Emilia Ferrara Prepares Second Book For Upcoming Publication

Emilia Ferrara is excited to announce the release of her second book, a reimagining of The Nutcracker that brings a fresh perspective to the beloved classic. As a ballet dancer, The Nutcracker was a central part of Ferrara's childhood, from performing in Mary Day's original version for over a decade to working behind the scenes with Septime Webre’s Fellowship for Dance Direction and Management. Over the years, Ferrara has remained deeply connected to the ballet and, as a Board Member of The Washington Ballet, continues to watch the iconic story unfold year after year.

While conducting research at the Library of Congress, Ferrara uncovered something striking: Clara has traditionally been portrayed as a passive character, with her role in the battle scene often accidental and her dreams dismissed by those around her. This realization inspired Ferrara to evolve Clara's character for a modern audience. In this new version, Clara takes charge of her own destiny, embracing her strength and growing into a young woman who leads the narrative with courage and resilience.

This retelling of The Nutcracker is a gift to the next generation, empowering young girls with a story that reflects who they are today—brave, confident, and unafraid to lead the way. Ferrara invites readers to experience this reimagined Nutcracker, where Clara finally steps into her power and becomes the heroine she was always meant to be.

What will post-pandemic fashion look like? Expect brighter colors and comfier shoes

On April 18th 2021, Emilia Ferrara was interviewed by USA Today writer Jenna Ryu about her predictions for post-pandemic fashion and her analysis of emerging trends from quarantine. See the full interview here or read below.

“What will post-pandemic fashion look like? Expect brighter colors and comfier shoes”

BY JENNA RYU

Are you ready to ditch your quarantine sweats?

During the pandemic, conventional beauty standards have noticeably relaxed: People have ditched makeup in favor of a bare-faced look, and loungewear became a normalized fashion staple for many — even outside of the bedroom.

"At the start of the pandemic, people were always a little more eager to find ways to incorporate casual clothing items into more circumstances" D.C. Commissioner of Fashion Arts and Events Emilia Ferrara tells USA TODAY. 

She recalled seeing a "strict diet" of more casual, comfortable looks during lockdown: for instance, sneakers and slippers in lieu of heels and pumps, or sweats and athletic shorts over dress pants or denim jeans…

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TikTok is inspiring celebrity fashion trends from tie dye to straw hats: How to style it yourself

On July 7th 2020, Emilia Ferrara was interviewed by USA Today writer Jenna Ryu about her style advice for summer and her analysis of emerging fashion trends from TikTok. See the full interview here or read below.

“TikTok is inspiring celebrity fashion trends from

tie dye to straw hats: How to style it yourself”

BY JENNA RYU

TikTok isn't just about watching and learning the newest dance crazes. The social media app is also becoming the hottest place for all types of trends – especially summer fashion. 

Users across the globe are combatting their isolation amid the coronavirus pandemic by creating short dances, lip syncing or comedy videos on the short-form video app, and they're introducing us to some new outfit possibilities while reviving trends. Whether you're aiming for a casual outfit or you're trying to dress things up, celebrities are here for inspiration as they put their own spin on the latest looks on TikTok and Instagram.

We rounded up the biggest summer fashion trends we're seeing on social media, including expert suggestions of what to wear, how to style the pieces and where you can purchase the looks. 

Straw hats

Who's wearing it: Straw hats are the latest accessories for celebrity moms. Kristen Bell looked easy, breezy and beautiful in her brimmed hat at her racetrack themed backyard party, while Shay Mitchell donned wide-brimmed headwear with her daughter.Reese Witherspoon rocked the summer look on Instagram, pairing it with a simple white top and black sunglasses, and Jessica Alba flaunted her dance moves in her straw hat. 

How to make it your own: "The bigger, the better," advises Emilia Ferrara, a commissioner for the D.C. Commission on Fashion Arts and Events. She suggests that a wider brim is best paired with a sundress with a pinched waist to elicit the '50s gardening look.

Celebrity and editorial stylist Joiee Thorpe tells USA TODAY "it's all about the accessories" and encourages you to top off the look with some sunnies.

Where to get it: Gap sells a variety of straw hats for less than $40.

Tie dye

Who's wearing it: "High School Musical" star Ashley Tisdale and "Bachelorette" star Hannah Brown looked extra cozy wearing tie dye sweats in their TikTok videos. Selena Gomez filmed her "Past Life" lyric video with Trevor Daniel in a purple and white tie dye sweatshirt. Even tie-dye bikinis are in, as shown by "The Bachelor" contestant Madison Prewett on Instagram.

How to make it your own: Thorpe and Ferrara both suggest pairing your statement print with some chic accessories to revolutionize the look. 

"You're often seeing tie-dye shirts and sweats with skinny glasses and big hoop earrings and pulled back hairstyle, which is very much a part of that '90s throwback," says Ferrara.

Where to get it: Each pair of Urban Outfitters' popular monochrome tie-dye sweatpants is uniquely made.

White button-down blouse

Who's wearing it: Vanessa Hudgens did the "Cha Cha Slide" with her cream-colored blouse, while Priyanka Chopra Jonas showed off a red lip in her white button-down. Model Emily Ratajkowski celebrated her 29th birthday in the simple yet elegant look, as well. 

How to make it your own: Thorpe suggests pairing an oversized button-down with some cropped jeans for a hip look, adding geometric heels for a modern vibe. If you're looking for something more sexy and feminine, Ferrara recommends tying up your blouse to your natural waistline to evoke an hourglass figure and topping it off with a flowy mid-length skirt or high-waisted denim shorts.

Where to buy it:Uniqlo sells a white linen long-sleeve button-down for $30. 

Denim on denim

Who's wearing it: Britney Spears and Justin Timberlake's iconic 2001 all-denim look at the American Music Awards is making a comeback, as celebrities are modernizing the Canadian tuxedo. Khloe Kardashian rocked a modern skintight denim on denim look, while Millie Bobbie Brown opted for a more acid-washed style. Migos' Offset customized his jeans and jacket with skull and cross designs.

How to make it your own: "Denim on denim looks great when you color block different shades," says Thorpe. She suggests making it your own by wearing a pump or chunky sneaker. For a chic summer look, denim shorts are the way to go, according to Ferrara. She suggests experimenting with a denim crop top to individualize the look. 

Who's wearing it: Old Navy sells an array of jean jackets, pants and shorts, both light and dark-colored. 

Bright monochromatic clothes 

Who's wearing it: Dancer Mackenzie Ziegler showed off her skills wearing matching neon green sweats in a TikTok video. Kylie Jenner styled her sky-blue fit with orange crocodile embossed boots, and singer Normani wore purple from head to toe with her track pants and matching sneakers. 

How to make it your own: "Have fun by pairing your brights in different hues of the same color rather than the exact shade," says Thorpe. Instead of pairing a two-piece that's the same shade of green, mix and match a lime top with an emerald skirt. Ferrara suggests opting for a high or round-neck top, rather than a crop top, to avoid the all-too-casual beach look. 

Where to buy it: Macy's sells matching two piece sets in tons of bright colors. 

