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 IN THIS ISSUE
08 FROM THE EDITOR
Hello to the new year!

THE LIFE
10 Hank & Cupcakes Brooklyn’s buzzworthy drum and bass duo

12 Fashion Photography: Beyond the Gender Gap Why do men continue to dominate?

14 Dark Matters The latest in menswear; photographed by Georgie Wileman

28 Revamping the American Dream Changing the way we perceive corporate America

30 Sock Stories Drifter and the Gypsy blogger Micaela Hoo keeps warm in style

32 The New York Chronicles “You look very ‘New York’”

BUZZWORTHY
33 On The Verge Three models who prove there’s more to the business than looks

44 A League of Her Own An interview with Samantha Stumpo

FASHION FORWARD
48 Eye On You Eyewear to die for; photographed by Lindsay Adler

56 Joel Storella Your new favorite handbag designer

68 Today’s Forecast... The low-down on trend forecasting

69 WHERE TO BUY
Find your favorites featured in this issue!

ON THE COVER
Photographed by LINDSAY ADLER
Hair MASAE SATOUCHI
Makeup JULIA DALTON-BRUSH
Styling LSC STYLING FOR 4SEASON STYLE MANAGEMENT
Model KRISTA GAMBLE (MC2 NEW YORK) 02 >

Krista wears J. COTTONGIM bustier, MARC BOUWER bolero, MERCURA sunglasses, JOOMI LIM necklace and BEN-AMUN necklace
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6 JANUARY/FEBRUARY 2011 www.papercutmag.com

 EDITOR-IN-CHIEF
Hayley Maybury

CREATIVE DIRECTOR
Nicole Bechard

MARKETING AND TECHNICAL DIRECTOR

Jamall Oluokun

FASHION EDITOR
Nicole Herzog

COPY EDITOR
Nora E. S. Gilligan

GUEST BLOGGER
Micaela Hoo

CONTRIBUTING WRITERS
ArTisTech
Nicole Bechard
Natalia Borecka
Erin Berry
Brittnee Cann
Hayley Maybury
Jamall Oluokun
Ariana Shuris

CONTRIBUTING ARTISTS/PHOTOGRAPHERS
Lindsay Adler
Natalia Borecka
Ian Cole
Ron Contarsy
Dan Doyle
Justin Hogan
Max Khokhlov
Alan Lugo
Tim Renzi
Kevin Sinclair
Joseph Sinclair
Beth Studenberg
Georgie Wileman

107 Merrimac Street, Boston, MA

p: 617-624-0202 f: 617-372-9809
www.papercutmag.com
flatironboston.com | bulfinchhotel.com 7
 FROM THE EDITOR
HELLO 2011! WE CAN’T WAIT TO SEE WHERE THE NEW YEAR WILL TAKE US...

Happy New Year!!!

Another year has passed, and whether you realize it or not,

I’m sure you’ve accomplished much more than just your 2010
resolutions over the last twelve months. At this time last year
Papercut was still in its incubation stage—I mean, we didn’t
even have a name yet! I’m so energized by how far we’ve come
since and I can’t wait to see what this new decade brings, be-
cause as great of a year as 2010 was, I am positive that 2011
will trump it. Especially with all the new and exciting ideas we
have in the works for you.

Have you ever wondered what it would really be like to be one

of the models you see showing off your favorite designer? For
this issue, we had the chance to speak with some amazing up-
and-coming models to get the scoop, and let me tell you, the in-
dustry is not just about having a pretty face. We’re also thrilled
to introduce you to the Brooklyn-based electro duo of Hank &
Cupcakes. With this band’s fresh, fun sound and sexy vibe, you
won’t be able to keep yourself from dancing for long (I know, I
am listening to them now)!

Lastly, make sure you check out the extremely talented Lindsay
Adler’s “Eye On You” editorial on page 48. If you like what you
saw on the cover, then you won’t want to miss this.

Until next time, my fabulous Papercutters.

xoxo
Hayley

TOP-BOTTOM: Editor-in-Chief Hayley Maybury and Jimmy Guzman,

General Manager of the Bulfinch Hotel (not to mention good friend!) at P.S. As always, printed copies of Papercut Magazine are available
our holiday bash in December; the Papercut ladies (L-R) Copy Editor
Nora E. S. Gilligan, Hayley, Creative Director Nicole Bechard and for purchase on MagCloud ( www.magcloud.com )!
Fashion Editor Nicole Herzog also at our bash; A behind-the-scenes
sneak peek at our photoshoot with Cindy and Samantha Stumpo.

8 JANUARY/FEBRUARY 2011 www.papercutmag.com

 Come and be inspired
who knows where the road will lead you...

A place for fine fabrics.

