method seven magazine: issue no. 3 the daring issue

METHOD SEVEN MAGAZINE

THEDARINGISSUE

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EDITOR IN CHIEFAdriana Solis

EDITORJordan Mills

CREATIVE DIRECTORAlberto Alvarez

FASHION DIRECTORMeghan Forest

SENIOR GRAPHIC DESIGN EDITORParnia Tahamzadeh

GRAPHIC DESIGN EDITORAlberto Alvarez

PHOTOGRAPHY DIRECTORJessie Kuruc

BUSINESS DIRECTOREdi Assamoi

MARKETING DIRECTORKarim Jahangir

ACCOUNTING DIRECTORMagdel Frias

BRANDING DIRECTORTracy Harwood

BEAUTY DIRECTORShawnee Leonard

EVENT PLANNING DIRECTORChristal Ayati

WEB CONTENT EDITORPatrice Jackson

ASSISTANT WEB CONTENT EDITORVictor Ramirez

SOCIAL MEDIA & WEB DIRECTORAshley Bonner

BLOG DIRECTORJonathan Masiki

CONTRIBUTING PHOTOGRAPHERKevin Chung

FASHION / STYLING Aarica Jefferson Armando Najera Brittnee Lavender Calli Buckelew Chelcie Guidry Cyril Pope Emily Hoffman Emily Robinson Julio Santos Madeleine Trudeau Marlee Plummer Nichole Fallis Patrice Jackson Rebecca Nevarez Tony Picciolo Victor Ramirez Whitney Roundtree PHOTOGRAPHY Andy Rolfes Ashley Gongora Brittany Shaban Hillary Head James Coreas Kaitlyn Holt Tanya Ruiz Taylor Cloyd EVENT PLANNING Rebecca Renteria Subrina Hossain PUBLIC RELATIONS Alex Hall WRITING David Schmitzer Epiphany Ciers Faith Kindervag Hannah Overstreet Jeniffer Baca Porschia Paxton BEAUTY Ashley Whitby Britney Hall Charis Orr Faye Morris Nida Muhammedi VIDEOJonathan Kyle Mason

METHOD SEVENM A G A Z I N E

Editorial Board & Team Listing

METHOD SEVEN MAGAZINE | page 4

Welcome to the 3rd issue of M7M—The

Daring Issue.

I want to specifically dedicate this

issue to the M7M team. The team

and I heavily reflected on the journey that has culminated

in this third issue, and throughout our conversations we

found ourselves talking about “day one” and what it meant

for us to arrive at this point in our journey. It has been a

year since we took on the M7M concept and ran with it

at full speed. Now that we are a year older and a year

wiser, we can truly appreciate the challenges we have

overcome which have instilled in us a sense of fearlessness

for the future.

When digging up the word “daring,” we couldn’t ignore

examples set by the legendary daredevils who have

left their mark on history. With admiration, we set out to

seek that same bold element within ourselves and those

around us. What we have discovered is a life-changing

philosophy that gives us the courage to thrive among our

own adversary—ourselves. For we are often our greatest

obstacle when we should be our greatest motivation.

This issue embodies the strength, intelligence and

beauty of self-respect—an element that pushes aside

conformity to give us the power to stand our ground in a

world of endless opinions and ever-changing attitudes. Our

muse is a courageous classic who dares to swim against

the flow in pursuit of her own destiny.

With the support of our parent company, Method Seven

Enterprises, we bring you the stories of those who have

taken it upon themselves to become limitless. I hope you

enjoy the artistic vision of our creative team this third time.

We appreciate all of your support.

Adriana SolisEditor-in-Chief

LETTER FROM THE EDITOR

Sincerely,

EDITORIALS

CLEAN SLATE 07

TROOP BEVERLY HILLS 15

DELICATE DAZE 25

EMERGE 35

EVERLASTING 41

CANDY COATED 55

NEON TROPICS 63

COMPLETELY COMPLIMENTARY

77

OUT OF SIGHT 83

CHECKMATE 93

PRINCE OF PRINTS 99

SOFT PUNCH 109

DIVINE 117

OBSESSION 131

TABLE OFCONTENTS

METHOD SEVEN MAGAZINE | ISSUE NO. 3

ARTICLES

METHOD IN MYTHOLOGY: NINE MUSES

21

DIGITAL DIARIES 31

SOUTHERN CHARM 51

DESIGNER SPOTLIGHT 69

THE SNAPBACK COME BACK 89

AMORPHOUS ADORNMENT 105

GROWING UP GIRLS 125

CleanSlate

Photography Jessie KurucStyling Victor Ramirez


Top, jacket and pants from Milk + Honey, earrings from Francesca’s at The Shops at Highland Village


Dress from Milk + Honey, Dress from Dillard’s in Lewisville, earrings from Francesca’s at The

Shops at Highland Village

Top: Jacket from Milk + Honey, shirt from Dillard’s in Lewisville | Bottom:Top from Milk + Honey, necklace from Francesca’s at The Shops at Highland Village


Blazer and trousers from Dillard’s in Lewisville, necklace from Francesca’s at The Shops at

Highland Village


Top from Milk + Honey, skirt from Dillard’s in Lewisville, necklace from Francesca’s at The Shops at Highland Village | Left: Shorts from Dillard’s, necklace from Milk + Honey | Hair and Make up Britney Hall | Models Rebecca Nevarez and Ana Salvador


Photography Hillary HeadStyling Marlee Plummer

Styling Assistant Chie Onozaki

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Shirt and Blazer from Dillard’s at Golden Triangle Mall | Left: Shirt

and Blazer from Dillard’s at Golden Triangle Mall. | Hair and Make up

Charis Orr | Model Claire Simmons

Written by Epiphany Ciers

Photography James Coreas

Method inMythology:NINE MUSES


The Dallas-based clothing line Nine Muses came about

organically after an innocent lunch between two friends

brought one vision to life. After comparing sketches that

looked surprisingly similar, designers Jerry Matthews and

Francesca Viamonte decided to take the plunge and join forces. “We both

have been good friends for quite some time, and have always shared sim-

ilar design aesthetics that complement each other,” Matthews describes.

Prior to this revelation, the two knew they were destined for greatness

after their first encounter at their alma mater, the Art Institute of Dallas,

where their design abilities further developed. Here, they were able to

combine their aesthetic vision with the constructional techniques needed

to fully create a garment for a woman’s silhouette.

When collaborating on a name for their line, Matthews and Viamonte

first established their vision: a pedestal of timelessness and sensuality.

