August wearing Tunic by Annie Yang, BFA Menswear Design and Jasmine Xu, BFA Textile Design. Photograph by Nicolas Gutierrez, MFA Photography.
180 ISSUE Nยบ 9
180 Editorial Director: Simon Ungless Design Director: Kate Nakamura Fashion Director: Flore Morton Editor at Large: Stephan Rabimov Copy Editor: Ian MacKintosh Contributing Writers: Elena Eberhard, Alexey Timbul Bolukhov, Marisa Tania, Namrata Loka, Nivetha Sundar
Special Thanks: Stars Model Management, Hot Flash Heat Wave, The Chapel, Jeffry Raposas, Jakub Kalousek, Joanna Hidalgo, David Terp at McCune
Cover: Claire Kempf wearing a top by Karin Kate Wong, BFA Fashion Design, with vintage gloves and Fez box hat with tassel. Photograph by Isabella Bejarano, MFA Photography.
180 Magazine 79 New Montgomery Academy of Art University School of Fashion San Francisco, California 94105 firstname.lastname@example.org www.oneeightymagazine.com
Top and Skirt by Max Lu and Jingci Jessie Wang, MFA Fashion Design. Black Dress by Wenhan Yuan, MFA Fashion Design. Photograph by Jeffry Raposas, BFA Photography.
A Letter from Our President
Two Cities Two Schools
Inspiration · Acquisition · Evolution
New Directions in Sculpture
Eyes Wide Open
Gents Hat Room
These Were The Hours
Hot Flash Heat Wave
Headdress by Michelle Helene. Photograph by Colette McGruder.
Jumpsuit by Brandon Kee, BFA Fashion Design. Photograph by Danielle Rueda, MFA Photography.
A Letter from Our President
Welcome to the ninth issue of 180 Magazine, written, styled, photographed, and produced by students in the School of Fashion and School of Photography at Academy of Art University. 180 Magazine covers fashion, art, photography, and lifestyle, offering both on-site and online students the opportunity to apply their skills in a real-world context, publish work, and build their portfolios while working closely with the industry they are preparing to enter. In this issue we focus on opportunity and change. Change is a crucial aspect of our professional world and also defines the spirit of the University. Only through change can we move forward. The title of this publication even references change. In (Im)perfectly Beautiful, we learn that opportunity and change are more often than not found hand in hand as we read about a student who has welcomed both since her childhood. In Two Cities Two Schools, four “Paris San Francisco Sister City Scholarship Exchange” students offer different perspectives in dealing with culture shock, finding inspiration, and recognizing what is important no matter what the situation. In Michelle Helene, alumna Michelle Helene Grunberg shares her decision to leave the rigors of
designing eight collections a season to focus on building her own sustainable brand. Through joining forces with her brother, she has found herself happier and more creative than ever before. In Beyond the Mythology of Tom Durham: Muses and Works, Director of Sculpture for the School of Fine Art at Academy Art University, Tom Durham, tells us about his return to academia, how he finds students inspiring, and lives for the “damn, that’s good” moment. As every industry is constantly changing, the University has always believed that the best instructors are actual working creatives so that students learn from art and design experts who maintain careers on the leading edge of industry trends. In addition, editors, designers, recruiters, and industry executives are invited throughout the year as guest lecturers in the classroom and at annual Academy events to share their experiences, knowledge, and career opportunities while meeting with students and viewing their work. Additionally, the School of Fashion works with organizations such as the Council of Fashion Designers of America, YMA Fashion Scholarship Fund, and Arts Threads that are creating opportunities to aid students and graduates in their future careers. Every opportunity and every change is a learning experience so take full advantage of what comes your way.
Dr. Elisa Stephens President Academy of Art University
CONTRIBUTORS DANIELLE RUEDA, MFA Photography, began her career in Manila in 2008 specializing in fashion, and lifestyle photography. Her work has been featured in Bride and Breakfast Philippines, IfOnly. com, Bob Cut Mag, Solstice Magazine, Elléments Magazine, Girls Our Age Zine, The Like Magazine, Florum Fashion Magazine, Fashion Xchange Magazine, and SFGate. Danielle is currently represented by Look Artists Agency.
LAYNIE ROUCH, BFA Fashion Styling, was raised in Rochester, NY where she knew that she was destined to be a city girl. Today she is based in New York City, has been published in SickyMag, LoneWolf Magazine, Bob Cut Mag, Institute Magazine, POPSUGAR, and Models.com, and was selected as a VFILES Runway 7 Stylist Winner. She has worked in the art department of New York agency Joanne Blade, and is presently at Eugenia Kim.
ANDREA GUINDI, BFA Fashion Styling, specializes in editorial, commercial, and product styling. She draws much of her inspiration from the ‘quirkiness’ and ‘characters’ she observes while living in San Francisco. Andrea’s client list continues to grow as she has recently worked with Specialized Bikes, Restoration Hardware, and Levi’s.
NIVETHA SUNDAR, MA Fashion Journalism, was born in the Bay Area and raised in India. She is a fashion journalist with a bachelor’s degree in Textile Design who has a multicultural outlook on life with an affinity towards the art of creation. She worked for a couple of design start-ups in India before deciding to return to the U.S. to pursue writing.
AUDREY WAANANEN, BFA Fashion Styling, was born and raised in Enfield, Connecticut, where she formed a love for art and fashion. She is a San Francisco-based freelance stylist who produces, art directs and styles various photo shoots including editorial, e-commerce, product, and commercial styling.Â She has styled and revamped wardrobes for various clients throughout the bay area, and is currently working as a senior stylist for Stitch Fix.
MARISA TANIA, BA Fashion Journalism, was born and raised in Surabaya, Indonesia. She writes about contemporary culture, off beat subjects, lifestyle, and fashion. Her work has appeared on Fashion School Daily, Academy Art U News, and Bob Cut Mag. She lives in downtown San Francisco with her rescue dog, Nemo.
SHAN LEE, BFA Photography, was born in Taiwan, grew up in Hawaiâ&#x20AC;&#x2122;i, has lived in Italy, and is currently based in San Francisco. She picked up her first camera at the age of 16, and has been in love with photography ever since. She is currently working as an Assistant Photographer at Stitch Fix, and has a client list that includes many Bay Area eCommerce sites including Alyssa Nicole, Blush! School of Cosmetics and Beauty, Centro39, CirqFIT, Harper + Lange, and Les Matin.
NAMRATA LOKA, MA Fashion Journalism, is a fashion journalist, and the founder of Miraya, an online store for contemporary Indian jewelry and accessories. As part of her ongoing effort to put Indian fashion on the global map, she launched a blog on Miraya where she shares her sartorial stories.
TWO CITIES TWO SCHOOLS Words by Elena Eberhard Photography by Kori Johnson, Justine Menard, Vanessa Nash-Spangler, and Charlotte Lauxerrois
left: photograph by Charlotte Lauxerrois. right: Vanessa Nash Spangler
For more than 20 years, the School of Fashion at Academy of Art University has provided BFA Fashion Design students the opportunity to study for one year in Paris through the merit-based "Paris San Francisco Sister City Scholarship Exchange.” Each year, four Academy students are selected to study abroad for one academic year, two at Studio Berçot and two at L’Ecole de la Chambre Syndicale de la Couture Parisienne, two schools with distinct philosophies and learning environments, while students from both French schools come to San Francisco for the same duration to study at the Academy. Gladys Perint Palmer (GPP), Executive Vice President of Artistic Direction at Academy of Art University, remembers launching the program in 1996. “On Christmas Eve in 1995, Willie Brown, then Mayor of San Francisco, asked me to find a French fashion school as part of the Paris San Francisco Sister City Initiative. In January during Haute Couture, I waylaid Jacques Mouclier, then head of the Chambre Syndicale, to see if L’Ecole de la Chambre Syndicale de la Couture Parisienne would be interested. To be safe, as I only had five days to spend in Paris to cover the Haute Couture collections, I also contacted Marie Rucki, a friend of Rosita Missoni, and the director of Studio Berçot. They both said yes.” “It was not easy at first,” recalls GPP. “Though the French Consul General in San Francisco was most enthusiastic and helpful with visas, and our students were rearing to go to Paris, French students could see no point in studying fashion in California. However, after a year or two, as word spread from the returning French students about our textile, knitwear, design, and merchandising programs, both Paris schools approached us to add another exchange scholarship per year. We agreed. Soon came the request for three exchange scholarships. We said no. But this confirmed what we knew. The School of Fashion at Academy of Art University is brilliant.”