281 Auburn Street | Auburndale, MA 02466 | 6617.244.SILK(7455)

www.thesilkroadfinefabrics.com 9
 PHOTO BY ALAN LUGO

10 JANUARY/FEBRUARY 2011 www.papercutmag.com

HANK & CUPCAKES
BROOKLYN’S BUZZWORTHY DRUM AND BASS DUO.
Foreword and interview by ARTISTECH
If there were one word to describe Hank & Cupcakes, it
would be fucking cool. And yes, these are actually two words,
but just cool doesn’t do justice to what these two can do, so a
little bit of kick is in order.
Hank & Cupcakes’ most unique qualities can be found in
their presentation, sound and chemistry. In a time of solo
acts or four- and five-piece bands, this group is two members
strong. I’m not talking Sugarland style, where you have the
two main artists backed by a full band. No, think more Ro-
drigo y Gabriela or the Ting Tings; just two artists, on stage
by themselves, with their instruments. Sonically speaking,
this is very difficult to do. But Hank & Cupcakes manage to
provide a surprisingly full Electro-Pop sound, with not only
up-tempo tracks, but with a ballad or two thrown in as well.
One will immediately notice that Cupcakes—the lead
and only singer—is also the drummer. On its own, this is
probably one of the (f-ing!) coolest things ever, but she raises
the bar even further by standing. If you haven’t seen this
before, trust me, its awesome. Cupcakes is full of energy, her
voice is powerful and the drumming is sick. On more than
one occasion I could swear she was doing body rolls while
drumming, and that was when she wasn’t singing and danc-
ing on top of her kick drum.
The other half of Hank & Cupcakes is, of course, Hank.
His bass playing provides the foundation for their sound.
By combining various effects and loop pedals, melodic bass
riffs and various strumming patterns more akin to a guitar-
ist (he plays the bass with a pick as opposed to his fingers),
your ears are not left yearning for additional musical in-
struments or elements.
Last, Hank & Cupcakes have been married for five years
(and together for eleven). When you watch them play, their
union is very apparent; they’re so in sync and you can tell
they are having fun. It’s a sight to see and brings credence to
the phrase, “those that play together, stay together.”
When did you first start playing together?
We started playing together when we were about 19—we had
a cover band called ‘Night Vision,’ and played Tori Amos, Su-
sanne Vega, Paul Simon and Beatles covers.
What made you want to get into the Electro Pop
music scene?
We are not exactly an Electro Pop act; we try to combine Pop
music with a raw, Rock ‘n’ Roll attitude, and are very drawn to
the dancey side of Electro Pop. We really love it when people
dance and let go as a result of our music. We had a much heavi-
er and more serious project before starting Hank & Cupcakes
and felt we needed a change (and a shot of tequila).
How did you guys come up with the name Hank &
Cupcakes?
We’re both big Charles Bukowski fans. Bukowski calls him-
self ‘Hank’ in his books, and one of his lover’s names was Cup-
cakes. We got inspired.
Most bands sells CDs and t-shirts, but you sell lipstick
and vinyl art. Where do these ideas come from?
We’re always thinking of new ideas to stay creative and be
different. Collaborating with different artists (not necessar-
ily musicians) is one of our pleasures. The vinyl idea, for ex-
ample, came from an artist named Tony Thompson, whom we
met at the Utica Music Festival. He was printing on vinyls
using silk screens, and Cupcakes ordered a custom made
[piece]. After that, we thought why not make some H&C vi-
nyl’s? We’re still working on this idea...
“ WE HAD A MUCH HEAVIER AND
MORE SERIOUS PROJECT BEFORE
STARTING HANK & CUPCAKES AND
FELT WE NEEDED A CHANGE (AND A
”
SHOT OF TEQUILA).
You both have a very distinct look. Where did this
come from?
We pay a lot of attention to it [as] we like to reinvent our look
all the time. Fans who have been coming to our recent shows
have been exposed to a very interesting new angle we’re go-
ing for. We’re losing the clothes and painting/sticking things
on ourselves—it’s very liberating!
What do you think of Brooklyn’s indie music scene?
We think it’s amazing, inspiring, beautiful.
You guys have a number of music videos, would
you say this has been an important part of building
your brand?
It’s definitely been a good opportunity to reveal our natural
selves. We love shooting videos and have been very lucky to
work with amazing directors. We feel very much at ease when
shooting, so rather than building a brand (which might be the
side effect), these videos are very ‘us’; people can get to know
us through them.
What can we expect from H&C in the future
This is going to be a very exciting year for us. We’re releas-
ing our new single “HIT” to College Radio towards the end
of January, followed by a new music video. We’re going on
tour in February, and are working on our 2011 European
tour as well. Things are going to be very hectic—in the best
way possible!
11
 FASHION PHOTOGRAPHY:
BEYOND THE GENDER GAP
IN A FIELD THAT PRIMARILY CATERS TO WOMEN, WHY DO MEN DOMINATE?
Written by NATALIA BORECKA
They say that beauty is in the eye of the
beholder; what they don’t say is that the
beholder is usually a man, at least in the
case of fashion photography. Until very
recently, a familiar tenor could be heard
echoing through every glossy publica-
tion the world over. Flipping through the
pages of any given fashion magazine, one
couldn’t help but ask, where were all the
female photographers? British Vogue has
published 120 issues since January 2000;
in the span of ten years 106 covers were
shot by men, and a meager nine by wom-
en. Similarly, in the last five years W Mag-
azine has had a total of two covers shot by
a female photographer—Inez Van Lams-
veerde, who works alongside her male
partner Vinoodh Matadin. The numbers
are similar when one looks at the ratio of
female to male photographers shooting all
major fashion campaigns. There’s no deny-
ing it—the business of fashion photogra-
phy is currently dominated by men.
In a field that caters primarily to
women the fact that the female fash-
ion photographer’s perspective has been
largely left out is difficult to understand.
In many ways, fashion photography has
followed the same male-dominated tra-
jectory outlined by art historians. At first
there were no women in the field, and then
there were a few unacknowledged players.
As time went on, a small group of brilliant
trailblazers managed to open the gates
for other women who were just itching to
pick up a camera. Yet, the similarity be-
tween women in photography and women
throughout art history falls short in one
major respect: there is seemingly nothing
standing in the way of the modern woman.
In the past, women were simply not given
the liberty to produce works of art. Those
that did worked anonymously under the
shadow of their teacher’s name. Of the
women that managed to attain enough no-
toriety to warrant an actual mention in the
archives, many did so through scandal and
intrigue relating to the artist as a woman.
Her actual artwork was incidental.
The female photographer, in contrast,
was accepted from the start, if awkwardly
at first. In her book Tender Violence, Yale
12 JANUARY/FEBRUARY 2011 www.papercutmag.com
Professor Laura Wexler points out that,
“Throughout the 1890s, the periodical
press carried many articles that praised
photography as a vocation for women.”
By the late 1890s, photography was rec-
ognized as a profession suitable for wom-
en, employing thousands in both Europe
and North America. Yet, this social ac-
ceptance of the female photographer has
had seemingly little long-term effect. In
2000, San Diego State University Pro-
fessor Dr. Martha M. Lauzen conducted
a study of behind-the-scenes workers
“ BRITISH VOGUE HAS PUBLISHED
120 ISSUES SINCE JANUARY 2000;
IN THE SPAN OF TEN YEARS 106
COVERS WERE SHOT BY MEN, AND
A MEAGER NINE BY WOMEN
”
on randomly selected episodes of every
drama aired since 1999 to determine how
many women were represented. Of the
1,718 individuals surveyed, women made
up just 23 percent of those working on the
programs, and for three seasons in a row
none were directors of photography.
Historically women were the sub-
jects of great works of art, but rarely their
creators. Similarly, women were always
more likely to be featured in fashion pho-
tographs than they were to take such
photographs. The parallel invites an in-
teresting possibility, that even art is gen-
dered. Women may find it difficult to see
themselves in the role of a photographer,
the same way they may find it difficult to
cut their hair short or stop shaving their
legs. In her research, Arizona State Uni-
versity Professor Dr. Carol Martin found
that—whether consciously or not—par-
ents impose traditional gender roles onto
their children and scorn children that
don’t quite fit the mold. Such subtle social
influences could cause women to identify
with the muse instead of the artist, and
find standing in front of the camera more
desirable than standing behind it.
Famed art critic John Berger once
wrote, “Men look at women. Women
watch themselves being looked at.”
Berger believed that the long tradition
of objectifying the female form in art has
caused women to identify with this state
of being. According to him, women exist
with the constant vague awareness of
being looked at, and for this reason there
is a disparity between being the object of
admiration and being the giver of admi-
ration. And so, even the feeling of being
observed and marveled at is gendered.
If given a choice between modeling and
photography for example, modeling may
seem a more desirable career option for
a woman looking to get into the fashion
industry because—without even realiz-
ing it—she has been primed to feel that
being in the spotlight is better than be-
ing behind it.
The cause of any wide-reaching
trend is never singular, and though art
history has a bearing on the statistics,
its influence is only a small part of the
bigger picture. Every discussion on the
subject of male dominance in fashion is
similar in two respects: It highlights our
tendency to generalize, as well as to over-
simplify this phenomenon. It is difficult
to know for sure what has caused such a
dramatic imbalance in the field of fashion
photography, but there is mounting evi-
dence that the field is on its way to being
leveled. In recent years there has been
an influx of females entering the photog-
raphy field. Between 1976 and 2005 fe-
male enrollment in the Brooks Institute
of Photography has multiplied 14-fold,
compared to male enrollment, which has
not quite doubled in the same amount
of time. Enrollment for the Fall 2010 se-
mester into the New England School of
Photography has a ratio of 108 female
students to 48 male. Younger and more
progressive publications find the gender
scales shifting in favor of female photog-
raphers. So far, of the editorials featured
in Papercut Magazine, 78 percent have
been shot by women. If this trend contin-
ues, in the coming years we may see a
more balanced ratio working on the most
lucrative and high-profile projects in the
industry. Change is a beautiful thing.
13
 DARK
MATTERS Photographed by GEORGIE WILEMAN
Assisted by DAN PATRICK & ROSIE ASHBOURNE
Hair MICHIKO YOSHIDA
Make-up THERESA DAVIES
Styling GHAZAL KARIMAGHAEE
Models BRADLEY (OXYGEN), TOM (OXYGEN), FELIX (SELECT),
MICHAEL WALSH (NEVS), SEIGFRED (NEVS)
Retouching ANA PAULA GRIMALDI

Felix wears shirt by KATIE BARRETT;

15
navy coat by TRINE JENSEN
Tom wears black silk shirt
by BAARTMANS AND SIEGEL;
customized studded waist coat
and hat are stylist’s own
Michael wears white shirt by TRINE JENSEN, grey string jacket and trousers by BAARTMANS AND SIEGEL, belt and boots are stylist own; Felix wears shirt by KATIE BARRETT, navy coat by TRINE JENSEN, velvet
trousers by BAARTMAN AND SIEGEL; Tom wears vest top by KATIE BARRETT, pony coat by BAARTMANS AND SIEGEL, trousers by KATIE BARRETT, socks are stylist’s own, shoes are model’s own.

17
Seigfred wears brown bird coat
by BAARTMANS AND SIEGEL;
Bradley wears red vest top by
KATIE BARRETT, navy blue blazer
by TRINE JENSEN.