"The Eco-Friendly Fashions Podcast" With Ziyi Yuan

On June 26th 2020, Emilia Ferrara was featured on the inaugural episode of “The Eco-Friendly Fashions Podcast” with Ziyi Yuan. The discussion explored Ferrara’s career in fashion, the relationship between clothes and the environment, and why sustainability matters to the global fashion industry.

Original episode can be found here. Podcast and transcription below.

TRANSCRIPT:

ZIYI YUAN: Hi there, I’m your host Ziyi Yuan. Clothing is both a necessity and a creative outlet. But fashion is also a big polluter of our planet. Designers today want to create more durable fashions and to reduce waste. Join me, Eco-Friendly Fashions, as we explore the changing future of the fashion industry. And here’s an eco-friendly fashions consumer sharing her thoughts:

THE CONSUMER: I believe eco-friendly fashion and I like vintage. They both have classic looks and sustainable which can protect environment.

ZIYI YUAN: For this week’s show, you will hear my chat with Emilia Ferrara. Emilia is the founder and editor of Capitally Magazine, an online publication covering sustainable fashion, clean beauty and wellness in Washington D.C. She’s an adjunct lecturer at Georgetown University and teaches “Fashion Journalism.” And she is also a former board member of the D.C. Sustainable Fashion Collective. This show will explore the relation between the fashion and environment.  We will cover fashion publication and industry. This is how Emilia defines sustainable fashions.

EMILIA FERRARA: One of the first definition of eco-friendly fashion is use the fashion. The most eco-friendly fashion is the fashion that’s already in the ecosystem.

ZIYI YUAN: Stay tuned for my conversation with Emilia, we talk about as a fashion journalist why she thinks sustainability is important for fashion industry, why did her family history with fashion industry affect her deeply, and how she explains the common myths of eco-friendly fashions. You don’t want to miss it, here is our conversation. Hi Emilia, Welcome to Eco-Friendly Fashions Podcast! Thank you so much for join me!

EMILIA FERRARA: Hi, Ziyi! You know I have to tell you that your name reminds me of a Spice Girls song when they sing Wanna Be My Lover. And she goes “zigazig ah” at the end of the song. So I love the Spice Girls. That’s what your name reminds me of. Oh, my gosh, I love the Spice Girls. I’m so happy to talk to you today, how are you doing?

ZIYI YUAN: I’m great and excited to talk to you today. How are you?

EMILIA FERRARA: Great. Thank you so much for inviting me on your podcast. Thank you so much for inviting me to talk about sustainable fashion. It’s my honor to be with you. And thank you so much for inviting me to have this chat about where sustainable fashion is today.

ZIYI YUAN: It’s my pleasure to have you. So, the first question, how long have you been a fashion journalist and editor?

EMILIA FERRARA: I started reporting on fashion when I was still a student in college. I had a summer internship between my freshman and sophomore year and I went to this very impressive building, the Hearst Building in New York City, and went all the way up the escalator and all the way up the elevator to Cosmo Girl, which was at the time cosmopolitans version of Teen Vogue, was there Cosmopolitans Teen Magazine. So that was my first job working as fashion journalism. I have been a fashion journalist for 13 years. My first experience as an editor was actually not in fashion. I was managing editor of The New York Observer, which is a midsize newspaper in New York City of a long reputation. And I was the managing editor for magazines and all magazine supplements. So that was my first experience as an editor. And I was an editorial consultant at Washingtonian magazine, which means that I was really sort of giving analysis to the editor in chief and that on occasion involved editing articles rarely. It more was a job that required editing the entire magazine as an experience, editing the flow of the magazine, deciding which should be in the front, in the middle and the back, sort of editing the experience of the reader in order to successfully absorb the brand and essence the brand. So it wasn’t until I was editor in chief of my own publication that I became sort of a proper magazine editor or a proper fashion editor. And that was in 2016.

ZIYI YUAN: So, what compelled you to get into eco-friendly fashions, because the fashion industry is a very competitive one under the best of circumstances?

EMILIA FERRARA: You know, it didn’t really feel like a choice. It felt like a natural evolution. First of all, I don’t consider myself necessarily an eco-fashion journalist. I am a sustainable fashion journalist. But that’s because I define sustainable in a very broad way. So, on there’s a spectrum of how you define sustainable fashion. And at one end of the spectrum, you‘re looking at the earth. You’re looking at the planet, you’re analyzing stories from a biological and chemical point of view, where you’re analyzing soil, soil composition, regenerative farming, impacts on the water systems, impacts on the air. And you’re actually a sustainable fashion journalist through the lens of being a science journalist. So that’s sort of the first definition of sustainable fashion, there’s a spectrum. And when you go down that spectrum, you actually can find that being a sustainable fashion journalist also means reporting on civil rights and reporting on how it’s possible for fashion companies and the fashion industry, not just designers and fashion houses, but fashion media and the like can treat their workers in a fair way and in a healthy way. The reason that I had such an interest in fashion was from my family, specifically from my father. So my father’s family has a long history in the fashion industry of Italy specifically, and also the fashion industry of New York. The process of dyeing leather is can be a dangerous one. There are tons of chemicals involved and obviously the machinery of cutting the gloves and they were experts in this. But the factory on the Bay of Naples was set up in a particular way that they were able to sort of not be in danger from the way they did it. However, when my ancestors immigrated from Italy to the United States recreating their trade became incredibly dangerous. They were Italian immigrants rather to New York lived in New York City for a time, but actually established themselves in upstate New York, which was a very important component of fashion industry at the time in the early 20th century. And they actually helped establish a town in upstate New York called Gloversville because it was all Italian immigrant workers making gloves taking their trade from Italy and trying to recreate their lives. Now, sadly, that part of upstate New York is ridden with poisonous materials and poisonous chemicals because the process of actually dying gloves and having to recreate their craft when you don’t have a  body of water like the Bay of Naples at your disposal became very dangerous. So the chemicals in the soil became very dangerous. The chemicals in the creeks in their area became very dangerous, not just in terms of the environment and making it inhabitable land, but also a lot of family illnesses sadly in my family due to chromium poisoning. So I had no idea growing up when I was hearing these stories 20 years ago that my family was the prime example of why we needed a sustainable fashion movement. I have no idea. I had, I absolutely did not put those two things together until much later on in my career when I was working at a magazine called T Magazine in New York City, which is the New York Times Style magazine, preeminent excellent publication for fashion journalism. I realized that there’re all of these sicknesses with the fashion industry that no one inside the bubble was addressing, and that is when I discovered the sustainable fashion movement. I would say I found it to be the answer to the problems and the lack of reporting that I saw coming out of mainstream fashion journalism. But I would say the reason I got into it was because I saw the example of what my family members had gone through, and I wanted to do the work to help hold the fashion industry accountable for not making mistakes like this in the future.

ZIYI YUAN: But, now not many people know about sustainable fashion, are there common myths about eco-friendly fashions, and what are they?

