Fashion Design magazine 2012 - UCA Rochester

University for the Creative Arts at Rochester: School of Fashion

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The School of Fashion at Rochester has an international reputation for producing highly individual, highly skilled and creative practitioners capable of working within all levels of the industry. Graduates have gone on to excel and innovate in a wide range of careers all over the world from global brands such as Marc Jacobs and Max Mara to British companies such as Reiss and Jigsaw. Our excellent links with the fashion industry ensure a healthy work placement provision for students within the curriculum, as well as excellent prospects for employment.

The staffing base includes designers and technical experts who have a wealth of industry experience, many of whom are still working in the industry. The school offers three courses, Fashion Design, Fashion Atelier and Fashion Textiles: Print, all of which have grown out of and been developed in conjunction with the requirements of the fashion industry. All the courses offer an exciting range of studio based projects, which are underpinned by a broad base of skills, both traditional craft methods and new digital techniques. The deep rooted history of conceptual design, the craft of making clothes and computer aided manufacture has helped establish and cultivate the strong sense of craftsmanship and technological innovation within the school. All the courses are very ‘hands on’ offering excellent studios and workshops with machinery and technology emulating industry standards.

Students have the opportunity to take part in national and international competitions as well as presenting their work on the catwalk and in exhibitions. The school has earned a national and international reputation for producing a mix of innovative, highly creative and highly competent technical experts, who are able to pursue design concepts from the first idea through to professionally finished products.

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The Fashion Design course offers the opportunity to explore design at every level of the market for both menswear and womenswear. You are introduced to the design process and related technical and portfolio skills through a variety of design projects, which are often run in conjunction with a fashion company. There is a strong focus on portfolio communication, which is explored through drawing techniques using computer software as well employing traditional drawing methods. As well as manual pattern cutting you have the unique opportunity to develop patterns digitally in our industry aligned Gerber suite. The course has a history of competition successes, and has alumni with careers in fashion design all over the world.

Designs by Stephanie Zeinati

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FASHION ATELIER The Fashion Atelier course is dedicated to applying traditional craft and heritage skills to modern, cutting edge design ideas. It is a unique product based course, which offers the opportunity to explore and develop the technical skills required to produce finely crafted couture garments. You will explore and develop a range of advanced cutting and production techniques, which are more relevant than ever in today ’s fashion industry. There is also a strong focus on traditional tailoring giving you the opportunity to learn bespoke tailoring methods as practised

by Savile Row tailors.

Designs by Zoe Stenner

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FA S H I O N T E X T I L E S : PRINT The Fashion Textiles: Print course provides the opportunity to explore print through a variety of design led outcomes combining traditional skills with the latest digital technology. From catwalk collections, fabric design and accessories, to fashion led interiors, the course provides an excellent opportunity to create an individual identity and enables you to explore and apply your creative potential through a variety of techniques and projects, which are aligned to the needs of the fashion and textiles industry. You will have access to well equipped print studios which include both contemporary digital printers as well as traditional screen printing facilities. Basic pattern and production techniques are taught in order that you are able to develop your fabric designs through to fashion collections.

Design by Mashaal Jolly

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Photographer: Eeva Rinne Stylists: Amy Warner, Thomas Ramshaw Styling Assistants: Abby Lake, Warren Leech Models: Morris (Premier), Gemma Make up: Jessica Warner Hair: Katie Arnold

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Menswear garments by Emily Houghton

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Garments by Daniel Holliday

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Garments by Helen Lippett

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Garments by Si창n Lewellen

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Garments by Lauren Barnes

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Garments by Daniel Holliday

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Garments by Elisabeth Bostrom

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Womenswear garments by Sarah Lee

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Womenswear garments by Toni Meikle

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Garments by Teresa Kroenung

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Garments by Tola Mohiki

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UCA Rochester has a great track record in nurturing student so that when they graduate, they are not only innovative designers but also have all the skills to make them employable. Graduates have gone to works for international fashion brands such and Marc Jacobs and Celine and set up their own labels. Here, five former graduates reflect on their time during university and recap on what they have done since graduating.

Interviews by Lauren Mason Illustrations by Jo Graham

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areas of the body to allow movement, are all essential.

