پنجشنبه 6 اردیبهشت 1397
نویسنده: Randall Farris
Artist Maryanne Coutts has an unusual ritual: to draw what she is wearing each day.
Every day for the past five years Ms Coutts has drawn her outfit and reflected upon her day and the result is a fascinating exhibition that tracks seasons, styles, emotions and artistic genres.
“I love clothes, and I love that there are websites where people take a photo of what they are wearing and post it. It’s a sort of creative activity based on something we do every day, so I thought about drawing my outfits and making an artwork out of that. This exhibition is based very loosely on that,” she said.
Ms Coutts’ exhibition Dress Code: The First Five Years opens at Federation University’s Post Office Gallery on May 24 featuring hundreds of her fashionable artworks.
It’s somewhat of a homecoming for Ms Coutts who achieved a PhD at Federation University in 1999 and regularly visits friends in town on trips from her home in Sydney where she is currently the head of drawing at the National Art School.
“Dress Code is a project which attempts to harness the ways that the days continue to follow each other, one after the other; unstoppable,” she said.
“It is a journal of what I wear each day – not in a ‘realistic’ or documentary way – but a fluid emotional extension of the creative activity of getting dressed in the morning. Each morning; every morning.”
Over those five years her practice and focus has changed, with the artist at times setting herself monthly challenges including socks, miniatures, clothes from newspapers, and quilts.
“I don’t know exactly how it started. I thought I’ll do this for a certain amount of time, and once I’d done it for that time it turned in to something else and it just kept rolling,” Ms Coutts said.
“Now it’s become five years and I’m thinking about what to do with it for the next five years.”
Some of her works feature extra items like tickets or bits of “stuff” stuck on to the clothes, others are a little more abstract such as socks that reflect the weather.
“You can’t always tell the style, but they are pretty loose and the focus tends to change – so one month I drew my socks, after I had been to India and did a workshop on miniature painting I did everything in miniature, one month I made a quilt, one year I made an animation that changed every day, and another time I drew people’s clothes from newspapers.
Denmark will have a new kind of “speed dating” beginning on May 15. Top fashion brands will be meeting with experts in sustainable business from across the world to exchange innovative ideas at the Copenhagen Fashion Summit. The summit’s program is packed with different topics, but among them is one close to my heart—transparency in the garment industry.
Transparency in supply chains –that is, revealing exactly where a company’s products are made and by whom—is really important. It allows worker representatives to better protect factory workers from abuse that can endanger their jobs, health, and even their lives. And it assures the people who buy the products, like me, that the people who made the products can easily find out which brands they produce for—a critical piece of information needed to escalate complaints about labor abuses.
Garment workers—mostly women across the world—work in factories producing clothing for big-name brands. One of the brands whose jeans I wear every other day, Levi Strauss, is among those that produces a list of names of factories and their precise locations. It sounds like an obvious thing to do, but apparently not in the world of fashion. Multiple brands, including Mango and Urban Outfitters, whose dresses hang in my wardrobe, don’t disclose key information about their supply chains.
A growing number of conscious consumers like me are keen to know where precisely--and under what conditions—our clothes were made. At the very least, publishing the names and locations of factories builds more faith in the brands we like. It demonstrates a brand’s willingness to share key information with workers and advocates about their manufacturing sites, making it easier for workers to get in touch with relevant brands when they experience labor abuses. Hiding this information makes it harder for workers to reach out to brands when needed.
Three weeks ago Bangladesh marked the fifth anniversary of the Rana Plaza collapse, which killed more than 1,000 workers and injured many others. Soon after the disaster, labor advocates had to scramble to figure out which brands the workers were producing in the five garment factories in the building.
Top brands that have shown their commitment to supply chain transparency will be at the Copenhagen summit. These include Nike, H&M, C&A, G-Star Raw, and Levi Strauss, which have fully aligned with the Transparency Pledge, a threshold minimum standard of supply chain transparency in the apparel sector developed by nine non-governmental organizations and global unions.
But many other companies have declined to follow this example. Voluntarism has its limits. The EU Parliament recognized this in 2017 and called for binding due diligence obligations, but to date, no such proposal from the European Commission has followed.
Individual countries should take the initiative, and this is where Denmark should step in. Members of parliament should introduce legislation to ensure that apparel companies doing business there follow some basic degree of transparency and also conduct rigorous human rights checks.
