off the cuff magazine: volume 2, issue 1

OFFTHECUFFVOLUME 2, ISSUE 1

CONTRIBUTORSEDITOR IN CHIEF // VINCE CALVI

CREATIVE DIRECTOR // HELEN PENA-SMICKER

MANAGING EDITOR // ELYSE DA SILVA

DIRECTOR OF MARKETING // ISABELLE EPSKAMP

DIRECTOR OF FINANCE // CAT GATTO

JUNIOR EXECUTIVE BOARD MEMBER // ROCIO ALQUATI

COPY EDITORSJENNA LAVIN

SANICA APTE

REGINA RAPHAEL

ART DIRECTORSKATIE BARRY

MIMI CHIU

ALMAZ MESSGNA

SERAPHIM OSIAKWAN

WRITERSTIA GALLINARO

KENDALL MARCUS

CORINA PINTADO

MIA TRENTADUE

SUSANNA YUDKIN

PHOTOGRAPHERSNICKI GITTER

BEIXI JIA

JULIA KAN

CHRISTOPHER SANCHEZ

STYLISTSALICE GAO

TABITHA MICHAELIDIS

ANH NGUYEN

SCOTT SHAPIRO

ROSHNI SHUKLA

WINDSOR WONG

HAIR AND MAKEUPROCIO ALQUATI (HAIR)

ALEXANDRA DELANO (HAIR)

CHRISTIANNA GILBERT (HAIR)

ZARAH KAVARANA (MUA)

ANDRIANA TODOROVIC (MUA)

ADVERTISING CHAIRSCAT GATTO

RACHEL PICKUS

PUBLIC RELATIONS CHAIRSEBRU KIR

CRYSTAL HERMOND

EVENTS CHAIRVERONICA CHENG

ANH NGUYEN

3 OFF THE CUFF MAGAZINE

LETTER FROM THE EDITOR I am having a hard time trying to find the words as I sit down to write this Letter

from the Editor. Partially because I don’t consider myself to be a writer, but mostly

because it’s hard to express about how impressed I am with every member of Off

The Cuff’s staff. With every article I read, every photoshoot I work on, every meeting

I attend, I am constantly blown away by the dedication of my staff and the high

quality work they produce. Thanks to the unmatched talent of our staff, Off The Cuff

has been able to create our greatest issue yet.

This past summer, our Director of Marketing, Isabelle Epskamp, and I were both

living together in Manhattan working at our respective internships. Although the two

of us remained busy with our jobs and savored the days we spent in one of greatest

and most fashion-forward cities, we were able to utilize our resources to extend Off

The Cuff’s reach and make our magazine the best it could be. Press releases were

written and connections were made, and because of that we are lucky enough to

feature Rollie, an up-and-coming Australian shoe brand, in this issue. (Make sure to

check out my Q&A with founder Vince Lebon on [P.20]).

As you’ll come to see, this issue takes a particular aim to showcase art. Fashion

and art are intertwined as fashion is art and art influences fashion. The goal of this

issue is to show that connection. From our Rollie shoot to the cover spread, the

connections are evident. As you flip through the pages of this issue, see each spread

as a different exhibit. The magazine is your museum.

I hope as you read this you’re able to take in everything I’ve brought to light. After

over a year of hard work from everyone on the Executive Board down to the Fashion

Spies, Off The Cuff’s vision has been fully realized in this issue. And while I’m proud

to say this our best issue yet, I’m even prouder to say this won’t be our best ever

as we’ll continue to push the limits. Everyone at Off The Cuff is challenging him or

herself to create consistently better content for our readers to enjoy. And with that,

all I have left to say is...

