… and sting like a bee” ~ Muhammad Ali

Wearing: Zara silk top, Thrifted pants, Nina laser-cut heels (handed down), Self-made fuchsia chain necklace, Vintage painted brushstroke wooden bangle, Gifted crystal bangle from India, Random sunnies
… and sting like a bee” ~ Muhammad Ali

Wearing: Zara silk top, Thrifted pants, Nina laser-cut heels (handed down), Self-made fuchsia chain necklace, Vintage painted brushstroke wooden bangle, Gifted crystal bangle from India, Random sunnies
Last week I had the opportunity to see an exhibit at the Met on Fu Baoshi, a Chinese painter known for modernizing traditional Chinese art with influences from Japan and Europe. I must say that the Met is absolutely masterful at making seemingly esoteric art very accessible to the public. I wandered in not expecting much, not knowing much about the history of Chinese art, and left feeling much more connected to it through an artist who wasn’t even on my radar moments before. Such is the undeniable beauty and power of art (all images via metmuseum.org, visit link to see full collection).

Fu Baoshi: Viewing a Waterfall From a Mountain Ridge, 1945, one of his later works that combines the ethereal effect of expansive ink washes (Japanese Zen influence) and his own technique of loosely scrubbed ink washes he developed while studied traditional Chinese art.
What drew me in to the exhibit was an appreciation for the beauty of Chinese landscape paintings (which closely resemble Persian landscape paintings). Fu started off studying Chinese masters of this art to perfect his ink brushing technique. What’s interesting is that his own contemporaries saw traditional Chinese art as archaic and backward, so much that Fu had to travel to Japan, where Chinese art was still revered, to study his own country’s heritage. I love that he ignored popular sentiment and followed his own path, and as a result actually ended up swaying popular sentiment to view previously shunned Chinese art in a new light.

Fu Baoshi: Landscape, 1943, painted in Zen style with , indebted to the Japanese artist Takeuchi Seiho
By mastering Chinese tradition and learning both Zen art and European impressionist techniques while in Japan, Fu created his own style that helped Chinese art regain respect both internationally and among the Chinese themselves. The exhibit allows you to see the progression of his style from his early days copying Chinese masters, to the time he spent in Japan learning from Zen monks, to the culmination of his own technique that combined the two. For me seeing how an artist’s style evolves is as important as the work itself. I respect that his devotion to his country and the Communist movement did not prevent him from adapting techniques from other cultures in order to enrich his own, because as my blog emphasizes again and again, I’m no fan of isolationism.
Fu’s later figural work further hybridizes Chinese, Japanese and European influences. He often illustrated beautiful goddesses in Chinese myths with the feel of Zen monk apparition paintings and a subtle nod to realistic Western shading techniques. I love the depth he builds, first with gradations of blurry ink washes, and then with scrubbed textures that create a shimmery effect.

