UNHEMMED

theARTissue

March 2013

UNHEMMEDm

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UNHEMMEDrachel watson

layout editor

audrey chofashion features editor

dominik halasmenswear editor

chelsea english & catherine gaoart editors

lily sykesaccessories editor and web assistant

sally luubusiness manager

victor ha & tiffany mendozafashion editors

elaine kuckertzstreet style editor

marissa petterutibeauty editor

marissa bergmanentertainment editor

lauren chanenlayout assistant

ashlyn kogaweb beauty editor

contributors: sophie blistein, caroline bologna, kat boorstein, samantha cheung, hannah duron, jaemun park, anisa khanmohamed, shirley leung, nicole salvador, natasha wollkind

mj batson & april zhangeditors-in-chief

LETTERS FROM THE EDITORS

THE ARTIST ISSUE

Recently, I’ve been asked quite frequently what kind of artist I am. And I usually respond with upraised eyebrows and a quick “I’m an artist?” Personally, I don’t know what that means yet but I admire those that do. Those artists that use their pen, hammer, paintbrush or whatever as their weapon of choice as they go to war with the world with conviction hoping to bring some sort of earthmoving force within their medium. Those that have seemingly fig-ured out the issue with being an artist. They have some idea of what they want even if the path is presently unknown. So in this issue, we take a quick look at Bridget Sauer’s time in Paris at Hermès and spend a little time with Ethan Zisson and his crafty design skills. We’ve got more art than any issue before. So I’ll keep my letter short and let the artists speak for themselves. As always, I hope you enjoy the issue. I hope you appreciate the art. And I hope you check out our new web-site (it works!!!).

Best,

THANK YOU, ARTISTS

Since the last issue, we’ve slept through winter break, shopped for the best classes, survived a blizzard, enjoyed a long weekend, and now, amazingly, it’s March. Unhemmed kicks off this month with The Art Issue, in which student paintings help us welcome spring, student artists amaze and inspire, and the talented dancers of imPulse entertain. Between the below-freezing cold we experienced in January and the immense amounts of snow that Nemo gave us, dressing to storm the weather has proved challenging. But (hopefully) spring will be on its way soon -- I’m looking forward to retiring my winter coats and thick knit scarves in favor of bare legs with dresses and open-toe shoes! In this issue, we look forward to spring too. Fashion editors Tiffany Mendoza and Victor Ha look forward to the upcoming warmer weather, while reminding us that fashion is art and art is fashion. And artists are all around. As someone who spends plenty of time in List, I know that Brown is full of talented and creative artists and am lucky enough to be constantly surrounded by people like Bridget Sauer, who interned at Hermès in Paris (!) and whose gorgeous, hand-painted silk scarves make me yearn for spring-time, and Ethan Zisson, who has designed some of the furniture you see in Faunce every day. Dancers are artists too: editor Victor Ha interviews some members of imPulse, whose 10th anniversary show -- to-night and tomorrow (March 1 and 2)! -- you will not want to miss. Finally, I want to thank all the artists who have supported and continue to support Unhemmed. Artists, especially those who are students, are part of the community of inspirational and awesome people that we seek to celebrate, and it’s an honor for us to have them and their art on our pages.

Love always,

CONTENTS

street style

fashion

beauty

diy

entertainment

art

best of Brown style

runway-inspired nail art

inside the wardrobe: Silver Linings Playbookbehind the album: HAIM

gonna pop some tagscopenhagenshop online

student submissionsrecycled media

meet Ethan Zisson

peter pan collar necklace

march 2012

fresh paint

impulse

that girl

on the cover: Isabelle Aubrun, photographed by Meron Tadesselampshade (worn as hat) by Sofie Ramos

celebrating ten years

meet Bridget Sauer

fashion is art

theARTissue

street style

TAN ZHANG GS

STRE

ET ST

YLE

STEFFAN KIM ‘16

DONNA LEONG ‘13

KATY WINDEMUTH ‘15

STRE

ET ST

YLE

KEVIN DHALI ‘16

STRE

ET ST

YLE

SARAH DILLARD ‘16

TATHYA ABE ‘16

STRE

ET ST

YLE

DANLY OMIL-LIMA ‘13

YONGHA KIM ‘15

STRE

ET ST

YLE

SHREENA THAKORE ‘16

YOUBIN KANG ‘14

FASHION

gonna pop some tagsby Hannah Duron

With the astronomical popularity of their video “Thrift Shop,” Macklemore and Ryan Lewis have given second hand shopping the ultimate push into the mainstream. No longer reserved for

garage-sale hopping grandmothers, the aisles of the Salvation Army are drawing more and more people into their fluorescent glow. Whether you are a seasoned Goodwill warrior or a resale virgin, this Unhemmed guide to the basics of thrift will help you navigate the sometimes perilous terrain of the pre-worn and the pre-loved.

BUYING VINTAGE:Where to go: Rocket to Mars, on Federal HillGood things to look for: handbags, costume jewelry, a beaded shift— anything too tailored is unlikely to fit well, or will have lost its elasticityExpect to spend: $$. Real vintage pieces often run on the expensive side, but RtM is usually reasonable.

There is a lot of controversy about how old an item must be to be considered authentically vintage. Some will tell you that it must be upwards of 20 years old to qualify; but according to others, a mere 7 years will do. However you define it, vintage items can be found at many small boutiques, but be prepared to spend the afternoon hunt-ing—and do not be too disappointed if you turn up emp-ty. A good vintage find can be hard, but the well-trained

eye can spot a diamond in the rough. If you’re really, re-ally lucky and manage to snag an authentic Emilio Puc-ci scarf or an original 1970s Coach Crescent, you may want to decide whether the item is worth lowering your standards—chances are, the item will not be in mint con-dition. Consider pieces that can be tailored for a more modern fit, or that you simply cannot bear to leave be-hind.