18 JANUARY/FEBRUARY 2011 www.papercutmag.com

19
20 JANUARY/FEBRUARY 2011 www.papercutmag.com
 THIS PAGE:
Seigfred wears blazer by
KATIE BARRETT; Tom wears
navy blue jumper with gold
details by TRINE JENSEN;
customized checked shirt is
stylist’s own

OPPOSITE:
Felix wears shirt by KATIE
BARRETT, velvet trousers by
BAARTMAN AND SIEGEL

21
Tom wears vest top and trousers
by KATIE BARRETT, black pony
coat by BAARTMANS AND SIEGEL,
belt is stylist’s own

22 JANUARY/FEBRUARY 2011 www.papercutmag.com

23
Bradley wears red vest top
by KATIE BARRETT, trousers
by TRINE JENSEN
Bradley wears shirt by BAARTMANS AND SIEGEL, brown leather jacket by PUDDING&PIE, glasses are stylist’s own; Felix wears white shirt by TRINE JENSEN, blue leather jacket by PUDDING&PIE

25
Bradley wears navy blue suit by
TRINE JENSEN, boots are stylist‘s
own; Seigfred wears brown bird
coat and canvas trousers by
BAARTMANS AND SIEGEL, boots
are stylist’s own.

27
 REVAMPING
THE “AMERICAN DREAM”
CHANGING THE WAY WE PERCEIVE CORPORATE AMERICA.

Written by ERIN BERRY

The corporate world has always been

portrayed as this unattainable para-
dise, high atop skyscrapers with sleek
modern furniture, luxe metal desk toys
and benefit packages that would make
fireworks light up in your eyes. How-
ever, riding up the elevator that scales
the corporate ladder is not as simple as
pushing a button. We’ve all seen The
Apprentice and know the cut-throat,
ruthless environment that entails a
little bit of self-promotion, and a lot
of kissing-ass, to obtain the ultimate
“dream job.” So why are so many people
putting all of their time and money into
becoming slaves to a prestigious com-
pany, when said company sees them as
disposable as the coffee filters in the PHOTO BY MAX KHOKHLOV

break room? Is this the life that every-

one really wants?
vative way of thinking that emphasizes suitable job offer, turned into six gruel-
Of course not. But it is the life that
artistic individuality, and could quite ing months of expensive (but useless)
everyone is supposed to want, and the
possibly save the current work ethic. career coaching, networking events filled
one that we are all trained to work to-
Lastly, I will explain how to combine with bitter, introverted people and a long
wards. If you ask any honest person what
the two “worlds”—corporate and indi- journey through want-ads that ended
they really want to do for a living, most
vidual— without losing your job or sac- in a few dead-end offers (containing no
would say something along the lines of
rificing your creativity or sanity. benefits, or with a salary based solely
lounging on the beach while drinking
on commission). Ehrenreich’s unsettling
tequila and still collecting a paycheck.
Corporatology 101 conclusion? Even the most qualified job
This fantasy is undeniably unrealistic
For occupations that take so much time, seekers are encouraged to exaggerate
(except in the life of Snookie—the same
work and experience to reach the top, you abilities, use ridiculous corporate jargon
girl who wrote “tan” under “ethnicity” in
would think “the top” would be a steady and be “fake” overall. She even compares
a previous job application), but should
position, immune to the uncertainties job networking to prostitution:
a job always be about sacrifice without
of freelance or work outside the private
reward? Is it more important to be an [Networking] feels “fake” because we
sector. Mass layoffs in large corporations
office machine, like gears in a factory, know it involves the deflection of our
are becoming extremely common, how-
or should our different abilities be val- natural human sociability to an ulte-
ever, and people who used to believe that rior end. Normally we meet strangers
ued for their diversity? So many of the
they were qualified, experienced and safe in the expectation that they may truly
things that make humans unique are
are now scrambling for any job that will be strange, and are drawn to the multi-
suppressed in the working world. What
take them. Author/reporter Barbara Eh- layered mystery that each human pres-
it really comes down to is that the sys-
renreich wanted to know why it was so ents. But in networking, as in prostitu-
tem needs to change, not the people try- tion, there is no time for fascination. The
difficult for laid-off white-collar employ-
ing to conform to it. networker is always, so to speak, looking
ees to reenter the workforce. In her latest
In the following paragraphs I will over the shoulder of the person she en-
book, Bait and Switch, The (Futile) Pur-
explain the importance of “revamping” gages in conversation, toward whatever
suit of the American Dream, Ehrenreich concrete advantage can be gleaned from
the American Dream. First, we will
entered the corporate world ready for re- the interaction—a tip or precious con-
step into the corporate world to explore
search, armed with all the experience re- tact...no matter how crowded the room,
the ways we have all been trained to
quired and a winning resume. What she the networker prowls alone, scavenging
behave while finding a job and working
believed would be a one to two week “ex- to meet his or her own individual needs
for others. Then I will present an inno- (Ehrenreich, 62).
periment” to choose the most attractive,

28 JANUARY/FEBRUARY 2011 www.papercutmag.com

 For anyone who has completed a
slew of interviews, only to be tossed back
into the cold time and time again, Ehren-
reich’s journey may sound very familiar
(especially in the current economic situ-
ation). The thing people tend to have the
hardest time with when finding a job
is the phony self-promotion required
in resumes and interviews. In all other
aspects of social life we are taught to be
modest, but in the workforce we are sup-
posed to think of ourselves as the “next
best thing since the Snuggie” (sliced
bread is an outdated metaphor). Many
people freeze up when asked questions
like, “Why does this company need you?”
or, “What makes you a great candidate?”
simply because most people are natu-
rally uncomfortable talking about their
strengths. The series of “personality”
tests a job candidate must pass for cer-
tain jobs also has the feel of silly grade
school trickery (e.g. You see Bob take an
extra five minutes for lunch to make an
important phone call, do you: a) Tell your
supervisor immediately; b) Not say any-
thing...). Above all, the way “corporatol-
ogy” is conducted seems to nudge people
in the direction of dishonesty and confor-
mity, rather than embracing human pro-
clivities to be real and unique.
The New Way of Thinking
The good news for those who want to
escape this outdated world of sameness,
is that this way of living and working is
dying out. With technology advancing
rapidly and outsourcing putting many
Americans out of jobs, innovative and
right-brained thinkers are becoming
more valuable to the workplace. In other
words, crunching numbers and punch-
ing out reports like some machine is no
longer necessary; instead inspired minds
with ideas that cannot be mimicked are
in demand. Daniel Pink, author of A
Whole New Mind, observes that the shift
from cranking out corporate zombies to a
new appreciation of individuality is the
result of three important A’s: Abundance
of products (resulting in a need for good
design as well as function), outsourcing
to Asia, and Automation of petty indus-
trial-age tasks. Pink believes that our
ability to be creative, empathetic and
playful is what makes us unique from
other species (and each other), and that
work environments should embrace
these qualities rather than brush them
aside as juvenile silliness:
Our cave person ancestors weren’t tak-
ing SAT’s or plugging numbers into
spreadsheets, But they were telling
stories, demonstrating empathy, and wanted to “admit” that they considered
designing innovations. These abilities themselves artists. This not only brings
have always comprised part of what it back my point about taught modesty,
means to be human (Pink, 67).
but the fact that we are also trained
to believe that art is only for dreamers
The world is rapidly changing, so
and kids that don’t take life seriously.
why are we still emphasizing and learn-
MacKenzie includes silly pictures and
ing tasks that will soon be replaced by
paintings in his book to emphasize that,
our computer counterparts? Instead of
although the book is for adults about a
training people to beef-up their artistic
serious topic, the images are necessary
abilities, we have disregarded such skills
to show the importance of imagination.
as “time wasting” and “hobbies.” Ac-
After all, imagination is the reason that
cording to Pink,, this will soon shift. He
we have every single man-made object
claims “an MFA is the new MBA” (54),
that we use on a daily basis.
and that people will soon begin to take
more creative paths in their lives rather
So, What Do We Do Now?
than the “safe” business school route.
How do we reach a balance between
our professional and creative selves?
Escaping the “Hairball”
Continue working? Quit our jobs? Go
As much as the corporate way of thinking
back to school? People can only decide
is evolving, outdated habits will linger for
for themselves what is best for them or
a long time. Those that might feel them-
what they would like to pursue, but the
selves trapped inside the business world
most important thing is to keep your in-
cannot be so bold as to just leap from their
dividuality intact—no matter how much
jobs and start their journey of self-dis-
your occupation tries to mold you.
covery—not in this economy, at least. As
Everyone is one of a kind, and ev-
the expression goes, a person’s gotta eat.
eryone has something to offer. The only
The late Gordon MacKenzie, artist, Hall-
thing we need to change is our group
mark card illustrator and self-proclaimed
mind set. Children should not be taught
“fool,” offers many solutions to surviving
to suppress silliness or creativity; on
this bland world in his colorful manifesto,
the contrary, these are natural human
Orbiting the Giant Hairball. MacKenzie
instincts that need to be tended to, not
understands that although many people
stomped upon. If you have recently
do not want to be office drones, they also
graduated college and you are still
do not want to be starving on the streets.
searching for the perfect job (or at least
Security is one of the main reasons that
one that doesn’t involve “tonight’s spe-
people hold onto uninspiring employ-
cials”), you need to think of how the job
ment, but there is a way to add some color
can help you, not the other way around.
to what you are already doing for a job,
If you are working within the Hairball,
without losing the job itself. MacKenzie
find a way to use your incomparable tal-
calls this technique “orbiting.”
ents and personality traits to your ad-
“Orbiting” is responsible creativ-
vantage. I can imagine a world where
ity; vigorously exploring and operating
job applications include a section to list
beyond the “Hairball” of the corporate
your dreams or doodle your thoughts,
mind set, beyond “accepted models, pat-
and interviews that are comprised of
terns, or standards”—all the while re-
fun, off-the-wall questions that make
maining connected to the spirit of the
the interviewee feel as if they are talk-
corporate mission” (33).
ing to friends at a bar, rather than tak-
The Hairball that Mackenzie re-
ing the Bar Exam. If we break the stan-
fers to is the mess of the corporate
dard barriers and let in some air, people
world that, once you get roped into—
will be happier with their jobs, which
even by a single hair—becomes very
will ultimately result in greater produc-
difficult to escape. His solution is to
tivity. And only then can—and will—the
find a way to circle around this messy
true American Dream resurface.
glob, and to build up creative intuition
for helpful input from the outside. In
his first chapter MacKenzie describes
an unusual phenomenon that he no-
ticed while visiting schools. When ask-
ing the children in a classroom, “Who
considers themselves an artist?” almost
every kindergartner enthusiastically
raised their hands. But, as he moved up
the grades, fewer and fewer students
29
 SOCK STORIES
DRIFTER AND THE GYPSY BLOGGER MICAELA HOO SHOWS US HOW TO KEEP WARM IN STYLE.