Fu Baoshi, Mountain Spirit,1946, inspired by a shamanistic song from the ancient Chinese literary work Nine Songs
Thanks to this exhibit my appreciation for Chinese art now extends a little beyond a superficial appreciation of landscapes. It’s all in the details, and in this case coming to understand how Fu combined one brush technique with another – something I never would have noticed otherwise – illustrates the innovations he brought to Chinese art.
I am thoroughly enjoying my hot pink pants these days, especially the chance to contrast their softness and “femininity” with more tailored, “masculine” pieces. As someone who generally veers away from looking either overly saccharine or androgynous, combining the two creates a new space in which I can feel more myself, while also pushing me to trying new things. Suddenly trying out a fedora doesn’t feel so out of place for me and even gives me a little confidence boost.
Even as I use the words “masculine” and “feminine”, I try to be aware of how limiting they can be. Unfortunately the terminology used in fashion is not exactly known for being nuanced (as discussed in this post), but at the same it is convenient to use terms with associations that everyone understands. On a related note, here is a very interesting article on the history of girls wearing pink (spoiler alert: it was once considered a masculine color and put on boys instead!).
Translating the nuance and complexity of visual language into words is daunting, which is why I think fashion journalism is an especially difficult field. I think the key is to avoid using the terms in a way that only reinforces stereotypes and instead use them mainly as starting off points for more nuanced discussions that challenge the social constructs they reference.
This is why I particularly love the current colorful/printed/embellished pant trend, which hybridizes a garment traditionally associated with masculinity by injecting it with traditionally feminine touches. It makes it a little tougher to pigeonhole these pants as strictly one or the other, pushing visual dialogue on gender and fashion a little forward.
Many of the pieces I’m wearing juxtapose contrasts in a similar way. For one of my scrap-upcycling projects last year, I added some leftover DKNY silk onto the cuffs of this jacket. The original fabric was a classic navy stripe, but I felt the need to jazz up a traditional blazer with some vibrant floral brushstroke fabric. Likewise my fedora has a bow and my shoes are oxford-heel hybrids, which are again plays in contrasts.
Wearing: Shalwar pants from this shalwar kamees outfit, Urban Outfitters bird print dress (worn as a top) and bird skill ring, Reworked Banana Republic blazer, Target fedora, Civico 10 Oxford heels, Asos bag, Vintage jade bangle
Anyway on this lovely day, one of my best friends came to visit and we went down to Steinway Street in Astoria, also known as “Little Egypt”. With great Arabic restaurants, shops, and hookah lounges, I felt like I was right back in the Middle East. If you ever visit, I highly recommend Layali Beirut, a fantastic Lebanese restaurant. Then stop by a bakery and have a delicious date cake or two with some Turkish coffee! That’s my cultural recommendation for the week
I wore this to an alumni dinner at my undergraduate alma mater, UPenn. It’s a similar look to this one. Both complement the graphic pleats of these bright palazzos with a touch of geometric design. This time I added even more volume with a batwing top. This is a lot of fabric for someone of my (average) height, so it helps that these pants make me look taller and the belt defines my waist.
Wearing: Michael Michael Kors top, Asos pants and bag, Self-made belt and cuff, Vintage estate necklace, Kenneth Cole boots, Random sunnies
My last post was about the relationship between the clothes we wear and how we perceive ourselves. To take the discussion more in the direction of personal style, here’s a short interview of star fashion icon Iris Apfel – with the awesome title “I’m not just some empty-headed fashionista”- recently posted by Ari of Advanced Style:
I love how Iris articulates that her colorful and daring fashion sense is a natural extension of who she is and what she does, not something she spends all her time crafting in order to create a certain persona. While the psych study shows that we can use clothing to influence our behavior (and this can be useful at times), I think generally it’s more authentic to allow our identity to influence our style instead.
Ultimately the difference between the psychology of clothing and the psychology of style lies in awareness of ourselves and our surroundings. Clothing will always communicate something, whether we want it to or not. If we ignore this reality and let social perception create meaning for us (this includes being slaves to fashion trends), then our behavior can easily be ruled by what we wear. But if we embrace this reality and use style as a tool for self-expression, then we create our own meaning that stems from our unique identities, and this is where creativity, risk-taking, and trend-setting emerge.
I enjoy the challenge of finding my own balance in which I am aware of social perceptions (and embrace those that make sense to me), but always make sure my style is a natural extension of who I am, regardless of how popular my sartorial choices are at the moment. It’s about confidence as much as it’s about style – the two go hand-in-hand – and this is what Iris’s style exemplifies, making her the fashion icon that she is.
Psychology is one of my favorite subjects, one that is closely tied to fashion. Much like body language (which studies show accounts for over 50% of our communication) style is a visual language, and so questions surrounding what clothes mean and how they affect the way we perceive ourselves and are perceived by others are an important part of larger discussions on psychology, society and culture.

