorized fox graphics
and the historic Marist “M,” modernizing traditional symbolism for the fashion-forward wearer.
Pushing these new concepts does not go
without challenge. Promoting a new fashion
brand is a major undertaking, as well as a learning opportunity. This became the primary goal
for one senior capstone project, whose team created the River + Stone Rep Program. Fashion line
representatives, who are chosen from the Marist
$PEDVVDGRU 3URJUDP DUH RXWÀWWHG LQ 5LYHU Stone apparel, and serve to promote the brand as
they give tours to prospective Marist students.
The capstone team also focuses heavily
on using social media. Once the merchandise was
integrated into this promotion platform, even
“alumni were calling and wanting it,” comments
-RGL+DUWPDQQ3URIHVVLRQDO/HFWXUHURI3ULYDWH
/DEHO'HYHORSPHQW
Originally the vision of President Murray,
River + Stone continues to evolve. “We are ready
to expand the business,” remarks Hartmann.
River + Stone hopes to someday have its own
retail space, and a thriving e-commerce site. No
matter what happens in the future, collaboration
among students and their faculty remains key to
the brand’s growth. With a sense of pride, Hartmann articulates, “These individuals are demonstrating their teamwork, and the Marist Community has taken notice."
161
Spectators could observe the Intercollegiate
Rowing Association races from open-air railroad cars operating along the Hudson River.
At left is a ticket stub from one of these rides
in 1922.
Classic short-sleeved T-shirt featuring Babe
Ruth during a charity baseball event with
Lowell Thomas and the Nine Old Men in
1937.
A panoramic photograph of the Intercollegiate Rowing Association Race of 1917
is one of the collection’s most instantly
recognizable prints. It is shown here on a
long-sleeved T-shirt for men and women.
Women’s T-shirts include fitted styles. Here,
the Marist “M” has been placed at the hip
in metallic gold.
162
Photography by Eury Fabian
163
"The word 'river' connects the brand to the ever-changing
movement of fashion. 'Stone' links the brand to the tradition
and history of Marist and the Hudson River Valley," explains
Radley Cramer, Fashion Program Director.
164
165
marrisa WILSON
166
Photography by Rachel Brennecke
MARRISA’S FAVORITE
STUDIO TECHNIQUE:
“I love sewing
invisible zippers with
the invisible zipper
foot. I actually offer
to do it for any of the
other designers, too.”
168
Photography by Radley Cramer, Anna Graney & Melissa Halvorson
SECOND-PERSON PARIS
Imagine traveling to a major city so intensely serene that when the sun rises over tiled
rooftops no higher than a few stories, you can
step out on the balcony, look ahead, and actually
hear your own thoughts.
What colors will you see? What scents
will you smell? What will you eat today, and with
whom? What if something unimaginable happens
that seems to threaten this serenity? I was there,
and I can tell you.
'D\<RXZLOODUULYHLQ3DULVYHU\HDUO\
in the morning, report to class at Mod’ Spe, fall
DVOHHSDQGPDNHDJUHDWLPSUHVVLRQRQ\RXUÀUVW
)UHQFK IDVKLRQ SURIHVVRU /DWHU KDYH \RXU ÀUVW
DXWKHQWLFFUHSHDQGÀUVWVLSRI)UHQFKZLQH
BY GIANNA CONSILVIO
'D\ <RX ZLOO WDNH D FODVV RQ OHDUQLQJ
basic French, and walk away remembering a
handful of phrases. Visit the Fondation Pierre
%HUJp <YHV 6DLQW /DXUHQW , NQRZ 'UHVV LQ
\RXUIDQFLHVWRXWÀWLQKRQRURIWKLVÀHOGWULSDQG
regrettably, wear heels. You will not make this
mistake again. That evening you are made aware
that a violent terrorist attack has occurred in an-
other part of Paris; that your chaperones, French
instructors, Marist adminstrators and family at
home are concerned for you. It’s scary. You will
be taken to dinner by your chaperones and given
a curfew of 10 p.m.
'D\<RXZLOOYLVLWWKH)DVKLRQ0L[H[hibit and get blown away by all the vintage de-
'D\<RXZLOOYLVLWDQHPEURLGHU\KRXVH
and learn to bead on silk. I’m serious, they let
Fashion Merchandising majors use needles and
thread, and it works! Order escargot at lunch that
day with your group and then refuse to eat them.
You’re allowed. There will be a dramatic resolution to the most immediate threats facing Paris,
but a curfew is still in place.