This vision included their own “muse,” aiming to cater to the sophisticated

women with an edge. After tireless research, they came across the god-

dess of clarification, Mnemosyne. “When reading about [Mnemosyne], we

learned that she gave birth to nine children whose roles were to inspire

great artists of the time. We fell in love with that story, and ultimately

decided to make Nine Muses the name of our label,” Matthews explains.

While brainstorming for a new line, the designers draw inspiration from

their own “nine muses.” Matthews acquires much of his inspiration from

past experiences of traveling the world as a young child with his Navy fa-

ther and stylish mother, while Viamonte pulls memories from her beautiful

home country Venezuela. The two are also obsessed with eccentric and

mysterious women, namely Lana Del Rey, Brigitte Bardot, Jessica

Rabbit, Eartha Kitt, and Julie Newmar. Their creativity thrives

on their surroundings, but especially flows from music and

art. “We don’t follow trends. We follow our instinct. Inspiration

comes from all areas of the world and the environment,” Via-

monte says.

Prior to his role in Nine Muses, Matthews achieved numer-

ous accomplishments. He won first place in the 2008 National

Fashion Design Scholarship Competition for the Art Institute

of Dallas, and was awarded Outstanding Graduate in Fashion

Design at the spring 2012 graduation ceremony. He has even

been featured in Luxe Interior + Design Magazine, Living Mag-

azine, and several other publications. As a team, Nine Muses

boasts even more accomplishments. The fall 2012 collection

has been included in multiple editorials and has been present-

ed on the runway of Dallas’ DIFFA fashion show, as well as the

Pin Show.

Even after all of the press and recognition Nine Muses

has received thus far, the designers still feel they have a lot

to prove, but the positive feedback does make it easier. Mat-

thews and Viamonte admit they are still learning as they go,

and may face financial hardships as an independent clothing

line. In addition, the designers opted not to hire an entire team

to help with marketing, production, and other development as-

pects. Instead, they chose two young and ambitious women,

Operations Manager Kayla Hughes and Production Assistant

Vivian Olguin, who have had the pleasure to assist them on

this venture. “We have put all of our money, blood, sweat and

tears into our line and we couldn’t be happier. There’s no look-

ing back. Nine Muses is now our life and I think we both would

do anything to see it succeed,” Matthews says.

Viamonte expands, “Our dream for Nine Muses is the same.

We both want the label to be successful and to ultimately be-

come a well-known brand. Above all else, we want to be hap-

py, and I think that since we are pursuing our dreams, we are

headed in the right direction.” 7


Model C

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Delicate DazePhotography Brittany ShabanStyling Cyril Pope-Polk & Whitney Roundtree


All clothing and accessories from Dillard’s at Golden Triangle Mall


Hair and Make up Shawnee Leonard | Models Kaitlin Stewart, Christina Guillory and Schylar Duval

Written by David SchmitzerPhotography Ashley Gongora

DigitalDiaries Datahowler’s Ross Edman Talks Trap Beats,

Touring, and the Uncertainties of Time

In our lifetime, we’ve been given the simple pleasure of witnessing music expand and

grow, as well as growing up alongside it. Just as we transform, so does music. New

genres are constantly emerging and evolving, from dub step, to folk metal, to noise

jazz, to electronic psychedelic hip- hop and so forth, each acquiring a niche with its own

fashions and unique personalities. These genres are a center for expression, movement, and

for breaking free from the norm. The catalyst that music has created throughout the years is

far-reaching, and has stood the tests of time more than any other media in history. Since there

has been human life on earth, there has been music and the pioneers that have produced it.

One of these pioneers is Ross Edman, also known as Datahowler.


METHOD SEVEN MAGAzINE: WHaT INspIreD you

To becoMe THe MusIcIaN you are ToDay, aND

HoW Do you THINk your INvoLveMeNT IN Mu-

sIc Has sHapeD you as a persoN?

DATAHOWLER: Well, my grandfather was a jazz

musician for about seven years, and when I was

a kid I would always watch him play, so that in-

spired me quite a bit. I also had an organ in my

room when I was little, and my mom would play

church hymns—I was really interested in the or-

gan and all of its buttons. I didn’t even know about

synthesizers then, and as I discovered them they

became a big part of it. I started playing drums

probably when I was around eight or nine. It

shaped me as a person by keeping me out of

a lot of trouble initially— it gave me a lot of stuff

to do. I started playing in bands probably when I

was about fifteen or so, and then for a long time

I toured, and so it eventually provided work for

me. I think that is probably the best part...that I

met so many people all over the place, and that

we became friends, and it was all through music.

M7M: Was IT DIffIcuLT To break INTo MusIc?

HoW DID you geT sTarTeD?

DATAHOWLER: Man, I guess it wasn’t that diffi-

cult because I wasn’t trying to get started in mu-

sic. It’s just something I started doing. And when

you’re young, I think it is easy to do something

like that. It’s not even a conscious decision. You

just do it. You’re like, “Oh, this is cool” and you

just go home every day and play guitar, or drums,

or whatever. And that is how it all started. I think

that it has been harder to continue doing music. I

know people who have given up over the years.

They have gotten jobs, or wives, or kids, or things

like that. I think that it is harder to keep going a

lot of the time, but I think there

is a lot of peace and solace in

it as you continue doing it. You

discover a lot about yourself

and about the world around

you through it. I think it’s good

to keep trying. Starting is not hard, but continu-

ing, I think, is harder. There were about three

years where I wasn’t playing at all.

M7M: so you jusT juMpeD back INTo IT?

DATAHOWLER: Yeah, yeah. I went to college to

get a philosophy degree and I started playing mu-

sic again. I was playing a lot of hardcore and punk

rock. I lived with all these guys that just played

music, that is all we did with our free time, and we

started touring and all that stuff. So I was doing

that, and I started producing on the side doing

hip-hop and electronic music. Eventually that

band broke up and I was only doing electronic

music. That is kind of how I became Datahowl-

er— It was kind of a joke at first. We were making

trap beats and stuff like that. It was just for fun,

and it eventually turned into something else. I

was fiddling with electronics on and off for a long

time, but it kind of became this monster that I

couldn’t control, and I became engrossed in it.

M7M: Have you receIveD aNy opposITIoN

froM your geNre, or Has aNyoNe ToLD you

THaT you couLDN’T “Make IT” as a MusIcIaN?