FASHION

Where to go: Second Time Around on Thayer. Things to hunt for: outerwear, pants, denim, and sweaters. Expect to spend: $$ to $$$.

Consignment means that someone had to make an ap-pointment with an experienced buyer who looked care-fully through their items, and decided whether or not the quality met a certain set of standards for style and condition. Though one step down from straight vin-tage, many consignment shops will only consider high end or designer clothing, so they are great for clothes that may normally be outside of your price range! While they do not accept soiled items, make sure to wash your purchase before wearing it (this goes for any of these categories).

Where to look: Plato’s Closet is soon to open in MA, and the nearest Buffalo Exchange is in Boston Good things to look for: literally anything. With the exception of undergarments and swimsuit bot-toms. (This too applies to all forms of thrift.) Expect to spend: $$.

Take another step down the totem pole and you’ve ar-rived at my personal favorite that strikes a happy me-dium between selectivity and economy. Major bonus: they will probably buy your old stuff. Many places will offer you store credit or even a little cash in return. However, since the distinctive preferences of the em-ployees dictate the items accepted, the selection tends to vary by location, and is only as tasteful as the buyers themselves. Glancing at salespersons’ outfits when you pass the counter can cue you in on the styles you are likely to find, but don’t necessarily judge a book by its cover.

BUYING CONSIGNMENT:

THE THRIFT SHOP:Where to start: Salvation Army on Pitman Street via RIPTA’s Green Line Trolley to Fox Point Look for: skirts, dresses, roomy tops, belts, hand-bags, and interesting jewelry. Expect to spend: $ Keep an eye out for discount days: many stores will take large percentages off on certain days of the week!

Finally, the now iconic thrift shop. Goodwill, Salvation Army, and Blue Hanger are treasure troves full of dirt-cheap finds, if only you are willing to hunt for them. Be prepared to spend some time riffling through bargain bins and flipping past endless hangers. Learn to zero in on textures or prints that catch your eye, and whether something will fit just by eyeballing it. While finding something practically for pennies can certainly be a thrill, remember that just because it is cheap and half-way acceptable does not necessarily mean you should buy it! To avoid getting overexcited, bring a friend who will give you an honest opinion on whether that cable knit sweater is cute, or a little too Bill Cosby. Wear a moveable skirt or leggings and a camisole to the store, so that in the event that there are no fitting rooms, you can try things on over or under your own clothing. While the categories mapped out above are

by no means the only kinds of resale you can buy, the vast majority of second hand shops will fall into one of the groups outlined here. Often, certain boutiques offer a combination of vintage, thrift, and new items, including handmade pieces by local artists. While buy-ing pre-loved clothing is a great way to get your hands on unique conversation pieces and avoid supporting economically or environmentally harmful distributors (read: stuff made in a smog spewing overseas sweat-shop, or sold by a company whose policies you don’t approve of), many second hand items work well when juxtaposed with shiny new contrast leggings from American Apparel, or another first-hand piece. Just remember, after you’ve gotten used to seeing friend-ly numbers on Goodwill tags, those J. Crew prices you used to pay without batting an eye may well give you quite the shock!

Fashion week has a kind of mystique about it. For those of us that don’t ac-tively (read: obsessively) troll Womens

Wear Daily and GQ for new photos from half-way around the world in January and June, the looks that come out of those shows can be a lit-tle daunting. If you like to look good but don’t see your personal style reflected in Gucci furs or Burberry zebra-print trench coats, it can be hard to know where to turn for the newest wearable trends in mens fashion. Now there’s an answer: Copenhagen. Copenhagen hosts Scandinavia’s larg-est fashion event, and began making news in August of 2010 when it boasted the world’s longest catwalk, which ran a mile through Co-penhagen’s urban center (the Danish Fashion Council has since broken its own record, in Hong Kong last December.) Press has in-creased since Copenhagen began to make it-self known for its proud, eclectic style. This is not only due to CFW, but also to the growing number of Scandinavian-centric street style blogs and boutiques. This year, Copenhagen even managed to convince Dame Vivienne Westwood to show her collection there. Co-penhagen’s accessibility should also be noted- livestreams of nearly all shows and then photo coverage are both hosted on the Copenhagen Fashion Week site. The best thing about Copenhagen is that it showcases up and coming Scandina-vian designers. There is a huge emphasis in Scandinavian culture on quality, and that in-cludes clothes. Many of the designers produce their clothes domestically, employing small numbers of detail-obsessive and experienced

clothesmakers. Stylistically, Scandinavian de-signers focus on a slim but balanced shape and simple but bold colors and patterns. The look is a wonderfully enigmatic mix of liberal arts grad and Brooklyn culture-chaser, combining a variety of boots with denim shirts, sweaters and unique well-fitting trousers. The mens-wear stars at Copenhagen are Wood Wood and Soulland. Soulland chose to contrast sparse flo-ral prints with black wool slacks and sneakers or high top boots. They exhibited the most important and ubiquitous menswear trend this season, shortening their trousers with con-spicuous cuffs and detailing. Based in navy and beige, bright spring/summer patterns were replaced by polka dots and two-tone whacky printed sweaters. The print at Wood Wood was a re-petitive Rorschach splotch printed on neutral sweatshirts. Shirts, trousers and coats were wool-blend, and Wood Wood took on the short trousers by cropping them entirely. Be-ware, your pants will get shorter in the ankle next winter, but all the better to wear your high top boots and knit socks with. - S. Blistein

CopenhagenFASHION

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Does a trek through the snow to Providence Place seems unthinkable? Then it must be the season for online shopping! Where better to browse for the best finds than Modcloth.com, the online pantheon of indie, retro, and vintage-inspired fashion? But on the dreariest March days, even the oft-restocked supply of Modcloth may not be enough to satiate your online shopping appetite. Lucky for you, this guide will provide you with tried and true picks for Modcloth’s closest runners-up for 2013!