Vanessa Nash- Spangler at Ecole De La Chambre Syndicale De La Couture Parisienne
Through the years, the program grew and has become an Benchakarn studied in Paris in 2003 and now runs a integral part of each school’s curricula. successful menswear brand JBB in Bangkok, Thailand. “For me, Paris will always be the world capital of prêt-àporter and our exchange program acts as the gateway for our students to enter that world,” notes Simon Ungless, Executive Director of the School of Fashion at Academy of Art University. “The Academy students who decide to take full advantage of this opportunity with our sister schools have been changed forever as they have been offered positions at companies such as Celine, Saint Laurent Paris, and Rick Owens.” For many, this exchange program has indeed been a life changing experience. After a year at Studio Berçot, Kim Tran, 2012 BFA Fashion Design alumna, decided to stay in Paris to intern with Rick Owens and today is in charge of creative direction at Maison Sprung Frères Fourrures. Zhangchi Wang, 2012 BFA Fashion Design alumna, also studied at Studio Berçot and is now a designer and creative pattern cutter at Saint Laurent Paris. Rinat Brodach, 2010 BFA Fashion Design alumna, studied at L’Ecole de la Chambre Syndicale de la Couture Parisienne, interned at the Yves Saint Laurent showroom, and later worked as a fashion designer at Steffie Christiaens before returning to the U.S. where she launched her own line during New York Fashion Week in 2013. Academy alumnus Bote 12
Success goes both ways as well. Maud Heline studied at Academy of Art University after graduating from L’Ecole de la Chambre Syndicale de la Couture Parisienne in 2005. Today she runs her eponymous brand out of Brooklyn, NY, and her shirts retail in the iconic concept store Colette in Paris. Francois Broca, Director of L’Ecole de la Chambre Syndicale de la Couture Parisienne, feels that the program has continuously improved. “Exchange students now have a better understanding of why and how to benefit from this additional year of study, and their feedback is always enthusiastic. For the future of the program we envision exciting new possibilities related to our upcoming merger with the Institut Français de la Mode by 2019/2020.” So what it is really like for the students? After the excitement of winning the scholarship, comes the reality of organizing travel, finding housing, and learning the language. This is followed by having to integrate into a new school, a new way of design thinking, and a whole new vision of the world as well as one’s place in it. Four students from the 2016/2017 exchange share the experience of their big move.
VANESSA NASH-SPANGLER, 2016 BFA FASHION DESIGN ALUMNA, CURRENTLY STUDYING IN ECOLE DE LA CHAMBRE SYNDICALE DE LA COUTURE PARISIENNE.
How was the transition moving to a city like Paris?
The transition was tough, exciting, nerve wrecking, and strange. It was hard to leave my fiancé and my family behind to follow my dreams but exciting because that 15 year old in me who always knew she would end up in Paris finally made it! When it came to packing, it was a frantic mess of what to bring and what to just buy again. Fitting my life into two suitcases, along with the abundance of sewing supplies I had, was truly difficult. Arriving in Paris was pretty simple as I made sure to secure a furnished apartment beforehand. It was nice to come to my new home and settle in immediately. Rather quickly I found out that culture shock is a real thing. The French have a different way of life and a different mindset to people in the United States so it took a while to adjust to a new way of life, but now I love it. The social aspect of the city is my favorite. You make friends, you go out for lunch or drinks, you take time to enjoy your life and your friends. Though I always have work to do, I also make sure I am taking care of myself and my well-being. VNS:
Their process here is so different from the Academy. The classes are linked together with a focus on design projects. For our design projects we typically start with ‘styling’ existing garments from thrift stores and draping and cutting based on inspiration to determine a silhouette. From these we begin designing in the silhouette(s) chosen. The next step is to create a toile of one of the designs that shows the silhouette(s). Doing this brings a visual representation of the project. I really enjoy this process, though it is different than what I am used to. I typically skip making sample pieces now and focus on the toile, unless I find them necessary to communicate my ideas. It feels good to have a finished garment to accompany every project.
Where do you draw the inspiration and did it change with the move to Paris?
Paris has given me a new view on fashion. I used to think of Paris as this place of grandeur and avant-garde creations, the place where new ideas meet old techniques, but now I feel quite different. My sources of inspiration remain the same, I gather them from my personal interests which are always growing. The difference here is that I am immersed in my inspirations. For example, the project I am currently working on is inspired by the circus, which France has a rich history of. So instead of just looking at pictures I can immerse myself into the universe I have created for my collection. It really helps me to get a feel for what I am inspired by. VNS:
What is your experience like in another school?
Interesting. Not knowing French as much as I thought I did has definitely proven to be challenging. I thought I would learn more about technique at L’Ecole de la Chambre Syndicale de la Couture Parisienne but instead have become much more familiar with draping. I have developed a new way of conducting my work with advice that has helped me better shape my research and portfolio.
Beading by Kori Johnson.
180: What advice would you give to the next group to help prepare them?
Seriously study your French! Though it will still be difficult, basic knowledge of the language is better than none. VNS:
Try not to have too many expectations. I found that I was a bit disappointed at first because I expected the Paris fashion industry to be a certain way. For example, I always wanted to work for a big well-known fashion brand. After some discussions with fellow students, I found out that working for a big company gives very little creative freedom. I want to go into a job that allows me to express myself and to learn new things as we are never done learning, in my opinion. I also found that it takes years and years to gain promotions, and even those promotions have very little pay, which I wasn't expecting. Just know, if you want to work in fashion in Europe you are doing it because you love it, not because it pays well.
Also remember, this is a period for you to grow as a I guess that assaults you and influences you, and becomes designer. Your opinions, goals, and style may very well a part of you and your process. By trendy, I mean you see change and that is okay. trendy clothes in store fronts that are both bright and risky, and the people here aren’t afraid to take the risk. I When you’re here, focus on school and give it your all, but draw my influence from everything around me, and from also make time to enjoy living in Paris, a beautiful city that my day-to-day experiences. has so much to offer! 180: What is your experience like in another school? 180: What is next for you? KJ: Studio Berçot is a great school for ideas and creativity. VNS: Internships which is ultimately why I came here. I We have a project due every week and a half to two weeks plan to stay in Paris for the year after school to work and so we are constantly working on generating ideas and then see where the wind takes me. I have been considering development. Through this is also a lack of structure that working for some companies in London as well. I want to enables you creatively and forces you to make your own continue being creative and hands on which I now know is sense of the chaos. This made my first month at Studio something a big company cannot offer me. Berçot incredibly difficult as I was used to knowing what was happening and having structure to follow. On KORI JOHNSON, 2016 BFA FASHION DESIGN ALUMNUS, top of that, I didn’t speak French and didn’t know any CURRENTLY STUDYING IN STUDIO BERÇOT. of my classmates except for Isaac. There was a turning point though, two girls from my school, Ellia and Cosima, 180: How was the transition moving to a city like Paris? approached me and could tell that I was having a hard time. They let me know that if I needed help understanding KJ: I was the first of the four of us to arrive in Paris. For anything that I could go to them, or if I needed someone the first week I stayed at an Airbnb and felt completely to translate for me in my critiques they could help. From alone so it was definitely an anxiety filled week. I forced that moment, I became more comfortable and they helped myself to get out and explore but it took me a while to me immensely. Through the months I became friends with get comfortable, and I felt like in the end it took me the pretty much everyone in my class, it’s a really small school longest to adjust because I was the first to arrive. Also, and our class has about 60 students in total. We function having not spoken French upon arrival made it extremely like a collective, a family, and we help each other in any daunting. During my second week in France, I went to way that we can. Studio Berçot functions like a workshop, Normandy to stay with a some of my grandmother’s generating ideas, and it’s what makes it one of the best friends which helped me adjust as being there with them schools for fashion design. made me feel at home. The city aspect of Paris is fairly similar to San Francisco. 180: What advice would you give to the next group to help prepare them? 180: Where do you draw the inspiration and did it change with the move to Paris? KJ: LEARN FRENCH! (But realize that once you get here, you won’t know any of it!) Realize that you will be alone, a KJ: Paris has been a huge influence on me. Walking along lot, even though you come here with other students. It can the Seine and around the beautiful architecture has really be really isolating at times, going from school to home, and inspired me, sometimes I’ll spend a couple hours just then back to school again. Try and make time to get out of walking around and see something out of the ordinary that that schedule and meet people! It’s going to be the best way catches my eye and it deeply inspires me. Paris has enabled to learn French, and it will also help you to start to build a me to learn more about myself and the world around network of friends. There are a ton of people who work in me. Especially Paris at night! Paris has to be the most fashion here in Paris, and you will run into them and meet beautiful environment I’ve experienced at night. Back in them so make those connections that will inevitably get you San Francisco, I had developed a darker style that allowed the job. FINALLY, don’t forget the skills you already have, me to explore the darkness within myself as well as all of and don’t underestimate your ability. humanity. I chose deep concepts and utilized minimal and dark color ranges. Now I don’t even recognize myself as a 180: What’s next for you? designer. I use bright colors and play with embroidery and details. Paris has a certain life to it! It’s a trendy city, and KJ: Recently, I learned that I love embroidery and am pretty 14
Photograph by Charlotte Lauxerrois.