What advice would you give to students in preparation for when they leave University? Be realistic about what will happen when you start in the industry; you have to work very hard, sometimes very long hours and for very little pay. You have to prove to people that you can do it and that you want to do it as you will have a lot of competition and you have to get involved straight away. Don’t wait for people to approach you, and don’t apply for jobs one at a time. Sometimes people get lucky and manage to get great opportunities quickly, but don’t be discouraged because your friend gets a job straight away and you don’t. If you are dedicated and love what you do, then the patience will pay off.

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Having graduated with a degree in Fashion Product Innovation (now BA (Hons) Fashion Atelier) 4 years ago, Andrew is now a pattern cutter at Haider Ackermann in Antwerp, Belgium. After graduating he spent time working in London with various designers, improving his skills and gaining valuable knowledge which is needed in the industry. Always inspired by unusual constructions and clever detailing, Andrew gives an insight into his journey so far.

Why did you decide to study at UCA Rochester? I actually had a place at another university starting the previous year, but decided not to do it about a month before starting as it was not focusing on the area I was most interested in: pattern cutting. The Fashion Product Innovation (now BA (Hons) Fashion Atelier), course at UCA Rochester caught my attention right away because of the expertise and sort of projects being offered. Once I had spoken with the staff about it, I was sold.

What did you do after university? I wish that I had taken more work experience as a student, as it opens so many doors to a hard working intern. I got my first job in industry through an internship, as have many people I know, if not at the company they worked for, then with people they worked

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Raffaele Ascione is a London based womenswear fashion designer. Raffaele has already caught the attention of celebrities including Lady Gaga and Jessie J and reached the semi-finals of the prestigious talent platform ‘Fashion Fringe’. Here, Raffaele gives his insight into what he learned whilst studying BA (Hons) Fashion Design at UCA Rochester and how this has affected his work.

alongside. Since leaving university I have worked as the studio manager and pattern cutter for Jean-Pierre Braganza in

What do you regard as the most important thing that you

London and did so for 3 years. My experience there allowed

learnt at university? The most important thing was defi-

me to start working as a freelance pattern cutter for vari-

nitely the importance of one-to-one tuition and the strong

ous labels in London, as well as assisting at the University

focus on pattern and technical skill development. I was al-

as a graduate teaching assistant. I am currently working at

ways encouraged to stay true to myself but I was always

Haider Ackermann.

able to see someone and ask for advice, which really meant

What do you regard as the most important thing that you

a lot to me. University can only teach you so much as the

learnt at university? The most important thing, for me, is

rest is down to hard work, ambition and drive to develop

how to think in three dimensions. It is about how to visual-

independently. UCA Rochester gave me a great base for the

ise what a pattern will look like when it is made into a gar-

understanding of garments, technical knowledge and how

ment, and therefore what alterations will have to be done

to be a good team player, all elements that are crucial to

to other areas of the garment. I find that each company I

know when entering the industry. The real world works very

work for has a slightly different preferred method of doing

differently sometimes, but if you are willing to adapt and

things, so I learn new techniques at each job. But having a

focus on whatever job you’re doing, then good results will

sound knowledge of the basics, how to draft sleeves for any

evolve. I have created my own process with time. Using the

armhole, and the importance of certain shapes for certain

pattern, design and technical skills that I learned at UCA 23

Rochester, I developed them into my own style. Freelance

How have you adapted the skills you learnt at university

jobs, my Masters degree from Central Saint Martins and

for everyday practice? My role at Reiss is as a design as-

observing others in the industry, has further contributed to

sistant in the menswear team, so I use many skills ,assisting

my own unique working style.

in lots of areas. A key skill I learnt at university is garment

What did you do after university? Since leaving university I have undertaken a number of different projects. Initially, I went on to work for a year as a junior designer for the Max Mara Fashion Group, in Italy. After that I got accepted onto the Masters course at Central Saint Martins. Since then, I have been doing some freelance work for projects involved with Prada, Jessie J and Lady Gaga. I also tutor part time

construction - the ability to understand how a garment is put together and to be able to visualise the construction of a garment. This so important in terms of translating the designer ’s ideas into plausible garments and I’m always asking myself ‘is this possible?’, ‘how will it work?’. If it wasn’t for continually sampling construction methods and receiving tutorials from technicians at UCA, I would have much less of an understanding of this.

at UCA Rochester, which I love, because it’s a great feeling to know when you have triggered the right side of the brain

Where would you like to be in ten years time? I would like

in a student.

to be working as category-specific designer, driving the image of a brand such as formals, casuals, or denim.