EMILIA FERRARA: I would say the biggest myth about sustainable fashion is that it’s always gonna be more expensive. One of the first definitions of eco-friendly fashion is use the fashion. The most eco-friendly fashion is the fashion that’s already in the ecosystem. So if we have a fashion industry that is absolutely seamless and perfect at absorbing wasted textile and unused textile and putting it back into use, then we have a sustainable and eco-friendly fashion industry without actually producing anything new.

ZIYI YUAN: So, the clothes and the fabric can reusable to decrease more pollution in the fashion industry. However, now in the pandemic, has the crisis in any way helped or hurt the eco-friendly fashion industry?

EMILIA FERRARA: It’s definitely hurt it in certain ways in the sense that we very much rely on transparency as sustainable fashion journalists. One of my peers, who I very much look up to do is Whitney Bauck, and she is the sustainable fashion editor for fashion stuff. And, you know, my role as a sustainable fashion journalist is very very different from Whitney’s. Whitney is very much on the ground and she’s an in-depth investigative reporter. And what Whitney needs to do her job is transparency. So in a world pandemic, she cannot hop on a plane and go to Bangladesh and investigate factories that Nike and Walmart are using right? So I do believe that the pandemic has sort of shut down many journalists’ ability to report the truth and to have transparency and to give transparency to the public.

ZIYI YUAN: Emilia, thank you so much for joining Eco-Friendly Fashions Podcast. That’s for this week. Thank you so much for listening to Eco-Friendly Fashions Podcast. Thank you to Emilia for coming to Eco-Friendly Fashions Podcast for sharing her story with us! Hope you enjoy the conversation today!

Sustainable Fashion Moves Toward Ethical Sourcing

On November 7th 2019, Emilia Ferrara was interviewed by Georgetown University’s revered newspaper “The Hoya” about how the sustainable fashion movement has transformed global companies to source ethically. See the original article here or read below.

“Sustainable Fashion Moves Toward Ethical Sourcing”

by Maeve Silk

Whether as an art form or as a means of self-expression, students use fashion as a marker of identity and representation while speaking to their personal values and beliefs. Fashion has come to represent this same intersection, as some voice moral complaints to increasing trends of fast fashion, which focuses on overseas factory production to minimize costs. Sustainable fashion aims to fill this niche and offer guilt-free clothing that, while more expensive, is ethically sourced.

With the current political and social focus on environmental issues such as climate change, fashion has also been scrutinized as a potentially wasteful and harmful industry. Some are gradually beginning to replace the desire for a large quantity of cheap clothing with a new appreciation of sustainable quality over expansive quantity. 

While the definition of sustainable fashion can vary in specificity, it generally includes clothing that is ethically sourced and ecologically responsible, which involves the fair treatment of works and respect for the greater environment. While broad, this definition has value because it allows for a broad understanding of sustainable fashion for everyone, according to Emilia Ferrara (COL ’10), an adjunct lecturer at Georgetown University and a board member of the D.C. Sustainable Fashion Collective. 

“There’s a very vast definition of sustainable fashion today and that’s not a problem. It doesn’t need to be narrow and specific, doesn’t need to be in a box.” Ferrara said. “It just means that the definition is varying as wide as a lot of different key players and stakeholders can participate, along with people like you and me.”

The DCSFC, a nonprofit group founded in 2018, works to promote consumer education about sustainable and ethical practices in fashion and supports businesses and individuals working toward sustainable fashion practices. 

The collective hosts different events, including an annual conference called Fashion Revolution Week, which aims to increase awareness of sustainable fashion through panel discussions. Ferrara joined the board after attending its first annual conference last year, where she was moved by its message of promoting fashion sustainability in Washington, D.C., through its interaction with locals and businesses. 

Fashion retailers within the Georgetown neighborhood are increasingly emphasizing the importance of sustainability in fashion and one of them is The Phoenix. The boutique opened in 1955, selling sustainable clothing, jewelry and housewares and has been sourcing its items solely from ethical sources for decades.

The Phoenix features many local and small designers and creators, and uses its wide range of fashion items and housewares to emphasize their diversity in creativity. The Phoenix ensures that all of its products are created ethically by working directly with creators, according to Samantha Hays-Gushne, owner of The Phoenix.

“When my grandparents started the store in the 1950s, that was their ethos,” Hays-Gushne said in an interview with The Hoya. “They were working directly with artists and artisans and so it was really sort of a natural progression for when I took the store over that we would maintain that throughout the years.” 

This ethos works to both help the artists and make the customers feel better about what they are purchasing, according to Hayes-Gushne.

“The nice reactions that we get from the lines that we’re carrying, that people react really nicely to so that’s part of the reward,” Hayes-Gushne said. “Both working with the artists, but also secondarily having the customers react in a positive way.”

While these stores are important and are furthering a vision of a sustainable world, Georgetown students on a personal level have other issues to focus on. Overconsumption is the biggest issue that students should be focused on within sustainable fashion, according to Ferrera.

“It is very helpful to not buy new clothes and also very helpful to buy secondhand, if you were to shop that vintage stores that carry high luxury brands,” Ferrara said. “Or if you were to shop at, you know, smaller used clothing can use clothing the cheek or even Goodwill.”

Students can also engage in activism, which includes sharing social media posts and articles highlighting issues within the fashion industry to get involved in the movement, according to Ferrara.

“If you are reading about the sustainable fashion movement, if you are posting things on social media and if you are emailing friends and family articles, you can be a part of the sustainable fashion movement,” Ferrara said. 

Politicians Use Fashion to Develop Messages, Expand Platforms

On September 27th 2019, Emilia Ferrara was interviewed by Georgetown University’s historic newspaper “The Hoya” about the intersection of fashion and politics and the trend in campaigns to send messages through attire. See the original article here or read below.

“Politicians Use Fashion to Develop Messages, Expand Platforms”

by Susanna Blount 

On Feb. 5, 2019, the floor of the U.S. House of Representatives was a sea of white; white jackets on white slacks on white blouses as far as the eye could see. The record number of newly elected Democratic women were using fashion to make a statement during President Donald Trump’s State of the Union Address to honor the women’s suffrage movement, which often used white as a symbolic color. 

Coverage of women in politics can focus too much on appearances and likeability. And while critics are often right to call out pundits’ focus on appearance, politicians, especially women, also have the power to use fashion as a tool to amplify their beliefs and share their backgrounds with the public. When used and interpreted correctly, fashion can benefit and complexify female politicians, rather than merely saddle them with sexist stereotypes.

Bigger Closets, Bigger Statements

From the politics of former secretary of state and 2016 presidential candidate Hillary Clinton’s pantsuits to Democratic majority leader and the Speaker of the House Nancy Pelosi’s (D-Calif.) burnt orange Max Mara coat during an Oval Office showdown with Trump, women in politics have used their style choices to make a statement and spread their message. Pelosi’s coat sparked such intense public discussion that Max Mara decided to reissue the piece six years after it was originally sold. 

Politicians will always benefit from a wider array of options when it comes to how they present themselves, according to Georgetown University government professor Lise Howard.

