His breakout single, “Safe To Say,” dropped with a music video in June, featuring a sleek studio setup and some eye-catching, curated outfits. The video got my attention for its production quality, which felt a cut above what I’ve seen from other smaller artists.

“‘Safe To Say” is really about just like me working at a store and spending all my time and energy on product,” Christopher said.

The track was born during his time working retail at ANT/DOTE, one of Atlanta’s top luxury boutiques. The job gave Christopher a chance to connect with other artists, though it wasn’t his first gig in retail. 

He landed the position after working retail at another store from ANT/DOTE’s owner, Wish Atlanta. Both stores have reputations for being staples of Atlanta’s fashion scene.

“The manager that hired me at Wish, which was my first job, Justin. He just kind of gave me the opportunity,” said Christopher. “But yeah, it saved my life and made me realize what I was.”

While ANT/DOTE helped him meet people in the creative world, Christopher ultimately left to focus on his music full-time. The challenges of making ends meet during that time inspired his single “It Is What It Is,” where he dives into the struggles of balancing a day job and chasing a dream. Hearing the song for the first time, I was struck by how its punchy lyrics cut through the noise of other similar tracks.

Christopher’s ability to open up about his challenges is refreshing to see among other artists who appear to want to distance their reality from their image. Christopher talks about his perspective as “renovating while being alone, or innovating while being alone.” It’s raw, relatable and deeply personal.

“A lot of people have been through that same situation. It could be musicians. It could be NBA players. It could be hockey players. Like, they had to come from something. And a lot came from nothing to something. So if you have a passion to come from nothing to something, people will always vote for you . . . cause I’ve been there before,” said Kory Griffin, Christopher’s manager. “I’ve been in his position.”

Though he never finished his degree in audio engineering at the SAE Institute of Technology New York, the experience left its mark, teaching Christopher how to refine his sound and develop his craft.

Music runs in the family for Christopher. His dad is a songwriter, and he credits him as a big reason why he got into music in the first place. The two even collaborate on projects, with Christopher sometimes producing beats for his dad.

“Everything in the album is talking about my life,” he said. “They’re all true stories.”

Christopher’s roots in South Carolina and his life in Atlanta have both played a big role in shaping his music — but he’s not letting geography box him in.

In fact, one of his recent 2024 releases, “Racks IN RAIN,” features Christopher on a track by Liverpool-based artist REALLY GXNE.

“Atlanta always always touches in my music as far as even how I say things,” Christopher said. “Sometimes beat selection. Mostly that 808. I feel like Atlanta’s known for just having, like, crazy sounding percussions. So I try to always have that influence in my music.”

Since “Safe to Say,” Christopher has been working on a string of singles that were originally meant to be part of a project called “Outside.” Tracks like “The Bachelorsss,” “Too Many Drinks,” “It Is What It Is” and “Figure It Out” have come and gone from streaming platforms as Christopher works on his projects’ rollout.

Christopher has even found success performing at venues live. When I spoke with him about performing live, he pointed to a three-song rooftop he did enthusiastically as where he is most comfortable.

“I love recording in the studio too, but, like, being able to be on stage,” he said. “Engaged with the crowd. Yeah, because I really feel like that’s when they can really feel my energy.”

Under his label, Rockavelli Forever, Christopher has been collaborating with other artists and navigating Atlanta’s music scene. With his mix of authenticity, ambition and undeniable talent, Christoph Christopher is one to watch. Whether you’re drawn to his raw lyrics, his clothing style or his live performances, one thing’s for sure: you’ll want to keep him on your radar.

The post Speaking with upcoming Atlanta musician, Christoph Christopher appeared first on Yale Daily News.

With his unmistakable pageboy haircut, bold piercings and sharp sense of humor — which is what initially caught my attention — Norris has become a leading voice in the menswear scene with his pages on TikTok and Instagram, making the industry less intimidating and a whole lot more fun.

“I get asked every single day, ‘How do I learn more about fashion?’” explained Norris to the News. “You just have to start.”

While his striking look and signature silver accessories might grab attention, it’s Norris’ wit and deep knowledge of the arts that keep his audience coming back for more. His growing platform has even opened up exciting opportunities for him, from walking in runway shows to styling for some of today’s most promising underground music artists.

It’s a long way from his small Colorado hometown, where his love for fashion first took hold. Like many of us clothing collectors, Norris still remembers the defining moment of his first high-fashion purchase — buying a pair of Undercover Spring/Summer 2006 Klaus jeans.

“I remember at the time, spending like 300 bucks on a pair of jeans,” he says. “I was mowing lawns because I couldn’t get a job yet.” That first leap into high fashion, he admits, was like an addiction.

It wasn’t long before Norris realized fashion wasn’t just a hobby. He moved to New York in 2021 and enrolled at LIM College, where he found the flexibility of the curriculum allowed him to balance his schoolwork with his burgeoning career as a content creator, making videos and collaborating with other creatives. 

Norris has built a platform that breaks down the history of influential designers, making it easy to understand for both die-hard fashion fans and total newcomers. By helping people navigate the massive, often overwhelming world of fashion — which has exploded in size over the past few years — he’s played a role in reshaping how fashion is talked about online.

Norris describes how, less than a decade ago, the world of high fashion menswear was a much smaller, more exclusive scene. 

