The university sartorialist

Sam Edelman Zoe platform wedge ankle booties. Barely-there denim cutoffs… sheer floral tights… a black scoop-neck crop top… a suede fringe vest… and lastly, two thin pyramid-studded belts and a buttery-leather hobo bag essentially serving as the peripheral goods of the outfit. Welcome to my world. As skillful as I am at distracting myself from the true applications of Productions and Operations Management by dreaming up these whimsical sartorial concoctions, I will rightfully admit to being even more of a Style Rookie than Tavi Gevinson. So what does this have to do, you may ask, with the photo of the stunningly handsome guy in the picture below?

Ladies, meet my best friend (aww), eligible bachelor Angel Reyes. As NUE Agency’s blog editor and social media director, this city kid’s effortlessly put-together style always makes me feel much less harsh in pleading guilty to becoming somewhat of a snob in terms of my standards of dressing. Crediting sources like Kanye and Lupe as former style influences, Angel utilizes his personal style as a tool to maneuver through the music industry with artist and event promotion both in New York City as well as here at Wake.

The look shown here made a recent appearance at Mountain Weekend formal in the classiest of classy locales: Oak Hill, West Virginia. Viewing this outfit under a microscope, each piece pulls equal weight as Angel makes brilliant use of balance and layering, two concepts central to my own fashion philosophy. The Tommy Hilfiger fitted v-neck knit/Club Monaco button-down match is a combo familiar to many fraternity formals, but the slim-fit 7 For All Mankind jeans are what truly make the outfit noteworthy. Name one other guy at Wake who has the balls to pull off this look successfully. I rest my case.

Bringing the design aesthetic of Ralph Lauren (not only Polo, but also brand extensions Rugby and Club Monaco) to life, Angel personifies the classicism and luxury heritage of a supreme lifestyle brand. Also citing companies like Band of Outsiders, Generic Surplus and 7FAM as favorites, Angel reveres basic pieces because they “give you more opportunity to just put together a bunch of things and make a great-looking outfit—there’s no room for doubt or indecisiveness. You have to be confident about your choices.” Speaking of confidence, things to keep in mind girls? Angel declares, “The most attractive girls to me are the ones that know they’re wearing something different, don't really care, and look great doing it.”

On the subject of Wake’s “pretty generic” fashion scene, Señor Reyes states, “There’s a pretty standard look for everyone, but then again, it’s college. You see everyone at their best and you see everyone at their worst. Nothing really wows me here; everyone dresses safely. The culture of this school doesn’t promote individuality as far as style and fashion go.” Hearing this time and time again, I can’t help but wonder what it is then that prompts everyone to adhere so closely to these so-called rules of dressing. Any famous last words, Angel? Referring once again to on-campus style, he admits, “I wouldn't really change anything. I don't think people should really be worried about developing their individual style during college. It's really not that important when you stack it up against everything else that you’re doing. As most people develop, style fills the gap between how you see yourself and how you want other people to see you. It's in there somewhere—everyone has style. It's a matter of finding a way to express it without seeming like you’re trying.”

Cross-posted HERE.

Here's to you, fashion. Cheers.

Edith Minturn

Even the most eloquent of words couldn't do my reverence for Edie Sedgwick the proper justice. I love that even now, forty years after reaching the peak of her fame, Edie and her personal style of fur coats, leotards and smoky eyeliner is still not only relevant, but considered totally inspirational to the most fashion-forward of minds, socialites and hipsters alike. I don't know which makes more of an impression, her casual, slurred drawl and seemingly-intoxicated laughter, or her unforgettable saga as a poor little rich girl turned overnight celebrity. From her signature dangly chandelier earrings to mod shift dresses and dark opaque tights, I love everything about Edie's style and could analyze her fashion photos for hours on end without once feeling the need to check the time.

Obviously, one of the most important elements of Edie's personal style is her willingness to challenge the strict boundaries of dress established by society. Her waif-like features are astonishingly perfect and I could not think of a person, living or dead, I would rather trade wardrobes with. Designer labels are secondary to Edie's look-- it's not about who you wear, it's about what you wear and how you wear it-- a philosophy I respect a great deal. With her popping doe eyes perpetually smudged with thick dark liner, Edie channels the quintessential sixties fashionphile. I'll just cut myself short. Much more could be said about this Factory Girl, but I'll leave the pictures to speak for themselves. I love.

"I had fun, but I didn’t really have anyone I particularly loved except for loving friends. But I have a certain amount of faith that it will come." --Edie Sedgwick

Here's to you, fashion. Cheers.