The meaning we assign to a doctor's coat affects both the wearer and viewer. image via asiahealthcareblog.com
This week the New York Times had an interesting article called Clothes and Self-perception, about a recent study observing how clothing affects thinking and behavior. To briefly sum it up, the study had some participants don a doctor’s white lab coat to test if they acted more doctor-like, with greater care and attention to detail, than participants wearing street clothes. Not surprisingly, they did. However other participants who were told the same white coat was a painter’s smock did not improve, indicating that perception of the coat’s meaning impacted the wearer’s behavior. Another important part of the study showed that the participant had to actually wear the coat to improve; it was not enough to just be near it and know what it meant.
We all know that in certain situations, clothing has a big impact. Dressing well for an interview affects our own confidence as well as the interviewee’s confidence in us. A police or army uniform affects the wearer’s sense of authority and how others behave. But what about everyday situations to which we don’t attach the same importance? Can this study extend to subjective fashion choices? For example does constantly wearing jeans, which is practically an informal uniform for the overwhelming majority of Americans, affect our tendency to conform? Does dressing a little more adventurously translate into more adventurous thinking and behavior? Do the psychological effects of wearing a particular type of clothing everyday eventually wear off and stop affecting us?
Are we at the mercy of whatever meaning society has attached to say, a dress vs. pair of pants, or can we define “femininity” and “masculinity” in our own ways (or not at all) and behave accordingly? It would have been interesting for this study to compare how the participants behave if they are told the lab coat is a painter’s smock, but are then encouraged to imagine it to be a doctor’s coat – would they be able to behave more doctor-like based on their own belief despite knowing that the coat’s social perception was different? When it comes to the meaning of clothes and personal style, the difference between what society says and what we ourselves believe can sometimes be very different, but I think that’s where taking risks and going with our own voices makes us stronger and more creative.
I could list 100 more questions related to the issues this study brings up. As the relatively new field of embodied cognition grows, I am excited to see what scientists find. There are no easy answers to these questions, but I think there’s value simply in the journey of exploring them, regardless of whether solid conclusions are ever reached. Feel free to share your thoughts!
I can’t help but think of my experiments with color blocking in terms of flavors. Strawberry mint might not sound too appetizing, but I enjoy the visual combination of pink and green. It’s a little out there, but it’s a combination I’ve worn via South Asian clothes for a long time. In fact, these pants were taken from this shalwar kamees outfit. I love that I can bring this trouser into my American wardrobe, because as popular as brightly colored pants are these days, I wouldn’t invest in a hot pink pair. I try to only buy clothes that I know I will love and wear for a long time, long after their trendiness has faded, and hot pink pants just wouldn’t make the cut. But since I already happen to have a pair lying around, I might as well get as much mileage out of it as possible!
I recently made this top out of some leftover mint green knit and chiffon fabrics I had in my stash. I’m crazy about this color and so happy to see it back! I think shades like this look great on brown skin. This is yet another knit-woven hybrid top, which is always a great solution when working with limited scraps. The knit makes it versatile and comfortable of course, and also provides a good anchor for my experimentation with the floaty chiffon. The design is partly inspired by a hallmark of South Asian style – the dupatta – which is the large, lightweight scarf that is often draped across the chest and/or hung over the shoulder.
The cowl neck has a similar draped look, so I incorporated that, and allowed the bias chiffon to asymmetrically draped down one side. The chiffon is sewn with the knit at the neck and armholes, but separately down the sides and at the hem, allowing it to float and have movement.
I love asymmetry, and I also love clothes that give an interesting side view. I remember that at the Alexander McQueen “Savage Beauty” exhibit many of his brilliant quotes were displayed with his clothes, and in one that stuck with me (I have to dig up the actual quote) he said he loves to design clothes starting with the side view, because that’s the most overlooked and difficult view, and therefore makes the clothes more interesting. I agree!
Wearing: Self-made top, Shalwar bottom, Peacock shoes from Modcloth, Vintage pink bangle, Thread-wrapped bracelets from Target, Self-made crystal chain necklace
Through some Pinterest surfing I found a couple celebrities rocking the pink-green combo in different ways. Normally I would find pink and green together too saccharine for my taste, but because color-blocking is in itself a bold style choice, it helps balance out the sweetness of these colors. Speaking of bold, I particularly like the pink and lime green combo that Emma Stone is wearing.
I love learning about different artists and designers who share my passion for hybridizing cultures. I recently came across the beautiful work of Nada Debs, a Lebanese furniture designer raised in Japan, who merges these cultures in her work: “As heir to two disparate cultures, Debs has chosen a design path that marries the geometric but decorative Middle Eastern tradition with the pure forms of Japan” (wallpaper.com). The result is furniture that feels both traditional and modern, both ornate and simple, and achieving this difficult balance makes her work transcendent.