“It used to be linear,” Norris said, reflecting on the early days of “streetwear” and the “pipeline” of becoming interested in men’s fashion. “You knew about Supreme … you followed people that were wearing it, and there were the big people like Ian Connor, Carti, Uzi.”

Getting deep into the hobby was only readily accessible through pop culture icons like A$AP Rocky and Playboi Carti. Celebrity tastemakers introduced fans to more experimental designers, creating an “if you know, you know” in-group. This created a linear progression through which fashion fans would begin with more accessible clothing and graduate incrementally to more experimental corners of the niche.  

“Nowadays, everything ever, every part of the pipeline is readily available to everybody, and it gets thrown in their face at all times,” explained Norris. “People have no idea where to start. That’s why you see, I think, people wearing Supreme with Rick [Owens]. It never used to be like that. That’s why you see Lil Tecca wearing CCP [Carol Christian Poell] now. It never used to be like that, ever.”

As for someone who followed this progression personally, even for me, it’s incredible seeing how platforms like TikTok and Instagram have blown open the gates to once gatekept avant-garde and archive designers. This sudden change has left many fashion neophytes overwhelmed by designers and styles they don’t fully understand. 

Norris strikes a balance with his content, making his videos funny and approachable while still being packed with useful, well-researched information. His videos give younger fashion enthusiasts the context they need to navigate runway shows and designer collections without feeling out of their depth.

“I try to make [my videos] so anyone can watch it and, even if they don’t fully understand it, they can ‘get’ it.”

He also uses his styling videos to help young men find confidence in their own sense of style. Norris knows how important those moments of self-expression can be. He still remembers saving up to buy a pair of Rick Owens Kiss Heel boots as a game-changing experience.

“It was the first time I felt, like really felt like me … I had never felt that way before.” 

For men looking to experiment with their clothing, receiving unwanted negative feedback from others is often a reality. Norris says that his approach is to just wear his clothes. The first time is shocking, but the next time not so much. “Eventually, they have to get used to it.”

When it comes to building his platform, Norris credits early collaborations with fellow fashion creators like Mark Boutilier who have helped him gain his footing.

“[Boutilier] was super open to collaborating, which, at the time, helped me a lot, because when you start to be seen with other ‘big creators,’ you get ‘validated’ by the community. It happens organically.”

It’s refreshing to see how collaboration isn’t just a buzzword but a real stepping stone in the fashion world. These collaborations, Norris explained, help showcase the strength of the fashion community and what the hobby is all about.

As Norris has shifted from clothing pick-up hauls to broader work as a stylist and creative, his consistency and passion continue to stand out — and they’re something anyone can take inspiration from.

In a changing fashion world, creators like Norris show us that style isn’t just about what we wear — it’s about self-expression and connecting with others. Watching creators like him makes it clear that fashion isn’t just for the insiders anymore — it’s something everyone can be part of.

The post Sam Norris: The fashion blogger bridging the gap between high fashion and Gen Z appeared first on Yale Daily News.

The title is relatable and familiar to any perfectionist who’s struggled with endless revisions: “Final.png,” then “Final2.png,” until, inevitably, the “FINALfinal.png” iteration. For Max Stern ARC ’25, the founder and lead of FINALfinal, this name embodies the intentionality and detail that goes into creating the events.

“I am trying to create a space and platform for these people, and the other important thing is to build up name and trust,” said Stern. “When people see it’s a ‘FINALfinal’ thing, they know it’s not some random event. It’s going to be high-quality; the music is going to be very good. It’s going to be a proper production.” 

Stern started hosting DJ events in 2023 without a long-term vision in mind for these parties. He saw a need for grad school students to have a non-school-affiliated social outlet, and he was motivated to fill it.  

For events, which are usually ticketed, Stern brings in and installs high-end sound and lighting systems. These factors are what many attendees and DJs of FINALfinal shows cite as reasons that separate FINALfinal from the other social events on campus.

FINALfinal events have injected New Haven’s techno and rave culture into their high-caliber music, atmosphere and production.

“To me, Finalfinal.png stands out among other parties because it’s more music-centered,” wrote Yiru Wu ARC ’26, contributing DJ to FINALfinal with the name of R:00. “What makes it even more special is the creative energy as I always believe parties should be creative — it’s a curated experience blending music, art, projections, performance and more. … You’ll see projection designs from the drama school, posters and art from graphic designers and set designs by sculptors.” 

For graduate students, opportunities to socialize are limited, according to numerous FINALfinal attendees. Many of the mixers are exclusive to only one graduate school, and are mostly school-related, which creates a different atmosphere and prevents students from intermingling between academic disciplines, explained Stern.

FINALfinal gives students from a variety of backgrounds the opportunity to come together and share their interests in DJing and electronic music. Sabrah Islam ARC ’25, for instance, brings her experience of the music scenes from Manchester, London and Berlin. 

“We’re fortunate to have students from the architecture and art schools who have been part of music scenes worldwide — from Montreal to Berlin, Chicago to London — bringing the sounds and influences from their backgrounds to the city. At FINALFinal, Max provides us the tools to then deliver music to our community,” Islam said.

The experience level of DJs at FINALFinal parties varies. Some DJs have professional DJing experience; for others, it’s their first time. To Max, the barrier to entry can be overcome with enthusiasm and an eagerness to take the music seriously.