Posted and photographed by MICAELA HOO

This winter I seem to be wearing a lot of socks.

Thick socks, knee socks, colorful socks, ankle
socks, etc. It’s been exceptionally cold this season,
and what better way to keep my feet cozy? I love
pairing my socks with tights and boots the most.

Here’s how I style them...

30 JANUARY/FEBRUARY 2011 www.papercutmag.com

31
 THE NEW YORK CHRONICLES
“YOU LOOK VERY ‘NEW YORK’”
Written by BRITTNEE CANN
Before moving to Brooklyn, my shoe collection was comprised
entirely of flats (my one pair of wedges hardly counted as
heels). True story: the day I moved into my apartment, a long
time New Yorker friend of mine stopped by to check on my
progress. She was quick to remark on my closet: “Where are
all your shoes, girl?!” Lisa, you see, had shelves and shelves
of heels in her own closet, all piled high in their boxes or
spread out in rows. She couldn’t believe that my wardrobe
of shoes was so compact that all pairs were able fit into one
of those shoe organizers that hangs on the closet rod. And,
though Lisa wasn’t trying to spread fashion wisdom with her
remark, she did. It was a moment of sartorial clarity for me.
Back home in the town of Milford, Massachusetts, I couldn’t
go a single day wearing heels without being asked, “Why are
you so dressed up?” But in New York I was free to wear what-
ever I damn well pleased.
Strange-but-true is the idea that geographic location can
instigate major change in your personal style. Outside of
major cities, having any kind of non-traditional fashion
sense makes you the black sheep of the town—“it’s a phase,”
or “she’s really weird,” and “WTF is she wearing?” remarks
are commonplace. In an über-urban setting, though, risk-
taking fashions are appreciated and welcomed with open
arms. Want to wear leopard leggings, a furry oversized jack-
32 JANUARY/FEBRUARY 2011 www.papercutmag.com
PHOTO BY JUSTIN HOGAN
et, platform heels and a floppy 70’s style hat? Growing up
in Milford, that kind of gear would have made you a total
freak, but in New York…no problem. Here, that outfit would
certainly warrant some head turns, but only those of the
most flattering kind.
After only nineteen months of Brooklyn living, I’ve certainly
expanded my style horizons. I play with volume, silhouettes,
shapes and patterns, and wear heels five out of seven days a
week. At this point, my poor collection of flats has been ban-
ished into the hallway closet to make room for the storage of
more important pairs (sorry, flats). I hardly notice anymore
how wack-a-doodle my style can sometimes be, or feel self-
conscious about an outfit, until I spend a weekend back in the
rural areas of Massachusetts. It’s then that I am reminded
just how much people’s perception of fashion changes with
physical location, and that I didn’t always dress the way I do
now. My friends and family are bound to have something to
say, even about a look that I’ve come to think of as normal.
My brothers will look at me with furrowed brows, my Dad
will ask, “What’s with the shoes?” and even amongst friends
I sometimes feel a little out of place. Oftentimes I’ll get the,
“You look very New York” comment, but it doesn’t bother me
much. Because even if it is meant in the most insulting way,
that can be the most validating compliment of all.
 ON THE VERGE
THIS MONTH’S ON THE VERGE FEATURE BRINGS YOU THREE MODELS WHO ARE PROVING
THAT THERE’S MORE TO THE BUSINESS THAN LOOKS ALONE.
33
 PHOTO BY KEVIN SINCLAIR

PHOTO BY KEVIN SINCLAIR

PHOTO BY RON CONTARSY; HAIR/MAKEUP & STYLING BY TYRON MAYES

PHOTO BY RON CONTARSY

34 JANUARY/FEBRUARY 2011 www.papercutmag.com

MODEL CITIZEN
AINA FADINA KNOWS WHAT IT TAKES TO “FIT THE BILL” AND SHE HAS THE GIGS TO PROVE IT.

Interview by JAMALL OLUOKUN

The basics: name, age and where you’re from?
Aina Fadina. Age..is a state of mind. I was born and raised in
Lagos, Nigeria, however I call NYC/Philadelphia home now.
Education credentials?
Graduated from Temple University in Philadelphia, with a
degree in Public Health.
How did you first become interested in modeling?
I never actually considered modeling, even though everyone
told me I could be [a model]. After graduating from Temple
to know when to turn on and [when to] turn off the switch,
but [remain] true to yourself as an individual. Knowing the
core of who you are, and understanding your own values, and
beliefs. Your attitude and outlook is the key to your success.
You have to find your own definition of success, and not let
success be defined by others’ standards.
Are you involved in other projects outside of modeling?
I constantly think about my post-modeling career. During my
down time, I volunteer for organizations like Dress for Success,

University, I worked for a bio-tech firm. I was at a lounge in
Philadelphia, and a designer walked up to me to ask if I could
model in his show. I said yes. This [experience] sparked my
interest, and I started working with photographers, makeup
artists and stylists in the Philadelphia area to develop my
book. I went to the Reinhard Agency in Philadelphia, got
signed, and the rest is history.
What do you feel is the biggest misconception about
modeling?
“
WHEN I NEED TO HAVE A SHORT, MINI,
COMMERCIAL AFRO, I DO IT. WHEN I AM AWARE
A CLIENT LIKES STRAIGHT HAIR, I DO IT. YOU
HAVE TO THE ABILITY TO SPEAK TO DIFFERENT
AUDIENCES. YOU NEED TO KNOW WHEN TO
TURN ON AND [WHEN TO] TURN OFF THE
SWITCH, BUT [REMAIN] TRUE TO YOURSELF

”
That there is only one certain kind of work in the industry
(e.g. editorials). I didn’t understand that there were other
AS AN INDIVIDUAL.
[types of work and shoots]. Also, I didn’t realize the amount
of hard work, discipline and investment one needs to make. and others that are committed to the empowerment of women
It’s not just about being a pretty face, you need to have a through education. I also assist friends who are starting their
“look.” Whatever that means. Also, understanding the differ- own entrepreneurial ventures within the fashion industry.
ence [between] a “model” and a “working model.” Lastly, is
learning not to take things personally, it is really not about What can we expect to see from you in the future and/
you. If you are not booked for a job, it is most likely because or where do you see yourself going?
of something you can’t change, so you have to learn to deal. I see myself starting up an entrepreneurial business in fash-
ion within the African Continent. I hope to have a base in
What has been your favorite gig so far? Nigeria and in NYC as well. The fashion, art and entertain-
All of the bookings I have had have been memorable and ment industry is booming in Africa, and I hope to tap into
great in so many different ways. If I had to choose, however, those areas.
it would be going to the Bahamas for a fashion show during
the Bahamas Film Festival. Going somewhere warm when it Links and other self-promotion?
is freezing in NYC is awesome. Contact Muse Model Management at (212) 725-9424 for
future bookings.
How about your worst?
I can’t really say I have had a horrible booking. They all add
to the experience of who I am today as a model. One horrible
factor I can think of right now is running around to numer-
ous castings in one day during the winter…Man, Oh, Man, it
was no joke for a West African!