The vintage-inspired queen of online fash-ion! Started as a small-scale vintage seller, this website has expanded into a retail em-pire that aims to “democratize fashion one indie style at a time.” While it still retains a meager vintage section, Modcloth’s real at-traction lies in the thousands of hand-se-lected pieces from dozens of designers it sells— a stock that is added to daily by the dozens. For the shopper whose procrasti-nating powers no know limits, the website is also home to an extensive fashion blog and even a “Be the Buyer” section, where shop-pers can have a say in which pieces will be sold on the website next.

Lulu’s might be described as Modcloth’s preppier, more feminine counterpart. The site offers a myriad of fun, flirty pieces, many of them Lulu’s exclusives. The site is easy to navigate and restocks frequently. Its weeklong free return policy earns it the #2 spot on this list.• Returns: 30 days. Free returns anytime within the first

7 days!• Sale Section: Nice selection, but the deals are not al-

ways much better than the original prices.• Price: $20-$100 like Modcloth, but at times a little less,

depending on the designer.• Downside: The prices can be steep, depending on the

designer.

1. ModCloth.com 2. Lulus.com

SHOP ONLINEby Katherine Boorstein

• Returns: 30 days free!• Typical Price Range: $20-$100• Sale Section: Fabulously extensive, if still

a little pricey. The weekly sale “Twelvsies Tuesdays” features 12 items at heavily reduced prices, and other special sales are quite frequent.

• Downside: The price: depending on the piece, it may be well out of the typical college-student budget.

FASHION

GoJane’s style closely mirrors that of Lulu’s (#2) and UrbanOG (#4), but its inexpensive prices earn its #3 spot. While its pieces might not come from designers as up-and-coming as those at Modcloth, it is the place to go for cheap, trendy tops… and $20 dresses! How-ever, the site does not offer free returns, which can be a deal-breaker if you like to try on your clothes before you make your pick.• Returns: 30 days• Sale Section: practically all in $10’s and $20’s – even

dresses! Still, sale items are often much less stylish than those on the rest of the site.

• Price: Significantly cheaper than Modcloth… think $20 dresses!

• Downside: Returns aren’t free!

Short for “Urban Originals,” UrbanOG offers not only feminine pieces like Lulu’s but also a vari-ety of other styles, aptly showcased in its “Shop by Trend” section. Though it does not allow free returns, its incredible sale section definitely qualifies it for spot #4.• Returns: 30 days• Sale Section: Gigantic. Most items fall in the

$20-$30 range. The site also offers several “deals of the day,” daily items offered for over 50% off.

• Price: $10-$60• Downside: Inventory sometimes overlaps

with Lulu’s.

3. GoJane.com 4. UrbanOG.com

FASHION

Originated as a boutique in Berkeley, SwayChic now boasts 6 stores across California in addition to its blossoming online selection. For those of us craving that summery style in chilly Rhode Island, SwayChic offers pieces ranging from preppy to grungy at very reasonable prices.• Returns: 30 days• Sale section: Pretty nice – shoppers can even

browse designated $30 & under, $20 & under, or $10 & under.

• Price: Mainly in the $20-$30 range.• Downside: New additions are relatively infrequent.

Plus, some inventory overlaps with Lulu’s and Ur-banog.

With such a brazen name, it is no surprise that Nasty Gal sets itself apart with insanely edgy styles, often emulating upscale grunge. This site offers hundreds of crazy statement pieces (in-cluding no small quantity of outrageous heels) and adds new items frequently. Just like Mod-cloth, it also offers an authentic vintage section.• Returns: 30 days• Sale section: Price can be quite expensive

(see below) so the sale section is probably your best option!

• Price: $30 to over $300, hence the appeal of the sale section.

• Downside: With prices this high, you will have to be careful not to break your budget!

5. SwayChic.com 6. NastyGal.com

beau

tyNAIL TRENDSstraight off the runway

With spring (theoretically) right around the corner, you might be looking to ramp up your nail-art game. Here are some of the best nail trends from Fashion Week in NYC, which you can use for inspiration!

by Marissa Petteruti

Norman Ambrose Fall 2013 NY Fashion Week

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Kate Spade Fall 2013 Fashion Week

STUD

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Creatures of the Wind Fall 2013 NY Fashion Week

ABST

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Assembly Fall 2013 NY Fashion Week

EMO

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Libertine Fall 2013 NY Fashion Week

BEJE

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The Blonds Fall 2013 NY Fashion Week

HOLL

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OR

diycollar necklaceby Natasha Wollkind and Shirley Leung

You will need:- Wire - Clasps - Pliers - Paper or cardboard to create a pattern- Cloth or leather (for the collar)

- Button or brooch- Something sharp (needle, safety pin)- Scissors- Something circular to trace (bowl, plate, …)- Something for marking (pencil, pen, …)

Follow that pattern and draw a collar-like shape depicted in the picture—this will be the pattern for your collar. Cut it out.