For their latest Halloween event, “Alienussy,” more than half a dozen student artists contributed to the setlist. Students from different graduate schools created Alien-themed decor, a custom DJ booth and video projections to match the event’s theme.

“I have been playing professionally for a decade now and to be able to share that with my peers and the broader community here has been incredible,” wrote Nicholas Arvanitis ARC ’25, also known as Shagabond, to the News. “Max runs FINALFinal in a similar way to how an actual club event would operate. …  He is literally everywhere, making sure the door is running smoothly, adjusting lighting, playing his own set even.”

Like Avantis, Jesús Hilario-Reyes ART ’25 has DJ-ed professional venues for over seven years and is a current resident at Bossa Nova Civic Club, a New York techno music hangout space.

For artists like Hilario-Reyes, spaces like FINALfinal help students’ passions flourish in a local environment to serve the Yale community. To some, it may even align with their academic discipline. 

“In terms of other parties I’ve been to on campus, I think what Max says reigns true about the music being the focus of the night,” said Hilario-Reyes. “There’s a level of rigor and narrative that I enjoy about DJing and I understand it as an art form … because I’ve extended it. Even my visual art practice has a lot to do with djing and nightlife.”

Stern graduates next year, which opens the door for discussions about the future of the organization and FINALfinal parties. He is thinking about continuing to host events in New York, but also hopes that FINALfinal can be a long-lasting fixture of Yale’s campus even after his departure. 

He admits, it’s not the easiest task to inherit the responsibility. Organizing FINALfinal events requires a substantial amount of time, effort, planning and financing — as well as enthusiasm from student DJs. 

Since its opening, however, FINALfinal has demonstrated that more serious experience-driven social spaces can exist at Yale and serve the needs of graduate students. 

“FINALfinal is unique in the sense that it is a student-run event that hosts curated club events with music performances that were previously unseen in the academic context, prioritizing collective experience over profit,” wrote Cornelius Pelzer ARC ’25, who has DJ-ed for eight years under the name DJ PARK3R. “The previous events were introducing ‘clubbing culture’ as an inherent part of our professional field as artists and architects in the 21st century, much more than other options on campus. That was about time, and might be why it is successful.” 

Zaroka Bar and Grill, located at 148 York St, has served as the venue for several FINALfinal events.

The post FINALfinal.png: Max Stern ARC ’25’s vision of a Rave Arts Space appeared first on Yale Daily News.

Not exactly. The ‘Preppies’ — as immortalized in Lisa Birnbach’s tongue-in-cheek manifesto, “The Official Preppy Handbook” — are anything but gone. Instead, the J. Press enthusiasts and Harriman Cup attendees are now thriving in online communities, kept alive by the contributions of modern Prepdom’s die-hard devotees.

For one of the key figures of this movement, look no further than Matthew Longcore GRD ’18, editor of the blog “Ivy Style” and founder of “The Preppy Handbook Fan Club.” Longcore has taken it upon himself to preserve and revitalize the essence of Birnbach’s now-famous cultural guide which satirized preppy life in the 1980s. Pages like Longcore’s celebrate Prep-style history with a newfound emphasis on accessibility and inclusivity.

“I don’t want to be telling people the door is closed, you’re not allowed in,” Longcore said. “Rather, I want to meet people who want to walk through the door and be inside, and I want to meet people from diverse backgrounds, so I lean into a more inclusive vision of what this is all about, at the same time, ironically celebrating these things that have a history of being exclusive.”

An alumnus of Trinity College, Harvard University and Yale, Longcore’s journey into preppy writing began in 2010 when he penned the article, Trinity Preppy Culture Defined. He later decided to take his passion further, creating a Facebook group dedicated to the “Preppy Handbook.”

What started as a small online community soon became a robust presence, expanding onto Instagram where Longcore began receiving sponsorship offers from brands like J.Press, Sperry and The Andover Shop.

Longcore remains focused on maintaining the authenticity of his niche and has paid attention to which collaborations will be a good fit. 

“I realized that I was essentially, kind of moving into the realm of digital marketing, and I was becoming a little bit of an influencer,” said Longcore. 

Longcore’s influence took a new direction when he acquired “Ivy Style,” a fashion forum founded by Christian Chensvold, in July of this year. Under new leadership, Longcore sets plans to expand the blog’s scope to include lifestyle content and expand its readership. 

For Longcore and his fanbase, “The Preppy Handbook” isn’t just an ironic relic of the 80s — it’s a blueprint for a lifestyle that continues to endure and invite new advocates, despite its exclusive past.

“Historically, the white, Anglo-Saxon Protestant culture of America, the WASP upper class, is the class that invented the preppy style as we know it,” said Longcore. 

However, Longcore said, “There’s also been a very inclusive aspect of Preppy and Ivy style that has been very aspirational and very welcoming and open to others who are not from that background.”

Brands like Rowing Blazers, Longcore said, give the style an inclusive and multicultural twist by pulling influence from a variety of non-WASP-y places and marking itself to a new generation of non-preppy consumers. 

The Official Preppy Handbook first hit shelves in 1980, just before Ronald Reagan’s election. The Handbook’s rise in popularity mirrored greater societal trends celebrating American Dream aspirations. As Americans looked for more universal, material signifiers of success, Lisa Birnbach supplied them with the “Preppy” archetype.