You do a wide range of modeling, including show-

room, commercial, runway and fit. What makes you
so versatile?
I am able to work across different areas of the industry be-
cause of my patience, the investment I make in my career
and my ability to change my look and attitude based on the
need of the client. When I need to wear my huge afro, I do.
When I need to have a short mini commercial afro, I do it.
When I am aware a client likes straight hair, I do it. You have
to have the ability to speak to different audiences. You need

35
 MORE
THAN
JUST
A
PRETTY
FACE
A COMMERCIAL DANCER AND MODEL,
DAVID RATCLIFFE KNOWS THE DEFINITION OF “WORK”.

Interview by NICOLE BECHARD

36 JANUARY/FEBRUARY 2011 www.papercutmag.com

PHOTO BY JOSEPH SINCLAIR

37
 “ I HAVE SO MANY GOALS AND
ACHIEVEMENTS THAT I WANT
TO ACCOMPLISH IN MY CAREER,
TO GO ON TOUR DANCING
WITH AN ARTIST OR BAND AND
SEE MY FACE ON A BILLBOARD
CAMPAIGN. I’M A FIRM BELIEVER
IN THE SAYING ‘THOUGHTS
BECOME THINGS.’
” PHOTO BY JOSEPH SINCLAIR

The basics: name, age and where you’re from? How about your worst?
David Ratcliffe, 23 years old. Originally from Adlington in I think I can say I’ve been pretty lucky, and haven’t actually
Lancashire (UK), currently living in London.
 had a bad gig since I started modeling.

Education credentials? Would you consider modeling more of your hobby or

Ten GCSE’s, as well as a three-year college diploma in
Professional Dance.1
How did you first become interested in modeling?
When I was in dance college, we were encouraged to get head
shots taken to start sending out to agencies and for work. Also,
a friend had been having test shoots outside of college with
fashion photographers (building up a portfolio) and I decided
I wanted to start doing the same to see where it would lead.
What do you feel is the biggest misconception about
modeling? Especially being a male model.
That it’s “easy.” People don’t realize how hard being a model
actually is. They seem to think that male models just stand
around and look pretty, which is far from the truth. [Modeling]
is a very cut-throat industry with long hours and huge pressure
to look unique and constantly produce a good picture. Even
walking—people don’t realize that there is a specific art to the
way in which a designer wants you to walk down the runway.
a way of life?
I wouldn’t say that modeling was ever a hobby for me; it’s
definitely a way of life. I’m a professional commercial dancer,
and I feel that dancing and modeling go hand in hand. There
are specific aspects of modeling that I incorporate into my
dance career, and vice versa. Both professions are about look-
ing great and performing in front of the camera.
What else are you involved in outside of modeling?
[Outside of] my modeling and dance career, I enjoy doing
normal everyday things, like going to the gym, watching live
[shows] and hanging out with friends.
What can we expect to see from you in the future and/
or where do you see yourself going?
I have so many goals and achievements that I want to ac-
complish in my career: to go on tour dancing with an artist or
band, and [to] see my face on a billboard campaign. I’m a firm
believer in the saying “thoughts become things.”

What has been your favorite gig so far? Links and other self-promotion?
My best gig so far was probably when I modeled for Selfridges www.davidweb.2ya.com (an up-to-date source of everything
in London for their 100th Birthday, the “Big Yellow Festival.” going on in my career). You can also follow me on Twitter
I worked with a great group of models and we had so much @DavidRatcliffe_.
fun wearing all the amazing clothes that the store sells!
1. The General Certificate of Secondary Education (GCSE) is an academic qualification awarded in a specified subject, generally taken in a number of subjects by students aged 14–16 in
secondary education in England, Wales and Northern Ireland.

38 JANUARY/FEBRUARY 2011 www.papercutmag.com

 PHOTO BY IAN COLE

PHOTO BY JOSEPH SINCLAIR

PHOTO BY IAN COLE

39
40 JANUARY/FEBRUARY 2011 www.papercutmag.com
 SHE
WORKS
HARD
FOR
THE
MONEY
SARAH MILLER DISHES ON MODEL MISCONCEPTIONS AND
EIGHT-HOUR PHOTOSHOOTS.

Interview by HAYLEY MAYBURY

41
 The basics: name, age and where you’re from?
My name is Sarah Miller. I’m 19 years old and I’m from
Windham, New Hampshire.
Education credentials?
I went to Salem High School in Salem, New Hampshire. Now
I’m studying International Relations at Boston University,
with a minor in Journalism.
How did you first become interested in modeling?
I was fifteen years old when I went to my first open call, which
just so happened to be with Dynasty, and I was very happy
with them from the start. At that time, I had just stopped
dancing ballet. A friend from the studio I danced with, who,
at the time, was modeling and acting down in New York, had
always encouraged me to start modeling. My mom needed
some convincing; she was obviously really worried that all
the “modeling rumors,” so to speak, were true. But so far, I’ve
been fairly successful with [the industry], and it’s been lucra-
tive—especially now that I’m a poor college student.
What do you feel is the biggest misconception about
modeling?
The cattiness. Models are people too, so if you’re nice to them
they’ll be nice back! Everyone that I’ve encountered in the
Boston fashion industry has been extremely kind to me. The
“dumb model” is [another] huge misconception, especially
among Boston models. I’ve met so many [here] who are top-
notch Harvard and BU students.
What has been your favorite gig so far?
Every time I work with Michael De Paulo it’s a blast. He ac-
tually booked me for one of my first fashion shows! My mom
sat with his aunts and sisters in the audience for [that] first
show, and had such a fun time. [Michael’s] such a down to
42 JANUARY/FEBRUARY 2011 www.papercutmag.com
earth guy; the sweetest person you’ll ever encounter. Plus, his
dresses make anyone feel so beautiful.
How about your worst?
If I told you that, I’d be breaking the rules [smile].
Would you consider modeling more of your hobby or
a way of life?
It’s hard for anyone to get to the point where modeling is a
way of life. So few people are successful enough to be able sus-
tain themselves and make a profit from modeling. I actually
recently read an article that argued that modeling should be
in the labor sector of the work force. Now, I’m not arguing that
it should be, but it really takes you back to those eight-hour
photo shoots, where you’re in heels the entire day. [Modeling]
has without a doubt affected my day-to-day life, and even the
way I live my life, but it will remain a hobby for now.
What else are you involved in outside of modeling?
I’m currently interning with the Boston Ballet. I’m working
with the Director of Advertising and Marketing, Amy Hol-
land, on the company’s marketing campaign.
What can we expect to see from you in the future and/
or where do you see yourself going?
Well, with my degree in International Relations I’ll hopefully
go on to grad school. But who knows, I might just take a few
years off in between to see where modeling takes me. I can’t
deny that it would be an incredible experience to model full-
time for a few years, but I also can’t deny that someday I’ll
get old and there won’t be a market for me. All the more rea-
son to take the chance [now], right?
Links and other self-promotion?
www.dynastymodels.com
Black and white photographs by Beth Studenberg; color photograph by Dan Doyle.

43
Samantha wears a layered silk chiffon
fitted skirt by LILY & MIGS
A LEAGUE OF
HER OWN
IF SAMANTHA STUMPO TAKES OVER HER MOTHER’S BUSINESS, IT WILL
BE THE ONLY SECOND-GENERATION FEMALE-OWNED CONTRACTING
BUSINESS IN THE WORLD. HOW ABOUT THAT!