Such legislation should draw on good features from various countries’ laws --for instance, the UK’s Modern Slavery Act and France’s “duty of vigilance” law. Countries like the Netherlands, Australia, and Canada are also considering legislation to govern corporations’ human rights responsibilities for their global supply chains.
Until Denmark develops legislation to help level the playing field for businesses, the Danish partnership for sustainable and responsible fashion and textile sector, led by apparel associations, should take a strong stand on the side of industry good practices. The partnership should make supply chain transparency a key goal that its member-companies should achieve before 2020.Read more at:prom dresses uk | long prom dresses uk
Bohemia, he is defined as a hippie culture scholars and the yuppie hybrids, all kinds of fashion magazines in recent years, the international fashion conference, to be able to see it, it's heat has been reduced.
What is Bohemia? Bohemia is a part of the western region of Czechoslovakia, part of the austro-hungarian empire, and is a gathering place for gypsies walking around the world. There is a vague definition of the bohemians: the bohemians are the gypsy, or the ichigans, including the decadent intellectuals.
To walk the world in a wandering way, not to believe in god, to make a living through the skills of the vagabonds, and to be good at "astrology" and "good luck".
In the 1960s, Bohemia was a potent weapon of the hippies' challenge to the middle class, and its behavior was characterized by a purely manual confrontation with industrial production.
Today "Bohemia" has become a symbol of vagrancy, freedom, Bohemia, decadence... , in the field of clothing is the retained some nomads characteristic style, with bright-coloured decorative and fetching eyeball straightforward thick fabrics, accessories, in particular, more is given priority to with winding of beads, tassel necklaces.
چهارشنبه 5 اردیبهشت 1397
نویسنده: Randall Farris
سه شنبه 4 اردیبهشت 1397
نویسنده: Randall Farris
Outdoor wedding: bridesmaid dresses should be paid attention to the color of the dress and the bride's dress coordination, generally wearing the small dress of the knee, the color is mainly pale purple, light green and other light colors.
Indoor wedding: bridesmaid dresses and bridal gowns should be similar in style. If the bride wears a formal gown with a long tail on the wedding day, it is recommended that the bridesmaid wear a long, vertical floor-style gown with appropriate headwear and gloves. If the bride wears a simple wedding dress, the dress design of the bridesmaid should not be complicated, the color should be unified.
1. Bridesmaid dresses
Bridesmaid like red flowers must have green leaves collocation, the maid of honor is the beautiful green leaves, so to foil safflower more bright, it requires that the bridesmaid dress is simple and generous, decent, now of the wedding general bridesmaid to wear small formal attire, personally, I prefer the style of that wipe a bosom, it looks more clean and concise and lovely feeling; The choice of the color, other colors don't too bright, the first and the style of the wedding and the bride wedding dress style is tie-in, for example, is the first to see the bride's wedding style, if it is Chinese style style, people wear what a chaplet and official robes, the maid of honor wouldn't be able to wear the dress is; And if the bride has a choice of dress is green dress, bridesmaid can't wear a red dress isn't it, so try to choose light pink color, or light yellow light color is dress, or other can also be more decent clothes.
Bridesmaid shoes is very important, and the bride's wedding shoe about, because the bride is actually already very tired, the same day to run run west, and the maid of honor may move around more, so must be sure to wear comfortable shoes, not choose a pair of high heels, for the sake of beauty wear flat shoes are lovely or style of shoe is a little bit small can also, the color of the shoes also goes to and the color of the clothes, and style, can't dress with sneakers, after all, the maid of honor will to power, to give you a good impression is very important.
Bridesmaid dresses are perfect for high heels, because when you increase your height, everything gets better. Your weight is increased and your posture becomes more beautiful, so you look slimmer.
Warm colors such as pink, coral, orange, and cream are best suited for gold, bronze, or copper, light green.
Cool colors like purple, blue, grey, and white will shine with silver.
3. If you choose to wear low heel or flat shoes, it is best to have a pointed or some embellishment to fill the heel.
If you can't find shoes that match your dress, consider metallic shoes.