“Anyone in the public spotlight will be scrutinized about every decision, including fashion,” Howard wrote in an email to The Hoya. “It seems to me that women in politics actually have more leeway than men to dress in ways that make them feel authoritative, authentic and at ease. Men only have a choice between this or that dark suit.” 

Women have used the entire color spectrum and a multitude of silhouettes to make an impression, but some men have been able to shirk the limits of their closets to make statements through their clothes, like 2020 presidential candidate Andrew Yang’s choice to forgo a tie or former Texas representative and 2020 presidential candidate Beto O’Rourke’s constant rolling up of the sleeves.

Even though many men find their options limited, they too can craft a brand for themselves that explains what kind of candidate they hope to be, according to Kate Bennett, CNN White House reporter who covers fashion in politics and the first lady of the United States.

“It would feel weird if Bernie Sanders put on a Hugo Boss suit with a slim-cut trouser and a skinny tie and a pocket square, right?” Bennett said. “So it works both ways, for men and women, I think.”

A plethora of options make fashion a more flexible and powerful medium through which to share a political message, according to Emilia Ferrara (COL ’10), who teaches a fashion journalism course at Georgetown and serves as editor-in-chief of Capitally, a Washington, D.C. fashion magazine.

 “I do regard fashion as an imminent vehicle for strategy and excellence,” Ferrara said in an interview with The Hoya. “The more options in your arsenal, the more power you have.”

Dressing for a Global Spotlight 

Personal style creates a visible, dynamic platform to share a politician’s cultural point of view with an international audience, making fashion a tool of diplomacy. Politicians and diplomats can wear clothes that draw attention to their personal cultures and represent their communities with pride, according to Howard.

Former Liberian President Ellen Johnson Sirleaf’s fashion choices, which shared traditional Liberian clothing with the world, perfectly exemplified this stylistic strategy, according to Howard. 

“She is always elegant and confident, while demonstrating her commitment to Liberia by wearing Liberian fashions,” Howard wrote. 

Wearing a silhouette found across West Africa, Johnson Sirleaf takes traditional garments like the gele, a tied headscarf, and revamps them for the modern era and shares them on an international stage, fashion historian Amber Butchart wrote in a Google Arts & Culture editorial feature.

When a record number of women were sworn into the House of Representatives on Jan. 3, 2019, a contrast between the Democratic and Republican sides of the chamber was apparent. While the Republican side of the chamber was largely filled with white men in dark suits, the Democratic side was a rainbow of colors, patterns and styles. The new wave of women in Congress, most of whom were Democrats, used their fashion choices to express their diversity. 

Lawmakers like  Rep. Rashida Tlaib (D-Mich.) and Rep. Deb Haaland (D-N.M.) woreclothes that honored and showcased their traditionally marginalized and therefore politicized personal backgrounds. Tlaib wore a Palestinian thobe, a traditional embroidered gown, in tribute to her mother. Haaland, one of the first two Native American women elected to Congress, wore traditional clothing, moccasins and jewelry from the Pueblo tribe, of which she is a member. 

Former secretary of state Madeleine Albright used pins to send a message in diplomacy, according to Ferrara. After an Iraqi media outlet referred to her as an “unparalleled serpent,” she wore a snake pin on her next trip to Iraq in 1994.

“She picked a pin that was extraordinarily tied on a deep level to the situation she was in,” Ferrara said. “Her pins always had a remarkable point of relevancy.”

Albright’s pins became such an integral part of her diplomatic repertoire and messaging strategy that the Smithsonian Castle featured them in a 2010 exhibit titled “Read My Pins: The Madeleine Albright Collection.” 

Regardless of the policies they represent, these fashion choices represent how women can use their clothing as a way to make a statement that transcends mere aesthetic value. Choosing what pin to wear to any given event helped amplify Albright’s own political stances in a subtle but powerful way, the former secretary of state said in an NPR interview in 2009.

“As it turned out, there were just a lot of occasions to either commemorate a particular event or to signal how I felt,” Albright said. 

In foreign policy, as well as in Congress, leaders make strategic choices about fashion to serve their goals and further their countries’ agendas. To argue that these choices are somehow less important because they happen to take the form of clothing diminishes the importance of visuals in communication and the power of the ability to harness fashion as a storytelling medium. 

Fashion Faux Pas

While women can benefit from the multitude of ways to express themselves and their cultures through their clothing, they also face more pressure and face severe sexist critiques. 

Making bold fashion statements also can lead to criticism that centers the conversation solely around the visual appearance and gendered connotations of their clothes, according to Ferrara. 

“The flip side of that issue is when people say, ‘Well, aren’t women always criticized for dressing too sexy or aren’t women always criticized for dressing, you know, too much like a little girl,’” Ferrara said. 

Some female politicians may try to wear clothes that do not attract attention in order to bring attention back to their ideas, but this can bring criticism as well. Clinton’s style when she transitioned from being first lady to perfectly captured this phenomenon, according to Bennett.

“She was sort of ‘anti-fashion” fashion. She just assumed, like, if I wear this pretty standard-issue — although it might be Ralph Lauren, it might be a pretty high-end designer, — pretty standard issue suit, no one’s gonna be able to critique,” Bennett said. “She had to find clothes that made her sort of disappear in that sense.”

However, the think pieces and articles that major publications ran during Clinton’s 2016 presidential campaign examining her fashion choices prove that even trying to hide behind inconspicuous clothes would prove an unsuccessful media strategy.

Likewise, female politicians themselves may object to the relevance of their outfits, but clothes make important claims that cannot just go ignored in certain contexts, according to Bennett.

On a diplomatic trip to Kenya in 2018, First Lady Melania Trump wore a white pith helmet, a hat worn frequently by European explorers and a symbol of colonialism.

“I was the one in Egypt who asked her about her clothing scandal from the day before, where she had worn the pith helmet in Kenya and created a hubbub. The next day in Egypt she did a quick Q&A with the press, and I asked her about that and she looked and me and she said, ‘I wish people would focus on, you know, what I do and not what I wear,’” Bennett said. “I mean, I would love to do that, too, Melania, but no, I don’t think we can.”

Analyzing the role of fashion in women’s political careers requires nuance, but it carries value. Dismissing reflections on fashion choices ignores a valuable part of many politicians’ messages, according to Bennett.

“People who sort of dismiss politics and fashion or that kind of coverage, again, are overlooking a multibillion dollar industry and a really viable way that politicians can and probably should be using their looks, their fashion, their style, to send a message,” Bennett said.

Luxury Brands Sell Expensive Stories to Younger Markets

On September 13th 2019, Emilia Ferrara was interviewed by esteemed Georgetown University newspaper “The Hoya” about her analysis of the aspirational economic system within luxury brands that cater to younger markets. See the original article here or read below.

Luxury Brands Sell Expensive Stories to Younger Markets

by Steven Botsoe and Michelle Brown

Walking down Georgetown’s busy M Street, tourists and residents alike ogle and peruse the countless high-end stores that dot the street and purchase anything from Chanel makeup to Michael Kors handbags. These luxury stores found throughout the neighborhood encapsulate modern luxury retail culture — a lifestyle filled with decadence and glamour, but one that is affordable only to the few people with enough expendable income to indulge such expensive tastes.