good at it. So good in fact that my sewing instructor noticed and asked me to help her with an embroidery project for Clarins which will be in their Mother’s Day advertisement. She was so happy with the end product that she’s talking with a friend of hers that has an embroidery atelier about taking me on as an intern. So fingers crossed! Ultimately though, I don’t know if I will be staying in Paris. I am keeping my options open as I do want to stay in Europe. Maybe Berlin or London. JUSTINE MENARD, MASTER IN FASHION DESIGN 2016, STUDIO BERÇOT, CURRENTLY STUDYING IN THE SCHOOL OF FASHION AT ACADEMY OF ART UNIVERSITY.
in Nob Hill and I felt sad because that area is a very nice neighborhood but for me it was too clean and rich so I wasn’t feeling at home. Today, I feel much better as I live in the Mission area which is more diverse. Also when I was moving to San Francisco, I felt bored about the fashion vibes so I was looking for some cool and nice brands. I asked the locals and couldn’t find anything so I had to figure out how to have fun in the city which is different than my perception of fashion. So that is why I focused on vintage thrift stores which are the best in the world I think. There is a very good quality of vintage clothes here.
How was the transition moving to a city like San 180: Where do you draw the inspiration and did it change Francisco? with the move to San Francisco? 180:
The transition of moving was kind of strange. I felt very excited to come to San Francisco, to begin a new life experience, but when I arrived, I saw all the fragility of the city. I felt very uncomfortable with the expensive prices and all the homeless people. At the beginning, I was living
JM: Moving to another country and being surrounded by another culture makes me think a lot about my own perception, my own culture and thoughts. It opens new doors in your mind that you didn’t expect existed. Because you are more open about everything, you have new ideas
about everything. It’s a big refreshing moment in all your life. I think, especially when you move for the first time to the U.S. I had this new feeling that I didn’t have in France that you are allowed to think of something bigger. If you want to do something: This is totally possible. 180:
What is your experience like in another school?
When I was in my school in Paris, I was close to my teachers. Studio Berçot is a small school, we were 200 students which is completely ridiculous compared to the big industry scale of Academy of Art University. I was completely lost, and even today in my second semester, I still feel lost. There are too many things, too many people, so at times it’s too much for me. But that is part of the experience, so I’m glad to be here and to learn new things and I’m staying focused on my work. For me, I see this experience more about life in general than about the school and studies. I’m here to learn and discover about myself, life, and everything that can make me be a better person. JM:
I would say, just be ready and open for a new experience in your life, no matter what it is. I think the most important thing is to be aware of why you are doing this. What's your desire, your objective? Don’t be passive, it’s the worst thing on earth. If you know what you could be better at, you can improve on it, and become a better person. Because this experience is just about life. Even if you are still in school, you see things in a different way than what you were used to. Take advantage of it. Don’t think too much about class but about life in general, travel in the U.S. to discover and understand more and more things about this country.
What is next for you?
Today, I feel completely changed. I think I’m still the same but with new thoughts and new desires. I’m excited to go back to Paris, Mon Amour, and search for internships or jobs. But before going back to France, I want to briefly go to Santa Fe, New Mexico, to see the Georgia O’Keeffe Museum. I’m going to travel alone in the USA to have a few more American breaths before smelling the French air again.
CHARLOTTE LAUXERROIS, MASTER STYLISME MODELISME 2016, L’ECOLE DE LA CHAMBRE SYNDICALE DE LA COUTURE PARISIENNE, CURRENTLY STUDYING IN THE SCHOOL OF FASHION AT ACADEMY OF ART UNIVERSITY.
How was the transition moving to a city like San Francisco?
leaving Paris I thought that the transition would be easy and that in a short time I would melt into the crowd and find all my points of reference in this new city. But the reality was different. The procedures for moving to another country were complicated and intense but eventually after the first few months everything became well settled, so I keep good memories of my transition. Photograph by Justine Menard. Most of all everything was well organized to help me 180: What is the biggest challenge for you in San Francisco? integrate into the School of Fashion. I think the biggest challenge for me in San Francisco 180: Where do you draw the inspiration and did it change is how I can get inspired by this city to create something with the move to San Francisco? to show in Paris. I want to take advantage of being here to do something to add to my portfolio when I will get back CL: Here everything is different design wise. We have to to Paris. think more about marketing than about style. This made my vision of fashion more refined and I was able to adopt 180: What advice would you give to the next group to help a more holistic idea of a fashion product. My inspiration prepare them? didn’t change much so my style stayed rather constant. I learned to proceed differently for the creation process, and this was interesting for me, as well as learning to JM:
Photograph by Kori Johnson.
think more intentionally. Now I feel less limited to just CL: Try to stick together and live under the same roof so Europe career wise. you can count on your friends if needed. The best is to rent an apartment with many other students who will help 180: What is your experience like in another School? make you discover another culture and also will help you improve your English. CL: The school has many buildings throughout San Francisco so you are in different areas of the city depending on what CL: Prepare yourself to have a cultural shock facing the class you have that day. Also the educational system is clothing style which in San Francisco is very casual different in the USA compared to France where you keep sportswear because of all tech companies. This is an with the same group of people through the whole academic exceptional adventure that I definitely recommend to year. Here I discovered plenty of new classmates in each everyone curious to discover American culture and the class. This definitely helps to develop a larger network of U.S. fashion market. friends and contacts. There are also many outside school activities organized for us. The difference I appreciated 180: What is next for you? the most is certainly the guidance and mentoring that we receive from instructors and advisors. CL: When the exchange program ends, Iâ&#x20AC;&#x2122;m going to return to Paris in order to start going to job interviews and see 180: What is the biggest challenge for you in San Francisco? what opportunities are available to me. But ideally I would love to find a position in New York because I feel that New CL: My challenge was to live at the same rhythm that York fits my interests. ` Californians do and adopt their lifestyle while keeping my French style in the classes and outside of school. What advice would you give to the next group to help prepare them? 180:
Photography by Nicolas Gutierrez, MFA Photography. Styling by Enrique Terrones, BFA Visual Merchandising, and Tuba Syed, BFA Visual Merchandising. Shirt and Jacket, Zara.
inspiration acquisition evolution The School of Fashion has introduced four new comprehensive Fashion Merchandising degree programs created to give students a competitive edge in today's dynamic and ever-changing fashion marketplace. Words by Namrata Loka Images created in FSH 391 Product Styling taught by Teresa Merenda
We have all heard that fashion is at a crossroads. That the rules of engagement have changed, the patterns of consumption have shifted, and the industry’s structure has been deemed arcane and disrupted. Welcome to 2017 where fast fashion challenges profitability of luxury and social media redefines the ranks of fashion’s elites. Some experts point to the rapid succession of creative directorship at major creative houses as a sign of a broken system; others herald a more democratic style era, a new golden age for fashion. No matter the prognostications, how should the industry best prepare for what is around the corner? Amidst these changes, Academy of Art University continues to uphold its long-standing commitment to nurture the next generation of visionary creative professionals. In the spring of 2016, the School of Fashion introduced new undergraduate and graduate degrees in the Fashion Merchandising program: Fashion Merchandising and Management, Visual Merchandising, Product Development, and Marketing and Brand Management. “This is an interesting and challenging time for both the industry and the students, with an emphasis on what’s next,” says Jinah Oh, Director of Fashion Merchandising, who believes these well-rounded programs and their graduates provide long-term value. Forrester, the world’s leading business advisory company, proclaimed this time as The Age Of The Customer. Instant gratification and experiential retail are shaping the future of fashion. These new programs empower students to think like creatives and work like analysts. Comprehensive classroom instruction is supplemented with rigorous hands-on training to test-drive industry scenarios. “The expected outcome is that students can efficiently strategize based on thorough analysis of trends, figure out what is next, and stay competitive,” notes Oh. One example of an immersive learning experience created for our students is SHOP657, the Academy’s retail store near Union Square in San Francisco that retails product by alumni, students, and faculty. Fashion Merchandising and Visual Merchandising students get firsthand knowledge of retail by working with this concept store on different assignments. “In FSH 307 Visual Merchandising Window Concepts class, the final project was to design and install holiday windows at SHOP657,” explains Steve Petersen, full-time instructor in Visual Merchandising. Intra-school collaborations provide hands-on opportunities as well. Students taking the FSH 637 Product Sourcing and Assortment course acted as buyers for the final products created by students in the FSH 350 Private Label Product Development. A practical crossfunctional approach like this exposes students to the real demands and expectations of the industry. Students identified problems and created solutions increasing their ability to continuously adapt, improve, and successfully work as a team. “From inspiration to
facing page: (top) Photography by Jeffry Raposas. Styling by Jisoo Hong, BFA Visual Merchandising. Nail polish, Formula X. (middle) Photography by Jeffry Raposas. Styling by Jiyue Yang, BFA Fashion Styling. (bottom) Photography by Danielle Rueda, MFA Photography. Styling by Nakia Pleasant, BFA Fashion Styling, and Irene Kim, BFA2 Visual Merchandising. Sunglasses, Prada and Ray Ban. this page: Photography by Jayce Park, BFA Photography. Styling by Chaw Chaw Su San, BFA Fashion Styling. Shoe, Saint & Libertine.