Stay Stylish,

VC

tab

le o

f c

on

ten

ts

14

16

18

35

25

45

05

WHAT’S IN THE CLOSET: A LOOK INSIDE THE FASHION INDUSTRY

NORMCORE: THE 21ST CENTURY ART OF DRESSING DOWN

ONE SIZE FALLS SHORT

LONG AGO AND FAR AWAY

STILL LIFE

FROM VINCE TO VINCE: A Q&A BETWEEN ROLLIE’S FOUNDER AND OTC’S EDITOR-IN-CHIEF

BRINGING WARHOL & LICHTENSTEIN TO THE 21ST CENTURY

POP!:

It’s no surprise that working in the fashion industry is one of the most

alluring career choices out there. We are constantly bombarded with

images of the glitz and glamour behind the world of runway couture,

bloggers, and fashion houses. But in a world centered on image, one has

to ask: what is it really like to work in the industry that inspires all of our

sartorial choices?

When Anne Hathaway played the role of Andy in The Devil Wears Prada,

women all over the world said they’d either love to be in her shoes, or

they would do anything but work in the grueling world of fashion. While

Andy’s tasks were trivial, and not at all glamorous, the perks of the job

seemed more than worth it. Perks for Andy included being able to raid

Vogue’s fashion closet–borrowing everything from Chanel to Calvin Klein–

but all at the expense of being mistreated by her boss and co-workers.

The fashion industry is a difficult business to be in; it is fast-paced,

sometimes eccentric, and can get ruthless, but some are truly cut out for

that lifestyle.

There are countless ways for young women to get their foot in the door

of the world of fashion. Some want to be involved in fashion public

relations. Others want to design new looks and styles for top design

houses. No matter the career choice, young women are hungry for ways

into the industry, whether it is starting out as an intern, assistant, or even a

secretary at top fashion houses, brands, and magazines.

A LOOK INSIDE THE

FASHION INDUSTRY BY KENDALL MARCUS AND SUSANNA YUDKIN

But is a career in fashion really how we imagine it to be? We interviewed women who worked in the industry about their experiences. Their insights are surprising, inspiring, and most of all, telling.


Before starting her internship at Marie Claire,

Emily Goldman said that she thought she’d be

doing a lot of bitch work–getting coffee and

other menial tasks. Isabelle Epskamp, a public

relations intern at Rag & Bone, said, “I was

definitely intimidated...everything I’ve read

makes the fashion industry look like an intense

place to work.” Daniella Seidl, an intern at

W Magazine, said she was expecting “lots of

fashion and a little bit of pain.”

Many of their expectations were met, but each of

them encountered either perks or downfalls about

working in the industry. Goldman “learned a lot

about politics of a major magazine. I expected

people to be more mature and nicer.” Helen Pena

worked with Miami-based emerging fashion brand

Style Mafia and said, “It was an extremely rewarding

experience because her high standards and

amazing taste taught me a lot.” Seidl noted, “The

amount of research that goes into putting a shoot

together is insane. The Devil Wears Prada doesn’t

seem fictitious.“

Seidl was surprised about some of her tasks,

“I was in charge of doing a lot of research in

the Condé Nast library for photo shoots, which

was a really incredible experience. I was able

to pick out images as inspiration for the stylist

and work closely with him in coming up with the

final product.” Sarah Siegel, an intern at Good

Housekeeping, was “surprised by the enormous

amount of free stuff magazines get and give

away.”

EXPECTATIONS

REALITY

SURPRISES

LES

SO

NS

No matter the surprises or hard work, each girl found their experience rewarding. Pena said, “ I definitely know that whatever I do will involve branding and creating aesthetic experiences for people.” Epskamp found her dream job, saying “ I love everything about working in PR, especially if it goes along with fashion. There’s always something new and exciting going on, which is so much better than working a lame desk job.”

On the other hand, Seidl said, “I don’t know if I see myself working in fashion for the rest of my life. I learned that it’s very important to get things done and do a good job with anything you do…and to have fun and not take things too seriously!

These women had the opportunity to live out their dreams, and all of them gained new insights both about the industry and themselves. No matter what angle of the industry you want to pursue, if you are willing to work hard and devote all your passion to your work, you will go far.