DATAHOWLER: Yeah, I would say all the time; At

least once a month probably. Dallas is not very

open to electronic music. It’s starting to come

about, but most people aren’t open to it. It isn’t

something that’s been fostered here, so a lot of

people think it’s stupid or they don’t understand

it, or they think you don’t have any talent, or you

can’t play any instruments. I hear this and that

all the time. I remember I was in drumline in high

school and we were going to state. I was march-

ing snare at that time, and I got kicked out of

band. My band professor told me I would never

be a successful musician and he was like, “You

“You discover a lot about Yourself and about the world around You through it.”

will never be successful at this, just leave.

You’re never going to be good.” Someone

that prominent in your life telling you that—It

was definitely one of those things you don’t

ever forget. It isn’t like I am still bitter toward

him or anything, but it was a lot of fuel to

keep going.

M7M: so WHy DID you DecIDe To Make a

career ouT of MusIc?

DATAHOWLER: I did it as a career for a while.

I am actually a full-time project lead, web de-

veloper and designer currently. I am also a

partner in web accounting and that is where

I mainly spend my time, but I was probably

a professional musician for three or four

years. I enjoyed it quite a bit, but it’s a tough

life. So I kept doing it, and it’s been kind of

like a part time job. I guess it’s not a career

anymore, but I don’t know

for sure. I’m still kind of

walking that fence.

M7M: Do you pLaN To

coNTINue WITH MusIc,

or Do you THINk aT

soMe poINT THaT you’LL Have To cHoose

beTWeeN THe TWo?

DATAHOWLER: I like both. I think they go

hand in hand and the mind frame and the

process is the same-- the problem solving

and the approach that you take to complet-

ing both. The more applications that I devel-

op, the more I want to program synthesizers

and electronics.

M7M: Has your career IN MusIc affecT-

eD your persoNaL LIfe?

DATAHOWLER: Yeah, I would say so. There

were some chances that I took where I lost a

lot. I guess in negative ways. I’m sure I have

lost friends and things like that. I think that

the worst part is that when you are gone for

a long period of time, you miss a lot of peo-

ple’s lives; you fall out of touch with them.

You miss weddings and things like that,

and eventually they just don’t come around

anymore. It’s hard to maintain normal rela-

tionships. The only friends you end up being

friends with are the friends you are on the

road with. The second you are not on the

road anymore, you aren’t friends with them

either. It’s like living in an alternate reality.

M7M: WHaT are your Hopes for THe fu-

“You are so focused on what You missed that You don’t see

what You have.”


Ture...say, 10 years froM NoW. WHere

Do you see yourseLf?

DATAHOWLER: Man, I don’t know. That’s a

tough question. I almost hate to answer it. I

think that Americans are engrossed in the fu-

ture. In the past couple of years, I’ve learned

that when focusing on the future... you lose

track of the present. So some-

times I try not to worry myself with

the future. I’ve noticed that when

you set those expectations, and

when you don’t reach them, they

become so weird and painful. You

are so focused on what you missed that you

don’t see what you have. I have had a re-

adjustment with music recently where I had

these certain goals that weren’t met, and I

was extremely bummed by it. Over time, I

realized there were tons of great things that

came out of me trying to achieve these goals

like friendships and other opportunities that

I wasn’t focused on. Ten years from now? I

just hope that I am alive. [He laughs] Ha-ha.

M7M: HoW Does soMeoNe WHo Is sTuck

IN a faIrLy NorMaL rouTINe aND WaNTs

To Do soMeTHINg bIgger WITH HIs or Her

LIfe go abouT DoINg THaT? WHaT Is your

aDvIce for THeM?

DATAHOWLER: I think you have to be ad-

venturous. I think people just get stuck in

routines because they are comfortable.

People are rhythmic, and that is something

that you go through every day, and you keep

doing it, and it feels good. I think that, some-

times, to break from that routine is how you

experience new things in life. I am a pret-

ty reclusive person, and one of the things

that altered my life and my perception was

when I went on tour—and that is a big thing.

I can obviously do small things, but

that made me get out of my comfort

zone. It made me meet people and go

new places. I discovered there were

so many things out there that I was

missing. That is the first step. Being

adventurous is a part of the human spirit.

You break out of your routine every now and

again, and you learn a lot about yourself

when you break free.

“being adventurous is a part of the human spirit. You break out of Your routine everY now

and again...”

7

Photography Brittany Shaban

Styling Rebecca Nevarez

ERM

GEE


Dress from Dillard’s at Vista Ridge Mall


Pants and blazer from Dillard’s at Vista Ridge Mall | Left: Pants from Dillard’s at Vista Ridge Mall


Pants and blazer from Dillard’s at Vista Ridge Mall | Hair and Make up Nida Muhammedi | Model Claire Simmons

EV

ER

LA

ST

Dare to be a classic. Dare to be different.

Photography Jessie KurucStyling Meghan Forest and Alberto Alvarez


Vintage Lanvin top and Vintage Chanel skirt from Factory Girl in

Dallas, TX


Vintage Chloe from Factory Girl in Dallas, TX


Polka-Dot Top and Pleated Skirt Vintage Valentino from Factory Girl in Dallas, TX | Left: Vintage Pierre Cardin

from Factory Girl in Dallas, TX | Hair and Make up Ashley Whitby | Model Ashley Brannon

Jeanette chivvis is more than just another force to be

reckoned with. A life-long devotee of the fashion industry,

her work speaks for itself, and she’s proven her talents

through nominations for tit les like “best boutique in

Los Angles” and appearances on extra, e!News, and

style star, as well as being featured in over 75 national

fashion magazines. Here is a woman who has not only

survived in the dazzling yet maniacal realm of fashion, but

positively thrived. In a world that is often publicly defined

as superficial and materialistic, it is almost too easy to

underestimate the kind of fever it takes to walk through the

Written by Porschia PaxtonPhotography Andy Rolfes

Jeanette Chivvis Wins the Hearts of the Fashion Industry

Southern Charm


fire and fight all the way into the spotlight. So how brave, exactly, does one

have to be in order to triumph among the millions seeking to succeed in this

industry? Jeanette Chivvis might just have the answer.

Chivvis grew up thirty minutes outside of Houston, TX. Fashion was in her

blood—it is in her blood to this day. “I began reading magazines like vogue

and cosmopolitan at the age of 8 and 9. I had to tear off the covers because

my dad would throw them away if he caught me reading one of them. They

were obviously a bit too mature for an 8 year-old.”