I die

Very rarely do I go through phases of shoe obsessions (scoff all you want, I promise you it's true), but fall transitioning into winter has messed with my head in more ways than one. While I have yet to pick out the perfect heeled combat boot that was meant for me and only me, a drastically different style has caught my attention and refuses to exit my daydreams. Meet Zoe by Sam Edelman.

Sam Edelman

Zoe, $199

Not to too-closely reference the stylist herself, but these shoes are just to-die-for. They are quintessentially esoteric footwear. In reminiscing back a few months, I wonder what truly drew me to these jaw-droppingly hot booties. Besides the indescribably cool geometric shape, I also really loved that quilted harness detail on the side, reminding me of my chocolate brown equestrian boots (quilted Aigner logos on the sides, smooth leather at front and buckles at the ankle. RIP) which were impressively versatile. Go shoes with hardware. I love the fact that Zoe is not a wedge nor heel, but rather a hybrid of both styles. Usually, juxtaposing leather with suede freaks me out unless I'm proven otherwise, but this style is just brilliant. The fact that you can remove the harness lowers the dimensions of the shoe a bit for more conservative occasions, while still leaving a good deal of interest in place. Anything less is just plain unacceptable.

sans the harness via Zappos

Now, I know this shoe is quite the throwback to Balenciaga's 2006 F/W appropriately titled Harness Boot which was brilliant far beyond its time, but Zoe stands her own ground. While the designer original certainly served as inspiration for this style's creation, they are worlds apart. Both are appealing (please, who could say no to Balenciaga?), but I truly do think Zoe better personifies my style. The blunter chunky heel adds a greater degree of wonder than does the more conspicuously acute-angled heel of the Harness Boot. Zoe fascinates me in that while it channels a classic quilted handbag mixed with nighttime city chic, it also seems to be a versatile design that I could live in day in and day out (the feasibility of walking in nearly six inch heels on the regular, however, is another story).

This post also served as the perfect opportunity to reference yet again my undying love for the late Alexander McQueen's genius Armadillo Heels. I don't know what it is about freakily-shaped boots that look beyond-impossible to walk in, but some kind of splendor permeates these heels, making them so damn interesting to look at. Again, Zoe's anything-but-usual geometry is comparable to that of McQueen's famed hoofs; both are drizzled with intrigue and have captivated me completely. So, maybe it wouldn't kill me to invest the first $200  here and the rest in stocks as planned. I've never deserved anything more appropriately in my life.

Here's to you, fashion. Cheers.

Only the Brave

When one uses the expression “fresh kicks” in the context of Wake Forest University, it’s undeniable that the first three styles that come to mind are Clark’s Wallabees, the ever-popular Sperry Top-Sider and Duck boots for the frattiest of frat stars. In my experience as a fashion enthusiast residing in a less-than-creative atmosphere, it’s been rare to find guys who venture outside of the usual Wake mold. When I do notice these innovators, they’re forever appreciated in my book as style drivers responsible for making the world a better place. I met Joe Sciarrino two years ago at a bar party. I’ll never forget how I struck up a conversation with him about his green Obey t-shirt (leave it to me to become bff’s with someone over their choice of garments), and I’ve admired his style ever since. Yes, he’s from New Canaan, Connecticut, and was a star private banking intern at Merrill Lynch, but please don’t peg this hip-hop-loving kid as your typical prep school boy from the northeast.

In keeping with the spirit of our established fashion philosophy, Joe was naturally an ideal candidate to personify individual style and originality. “I would say I transition from urban to preppy dependent on my surroundings, well-versed in both due to my hometown’s preppiness and my proximity to NYC.” Wise words if I do say so myself. Personally, my style has evolved quicker than ever with my summer experience interning for Diesel in Chelsea, the neighborhood so saturated by fresh-to-death hipsters and portfolio-toting models that style anywhere else just can't compare. I quickly became unfazed by the coolness of downtown fashion—it was the norm, not the exception. It wasn’t until I came back to campus that I could pick out elements of city looks and observe if and how they worked in a totally different environment. Exhibit A: Joseph Sciarrino’s Diesel sneakers.

“I try to pick out one item that I form my outfit around. Whether that is a bold tie or these sneakers, I do this so I have one defining item so that the overall look is not too loud,” Joe asserts. In this case, the shoes definitely make the outfit. Matching them with a pair of dark-wash jeans works equally as well as with some black denim straight leggers, balanced on top with a graphic tee or button-down. What’s perhaps most interesting about this entire situation is that the sneakers feature a stamp of Diesel’s logo, a profile of the Native American tribal chief with the words, “Only the Brave”, the name of Diesel’s holding company. Only the Brave: what a wildly appropriate term to describe these dressers who beg to challenge the process of typical Wake style. A few famous last words from our resident style master, Joe explains, “I think kids dress well at Wake and clearly care more about appearance than do those at other schools—that’s a good thing— but there is also a fear of not being too out-there, which poorly affects personal identity.” Props, Joe. I could not have said it better myself.