OHDUQWRPDNH\RXURZQVFHQW7KHQÀQDOO\PDNH
LWRYHUWRVHHWKH(LIIHO7RZHUXSFORVHDQGSHUVRQal. Take a ridiculous amount of pictures and stay
there long enough to see it light up and twinkle.
It has been determined safe to let you
roam free again.
'D\ <RX WUDYHO WR 9HUVDLOOHV &DWKHGUDORI1RWUH'DPHDQGPont des Arts (Lovelock
%ULGJH 7KDW QLJKW ÀQG D ORFDO ,WDOLDQ UHVWDXrant by your apartment and make friends with
the waiter because he will eventually bring you
free macarons.
Curfew is relaxed, but you are asked to
stay within a few blocks of the apartment.
signer items in front of you, from Schiaparelli
sweaters to Balenciaga gowns. Ride the Grande
Roue and convince the guy operating it to let you
ride for two full turns. When you get off the Ferris Wheel after what feels like hours, go to Angelina’s and order the “chocolat chaud.”
Although there seems every good reason
to panic given yesterday’s events, it isn’t necessary. Paris does not panic.
'D\<RXJRWRFODVVWKHQWDNHWKHUHVW
of the day to get started on the big group project
\RXIRUJRWDERXWEHFDXVH\RXIHOODVOHHSWKHÀUVW
day of class. For this project you have to go to
various stores, ranging from H&M and UNIQLO
WR /DQYLQ DQG 'LRU <RX ZLOO EH GHQLHG VHUYLFH
in the upscale designer stores, and it will make
for great stories (for instance, that time Chanel
chased you out of the store, saying you need a
QRWHIURPWKHFRUSRUDWHRIÀFHLQRUGHUWRDVNDQ\
questions).
'D\<RXZDNHXSHDUO\WRDWWHQG0DVV
DWWKH1RWUH'DPH&DWKHGUDO/DWHUJRWRDÁHD
market with the chaperones. That night, walk
with 1.5 million other people who reject terrorLVPDQGYDOXHWKHULJKWRIIUHHH[SUHVVLRQ-HVXLV
Charlie!
(YHU\RQHWDNLQJSDUWLVFDOPDOEHLWHPRtional, and only interested in representing their
country’s goodness. A French couple thanks you
and your friends for joining the event. You feel as
if you have experienced the essence of France in
that simple walk. You remember this as one of the
most moving events you will ever witness.
'D\ <RX DWWHQG SHUIXPHULH FODVV DQG
Afterward, you join your chaperones for a
round of celebratory beverages and dinner. This
will be the last time the whole group is together,
but you will be having too much fun to get upset.
'D\<RXDQG\RXUFRKRUWZLOODWWHPSW
to do everything still left on your to-do list. The
day will start off with breakfast at a nice café
WKDW ZDV IUHTXHQWHG E\ (UQHVW +HPLQJZD\ DQG
)6FRWW)LW]JHUDOG1H[WXSLVWKH0XVpH'·2Usay, a train station that was transformed into a
museum. Next you will attempt to see the Mona
Lisa at the Louvre, but because it’s Saturday,
the line will be ridiculously long, and you and
the group will settle for taking tourist-y pictures
of the glass pyramid. For the last night in this
stunning city, you and your group will splurge on
dinner at Ladurée and melt over the legendary
macarons. It will truly be the perfect ending to
an unbelievably wonderful trip.
Two days later: You will be back on campus in Poughkeepsie, and for a while, everyone
will come up to you saying, “How was Paris?” I
loved all your Instagrams. I can’t believe there
were attacks while you were there, how scary!”
And every time someone brings up the trip, you
will smile genuinely and try to explain that the
trip was so amazing it’s almost indescribable—
there aren’t adequate words.
'D\<RXJHWWRVHH&KDQHOWZHHGVEHIRUH
they are Chanel tweeds at the fabrication house
that makes them. Later you will take a trip to
Galleries Lafayette, for more “project research.”
<RXVKRSKHUHDQGÀQGPRVWRI\RXUVRXYHQLUV
'D\ <RX SUHVHQW \RXU ELJ SURMHFW WR
the Marist College Fashion Program director,
your academic advisor, and various teachers from
Mod’Spe. You realize that in the span of a week
and a half you learned an incredible amount.
You return to the Left Bank and take a
boat tour around Paris trying not to focus on the
fact that you only have one more day in this surreal, beautiful city.