Photography by Jeffry Raposas, BFA Photography. Styling by Yuna Choi, BFA Fashion Merchandising. All products, stylist's own.
acquisition, students are encouraged to innovate as they formulate, research, and produce their ideas,” says Oh. “Not too long ago, a good marketer knew how to reach consumers using magazines, TV, and direct mail. Today’s top talent must be fluent in social media, search, and email marketing, everything that drives visits to e-commerce stores and produces ever-increasing sales,” notes instructor Andrew Hagenbuch. “Students in FSH 348 Interactive Marketing build a digital marketing campaign for a fashion brand of their choice using everything they’ve learned during the term,” notes Hagenbuch. “In FSH 638 Product Line Development, students create a capsule collection for a brand and take it through every stage of product development including concept and line development, sourcing materials, costing, and manufacturing,” explains Andrea Skillings, Program Coordinator for Product Development. “Students work in a collaborative manner answering questions such as ‘Is this product right for the customer?’ and ‘Is it deliverable at the right cost?’ and make decisions as a team.” Whether pursuing an Academy degree online or onsite, students benefit from interactive technology, one-on-one attention, and support from dedicated faculty of industry professionals informed and powered by the latest developments coming out of the Silicon Valley. Here, startups like Cuyana, Electroloom, Everlane, and ThredUP are proof that fashion technology is a burgeoning futureoriented industry. Smart fabrics, high performance clothing, wearable tech, and in-app purchase solutions are among the myriad of opportunities open in this segment. Technology education is a crucial aspect of every Academy course. “We are launching two classes, Computerized Product Development and Product Manufacturing and Sourcing which utilize Product Life Management, a computerized database used to manage the lifecycle of a style from concept to production quickly and efficiently,” shared Skillings. A holistic approach to Fashion Business education is what gives Academy students an indispensable competitive edge in today’s dynamic market. “I am interested to see what initiatives and concepts this generation creates with the tools we educators have taught them,” adds Oh, “and to watch them as they revolutionize our industry.” `
creative direction and photography: COLLETTE McGRUDER all clothes designed and styled by: MICHELLE HELENE words: ALEXEY TIMBUL BOLUKHOV 24
Giron Graphic Dress
this page: Side Car Reversible Motor Jacket and Casa de Girl Denim. facing page: Cruz Unisex Bomber
Michelle Helene is a womenswear label created by School of Fashion alumna Michelle Grunberg (BFA Fashion Design, 2003). Her unique woven textiles and designs are created by hand and cater to an increasingly appreciative audience desiring environmentally-conscious and stylesavvy fashion. The journey to this success has not been linear. Grunberg credits her education with sharpening life skills, such as emotional resilience and creative perseverance; while, overall, recalling the process as tough yet constructive.
Living in San Francisco was another stimulating experience. Grunberg grew particularly fond of riding the public transportation buses, enjoying the eclectic eccentricity of its many passengers. She learned that “inspiration should come from the real world, not someone else, nor the computer.” It’s a credo that would serve her well beyond graduation.
One of her earliest in-class memories is a project requiring students to design something using only paper. “I remember Simon Ungless, Executive Director of the School of Fashion, walking around, providing sharp but constructive feedback to the class. He won’t sugar-coat his thoughts to students,” Grunberg laughs. “I knew not everyone could handle that, but I loved it. I soaked up constructive criticism to become a better designer. I’ve kept in touch with Simon over the years as he’s proved to be an amazing mentor!”
We reached out to Grunberg to feel her pulse on the industry and her label. How has the fashion industry changed since 2003?
MICHELLE GRUNBERG: Honestly,
I think every element has changed: from the initial inspirations to the way clothing is produced. There are celebrities doing their own lines, models with a large following have become brands. Social media dictates what we need to be wearing at any moment. Fast fashion has affected the quality of standards and access to clothing is very cheap. We have lost the value of craft and hard work to some degree.
La Guardia Fringe Sweater
Having spent several years in Los Angeles designing for five to eight different fashion companies at a time, Grunberg speaks of these effects from an informed perspective of someone with first-hand experience. She recalls the pressure of a particular moment when a supervisor, unenthused by her complex mood board approach, handed her a recent issue of a fashion magazine suggesting to get inspiration directly from its pages. Seemingly successful and in-demand career was grinding away at Michelle’s creative spirit. This was not the “real world” she’d imagined growing up in New York City suburbs taking the train to attend weekend classes at FIT as a teenager. Something had to give. She quit her job, packed a bag and spent half a year trekking and photographing in Asia. Meanwhile, her brother Alex had moved to Taos, New Mexico, and began making yarn and crocheting. A late-night catch-up conversation sparked an idea to work together. Michelle was eager for the next step and the brand Michelle Helene (her first and middle names) was launched. 180:
What are main differences in working as a contracted or independent designer?
As a corporate designer, I had to create collections very fast, every month, and I desired to do the opposite. As an independent label owner, I really love being highly involved in every aspect from design to sales. This pushes me to learn more of the business every day. GRUNBERG:
Her first collection was aptly titled Twisted / Beauty and executed in all white. The second, primarily black collection was called Surrender. However, these were not mere exercises in contrast. In addition to proving to herself that she could design in monochrome and show texture and depth, this set the stage for conceptual exploration of ideas beyond our binary mentality. Good or bad, female or male, Taos or Manhattan. A powerful description on her website explains the visionary ethos: “In nature, upheaval and turbulence caused by opposing or unexpected forces often creates a rare and unlikely type of beauty. While the innocence and sanctity of that which is familiar is stripped away, the will to survive allows life to endure. Leaving behind only a stark yet serene simplicity and the boding of new life.” She is drawn to processes that honor and celebrate complexities instead of championing simplification. Her latest advertorial campaign was shot in Cuba following easement of restrictions on travel by American citizens. 180:
Was this creative decision a political endeavor?
GRUNBERG: There is a certain political aspect in every art form. It’s inherent in our culture. However, I did not intend this to be political. While I do not root my collections in any one thing, it was mainly island-inspired. It was about being in a timeless space and Cuba still has that sense. I wanted to present the beautiful and moving people and culture. The images were captured in a variety of places there,
including the Santeria Forest, La Guardia, the brutalist Giron building, and so on. Fellow alumna Collette McGruder directed the video and beautifully conveyed the feeling. Andrea Dosouto did the street casting and found such beautiful individuals, both young and older. I have always wanted to show my collection on an older woman and finally got to do that. Grunberg is developing a number of signature looks such as the Sir Dress and the Snowdrop Cape. The labor-intensive process is also infused with love and care of the people who contribute to it: from local sheep farmers dedicated to the wellness of their stock to the Buddhist nun who taught the siblings unique yarn dying techniques. “I believe there is a spiritual element to my fashion. The ability to handle the fibers, dye and fine tune the colors, weave the designs… it lends to a certain serenity and calmness,” reflects Grunberg. Most garments are handmade and carry a poignant emotional story that makes them more than stylish pieces to wear, but indispensable collector’s items in a well-curated wardrobe. Through all the ups and downs of creating one’s own path in the fashion industry Grunberg is happy to be able to count for support on her lifelong Academy friends and her brother. Alex and I love it when we dork out on creating. Our work ethics are similar. We feed off of each other to be better craftspeople, better persons. We honestly have such a great time! I didn’t realize how happy I could be in life doing what I love. ` GRUNBERG:
this page: Vedado Sweater. facing page: Santeria Poncho.
in image: Girl on Girl Sweatshirt. Hair, Make-up and Casting: Andrea Dosouto. Models: Diana Villegas, Braulio Fabian Lopez Hernandez, and Maria.