Tip: after the bridesmaid's shoes are bought, it's best to wear them at home for half an hour every day. Because new shoes may not be comfortable to wear, you need to get used to them. This will not affect the bridesmaid's busy day on the wedding day, and make the new shoes more comfortable.Read more at:
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Established in 1661, Louis xiv ordered the royal institute of dance, to organize and standardize the palace dance work, determine the specifications, style, and performance style of operation and terms as the dance moves and unified use French name, these activities not only promoted the development and spread of the palace dance, and to lay the solid foundation to establish the system of classical ballet technique.Still in use in the classical ballet feet five basic position and basic steps, it is in this period to determine 1588 t. alborz published book choreography, we can find that the palace dance around in the 16th century began to finalize the design, according to the chart and description, can be roughly makes some court dance recovery.The duration of each court dance is varied, although some dance forms appear early, but the true prevalence is later, even after the first 100 ~ 200 years.All kinds of dances are not consistent in the time of national popularity. With the development of life, the change of social customs and the simplicity of clothing, the outdated dance is constantly replaced by new dance.During 16 ~ 17 century successively in the court of popular dance, brown, the most popular variation, on the emergence and development of many dance dance has a great influence, it is said that the minuet is evolved from Mr Brown's.The most representative court dance of the 17th century was the minuet, which concentrated the essence of the court dance culture until the French revolution of 1789.It was popular in the European court and was known as the "king of dancing".Even long after it was no longer popular, it was retained in the classical dance education system as an important part of the actor's training.Later, the more popular is the cheerful garvot and the French dance, which probably originated in the English country dance.The popular dance dance of the 18th century was polonaise and even delle.Popular in the 19th century were polk, mazurkas, and galoplope, but the most popular.
It was a waltz from even delle.Before aristocratic society accept the waltz, court dance are mostly men and women together in pairs, facing the same direction to jump to the dance, even in the pattern change jump dance partner face to face when men and women also need to keep quite a distance, and the emergence of the waltz has provided a brand-new posture to dance, the male and female partner face to face, by a man in a woman's waist.This position shortens the distance between partners and provides more convenience for emotional communication.And waltz dance simple, need not stipulated the strict design and pattern, just down the hall freely rotating substantially, these characteristics are make it popular for a long time, is better than a contemporary various dance important reasons.
In Europe, in addition to the court and noble mansion is often a party, for the upper ruling class to provide companionship and entertainment venues, the 17th century, had appeared in the British public ballroom, the dance is mostly a royal or noble palace dance teacher to teach and presided over the palace dance, but participants to expand into the middle class.As the public halls opened more and more on the continent, the common people gradually took part in such activities.The formality, strict, affectation, and the need for special learning to master the court dance are increasingly unable to meet the social needs of people of different classes.The bourgeois revolution and the two wars almost destroyed all the royal families in Europe, and the court dance declined. The public dance hall replaced the court and became an important place for social activities.A large number of new dance forms, which are simple, formal and convenient for participants to express their emotions spontaneously, have been introduced into the dance hall, and dance dance has begun to enter the era of social dance of modern society.Read more at:www.KissyProm.co.uk| long prom dresses uk
If wearing yoga pants outside of the studio or gym is a fashion faux pas, the Tencel and Lycra-clad masses in Vancouver don’t care.
With sales of activewear on the rise, many in Vancouver are unapologetically embracing the trend.
“It’s comfortable, easy to wash, you can do your workouts, then head out and get your groceries,” said Karen Lam, reeling off the reasons why she loves her yoga pants. “Because I’m a mom, I’m all about comfort and time. It takes time to put looks together, and I like something easy.
“I feel good when I wear them, and I still think I look good.”
Lam is the production manager for Burnaby-based activewear outfitter Tonic, so she may live in yoga-wear more than the average person. But she’s not alone. In Vancouver, activewear has long spilled over from studios to the street, ubiquitously paired with trendy jackets and fancy footwear. Yoga pants also come in many styles and colours.
From its roots as a hot yoga-wear manufacturer, Tonic has expanded its offerings to include a “lifestyle collection,” which features acres-yoga clothing made of soft cotton or bamboo jersey that people can wear beyond the studio, said Lam.
“It’s all about taking fashion elements so people are interested in wearing it on the street and not just the gym,” she said.
U.S. market research firm NDP described the increasing penchant for activewear as a consumer-driven trend, prompted by people’s overriding desire for comfort and function.
Yoga-wear giant and trailblazer Lululemon’s sales have increased more than 50 per cent in its last two fiscal years to $1.6 billion US.
Many retailers have also expanded into the fast-growing niche. In 2008, The Gap acquired activewear brand Athleta, while Swedish chain H&M launched H&M Sport last year after successfully garbing Sweden’s Olympic team for the 2014 Winter Games.