What advice would you give to students in preparation for when they leave University? I think it’s important to realise that it is very difficult to land a job in fashion. You will hear it many times that there’s so much competition from not only other graduates, but also from people already working within the industry, who have much more experience. When you graduate and you seem to get very little response from applications and requests, it can be really disheartening. I would say don’t be too downtrodden by this; try going for an internship while you look for a paid position. You may feel that you deserve, or are ready for, the real thing now, but if you look at it in terms of proving yourself and your skills whilst working, as opposed to what is on paper, you may end up landing yourself a job anyway. I took this route, and am eternally grateful for the opportunity.

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Jennifer Allen is Menswear Design Assistant and Assistant Garment Technologist at Reiss. She studied Fashion Management (now part of Fashion Design) at UCA Rochester, specifically for Menswear and has since undertaken a range of different projects, including internships at Nicola Finetti and Erdem. Jennifer gives an overview of her time at University and offers advice for future graduates.

Why did you decide to study at UCA Rochester? I studied for my BTEC National Diploma in Art and Design when the university was known as KIAD. After seeing the fashion shows and work of fashion design students there, along with the wealth of equipment and resources at UCA Rochester, I decided that it was the place for me.

What do you regard as the most important thing that you

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learnt at university? In general, time management: jug-

Victoria Snepp graduated from BA (Hons) Fashion Design de-

gling different projects at the same time and keeping to

gree from UCA Rochester in 2000 after which she worked

deadlines kept me on my toes, and I can safely say that

for Karen Millen, Whistles, Jigsaw and Press & Bastyan. She

good time management is now a skill of mine. On a more

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specific note, learning to use Adobe Illustrator was very im-

Bastyan and the joint owner of ‘Pret-a-golf ’, a women’s golf

portant, as this is a key skill that has enabled me to be in

label. Victoria reflects on her time at university and how what

the role I have at Reiss.

she learnt has enhanced her career.

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currently the Senior Designer at British premium brand

What qualities appealed to you in wanting to study at UCA Rochester? Initially I was going to apply to one of the more popular universities after studying at KIAD Maidstone (now UCA) on the foundation course. I quickly realised that it was just as important to look at the syllabus and what a course had to offer. BA (Hons) Fashion Design degree at Rochester had all the elements I needed and wanted. It had the right mix of design, pattern cutting and production lessons for me to really get stuck in and learn the process from start to finish.

Having completed my foundation at KIAD I knew how amazing the course, staff and experience was.

As Senior Designer at Bastyan, what do you do on a dayto-day basis? My Boss Tonia Bastyan, Liz the Junior Designer and I have a catch up regarding various things such as design sketches, colour, fabrics etc. Each Monday we have a trade meeting where our Merchandiser and Retail Director will report on the weekly sales, best sellers, best performing stores.

We will then work out the mannequin changes for the week ahead and this will then be emailed out to stores for them

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to follow. Following lots of new stock arriving, we will go to

Alex Mattsson is a menswear designer with his own label

re-merchandise the product in the Oxford Street store, as this

based in London. Alex’s inspiration is derived from a va-

helps to keep things fresh and exciting. I will also spend sev-

riety of sources ranging from technology, science fiction,

eral hours a week updating our blogs, searching the web for

ancient civilizations and the differences in cultures. His ex-

new inspirations and checking out our competitors by visiting

perimental and contemporary approach to menswear de-

the stores, such as Selfridges and Harvey Nichols.

sign is a rejuvenating change. Alex gives his perspective on

How did you manage to secure such an esteemed position

what he has learnt since graduating and why university was so important to him.

at Bastyan? I think there are a few key things which led me on this path: 1) enthusiasm; 2) an amicable personality - get