FUTURE

Pena learned that “The way to make a name for yourself is by making yourself indispensable…it’s really those people who are given a small task but go above and beyond that make it through and are remembered.” Epskamp learned the value of hard work saying, “The fashion industry is fast-paced, so you have to learn to keep up...I wouldn’t recommend going into fashion if you’re not willing to do whatever it takes to get the job done.”


normcore:THE ART OF 21ST

CENTURY DRESSING

In 2003, Saturday Night Live told us that the greatest gift a mother could receive is a pair

of “mom jeans.” Just watch the skit and you’ll see the happiness exuding from Tina Fey

and company as they prance around and show off their derrieres. Fast-forward to 2014 and

“mom jeans” are no longer meant for the soccer moms of suburbia. Rather, these same

pairs of jeans that were once mocked have graced the runways of New York Fashion Week

and adorned the tuchuses of every known blogger and Brandy Melville customer. You know

which ones I’m talking about: those light wash jeans that reach so high up on the waist,

you nearly risk resembling Urkel. This, my friends, is the impact of normcore at its finest.

BY CORINA PINTADO

In the 1960s, there was mod fashion and in the

90s, Calvin Klein led era of minimalism in fashion

that would define the decade. Therefore, fashion

has shone a spotlight on the concept of simplicity

over the years. However, given its focus on

basics, defining the normcore movement is not

a basic task. My prior knowledge–that is, stalking

everyone in New York’s Greenwich Village wearing

Birkenstocks–led me to believe that normcore

was simply a celebration of comfort. Think: loose-

fitting, high-waisted jeans, the classic Adidas “Stan

Smith” sneakers, a white tee and an oversized

button-down shirt that called a thrift shop its

home before landing in your hands. However, the

more I see this kind of uniform, the more I view

normcore as an ode to bland, anti-fashion attire.

The term normcore was first coined by the

trending agency K-Hole, because in addition

to embracing “mom jeans,” inventing new

words is another favorite hobby of millenials.

K-Hole clarified the definition of normcore on

its Facebook page as a “means to pursue every

activity like you’re a fanatic of the form. It doesn’t

really make sense to identify normcore as a fashion

– the point of normcore is that you could dress like

a NASCAR mascot for a big race and then switch

to raver ware for a long druggy night at the club.

It’s about infinitely flexible, sunny appropriation.”

So normcore shouldn’t have anything to do

with fashion in the first place. Yet fashion is

one of the main components in curating an

identity. If anything, the onslaught of normcore

has lessened the appreciation for the glitz and

glamour of fashion; why should we dress down

when fashion is all about dressing up to be the

character you choose to play for a particular day?

I could very well be a NASCAR mascot and a raver

in my Nicholas Kirkwood heels if I so choose to.


Normcore is to uniformity what pumpkin spice

lattes are to fall. It’s an inevitable pairing. There’s

nothing wrong with wearing a basic tee and jeans

for the day, but when you get lost in a sea of

clones, you lose your identity. Take for example

the epidemic that became of the Birkenstock.

These suckers came from a time warp of the

early 90s and landed on the feet of a good 90%

of my friends this past summer. The mention of

Birkenstocks a year ago would’ve received scoffs

and sheer disgust from many of those who ended

up buying them merely because they were “in.”

What distinguishes normcore from other trends

is that it’s a trend that emphasizes not trying at

all. Looking effortless is a battle many of us try to

win in the morning when getting dressed but we

must remind ourselves that sometimes fashion

involves trying. In fact, it can be fun to try. I can’t

begin to count the number of times I’ve spent my

Saturdays creating outfits in my closet rather than

studying for midterms. In an age when Beyonce’s

“I woke up like dis” has become the anthem of

a generation, we forget that developing a sense

of style or identity is an odyssey of some sorts.

I can see the appeal of normcore in encouraging

a blank slate – that is, a simple tee and a pair

of jeans is all you’ll need to go out and carpe

diem. And if that’s what you’d prefer to wear

then by all means, do what you please. However,

mom jeans and basic t-shirts were still worn

way before they became fads. So to what

extent is normcore a fad? Or is it on its way in

becoming the modern definition of classic style?

No matter what normcore is or what it becomes,

I will continue to don the patterns and eclectic

silhouettes that differentiate my closet from

others. Because nothing is more against the

norm these days than some clashing patterns.