Even haute fashion houses are getting in on the action, with couture hoodies and cashmere track pants gracing the runways.
One of the casualties of the yoga-pant craze may be the go-to staples of decades past: Jeans.
Last year, sales of jeans fell six per cent after years of steady growth, said NPD in a report last fall. In comparison, sales of activewear increased by seven per cent to $33.6 billion US, occupying a 16-per-cent share of the total apparel market.
Women’s activewear alone hauled in about $11.5 billion in sales in 2013 in the U.S., a nine-per-cent jump from 2012.
The numbers don’t surprise Emma Hogan, 24. She only has two to three pairs of jeans, but seven yoga pants that she wears everywhere, except work (she is a flight attendant), and fancy restaurants.
Aside from being comfortable, yoga pants are also flattering, she points out. “They’re (high-waisted) and are raised up over my little pooch,” she said. “Even if you gain a couple pounds you can still fit into them.”
Chloe Logan also wears her yoga pants “every single day.” She has about a dozen in her closet, and doesn’t bat an eyelid wearing them as she runs errands and meets up with friends.
“It’s so popular here ... it’s not so much a faux pas anymore. Maybe it was a few years ago,” she said.
جمعه 15 اسفند 1393
نویسنده: Randall Farris
The first model Simon Porte Jacquemus sent out for his show here Wednesday night wore a pair of stiff fisherman’s waders and a mask.
Yes, that’s it: She was otherwise topless. The young woman padded barefoot down the runway that wound through eloquently tattered rooms where plaster peeled from the walls, her face was obscured by a swath of brown paper.
Unnerving, perhaps, but not surprising. Nudity is a favourite tool of designers — particularly the young ones — who are under pressure to find ways to startle, provoke, dazzle and stand out in this fiercely competitive fashion capital. Newcomers and even veterans presenting their wares during Paris Fashion Week, which opened Tuesday, must confront the city’s grand history of creativity and reputation for technique when preparing for an audience — editors and retailers from around the world — who expect to be wowed.
In front of this relatively jaded audience, nudity might not shock, but it catches the attention. It can still send a murmur through a crowd.
It’s not as though Jacquemus — whose label bears only his surname — is some anonymous aspirant off the street. He is among the 26 semi-finalists for the second annual LVMH Prize, a list chosen by dozens of industry luminaries from media and business. So, while his work might not yet be commercial, it speaks to the future of fashion and its creative urges. His collection was presented to music with a strong, primitive, tribal beat. The models had sketches of Picasso-esque faces drawn on the side of their own faces — a walking homage to cubism. Those blank, rough-hewn masks spoke of surrealism, as did hand-shaped bodices that palmed the breasts.
But all one could really focus on were the boobs.
Tiny, naked breasts coming down the runway. The models were so close to the audience that one could see the fine hairs on their slender arms, as well as the goosebumps. Even when the models faces were concealed, it was possible to read discomfort in their taut body language.
Everything about the mis-en-scene and the references read “art.” Jacquemus aimed to use the female body in the manner of paint or clay. He wanted to make his audience see it in a new way. But there was little in the execution that elevated the work from anatomy lesson to something more thoughtful or evocative. In this case, a naked breast was just a naked breast.
Jacquemus gave himself a difficult, though not impossible, task. Designer Hussein Chalayan has used runway nudity as a commentary on clothing as shelter. Rei Kawakubo of Comme des Garcons regularly treats the body as raw materials for her craft. And notably, in 2002, the Metropolitan Museum of Art exhibited a series of exquisite nudes photographed by Irving Penn from 1949-1950. In them, he transformed the female body into meditations on lines and curves, fertility and beauty. The images mesmerized the eye because they spoke to both the heart and the brain.
Jacquemus is not aiming to be Penn, but he, like a lot of designers, is attempting to use fashion as a way of helping us see ourselves in a different way. The easiest way to do that — some might argue the cheapest route — is to reveal the body in a manner that is still considered taboo. Can we change the rules by breaking them? Yes. Even when done so clumsily? Maybe not.
Designer Anthony Vaccarello also flouts taboos. He cuts his dresses high on the hip and low in the neckline. And for fall, he chopped some skirts so short that one could almost see the models’ nether regions.