NEW DIRECTIONS IN SCULPTURE
Photography by Shan Lee, BFA Photography Words by the 180 Magazine Editorial Team
The Academy of Art University Fine Art: Sculpture program is located in San Francisco’s historic Cannery building, near Fisherman’s Wharf. With scenic views of the Golden Gate Bridge and a teeming atmosphere of urban activity, the Cannery houses several spacious studios and multiple public galleries to showcase students’ work. True to the University’s mission, the Sculpture program strives to deliver to young artists a skills-based curriculum through the efforts of experienced, passionate faculty. Under new leadership, the faculty, consisting of working professionals, is committed to arming the students with the ability and knowledge to thrive not only in the gallery world but within industries that welcome sculptural applications. Tom Durham, Director of Sculpture for the School of Fine Art describes himself as a “Renaissance surrealist”. Raised in a Navy family in South Carolina, Durham cites Salvador Dali, Dante, William Faulkner, Hellenic sculptors, and comic book characters as his early heroes. Starting with a hyper-realistic depiction of human form, he adds elements of metamorphosis to create figurative pieces that appear at once timeless and modern. Durham has taught at several art programs, but when his art practice began to require more time, he left academia to focus on being a full-time artist. “I think I left on a high note and this time feels the same. I am excited to return to students with all these years of experience to share.” Durham’s works are in the permanent collections of several prominent cultural institutions, such as the Palm Springs Art Museum, Columbia Museum of Art in Columbia, SC, and the High Museum of Art in Atlanta, GA. He is an elected professional member of the National Sculpture Society and of the Portrait Society of America.
What inspires your work?
Reading! I get excited visually but for ideas I turn to literature. I love going to exhibitions to see works of art up close. I also have a collection of 350 plus first edition art books. In this period, I am rereading some of my favorite authors: John Steinbeck, George Orwell, Mark Twain, early existentialist writers as well. I wanted to go back to my southern roots, so I reread William Faulkner, because he captured the Deep South like no other. I am working in the studio all the time, so literature takes me out of there, out of the country, out of my mind. Tom Durham [TD]:
180: What is the first sculpture you remember seeing up close? TD: Michelangelo’s Pieta at the 1964 World’s Fair in New York. I was a little kid and we went into the city to see the Italian pavilion. There is was, in a little blue-lit alcove. It was gorgeous, phenomenal, it was more than lifelike. I’ve never seen anything like it. There was a conveyor line of people just moving along but being little I hung onto the railing for a good 20 minutes. Finally, the guards shooed me away. I’ve seen it a few times since then and I still get struck by it every time. 180:
What other artists have influenced your work?
TD: I observe all the time. Stuart Williamson got me started
on seeing portraiture as a means of expression beyond conveying likeness. Figurative sculptor Brian Booth Craig is a great contemporary artist. He will be visiting the University this spring and I am looking forward to sharing his work with the greater Academy community. Music is also important to the creative process. I played in a teenage rock band. I went to high school with Bob Belden who went on to become a Grammy-winning jazz saxophonist We sat down with Tom to ask a few questions about his and producer. This lifelong relationship influenced my practice, influences, and outlook on the Sculpture Department. engagement with different types of music. That’s why I encourage students to bring their iPods as music affects 40
Tom Durham working on The Neolithic Pan in a studio at The Cannery.
the rhythm of work. For example, the sound of Stravinsky 180: What role does the department play in furthering can be intolerable for some, but Rossini seems to help student's careers? everyone work faster. TD: We train students to be professional artists. In other 180: Is sculpture a political medium? words, for job placements within the creative industries. If you don’t do business, you don’t make a living. The old TD: Of course! Politics strongly influence how we feel and format of working with galleries and commissions has if you feel proud or repulsed or embarrassed by what is changed. On one hand, there are fewer of those, but then going on around you, it finds its way into the work. Both there are more options than ever. Beyond the art world, the aesthetic and the function can carry a message. I the booming television and gaming industries have a need even used to submit photographs of my sculptures as op- for hands-on skills to build models and prototypes. You ed pieces for the Op-Ed News and other outlets. Politics may still want to be an independent artist, but we want to always belong in the art, prepare you to branch out. but not in the classroom. That’s why I am always Students have the right challenging students to they express whatever ask Why? Why? Why? they have within You must be able to talk themselves. However, we about your work in a focus on the quality of the professional manner. artwork itself, the skills, Everything requires a the techniques. Art is our good storyline. common ground. 180: What advice for Durham considers the creative professionals Uffizi Gallery in Florence have you found most to be the ultimate helpful in your life? museum for sculpture. He also attends sculpting TD: It’s not brain surgery workshops at Pixar or rocket science. You Studios. The way the artist must keep a sense of himself embodies the link humor about your work between the classics and and have fun. But keep the future is what made working through the sohim the perfect candidate called bad days. The more to reinvent the Sculpture you work, the more good program at the Academy. days you’ll have. I’ve been “Less art tech talk! No hard at it for forty years one falls in love with the and I’m still waiting for jargon. We need students signs of burnout. to discover the spirit of this work first,” says 180: How would you Durham on his task to bring the program into the 21st describe your relationship with students? century where clay modeling, welding, ceramics, and the newly available 3D printing technology are increasingly TD: My first art teaching job was at a maximum-security being used for innovative interdisciplinary collaborative prison. It taught me that respect is earned, it’s not given. endeavors in landscape, interior design, and fashion. I show students what I can do, what is possible, and “Moving beyond the figure into construction of forms.” encourage them to explore further. I offer constructive It is reassuring that this undertaking is in the hands of criticism to try this or that and explain why it might work a winner of the prestigious Lorenzo il Magnifico Award or doesn’t. Sometimes they come up with truly beautiful from the Florence Biennale in Italy. Sometimes things ideas that make me go wow. I live for the "damn, that’s come full circle. good" moment. In the end, I am always inspired by the students and their progress as artists. ` 45
Styling: Chaw Chaw Su San, BFA Fashion Styling All Clothes Designed by Karin Kate Wong, BFA Fashion Design Photography: Vince Aung Words: Marisa Tania, BA Fashion Journalism
The flight from Yangon to San Francisco takes about 18 hours. In many ways, these cities are worlds apart. The real journey between two different places always requires curiosity, determination and passion for the unknown. For Chaw Chaw Su San (BFA Fashion Styling) it was the dream of fashion that had brought her from Myanmar to California four years ago. She enrolled at Academy of Art University as a Fashion Design student. During her freshman year, she realized that Styling was her true calling and decisively switched her major. Since then her work has appeared in the pages of many magazines including Sicky, Vulkan, Glassbook, HUF, and even Vogue Italia (online). Known for a strong sense of storytelling and off beat aesthetic, she channels her personal experience of bridging inter-cultural gap(s) into cohesive vision of beauty that goes beyond mix-and-matching vintage with contemporary, menswear with womenswear, and haute couture with fast fashion pieces. While browsing Chaw Chaw’s website, Flore Morton, Assistant Director of Fashion Styling, came across a new editorial that Chaw Chaw styled using clothes created by alumna Karin Kate Wong. “Seeing that photo shoot for the first time, it was a proud moment. I wanted to be the girl in the picture! She really managed to bring out the best in Karin’s collection. I think we’ve reached a point where the program has matured so that our students have a distinct point of view and a high level of professionalism,” reflects Morton. 180 Magazine caught up with Chaw Chaw to find out about her inspirations, her creative process, and her post-graduation plans.
Where does your interest in fashion come from?
CHAW CHAW SU SAN:
I grew up in Burma (now Myanmar). When I was five years old, we got a satellite dish with international channels. Unlike other kids who liked cartoons, I wanted to watch Fashion TV all the time. My mother thought I wanted to be a model, but I told her I only cared about the beautiful clothes. My favorite part was the finale when all the models walked out and the designer appeared. I dreamed of being one of those designers. My parents had nothing to do with the art world, but my grandfather was a photographer. I have witnessed his way of carefully planning everything before grabbing the camera to take pictures. His artistic blood is flowing in me, and his love of fashion has been a huge inspiration. 180 :
have design background, I can picture exactly what kind of garment, fabric, and color I want. I shop for outfits based on my sketches and the mood board. Then I decide the final look on a mannequin and draw another final sketch with complete details. This long process makes me very happy once I see the results. 180 :
How do you balance your vision with ideas from your collaborators?