“The historical exclusivity of it is very interesting to me, especially as a black Southerner at Yale today,” says Miles Kirkpatrick ’27. “These styles aren’t ‘exclusive’ anymore. I’m from a barely middle-class working family and dress how I dress proudly, but their historical basis is in being the traditional dress of those born into a very specific socioeconomic class at a very specific time in American History.”

Aspects of the “Preppy Lifestyle,” as outlined in the Official Preppy Handbook, are idealistic. College liberal arts education, ample leisure time, large happy families — these are broader measures of success that can be enjoyed by a greater number of people than ever before, explained Longcore.

On today’s Ivy League campuses, Preppy culture is now more of a subculture than the dominant style of fashion. Despite this shift towards casual attire, the jacket-and-tie look still has its loyal devotees.

“I consciously adopted a sort of Ivy look last spring, as I grew up with a very eclectic, messy look, and wanted something that seemed more put together,” writes Kirkpatrick.  “I’m someone who tries to be aware of the cultural connotations of things, including fashion, and as a Yale student the ‘Ivy style’ felt like one that I both liked and had an authentic claim to.”

The tagline of Ivy Style reads ‘The classics are for everyone.’ While he inherited the tagline with the Ivy Style blog, Longcore appears to fully believe in the tagline’s message. For him, Preppy style is not just about clothing — it’s a way of life that is timeless, elegant, and open to all who appreciate it.

Julia Wojtkowski ’25 said that elements of preppy fashion have been embraced and reinterpreted in a multitude of ways. 

“The Preppy Handbook Fan Club brings together people who appreciate these elements and create a community where everyone feels welcome — whether they’re longtime fans of Ivy style or just discovering it for the first time,” writes Wojtkowski. 

“The Official Preppy Handbook’s” first line famously reads, “In a true democracy, everyone can be upper class and live in Connecticut. It’s only fair.”

J.Press, a brand associated with the preppy look, is located at The Shops at Yale, as well as has a flagship store at the Yale Club in New York City.  

Correction, Oct. 25: The article has been updated to correct the spelling of Christian Chensvold’s name.

The post PROFILE: Matthew Longcore GRD ’18 strives to democratize “Preppiness” appeared first on Yale Daily News.

With a base of over 9,000 subscribers, Appleby has cultivated a small but deeply invested community of punk fashion enthusiasts who follow his commentary on punk brands and his analyses of luxury pieces from his collection.

“My style is a natural outcropping of punk and hardcore music to me, and those things are settled in within New Haven,” said Appleby. “To me, this is my home regardless of anything, and I’d love to see it grow in terms of the kinds of things I’m into.”

According to Appleby, New Haven is a city with deep punk roots with venues like Toad’s Place, Cafe Nine and Three Sheets, which have historically hosted punk bands.

Appleby began playing in punk bands when he was 12. His early interest in punk music, as well as his upbringing in New Haven, have greatly inspired his fashion identity.

Appleby’s journey into creating fashion content began in 2020, when he launched his YouTube channel, initially making videos on how to authenticate pieces of designer clothing.

As Appleby expanded his content, he found a subject matter that was little explored and one that his background in punk music gave him a deeper connection to: luxury fashion label and art project, Enfants Riches Déprimés.

Founded in 2012, the Paris- and LA-based luxury fashion house Enfants Riches Déprimés — French for “depressed rich kids” — places its rebellious, art-house narrative at the forefront of its brand. According to its founder, Henri Alexander Levy, ERD is “elitist, nihilist couture” with references to violence, politics, religion, drugs and, of course, subversive music. ERD’s pieces are often hand-made and produced in small numbers; this business model pushes prices high in a slow fashion model.

The brand sells a breadth of clothing pieces for a breadth of prices: $700 t-shirts, $95,000 haute couture jackets, blood-red cowboy boots, cashmere nooses and more. These prices and the contentious subject matter of ERD garments have given the brand both recognition and criticism.

ERD’s high price points and rebellious ethos have drawn the attention of several high-profile celebrities who embody the brand’s nihilistic, punk-infused aesthetic, like Kanye West, Jared Leto and Playboi Carti.

“If the king vamp himself, Playboi Carti, wears ERD, then it has to be good,” wrote self-described Playboi Carti superfan Henry Zhang ’26.

Not everyone agrees.

Miles Parkhurst ’27 thinks that ERD sells “very aesthetically pleasing products” that are “far too expensive for almost anyone who has a grunge aesthetic by necessity.”

Through his YouTube channel, however, Appleby demystifies ERD’s pieces, offering viewers, including those who may not be able to access ERD’s pieces themselves, a close look at the brand’s detailed craftsmanship and the punk influences behind the designs.

The brand has a single flagship store in Paris, which, according to Levy, is meant to make visitors feel as uncomfortable as possible.

“[Brands like ERD] are intentionally difficult to understand, and that makes a certain type of person like it more,” said Appleby. “Like the Stark family with Chrome Hearts, Henri, the founder of ERD. They almost become more than designers. They become tastemakers in a way.”

Using his lived experiences and cultural knowledge of New Haven’s punk music scene, Appleby provides references to pieces that not even the brands behind them disclose. For instance, a recent video points out Death from Above 1979 and Minor Threat as just two of the bands from which ERD has pulled graphics.