Interview by HAYLEY MAYBURY & NICOLE BECHARD

Photographed by NATALIA BORECKA
Assisted by MEG ELKINTON
Hair/Make-up JANEEN JONES
Styling TERRY WHEATON

A special thanks to LILY & MIGS for wardrobe

www.lilyandmigs.com

45
 SAMANTHA STUMPO’S MOTHER CINDY IS NO ORDINARY MOM.
On top of being a single mother of two, Cindy manages C. Stumpo Development, her multi-million dollar construction and de-
velopment company, and is the star of the hit HGTV show Tough as Nails. And—if all goes according to plan—Samantha will
be taking over her mother’s empire someday. Talk about an amazing (yet overwhelming!) opportunity. We sat down with Sam to
get the inside scoop on how she feels about it all, and on what it’s like being “a woman in a man’s world.”

Sam, your mom has really worked to make her
business a family venture, and ultimately plans on
passing it down to you. How do you feel about such
an opportunity?
I am very excited and up for the challenge of running the
business, when it comes my way. I have huge shoes to fill,
as my mother is an amazing woman. My dream is to follow
in her footsteps and keep this company growing. I think it’s
awesome that she is a woman in a man’s world, and I hope
to be just as empowering, inspiring and motivating as she
is to other women.
Was it hard for you to accept this responsibility, or
did you always know this would be your vocation?
For many years I did not know what I wanted to do with my
life. That’s why I went to college, to try and figure out what I
wanted to do, and even then I changed my mind several times.
After working for my mom part time—and then switching
to full time—I saw a complete change in the way her world
worked and what she did on the job every day. To see her work
with men all day long and see their respect for her work ethic
was incredible. It was like watching the conductor of an orches-
tra, and the crew was its different instruments, all functioning
in unison to build amazingly well crafted, high-end homes.
About six months into my first year of full-time work, I
knew [that this was what I] wanted. I still have a lot of work
cut out for me, but I am definitely ready for the challenge.
I want everyone to know that just because this is my moth-
er’s company, does not mean I am going to get the business
handed to me like it’s a piece of cake. I am going to have to
prove myself to her and all of her subcontractors. When the
day does come for my mom to hand the company over to me,
I want her to feel like [her legacy] is in great hands, and [to
know] that I will not fail her or any of the future clients of
C. Stumpo Development.
How does it feel to be a woman in a male-dominated
field? Especially a young woman who has grown into
the business rather than chose it?
I have to say it’s not easy being a woman in this business, es-
pecially as young as I am. I have a lot to learn. I have to build
relationships with all the guys out there [based on mutual]
respect, so that we can trust each other. A lot of the guys have
seen me grow from a baby to the young woman I am today; for
some of them it’s hard to listen to me because they still look
at me as if I’m a little girl. But then there are others that are
willing to help and teach me. I take what I can get, and work
harder every day with the guys that need to get to know me as
an adult, and eventually, I will gain their respect.
Specifically speaking, what are some of the stereotypes
you have to work against on a daily basis?
First of all, being a woman [in construction] is a hard enough
stereotype, but then I also get the age factor. I get told I am
a baby, and young, and I feel like a lot of the guys think they
have to treat me like I’m a fragile little girl. I get comments
like, “I’m sure you don’t want to get dirty today.” Just little
comments here and there. [But] after hearing the same old
[things] I just start to ignore them and move forward.
Do you feel that having this show has changed any of
these stereotypes about women?
I hope that the show [has] changed people’s opinions, or ste-
reotypes, but I do not know for sure. What I do know is that

46 JANUARY/FEBRUARY 2011 www.papercutmag.com

 “
we show women all over America that they can do anything
a man can do, and that they should not let anyone or any-
WHAT I WANT EVERYONE TO KNOW IS
thing get in their way. THAT, JUST BECAUSE THIS IS MY MOTHER’S
COMPANY DOES NOT MEAN I AM GOING TO
What has been the response from your viewers like?
The response from our viewers has been overwhelmingly GET THE BUSINESS JUST HANDED TO ME
positive. There are a ton of women (and men!) who have LIKE IT’S A PIECE OF CAKE. I AM GOING TO
contacted my mother or myself to say how much they are
HAVE TO PROVE MYSELF TO HER AND ALL OF
inspired by us and that we make them want to change their
life. Some women out there are interested in the [construc- HER SUBCONTRACTORS THAT I AM GOING
tion and development] industry—our fan base tells us that TO BE THE NEXT GENERATION OF STUMPO
they know how we feel and that they see that they can suc-
ceed through us. That’s why we did the show. Our hope was WOMEN TO RUN THIS COMPANY AND THAT I
to show women of all ages they can do anything they want, WILL HAVE DESERVED THE RESPECT BY ALL

”
even [in] a male-dominated [industry]. Men and women WHEN THE TIME COMES.
should be equal no matter the profession.

Despite having to dress very functionally due to the

nature of your job, you and your mom both always
look fabulous on camera! Do you enjoy dressing up
and adding some feminine details day to day, or is
your look intended just for the camera?
It’s not easy adding feminine attire on a job site, but some-
times you just feel like you have to. Every now and then
[my mom and I] do our hair, or put on a little makeup. We
wear Uggs or sneakers instead of boots, cute jeans, a styl-
ish scarf, a hat and gloves in the winter…something that
changes it up. [Then], there [are] days when we’re film-
ing when I don’t want to wear anything but sweat pants,
because of being tired and wanting a break. I think all of
us that were part of [the] show can agree on that. Reality
television was like having another job—every day we went
out to our real job, and also had to perform another job by
being filmed.

You are fortunate to have such a strong mother figure

in your life. What do you feel are the most valuable
lessons she has taught you through her work?
Growing up with such an amazingly strong mother was the
best thing any child could ask for. Since I can remember, my
mother has always taught me to voice my opinion and to not
hold back on how I feel. To stand up for myself (even though
I might not have always done so). Now that I am working
with her, I see even a stronger side that I didn’t see growing
up. I see how strong-willed her business sense [is]. She is
never afraid and she always has her head on her shoulders.
She is never at a loss of words. My mother knows her busi-
ness inside and out.
I want to say the biggest thing for me, watching [my
mother], is that she is never, ever afraid. She will walk up
to anyone and speak her mind. She has taught me that
you need to be strong and [can’t] let the guys intimidate
you. She says you have to remember that everyone started
somewhere. When I look back at my childhood, I [ask] my-
self, “How was she able to do it all? How was she able to
raise a family and go to work every day, and come home to
us and help us with our homework, or talk to us and never
complain?” [My mom] was just always so happy to see us.
She found time for us no matter how busy she was. I hope
that when I have a family someday I am able to do the
same. I am truly inspired by her in more ways then she
will ever know.

For more information on Cindy and Samantha Stumpo, please contact Thomas Fleming at
Look Los Angeles (PR Firm) 508.282.9840 or email tom@look-la.com

47
 eye
on
you Photography by LINDSAY ADLER
www.lindsayadlerphotography.com
Hair by MASAE SATOUCHI
Make-up by JULIA DALTON-BRUSH
Styling by LSC STYLING FOR 4SEASON STYLE MANAGEMENT
Model KRISTA GAMBLE (MC2 NEW YORK)

48 JANUARY/FEBRUARY 2011 www.papercutmag.com

 Dress by VERLAINE;
sunglasses by MERCURA;
bracelet by VIKTORIA HAYMAN;
ring by GORJANA

49
50 JANUARY/FEBRUARY 2011 www.papercutmag.com
 THIS PAGE:
Dress by MARC BOUWER;
sunglasses by MERCURA;
necklaces by JOOMI LIM

OPPOSITE:
Dress by MARC BOUWER;
sunglasses by MERCURA;
bracelets are stylist’s own

51
 THIS PAGE: Dress by VERLAINE; eyewear and ring by STEVIE BOI; necklace is stylist’s own
OPPOSITE: Top and skirt by MARC BOUWER; necklace by JOOMI LIM; eyewear by STEVIE BOI; earrings by WENDY MINK

52 JANUARY/FEBRUARY 2011 www.papercutmag.com

53
THIS PAGE:
Sunglasses by MERCURA;
cuff by GORJANA; necklace
is stylist’s own

OPPOSITE:
Sunglasses by UTTAKAOS;
cuff by BEN-AMUN
55
 JOEL STORELLA IS ABOUT TO BE YOUR NEW
FAVORITE HANDBAG DESIGNER. WITH THE
COMBINATION OF OLD-WORLD CRAFTS-
MANSHIP AND STYLE COUPLED WITH NEW
WORLD KNOWLEDGE, HIS BAGS PROVIDE
CLIENTS WITH THE BEST OF BOTH WORLDS.