Though her father may not have fully understood her obsession, she

cites her mother as one of the biggest influences that initially propelled

her towards the world of fashion. “My mother sewed a lot. I would sit and

watch her cut out patterns,” says Chivvis. She recalls childhood trips to the

store to pick out fabrications for clothes, initially sticking her nose up at the

technical aspects of fashion, not thinking that she would need to know them

in the future. “I wish I would have sat down with [mom] more and learned

the actual construction of a garment.” Her love for the industry continued

as she grew older. “There was no shining moment,” she admits. “It was

something that kept calling my name.” Eventually, Chivvis began styling her

friends in looks from different decades, having fallen in love with historical

and vintage fashions.

When Chivvis hit 14 and 15 years of age, she began working at The

Limited and Contempo Causals in order to further fuel her obsession.


These first jobs provided a gateway into the business side of the industry,

but eventually bored her. While attending Texas A&M, she joined the Retail

Society, where she quickly learned about the importance of networking

and experience. “Getting involved— that is the key to getting your foot

in the door,” she repeatedly mentions. “Join a club if there is one at your

school, meet people, network; do whatever it is that you need to do to

crack that door open and come one step closer to what it is that you want.”

Chivvis did exactly that, and further diversified her experience by earning

internships first in a store environment, and then with Foley’s as a buyer.

This opportunity eventually led to an executive training position, where she

learned that the industry wasn’t so glitzy after all.

Chivvis was so inspired by the designers she worked with while at Foley’s

that she created her own line, Nay-Nay LA, in May 2004. She designed

every article of clothing, sourced fabric, and worked tirelessly to make

one-of-a-kind garments. She then decided to take an even bigger risk

and moved to Los Angeles, where the line debuted and was sold in over

60 stores nationally and internationally. After the success of Nay-Nay LA,

Chivvis brazenly invested all of her own money in a boutique, Sugar On La

Brea, with a Texas friend. This endeavor ended in February 2008.

“It was a special niche we created,” Chivvis recalls. This vintage and

contemporary boutique would be the main catalyst in the beginning of

Chivvis’s career in styling celebrities.

“We were recognized in over 60 editorials, On Air, celebrity stylist, and

Trend experts for Tv,” said Chivvis. They even appeared on e! News,

style Her famous, What perez sez, and more. Celebrities who frequented

the store included Paris Hilton, Kim Kardashian, and Scarlett Johansson

among many others.

“I was shocked in the beginning; blown away,” Chivvis recalls. She

quickly learned how to deal with celebrities, recognizing how important

their support and influence could be to her business. She also mentions

navigating the power of alterations and the secrets to Spanx. When asked if

some celebrities were more challenging than others, she agreed.

Her experience in styling for the A-list has stayed with her, and she

continues to utilize all that she learned. “In styling you have to be intuitive,

even when you’re forecasting for companies,” says Chivvis. She also cites

adaptability and the ability to translate each vision between different client

demographics as key.

When she became homesick, Chivvis left Los Angeles after nearly a

decade and settled back down in Texas. But she did not leave fashion

behind. Chivvis established a contemporary showroom at the FIG (Fashion

Industry Gallery) in downtown Dallas that showcased up-and-coming lines

from L.A. and New York. She conducted their public relations campaigns,

acted as art director, and even produced look-books for the lines, all while

opening new accounts and servicing current ones.

Her focus now is on styling for commercial and editorial clients, hosting

her Frugal Fashionista segment on WFAA’s Good Morning Texas which

airs every 3 weeks, and her involvement in the Pro Artist Group where she

produces fashion shows for charity groups.

“Join a club if there is one at your school, meet people, network; do whatever it is that you need to do to crack that door open and come one step closer to what it is that you want.”

7

Candy Coated

Photography James CoreasStyling Patrice Jackson

Styling Assistant Cyril Pope-Polk


Dress from Windsor at Galleria Dallas, top from

Dillard’s at Vista Ridge Mall


Top and shoes from Windsor, skirt from American Apparel | Right: Clutch from

Windsor at Galleria Dallas


Silk bomber jacket from American Apparel | Left: skirt from American Apparel


Hair and Make up Ashley Whitby | Model Nichelle Helaire

NeonTropics

Photography Hillary HeadStyling Emily Robinson


Top from Dillard’s at Vista Ridge Mall, Pants from Macy’s at Vista Ridge Mall


Bottom: Top from Macy’s, Skirt from Dillard’s | Left: Blazer from Macy’s, Pants from

Dillard’s, All from Vista Ridge Mall location.


Dress from Dillard’s at Vista Ridge Mall | Model Ashley Montgomery

Kaitlin ScottAge: 23 | Hometown: Coppell, TX


METHOD SEVEN MAGAzINE: WHaT DesIgNers are you MosT IN-

fLueNceD by?

Kaitlin Scott: I love the androgyny and use of proportion in Damir

Doma’s work, and I’m very inspired by the architectural elements

in Akris’s designs. I also love the cleanliness of Valentino—he

can truly flatter any figure. I wish I had come up with the Palmer

Harding concept of redefining the classic white shirt. It’s so simple,

but it requires a lot of innovation, and that’s really inspiring to me.

M7M: WHaT are your curreNT INspIraTIoNs?

KS: I’m really inspired by musicians. I wouldn’t say that the

music I listen to affects my design aesthetic necessarily, but I feel

most inspired after seeing a live performance by a truly talented

musician. I appreciate the bravery and passion it takes to perform

in front of people.

M7M: If you HaD THe cHaNce To coLLaboraTe WITH aNoTHer

DesIgNer, WHo WouLD IT be? WHaT Do you IMagINe THe LINe

WouLD Look LIke?

KS: Given the chance, I would really like to work with knitwear

designer, Xavier Brisoux. He was one of my professors last

summer, I respect him very much as a designer, and I’m very

inspired by his aesthetic. His insight and guidance throughout my

design course significantly influenced who I am as a designer, so

collaborating with him would be really rewarding. I’m not sure what

the line would look like visually, but it I know working with him would

push me to develop much more conceptual designs.

M7M: WHaT Is your favorITe parT abouT beINg a DesIgNer?

KS: I love the problem solving aspect of designing. The process

between the initial sketch and the completed garment is far from

glamorous, and it often takes several tries to get it right, but that’s

what makes a successful garment truly rewarding.

M7M: HoW Do you DefINe “MakINg IT” as a DesIgNer?

KS: I think when someone can recognize your designs

without having to see the label then you’ve been successful in

communicating your vision and creating a particular image.

Designer Spotlight

Kim PhamAge: 21 | Hometown: Garland, TX


METHOD SEVEN MAGAzINE: WHaT Do you THINk seTs you aparT as

a DesIgNer?