This democratization of information has helped Appleby build a loyal community of followers.

Appleby’s interest in fashion and ERD began when he confronted workplace dress codes and sought out ways to express his punk-influenced individuality within a corporate setting. Thus, when Appleby discovered ERD and its blasé-chic yet abrasive references to staples of punk culture, he said he felt an immediate connection.

Since creating his YouTube channel, Appleby has balanced content creation with both a day job and a gig consistently playing punk music in bands, now alongside the New Haven-based collective, Dagwood.

“On the content side, you have to get into it if you really like it and you like what you’re doing because it’s slow,” Appleby said. “But regardless of what your goal is, having an original point of view, that’s literally the most valuable thing … Whether you’re creating content, clothes themselves, a business connected to fashion, figuring out what your stance or angle is, is absolutely base-level.”

In the past year, as Appleby’s channel has gained traction, he has begun to study viewership trends to understand how to better serve his audience. ERD’s recent rise to prominence has spawned a host of other labels, such as Paly Hollywood and Marking Distance, which have created their own spin on hyper-luxury.

Noting these new trends, Appleby is flexible and intentional with his content. He has a backlog of previously-edited videos that are waiting to be published as he strategizes the order of their release.

“If you look at my uploads, it’s a pretty predictable pattern of when I’m covering smaller brands, versus a known brand which we don’t talk about as much, versus ERD which we cover more often,” he said. “I’m always cycling. I’m always watching.”

Appleby said that his content gives residents of mid-market cities, such as Chicago and New Haven, the ability to experience his niche of luxury fashion, even if they don’t have access to  direct retailers. From his videos, viewers can get a sense of how these high-end garments will feel and fit, inviting them to an otherwise exclusive fashion community.

Appleby is clear-eyed about the future of fashion content and his role in it. He hopes to see more accessible physical locations for high-fashion brands in places like New Haven, where his niche of luxury fashion is not yet readily available to consumers.

2nd Street, a luxury consignment shop that has carried Enfants Riches Déprimés at several of its other stores, is slated to open a location on Elm Street in the near future.

The post Fashion collector LOWLuxury speaks on New Haven punk culture and luxury fashion appeared first on Yale Daily News.

In the past five years alone, Yale has witnessed the emergence of several arts-related organizations, each offering distinct opportunities for students to express their creativity. These organizations, though young, have carved out their position in the Yale arts ecosystem.  

Here are five new groups that can help first-year students find their artistic niche.  

Fashion Lifestyle at Yale: the intersection of fashion, modeling and journalism 

Established in 2023 by three first years Kellsie Lewis ’27, Marame Diop ’27 and Sumarha Tariq ’27, Fashion Lifestyle at Yale, or FLY, is a student-led organization that merges fashion, modeling and journalism. 

The journalism branch aims to publish a fashion magazine highlighting student projects. The modeling branch organizes fashion shows, including the notable “Fly Through Time” event last fall — the first of its kind for the club. 

In addition to fashion shows, the group engages the Yale community by hosting events like photoshoots and thrift excursions. 

“FLY is all about finding yourself through creativity and fashion,” Diop wrote in an email to the News. “It’s more than just an organization but a community where you can let your individuality shine. No matter your background or experience, FLY welcomes all who are eager to join in.” 

Students are encouraged to get involved by following FLY on Instagram — @fly.yale — and signing up for the online newsletter. Looking ahead, FLY plans to expand its activities, which include hosting semesterly fashion shows and organizing events that convene Yale’s different communities. 

17o1 — Yale’s premier student-run record label — is back 

With roots as far back as 2010, 17o1 is Yale’s only student-run record label. After an eight-year hiatus, the organization made its comeback in 2023. While different faces run the group now,  17o1 has retained its original goals of promoting student music on campus. 

“​To put it simply, we support creatives,” wrote Maxx Shearod ’25, 17o1’s head of label affairs. “We help out with whatever a budding artist or performer needs, whether it be access to a studio, digital marketing for their releases, performance opportunities, or anything else.”

In addition to supporting individual artists, 17o1 also hosts music shows to showcase Yale talent. Last year’s launch concert featured the performances of six 17o1-represented artists. Student bands Seldom Street and Strictly Platonic, two bands listed under the label, performed at this past year’s Spring Fling festival after winning the year’s Battle of The Bands contest.

“We showcase the experiences of our peers, and our model creates a very intimate listening experience for our audience,” wrote Shearod.

Students, both with and without musical experience, are encouraged to join the 17o1 team, which includes musical, visual and management roles. Those who are interested can apply through the website or the link in the @17o1records Instagram bio. Applications are slated to be released on Aug. 27. 

Teatro de Yale spotlights Latine talent on the stage 

Since 2022, Teatro de Yale has centered Latine voices in Yale’s theatrical productions. The organization promotes performances that highlight Latine stories, such as “Stand & Deliver” and “Luz Negra,” producing at least one show each semester. 

“Teatro de Yale is dedicated to the exploration of Latinidad in the context of the performing arts,” explained Erick Lopez ’24, a founder of Teatro de Yale. “Our mission is to amplify the voices of diverse Latino dramatists, offering a platform for their narratives to resonate.”  