What do you regard as the most important thing that you

on with your peers/employers (no tantrums, keep grounded/

learnt at university? How to make clothes. The technical side

level headed and don’t think you know everything!); 3) hard

of my work is incredibly important and my time at UCA Roch-

work; 4) positive thinking; and 5) conscientiousness. If you

ester sparked that flame, whilst laying the foundations for my

leave a good impression on every company you have worked

pattern cutting, construction and design skills. With regards

for, opportunities will come your way. If you become indispen-

to whether I feel that UCA Rochester prepared me for the real

sable, people will always value you. So, as long as you work

world, then yes, I definitely think it did. I turned up to univer-

hard, prove yourself and enjoy what you do, there will always

sity wide eyed and naïve, but my time at UCA Rochester saw

be something around the corner. I was lucky enough to leave

me come out battle-hardened and aware of what the industry

an impression with my previous employer at Press & Bastyan,

is like. The projects are ‘realistic’ and prepare you for a ca-

so 10 years later when she was setting up her new brand

reer in the creative industries. I still use all the skills I learned

Bastyan, she wanted to employ me again.

during my time in university such as pattern cutting, sewing

What advice would you give to students in preparation for when they leave University? Do not give up! Persevere and

and designing on a daily basis. I also work on commissioned projects alongside my own label where project management skills are key.

be willing to work hard. Make yourself available for any type of fashion job, whether it be a buyer, merchandiser, fabric

What did you do after university? My label is an ongoing

buyer, technician or design assistant. Do not turn down work

venture that has attracted other exciting projects. I would

experience because they do not pay what you expect/want. If

probably describe my brand as having three main focal

you truly believe in yourself, and the future career you wish to

points: future, retro and nostalgia. My menswear style is driv-

pursue, then time or money shouldn’t be an issue. The most

en towards innovation and experimentation. I would say the

valuable thing when you graduate is to learn, and get yourself

highlight is being selected for the Selfridges ‘Bright Young

into the industry. I decided to go direct to companies. You

Things’ where I designed and set up a window display as well

need to put yourself out there, approach key designers/retail

as stocked my garments in store. Another fun project was de-

companies you would like to work for, write to them, ring

signing a capsule collection for Nylon magazine pop up shop

them, talk to people who may know someone who works there

in Tokyo. I am currently also designing a new Scandinavian

and network. I can now say that all the hard work, overtime

sportswear brand and working on a project with i-D maga-

and no money, has all been worth it. I am the happiest I have

zine. Mostly though I am working on my own label and devel-

ever been, and I think it is all down to achieving what I intend-

oping everything as the brand moves onwards and upwards.

ed to do – designing for a brand I truly love and working with

I am a firm believer in working hard and going with the flow.

talented people. I am still learning something new everyday.

The rest sorts itself out.

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Photographer: Eeva Rinne Stylists: Amy Warner, Thomas Ramshaw Styling Assistants: Abby Lake, Warren Leech Models: Anna (Nevs), Cassandra Hair and Make up: Dean Woodvine

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Garments by Rebecca Jarvis

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Menswear garments by Laura Pritchard

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Garments by Hayley Nice

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Garments by Olivia Salmon

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Garments by Lindsay Macdonald

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Garments by Fanny Fong

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Menswear garments by Daniel Holliday

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Garments by Emma Brewin

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Garments by Ornela Ebama Mbota

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MARIANNE SORENSEN BA (Hons) Fashion Design During the summer of 2011, I started to explore two concepts: Russia during World War II, and the ballet during the same period. I decided to combine these two ideas with the emphasis on looking at women’s lives during this time. For this I conducted research in some old war archives in Denmark. I also interviewed a Russian woman who was young during the war. Her story was so moving. My working method is to find a subject that draws me into its world so that it almost feels tangible. It is crucial for me as a designer to be emotionally connected to my inspiraiton.

What I saw in the picture was heavy textured fabrics: her female identity lost in a man’s world and blending in with the surroundings. The mood I captured from the picture was the heavy burden and sorrow she must have felt, living in a Russia where beauty and happiness could have made such a difference.

I started sketching ragged clothes to illustrate not only poor circumstances, but also a torn identity. Heavy woven fabrics were used to reflect the weight on her outer body. I knew that the garments I wanted underneath the coat should represent her fragility, and with a glimpse of hope.

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During the third year, draping became my preferred working method. I would sit for hours in my world of classical music and just shape fabric around the stand.

During the illustration classes with fashion illustrator Richard Gray, I learned that mixed media was the right approach as the collection is all black, but with different textures.

Working drawings are a crucial part in translating the technical information. I drew everything using Illustrator software.

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Making this collection has not only given me confidence in my style, but also helped me to discover a new side to my creativity.