KIM PHAM: What sets me apart, I think, is the fact that I am very well

grounded. I like to believe that I know a little bit about everything in

the fashion industry. What I don’t know, I strive to learn and seek im-

provement everyday. I also have a keen understanding of business

and E-commerce, and that has definitely influenced my aesthetic

as a designer.

M7M: We’re coNsTaNTLy HearINg abouT HoW TougH THe WorLD

of fasHIoN reaLLy Is. WHaT are your expecTaTIoNs of THe

sTruggLe?

KP: Oh yes, I do believe it is very competitive— even while you

are in school. I have no delusions of how hard I will have to work

to succeed. This industry is 1% glamorous and 99% sweat, blood,

and tears.

M7M: WHaT are THe bIggesT accoMpLIsHMeNTs IN your fasHIoN

career?

KP: My most recognized achievement is being chosen to rep-

resent the United States among 22 countries in the International

Fur Remix Competition held in Milan, Italy. The competition, spon-

sored by the International Fur Trade Federation, allowed me the

opportunity to work with luxury legends like Dennis Basso and The

North American Fur Auction. I will always treasure being chosen as

the Best in Show winner by Fashion Group International of Dallas,

where I was awarded a study abroad trip to Paris. This will provide

amazing opportunities for my career.

M7M: DescrIbe your TargeT cusToMer. WHo are you

DesIgNINg for?

KP: I design for the eclectic woman. The one with a mixture

of boldness and elegance combined with a contemporary

sophistication. I always strive to create chic and effortless clothing

for the modern woman who is always on the go and not afraid to

make her presence felt.

M7M: Has your faMILy beeN supporTIve of your DecIsIoN To

eNTer THe DesIgN WorLD?

KP: Growing up in a traditional Asian-American Catholic family, my

parents were not happy when I decided to pursue fashion design.

They were the push behind all of my hard work and dedication. I

wanted to prove them wrong, to make them proud, and make

something of myself in the fashion world. Throughout my academic

years, I have won many national and international awards that

have validated my talent. They have much respect and support for

me now.

Designer Spotlight

Megan SurberAge: 22 | Hometown: Fort Worth, TX


METHOD SEVEN MAGAzINE: HoW WouLD you DescrIbe your

DesIgN aesTHeTIc?

MEGAN SURBER: I hate using this word, but I would have to say

“preppy.” I aim to make it not as obnoxious though, and instead a

little sexier and more modern.

M7M: WHaT are your favorITe fabrIcs To Work WITH? WHy?

MS: I guess it comes with the “preppy” style, but I love working with

plaids and stripes—either woven or knit. I like the ease they add to

an ensemble, but still make it look classy at the same time.

M7M: We’re coNsTaNTLy HearINg abouT HoW TougH THe

WorLD of fasHIoN reaLLy Is. WHaT are your expecTaTIoNs of

THe sTruggLe?

MS: I fully expect to get knocked down repeatedly for the next 5 to

7 years. I hope to keep being aggressive with what I want to get

through these struggles. It is a very tough industry, and it isn’t as

glamorous as everyone thinks it is.

M7M: If you WereN’T pursuINg a career IN fasHIoN DesIgN,

WHaT eLse WouLD you see yourseLf DoINg? HoW WouLD

your LIfe be DIffereNT?

MS: I wanted to be an architect for a long time, so design was

always something in the picture. I don’t know how different my life

would be. I would still dress the same, I would just be designing

contemporary houses instead of clothes.

M7M: Has THere beeN a specIfIc eveNT IN your LIfe THaT

IMpacTeD your cHoIce To becoMe a DesIgNer? Has IT

IMpacTeD your DesIgN aesTHeTIc as WeLL?

MS: I’ve always been into fashion, and I’ve always loved art and

drawing. It wasn’t until I discovered Free People, one of my favorite

brands, that I really started thinking about designing. Their designs

were so beautiful to me, and I wanted to make dresses like that

too. It impacted my design aesthetic for a while, but for the past

year and a half I’ve really gotten into menswear, and I don’t think I

want to leave it.

M7M: Has your faMILy beeN supporTIve of your DecIsIoN To

eNTer THe DesIgN WorLD?

MS: Yes, they have been very supportive, even knowing that finding

good-paying jobs in the industry is a very hard thing to do. They just

want me to be happy with what I choose to do with my life.

Designer Spotlight

Reagan WhitakerAge: 23 | Hometown: Amarillo, TX


METHOD SEVEN MAGAzINE: WHaT Is THe creaTIve process LIke

for you WHeN DesIgNINg a garMeNT?

REAGAN WHITAKER: Something will inspire me—an era, person,

or an idea, and I’ll begin a lot of research. I like to have a very

clear direction before I even begin sketching. I immerse myself

into the inspiration, and really become a part of it. Once I’ve been

inspired, I use mood boards, music, and film to prepare me for

sketching. From that stage, I narrow down the design details that

are important to me and choose those that enhance my original

inspiration.

M7M: HoW WouLD you DescrIbe your DesIgN aesTHeTIc?

RW: A mixture of hard and soft. I like unexpected contrast— the

delicate with the strong, the elegant with the edgy, the woman who

chooses what side of her you see that day.

M7M: TeLL us abouT your favorITe garMeNT THaT you’ve ever

creaTeD. WHaT Was THe MoTIvaTIoN beHIND IT?

RW: Last year I created a dress made out of recycled fabrics and

screening, and I really enjoyed the process. The inspiration for

the garment was the idea of hidden armor. Let’s take something

beautiful and delicate, and make it unexpectedly strong and hard.

The dress is a metaphor for how we protect ourselves.

M7M: WHaT Do you THINk seTs you aparT as a DesIgNer?

RW: My desire to create clothes that change people. When you put

my clothes on, you choose the story you are a part of. My designs

flatter and enhance the body, while still allowing you to be unique.

When you slip into that ruffled gown with quartz crystal detailing,

or the hard lines of a wool hooded jacket, I want you to feel like

you’ve come home—that nothing fits you better, or makes you

more yourself than that garment in that moment.

M7M: HoW Do you DefINe “MakINg IT” as a DesIgNer?

RW: To me making it means eventually starting my own label. I

don’t need to show at New York fashion week to be happy. Starting

a label that speaks my vision and moves people to feel great about

who they are is the goal.