Vaccarello, who was recently appointed creative director of Versus — a scion of the Versace label — is known for designing sexy, tough-edged clothes. They are ostensibly for a woman who wears her sexuality like armor or weaponry. For fall, he settled on a theme of stars against a palette of black. They were applied to skirts and dresses as appliqué and metallic adornment. Hemlines were edged in metal fringe. And cuts were angled and oftentimes so complicated that a single garment consisted of a one-legged, skirt-covered, jumpsuit tunic. And if that sounds complicated to imagine, it would be almost impossible to comfortably wear.
But the runway doesn’t have to be about comfort or even logic. Ultimately, it is a place to explore ideas about how we wish to be perceived. Vaccarello designs clothes that make a woman’s sexuality the central element of her public persona. Sometimes that squares with her mood.
He should just remember that gynecology is not part of fashion’s mission statement.
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چهارشنبه 13 اسفند 1393
نویسنده: Randall Farris
After several seasons of trainers ruling Fashion Week, it seems the industry’s tastemakers have finally tired of putting running shoes on the runway.
The craze began in January 2014, with Chanel and Dior popping sneakers on models’ feet in their haute couture runway shows. Style stars adopted the look last spring. Chanel embraced trainers again—introducing a new knee-high varietal—for its now-legendary supermarket sweep presentation. Marc by Marc Jacobs’ spring 2015 line was a sneaker-happy, post-apocalyptic logo fest. And fashion truly hit Peak Sneak in September, when Alexander Wang sent models down the runway in an entire collection that was sneaker-themed, with the rubber-soled purses to match.
2014 was the year of the humble sneaker becoming a high-fashion must-have. Street stylers had a few seasons’ break from tottering around in platform high heels day in and day out. Working women could get away with Converse at the office. Gym bags got lighter as we just wore our sneaks all day instead of changing in and out for spin class. And off-duty models—well, off-duty models have always loved their Chucks and will continue to do so. Most of them are teenagers anyway.
But now, it appears designers have soured on the mashed-up, Frankenstein-y thrill that comes from putting top models in beautiful frocks paired with gym shoes. Normcore has lost its novelty. The current Fashion Month has passed its halfway point, and we have yet to see a high-profile instance of sneakers on the runway. Even Mr. Wang moved away from sportswear this go-around, veering more toward goth than health. The sneaker trend will not be leaving the streets for quite some time—activewear is currently booming, and crossover sportswear-meets-casual-clothes lines are still huge—but it is clear that the designers at the top of the heap have officially moved on.
Many women might be happy to wave all-day sneakers goodbye. For some, sneakers are difficult to pull off. This sounds paradoxical, as tennis shoes are the be-all and end-all of effortless and comfortable footwear. But if you are more of a rock-and-roll type, a boho chic goddess, or a lover of ladylike silhouettes, working a pair of Stan Smiths into your repertoire is not easy. Some people just don’t look good in sneakers outside the gym. The 1980s career mom stereotype—the shoulder-padded and harried woman who seems perpetually mid-commute—is wearing bulky white sneakers for a reason. It can be tough to mix sneakers with street clothes if you aren’t professionally stylish, like the aforementioned models.
For those of us without a predisposition toward effortless sneaker-wearing, there might have been feelings of guilt as the sneaker reigned supreme on the runway and we failed to adopt it into our everyday lives. Isn’t the sneaker trend supposed to be liberating? Why can’t I adapt? Am I a sucker to the patriarchy because I’d rather wear heels than Nikes? Or am I simply gasp behind the times?
Of course, the truth is that sneakers are best worn by people for whom wearing sneakers comes naturally. So it is a relief that sneakers are stepping off of their high-fashion pedestal, returning to their rightful place as a no-fuss staple for people who welcome a break from stuffier shoes. (And if we’re lucky, hybrid sneaker wedges and sneaker bags will be gone altogether.)
We will happily watch boots and pumps march back onto the runways, taking solace in the fact that although the Cara Delevingnes and Rihannas of the world look smashing in Dunks, one of the most perennially stylish women ever, Kate Moss, rarely wears trainers.
چهارشنبه 16 مهر 1393
In just five years, Guillaume Henry transformed Carven—a storied but sleepy French fashion house of old-school couture—into the cool girl’s label du jour. Today’s announcement of his appointment as creative director at Nina Ricci then comes as less of a surprise than a thrilling development in the designer’s already impressive CV. And as for what this means for Ricci? Henry has notably already used his final collection at Carven to prove that he is a deft hand with lace—which bodes well for his impending arrival at a house that, known for its nostalgic femininity, is all about the textile. The effortless, gimmick-free silhouette he developed while at Carven (a full skirt with trim midline cut around two inches above the natural waist) is about as universally flattering as fashion gets.