Modern luxury products now go viral often, confusing fashion writers with three-digit price tags for everyday items. The summer 2017 release of new luxury products like Balenciaga’s Speed Trainers, criticized by one such writer as “a $700 sock with a sole,” raises important concerns about its practicality and wildly inaccessible price. 

Despite this pushback, the way in which the Speed Trainer dominated the market and generated massive social media hype suggests these brands are selling more than a structured handbag, leather belt or sock-turned-sneaker. Their products obviously communicate a wearer’s particular preference for elastic shoes, but they also tell a story of creativity and personal expression that brands work hard to sell as a fulfilling lifestyle, despite the fact that the meaningful experiences they advertise carry hefty, unrealistic price tags.

Despite the sustained appeal of names like Balenciaga, founded in 1919, fashion lines now rely extensively on generating social media hype to target a digitally connected and image-conscious audience that forges meaning and identity from its clothing, changing the strategies and markets of brands while still maintaining an exclusive and elite vision. 

All Eyes on Younger Consumers

A 2019 report by Boston Consulting Group and Altagamma that surveyed 12,000 consumers in the 10 leading countries for luxury fashion sales indicates that these opulent brands have been immensely boosted by younger generations. The report predicts that millennials, those born from 1978 to 1992, will be responsible for 50% of spending in the personal luxury market by 2025.

Social media buzz, online shopping and the effect of influencers make up some key trends that will continue to grow for at least the next six years and effectively reshape the luxury market, according to the report.

By connecting to a growing urban and digitally savvy audience, brands like Gucci and Louis Vuitton have refocused their target audience to include younger people and have begun including streetwear trends and clothing into their marketing.

However, what constitutes trendiness, determining the future of the luxury fashion industry, depends largely on the work that black people do as tastemakers for popular culture, according to Larry Taylor III (COL ’20), president of the Black Student Alliance, who personally incorporates luxury brands into his wardrobe. 

“You can look at Virgil [Abloh], who is the Men’s Artistic Director for Louis Vuitton, and think, ‘This man is a whole black man, and he’s putting on for the culture,’” said Taylor in an interview with The Hoya. “You have these high end brands like Louis Vuitton, Prada, Alexander McQueen and Gucci, even, shifting to urban clothing because that’s what’s hip, and that’s because, at the end of the day, black people make it hip.”

Additionally, many companies have aimed to perfect the balance between exclusivity and transparency in order to successfully convince younger audiences that their expensive products come without environmental degradation.

An industry webinar released by Nielsen, a market research firm, notes that the younger generation’s desire for sustainability and better business practices has also transformed the market. Seventy-three percent of consumers under age 34 reported being more willing to spend extra on a brand they consider to be environmentally and socially sustainable, according to Nielsen’s research.

A Story Sewed in Cloth

Brand storytelling is a potent marketing technique for encouraging a relationship between the consumer and the logo on the product rather than the product itself. Companies seek to communicate to consumers their purpose and values to humanize their releases as a way to attract customers, according to Giulia Melidoni (COL ’22), who serves on the board of the Georgetown Retail and Luxury Association.

“When a luxury brand is selling a product, it’s not all about the profit they will be making, but they are selling to their customers the story of the brand and its success. Luxury brands try to narrate the story of their origin, choice of craftsmanship, loyalty, excellence and premium quality,” Melidoni wrote in an email to The Hoya. “When GRLA invites speakers on the hilltop, these speakers share the stories of the brand they represent, bringing their vision to life.”

In one recent campaign, Gucci released a collection of short films in collaboration with students from New York University’s Tisch School of the Arts as a way to market its $790 extravagant Ultrapace sneaker.

Each of the productions features young protagonists who find freedom and escape from mundane interactions through adventurous artistic and social endeavors. The four short films tap into subcultures and experiences to provide a sense of relatability and authenticity, or “brand belonging,” as the digital consulting firm Accenture Strategy terms it.

Companies cannot easily fake this sense of authenticity; they have to take active, specific steps to curate it in a campaign, according to Emilia Ferrara (COL ’10), who teaches a course on fashion journalism and serves as editor for Capitally, a fashion and lifestyle magazine focused on sustainability. 

“When you look at Dolce and Gabbana’s ads, you can see that this notion of community and family is highly choreographed — it’s falsified — and it’s honestly pretty thrown together,” Ferrara said in an interview with The Hoya. “They could go even deeper, and look at the professors in that area, the bakery owners, the baristas and the people that you and I think of as our style icons because they’re in our midst and we know them”

The collaborative fashion show between pop star Zendaya and Tommy Hilfiger at 2019’s New York Fashion Week is one example of a show that gets the portrayal of authenticity right by setting the personal brand, image and persona of Tommy Hilfiger aside and celebrating a different experience and narrative in the spotlight, according to Ferrara.

The show took place at The Apollo in the New York City neighborhood Harlem, and Zendaya sought to reimagine the luxury brand to be inclusive toward women from all walks of life by booking models with diverse skin tones and body types, even though many of the line’s products range from $100 to $300, with some pieces going for over $1,000.

“Designers are seeing the need to enter a cohesive world and sphere that already exists and belongs to an indigenous community, and showing it respect and being able to put on a show that brings those values to light and highlights them as opposed to trying to recreate them or rebuild them on a set,” Ferrara said.

International Brands, Personal Meanings

For some Georgetown University students, their interactions with luxury fashion are part of larger elements of cultural identity formation.

Using clothing to represent a larger lifestyle is not limited to the brand’s own work, but the reality that people’s choices to align with certain brands has class implications remains, according to Taylor. 

“There’s a class level to it, but there’s also a cultural aspect of it,” Taylor said. “I feel like that cultural aspect is supported not only by the fashion industry, but also like, hip-hop and music in general, just because I think that’s how certain people, including myself, find out about these brands.”

Luxury clothing and fashion take on different meanings when considered within certain communities, and that importance can further encourage consumers to save up to make those kinds of expensive purchases, according to Taylor.

“Within black culture in general, fashion is idolized. Most of the time it’s another form of art,” Taylor said. “When I started getting my own money, and was able to make my own purchases by myself, I think that was what allowed me to dive into what type of fashion I wanted to be a part of.”

Despite the power and allure of high-end goods, an individual’s personal style and own sense of fashion constitutes the most important aspect of self-expression through clothing, according to Taylor.

“People definitely feed into the hype of brands, but people also need to recognize that brands — no matter how high end they are — still release pieces of clothing that you could consider ugly,” Taylor said. “The brand is a bonus, but for me now, it’s more ‘So do I think this article of clothing looks cool?’ I have to think about the longevity of it and the versatility of it.”

ENTREPRENEUR SPOTLIGHT: EMILIA FERRARA

On October 13th 2017, Emilia Ferrara was featured in the local blog “Myriad Musings” with Saumya Shiohare. In it, she discussed her journey to research MAG WORLD, the process behind writing her first book, and her critiques of the beauty, fashion and magazine industries.

See the original blog here or read below.