I feel ready to approach new techniques and to gain even more knowledge.

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DANIEL HOLLIDAY BA (Hons) Fashion Atelier The starting point of my collection was the ill fated Terra Nova voyage of 1912, in which polar explorers perished on their return from the South Pole. From this, an image of an upturned boat which was normally used to survive the polar climates, became a new perspective for my design. The concept became the way in which, within structures, life that would not normally be able to survive in such conditions, can be preserved and even flourishes. The juxtaposition is of large outer shapes which protect the body with colour and life existing inside, occasionally bursts out.

The upturned boat, crafted by the explorers, provided a drab and unusual oasis to protect the lives inside, saving them from certain death. This allowed them to get on with their lives when away from the polar ice caps.

I used the boat as the prime inspiration for the idea of crafting voluminous outwear.

As opposed to wearing the coat, I wanted to remove the body shape from the silhouette. This way the coat is hanging away from the body as if it is inside of the structure.

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This illustration is a promotion of the conceptual idea. Although the outside shape exists in its own right, I wanted the inside to be like a burning ember of life.

Crafting the outside shapes was not easy and I had to create numerous toiles and tests. After that, it took me many hours and different tests to get the correct dye cast for the industrially thick felt which I wanted to use to craft the coat.

Using a heavy-duty leather machine, the coat was topstitched together. Numerous issues occurred when sewing the final garment. Various needles sizes were tested and shattered, and in the end I had to use the biggest needle available to punch through the thick layers of felt and canvas, in order to lock the coat together.

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Completing the coat was a test of innovation and patience.

Although extremely difficult to craft together, the final result is this exciting, if almost alien, structure that encases the body. I think this is a successful translation of my conceptual starting points.

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ANNIE MAE HARRIS BA (Hons) Fashion Textiles When designing my collection, I wanted to focus on texture and print being expressed through simple and sophisticated silhouettes. I have always experimented with print on different materials and I wanted to retain this in my final collections. This can be seen with contrasting fabrics and techniques, creating rich textures and layers.

This is from one of the first pages in my sketchbook: initially the collection started off about natural curiosities and beautiful wonders. Delicate flowers and crystals were an inspiration, with lots of drawings and experimentation.

The collection took a turn and became a little darker and mysterious, and the teeth became a print and also a motif for jewellery. References to natural curiosities, which had initially inspired me, were still important to me.

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Up until this point I was designing prints for accessories and scarves. I had never set out to do a complete collection of 6 outfits. This was a huge step for me, being a textiles student. I began to focus on designing simple garments and outfits in order to display the techniques and prints I was developing.

This shows the development of my prints. I was working on 2 colour ways: pinks and purples, with the other being oranges and turquoise. Looking back now, I’m glad I went with the turquoise.

Once the prints had been finalised I started to first allocate them and then manipulate them, so that they would be suitable for the garments I had designed.

This is my first range plan, which of course changed many times.

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One of the final outfits: printed silk twill and silk organza dress.

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The three courses offered by the School of Fashion at Rochester are all underpinned by the skills students learn in both traditional craft methods and new digital techniques. Nowhere else is it better represented than in the craftsmanship that goes into the students’ final year collections. On the following pages you will find detailed tales of constructions, fabrics, prints and minutiae in a close up look at the garments.

Photography: Robbie Munn

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HANNA-LOTTA HANHELA I was influenced by samurai armour and child labourer protective wear. The ritual behind, and the purpose of, the ritual of getting dressed for being protected, was something the samurai warriors also engaged in, and has had an impact on the way I approached the design process of my collection. The weaknesses in construction and the strengths in structure of these garments were used as main inspirational sources. I wanted the construction for my garments to be as minimal in style lines as possible, reflecting the sheets the fabric workers used to wrap themselves in for protection. The picture is a detailed shot of my tailored silver kimono coat made from wool silk with a raglan silk ‘sharkskin’ sleeve. The lining of the coat is in the shape of a circle and is hand sewn in the trimming of the sharkskin running along the facing edge.

