METHOD SEVEN MAGAZINE
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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
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CleanSlate
Photography Jessie KurucStyling Victor Ramirez
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Top, jacket and pants from Milk + Honey, earrings from Francesca’s at The Shops at Highland Village
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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
METHOD SEVEN MAGAZINE | page 12
Blazer and trousers from Dillard’s in Lewisville, necklace from Francesca’s at The Shops at
Highland Village
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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
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Photography Hillary HeadStyling Marlee Plummer
Styling Assistant Chie Onozaki
Troo
p Beverly Hill
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METHOD SEVEN MAGAZINE | page 18
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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
METHOD SEVEN MAGAZINE | page 22
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
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Model C
laire K
ath
erine W
uest
e
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Delicate DazePhotography Brittany ShabanStyling Cyril Pope-Polk & Whitney Roundtree
METHOD SEVEN MAGAZINE | page 28
All clothing and accessories from Dillard’s at Golden Triangle Mall
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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 | page 32
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.”
METHOD SEVEN MAGAZINE | page 34
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
METHOD SEVEN MAGAZINE | page 36
Dress from Dillard’s at Vista Ridge Mall
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Pants and blazer from Dillard’s at Vista Ridge Mall | Left: Pants from Dillard’s at Vista Ridge Mall
METHOD SEVEN MAGAZINE | page 40
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
METHOD SEVEN MAGAZINE | page 42
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Vintage Lanvin top and Vintage Chanel skirt from Factory Girl in
Dallas, TX
METHOD SEVEN MAGAZINE | page 46
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Vintage Chloe from Factory Girl in Dallas, TX
METHOD SEVEN MAGAZINE | page 50
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
METHOD SEVEN MAGAZINE | page 52
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.
METHOD SEVEN MAGAZINE | page 54
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
METHOD SEVEN MAGAZINE | page 56
Dress from Windsor at Galleria Dallas, top from
Dillard’s at Vista Ridge Mall
METHOD SEVEN MAGAZINE | page 58
Top and shoes from Windsor, skirt from American Apparel | Right: Clutch from
Windsor at Galleria Dallas
METHOD SEVEN MAGAZINE | page 60
Silk bomber jacket from American Apparel | Left: skirt from American Apparel
METHOD SEVEN MAGAZINE | page 62
Hair and Make up Ashley Whitby | Model Nichelle Helaire
NeonTropics
Photography Hillary HeadStyling Emily Robinson
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Top from Dillard’s at Vista Ridge Mall, Pants from Macy’s at Vista Ridge Mall
METHOD SEVEN MAGAZINE | page 66
Bottom: Top from Macy’s, Skirt from Dillard’s | Left: Blazer from Macy’s, Pants from
Dillard’s, All from Vista Ridge Mall location.
METHOD SEVEN MAGAZINE | page 68
Dress from Dillard’s at Vista Ridge Mall | Model Ashley Montgomery
Kaitlin ScottAge: 23 | Hometown: Coppell, TX
METHOD SEVEN MAGAZINE | page 70
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 | page 72
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
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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
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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
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Headband, necklace and dress from Francesca’s at The Shops at Highland Village
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Necklace and bracelet from Francesca’s at The Shops at Highland Village | Model Haley Caldwell
Out ofSight
Photography Tanya RuizStyling Patrice Jackson
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Hair and Make up Charis Orr Models Nichole Fallis and Ian Wortham
Written by Adriana Solis & Jordan MillsPhotography Jessie Kuruc
The Snapback Come Back
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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
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CheCkmate
Photography Hillary Head Styling Chelcie Guidry
Styling Assistant Madeleine Trudeau
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Model Kasey Ludlow
ofPhotography Brittany Shaban
Styling Victor Ramirez
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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
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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
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SA Soft Punch
Photography Ashley GongoraStyling Aarica Jefferson
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Hair and Make up Nida Muhammedi | Models Saima
Khan and Alayne Ballantine
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Photography Kevin Chung and Nicolette Mollet
Styling Michelle Evans
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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
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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
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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
METHOD SEVEN MAGAZINE | page 126
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.
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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.
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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
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Photography Jessie KurucStyling Alberto Alvarez & Victor Ramirez
Shirt and necklace from Dillard’s at Vista Ridge Mall
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Skirt and earrings from Macy’s at Vista Ridge Mall, Necklace from Dillard’s at Vista Ridge Mall
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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
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METHOD SEVEN MAGAZINE