“ENTREPRENEUR SPOTLIGHT: EMILIA FERRARA”

Propelled by a desire to offer women a guide to navigating the beauty, fashion and magazine worlds, Emilia began to write her first book: Mag World. Her collection of non-fiction essays offer reflection and counsel on how these three industries could be healthier…especially as an influence on young girls. Her collection of non-fiction essays offer reflection and counsel on how these three industries could be healthier…especially as an influence on young girls.

I recently was invited to meet and interview Emilia Ferrara at the “MAG WORLD” book launch and signing. There were signature cocktails, canapés, a photo booth and Emilia’s vivaciousness, that entirely filled the room with so much energy.  She is humble and sweet and definitely a charmer.

S:  A little about yourself ?

E:  I am an only child and was the only grandchild on one side. I suppose you could say “am” (because you never really stop being a grandchild). But my fathers father, my fathers mother and my fathers sister all passed away in my twenty’s and they meant the world to me. I come from a large Italian family spread across Rome, Naples, Boston and Upstate New York, so although having no first cousins might seem odd I was raised with loving Catholic values and tremendous pride in the hard work of those who came before me.  My immigrant heritage not only influences my tastes in pasta but the way I examine the cut, color and quality of garments. We have four generations of family history in the Italian leather industry, and the portrait of my great-great-grandfather who provided leather to Salvator Ferragamo is the first thing you see when you walk in my front door. 

S:  I recently learn’t that you have an online editorial called Capitally. Did Capitally come first or Mag world and how ?

E:  MagWorld very decidedly came first. The idea bolted at me like a middle child on Christmas morning. I was awarded honors for my senior thesis at Georgetown, a collection of experimental short fiction stories about the beauty industry. When it came time to discuss how my thesis might be published I only wanted it to be printed as a parody of a women’s magazine. At the time, I was a ballerina with proliferous boyfriends, long blonde hair and one hell of a closet. My favorite author, though was Virginia Woolf and I was tired of being treated like a barbie doll. I wanted to expand my fiction stories into long diatribes about how I’d suffered the pressure to be perfect, to be incandescently graceful all the time. However, The Devil Wears Prada movie had just released and I realized bitterness, “no matter how humorous,” would not actualize change. I admired the way senior female journalists could write non-fiction seriously and persuasively, so I went to Columbia Journalism School to go off and learn how to do that. CJS helped me turn my nervous insecurities and anxieties into five long years of research and eight chapters which carry the question: How could the beauty, fashion and magazine industries all be healthier in the future, especially in influencing young girls? Once I had talked the talk, it was pretty clear I should walk the walk. I started Capitally to embody all the values put forth in MagWorld. Like kind girl-to-girl relationships, healthy and filling lunches, free subscriptions to nearly every fashion publication in the world as well as a full library for research and never accepting free work for no pay. We’re going to be doing lots of new things this fall that Washington area publications have never done and even some things that national women’s magazines will not do. Capitally means to do something well with excellence and great skill. And we are going to show how Washingtonians use fashion to do what they do best. 

S: What kind of research do you do, and how long did you spend researching before beginning mag world?

E: My position at T Magazine was fun, but not fulfilling. I used to scurry off to the Midtown Manhattan branch of The New York Public Library and read decades-old magazines from their periodical division. I loved turning the bleak and brittle pages of 19th-century and early 20th century titles like like Vanity Fair, Vogue and Harper’s Bazaar imagining what kind of color and energy they must have brought two our foremothers lives. I felt like I was unearthing treasure and, when I moved back to Washington, the first thing I did was get a membership with the Library of Congress. I wanted to know why Ayurveda was the worlds first experience of civilization deciding that beauty comes from the inside out (not the outside in). I wanted to understand the chemistry of the skin and why certain ingredients were not only pointless but harmful. I wanted to study the psychology of photography and what makes an honest photograph honest. Mag World’s eight nonfiction essays cover the span of magazine publishing and editorial process, editors best practices, guidelines to protect the integrity of photographers and of models, and the business, science and history of the beauty industry. This is a book for girls graduating college to decide what values will define these three industries in the future. This is a book for professors around the country wanting to provide students with analysis on the role of gender in 21st century media. And this is a book for executives, editors, publishers, creative directors an all who hold billions of dollars in their palm of their hands with influence over todays Mag World. I seek neither confrontation nor drama. It’s time women choose collaboration over competition in deciding what the future of media should look like for our sisters and daughters.

S: If you weren’t in the editorial/writing business, what work would you do for living ?

E: I would definitely be a spy. I have an exhausting attention to detail. I’m better at faces than I am with names. I’m a pretty solid actress. And there’s nothing an only child loves better than saying “gotcha!” 

S: What is the most difficult part of your work ?

E: Showing without telling how to be a good leader. I know people hate being told what to do (me, being the guiltiest) so I try to lead my team in a constructive, open way to build mutual respect and friendships. Often times I see a young writer experiencing stress, self-doubt, and the need to transform herself and I so badly want to tell her what not to do. Sooner or later, when my advice is asked, I feel grateful to have candid conversations in the office on everything from accounting to boys. I am often frustrated by inefficiency or a job half done and my inclination is to Commander General my way through it. Leaders who show patience and kindness are not weak. That’s what it takes to be a team player. 

S: Where do you see yourself five years from now and what advice would you give to all the younger writers ?

E: Listen to your voice – it can get more diluted and distracted more easily than you know. Prioritize finishing terrible first drafts and working with what you’ve got instead of pressuring yourself to hit perfect on the first try. Give the middle finger to anxiety as much as you can; fear suffocates a fresh head… in five years? Volunteering more, making more trips over to my cousins in Italy, and with one to-die-for (Gucci filled) closet.

Bitch at Us: Emilia Ferrara, Author of Mag World

Emilia Ferrara was featured in the eclectic and vibrant national blog “Bitches Who Brunch”. Interviewed by the blog’s co-founder, Cori Sue Morris, Ferrara discussed the process behind her debut non-fiction book MAG WORLD.

“Bitch at Us: Emilia Ferrara, Author of Mag World”

BY CORI SUE

We Bitches love brunch, but also girl power, Washington, D.C., and journalism. We were so excited to hear that Emilia Ferrara, a local journalist and brunch aficionado, has published her first book: Mag World, a collection of essays on the downsides of the magazine, beauty and fashion industries. That’s a topic near and dear to our hearts, as both Bitches’ founders, Becca and Cori Sue, studied magazine journalism. Plus, we have mad respect for any lady boss who can overcome writer’s block and navigate the publishing industry.

We sat down with Emilia to talk about why she loves Washington, her Italian roots and love of Italian fashion, and her favorite brunch spots—and her appropriate go-to brunch cocktail: a Bellini.

We’ll be raising a glass to Emilia, to journalism, and to supporting local authors tonight in Georgetown at her book party. Join us—get 15% off your ticket with the code “DCFIFTEEN” here.

Check out our conversation with Emilia, below.

You grew up in Washington, D.C., and went to Georgetown. How has Washington formed who you are?