Trace circular object on a piece of paper or cardboard to make a circular pattern. 12

34

56

Trace the pattern you just cut out on the cloth or piece of leather. Then flip it over and repeat to get two identical patterns.

Attach brooch to the collar.

Use the needle or safety pin to make a hole for the wire to go through. Attach the clasp and use the pliers to keep it in place.

Wear your new peter pan collar!

ENTERTAINMENT

INSIDE THE WARDROBE: SILVER LININGS PLAYBOOK

One of this Oscar season’s most buzzed-about movies was David O. Russell’s romantic com-edy-drama, Silver Linings Playbook. Starring

Bradley Cooper and Jennifer Lawrence, the film tells the story of a recovering mental patient and his bud-ding relationship with a young, sex-addicted widow. The movie also examines the protagonist’s struggle to rebuild his life with his family, with Robert Deniro and Jacki Weaver featuring prominently as his eccentric but loving parents. Set against a middle-class Philadelphia neighborhood, the film is quintessentially American as it incorporates elements like football and a semi-rags-to-riches subplot. True to its genre, Silver Linings Play-book is an emotional and psychological rollercoaster, infused with the perfect balance of tears and laughter. The film is truly raw and honest. The honest realism of Silver Linings Playbook’s manifests itself in many cinematic elements, but one particularly notable example is the wardrobe. In con-trast to the grandeur of period pieces like Anna Karen-

ina and Les Misérables and the sleek, professional look of Zero Dark Thirty, the costumes in Silver Linings Playbook are relatively simple. With the exception of the dance competition scenes at the end, the decided-ly contemporary wardrobe is generally casual and no-frills. Nonetheless, the costumes play an integral role in character development and even directly contribute to subplots. Having lost a great deal of weight during his time in the psychiatric hospital, Cooper’s character Pat is somewhat obsessed with physical fitness. He follows a strict workout routine, jogging around the neighbor-hood every day while wearing a gray tracksuit and large black garbage bag. When questioned about his uncon-ventional attire, Pat suggests that the purpose of the bag is to induce sweat and shed further water weight, thus illuminating his mental health issues via his preoc-cupation with his body and appearance. Pat also makes an unusual wardrobe choice when he decides to wear a DeSean Jackson jersey to a

nice dinner at his friend Ronnie’s house. The Eagles jersey is representative of the football-centric thread that weaves together the plot of the movie. As Pat’s hyper-superstitious and Eagles-obsessed father, Rob-ert Deniro also sports a lot of the Philadelphia team’s gear throughout the movie, especially on game days. His strong belief in the importance of ritual and luck leads him to wear the same Eagles outfit for every game, which he watches in the same armchair with the same TV remote configuration. In this sense, Deniro’s ward-robe enhances his character’s eccentric nature and in-tense belief in superstition. Turning to the film’s female lead, Jennifer Law-rence’s character Tiffany also reveals a great deal about herself (both figuratively and literally) through her wardrobe. Often wearing tight-fitting, cleavage-baring ensembles, Tiffany draws attention to her notoriously

promiscuous reputation. The fact that she generally sticks to black and other dark colors, however, high-lights her state of depression in the aftermath of her husband’s death. As costume designer Mark Bridges has stated, “I thought [black] was really good because it works on a few levels. She’s in mourning. It’s edgy but kind of artistic, and it also makes her a fish out of wa-ter at a working class Philly neighborhood.” Clothing also plays a central role in the plot when Tiffany reveals that her husband died on the way home from the King of Prussia Mall, where he had just purchased some lingerie for his wife from Victoria’s Secret. In the second half of the film, the audience sees a subtle transition in Tiffany’s wardrobe. She wears brighter workout gear like Lululemon yoga pants as she and Pat train together for a dance competition. The evolution of Tiffany’s character through her clothing

culminates at the end of the film when she takes off her coat at the dance contest to reveal a wintery white cos-tume. With this wardrobe element, she demonstrates her character development from a black-clad, dark-spir-ited widow to a more emotionally available woman in white. Silver Linings Playbook is a must-see film, and not just because of Mark Bridges‘ excellent, charac-ter-oriented costumes. It’s a critically acclaimed work that provides a nice mix of comedy and drama and a cre-

ative look into the reality of mental illness. The acting is brilliant, with Cooper, Lawrence, Deniro, and Weav-er all nominated for Academy Awards. Incidentally, it’s also a fantastic date movie, as evidenced in the mar-keting team’s Jerry Maguire-esque approach to publi-cizing the film (hey look, there’s love AND football). Whatever be the reason that sways you, go see Silver Linings Playbook. It’s a feel-good movie with serious, thought-provoking undertones. And a killer wardrobe. -Caroline Bologna

Kendrick. Dirty Projectors. BIG FREEDIA. These names have given us hope in the post-Nemo world. Hope for a time called spring, where for three days