FASHION COLLAGE BY:

RACHEL PICKUS


“ONE SIZEFALLS SHORT”

MIA TRENTAUDE WITH ELYSE DA SILVA

UNISIZE CLOTHING’S INACCURACY5’8” to 5’11,” 90 to 120 pounds. These parameters are the “ideal” measurements for females in the fashion world, and they have become the framework of fantasy for the common woman. There is a slew of popular clothing stores that claim to cater to the masses yet only portray ideal women, showcasing an affinity for what society deems perfect. That being said, many of these stores still manufacture clothing in a multitude of sizes to benefit from women of all sizes, despite featuring ideal women in their advertisements. In recent years, however, popular stores - particularly those geared toward young women - have implemented what they deem “one size fits all” clothing when, in reality, their definition of “one size” only applies to a slim margin of the female population--no pun intended.


“IT IS SAFE TO SAY THAT THEIR ‘ALL’ IS A MINUTE MARGIN OF

THE ACTUAL SPECTRUM.”The visage unisize brands attempt to present is self-acceptance

by eliminating labeled sizes when their clothing actually fuels size discrimination. Stores like Brandy Melville, American

Apparel, American Eagle, and Victoria’s Secret claim to cater to the common young woman, but their

implementing “one size fits all” philosophy proves they think that “all” should be slim enough to

fit into their products. Considering the fact that most of their fitted clothing items

comfortably fit a petite woman sized four to six, it is safe to say that their

“all” is a minute margin of the actual spectrum. Oversized

garments that makesmaller women swim in

and larger women fill out seem to

be the only exception.

By sticking a “one size fits all” tag on an article of clothing,

the company that distributes that clothing sends a message

of how they think women should be: petite and thin. This

- although it may not be as drastic as the runway model

mindset - puts pressure on younger females to be a certain

size to fit into popular or trendy clothing. The pressure to be

a certain size puts the demographic at a higher risk for eating

disorders and self-loathing if they are not physically built as the

designers think they should be--as models are. According to

a study by Girl Scouts of the USA and The Dove Self-Esteem

Fund, “63 percent of girls think the body image represented

by the fashion industry is unrealistic and 47 percent think it is

unhealthy, yet 60 percent say that they compare their bodies

to fashion models.” The study also shows that, “48 percent

wish they were as skinny as the models in fashion magazines,

and 31 percent of girls admit to starving themselves or refusing

to eat as a strategy to lose weight.” These statistics show

that girls are influenced by the fashion world, and although

unisize brands do not necessarily promote physicalities

as exaggerated as those involved in modeling, girls still

feel as though they should be able fit into the garments in

order to be accepted by a society infatuated with “skinny.”

Although in recent years the fashion realm has become

increasingly accepting of fuller-figured women, the

movement toward total body acceptance in the industry is

currently a farfetched fantasy. This “plus sized” movement

shows how females should not be judged by their size,

should look up to the progressive models in the industry,

and should be comfortable with themselves, yet the “one

size” theory promotes the complete opposite when not all

females cannot squeeze into the slim margin of “fits all.”

“THIS ‘PLUS SIZED’ MOVEMENT SHOWS HOW FEMALES SHOULD NOT BE JUDGED BY THEIR SIZE,”17 OFF THE CUFF MAGAZINE

FROM

VINCE TO VINCE:

Photographed by: Christopher Sanchez

Styled by: Alice Gao & Tabitha Michaelidis

Models: Vince Calvi, Aniekan Inoyo

& Lisa Kaucher

A Q&A BETWEEN OTC EDITOR IN CHIEF VINCE CALVI &

ROLLIE FOUNDER & DESIGNER VINCE LEBON

What made you decide to start your own shoe line?

Honestly, I just felt it was time! After 10 years in the footwear industry, I wanted to create a brand that would make people happy. Something fashionable yet comfortable, something that represented quality yet affordable, fun yet adaptable and iconic.

What does it take to start your own label and make it as an independent designer?

It’s very easy to start your own label but creating something that is sustainable and something that creates an emotional connect with your target audience is the challenge. The business plan is just as important as the product itself. Doing what you love will help you stay true to the original vision.

How did you get started working in the fashion industry? Did you go to school for fashion?