Every time I leave for the airport, I look back at Memorial Bridge and the picturesque bike trail along the Potomac and I know, each time, that I don’t really want to leave. I’m not only in love with the gracefulness of Washington (or the pearly white columns we all secretly wish were in our living rooms) but with the stories of the people who built it. When I look at the monuments, I see think of glory and of grit. When I walk down 14th Street, and I’m inspired by both the strutting fashionistas and the waiters racing for the bus. Washington has taught me that no beautiful accomplishment can feel really good on the inside without a personal sacrifice laid down first.

How has Washington formed your choice in career?

I grew up in Mass Ave Heights with senators, ambassadors, and other dignitaries as neighbors. Sunday night dinners involved a lot of mansplaining. As an only child, I felt I had every right to not only be curious but precocious. Given the privilege and front row seat I had growing up, I should have ended up the most gullible person on earth. But, I came to value skepticism, forthrightness, transparency, and truth. Having two lawyers as parents helped me think critically, and I might have gone into law if I was comfortable arguing any side. But I chose journalism, because it’s trained me to challenge power and to ask questions in a healthy and productive way.

Tell us about your background in journalism? When did your interest in newspapers and magazines begin?

There’s a funny picture of me reading a newspaper at 5 years-old on my grandparents camper driving through Arizona. It’s funny, because I wasn’t actually reading. My father still reads The Washington Post, The New York Times, and The Wall Street Journal cover-to-cover every morning, as did my grandfather. I admire my father and grandfather for their steady demeanors and informed perspectives: their opinions were always steady, certain, and well-rounded.  I came to see that newspapers are a quiet, reliable source for getting a broad view of the world.

My interest in magazines, however, started very differently. Because my mother worked, she needed help with the groceries after school. I was never much of a help, though, because I used to stand in front of the magazine rack in awe. All the girls in class had smooth, short, straight hair, and I had long, fluffy, curly hair. They all had sleek athletic figures, and I had Italian curves and hips. The other girls had older sisters who read them in on what was cool or forbidden, and I was an only child with older parents. I wanted to fit in and magazines seemed like the ultimate guide. Soon, I had a makeup drawer the size of a sock drawer and had blowout appointments on my calendar twice a week. It wasn’t until high school, when I read Virginia Woolf’s A Room of One’s Own, that I realized magazines were only telling me how to fit in superficially, not helping me find “my people” or “my tribe.”

After an impressive career in journalism, you came back to Washington. What made you return?

I loved working for T: The New York Times Style Magazine, because I have four generations of family history in the Italian fashion industry and I was finally working at a place with serious fashion criticism. But soon, I discovered the atmosphere was all wrong. My boss only ate bacon for lunch, discussed article pitches over a pack of cigarettes, and usually sent me on errands to fetch her lace lingerie being repaired at the seamstress. I was fortunate, though, to be at The New York Times towards the end of Bill Cunningham’s tenure. I always hoped I’d get lucky with a hallway run-in, but I sadly never got the chance to meet him. Somehow, I began spending all my free time at the Midtown Manhattan Public Library looking up 19th century copies of magazines and original street-style photography. One weekend, on a trip home, my dad (not so) casually laid out some clippings on the kitchen table. One was about Desiree Venn Frederic’s work for Nomad Yard and the other was a style article by Sarah Zlotnick. I was so excited to see young, professional Washingtonians taking on serious fashion issues that I knew it was time to apply what I learned in New York back in my own hometown.

Where did the idea for Mag World come from? Why write this book, and why now?

My senior thesis at Georgetown was a collection of experimental fiction short stories about the beauty industry. I was so proud of the writing, but on presentation day I was frustrated that I didn’t have enough time to come up with an experimental way to display and share the stories (instead of double-spaced Times New Roman). I ended up turning in the thesis with the first page all cut out in the shape of a window and it was awarded honors. I always knew that thesis should have been presented as a parody of a magazine, with glossy pages and a floppy spine. That got me thinking: a true parody of a magazine would not only critique the beauty industry, but the fashion and the magazine industries as well. I took off for grad school and started working full-time in New York, all the while turning parts of my thesis into parody articles that showed how the beauty, fashion, and magazine industries could be healthier in the future, especially as an influence on young girls. While I developed the book at the New York Public Library, the Library of Congress, and in my studio apartment in Cathedral Heights, much of the passion in the writing — and indeed the motivation to finish the book — came from my time as a teacher. I taught in lower, middle, and high schools around D.C., learning about girls from ages 5-18, and I knew this book had to be written so they could grow up in a more joyful, pressure-free media environment…instead of the mad, “mag” world I grew up in.

What do you want girls to take away from reading Mag World?

Mag World has so much research and analysis that, realistically, the youngest age I can see engrossed in it would be 18-22 year-olds. However, I used the research from the book to create a middle and high school curriculum called “Media Nutrition.” It teaches kids how to identify healthy and unhealthy messages in the media as well as healthy habits while using media and technology. I believe college-age women will put the book down with wider perspective on those nagging pressures to fit in; I believe young professional women working in the beauty, fashion, and magazine industries right now will walk away with conviction and hope that their careers can be spent deconstructing unhealthy standards; and I believe higher level executives from these three industries will appreciate the concise, structured, and grounded lessons I researched so that they might find reasonable ways to change.

Tell us what your process was like writing the book? Any tips for overcoming writer’s block?

The process was miserable. Whether you believe in this or not, I’m a Capricorn and an INTJ… so pouring my passions, hopes, and dreams onto paper was literally like pulling teeth. I was always taught how to write convincingly, but I had to push myself into believing that writing that enacts real change has to come from the heart. I took my big ideas and hard questions to the periodical divisions of my favorite libraries to look at how a century of writers and editors have walked the tightrope between successful publishing and truthful journalism. I read deeply into the lives and works of journalists like Matilde Serao, Nellie Bly, and Diana Vreeland to understand how to report on the female with excellence rather than stereotype. I never had writer’s block (because all my first drafts are profusely flowery, run-on sentences). My challenge was in how to cut it down. “Kill your darlings” is a rule I learned from Professor Jennifer Fink at Georgetown. To me, it means: cut any words, phrases, or sentences that sound amazing but don’t mean anything. I read everything out loud in a slow, purposeful tone (I picture Tom Brokaw) when I need to hear superfluousness. When I write something but then change my mind, I take out scissors and physically cut away what was comfortable, or hyperbole, or not true, and used the scraps to write my new argument. Finally, don’t be afraid to go for humor. Even if it’s dense or dry, someone’s gonna get it.

What were some struggles and challenges you faced?