Lopez served as the producer of the November 2023 show, “In the Heights” and the director of “21 Chump Street,” which ran in December 2022. 

Teatro de Yale is meant to be an encouraging space, said Lopez, especially as the theater space can feel “unapproachable” for those with little or no experience. Auditions are open to everyone, allowing students who haven’t previously been involved in theater to grow their skills, he said.  

To get involved, students can audition for a show or join the production team, with all information available on their Instagram page, @teatrodeyale.

Asian American Collective of Theatermakers: a hub of support and community for Asian American creatives

Now in its second year, the Asian American Collective of Theatermakers, or AACT, was founded in 2022 to create a hub for Asian American theater-enthusiasts. The organization aims to promote Asian American artists, who have historically been underrepresented in Yale’s theater community. 

The organization has two goals, according to Alastair Rao ’26. First, it aims to attract “would-be Asian American theatremakers” who would otherwise be deterred by a lack of a clearly defined Asian American theater community. 

Secondly, it provides a centralized space for Asian American students interested in making theater to network and collaborate with other Asian American artists.

Most recently, the organization helmed Yale Dramatic Association’s Spring Ex show, “Delicacy of a Puffin Heart,” performing it at the University Theatre, the largest theater on campus. AACT also hosts mixers and other social get-togethers for the Asian American arts community. 

The group is open to all Asian and Asian American-identifying students, regardless of prior theater experience. To get involved, students can sign up for the mailing list at the Extracurricular Bazaar or contact an AACT board member directly. 

Yale’s fashion community finds a home in MAISON

Maison provides a platform for Yale fashion designers to showcase their work and connect with those interested in fashion, including creatives beyond just the Yale community. MAISON’s 2023 show, Entropy, was the first fashion show hosted at Yale in five years and involved designers from other universities, as well as the broader New Haven community. 

Their 2024 show, Revival, continued the group’s momentum and received support from L’Oréal, which provided all the makeup used in the show.  

Kai Chen ’26, a designer who has worked with Maison, wrote about his experience: “The past two shows were both well-attended, and it was really cool to see so many fashion-enthusiasts and supportive friends show up and be a part of such a big event.” 

While the MAISON shows have showcased the talents of designers with plenty of prior experience, newcomers are also invited to join, said Chen. 

MAISON’s website can be found at www.maisonatyale.com.

These five organizations represent just a glimpse of the diverse and dynamic arts community at Yale. For first-year students, getting involved with these groups can be a way to connect with peers, develop new skills and contribute to the vibrant artistic culture on campus. 

Information about meeting times, events and membership opportunities can typically be found on each organization’s social media pages or through the Yale Arts Calendar.

The post Five new arts organizations to explore: a guide for first years appeared first on Yale Daily News.

In a market as competitive as luxury goods, it can be challenging to stand out. Established companies rely on tradition and reputation to sell products, and without a long track record, gaining clients’ trust can be difficult. Despite these challenges, Olivia Cleary stands out with her label, The Clearly Collective. TCC has carved itself a niche with upscale home goods and scarf collections which have garnered a reputation for their unique take on branded merchandise. The most recent scarf release features hallmarks of Yale’s campus, such as Phelps Gate, the Yale Bowl, Payne Whitney Gymnasium, Sterling Memorial Library and Harkness Tower, in blue silk twill.

“As a student studying design and the arts, I think it would be incredible to see an artist’s designs sold at the bookstore,” wrote Johann Ortiz Castillo ’26 to the News. “It would be nice to have more options than just the branded Yale merch we currently have at the bookstore.” 

Cleary launched TCC in 2022, two years after graduating from the University of Virginia where she studied architecture and entrepreneurship. Now, she has positioned her brand as a purveyor of luxury products that tell stories through their design, often inspired by notable architecture and landmarks. The company offers private orders and retail scarves online. 

Cleary’s design motto is simple, “luxury is something that money can’t buy.” This philosophy is reflected in how each Clearly Collective item tells a story, intending to resonate with its owner and transform high-quality products into something uniquely meaningful.

“What is a luxury to someone who can buy anything in the world? You must transcend physicality; it’s literally the only way to create luxury,” Cleary said. “Some brands do that through experience … What I’m trying to do is marry the marketing of a brand with meaning. And the meaning that that experience delivers makes a high-end product.”

Her design process begins with crafting a narrative. When working with corporate partners — such as Cartier, McLaren San Francisco and the Olympics — this involves discussions about brand values and company history. When working on location-centered projects, this involves engaging with members of the communities involved, ensuring the authenticity of the representation.

One of Cleary’s most notable collaborations has been with McLaren San Francisco, which originally commissioned Cleary to design pocket squares. This led to a unique project with Monterey Car Week organizers, where Cleary worked with a car wrapper to adorn a McLaren with one of her prints.

The finished product depicts the Laguna Seca racetrack, paying homage to McLaren’s history and California’s car culture in a playful way.

“The types of brands that are attracted to my type of designs are the ones that are luxury and creative,” she said. “That’s who I want to work with …  If that ends up being a tech company, let’s redefine what tech merch looks like. Let’s do it. I feel like every company that comes to me is a new creative challenge of how we could translate their ideas, and if they’re down to make something beautiful from what they have, I’m down to take it on.” 