Cross-posted HERE.

Here's to you, fashion. Cheers.

Dedicated to the whispering Robi

As much of a fashion enthusiast as I am, I’ll admit to my rookie status when it comes to non-apparel items. I often fall guilty to putting much less emphasis on accessories than my creative license warrants when I should in fact be challenging myself to push aesthetic boundaries. It's taken me my entire life to perfect my own style philosophy in terms of dresses and separates, yet I still find myself getting flustered when presented with the responsibility of working with an unlimited option of small items that each has the power to change the outfit's ultimate story. Baby steps are good, though, and I've decided to take on this learning experience one day at a time. (Yes, this was borrowed from a previous post, but the context was fitting and I was pressed for time.)

Here at Wake, accessories are definitely downplayed, so it wasn’t difficult to spot this gorgeous bib necklace from the typical string of pearls we’re used to seeing all around campus. According to its stylish owner, one of my dearest friends, this single statement piece is responsible for pulling together an otherwise neutral or monochromatic outfit—a simple black jersey dress, dark opaque tights and a trusty pair of cowboy boots. Pieces like this are what make good outfits great, and I’ve taken a cue from this necklace to step outside of the box and remind myself that stylish risks are a very good thing.

Cross-posted HERE.

Here's to you, fashion. Cheers.

VOGUE: 90

I will always have this ongoing fascination with Vogue. Engrossing myself in the world of The September Issue coming back from London definitely softened my jetlag and solidified my terror of-- and extreme respect for-- the one and only Anna Wintour. Now, Vogue Paris is 90, and its forever-glamorous editor Carine Roitfield marks a record with this month's 620 pages of fashion goodness. Sitting down for an interview with Eric Wilson entitled "Q and A with Carine Roitfield" for the New York Times fashion blog On the Runway, Roitfield inspires a shared vision for the changing nature of fashion as Vogue Paris reaches a milestone era. Below are some of my very favorite words of wisdom from the interview which made me feel much less harsh in pleading guilty to becoming somewhat of a snob in terms of my standards of dressing.

When you explain your philosophy on fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.

How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don't see them just to wear them, I see them as a piece of art sometimes.

Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.

What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.

Karl + Carine = bffl's.

What's next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.

What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.

Anna + Carine = also bffl's.

Here's to you, fashion. Cheers.

Greatness

I'm definitely still riding on an ambitious high after meeting with Wake's own Dr. Ian Taplin, sociology professor by day, North American editor of the Journal of Fashion Marketing and Management by night. (Baller? Check.) So there exists an entire professional academic work dedicated to the field I love. Call me a "fashion dork" as I was already titled in the fourth grade (precocious, no?), but after spending the majority of my afternoon writing a strategic management plan for a company selling sensors (it actually pains me), I was beyond excited to engross myself in research papers like "The relationships of fashion leadership, fashion magazine content and loyalty tendency" and "Indian consumers' brand equity toward US and local apparel brand".

Yes, I'm serious. Stuff like this is real and I could not be happier. Sure, there's the creative aspect of fashion which is perhaps the first to come to mind, but there also exists this entire psychological/operational side that the majority of those who claim to "love clothing" tends to overlook. That's the difference between fashion esoterics and the non. Or maybe, just the difference between business majors and the non. Basically, I love my life.

This being said, it's rare to find individuals that so truly personify fashion itself. You can dress up and paint a man or woman however you'd like, but if that individual doesn't exude fashion, chances are, he or she never will. The aura of conveying personal style and sophistication is something that simply can't be forced-- the more nonchalant, the better. One of these It Girls is the always-lovely Camilla Belle. I've pretty much had a girl crush on her ever since she played adorable Sydney in Rip Girls, and it is now possible that she's one of the most gorgeous women alive. Belle is the perfect spokesmodel for Vera Wang's Princess, and I love how literally everything she wears plays up her distinct dark features and adds to her sultry mystique. Taking a cue from Zoolander, the question is, does she know how really, really ridiculously good-looking she is? There's one thing I know for sure-- if I were Camilla Belle, I would never get tired of looking in the mirror. Like ever.

 

Here's to you, fashion. Cheers.