Brown puts on the tank tops and other bro gear it otherwise so vocally judges. Hope for a season where we shimmy out of our long johns, put on shorts, and zone out on the main green listening to music that makes us feel like Jamaica and not Alaska. Get your popcorn ready, kids, because we’re going to give you another music act to make you prioritize even more poorly. This band is called HAIM, pronounced (high-me) to rhyme with, well, rhyme. It’s composed of three Jewish sisters from the San Fernando Valley (as in, of the dolls), Este, Alana, and Danielle. They started off Partridge style, playing in a band called Rockinhaim with their mom and dad at local fairs. Este earned a degree at UCLA in Ethnomu-sicology in two years, instead of five. They all play guitar, bass, and drums. They only stopped playing with their par-ents in 2011, when all three girls were well into their twen-

ties. They haven’t released a proper album yet but have been racking up plenty of cool points. They’ve played with Jenny Lewis, Julian Casablancas, and Cee-Lo Green. They’ve hit up South By Southwest and the iTunes Festival, opening for Ellie Goulding. They were cranky during this set because they were fasting for Yom Kippur. Fun fact: they wanted to do a bar mitzvah music video before Drake. They now plan to do a Passover vid-eo, where Drake, Michael Cera, and Jessie Ware are at the table, Barbra Streisand is cantor, and Spielberg is direct-ing. Solid, solid plan. They literally almost killed Mumford and Sons once. During their tour in Tennessee, they spent three hundred dollars on fireworks and set off a kamikaze that landed in their huddle. Imagine the headlines to that story. Someone said their music “sounds like it was writ-ten on a lakeside retreat attended by Stevie Nicks, John Waite, and En Vogue.” The Fleetwood Mac comparisons are plenty - they do a killer cover of “Hold Me.” Their girly

Behind the Album: ENTERTAINMENT

soft-rock definitely brings to mind the golden days of that era if we want to romanticize. But it goes further than that. Their music is sprinkled with drums and R&B vocal rhythms. They’re big fans of TLC, Kendrick Lamar, and 2012’s golden child, Azealia Banks. But the biggest vibe they give off is definitely the beachy, scrappy, west coast sound that Best Coast attempts, but at least 67% better. “Go Slow” is a slow jam perfect for early (early) mornings walking back to Pembroke from your “friend’s” in Perkins. Its lazy, dreary beat spackled with perfect harmonies is a song to mellow out. Their latest single, “Falling,” is even better, with per-cussions, echoes, and a motivational hook that says, “don’t stop, never give up.” I hear you, HAIM, I won’t give up on convincing myself that the gym is four miles away! By far my favorite (and everyone else’s) is “Don’t Save Me,” which is a love song to a boy who needs to step up to the plate or scram. Their music has been the anecdote to the slumpage we’ve all been feeling. Their music videos completely encompass all the

good that is HAIM. “Forever” shows the girls singing in a suburban living room, riding on dirtbikes, dancing in a cheap hair salon, and features choreographed hand clap-ping. I was already sold on the California cool, but they even include old videos of them as babies. Exposure to non-col-legiate humans is prime. The “Don’t Save Me” video show-cases them playing a pick-up game, chilling in the bleachers à la Britney, and more badass dancing and head-nodding. As for the style, they’d be the hip top dogs at Brown. They rock the grown out middle parts, red leather jackets, 50’s cuts, flannel, and boots. But, like, totally aren’t even trying. So download Spotify, check out their EPs on your phone, walk to Ruth Simmons Quad, and listen. If you shut your eyes, you might be able to feel spring coming. Or just fall asleep until spring actually comes. I support both. Imagination and sleep are good things. Either way, HAIM is made for a good time. - Nicole Salvador

HAIM

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ELISA LESER

VITOR OLIVEIRA

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ELISA LESER

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ELISA LESER

VITOR OLIVEIRA

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OLIVIA WATSON

ELISA LESER

ART

JULIA STOLLER

ART

KATRINA MACHADO

KATRINA MACHADO

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MARVIN LI

JULIA STOLLER

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LAURA LEDDY

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photos by Anisa Khanmohamed

E T H A N Z I S S O N

artist profile:

When I discovered the exhibit “Flatz” on the second floor of List Art Building in Janu-ary, little did I know my soon to be obses-

sion with Ethan Zisson’s art had begun. In the gallery, he displayed functional chairs fabricated from flat cut out profiles of chairs. I was intrigued. But, this was only the beginning of a soon to be lasting impression that I hope will sustain as artist Ethan Zisson puts his stamp on the art world. Soon after my unexpected encounter of miniature chairs in List, I scanned the artist’s website at ethanzisson.com. As my mouse clicked from image to image I felt my jaw drop toward the floor with each click. I marveled over photos of furniture and sculptures, read about his curation of the Craft & Design Guild, and poured over his graph-ic designs. I wanted to understand where all this was coming from. Ethan Zisson is a senior double concentrat-ing in Visual Art and Biology. He’s the type of student Brown has dreams about—well-rounded, intellectual-ly curious, creative, the ideal undergrad who can call himself both a scientist and an artist. With an easy laugh, Zisson is far from haughty, although he has every right to be, and possesses an apparent hyper-in-telligence and vast knowledge of design. His artwork includes sculptures, furniture, graphic design, paint-ings, and even videos. I encourage you all to clear your afternoons and spend some time on his website. Most likely, you have already unknowingly experienced Zisson’s work. Alongside Miles Fujiki and Peter Scheidt, he created nine pieces of furniture for Faunce Arch that are currently on disply and used in the building. “The interesting part,” Zisson says, “was that we were using the building’s old structural beams which were put in place in 1897 to build piec-es of furniture for the renovated building over one hundred years later.” It’s amazing that students made such a tangible contribution to the university, one that could potentially last another hundred years. Currently, Zisson is working on a thesis