Left: Nada Debs sitting in her Arabesque Moderne chair. Right: Clear C-shaped Table with geometric inlay. Images via wallpaper.com.
The geometric designs in these pieces clearly reference Arab tradition, but are also graphic renditions of Japanese cherry blossom shapes. Brilliant!
It’s no secret that I love Arab geometric design, but what I have not yet discussed on this blog is my love for many elements of Japanese culture, particularly origami. Paper-folding is a constant source of inspiration in fashion design, since fabric and paper can be folded in similar ways to create interesting, modern shapes.
So imagine my excitement a couple years ago when I found a book called Shadowfolds that combined Japanese origami, Arab geometric motifs, and fabric (pretty much my holy trinity)! So I can certainly relate to Nada Debs in seeing the unusual connection between Japanese and Arab design. In fact her work is reigniting my interest in it, so I look forward to picking up this book again and sharing some folding experiments with you!
Another great book, Origami Tessellations, teaches similar techniques in paper instead of fabric.
Loomstate has a special place in my heart. When I first became interested in eco-fashion many years ago, it was one of the first brands I heard of. I even remember when the head designer, Rogan Gregory, was approached by Bono and Ali Hewson to design their ethically-conscious Edun line. It is a pioneering brand that continues to up the ante on sustainability in the fashion industry, whether it’s through educating design students or creating stylish multi-functional garments:
I love garments that can be worn in more than one way, so this new Loomstate collection of reversible, convertible dresses and tops is such a treat. Inspired by Rothko and Mondrian paintings, they brilliantly utilize the color-blocking trend and multiple layers to create garments that can be worn up to 8 different ways, with fun videos to showcase the functionality of each piece. Getting more use out of one garment is not only smart and environmentally-beneficial design, but a great travel solution when space is tight and great day-to-evening solution when time is tight. In other words, these are thoroughly modern pieces for the modern woman’s wardrobe:
I’m now inspired to try working multiple layers into one garment! The soft Tencel fabric Loomstate uses keeps the layers from feeling bulky, but I’d love to try using chiffon instead. In addition to fun color-blocking combinations, chiffon will allow me to play with transparency and layering colors to create new ones. Fun!
The weather is a little nuts these days – one day it’s 70 degrees, the next 50. Dressing during transitional seasons is always a bit tricky, but necessity is the mother of invention, so it’s the perfect time to try new things! This week I went for a cooky granny-style outfit that uses coverage from the cold to ground a celebratory bloom of clashing floral prints.
I took inspiration from Marni’s madcap print mixing signature as well as Proenza Schouler Spring 12, which layered floral dresses over black sleeves:


Pattern mixing has been a growing trend for a while. Most often we see the mix of two different prints in the same color scheme, but rarely do we see the mix of two similar prints in totally different color schemes. It’s a tougher look to pull off, which is why I wanted to try it out. I happened to have these two similar prints in my closet (they’re both tops, I temporarily converted the blue one into a skirt
) and said to myself , “Why not?!” The colors may be very different, but the small touches of fuchsia in the skirt speak to the pink top, while the navy touches in the top speak to the blue skirt. That’s enough for me!
Here are some more fun examples of similarly explosive print-mixing styles:
A note on wardrobe versatility: As I mentioned, this “skirt” is actually a very flowy tank top. When I was trying it on I realized the neckline was large enough to fit around my waist, while the hem was long and sweeping enough to work as a skirt. So all I did was tuck the neckline into my leggings to make it a skirt. I love making a garment work in more than one way!
This top is yet another “upcycled scraps” top I made. When I interned at DKNY a few years ago, they were kind enough to let me hold onto some scraps from the sample-making room. They had some amazing silks with florals that scattered like spots of a leopard print. I remember seeing mass-market retailers take inspiration from them the following season, which is probably how this skirt/top came to be.
Are there any “out there” styles you’d like to try?
Wearing: Self-made top, Uniqlo heat-tech tee, Thrifted silk skirt/top, J. Crew belt, Kenneth Cole boots, Self-made cuff, Native American turquoise necklace from Minnesota (gift from my sister-in-law)