Sometimes, shared memories are the most
SRZHUIXO <RX ZLOO ÀQG \RXUVHOI ZLWK VL[ QHZ
friends; you have classes with some of them, live
with some of them, and hardly see others. When
\RX GR PHHW XS WKH FRQYHUVDWLRQ LV ÀOOHG ZLWK
inside jokes and nods of recognition, more subWOHUHPLQGHUVRI3DULV<RXZRQ·WQHHGWRÀQGWKH
words—they will know exactly what you mean.
kiana MARKO
ON RANDOMNESS:
“Last year I drew the words ‘arty’ and ‘sex’ out of
a hat. That’s the title of my senior collection.”
Photography by Rachel Brennecke
179
180
185
BEHIND THE SCENES
187
erin McCANN
Photography by Rachel Brennecke
PRE-PACKAGED
A History of Feminine Culture Set Ablaze
Through Shopping
BY KYLE-ANNE BELL
(ULQ0F&DQQDVRIWVSRNHQVHQLRUIDVKLRQ
designer found inspiration from one of the darker
corners of literature, a narrative that was festering under the polished surface of the Victorian
era— a time when upper and middle class women were expected to remain within the walls of
their households. These walls take on a character role in Charlotte Perkins Gilman’s 1892 short
story, “The Yellow Wallpaper,” which follows the
odd relationship that develops between the narrator and the wallpaper of her room. The woman’s
husband, a doctor, has diagnosed her with “temporary nervous depression,” and the prescribed
treatment is to rest in the upstairs room of their
summerhouse. She is to take a break from social
engagement, from being a mother, from writing,
from anything that provokes thought or emoWLRQ+RZHYHUWKHQDUUDWRUUHYROWVE\ÀQGLQJLQtellectual solace in studying the wallpaper. This
morphs into an obsession, and she begins to imagine a woman trapped in the pattern. Here lies Gilman’s comment on the oppression of women; the
wallpaper is emblematic of a patriarchal social
pattern. Nails tearing into the paper, the narrator propels herself into a state of insanity that
proves uncontrollable by her husband—and what
a unique mode of rebellion.
This once perfectly postured woman is
McCann’s muse. “She took a strange path to liberation,” commented McCann, with an unassumLQJEULOOLDQFHGXULQJWKHÀYHPLQXWHVVKHDOORZHG
herself to put down her work. This candid remark
may expose a truth about women’s progress. In
(XURSH DQG 1RUWK $PHULFD ODWH WK &HQWXU\
women of action were outliers, with their suffragette agenda just gaining momentum. Average, privileged women started more cautiously;
ÀUVWWKH\KDGWRYHQWXUHRXWVLGHWKHLUKRPH$QG
so they did—they went shopping. At one point,
shopping was perhaps a vehicle of liberty. However this vehicle, so fueled by consumerism, has
placed women into another wallpapered room not
easily escaped.
21st Century consumerism has a gender,
and it is female. It’s been determined that women make 85% of all US consumer purchases. In
2010, Time magazine published a story about
this economic power in a piece titled, “The Rise
of the Sheconomy.” This notion of women and
their manic spending tendencies has been so in-
stilled into popular culture that novelist Sophie
Kinsella could attribute her series, “Shopaholics”
to it. There is an idea that the desire to accumulate things is embedded in the female psyche—to
be drawn to fashion is to be feminine. Imagine if
the narrator of “The Yellow Wallpaper” was a
Victorian male. This obsession over the pattern,
shape, and color of a wall covering seems unlikely. Perhaps the advent of shopping was to engage
women’s supposed frivolous nature. This, however, is inaccurate from a historical viewpoint. The
female shopper did not initiate the commercial
market; she altered it.
$FFRUGLQJ WR JHQGHU VWXGLHV H[SHUW -HQQLIHU-RQHVXQWLOWKHODWHQLQHWHHQWKFHQWXU\XSper class shoppers were predominantly male. The
main draw to the shop in the 17th and 18th centuries was not the merchandise, but typically the
young and beautiful shop girl. As a man perused
WKHVKRSIRUKLVFUDYDWVDQGKDWVWKHUHZDVDÁLUtation going on. So, if shopping was primarily a
man’s sport, what ignited the female shopper?
After the French Revolution, men did not want
to appear aristocratic—the powdered faces, and
ÁDPER\DQWXVHRI FRORU7KHGDUNFRORUVDQGVLPSOLÀHGXQLIRUPLW\RI PHQVZHDUWRRNKROGDQGWKH
frockcoat was born. Marist professor of costume
history, Richard Kramer explains that the bourJHRLVPDQKDGWRÀQGDZD\WRGLVSOD\KLVZHDOWK
so that role was delegated to the woman of the
house. The simplicity and functionality of menswear was juxtaposed by the adornment of his
wife and daughters, in which opulence trumped
the practicality of clothing.