I am post-graduate multimedia designer but I kind of fell into the footwear industry but quickly knew it was for me once I dove into it. I shadowed the director of an independent footwear company for 5 years before producing private labeled footwear for international brands, then after 10 years of experience I felt it was time to launch my own brand.

What inspires you the most when you start thinking about the next season for your shoes?

People, Movies, Music, Mags, Blogs, Travel... Without being cheesy I’d say life in general. There’s inspiration everywhere! As Edward de Bono says “One very important aspect of motivation is the willingness to stop and to look at things that no one else has bothered to look at. This simple process of focusing on things that are normally taken for granted is a powerful source of creativity...”

I remember during FFaNY (Fashion Footwear association of New York) you mentioned a collaboration with Et Al, tell OTC about working with them. What was it like? Did your visions match up?

One of the head designers has become a close friend of mine now, as we seem to share a love for design and quality. He is extremely talented and really enjoyed the experience. There’ll be a lot more happening between the two brands and designers.

What’s it like working in the Australian fashion industry? How does it compare to the US or Europe? I have never really tied the brand to one country to be honest, I genuinely feel like it’s a world brand, catering to world trends and people in general. One of the major benefits to living in Australia is that it’s so far away that you are less influenced by the major world industries which makes it easier to focus on innovation and a unique approach and aesthetic.

What is your go-to item in your closet?

Black Jeans with a basic Tee.

Who is your fashion deity? Why?

Street etiquette and / or Justin Oshea. I just love how consistently cool these guys are.

I’ve stalked your Instagram (@vince_lebon) and understand your quite the world traveler. What’s your favorite city in the world for fashion? Why?

It would have to be Barcelona! I just love the food, music, weather, people, street fashion and art. It has everything I love about a place. This is following closely by Toyko and New York.

What advice do you have for upcoming designers?

Work on a business model and be genuine in what you’re doing because people will always respond better. When building a brand, think about an emotional connection as it is just as important as it being economically viable.

Clare wears a Sandro sweater. Taylor wears an HM button-down, Tobi velvet top.


PHOTOGRAPHED BY: NICKI GITTER

STYLED BY: SCOTT SHAPIRO, ANH NGUYEN

HAIR BY: CHRISTIANNA GILBERT

MAKEUP BY: ANDRIANA TODOROVIC

ARTICLE BY: TIANNA GALLINARO

BRINGING WARHOL &

LICHTENSTEIN TO THE

21ST CENTURY

PHOTOGRAPHED BY: NICKI GITTER

STYLED BY: SCOTT SHAPIRO & ANH NGUYEN

HAIR BY: CHRISTIANNA GILBERT


MODELS: TAYLOR CAMRI & CLARE STONICH

WRITTEN BY: TIA GALLINARO

BRINGING WARHOL &

LICHTENSTEIN TO THE

21ST CENTURY

POP!

SINCE THE 1950S,Pop Art has established itself as a movement that brings together pop culture and

fine art.

Artists aimed to transform the public’s standards of fine art by appropriating even

the most mundane and mass-produced subjects, like the Campbell’s soup can,

into iconic art pieces of modern history. Pop Art was not designed to be a parody

of high culture, but a way to create newfound appreciation for life’s most ordinary

objects by removing them from their main context.

In response to the pretentious, strict, and rather homogenous subjects of classic

fine art, artists like Jeff Koons, Roy Lichtenstein, and Richard Hamilton developed

a new style of art labeled Pop Art (short for popular art) that corrupted society’s

experience of fine art and celebrated society’s contemporary culture. Andy Warhol

was perhaps the most iconic trailblazer of the movement and decided to utilize

his background in commercial art to appropriate pop culture into fine art by using

mass production printing and advertising techniques. As the “Pope of Pop”,

Warhol’s body of work covered a broad range of pop culture from movie icons like

Marilyn Monroe, to fashion icons like Jackie Kennedy, or classic American consumer

products like Coca Cola. By the late 1960s, Pop Art had expanded into a cultural

movement that influenced other creative fields including music, television, and

fashion.