Designer Spotlight

Completely Complimentary

Photography Kaitlyn HoltStyling Nichole Fallis


Headband, necklace and dress from Francesca’s at The Shops at Highland Village


Necklace and bracelet from Francesca’s at The Shops at Highland Village | Model Haley Caldwell

Out ofSight

Photography Tanya RuizStyling Patrice Jackson


Hair and Make up Charis Orr Models Nichole Fallis and Ian Wortham

Written by Adriana Solis & Jordan MillsPhotography Jessie Kuruc

The Snapback Come Back


NaMe: Christian Hohmannage: 22HoMeToWN: Colleyville, TX, DFW Airport Area.

Christian Hohmann is no stranger to the

concept of entrepreneurship. At the age of 22,

he already finds himself doing what many people

take half of their careers to accomplish, and

what some only dream of—owning a business.

Hohmann is the creator of SNAPSTEEZ an online

snapback retailer whose guerilla-style marketing

has generated wildfire word of mouth, and has

even had product featured in magazines like gQ.

We sat down with him to discuss his vision and

his plans for the future.

METHOD SEVEN MAGAzINE: HoW DID THe

sNapsTeeZ vIsIoN coMe To you?

Christian Hohmann: I saw the shift happening

towards more vintage styled hats within the skate

and streetwear community, and was informed of

a local spot that had a lot of hats from the 90s

that fell into this category. While consulting with

a friend, who later became my business partner,

we discussed how to make an idea a reality.

M7M: WHaT are THe proDucT caTegorIes

you carry?

CH: Vintage hats and clothing, retro hats, clothing

and custom tailored hats.

M7M: HoW Were you abLe To brIDge THe

gap beTWeeN THe INITIaL vIsIoN for your

coMpaNy aND brINgINg IT To LIfe?

CH: Trial and error. I originally sold them out of

my trunk and through a Facebook page called

SNAP90. Then, as I mentioned above, I started

consulting with a friend who saw the demand

rising, and together we created SNAPSTEEZ.com.

M7M: TeLL us More abouT THe NaMe sNapsTeeZ.

aNy syMboLs, pHrases or geNeraL INspIraTIoN

assocIaTeD WITH THe NaMe?

CH: SNAPSTEEZ was originally meant to

describe the snap clasp on the back of the

vintage hats, but has evolved into something that

is rooted with that idea. It has expanded into a

place to get your steez in a snap.

M7M: I reMeMber THe fIrsT TIMe I HearD

of sNapsTeeZ. I Was sITTINg IN a soNIc

DrIve-THru aND oNe of your sTIckers Was

sTaMpeD across THe MeNu. I HaD No IDea so I

googLeD IT, aND THere you Were. HoW MucH

recogNITIoN Do you THINk THe braND Has

receIveD froM INsTaNces LIke THIs?

CH: A significant amount. We send stickers out

with every order if we have them currently in stock.

If you search #snapsteez on Instagram you can

see firsthand how many people use our stickers.

M7M: HoW Do you MaNage juggLINg your

coMpaNy, WorkINg ToWarDs your Degree

aND baLaNcINg a persoNaL LIfe aLL aT oNce?

CH: By maintaining a level head in regards to

what all is going on in my life. I also keep in mind

just how fortunate I am to be in a position where

I have all of these opportunities available to me

at such a young age.

M7M: HoW LoNg DID IT Take for sNapsTeeZ To geT off THe grouND?

CH: We got the site live in 3 months, and it really took off during the first Christmas

season after the launch.

M7M: HoW Has your braND evoLveD over TIMe?

CH: We’ve added clothing and custom hats, and learned from our missteps

along the way.

M7M: Have you eNcouNTereD aNy skepTIcIsM abouT THe LegITIMacy of

your coMpaNy Due To your age?

CH: We try to keep the age visibility to a minimum when reaching customers

outside of our immediate circles. We also let our products and reputation speak

for us.

M7M: WHaT Is your uLTIMaTe goaL for THe braND?

CH: To show staying power in an industry that is notorious for its booms and

busts.

M7M: caN you TeLL us abouT sNapsTeeZ’s experIeNce WITH GQ? WHaT Was

your reacTIoN WHeN you LearNeD THaT oNe of your proDucTs WouLD be

feaTureD IN THe pubLIcaTIoN? HoW DID aLL of THaT coMe abouT?

CH: GQ contacted us in the summer of 2011. The editor and I began discussing

the resurgence of snapbacks as the desired style of hat. He then selected

several hats from our website and gave us their FedEx account number and told

us to ship them to their headquarters in NYC. We remained in contact over the

summer, and it culminated in a spot in the October issue.

M7M: WHaT Is oNe of THe greaTesT LessoNs you Have LearNeD froM

LauNcHINg your oWN busINess aT sucH a youNg age?

CH: To trust your instincts and to not follow the crowd, but lead the crowd.

M7M: HoW WouLD you DefINe THe sNapsTeeZ cusToMer?

CH: Everyone from the hardcore vintage lover to the trend-following mall shopper,

though we prefer to cater to the first more.

M7M: WHaT Is your aDvIce To youNg peopLe WHo aLso WIsH To LauNcH THeIr

oWN coMpaNy?

Be aware of what you are getting yourself into, and watch and observe other

successful business owners, but also follow your dreams and work hard.

M7M: WHaT Do your pareNTs aND faMILy THINk abouT sNapsTeeZ?

CH: They are proud and continue to push me to make it the best business I

possibly can.

M7M: WHaT Makes sNapsTeeZ THe pLace To buy vINTage sNapbacks?

CH: Our selection, knowledge and prices. 7

CheCkmate

Photography Hillary Head Styling Chelcie Guidry

Styling Assistant Madeleine Trudeau


Model Kasey Ludlow

ofPhotography Brittany Shaban

Styling Victor Ramirez


Model Alberto Alvarez

Written by Hannah Overstreet Photography Jessie Kuruc

AmorphousAdornmentT

he brain has interesting ways

of simplifying our lives through

the things that we learn over the

course of a lifetime. Perception

is a perfect example of this process of

simplification. We are exposed to stimuli, and

a reaction occurs. This reaction is influenced

by a multitude of factors: genetics, upbringing,

mood, personality, and experience. Our brain

then uses this initial exposure and reaction

process as a “shortcut” the next time we are

met with a similar object or situation. This is

how stereotypes are formed.

We sometimes use flawed logic in our

judgments of others, categorizing individuals

based on a single quality, such as race or age.

The brain is simply trying to make sense of

complex surroundings, but simplifying other

humans with equally complex minds can’t be

done without error.