The company continues to explore new avenues for expansion, with plans to shift into physical retail locations, diversify its product range and further solidify its position in the luxury sector. Recently, Cleary chose to leave a full-time position she had in architecture which she pursued while beginning TCC to focus on the business full-time.

Cleary aims to move her products into brick-and-mortar stores in college towns and plans to expand product offerings into non-intrusive home goods such as porcelain trays, card decks and books.

“I really liked that scarf and think we need more cool Yale merch like that!” wrote Benjamin Pla ’26. “I like it when brands like Clearly Collective and Crew Dog do Yale merch we don’t see at the bookstore.” 

The Clearly Collective’s growth trajectory indicates a positive reception from the market and corporate partners. Her brand’s Instagram, @clearlycollective, has been the primary way through which she has been put in contact with clients.

Cleary shares videos detailing her design process and her story, starting a conversation between her and her audience.

“Instead of using Instagram to sell a product, what I’ve learned is that you never sell a product or service directly … Instead of ‘buy this cup,’ let’s talk about the process of building this cup, and the cup is there if you want to buy it,” Cleary said. “I call it ‘parallel marketing’ … You market a story alongside it that has an emotion and is relatable. You can’t actually relate to a cup unless you give meaning to it. And that’s how I use Instagram to market my scarves and what I’m trying to build.” 

Her Instagram pages work as living portfolios. When they encounter her work, viewers can easily scroll to find past designs and collaborations. 

Cleary said she originally gained traction among corporate partners organically with reels of her solving hypothetical design problems such as “How I would make a scarf for a liquor company?” 

“I didn’t think this was going to turn into anything big at first,” Cleary said. “I knew that people enjoyed storytelling and every time I did that, there was a very great response … Now it’s a bit more intentional. I’ll talk about the different pillars of what my brand stands for, like luxury for example. What does that mean in the context of The Clearly Collective? How can we educate people?” 

As The Clearly Collective continues to connect with customers, at Yale and beyond, Olivia Cleary is not just participating in the market, she is aiming to shape its future.

The post Meet Olivia Cleary, the woman reshaping ‘luxury’ appeared first on Yale Daily News.

Held on Feb. 24 at MINIPNG’s store on Audubon Street, the fashion show was the first from Eiress Hammond, known by the nickname MINI, and brought together a selection of her fans and members of New Haven’s local art community.

Among the attendees was Zoe Jensen, who is the founder, publisher and co-editor of Connetic*nt Magazine — a quarterly zine featuring local Connecticut artists. Jensen, who initially met MINI during an interview for the magazine, contributed to the show’s lookbooks.

“I am a huge fan of Mini. I think she is such a visionary,” Jenson remarked. “She is kind of like the Vivienne Westwood of New Haven … She leans into this punk fashion in a way that’s extremely feminine and coquette. It’s focused on sustainability and community-building in a similar way.”

The showcase spotlighted MINI’s hand-made knitwear, a craft she had spent the past three years teaching herself. MINI shared that each piece requires between a day to a week of effort to complete. The intricate pieces are comprised of a variety of different yarns — including mohair, alpaca, sheep and other Italian-sourced wools. She uses a technique of weaving scrap yarn into her projects as she works, creating a collage-like effect of different gauge, color and texture.

Models of all sizes donned the garments, demonstrating the fabrics’ elasticity and versatility. Because of the knitting techniques employed, the one-size-fits-all knit pieces accommodate a range of body types. 

Pieces had purposefully undone hems and loose threads dangling off them to further emphasize their properties as imperfect hand-crafted goods. Many models wore the colorful knits with angel wings and glittery make-up, underscoring the show’s fairy-like theme, as pop music scored the event from speakers at the front of the showroom.

“I would love to do more [runway shows],” MINI said. “I may do something in the summer, and maybe something in the fall, like a three-time-per-year thing,”

MINIPNG, founded in 2019, traces its roots back to MINI’s side-project while studying pre-law, where she began making and selling clothes on Depop. Gradually, her designs gained traction, allowing her to open her own brick-and-mortar storefront in 2022.

She is now involved in Connecticut’s art scene, showing her work and holding events in her New Haven store. She further spoke about her ambitions to open another location in New York within the next few years.

Attendee’s applauded as MINI rushed out after the models’ final lap. Following the showcase, the storeroom opened up for retail, where attendees were able to purchase pieces from the show. The venue featured local jewelry maker Skye and her brand Cielv, a shirley temple booth, and afterwards, a music set by Qween Kong.

Skye initially attended a trade school in New York with aspirations of becoming a jeweler. However, her interest in crafting non-traditional jewelry led her to establish her own handcrafted silver and solder jewelry business.

“I met MINI through another event I was vending at Plush,” Skye said. “She happened to be there that day and she saw me. She said ‘I would love you,’ and she had another event later that month, and said ‘would you like to vend?’ We’ve been tight ever since then. She’s a doll. I love what she does, and all of the work she did today was super amazing.”

MINI was a pre-law student at Wittenberg University in Ohio before turning to fashion.

The post ‘Vivienne Westwood of New Haven’ debuts runway show appeared first on Yale Daily News.