I used to be a very shy person, especially when I moved here and had to speak English. I decided it was important to listen. I learned to be patient and understand what they want. Now before I contact another stylist, makeup artist, or photographer, I make sure that my concept is strong and I can explain everything with
How did you start becoming involved in fashion?
In middle school, most kids said they wanted to be doctors, but I told everyone that I wanted to be a fashion designer. I had a little sister. I always dressed her up like a doll. Whenever I got pocket money, I went out and bought clothes for her. My mom complained that I spoiled my sister, but I loved doing it. I always liked dressing other people even if I wore very ordinary stuff myself. I mean, my uniform is head to toe black with sneakers. That’s how I realized styling suited me better.
How has Burmese culture influenced your work?
Burma has a very strong traditional culture. It’s good at teaching kids to be polite and kind to other people. I never feel jealous. People can be very competitive in this field, but I only compare my present work to my own past work. I approach fashion the way I approach my life. It’s very instinctive, but I want it to get better and better.
How would you describe your aesthetic?
I am quite moody. My work is moody, romantic, poetic. Fashion is not about being pretty. I feel like perfection is boring. I make things seem random on purpose, because I see beauty in imperfection.
keywords, storyboard, and illustrations. That really helps to find middle ground. I’m very happy with the people who knocked on my door so far or opened a door for me. I would work with anyone willing to achieve greatness together.
180: Who are your fashion favorites or styling role models?
What is your creative process like?
I am a very sensitive person. I feel a lot, I think a lot. I always carry a journal, because inspiration can come suddenly. Once I get an idea, I write it down. My secret is that I always sketch how the clothes should look. Since I
I live on Instagram! It’s where I do my research every day. I scroll through all the people I follow and take many screenshots. Currently, Harley Weir is my favorite photographer. I think her wholly analog approach offers 53
fresh vantage points on the grittiness of eroticism, sexuality, and femininity. Since the beginning, Jacob K was my favorite stylist. Now I can’t take my eyes off the stuff by Olivier Rizzo and Camille Bidault Waddington. I would love to work with Lia Campbell and Hallie Wan. They really capture the moment of the people. There are designers that I admire such as: Raf Simons, Demna Gvasalia, Simon Porte Jacquemus, and Martine Rose. 180 :
What was your most memorable shoot so far?
Disharmonious Element. It was a project for a menswear class. I couldn’t find an idea before the deadline and even had a nightmare. I’ve had this recurring dream since I was young. A monster was chasing me in a very dark place. It choked me and I couldn’t shout. I’d wake up crying every time. So, I used that for inspiration. I had hand-sewn a lot of strings to represent the connection between the dream world and real life. The zipper was a symbol for my voiceless voice. If I have a chance, I’d re-shoot the concept and make it even more grim.
What about the 180 editorial?
I saw Karin’s work on the runway and asked a mutual friend to introduce us. Karin told me her collection was inspired by bedding, which fit perfectly with the idea I had for a photo shoot. I wanted to use a mattress in the street and she loved it. We shot in my neighborhood and used my own mattress! It was fun. We put it against a delivery truck that happened to be parked nearby. The driver gave us permission, of course. I am so happy that these images are featured in the magazine. I want to thank Simon Ungless for the opportunity and Flore Morton for her guidance. Sometimes we had a different opinion on what’s what, but whenever she told me that things were not working, she pushed me to explore my ideas harder. I must admit she was always right.
Three must-have things in your styling kit?
Clamps, double-sided tape, pins.
180: Any Chaw Chaw advice for current or future Academy students? CCSS:
For me the highlight was meeting such good people here! Be patient and kind with instructors and other students. That’s how I found my closest friends. Work hard, trust your instinct, be curious about everything. When you study and practice, you discover what you are good at, what you really love to do. My childhood dream may have change a little, but I still love fashion and follow my faith. Do your best and never give up! `
Dress by Max Lu and Jingci Jessie Wang, MFA Fashion Design
hey went from musing on “blurry dreams” as design students to living the dream as young fashion professionals working at Marc Jacobs. When it comes to crème de la crème talent pool, alumni Max Lu and Jingci Jessie Wang are the latest Academy success story. Following their coveted internships at the high-end brand, both have landed full-time positions. Lu is a production assistant in the trim department and Wang is an associate designer. “Teamwork is needed here; we cannot do things just by ourselves,” says Max. “Luckily, I’ve always thought of myself as one ring in a chain,” chimes in Jessie. Intense commitment to achieving a common goal is not new for the duo who frequently collaborated during their MFA in Fashion Design coursework, including the Spring 2016 womenswear collection Blurry Dreams showcased at New York Fashion Week Academy Runway Show. It proved to be a pivotal professional point for both. Fashion had always been the driving force in Max and Jessie’s lives. Hailing from Taiwan, Lu came to San Francisco with a few accolades under his belt: Honorable Mention Award from Taiwan Textile Federation and first prize at Manga Fashion Design Competition. With an extensive experience as a freelance print pattern designer and fashion stylist assistant, he was determined to make it big in the USA. Wang had a similar educational background, only she had learned the lingerie, sleepwear and underwear design trade in mainland China. The Academy was the one place she dreamed to be at for the next chapter of her life and career.
Working together didn’t happen by chance. The idea to collaborate was suggested by Tehri Ketola-Stutch, their instructor and 3D construction coordinator. “Our school is what I like to call the ‘United Nations of Fashion.’ When it came to design, Max and Jessie had a high taste level – a quality you either have or don’t in this line of work. Plus, their incredible work ethic stood out. They were the first to be in class and the last to leave,” recalls KetolaStutch. The designers’ first impressions of each other as peers working on a group project in class suggested compatibility as well. “When I met Jessie, I thought not only is she talented at making garments, she also knows a thing or two about designing. She is reliable. She almost has too many positives,” jokes Lu. “Max always brought good ideas to the table. He fixed the problems, while I would try to keep things perfect. We had so much in common. We knew it’d be really interesting and fun”, adds Wang. The adage about two heads being better than one became their mantra. The creative process worked like cogs in a machine. With each calculated nudge and a little luck, a ridge fell neatly into place. “I think the key is communication. Our styles were different, so we tried to find a similar point in both our designs and develop it. It didn’t come easy in the beginning, so we went back and forth many times. Fortunately, by combining efforts, the result came out well,” reflects Lu. For their mentor Ketola-Stutch, it was clear that the duo was motivated by shared curiosity and thirst for know-how: “To them, the five minutes under
Sequin Top by Max Lu and Jingci Jessie Wang, MFA Fashion Design. Black Dress by Wenhan Yuan, MFA Fashion Design. Harness, stylistâ&#x20AC;&#x2122;s own.
this page: Sequin Top by Max Lu and Jingci Jessie Wang, MFA Fashion Design. Black Dress by Wenhan Yuan, MFA Fashion Design. Shoes, stylist's own. facing page: Pants by Max Lu and Jingci Jessie Wang, MFA Fashion Design. Bandeau and Necklace, stylist's own.
Top and Pants by Max Lu and Jingci Jessie Wang, MFA Fashion Design. Black Dress by Wenhan Yuan, MFA Fashion Design.
the limelight was nothing. Being a part of something greater united them.” Wang does not shy away from acknowledging the challenges. “I didn’t think how much difficulty we were facing, actually, until the show was over. We just talked a lot to find a balance, even if sometimes fighting was the way to figure it out,” said Jessie. Blurry Dreams was hailed as success by the attending press and the industry. After graduation, Marc Jacobs came calling and Max and Jessie bid farewell to San Francisco to make waves in New York. The cross-country move, fast Big Apple pace, linguistic challenges: there was nothing that couldn’t be handled in pursuit of a dream. Max recalls days in class when the only thing that mattered to him was making his pieces look distinctly different from everyone else’s. For him, being a student at the Academy offered a lot of creative freedom. Now working at a major design house, ego gives way to collaborative spirit. “For the trim department, we need to develop all the trims, buttons, and embroidery on the pieces for the runway show. I have to take responsibility,” explains Lu. Wang works alongside the senior designer creating embroidery for new seasons, developing fabrics and sewing parts of the garments.