To this day Pop Art is still very much alive and maintains a large cult-like following.

Andy Warhol’s prints continue to hang in the world’s most prestigious art museums

on walls among top-notch artists like Rembrandt, Vermeer, and Monet. The Andy

Warhol Museum was constructed in 1994 in Pittsburgh to honor the genius and

currently remains the largest museum dedicated to a single artist. Last year, Lady

Gaga released her Artpop album inspired by the movement and even collaborated

with Jeff Koons on the album’s cover art. Over the years pop Art has continued

to impact various facets of current pop culture, but none more than the fashion

industry. From retail to luxury brands like Kate Spade, Nike, Moschino, and Louis

Vuitton, Pop Art has remained as one of the most enduring influences in today’s

fashion.

Like the fine art critics

of Andy Warhol’s era,

some high fashion

critics denounce the

sight of lowbrow pop culture

content walking down the runways

of fashion’s most prestigious runway shows.

The most recently criticized designer, Jeremy

Scott, had models strut down Moschino’s Fall/

Winter 2014 Milan Fashion Week runway with

outfits that appropriated the golden arches

of America’s favorite fast-food restaurant:

McDonald’s. Many loved the quirky chicness of

Moschino’s “Fast Food Fashion” collection, but

some challenged its originality and place in the

refined world of couture.

Fast-forward to over sixty

years later and Jeremy Scott is

in the exact same shoes as Andy

Warhol. Following the criticism of

his McDonald’s inspired collection, Scott

is quoted as saying, “Maybe it’s because people

are realizing that [high fashion] has gotten too

stuffy and boring.” With the infusion of more Pop

Art in fashion, there’s little doubt fashion will ever

fall victim to either of those tragedies.

Pop Art will always be current, relevant, or “à la

mode”; Pop Art is rooted in popular culture, which

is never stagnant, forever changing, and always

current.

Taylor wears Sandro sweater, thrifted coat.

(Left) Clare wears thrifted button-down and polka dot dress, Girls on Film

skirt, Calvin Klein blazer. (Right) Clare wears Va va voom

dress.

POP ART

CORRUPTED

SOCIETY’S

EXPERIENCE OF

FINE ART AND

CELEBRATED

SOCIETY’S

CONTEMPORARY

CULTURE.”

“


!!

!!

!

!!! !

Taylor wears Vanity Projects by Limb dress.

(Left) Taylor wears pants, Zara sneakers.

(Right) Clare wears a Brooks Brothers trench

and Sandro sweater.33 OFF THE CUFF MAGAZINE

LON

G A

GO

& FA

R AW

AY

CONCEPT & DESIGNS BY:

KATIE BARRY & TOM LAVERRIERE

PHOTOGRAPHED BY: JULIA KAN

STYLED BY: WINDSOR WONG

HAIR BY: ALEX DELANO


MODELS: SARAH CAPUNGAN,

DAVID LOWE & AURELIA PAUL

The word “fairytale” elicits a warm feeling within one’s heart, but these stories of our childhood have stood the test of time: remodeled and reimagined over centuries, dark undertones sacrificed. Here, the original essence of these legends come to life–the way they were long

ago, and far away.

STILL LIFE


STILL LIFE

Photographed by: Beixi Jia Styled by: Scott Shapiro & Roshni Shukla Hair by: Rocio AlquatiMakeup by: Zara KavaranaModels: Dhiren Garg, Tabitha Michaelidis & Mahnoor Umair

Gustav Klimt, The Kiss

American painter and printmaker Robert Motherwell said, “Wherever art appears, life disappears.” Challenging this idea, models bring life to

famous works of art, adding new dimensions and emotions.


Edward Munch, The Scream

Sandro Botticelli, The Birth of Venus

Sandro Botticelli, Venus and Mars

Pablo Picasso, The Old Guitarist

JOIN THE MOVEMENT W W W. O F F T H ECU F F M AG . CO M

/ OFFTHECUFFMAG

off the cuff magazine: volume 2, issue 1

Documents

best issue

greatest issue

art influences fashion

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fashion industrynormcore

cuffs staff

fashionforward cities

cuff magazine letter