Here, we’ve whipped up a cheat sheet for what you need to know about Henry and the transition:
1. The 35-year-old French native studied at the Institut Français de la Mode (in English!) and was taken on at Givenchy immediately following his graduation, under creative director Julien Macdonald. Henry was also on the design team that anonymously presented the houses’s collections before Riccardo Tisci became creative director. Henry later left to begin working at the French sportswear label Paule Ka in 2009—leaving for Carven that same year.
2. Henry was the first designer to helm the relaunched Carven in 2009—the 69-year-old label relinquished its membership of the Chambre Syndicale de la Haute Couture and refashioned itself as ready-to-wear under Henry’s direction—and in one season more than doubled its distribution. (After early success at Barney’s and Net-a-Porter, subsequent growth became something closer to exponential.) Henry also managed to both take a couture house into the contemporary market (and price point) and return Carven designs to red carpets across the globe on style setters as varied in style, age, and body type as Beyoncé, Rihanna, Isabelle Huppert, Kristin Scott Thomas, and Inès de la Fressange.
3. The designer is less than sold on the obsession with the mythic idea of Gallic girl cool, citing instead paragons of cinema like Fanny Ardant, Catherine Deneuve, and Jeanne Moreau when it comes to iconic French style: “I don’t know if that Parisian girl even still exists,” the designer told Vogue’s Lynn Yaeger in 2010, “I mean, stand on a corner in Paris for fifteen minutes and all you see is the stupid denim . . . I think the American girl maybe has a more Parisian aesthetic now. Maybe the Carven French girl is in New York!”
پنجشنبه 30 مرداد 1393
Via telephone from Los Angeles, Kelly Mittendorf is friendly and lighthearted as she talks about her college major and Biology 101 prerequisite class. In person she’s all feline ferocity and razor cheekbones, a distinctive look that landed her a Prada campaign at only sixteen years old. But before she was being shot by Steven Meisel and closing shows for the likes of Marc Jacobs, Mittendorf was an Arizona teen who never really fit into the high school scene (good thing she received her first campaign call during math class—it ended up being her last day). Here, Mittendorf talks about being discovered by the pool, leaving school, and never looking back.
I grew up in Scottsdale, Arizona. It’s a tight-knit community. Everyone has been really supportive [of my career]. I don’t look like typical models that the people in my town are used to seeing or their fantasized version of a model—I’m not blonde or super bubbly. In a way, it kind of opens people up to different facets of the industry.
I was discovered in Phoenix at a resort swimming pool when I was eleven. I was goofing around and being quite reckless so someone approached my parents and said, “If your daughter is a model you have to be more careful and look out for her.” The woman ended up being a scout. It was kind of crazy. I didn’t sign to an agency when I was eleven, because although models start young, I was a little too young. I ended up signing to a New York agency when I was sixteen.
For me, high school was like that scene in Mean Girls when they go around and describe the different lunch tables. I’d probably be one of the wallflowers because I’m awkward. I got along with people but I didn’t have one group of friends. I knew that high school wasn’t the end of the world and that it was a couple years of your life that you have to move past.
One day, I was in math class and my mom called and said “Kelly, you just booked a Prada campaign.” I said, “I don’t believe you! That doesn’t happen! You’re horrible!” I started crying. My mom picked me up, and that was my last day of school. Before then, I was a normal kid in school in Arizona.
As for the Prada campaign, the whole experience was really amazing. It was Steven Meisel and Pat McGrath. It was really crazy but nice where everyone knew each other so well, and there was this understanding that we were young girls. It was pretty much the first time that any of us were doing anything and they made it really fun and easy.
Since then, there have been lots of good moments. My first season, I closed the Marc Jacobs show, which was really cool because he is amazing to work with. Also, I’ve gotten to travel to places that I’ve always wanted to go to but I never knew anything about.
Right now, I’m studying mass communication and media studies at Arizona State University. I’m also looking into studying forensic accounting. It is something that my grandfather introduced me to. You have to go to court and present cases—it is kind of crazy. But I love my job as a model and all the people I get to work with in fashion. I’d like to explore different aspects of the industry before I jump into something a little bit more normal, like a 9 to 5.