Interview by NICOLE BECHARD

Photographed by TIM RENZI
Hair/Make-up & Styling NICOLE HERZOG & NORA E. S. GILLIGAN
Model MARIA (MAGGIE INC.)

56 JANUARY/FEBRUARY 2011 www.papercutmag.com

56 JANUARY/FEBRUARY 2011 www.papercutmag.com
Your family has always been “steeped” in fashion;
how do you feel that influenced you as a designer?
Do you think you would be in the position you are in
today if that hadn’t been the case?
I took it for granted growing up. Since I can remember, my
mother was always sewing. She started the family business in
our attic, and as her clothing collections grew, so did the size
of the business. My dad was a draftsman by trade, but had
worked for his father in his tailor shop on Summer Street in
downtown Boston as a kid. My father ended up leaving his job
to become a partner and the pattern cutter for the company.
Looking back on it now, I always just figured I didn’t have
to go out and buy something; it could almost always be made.
That spirit was instilled in me at a very young age. One of my
earlier memories is [taking] trips to the grocery store with
my father. My favorite outfit was my blue PJ’s (that had the
sewn-in socks and zipper down the belly), cowboy boots that
were three sizes too big, a blanket tied around my neck as a
cape and a helmet. I remember seeing everyone looking at me
and thinking to myself that I was the coolest. Really, the cool-
est were my parents for letting me be me. I feel that’s one of
the most important aspects of designing and being creative.
If you can’t be yourself, then who are you really?
So to answer the question, no, I don’t feel that I would
be in the same position that I am in today if it wasn’t for my
family’s fashion influences.
Out of all the different avenues of fashion you could
have taken, you chose handbags. Why?
I’ve always been into fashion. Growing up in rural northern
New Hampshire, I often caught flack from classmates for
dressing the way I wanted. I had no problem putting together
an outfit that I liked for myself. When I thought about trying
to come up with a clothing design for [a man or a woman]
though, I drew a blank. I moved to Boston in the early spring
of 2002. I was on the subway and I noticed a kid with a mes-
senger bag; for some reason it caught my eye. I kept think-
ing about how I could improve on it and the idea of using a
car seatbelt as a closure popped in[to] my head. I found out
quickly that that idea had been done a million times over, so
I started sketching different ideas on paper. I also feel that
clothing comes and goes. Fashion trends can be “so yesterday”
so quickly that you wouldn’t be caught dead wearing [this
season’s “hot” item] next year. Don’t get me wrong, there are
some pieces a person may have for their adult life, but they
are few. Handbags are more constant to me. Especially hand-
crafted, timeless designs. They have more of a permanent feel
that could last a lifetime, plus a daughter’s as well.
What do you love most about the leather craft and
production process?
There’s a certain level of respect and feeling that I get with
holding an animal’s hide in pre-production. [This] was a liv-
ing, breathing thing, and here I am, about to create something
that my client will love and cherish for the rest of their lives.
I’ve found [that] there is this strange disconnect that most
people have with leather products. When we look through a
swatch book at small squares of leather in different colors, it
doesn’t seem much different than going to look at color books
to pick out paint for our new living room. The first time I
ordered my first full hide, I was a little startled. When a cow
hide comes in, it’s generally around 60 square feet and is in
the basic shape of the animal. There is no comparison to or-
dering a 55-centimeter crocodile skin, though. To see where
the legs, neck and tail were, it’s tough not to think that this
isn’t just a swatch or an inanimate object. This was an animal
that lived a life. I respect that aspect of production. And to
create something I’m so passionate about, that I know will be
cherished, makes me feel good about the entire process.
You spent a number of years studying under Arme-
nian master handbag maker, Shaunt Sarian. What
was that like and how do you feel it influenced your
brand development?
I’ll tell you a quick story of how I met Shaunt. I knew I
wanted to become a handbag designer by the time I was 24. I
wasn’t aware of any schools or even teachers that were offer-
ing classes on handbag design then. I began studying at the
School of Fashion Design on Newbury Street [in Boston]. The
meetings were once a week and I went there directly from
work. The class was basic pattern making, and Denise Hajjar
was the professor. As I became more comfortable with her, I
brought in one of my “designs” to show her (I say “designs” be-
cause, when I think about it today, it looked more like a Nerf
football). [Professor Hajjar] was more than encouraging with
her praise and told me that if I was interested in handbag
design, I should contact her friend Shaunt Sarian.
Well, I did. And after four or five calls, we finally locked
down a time I would meet him at his studio. I will never forget
that day as long as I live. This tells so much of what kind of a
guy Shaunt is…I walked into his studio for the first time with
what would be the very beginnings of my “617” bag. I had no
training or even idea of how I was going to make it work, but I
had in my hands wire coat hangers taped together with brown
paper bags to show him what I intended to make. The look on
his face was priceless! He said to me, “What do you expect me
to do with that??” I said, “I want you to help me make this bag.”
He looked at me like I had two heads. “Leather doesn’t move
like that,” he replied, “[but] sit down and let’s see what we can
come up with.” And so our friendship was born.
I’ve known Shaunt for almost seven years now and I can
tell you, not only from working with him but also as a friend,
he is the kind of guy that will do anything to help someone
out. I can say without hesitation that if it [were not] for him
believing in me, I wouldn’t be where I am today.
What do you feel is the most valuable lesson you
learned from Sarian?
That’s a funny question because I have two totally different
answers. As far as work goes, he taught me how to see things
through from start to finish. The value of starting from the
beginning and doing the process the right way. He’d tell you
that designs aren’t like a computer. You can’t just type in the
idea and expect it to pop out a perfect product. It takes time,
patience and perseverance.
The second answer I have is the lessons he taught me in
life. When you are given a gift of knowledge or talent, some-
times we have to pass that gift along. I look back on what a
pain in the ass I must have been to [Shaunt], in fact, I know I
was a pain in the ass because I’d hear about it at least once a
week. But he stuck with me. Shaunt believed in me. We need
to pass along our skills to younger generations or the craft
will die. In so many ways I feel like the weekly workshops
were only partially about work. The rest was about life.
What do you feel has been your biggest challenge as
a designer?
I want to do things differently than anyone else. The struggle
is to embrace the things that already exist and incorporate
my own spin. How much can a designer innovate? It’s not like
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 Armani is going to come out with the three-armed blazer. The
difficulty is being current while staying classic and having
my own touch on the bags. I think a lot of design is about ego
and so much of it is trying to be different. My ego is some-
thing that I struggle with daily. I’m always trying to outdo
myself, and on one hand I find it to be a constant battle. On
the other hand, it’s what keeps me inspired and the desire
to create better and better products. My attention to detail
is [another] double-edged sword. It’s great for my career in
constantly trying to make things better, but it has made my
personal life a little more difficult. It’s tough dating someone
that is always thinking about work or what [his] next move
is going to be. I work on [that] constantly. Trying to live in the
moment and just appreciate what I have and be happy for it.
I think I’m getting better though…we’ll see.
Can you tell us a little about the story behind the
bag names?
Growing up in New Hampshire I was somewhat isolated.
Boston always inspired me, as [did] other cities I had visited.
I’m now paying homage to the places that influenced me.
I [also] realized that people generally associate with
things that are familiar to them. When I create an “Area
Code” where a client lives, it narrows their choice, making
ordering that design a little easier. If a woman has a home in
Boston and she likes the look of the silhouette, the familiar-
ity of a “617” bag might make more sense. Especially when it
is going to be a one of a kind that no one else will ever have.
I think that one of the most striking features of your
bags are the inside lights! What a great concept… how
did you come up with the idea for such a feature?
I always try to accept feedback from people who are impor-
tant in my life. After talking with my cousin Michael, an
architect, he helped me see my bags as a structure or as
an extension of the way women live. He said, “the inside of
the bag is dark, so put a light in it.” So, often, the simplest
ideas are the best. The majority of my designs are struc-
tured, much like a house is. The idea of lights inside hand-
bags isn’t a new one. What I’m doing is different because,
like a house, the walls and ceiling don’t move. Once lighting
is in place, it’s there for the duration. Because of the rigid
designs of my bags, the lights are in the same place all the
time. If I were to make a supple bag that moved easily, the
lighting concept wouldn’t work as well because the lights
wouldn’t be in a set spot.
In your opinion, who is the ideal customer for the
Joel Storella brand?
This is a tough question. Whatever way I respond, I sound like
an elitist. I’m not one to say who should or shouldn’t buy my
products. But if I had to say who the “ideal” customer would be,
I’d say a woman who knows who she is and what she wants.
My customer is a woman who can have virtually any bag in
the world, but chooses mine because she understands what
the company and I are trying to say. She is hip, refined and
gets edgy without being obnoxious. Most importantly, she is
a leader. She is someone who doesn’t follow the masses, and,
although she has multiple bags ranging from $9,800–$40,000,
she chooses Joel Storella because she appreciates what has
gone into making that bag just for her. There is a sense of
individuality in every piece I sell. Although the pricier bags
she has are magnificent, any one of her girlfriends may have
the exact same color and size. The bag I made for her is hers
[alone], and no one in the world will have the same one.
58 JANUARY/FEBRUARY 2011 www.papercutmag.com
You base your business on made-to-order methodol-
ogy. How is that working out for you?
I touched on this a little in the previous question. I’ve based
my entire business plan on the “made-to-order methodol-
ogy.” I’m offering to sit with that same client and give her
a choice of a number of silhouettes to choose from. During
the process she will be able to make modifications to the
interior, anything from multiple pockets to even a remov-
able iPad sleeve. She picks the type of skin, color, interior,
stitching [and] how about a different color light on the in-
side? I believe that if someone is willing to put down big
money on an investment like this, why not get exactly what
you want? It makes sense to me and to the clients I’ve done
business with thus far.
Would you ultimately like to maintain this business
method, or expand your operations into more mass-
production?
Mass-production to me is like the middle finger. There are so
many fantastic companies out there that once offered hand-
crafted products to small numbers of people in the world.
Words like luxury and exclusivity are thrown around so
much these days that it almost seems like they’ve lost their
meaning. Those words aren’t meant for everyone.
I was worried about sounding like an elitist before, [and]
I’m sure this will make it easy to seem that way. But, in all
honesty, the larger the scale [on which] a product is offered,
the less exclusive it becomes. It’s a tough tightrope walk, I
understand that. It just seems that greed within successful
design houses is what brings down a company.
When I say, “brings down a company”, I don’t mean fi-
nancially. I’m talking about credibility to their consumers.
As an example, why doesn’t Ferrari mass produce their cars?
Think about what Honda does in annual sales versus Lam-
borghini. Honda is a giant in comparison, so why doesn’t
Lamborghini mass produce? The answer is obvious but one
that is so many times overlooked in fashion.
What can we expect to see from the Joel Storella
brand in the future?
I always want to be true to myself and [to] my beliefs. I
understand that businesses grow and there will be times
I won’t be able to produce all orders that come in. With
this in mind, we plan to have a Joel Storella flagship store.
This store will allow clients to walk in and purchase hand
stitched, handcrafted bags that are already produced by
trained craftspeople. Each season there will be a set num-
ber of colors and skins that clients can choose from. I will
continue to make bespoke custom pieces for clients that
want one-of-a-kind products made by me. I think that if I
can stick with the initial business plan, I will stay true to
my beliefs.
Links and other self-promotion?
Follow me on Twitter @joelstorella and check out my blog
coming soon at http://www.joelstorella.com.
Editorial continues on the following pages 
“ I WANT TO DO THINGS
DIFFERENTLY THAN ANYONE ELSE.
THE STRUGGLE IS TO EMBRACE
THE THINGS THAT ALREADY EXIST
AND INCORPORATE MY OWN SPIN.
HOW MUCH CAN A DESIGNER
INNOVATE? IT’S NOT LIKE ARMANI
IS GOING TO COME OUT WITH
THE THREE-ARMED BLAZER. THE
DIFFICULTY IS BEING CURRENT
WHILE STAYING CLASSIC AND
HAVING MY OWN TOUCH
”