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My collection entitled ‘Suspended Animation’ was inspired by the sculptures and drawings of the kinetic artist Naum Gabo. The skirt pictured is made from a vibrant double silk georgette, draped around a plastic boning frame, covered in a reflective material, and secured onto a polyester base skirt. The skirt accentuates a slim elegant silhouette on one side of the body, whilst the boning frame alters the natural silhouette on the opposite hip. Underneath the frame a heavy, dramatic drape falls which returns the garment to the natural silhouette of the body. The majority of the skirt is made without reference to a pattern as it is draped and hand sewn into position whilst on the stand to achieve the desired effect. Finishings include narrow french seams on the double georgette, and binding on the seams of the polyester base skirt for a clean finish.

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STEPHANIE ZEINATI Culture and knowledge is what I thrive on and so I began to research nomadic people and civilisations when developing my collection. The ways in which the fabric has been worked with wadding and yellow top stitching is just what I love about making. I wanted to have a drawstring feature somewhere in the collection from the very beginning; it’s sporty and I love the way the strings swing about when in motion. The process of putting all the elements together for this jacket took the most time and even the eyelets were turned from bling gold to old brass, which I achieved using a blowtorch!

This jacket pattern was developed from my mother’s bomber jacket, found as I rummaged the garage during the development of the collection. The garments therefore carry a memory and personal meaning: from something old to something that is now new.

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SHARON

OSBORNE

The inspiration for my collection came from light and glass. The print was developed using photographs I had taken of light reflections. This dress is made from cotton sateen with a silk chiffon draped overlay. Silk chiffon was chosen because I wanted to project the concept of light within the print and for people to be able to see through the print. Working on the stand, I draped fabric until it got to the point where I was happy with the pleats and lay of the material. This also helped with finding the balance between light and shade. I found finishing off the hem very difficult. A technique called babylock, was used, but it looked unprofessional and so I unpicked it. I then decided to hand sew it all to produce a perfect hem. The finished dress is soft with a suggestion of movement for femininity.

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My collection was inspired by what the Japanese call Wabi Sabi, a traditional Japanese aesthetic theory that can be loosely summarised as finding beauty in things imperfect or in decay. The collection aims to teach an appreciation for life by subtly suggesting transience and death. This shirt features a super cutaway collar, twin button cuffs and a slit breast pocket with pressed primrose detail. Slim fitting with long sleeves and narrow flat fell seams and it is made from 100% organic hand-woven cotton with a rayon inner yoke and shell buttons. The idea for the pressed flowers came from Ikebana (flower arranging) and the notion of transience of life. I had originally wanted to put a dead butterfly in between the pocket fabric, as this was a more significant suggestion of impermanence of life than that of the flowers.

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My collection was inspired by a stylistic type of abstract, historical music called ‘serial’ or ‘twelve-tone’ music. It also takes inspiration from the relationships of music notes to each other, and the way in which music is notated and interpreted from a written medium into a sound. This garment utilises traditional tailoring techniques combined with contemporary cutting and fabrication. The fabric is sourced from New York, and consists of two layers - the underneath is a silk wicker weave layered with a sheer grey plastic to give an unusual surface texture and a contrast to the more traditional considerations utilised in the construction.

I draped and made the shoulder pads to the shape I required for a high-rounded shoulder silhouette, and draped the sleeve design around this to incorporate seaming which would enhance this shape. It is half lined to see the bias bound seams and reverse fabric inside.

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This dress comes from my final collection titled ‘Under the Microscope’ which is inspired by the unseen wonders of the world. The collection aspires to capture the otherworldly nature of forms such as bacteria, parasites and insects through their unique shapes. The structure of this dress, in particular, was inspired by the face of a fly. The dress is entirely made of printed felt using dye sublimation; each layer gradients in shade and size to form a striking three-dimensional effect. Every layer was individually pattern cut and then cut by hand, with a total of four metres encasing and flattering the body. While designing and producing this collection a major obstacle was producing the technical drawings for each piece: there were over one hundred individual layers to capture in their three-dimensional form, for this dress alone.

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NOTHING IN THE WORLD BUT YOUTH To coincide with their 2011 exhibition, “Nothing in the world but youth�, the Turner Contemporary Gallery in Margate invited Year 3 Fashion Design and Fashion Textiles: Print students to take part in a creative collaboration to examine and respond to the power of youth culture. Taking their cue from the potent imagery of generations of teenagers rebelling against authority and reinventing the language of clothing, the students were encouraged to recycle, borrow from, and customise the past, to create a new visual vocabulary of contemporary fashion. The exhibition provided a great backdrop to the salon presentation of chosen outfits where models moved amongst the gallery audience before taking their places on plinths to become an integrated part of the exhibition.