focused on two-dimensional representations of three-dimensional objects. “I’m really interested in how drawings inform the objects they represent, and in some cases, even become them,” he explains. Take his Cardioboard piece, for instance. There is no doubt that this piece evokes a certain sentiment, and amus-ingly Zisson is able to elucidate what I thought was an inexplicable pull towards the piece. An example of the basis of his thesis, Zisson explains, “It takes a common graphic representation of a heart and trans-forms it into a ‘beating’ object. I’ve done other proj-ects dealing with the same theme using projections of cubes or chairs, works where new objects can emerge from banal representational drawings, but there’s an implicit fondness we have for the image of a heart. Be-cause of that, it’s one of my only pieces that can draw an emotional rather than conceptual response, which is what I think most artists want out of their work.” What Zisson also hopes to communicate with his work is a balance of art and craft, designer and maker. In making pieces of furniture, Zisson says, “I feel like I can’t just make a table. I have to design something new.” The question then becomes, “how do you make art into a craft, or a craft into art?” Be-cause furniture is often easily reproducible, there must be a special element in the design process and in the work itself. In the same vein of turning poten-tially mundane objects into art, Zisson would love any sort of job in which he creates a work that is seen on a massive level—a map, for example (like one he made for Post of Brown’s campus). After all, Zisson ex-plains, “the person who invented the Bic lighter has more of an impact on our daily lives than Picasso,” a quaint revelation that rings ever true. For Zisson, art is not successful until it speaks to someone other than himself. He notes, “An extension of this feeling has evolved into an interest in curating and designing how art interacts with the viewer. As a result, developing ideas in relation to how they are going to be exhibited or placed into the public sphere has become an inte-

Faunce Arch Furniture

Cardioboard

UDNA

When I discovered the exhibit “Flatz” on the second floor of List Art Building in January, little did I know my soon to be obsession

with Ethan Zisson’s art had begun. In the gallery, he displayed functional chairs fabricated from flat cut out profiles of chairs. I was intrigued. But, this was only the beginning of a soon to be lasting impression that I hope will sustain as artist Ethan Zisson puts his stamp on the art world. Soon after my unexpected encounter of miniature chairs in List, I scanned the artist’s website at ethanzisson.com. As my mouse clicked from image to image I felt my jaw drop toward the floor with each click. I marveled over photos of furniture and sculptures, read about his curation of the Craft & Design Guild, and poured over his graphic designs. I wanted to under-stand where all this was coming from. Ethan Zisson is a senior double concentrating in Visu-al Art and Biology. He’s the type of student Brown has dreams about—well-rounded, intellectually curious, creative, the ideal undergrad who can call himself both a scientist and an artist. With an easy laugh, Zisson is far from haughty, although he has every right to be, and possesses an apparent hyper-intelligence and vast knowledge of design. His artwork includes sculptures, furniture, graphic design, paintings, and even videos. I encourage you all to clear your afternoons and spend some time on his website.Most likely, you have already unknowingly experi-enced Zisson’s work. Alongside Miles Fujiki and Peter Scheidt, he created nine pieces of furniture for Faunce Arch that are currently on disply and used in the build-ing. “The interesting part,” Zisson says, “was that we were using the building’s old structural beams which were put in place in 1897 to build pieces of furniture for the renovated building over one hundred years lat-er.” It’s amazing that students made such a tangible

When I discovered the exhibit “Flatz” on the second floor of List Art Building in January, little did I know my soon to be obsession

with Ethan Zisson’s art had begun. In the gallery, he displayed functional chairs fabricated from flat cut out profiles of chairs. I was intrigued. But, this was only the beginning of a soon to be lasting impression that I hope will sustain as artist Ethan Zisson puts his stamp on the art world. Soon after my unexpected encounter of miniature chairs in List, I scanned the artist’s website at ethanzisson.com. As my mouse clicked from image to image I felt my jaw drop toward the floor with each click. I marveled over photos of furniture and sculptures, read about his curation of the Craft & Design Guild, and poured over his graphic designs. I wanted to under-stand where all this was coming from. Ethan Zisson is a senior double concentrating in Visu-al Art and Biology. He’s the type of student Brown has dreams about—well-rounded, intellectually curious, creative, the ideal undergrad who can call himself both a scientist and an artist. With an easy laugh, Zisson is far from haughty, although he has every right to be, and possesses an apparent hyper-intelligence and vast knowledge of design. His artwork includes sculptures, furniture, graphic design, paintings, and even videos. I encourage you all to clear your afternoons and spend some time on his website.Most likely, you have already unknowingly experi-enced Zisson’s work. Alongside Miles Fujiki and Peter Scheidt, he created nine pieces of furniture for Faunce Arch that are currently on disply and used in the build-ing. “The interesting part,” Zisson says, “was that we were using the building’s old structural beams which were put in place in 1897 to build pieces of furniture for the renovated building over one hundred years lat-er.” It’s amazing that students made such a tangible

gral part of my creative process. I couldn’t imagine being someone who ignores that reality.” Zisson’s favorite medium to work with is wood, “a living material that expands and contracts, has an unmistakable texture, weight and oddly enough, domesticity.” His creative process when working with wood begins with a cardboard or paper mockup or model, followed by a trip to the lumber-yard. “I love the trips…being surrounded by the ma-terial and the men and women who spend their lives working with it,” he says. At Brown, he has been in-troduced to fabrication techniques including tradi-tional woodworking, laser cutting, 3D printing, and CNC routing. The university has affected his art in that “being able to draw something on the computer and then have another machine cut or print it out” has led to his “current questioning of different objects as representations in two and three dimensions.” Zisson praises his art professors for their “perfect balance of critique and creative space,” as well as the keys to the wood shop. Curious about his promising future, I asked Zisson what his plans are after graduation this May. He plans on finding a job to support his own studio practice and “seeing what the world has to offer” be-fore possibly jumping into medical or architecture school. Most importantly, no matter what, his “prima-ry occupation will continue to be an artist.” “Take advantage of all the resources that are here at Brown,” Zisson advises. “I can’t imagine we’ll have another chance to sit around for four years and think.” -Samantha Cheung

Art Stools

10 10

imPulse’s big year

imPulse, one of Brown and RISD’s most beloved dance companies, finally turns ten this year. After a decade of dance, the hip hop-focused company has evolved into a diverse group of dancers united by their love of dance-- and their love of each other. The group’s 10th Anniversary Spring Show, fitting-ly entitled X, promises to be one charged with high energy, impressive range, and, of course, swag on swag. To learn more about imPulse and its immi-nent spring show, Unhemmed sat down with five fly ladies of the group: the long-lost Knowles sis-ter, Emma Blue Russo; the future president of the United States, Michelle Bailhe; the Helen of Troy of dance, Hannah Duron; the ultimate thug princess, Layla Heidari; and the bubble of light that is Iris Pak.