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 TODAY’S FORECAST...
YELLOW WITH A CHANCE OF POLKA-DOTS.

Written by ARIANA SHURIS

Have you ever predicted a fashion trend? You know world fashion, current events and street style. They’re like
how it goes—a brilliant new style is born between the scientists, mixing the elements perfectly to create the most
walls of your closet and your bedroom mirror, and it’s all desired concoction—what we’re all dying to drape over our
yours, until you spot it in the pages of a magazine while skin, and what we all wish we had created first. Sound
waiting in a checkout line. Or you find yourself scream- like a dream job? You never know—you just may be the
ing at the television screen during an episode of Gossip next magical visionary—and you can sit back and relax
Girls: “Hey! The sequined vintage crop-top! I started that (yeah right!) while you watch others sparkle in your year-
look!” Well, maybe you did. And maybe you can continue to old forecast.
(maybe it can even become your number one priority) as a
fashion trend forecaster.
Trend forecasters are always on the hunt for new and
innovative styles and fresh ideas. Think about what you
have hanging in your closet right now; most of those cre-
ations are there because of these forecasters, whether you
realize it or not. Fashion designers look to them to predict
popular trends for next season like small-town residents
look to their local weatherman to help them decide which
jacket to wear for their morning commute. It’s simple—if
we’re being told what is “in,” or what the weather “looks
like,” we listen and we do.
So, how to translate your uncanny sense of what’s next
into one of these coveted forecasting positions? First things
first. Research what’s happening now. Take what is current-
ly fresh and decide where that fashion is going. Create new
themes, patterns and styles, and then relay your information
to a designer who will pay particular attention to your pre-
dicted colors, textures and fabrics. Above all, always, always
be conscious of the competition that surrounds you in the
industry, because fashion never sleeps. And you shouldn’t ei-
ther if this is where your passion lies.
Trends for Spring/Summer 2011 were set a year ago, for
example. Surprised? You shouldn’t be. Fashiontrendsetter.com
lays out all of the hues that will make an appearance in
the next year; we can expect those for the coming season to
“soften, energize and excite.” While a season’s colors may
only vary slightly from year to year, fashion designers will
make note of the changes before constructing a new gar-
ment. Looking deeper through the site, I even found colors
presented for the next Fall/Winter season. Leatrice Eise-
man, Executive Director of the Pantone Color Institute
and head of the Eiseman Center for Color Information and
Training, described them as “a mosaic of color and style.”
She noted that this arrangement of colors will reflect the
state of our economy, and that people have not forgotten
where we have been and where we are going, even when it
comes to fashion.
Much of the time, fashion statements are created acci-
dently—by a city student running late to class, who throws
a bright cashmere blanket around her shoulders as she
darts across campus. Just as often, though, some serious
time, energy, sleep deprivation and money are spent dictat-
ing the next big trends. The forecasters behind sites like
Trendstop.com pay close attention to trend details, includ-
ing themes, silhouettes, prints and patterns, by analyzing

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WHERE TO BUY:
THIS ISSUE FEATURED TOO MANY GOOD DESIGNERS, BRANDS AND BOUTIQUES; HERE’S WHERE
TO FIND YOUR FAVORITES!

BAARTMANS AND SIEGEL

www.baartmansandsiegel.com

BEN-AMUN
www.ben-amun.com

GORJANA
www.gorjana.com

JOEL STORELLA
www.joelstorella.com

JOOMI LIM
www.joomilim.com

KATIE BARRETT
www.menswearbykatiebarrett.co.uk

LILY & MIGS

www.lilyandmigs.com

MARC BOUWER
www.marcbouwer.com

MERCURA SUNGLASSES
www.mercuranyc.com

STEVIE BOI
www.stevieboi.com

TRINE JENSEN
www.trinelindegaard.com

UTTAKAOS
www.uttakaos.com

VERLAINE
www.verlaine.us

VIKTORIA HAYMAN
www.viktoriahayman.com

WENDY MINK
www.wendyminkjewelry.com

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