“Adornment” is a word that describes the way

we choose to alter our physical appearance. This

can be done through makeup, clothing, hairstyle,

body modifications, and anything else that

changes the way we look. Wanting to change

the way we look is natural, but some of us desire

more than just a quick change of clothing.

I remember when I started stretching my

ear lobes in middle school; my mother hated

it, and called me a “barbarian.” I pierced my

septum with a sewing needle and an ice cube

when I was sixteen, and got my first tattoo five

years ago. Whenever I pull up to my parents’

house, I make sure my tattoos are covered and

take out any piercings, unless I’m in the mood

for a lecture. Ironically, growing up in such a

strict household has probably made me more

rebellious, but I think it has also given me an

acute awareness of the way other people may

perceive my appearance.

In high school, my Spanish teacher, Todd

Martinez, used to play old-school punk in the

classroom, educated us about Ian Mackaye,

and was rumored to have tattoos. Not exactly

your typical teacher, but that’s why we thought

Amorphous: \əə-ˈmȯr-fəəs\ adjective1 a : having no definite form : shapelessb : being without definite character or nature : unclassifiable c : lacking organization or unity

he was cool. Currently, he and his wife teach in

China and travel frequently. When asked about

the social and professional effects of tattoos,

he stated, “I never felt discriminated against

or treated differently because of my tattoos.

Teaching internationally is more laid back. In

the hot months, I roll up my shirtsleeves and

everyone is cool with it. Initially I got some

long stares from my Korean and Japanese

students, but by that time, they knew that I

was not Yakuza.* I’ve worked for principals

from Australia and New Zealand who were

both like, ‘Dude, nice tats!’”

Alayne Ballantine is an undergraduate

student at the University of North Texas,

currently studying English Literature. She

has six tattoos that range in meanings from

a “representation of her inner spirit,” to a

metaphorical gold medal earned through

playful competitions among friends, and

homage to inspirational women in her life.

Regarding her piercings, she elaborates,

“Piercings are more aesthetic to me, and they

are useless, yes, but Oscar Wilde said ‘It is

okay to create something useless as long as

you admire it intensely.’ So I do admire them,

which is why I have them. I get a lot of ‘you

are so beautiful without your piercings’, this

may be true, but I just don’t care.”

I met Casey Black in Dallas, when I worked

at Buffalo Exchange. She has twelve tattoos,

and her boyfriend has...quite a few more.

Dave Strohecker has a Bachelor of Arts in

Sociology from Texas A&M and a Masters

degree from the University of Maryland,

College Park, and has published articles

concerning “the extended ethnography of

the contemporary tattoo subculture.” He

approaches tattoos from the mindset of a

collector; the shapes and colors on his body

don’t have to mean something. Strohecker

analyzes motives for tattooing, as well as

the evolution of tattooing, from traditions

of indigenous cultures to a form of western

consumption. People can “manage their self-

identity vis-à-vis their body markings,” which

also relates the “groups” they aspire to be

a part of. According to Dave, people may

also achieve psychological benefits through

tattoos, including “coping, mastery, self-

efficacy, and self construction.”

*The yakuza is japan’s equivalent of the american mafia, in regards to organized crime. The yakuza are known for their elaborate tattoos, which can cover the majority of the body, and are used to distinguish members from non-members.

7

SA Soft Punch

Photography Ashley GongoraStyling Aarica Jefferson

Hair and Make up Nida Muhammedi | Models Saima

Khan and Alayne Ballantine


Photography Kevin Chung and Nicolette Mollet

Styling Michelle Evans


White Hell Sent Top, Devils Cut Kilt and White Leather Pants from SMITH II | Left: Black Sheer Sleeve Bamboo Shine Knit Tee from SMITH II

Lilith Black Devils Drop Crotch Stretch Leather Trouser Pant from SMITH II

Devils Cut Kilt and White Leather Pants from SMITH II | Right: Lilith White Devils Drop Crotch

Stretch Leather Trouser Pant from SMITH II and necklace from Jewelry-Heir


White Hell Sent Top, Devils Cut Kilt and White Leather Pants from SMITH II | Hair and Make up Rick Flores at

Cambell | Model Jeff at Kim Dawsom

Written by Faith KindervagPhotography Courtesy of HBO

Jenn Rogien and her Coming-of-Age Costuming

Growing Up Girls


At a dingy nightclub somewhere in New york, Hannah Horvath is

dancing wildly with a stranger. Her partner yells over the music,

“Do you want to trade shirts?” Without hesitation, Hannah pulls

her crop top over her head, revealing she has been spending

the night sans bra, and puts on the stranger’s shirt: a yellow tank

top made entirely of see-through mesh. As Hannah continues

to dance the night away, breasts in full view, it’s clear that Jenn

Rogien has just created an iconic moment in television costuming

history.

The television show in question is HBO’s hit comedy, girls. The

winner of two Golden Globes, this witty series has received critical

acclaim for its realistic depiction of 20-somethings learning how to

be adults in New York City. girls doesn’t gloss over the realities

of life in its plotlines, nor does it idealize the fashions of its four

main characters, including the character of Hannah, portrayed by

writer/creator/Twitter icon Lena Dunham. The clothes are often ill-

fitting, overly trendy, and generally just huge mistakes—standard

for the sartorial experiments of urbanites in their 20s. So who is

the woman behind the clothes? Costume designer Jenn Rogien.

Recently nominated for a Costume Designers Guild Award,

Rogien’s talent for costuming is obvious—but it wasn’t always

clear to her. “Looking back, I probably should have always known

that this is what I wanted to be,” Rogien says over the phone. “But

hindsight is, of course, 20/20, and it took me a while to figure out

that this is what I wanted to be doing, even though I did kind of

know it all along.”

Rogien grew up in the theatre world, which meant spending

lots of time in the costume shop. As an undergrad at Yale

University, she assumed almost every possible role in the theatre

department. However, costuming didn’t seem like a reasonable

goal. “I didn’t think of it as a career for myself until I worked with

a professional designer who was guest designing a show for my

undergrad theatre company. It occurred to me that he was doing

what I considered to be such a fun thing every day...as his job.”

Still, Rogien says, it didn’t “connect” that she could actually

embrace costuming as a career. So instead, she took a position at

Saks Fifth Avenue, working in the menswear buying department.

But the corporate environment wasn’t a good fit, and she found

herself working in theatre after hours. “It became apparent that

[costume design] is actually a profession, and a career, and an

art, and a path. So I went back to school at Parsons for a year to

sort of ease the transition between the two worlds.” Rogien then

began assisting film director Steve Shainberg, eventually working

in the costume departments for films such as Julie Taymor’s

across the universe, Disney’s enchanted, and the Tina Fey

comedy baby Mama.