Designs by Stephanie Zeinati

P R OJECT S 11/12 The School of Fashion in Rochester has strong links with the fashion industry to ensure excellent prospects for employment. As part of this, staff and students take part in a variety of external projects, competitions and collaborations. Here is a sample of some from 2011/2012.

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This project brought Year 2 Fashion Design and Textile students together, working in small groups to develop and produce a capsule collection of garments for the Margaret Howell. Thorough research of market awareness and careful consideration of the ethos of this label was crucial to understand the requirements in developing an appropriate and creative group collection for either the Margaret Howell mainline or MHL label. From this research each group developed ideas for a range of 8 outfits to reflect the brand and its core inspiration, with each student within the group focusing on their subject discipline, so, Textile students designed the prints, and Design students developed the garment ideas.

Designs by William Cuthbertson, Laura Niehorster, Emma Moss, Shannon Francis, Tee Njorge, Adele Webb and Charlotte Lloyd 52

THE CR YSALI S PROJEC T Staff and students working with the Digital Textile Print Resource Centre at UCA Rochester, are currently involved in an international research and development project, entitled Crysalis. The Crysalis Project is a collaboration between the University for the Creative Arts as well as engaging young entrepreneurs, and the cities of Calais in France and Ronse in Belgium, who both have a rich heritage of textile tradition, and a strong focus in public engagement and entrepreneurialism. The project brings together academics, students, practitioners, manufacturers, professionals and entrepreneurs.

Crysalis offers an opportunity to engage with new technologies, explore traditional craft techniques, to work and exhibit internationally, and to connect with textile business in the UK, France and Belgium.

Print by Lara Waghorn

WAREHOUSE PROJECT The School of Fashion at Rochester was delighted to welcome Warehouse back to collaborate with their Year 1 Fashion Design students. One of the oldest and most successful high street brands gave 4 key trends: Adorn, Rock God, Stately Home and Balmoral, and invited students to design a Capsule Collection for Autumn Winter 2012. Andrea Maxted, the Senior Jersey Designer delivered the brief and discussed each trend in detail allowing an in-depth and personal understanding of the Warehouse brand. Students then chose a trend ensuring they maintained the Warehouse ethos and brand direction. Warehouse was invited to be part of the design selection and a final presentation of each trend was shown in a ‘mocked up’ shop.

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School of Fashion Staff

EVELYN BENNETT Fashion Textiles Tutor

NEIL BOTTLE Subject Leader – Fashion Textiles: Print

LUCY CHICK Fashion Design Tutor

LORRAIN HARTNESS Technical Tutor – Pattern cutting

HELEN KERR Technical Tutor – CAM

JULIA KROENER Fashion Design – Pattern Cutting 54

GILLIAN BUNN Technical Tutor – Pattern cutting

DONNA IVES Associate Dean

KRIS MARSH Faculty Officer

School of Fashion Staff

STUART MCMILLAN Fashion Atelier Tutor

MAXINE MUNN Technical Tutor – Garment Production

TIM O’SULLIVAN Course Leader Fashion Design

ANN PRICE Faculty Administrator

ANNE REIMERS Theory Tutor

TEERABUL SONGVICH Fashion Atelier Tutor

KATH SMITH Year 2 Coordinator Fashion Design & Pattern Tutor

DENISE WARD Year 2 Coordinator Fashion Design & CAM Tutor

JEMMA WILLIS Year 1 Coordinator Fashion Design

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Lauren Barnes barnes.lauren89@gmail.com 07515926999

Marianne Sorensen mariannes9@hotmail.com 07591910046 www.masore.com

Fanny Fong fanny.103@hotmail.com 07927515751

Stephanie Zeinati szeinati@hotmail.com 07506860506

Emily Houghton emilyhoughton2@gmail.com 07891302948

FASHION ATELIER

Rebecca Jarvis rebecca-jarvis@live.com 07973297166 www.rebeccajarvis.co.uk

Imogen Allen i.allan@live.com 07946 817022 Hanna-Lotta Hanhela hannalhanhela@gmail.com 07741 7138 59

