Fashion X, Stanford’s first pre-professional organization focused on fashion and tech, partnered with Hillel to bring Liraz Cohen Mordechai, known as Liri, an Israeli fashion lecturer, to talk about the fashion and tech scene in Israel.
A sweet orange-colored sun enveloped in smoke; a cartoon television with the words “FAKE NEWS” across its screen; people with multicolored paint smears on their bodies, standing in front of matching backgrounds — these are some of the many topical and evocative images contained in MINT Magazine’s fall 2018 issue. As stated on their website,…
Paula McCloud examines a dearth of hair resources for Black students at Stanford.
If you pass near La Brea Tar Pits or the West Hollywood end of Wilshire Boulevard, you’ll most likely note a lavish red and silver box-shaped building — red on the inside with wavy silver stripes raised across its exterior. The few times I saw it in years past, I assumed it was some kind…
On June 2, the first-ever MINT gala took place in Paul Brest Hall. The MINT gala, cosponsored by the Student Organizing Committee for the Arts, Stanford Arts, Cardinal Nights, the Stanford Concert Network and Stanford Women in Design, and supported by VFILES, Bloomingdale’s, Norma Kamali and Lancôme, was themed “Metamorphosis: Fashion Change.” Guests began arriving…
“If I had gone to business school, if I had gone here — my god, I would own the world!” Diane von Furstenberg is a statement maker. On Nov. 20, the illustrious fashion industry leader did not need a statement necklace to hold the attention of a packed audience at the Stanford Graduate School of…
Franca Sozzani sat in a side room of Bing Concert Hall with her iconic flowing blonde hair, sparkling azure eyes and the wise poise that is always in style – or at least has been for the past 26 years that she has reigned as Vogue Italia‘s Editor-in-Chief. Also appointed as Editor-in-Chief of Condé Nast…
Energized by its own setting, the quarter-long “Scene in Action” class draws inspiration from the Cantor’s Robert Frank exhibit of 1950s American photography, as well as the Anderson Collection’s abstract expressionist art. Performers are challenged to express “ideas as a direct response to the impulses seen and felt in the art of this period” through contemporary movement, as the course description reads.