Hannah and adam’s Matching union suits:photo by jojo Whilden/Hbo We did a ton of research and I ended up making the dress, because obviously plastic dresses aren’t at every department store in town. It was important that it was a silhouette that Marnie would gravitate towards, since the material was going to be such a strange thing for her. It’s yet another fantastic example of her trying so very hard to make an impression and she really goes for it...and completely overshoots.

Marnie’s plastic Dressphoto by jessica Miglio/Hbo

We did a ton of research and I ended up making the dress, because obviously plastic dresses aren’t at every department store in town. It was really important that it was a silhouette that Marnie would gravitate towards, since the material was going to be such a strange thing for her. It’s yet another fantastic example of her trying so very hard to make an impression and she really goes for it...and completely overshoots. Allison was such a sport about wearing sheets of plastic on potentially the hottest shooting

day we had last summer.

jessa’s feather Dressphoto by jojo Whilden/HboThe dress was actually a dress that I remade based on a 1930’s dress that Jemima owns. It’s actually a vest and a dress. The fact that the two pieces were separable was really helpful for camera purposes because, as might have translated on camera, the feathers could be very distracting and there are a couple of moments in the script where to have gigantic feathers was not necessarily the optimal way to play the emotion of the scene, so it was a happy accident that the two pieces were separable.


Transitioning into television, Rogien began working with costume

designer Daniel Lawson on Lipstick jungle. “I had an amazing mentor in the

costume designer Dan Lawson, who is currently on The good Wife among

a million other fantastic projects,” says Rogien. “Working for him definitely

helped me develop my eye and aesthetic. Even the logistical processes that

I go through as a designer are very much things that I learned while working

with Dan.” Rogien worked with Lawson on NBC’s kINgs, HBO’s bored to

Death, and CBS’ The good Wife.

Then came girls—and the infamous mesh top.

So notable is the look, that when I mention that I want to discuss a few of

girls’ iconic fashion moments, Rogien laughs. We both know what’s coming.

“Well, it was as awkward as it was intended to be,” says Rogien. “It’s

funny because when we were developing the look, it didn’t have as much

impact when you knew the background going into it, I think, as it did the first

time it appeared on screen. And that’s a great payoff.”

Awkward is, in fact, the key to girls’ costuming success. “We spend a

lot of time making our characters intentionally look awkward—having

things fit in a way that’s not necessarily perfect. That is, in my experience,

uncommon for television.” Uncommon is putting it lightly. Coming off of a

litany of sex and the city-inspired television shows, with costumes that

focused on designer names and unreachable perfection, girls is a breath

of fresh air. Watching Ms. Dunham stomp down the streets of Brooklyn in a

too-tight romper and clunky clogs feels much more reminiscent of real life

than what Rogien refers to as “TV reality.”

However, portraying fashion mishaps isn’t easy. The outfits need to be

realistic without being parodies. “That’s one of the great, fun challenges

of the show,” says Rogien, “having it come across on screen that the fit is

awkward on purpose, and that things are composed in such a way that you

believe in a character, but you’re not just distracted by everyone looking

terrible all the time.” There’s much to be considered in dressing each scene,

even when perfection isn’t the end goal. “That’s one of the challenges that

I embrace every single day. Every single time I pull a look, every single

time I pull an episode, I look at these five characters...are they in a scene

together? Do they coordinate color-wise? Are we supporting the emotion of

the scene?....so that when the fit is intentionally awkward, or the colors are

intentionally unflattering, the other things around it are still intentional, so

that it all makes sense as a TV reality.”

While continuing her work on girls, Rogien is facing entirely new

challenges designing for the new Netflix series orange is the New black.

The show is set in a women’s federal prison, and focuses one woman’s

experience in particular. Rogien describes it as “all about prison and inmates’

back stories, and sort of the gritty realism of the world that they come from.”

The aesthetic is about as far away from girls as one can get, and Rogien is

very much up for the challenge, even though it can be draining.

“There’s a big misconception that [costume design] is very glamorous,

and I can definitely state that it is quite the opposite, having eaten my lunch

while walking down a sidewalk today, and then eaten dinner while driving

my car,” says Rogien, laughing. “And I’m still at work and we’re not done.

We are hours away from being done.”

So what is Rogien’s advice for budding costume designers? “The best

thing that you can do is have a foundation, a solid foundation, including

sewing and experience with fabrics and art history.” She emphasizes her

next point. “Try it out if you can. My husband jokes that costume designers

are pack mules, because all you do is schlup things around all day. You’re

constantly trying to achieve the look and get the design right and tell the

story and convey character, but you’re also just lugging stuff around the

city all day, every day. So if there is a possibility that someone can test

drive it, whether it’s at their local theater, or for a commercial shoot, or an

independent film—any way that you can—definitely try it out.”

As far as girls is concerned, Rogien is currently working on season three

and enjoying the process. “I’m incredibly lucky that Lena and Jenny and

the whole writers’ office write wardrobe jokes. And the actors will pick up on

goofy things we’ve done with the costumes in the fitting room, and it will pop

up in dialogue even when it wasn’t scripted. So I’m really, really lucky to be

on a show that embraces costumes so much.”

Indeed, the costumes of girls are so woven into the psyches of each

character, it is unsurprising that Rogien has come to truly love costuming

each one. When I ask her which character is her favorite to dress, there is a

very serious pause. Finally she replies with an exasperated, yet happy sigh.

“Oh my God,” she says, “that’s like picking a favorite child.”

“We spend a lot of time making our characters intentionally look awkward—having things fit in a way that’s not necessarily perfect. That is, in my experience, uncommon for television.”

7

Swimsuit from Macy’s at Vista Ridge Mall


Obse

ssio

n

Photography Jessie KurucStyling Alberto Alvarez & Victor Ramirez

Shirt and necklace from Dillard’s at Vista Ridge Mall

Skirt and earrings from Macy’s at Vista Ridge Mall, Necklace from Dillard’s at Vista Ridge Mall

Top, pants, necklace, earrings and bracelets from Dillard’s at Vista Ridge Mall, Shoes from Macy’s at Vista Ridge Mall | Hair and Make up Faye Morris | Model Kseniya Bardisbush

METHOD SEVEN MAGAZINE

method seven magazine: issue no. 3 the daring issue

Documents

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