Holly Golightly: the most classically classic woman of all time

Oversized shades, a perfect updo and that stunning open-back Givenchy LBD. The image of UES socialite Holly Golightly eating a pastry and gazing into the windows of Tiffany & Co. at 6 AM is more ubiquitous around college apartment living rooms than silly bandz are on the wrists of elementary school kids. I wholeheartedly understand and agree that Audrey Hepburn has become a cultural fashion icon personifying all elements of class, luxury and good taste, but if only the girls who share such a so-called adoration for her clothing would just adopt her practices of dressing, instead of just jumping on the bandwagon by tacking her image up on the wall...

Besides being breathtakingly beautiful in every way possible, Hepburn as Golightly epitomizes New York City high society and the beneficial significance of sartorial perfection. Her outfits accurately translate the character's emotion-- all-time highs as well as pitfalls-- and I could only dream that my wardrobe was as incredible as hers. Even when performing a hauntingly soothing rendition of "Moon River" on the fire escape in a simple cotton top and headscarf, Hepburn looks amazing, giving a new meaning to the recycled term "casual luxury". Perhaps my favorite look of the entire film is the cream one-shouldered toga frock she donned as the hostess of a banging apartment soiree (the cops were called-- Audrey knows how to rage). Not only was this dress considered darling in the sixties, but it could easily be worn in today's context and be just as fashionably powerful.

I say this time and time again, but fit and form were clearly much more of a priority to people in earlier decades than now, as these concepts are executed moreso in this movie than can be found anywhere else. This totally doesn't have to be the case, but why have we as dressers in the 2000's become so damn lazy? Instead of always looking pressed and polished like the hunky gentleman George Peppard, guys now seem to  just throw on whatever's clean, then wonder why the hell girls aren't flocking after them. Similarly, girls resort to purchasing blah garments created of subpar fabrics that "work", or ridiculously-priced items stamped all over with designer logos, but don't flatter them in the least and contribute nothing to the style pool. Bo-ring. 

I'm not saying tailored tweed suits and shift dresses emphasizing clean lines are the solution to every single occasion today, but people, please clean yourselves up. If everyone simply honored this understanding of fit and dressed with as much flair as the characters in Breakfast at Tiffany's did, the world would just be such a better place. There would be no more trashy colorblocked elastic-waist dresses, heinous crochet-neck babydoll tops (undoubtedly paired with so-boring J. Crew shorts) or flimsy floral sundresses that were probably constructed for less than a dollar. When I'm baller, I really am going to make it a point to save the world.

Here's to you, fashion. Cheers.

Asian fusion

So I haven't seen Tarantino's "Kill Bill", but I will never forget when the Tower Hill lunch ladies told me how much I resembled Gogo Yubari, the baby-faced little killer in plaid mini. So. Asian. That aside, I find it striking how many comparisons have been drawn over the past week between the cult film and Vera Wang's Spring 2011 line. Though Wang is Chinese, I've never once noticed an overtly cultural vibe in her pieces. It seems this collection gives a nod to her heritage in ways nobody would ever imagine. Instead of channeling the more-expected 1940's-era Hollywood glamour à la vintage Shanghai ad models (think Westernized cheongsams, immaculate finger curls for the glossiest of black hair, and blood-red matte lipstick), Wang opted for the path less traveled, highlighting ethnic pieces like "Obi belts, Chinese wrap peasant pants, kimono blouses [and] Geisha gal dresses"... interesting to say the least. And I don't mean this in a good way. I mean this in a great way.

 

Referring to her program notes, this "fusion of East meets West" allowed Wang to play up the drama while maintaining her signature ever-so-romantic style. Besides the occasional citrus tones of silky tangerine and butterscotch, the pieces were rather dark for a spring collection. How could the immensely talented woman responsible for designing some of the world's most elegant bridal pieces also be the creative genius behind these avant-garde looks just bursting with attitude? Now as cliché and blissfully ignorant as this sounds (honestly, this is something a true WP-trying-not-to-be-a-WP would say), I could fully sense an alignment between her use of shiny floral-printed satins and the costumes I envision when reading Arthur Golden's Memoirs of a Geisha. The same goes for the drapey silk top paired with that iconic red skirt. Brilliant, and pushing the boundaries for anything and everything that would be expected from her.

The light falls just perfectly on the interplay of fabrics Wang chose to combine throughout the show-- a palette comprised of silks, satins and sheers. I'm a huge fan of the models' voluminous, airy hairstyles comparable to the mod beehives of the sixties. Love it. In short, Vera Wang proved her ability to add yet another dimension to her design experience already bursting at the seams (seriously, no pun intended): a master of channeling and executing inspiration to create a truly successful finished product and final presentation.

Here's to you, fashion. Cheers.