“Every step requires a lot of research,” she says. “I care about every one of my decisions more than when I was a student. I think that, maybe, it means I’m growing up.” Amidst all that New York can offer their career, the duo looks back to their Academy experience with deep gratitude. Their diligence is admirable as they realize that creating something new always entails learning. “All of our instructors were very good at teaching us ways of building our own style and ourselves. The progress was usually painful, but we ended up discovering who we are and what we are,” says Lu. “Everyone had a different way to ‘shape’ us. Simon Ungless, our director, gave us space to do whatever we wanted to do…[and] when we got lost, he gave us direction,” adds Wang. For now, both find Marc Jacobs the right place to be and think that entering “the real world” is a new adventure on its own. When it comes to their ideas on passion, professionalism, success or failure, Max and Jessie have some advice for the Academy students: “Be wide-eyed prepared!” `
Model: Carmen at Stars Model Management Assistant Photographer: Shan Lee, BFA Photography Make-Up Artist and Hair Stylist: Victoria Boggiano Developed in FSH 478 - Editorial Styling, instructor Flore Morton
this page: Top and Skirt by Max Lu and Jingci Jessie Wang, MFA Fashion Design. Black Dress by Wenhan Yuan, MFA Fashion Design. Stockings and Shoes, stylist's own. facing page: Sequin Dress by Max Lu and Jingci Jessie Wang, MFA Fashion Design. Black Dress by Wenhan Yuan, MFA Fashion Design.
p h o t o g r a p h y // n i c o l a s g u t i e r r e z a r t d i r e c t i o n // s i m o n u n g l e s s
featuring designs from the collections by:
nina nguyen hui · melissa kheng · natalya robinson lindsey trueman · yi ru chen · jing qian ben ellis · anita szu-yi chen · dora li carly dean · geumi lee · brandon kee · yolanda chiu
Dress by Nina Hui, MFA Fashion Design. Denim Tunic by Ben Ellis, BFA Menswear Design.
opposite page: Knit Dress by Anita Szu-Yi Chen, MFA Knitwear Design. this page: Knit Dress by Natalya Sheveleva Robinson, BFA Knitwear Design.
this page: Tank Top and Pants by Brandon Kee, BFA Menswear Design. Shoes by Converse. Dress by Dora Li, MFA Fashion Design, and Carly Dean, MFA Textile Design. opposite page: Dress by Yi Riu Chen, MFA Fashion Design, and Jing Qian, MFA Textile Design.
opposite page: Tank Top and Jacket by Brandon Kee, BFA Fashion Design. this page: Top and Shorts by GeuMi Lee, MFA Fashion Design. Eyeglasses by Yolanda Chiu, MFA Jewelry & Metal Arts. Top by GeuMi Lee, MFA Fashion Design.
opposite page: Knit Dress by Anita Szu-Yi Chen, MFA Knitwear Design. this page: Jacket and Pants by Melissa Kheng, MFA Fashion Design.
this page: Coat and Pants by Melissa Kheng, MFA Fashion Design. facing page: Coat and Pants by Ben Ellis, BFA Menswear Design. Dress by Nina Hui, MFA Fashion Design.
Models: August and Claire at Stars Model Management Make-Up and Hair by: Joshua Conover at Workgroup Assistant Stylist: Danielle Wallis Assistant Photographer: Danielle Rueda, MFA Photography
this page: Shirt and Pants by Dominic Tan, BFA Menswear Design. Gloves, stylistâ&#x20AC;&#x2122;s own. opposite page: Jacket by Ruone Yan, BFA Menswear Design. Necklace, model's own.
sheath husk membrane coating shell
vellum parchment hull skin dermis casing
photography by Nicolas Gutierrez, MFA Photography styling by Laynie Rouch, BFA Fashion Styling
this page and facing page: Latex Coat by Xun Li, BFA Menswear Design. Skirt by Ruone Yan, BFA Menswear Design. Necklace, model’s own. Stockings, stylist’s own.
this page and facing page: Top and Skirt by Ruone Yan, BFA Menswear Design. Zentai Suit and Shoes, stylistâ&#x20AC;&#x2122;s own.
Vest by Lucky Yijia Jiang, MFA Menswear Design. Shirt and Pants by Dominic Tan, BFA Menswear Design.
on left: Hoodie by Lucky Yijia Jiang, MFA Menswear Design. Latex Top by Xun Li, BFA Menswear Design. Vest by Ruone Yan, BFA Menswear Design. on right: Shirt and Pants by Dominic Tan, BFA Menswear Design.
this page: Top by Lucky Yijia Jiang, MFA Menswear Design. Skirt by Ruone Yan, BFA Menswear Design. Pants by Dominic Tan, BFA Menswear Design. Shoes, stylist's own. facing page: Jacket and Skirt by Ruone Yan, BFA Menswear Design. Pants by Dominic Tan, BFA Menswear Design. Shoes, stylist's own. Necklace, model's own.
Model: Sarah Brown, Stars Model Management Make-Up: Victor Cembellin, Workgroup Ltd. for MAC Cosmetics Hair Styling: Victoria Boggiano Developed in FSH 478 Editorial Styling, instructor Flore Morton
Jumpsuit by Brandon Kee, BFA Menswear Design. Hat, stylist's own.
gents hat room photography by danielle rueda, mfa photography fashion editor: flore morton
this page: Dress by Dora Li, MFA Fashion Design. Pants by Lindsey Truman, MFA Fashion Design. Slip-on Sneaker, UGG. facing page: Top and Pants by Justin Moreno, BFA Menswear Design.
Top and Pants by Justin Moreno, BFA Menswear Design. Coat by Lindsey Truman, MFA Fashion Design. Slip-on sneakers, UGG.
this page: Jumpsuit by Brandon Kee, BFA Menswear Design. facing page: Jumpsuit by Dora Li, MFA Fashion Design. Suspenders used as belt by Brandon Kee, BFA Menswear Design.
this page: Blue jacket and Pink shirt by Ke Zhang, MFA Menswear Design. Beige shirt by Lindsey Truman, MFA Fashion Design. Pants, Brandon Kee, BFA Menswear Design. facing page: Tunic by Brandon Kee, BFA Menswear Design. Dress underneath, vintage Jean-Paul Gaultier. Pants by Justin Moreno, BFA Menswear Design. Slip-on sneakers, UGG.
Beige dress by Lindsey Truman, MFA Fashion Design. Blue top by Dora Li, MFA Fashion Design.
this page: Beige dress by Lindsey Truman, MFA Fashion Design. Shorts and Leggings by Ke Zhang, MFA Menswear Design. Earrings pinned on collar, stylist's own. facing page: Jumpsuit by Brandon Kee, BFA Menswear Design.
this page: Coat by Lindsey Truman, MFA Fashion Design. Top by Justin Moreno, BFA Menswear Design. facing page: Blue jacket and Pink shirt by Ke Zhang, MFA Menswear Design. Beige shirt by Lindsey Truman, MFA Fashion Design.
Tunic by Brandon Kee, BFA Menswear Design. Dress underneath, vintage Jean-Paul Gaultier. Pants by Justin Moreno, BFA Menswear Design. Slip-on sneakers, UGG.
Model: Asia at Stars Model Management. Make-up and Hair Styling by Victoria Boggiano.
THESE WERE THE HOURS p h ot o g r a p h y b y i s a b e l l a b e j a r a n o , m f a p h ot o g r a p h y s t y l i n g a n d a r t d i re c t i o n : f l o re m o r t o n
Skirt by Jiaqi Lu, BFA Fashion Design. Vintage Metallic Jacket, Vintage African Jumpsuit and Belt. All jewelry, stylistâ&#x20AC;&#x2122;s own.
Dress by Wen Jiang, BFA Fashion Design. Vintage turban, gloves, and belt. All jewelry, stylistâ&#x20AC;&#x2122;s own.
Vest by Xiuzhen Li, BFA Fashion Design. Vintage metallic jumpsuit and turban. All jewelry, stylistâ&#x20AC;&#x2122;s own.
this page and facing page: Vest by Xiuzhen Li, BFA Fashion Design. Vintage beaded top, turban, and African dress. All jewelry, stylistâ&#x20AC;&#x2122;s own.
Model: Claire Kempf, Stars Model Management. Hair Styling , Make-Up and Manicure: Joshua Conover at Workgroup Ltd. Photo Assistant and Post-Production Collaborator: Cenk Burhan Ă&#x2013;zer. Assistant Stylists: Danielle Wallis, and Chaw Chaw Su San, BFA Styling.