By Victor Ha Photographer: Meron Tadesse

UM: The imPulse Spring Show is the first of many spring showcases presented by the various dance companies of Brown. In a way, imPulse inaugurates the dance season. What is different about this show? EB: This is our tenth show so boom, that’s different. We also have a lot of outside dancers coming in to collaborate--Attitude, Fusion, and dance groups from outside of Brown.HD: It’s also a very concise, well-edited show. We’re not going to make you sit there forever.LH: It’s enough time to feel the energy, but there’s no time to flatline.

UM: What is different about this company?LH: We have severe swag.EB: We’re the goofiest group on campus.IP: Which is great!

UM: Could you expand a bit on this goofy group dynamic? LH: We probably waste thirty minutes of every practice just messing around...MB: Spend thirty minutes, not waste it!IP: The late practice hours also don’t help. We have the shittiest hours! Why do we have the shittiest hours?

UM: How does this atmosphere affect the work you produce?LH: It makes us really comfortable, so we feel like we can present anything to the company.HD: For instance, it’s not weird if Emma has us in a line body-rolling next to each other.IP: I think it also helps that we’re a very demo-cratic, non-hierarchical dance company so we really feel like we can make suggestions.

UM: Someone less familiar with the world of dance might wonder at how an entire show of only hip hop would work. How would you ad-dress someone’s fears of attending a stylistically monotonous or repetitive show?LH: No two people on imPulse are the same dancer.IP: If you listen to the way we each discuss our choreography, the different noises are enough to show you how different we are-- like “tick tick,” “BOOM,” “kaw-kaw,” “AND ONE.”HD: We also have three contemporary dances, so we’re not limited to hip hop!

UM: Prospective show attendees often ask about the type of music danced to. What kind of music do we have to look forward to at the imPulse show?LH: Azealia Banks, the xx, Janet Jackson...IP: ...and Busta Rhymes!

UM: What does one wear to perform in a dance show? LH: We’re all about our black and denim.IP: And flannels.EB: And you’ve got to have a pair of fly kicks.

UM: And for our style-conscious readers, what does one wear to watch a dance show?HD: Girls, don’t wear your tightest jeans... you’re going to be sitting.MB: Comfortable shoes because our show’s going to make you want to get up and dance!

UM: The traditional material for the 10th wed-ding anniversary present is tin or aluminum. On the occasion of imPulse’s 10th anniversary, what kind of present for the company are you wishing for?IP: Tin cans full of money... for the company.LH: A Brown Compliment. HD: A knight in shining tin foil. MB: Legalization of gay marriage in RI.EB: A man!

UM: One word to describe... your style?EB: Dark.IP: Bum.HD: Eclectic.MB: Structural. LH: Hard.

UM: ...Dance?LH: Sex.MB: Power.IP: God?HD: Stress relief.ER: Life.

UM: ...imPulse?EB: Family.

X, imPulse’s 10th Anniversary Spring Show, is March 1st and 2nd at 7PM in Alumnae Hall. Tickets may be purchased at the door.

The opening days of March her-ald a much-anticipated succession of power as the Butterfly Monarch displaces the abhorred Snow Bitch from her glacial throne. Under this new seasonal sovereign, coats of fur will give way to fresh coats of nail polish, and somber palettes will surrender to the forces of all that is bright and floral.

Editors: Tiffany Mendoza and Victor HaPhotographer: Meron Tadesse

Model: Isabelle Aubrun

FRESH PAINT

April Zhang, Neon Crafternoon

Diane Zhou, You’re probably going to regret that

Hannah Winkler, Michael 1973/Rousseau’s Brag

Glenys Ong, Hindhede

Glenys Ong, View from Los Picoslampshade (worn as hat), Sofie Ramos

Diane Zhou, Mother

THAT GIRL

AN AMERICAN AT HERMÈS

Meet Bridget Sauer

AN AMERICAN AT HERMÈS

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“T he French seem to respond a lot to respect. If you act with class, respect, composure, you will fit right in.”