New members come from a variety of singing backgrounds, and many have been involved in non-senior a cappella and music groups, including The Alley Cats, The Baker’s Dozen, Cadence of Yale, Yale Glee Club, Magevet, Marquand Chapel Choir, Mixed Company, The New Blue, Yale Repertory Chorus, Something Extra and the student band Seldom Street, which is signed to 17o1 Records. The Whiffs announced 14 new taps and Whim announced 11.

The members of the Whiffenpoofs class of 2025, who will be required to take gap years to tour and record an album, are Pilar Bylinsky ’25, Yara Chami ’25, John Colbert ’25, Joey Cumpian ’25, Krishna Davis ’25, Sophie Dvorak ’25, Caroline Fai ’25, Jason Han ’25, Charlie Karner ’25, Rory Latham ’25, Adam McPhail ’25 — a Science & Technology editor at the News — and Noah Stein ’25. Josh Bock ’25 was tapped as the business manager and Logan Foy ’25 is the incoming musical director. They will now all join the class of 2026.  

“This was a [one-time] audition, which eliminated the long game of waiting to hear back,” Dvorak wrote to the News about the Whiffs’ audition process. “We had to prepare an excerpt from a quartet as well as a solo in the Whiffenpoof rep, as well as an individual solo. Once in the audition, there were some ear training exercises and we were taught an additional quartet in real time.”

In 2018, both the Whiffs and Whim started tapping members of all genders. Whiffs was originally all-male, and Whim originally all-female.  

Bylinsky expressed her desire for increased participation of women and non-binary individuals in the Whiffenpoofs, commenting that “[the] Whiffs just recently shifted from being all-male, so [she’s] excited about being in the early cohort of women joining the group.”

“The Whiffs exist in this sort of threshold space, upheld by a long commitment to tradition while also incorporating new/modern genres of music and styles of performance,” Dvorak said. “My hope is that, as the Whiffs become more diverse, the organization and alumni not only accommodate that diversity but embrace it.” 

The reveal of the Whiffenpoofs’ new class followed the release of the class of 2023’s album — “Magical Thinking” — which was released to all streaming services on Feb. 9, 2024. 

The album “goes a few layers deep,” according to 2023 Whiffs class member Adrien Rolet ’24. The name has a triple-meaning, referring to the album’s musical theme, a Joan Didion book and a 2023 Whiffs inside joke — a “company secret, sorry!” Rolet said.

Rolet revealed that it has been an unofficial tradition that each Whiffs album title is a reference to a story or joke from that year.

The Whim ’n Rhythm 2025 tap class includes Karen Ayoub ’25, Marie Bong ’25, Hajin Kim ’25, Michelle Luh ’25, Julia Mangual ’25, Meridian Monthy ’25, Bella Osgood ’25, Ivana Ramirez ’25 and Raina Sparks ’25. Violet Barnum ’25 was tapped as the group’s musical director and Sarah Shapiro ’25 will become Whim business manager.

Whim ’n Rhythm members tour during the winter and spring of their senior year, as well as in the summer following their commencement, allowing members to continue their education while also being part of the group. 

“Whim has fluctuated in size and structure a bit more than the Whiffs since its founding,” said current Whim member Adia Keene ’24. The group began with seven singers in 1981, but that number has fluctuated between 11 and 14 members. The new Whim class’s 11 members, all women and non-binary identifying students this year, are fewer than the 13 members of the previous year’s cohort. 

Unlike the audition processes for underclass a cappella groups, which often take an entire month, the Whim process only lasted one day in February, following a short social event earlier in the month for interested students to get to know current members better.

“We prepared a section from one of Whim’s arrangements in our vocal part of choice, sang vocal warm-ups, completed an ear training exercise, and performed a snippet of a solo song of our choice,” said Shapiro. 

At the end of auditions, new taps spoke about being asked questions — such as, “Why do you want to be in Whim?” and “How do you handle conflict?” — emphasizing the importance of group chemistry in the selection process.

When asked what attracted her to Whim, Barnum spoke about her interest in the pitch, or musical director, position. She had been involved with a number of singing groups before but had never had the chance to musically-direct one. After hearing Isabella Zou ’23 — a past Whim ’n Rhythm member — speak positively about her experience pitching Whim, Barnum found herself wanting to try her own hand at the position.

Whim is an SSAA choir, meaning that it consists of two distinct soprano and two alto sections, as opposed to the Whiffenpoofs — a TTBB choir comprising two tenor and two bass sections.

Since 2018, both the Whiffs and Whim have welcomed members of all genders. However, in 2022, the Yale Singing Group Council implemented a uniform policy requiring that all a cappella groups consider rushees of all genders, regardless of the often-gendered vocal range labels.

New taps of both The Whiffenpoofs and Whim ’n Rhythm expressed their excitement about connecting with their tap classes, several stating satisfaction that both senior a cappella groups are able to bring together students from all different musical backgrounds. 

Ramirez highlighted looking forward to the yearly Library Jam event where the new Whiffs and Whim taps perform their first group performances together in Sterling Memorial Library.

The date for this event, as well as the official calendars for the 2025 Whiffs and Whim tours, have yet to be released.

The Whiffenpoofs and Whim ’n Rhythm — along with the Society of Orpheus and Bacchus — are the only three groups that have weekly engagements at Mory’s Temple Bar.

The post Whiffenpoofs and Whim ’n Rhythm tap 2025 classes, Whiffenpoofs announce new album appeared first on Yale Daily News.