I was pretty devoted to publishing Mag World as a parody of a magazine. This meant all the chapters had to be written as articles, which made fun of things you would typically see in women’s magazines. I pitched that manuscript to 16 different big, New York names and I got rejected. After enough time, my close family and friends were all saying the same thing: rewrite it as a basic, nonfiction collection of essays and pitch that first before something so experimental. It took me a year to rework the manuscript to read that way cohesively. During that time, my father was nudging me to consider joining the Metropolitan Club. I thought I was too creative and out-of-the-box to stand on my own two feet there, so I resisted, but after I showed up to a slew of events totally on my own, I found myself making all kinds of friends I had lots in common with. One day, a gentleman joined an informal group dinner and sat next to me. He was a former ambassador, army man, and very interested in my manuscript full of critiques on the media. He asked if I would send a copy and I learned later that he owned a boutique publishing house. Within a week, I got a letter from the executive editor saying that he personally would like to work with me on the book. I was dumbfounded, because their books were almost entirely on military and naval history or biography. My first significant struggle was with my own stubbornness because I didn’t want to move the project forward without my perfect artistic vision being realized. But my bigger struggle (and one I still work on to this day) is to be open. Be vulnerable. Be clumsy. Enter rooms where you know you for certain you are not top dog. You’re always going to learn, and people are always going to surprise you. As a journalist, I am reminded pf that every day. But as an author, I tend to forget. There’s no excuse for letting talent and introversion slip into smugness and prejudice.

Where do you think D.C. fashion is headed?

I see two large trends in D.C. fashion right now. Due to certain real estate development, we have been seeing unique and historic neighborhoods not only be acknowledged but be celebrated. Our collective, Washingtonian fashion identity — and indeed, our local retail economy — can only flourish if we embrace diversity from every corner of the city. The other trend is due to the 2016 election. Washingtonians are using fashion to express who they truly are, and can only continue to do so long as they see the Trump family as ornamental players in a temporary stage. I see lines out the door at Argent (in Shaw) or at Take Care (in Georgetown) and I am reminded that the uplifting and healthy messages — and, indeed, the style setters themselves —are not coming from 1600 Pennsylvania Avenue.

Brunch in or out?
Out.

Where’s your favorite place to brunch in Washington?
Lupo Verde. It doesn’t matter if it’s drinks, snacks, dinner, lunch, or brunch. I’m there.

Bloody Marys or mimosas?
Bellinis. (Fresh-squeezed juice. No peach Schnapps.)

What’s your favorite brunch dish to eat?
Some combination of eggs, polenta, and spicy Italian sausage.

If you had to invite five people to brunch, who would they be?
Since you didn’t specify living or dead, they would be: Franca Sozzani, Federico Perrella (my great-great grandfather who owned all the concerie on the bay of Naples), Jean Maxwell Newell (my grandmother who was a dress designer in Buffalo), Alessandro Michele, and Mariolina Auletta (my 15 year-old cousin in Rome who I wish was my little sister). Federico would charm Franca. Jean would charm Alessandro. And Mariolina would keep trying to teach me Italian.

VIEW ORIGINAL BLOG POST HERE.

Basscamp Contributes to Mag World

Many Washingtonians with dance fever know DJ Basscamp as the most cosmic Minnesota transplant this town has ever seen; but fewer know he is a stunning visual artist, as well.

I am overjoyed to share that he has just agreed to collaborate in the creative process to promote MAG WORLD. He took my voice and translated it into funny, touching and mesmerizing images that I cannot wait to share. He is making it possible for those who are far away to see me in a new dimension. I am so honored to work with him.

If the sounds of Basscamp are indeed unfamiliar to you, explore his equally beautifully designed website and keep an eye out for the quote-cards he created, coming soon via #MagWorldBook.

My Ancestry Research: An Introduction

Over the past year and a half, I’ve had some wonderful and complex questions about my family research, my ancestry methods and my family. I hardly know how to answer them all together, because the process has been long and complex. But I thought I’d try to describe my journey here in order to help others with similar interests in this hobby.

I grew up close to my fathers family. My father, his sister (my aunt and godmother, who had no children) and their parents are all Neapolitan. As a typical Italian family, we were very close knit and spent every holiday together.

As warm and wonderful as it was, I grew up knowing very little about my mothers family.

Helen Jean Maxwell Newell has overwhelmingly French ancestry. (photo: family archives)

Many Washingtonians with dance fever know DJ Basscamp as the most cosmic Minnesota transplant this town has ever seen; but fewer know he is a stunning visual artist, as well.

I am overjoyed to share that he has just agreed to collaborate in the creative process to promote MAG WORLD. He took my voice and translated it into funny, touching and mesmerizing images that I cannot wait to share. He is making it possible for those who are far away to see me in a new dimension. I am so honored to work with him.

If the sounds of Basscamp are indeed unfamiliar to you, explore his equally beautifully designed website and keep an eye out for the quote-cards he created, coming soon via #MagWorldBook.

I was originally told I was half Scotch-Irish. Now, that only accounts for roughly 6%. (photo: AncestryDNA.com)

I am half Italian (43% to be exact, according to AncestryDNA) with a concentration in southern Italy. I am exactly one quarter French and slightly less than a quarter English / Welsh (22%). Other than these three highly concentrated categories (Italian, French and English — in descending order) the remaining 10% contains a mix of Irish / Scottish (6%), Sweedish (2%) and Greek (2%).

It’s not just the Ancestry DNA results that surprised me, but the stories of my French ancestors. Toggling between Ancestry.com, Geni.com, private chats with members of both networks, and private chats with establish genealogical societies, I have learned more about the long history of my mothers family — particularly, in France — than I ever thought possible.

In high school, we took one family spring break trip with friends to the Languedoc region of France, floating on a barge down the Canal du Midi. It was the first time I’d seen stars. Growing up in Washington, D.C. meant I’d seen a whisp of them before, one here or there on a clear night, but I never appreciated light pollution until I was floating past vineyards in the heart of France. Italian was never offered as a language option in school, I took Spanish because I thought it was most similar, but now I wonder: if I had known all this, would I have taken French?

The Canal du Midi is located in the Languedoc region of France. (photo: creme-de-languedoc.com)

One thing I know for sure is that I am interested in learning French and in taking more trips to France and Belgium. And, if I can travel there to trace those family roots, I will write about to here for others to learn from.

This introduction is mainly meant to be an overview of other posts I’ll be getting into, a layout of the methods / skills I used, and an outline of the people I plan to discuss ahead.

Coming up, I will be discussing what I’ve learned about my French ancestry; I will be isolating my grandmothers connection to the American Revolution and the Mayflower, via Johnathan Damon; And then, on my grandfathers side, I will be discussion his French connections via his ancestor Chretien DuBois.

I would like to thank the DAR for helping me and my grandmother along the way, and in particular Marlene Taggert. I would like to acknowledge the Colonial Dames, and one member in particular, my friend Terrell Fuller. And I would like to thank the Mayflower Society, and most especially Glennon Harrison. Although my mother and I have not yet completed our membership to these last two organizations, their resources have been instrumental in helping me make progress.

Neapolitans are rude. They are loyal. They make terrific pizza. And they generally live a wild and intensely vibrant life. Although I never once looked southern Italian on the outside, all my summers spent in Naples, the Amalfi coast and Capri will be treasures I keep deep within forever. Nevertheless, the new things I know now have opened up fresh chapters, and for that I am grateful.

I’m not the kind of Washingtonian who likes to live in the past. Rather, I believe knowing the past can make us more sensitive and awake in the present, and it can more clearly shape our vision for the future.