An embodiment of her own quote, it is no surprise that Bridget Sauer fit so fluidly into France last fall. It has been just under a year since I last sat down with Bridget as she prepared her collection for Fashion@Brown’s fashion show. The Bridget in front of me appears much like the ju-nior I met last spring— still elegant, this time in a delightful-ly warm-looking maroon turtleneck; still generous, lending me insider tips on what to wear in Paris for my upcoming semester abroad; and still passionate, full of dreams for her own scarf label in the future. But there is no doubt she has changed. There is no sigh of nervousness for her scarf col-lection, and no longer are her thoughts about her future as a designer shadowed with uncertainty. Here is a newer, more mature Bridget, whose poised confidence shines through her modest laugh. The humility is surprising, really— who else can stay so modest while making history as the first ever American intern working for Hermès? Two summers ago, Bridget decided she wanted to wear her paintings. She began painting on silk, creating scarves full of exuberant oranges, autumn reds, delicate lavenders, and more. Returning to Brown her junior year, Bridget presented her scarves to her mentor and professor Richard Fishman, who then introduced her to Pierre-Alexis Dumas, Creative Director of Hermès and a Brown alumnus. The radical idea to take time off from school, learn French, and move to Paris was in fact Richard’s sugges-tion. “It sounded crazy!” Bridget exclaims. “But the idea of this adventure started growing in my mind.” Bridget ap-proached Dumas after a RISD talk, and from there she was referred to Human Resources and Studio Design. Still, the journey to Paris was not easy. “I had to be really persistent,” she recalls, “because I was the first American intern in the company, ever, so it was a process Hermès had never done before.” But with the same dear charm she exudes at Brown, she landed the coveted job for her senior fall and now marks her name in fashion history. A true American in Paris, Bridget admits, “I didn’t speak any French!” A slight problem, she notes, because her co-workers “spoke so fast and they assumed I would keep up” only after a month-long language immersion pro-gram she took upon arrival. Still, though difficult at first, her French improved thanks to the adamant encourage-ment of her close-knit, 7-person studio design department. “There was a very communal sentiment in the office,” she describes fondly, as the group would drink coffee together

in the mornings and work closely with one another through long hours– from 9am to 6:30 or 7pm. Laughing, as she remembers the office rule: “don’t speak English to Bridget; we want her to speak French!” Though Hermès is an internationally wide brand, Bridget was surprised and pleased by the company’s strict adherence to quality. “Because they place so much em-phasis on quality and tradition and great design, they only pick the best of France. These 4,000 artisans [that Hermès works with], they are the best in their field. Even the silk-worm farmers in South America that supply the brand, they are the best in the world.” So it is no surprise that the brand selected Bridget as their first American intern (for those of you who have not seen Bridget’s creations, check out http://www.bsauer.com). Working with two graphic designers, she often re-purposed designs to item such as ashtrays or enamel brace-lets. That is, from the patterns of 40 freelance designers (Hermès only works with freelance), Bridget would scan the original drawings and take elements she found interesting or would work well with the particular size and item. Bridget even added some of her handiwork to the designs. In fact, in the middle of the SciLi lobby, I am suddenly whisked into a private preview of the upcoming Hermès collection to de-but. Leaving me speechless, in her ever-graceful casual tone (emphasis on the casual), Bridget shows me the pieces she created in Paris, and explains, “I have some pieces coming out in the S/S 2014 collection.” Though many of her piec-es will be part of the Shanghai exclusive collection, some artful ashtrays and exquisite enamel bracelets (that many of us will peruse and possibly drool for) for the upcoming year is made by our very own Bridget from Brown. Speaking of her time in Paris, Bridget’s blue eyes widen with love: “there is magic in Paris,” she asserts with-out a hint of cliché. Heading to gallery exhibits and drink-ing coffee in cafés, “it was like a fairytale,” she says. For example, “the people at work couldn’t be nicer.” But she admits that loneliness as “definitely a recurrent theme,” as she transitioned from her large circle of friends at Brown to her petite Parisian friend group of five or so. Yet the blonde in front of me is more grown up thanks to this very “healthy loneliness,” as she describes. “I learned it’s not always a bad thing. These days not enough people spend time by them-selves. It inspired some creative thinking.” Perhaps some of her creative thinking was inspired by the “unbelievable street fashion” of Paris, “like a fashion show.” In Paris, “black is queen.” Pops of color are incorpo-rated in a tasteful, teasing manner— rich texture and vibrant colors juxtaposed with the reigning black through bright blue shoes or a neon bag. The way French women shop em-

bodies this stylish subtlety. At once familial, Bridget ad-mires (understandably) how they buy “a really nice piece, a bag that you adore and will give it to your daughter and her daughter afterwards,” but are also “economical be-cause they will then shop at H&M, for example, for the rest of the year. Spend more and buy less.” Besides basking in French fashion and culture, Bridget explains her takeaways from the internship, as her eyes darken as if search within her memories. “It’s hard to verbalize, but I learned so much about graphic de-sign, but also the process that goes behind a design com-pany. And the difference between fashion and design.” Offered a spot back in the Design Studio for the next year, Bridget hopes to fully incorporate not only herself but also her aesthetic style to the products. That is, “I’m more of an assistant to the designers now. But I think my goal right now is to really master my techniques; I want to be a professional level graphic and textile designer. Then I want to propose a design for a scarf, a design I’ve thought about a lot, that is really informed by what I have learned from and about the company.” As she explains, I realize that this quiet thoughtfulness, a passion so mod-est yet warm, is the very reason why Hermès chose Brid-get. Clasping her hands together, she sits up straighter as she unravels her plans for the future, now more con-crete and confident than ever: “Eventually I would like to start something of my own because as much fun as it is to work for Hermès, it is for someone else. It is a different aesthetic from my own, and the most I can do is [to inte-grate] little personalities of mine.” For Bridget, this drive to create her own label is more than just a commercial ambition. For her, to design according to her aesthetics is to leave a tangible evidence of her life: “What a fashion line is a physical evidence of your artistic style. It is hard to verbalize what your art is about, but having your own line is an archive. Every sea-son is a different period of your life. I think it’s the easiest form of documentation.” Though Bridget’s exquisite personality and de-signs will be missed next year, I have no doubt that we will be seeing more of Bridget and her work in the years to come. -Audrey Yongju Cho