Skirt by Karin Kate Wong, BFA Fashion Design. Vintage Junya Watanabe top. Vintage coat and scarf (worn as turban). All jewelry, socks, and shoes, stylistâ&#x20AC;&#x2122;s own.
Top by Karin Kate Wong, BFA Fashion Design. Culotte by Jiaqi Lu, BFA Fashion Design. Vintage gloves. All jewelry, stylistâ&#x20AC;&#x2122;s own.
photography by Miranda De Lay, BFA Photography & Danielle Rueda, MFA Photography styling by Andrea Guindi, BFA Fashion Styling words by 180 Magazine Editorial Team featuring Hot Flash Heat Wave: Nathaniel BlĂźm, Nick Duffy, Ted Davis and Adam Abildgaard
from left to right: on Nick: Shirt by Liz Li, MFA Fashion Design. Pants by Gaia Giladi, BFA Fashion Design. Hat, band’s own. on Adam: Shirt by Gaia Giladi, BFA Fashion Design. on Nathaniel: Shirt, MFA Menswear Design Collaboration. Vintage jacket, band’s own. on Ted: Jacket by Liz Li, MFA Fashion Design. Overalls, Crest Denim. Leggings, MFA Menswear Design Collaboration.
this page from left to right: Ted: Vintage jacket. Pants, MFA Menswear Design Collaboration. Shoes, Converse. Adam: Redstripe Tank, stylist’s own. Skirt by Gaia Giladi, BFA Fashion Design. Leggings by Ruone Yan, BFA Menswear Design. Shoes, band’s own. Nathaniel (seated): Tunic by Shuman Yao, BFA Fashion Design. Vintage vest. Leggings by Liz Li, MFA Fashion Design. Shoes, band’s own. Nick: Vest by Dominic Tan, BFA Menswear Design. Vintage shirt. Pants by Cherng-Hann Lee, BFA Menswear Design.
When faced with the task of coming up with a concept for her final project in FSH 478 Editorial Styling, Andrea Guindi, BFA Fashion Styling, turned to aspects of life in San Francisco that she found particularly resonant and influential to much of her time here as a student – the intersection of music and fashion. “Music has always been one of my biggest sources of inspiration and naturally tied into the story I was developing for my project,” recalls Andrea. “Initially, I was inspired by the different subcultures of San Francisco from the 60s and 70s, which turned into a whirlwind of inspirations, from drag to activism to rock and roll. At that time, there was a disregard for societal norms, rules, and expectations combined with a strong self expression. I wanted to be able to convey all of that, mixed with the current youth culture and fashion happening here today.” Andrea approached the band to help actualize her vision. “When I met Hot Flash Heat Wave, I loved them and their music and knew their influences and quirky personal styles aligned perfectly with my own,” added Andrea. “The group dynamic was ideal for my project, and allowed for all of us to blend our wacky ideas and personalities into the story’ Adam Abildgaard, Ted Davis, Nathaniel Blüm, and Nick Duffy went to high school together in Davis, CA. College and other aspirations took them elsewhere around The Golden State, but their love of writing songs and performing together brought them back into a house in San Francisco where they practice, record, and plot taking over the Universe, one gig and EP at a time. So far, it’s working out nicely. From the debut record Neapolitan landing on SF Weekly’s "Best of San Francisco Reader’s Poll for 2015" to their hit “Bye Bye Baby” included on SF Weekly’s "Top 15 Songs of 2016", Hot Flash Heat Wave has built a steady following and a reputation for fun live shows. The name becomes selfexplanatory once you hit play: the tunes get you dancing in no time, wishing for an ice cooler and a pool party. 180:
Do you identify with the “California sound” label critics often ascribe to your music?
To a degree, we do have a West Coast vibe since it's our home and we grew up here. It's just who we are. People connect where you’re from to how you behave and your music. The San Francisco garage and psych movement has always influenced us as musicians. Bands like The Brian Jonestown Massacre, Ty Segall, and Girls are among our faves. Some of our most successful songs have been very “California”, falling somewhere between a garage and dream pop style. I think our new material steps outside these boundaries. HFHW:
On Adam: Tank Top by Gaia Giladi, BFA Fashion Design. Pants, Gap, customized by stylist. on Nathaniel: Shirt, MFA Menswear Design Collaboration. Shorts by Livia Bianda, BFA Menswear Design. Vintage jacket, bandâ&#x20AC;&#x2122;s own. 118
How would you describe relationship between music and fashion in your experience?
Music and fashion are both ways to express yourself. It's really cool when a musician takes fashion seriously enough to integrate it into their performances like David Bowie or Lady Gaga. We all appreciate fashion, but in the end, we dress in a way that makes us feel happy. We have had a lot of fun dressing for shows to set a fun mood and to encourage people to loosen up and have fun. HFHW:
They recount favorite gigs as if something out of a summer flick on the edge of PG-13 and R rating. A house party with hosts making tacos non-stop and people having a blast until “some kid crowdsurfed into a cactus.” At another yard fest in Santa Cruz, a person climbed onto the porch stage, grabbed the mic and confessed that he had just broken out of a mental health facility nearby because he just wanted to party with everybody. Incredulously, that turned out to be true. Their latest appearance at the popular San Francisco venue Rickshaw Stop turned into a selfie-fueled dance party right on stage as fans were encouraged to join the performance. “It got kind of hard to play at times with probably thirty people jumping around.” But no one exhibits any regrets or complaints. If anything, a healthy dose of escapism is exactly what drives Hot Flash Heat Wave popularity. 180:
Is there a difference in cultivating live audience fandom and digital following?
People just want consistency. If you are branding yourself online as a wacky group of kids playing rock music but then get scared to dance and joke around, people would be let down. Some spend all the time on Instagram or YouTube scheming and crafting the perfect plan but the music is lacking. The most important thing online is getting people to listen to your tracks and that just comes from writing great tunes. You want people to walk away from your shows and tell all their friends how fun it was. If you're having fun and making music you really love, people catch on. HFHW:
If the melody-centric guitar-forward daydream rock tunes that pull people into the Hot Flash Heat Wave world, the DYI art aesthetic and earnestness of the creative effort keep them in. The idea is not to take life, the music industry, or success too seriously. When prompted for startup advice to aspiring bands, they cite friendship as a make-it or break-it factor in loving the experience of creating music together regardless of how popular it might be at any given moment. Not that ambition is not part of the picture. Hot Flash Heat Wave is reaching for the Moon, literally. “It would be pretty legendary to score music for an advertisement for vacations to the Moon. We could make it seem like a cruise to the Bahamas, but with a galactic vibe. Who wouldn't want that?!” Indeed. The rock kids are alright. Their forthcoming LP Soaked will be released in June. `
Turtleneck Dress by Bom Kim, MFA Knitwear Design. T-Shirt, Disney, stylistâ&#x20AC;&#x2122;s own.
on Nathaniel: Jacket by Gaia Giladi, BFA Fashion Design. Pants and t-shirt, band’s own. on Nick: Shirt by Gaia Giladi, BFA Fashion Design. Jacket, band’s own. Pants by Cherng-Hann Lee, BFA Menswear Design. 123
in center: On Nick: Sweater by Lupita Ramirez, BFA Knitwear Design. Pants, band’s own. Beanie by Gisel Ko, BFA Knitwear Design. Shoes, Converse, band’s own. on right: on Nathaniel: T-Shirt, band’s own. on Ted: Shirt by Cherng-Hann Lee, BFA Menswear Design. Pants, band’s own. on Adam: Shirt, MFA Menswear Design Collaboration. Pants, band’s own.
Developed in FSH 478 â&#x20AC;&#x201C; Editorial Styling taught by Flore Morton Make-Up and Hair Styling by Victoria Boggiano Styling Assistant: Sarah Rivera
On Nathaniel: T-Shirt, band’s own. Pants by Cherng-Hann Lee, BFA Menswear Design. on Ted: Shirt by Cherng-Hann Lee, BFA Menswear Design. Pants, band’s own. on Adam: Shirt, MFA Menswear Design Collaboration. Pants, band’s own. on Nick: Sweater by Lupita Ramirez, BFA Knitwear Design. Pants, band’s own. 127
on Nick: Shirt by Liz Li, MFA Fashion Design. Pants by Gaia Giladi, BFA Fashion Design. Hat, band's own. on Adam: Shirt by Gaia Giladi, BFA Fashion Design. Pants, Gap, customized by stylist. on Nathaniel: Vintage Jacket, band's own. on Ted: Jacket by Liz Li, MFA Fashion Design. Overalls, Crest Denim. Leggings, MFA Menswear Design Collaboration.
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