Shopping was no longer a man’s game,
and with the addition of the “second sex” retailers felt they had to make the space more comfortable. Retailers became more concerned with the
idea of merchandising. Lighting, décor, layout,
and inviting displays combined to create an environment that became central to the shopping
experience. Thus, this new escape for women was
never far-removed from the comforts of home,
pretty wallpaper included.
In 1899, Thorstein Veblen’s The Theory of
Leisure Class criticized the role imposed on womHQLQWKH(QJOLVKPLGGOHFODVV+HH[SODLQVWKDWLQ
society “propriety requires respectable women to
abstain more consistently from useful effort and
to make more of a show of leisure than the men
of the same social classes…her sphere is within
the household, which she should ‘beautify,’ and
of which she should be the ‘chief ornament’.”
While France was in revolt, industrialization and
PDVV SURGXFWLRQ VZHSW WKURXJK (QJODQG XOWLmately evolving into the fast fashion experienced
today. Not only was the woman encouraged to
“beautify” herself, now fashion could be attained
and consumed at a rate never seen before. Consumption and waste was introduced into our experience in the 19th Century, and has yet to be
purged from it.
+LVWRULDQ(ULND5DSSDSRUWRIIHUVDVWXG\
of the Victorian shopping culture in the West
(QGRI /RQGRQLQKHUERRN6KRSSLQJIRU3OHDsure. Rappaport argues that shopping helped
create a feminine culture outside the private
KRPH$FFRPSDQ\LQJWKLVÁXUU\RI UHWDLOLQWKH
district was the rise of women’s clubs. They became platforms for feminist debate. Within this
feminine culture progressive minds collided, and
soon women were pressing for power outside their
husbands’ wallet. The Pioneer Club resided in this
district and set out to further the Women’s Suffrage Movement. Rappaport also hints that while
many of these clubs saw their activities as alternatives to shopping, the money needed to gain
PHPEHUVKLS PDGH LW GLIÀFXOW WR LQFOXGH ZRPHQ
of all classes. Retail and feminist platforms intersected not only geographically, but also through
KRZ WKH\ PXWXDOO\ EHQHÀWHG HDFK RWKHU E\ OXUing wealthy women into the area. Together they
perpetuated the feminine model of being the “big
spender” of the household, and the idea that true
LQÁXHQFHOLHVLQRQH·VEX\LQJSRZHU
In the mid-1800s there was a difference in
opinion among feminists when it came to shopping. Some detested the commercial culture; others were more pragmatic. They focused on getting the woman involved in the city, never mind
what brought her there. But what brought her
there—into the public sphere—does have serious
repercussions for today’s woman. Consumerism
and women’s progress bleed into each other so
profusely it often stings. If feminine culture has
been plagued by consumerism, then the marks
of femininity found in clothes make the wearer
susceptible to being read as frivolous. Today the
woman’s “power suit” does not only evoke the
power of masculinity, but also disables consum-
Photography by Anna Zhylyak
erist indicators—it is deemed the “smart” choice.
Perhaps the most frustrating component is that
WKHVHLQGLFDWRUVDUHQRWFOHDUO\GHÀQHG/DFHUXIÁHVZLQJHGH\HOLQHU":KDWH[DFWO\VWHSVRYHUWKH
“too feminine to be taken seriously” line is a mystery.
0F&DQQ LV DZDUH RI WKLV DIÁLFWLRQ DQG
confronts it head on in her collection. She describes her collection as having contrasts of masculine and feminine characteristics. For her surIDFH PDQLSXODWLRQ VKH LV XVLQJ DUWLÀFLDO ÁRZHUV
and coating them in plaster of Paris. This use of
plaster not only alludes to the walls in Gilman’s
story, but as McCann explains “it’s about taking
VRPHWKLQJ WUDGLWLRQDOO\ IHPLQLQH OLNH D ÁRZHU
DQGPDNLQJ\RXIHHOXQHDV\DERXWLWµ(QFDVLQJ
D ÁRZHU D FRPSOH[ RUJDQLVP LQ D KDUG VKHOO LV
a provocative choice by the young designer. Her
collection is infused with questions that rip into
prepackaged ideas of femininity. Over 150 years
after Gilman’s The Yellow Wallpaper, the story
continues, and it is completely ours. We decide
what happens next.
197
199
Friday, May 8, 2015
Mid-Hudson Civic Center
Afternoon Show - 3pm
Evening Show - 7pm
Purchase your tickets at ticketmaster.com
Email fashionatmarist@gmail.com for more information
MARIST FASHION 2015