Teresa Kroenung teresa.kroenung@web.de 07513-542404

Daniel Holliday Holliday2@hotmail.co.uk 07837625524

Sarah Lee slee.9@hotmail.co.uk 07730248838 sarahelizabethlee.tumblr.com

Lindsay MacDonald lindsay1908uk@yahoo.co.uk 07809672174

Siân Lewellen sfl_designs@yahoo.co.uk 07966051300

Zoë Stenner zoestenner@gmail.com 07540959016

Helen Lippett Helenlippett@yahoo.com 07796 608512

FASHION TEXTILES PRINT

Toni Meikle tonimeikle@yahoo.co.uk 07539735412

Elisabeth Boström info@elisabethbostrom.com 079 80501743 www.elisabethbostrom.com

Lucy Mellor mellorlucy362@googlemail.com 07725999315

Mashaal Jolly Mashaaljolly@hotmail.co.uk 07540139587

Tola Mohiki tolamohiki@gmail.com 07815931123 www.tmohiki.tumblr.com

Annie Mae Harris anniemae15@live.co.uk 07769860105 Hayley Nice hayley_nice@hotmail.co.uk 07906218791

Ornela Ebama Mbota ornelaebama@hotmail.co.uk 07717374364

Laura Pritchard llaura@hotmail.co.uk 07544802507 www.bxtreme.co.uk

Stephanie Norrington Steffanie.norrington@hotmail.com 07714445343

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Olivia Salmon oliviasalmon@live.com 07824323491 www.olivia-nicole.com

Emma Brewin emalouise_b@hotmail.co.uk 07841337476

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Sharon Osborne sharon.osborne84@gmail.com

FASHION DESIGN

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Garments by Steffanie Norrington

APPLYING FOR A COURSE

MAGAZINE CREDITS

You apply through UCAS and need to meet the minimum entry requirements of 220/240 UCAS points.

These need to come from a qualification on our list of accepted qualifications:

Editor/Producer Johannes Reponen jreponen@ucreative.ac.uk

GCE A levels International Baccalaureate BTEC Awards, Certificates, and Diplomas at level 3 BTEC Nationals at level 3 OCR Nationals NVQ at level 3 Key Skills level 3 Level 3 of the ‘Creative and Media’ 14 - 19 Diploma Other EU/International qualifications which are equivalent to 220-240 tariffs at level 3 We also accept other relevant and equivalent UK and international qualifications, which are considered on an individual basis.

For international applications where English is not your first language you need to achieve an average IELTS of 6.0 (with a minimum of 5.5 in each individual component) or equivalent.

Interview All applicants will be offered an interview where you will be expected to bring a portfolio of your work.

What to include in your portfolio We like to see exploration of drawing techniques, colour, experimentation with a variety of media, and attention to presentation. Annotated sketchbook work and personal development is always welcomed. At interview we like to see a real passion for the subject and expect students to demonstrate this.

Contact To find out more about UCA Rochester and our range of courses, please go online at www.ucreative. ac.uk/rochester

Sub-Editor Pat Frances PFrancis@ucreative.ac.uk Art Directors Imogen Bellotti imogenbellotti@gmail.com Brendan Geoghegan* BGeoghegan@students.ucreative.ac.uk Photographers Eeva Rinne eeva.rinne@gmail.com Robbie Munn RMunn@ucreative.ac.uk Stylists Amy Warner* AWarner@students.ucreative.ac.uk Thomas Ramshaw* TRamshaw@students.ucreative.ac.uk Styling Assistants Abby Lake* ALake@students.ucreative.ac.uk Warren Leech* WLeech@students.ucreative.ac.uk Interviews Lauren Mason* LMason@students.ucreative.ac.uk Illustrations Jo Graham joanna_graham_hull@hotmail.co.uk

For queries regarding admission to all undergraduate and postgraduate degree courses please contact:

Hair and Make up Katie Arnold katiearnold90@hotmail.co.uk

T: +44 (0) 1252 892960 E: admissions@ucreative.ac.uk

Jessica Warner jesswarnermake_up@yahoo.co.uk

UCA Rochester Fort Pitt Rochester Kent ME1 1DZ Tel: +44 (0) 1634 888702 www.ucreative.ac.uk

Dean Woodvine dean.woodvine@gmail.com *BA (hons) Fashion Promotion

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