It’s where you work. You walk in, greet your colleagues, turn on your gadgets, adjust the lighting, and arrange your snacks. You position your special chair just so. There might be a plant to water, materials to organize, tools, books, even familiar trinkets, or mementoes of journeys to cherished destinations. Maybe you work in a factory or a coffee shop; maybe you’re a stylist and the only constant is your makeup kit. Or you take calls on the beach with a margarita nearby. These days, of course, many of us work from home, with a pet lounging nearby—in bed, or on the couch in the proverbial sweatpants.
For our third pocket-sized issue of Hue, we investigated workspaces. We started with a call for submissions. Alumni, faculty, staff, and students sent in photos and even a painting of where they earn their daily bread. We culled a selection of resonant objects for a separate feature. We asked alumna Hilary Catterall ’06, an expert of wellness at the storied architecture firm Cookfox, to tell us how she designs a healthy office. Finally, we visited The Museum at FIT for a behind-the-scenes look at this essential institution. Where we work is where we live; here’s a little survey of how the FIT community is doing it in 2025. — Alex Joseph
ALEX JOSEPH
Fashion and Textile Studies: History, Theory, Museum Practice MA ’15, chief storyteller, FIT
The office where I #wfh is dominated by a canvas by Amy Bay, a Portland, Oregon, painter who used to work in FIT’s admissions office. I found that red mask in a craft shop in Isla Mujeres, Mexico. There’s also a portrait of my grandmother and an illustration of the writer Joan Silber, whose work I’ve long admired.
MIRANDA CHEN
International Trade and Marketing ’13, Fashion Design ’11, fashion illustrator and live sketch artist, How Heart Thou
My workspace is also my dining room table. My biggest inspirations include the colorful outside landscape and the blissful smile on my son’s face when I create something that brings him joy.
adjunct assistant professor, Photography and Related Media
Within my iMac screen is a selfportrait. Beyond that are memories and mementos from my entire life. Above my computer is a stationery cubby my father crafted for my photography studio on East 20th Street. In and on top of the cubby are photographs of many of my dearest loved ones.
DENTON TILLMAN
ANWAR MORSE
Illustration MFA ’11, counselor associate, FIT Admissions I draw pictures here. This is the book cover for my novel, Humans Are != Automatons (EarthTone Kingdom, 2025).
RENEE COOPER retired professor, Fashion Business Management
My workspace, in Los Angeles, has a view of traffic and the marina. The computer at the top is old, and I use it as a second monitor.
Cooper taught at FIT for 24 years, serving as department chair for two years.
This is my workbench, where all my fine jewelry is created. My microscope allows for more precision and accuracy when setting stones and helps me really appreciate the craft.
DANIELLE STEIN GONZALEZ
Accessories Design ’12, founder, Verona Black
This sanctuary is a small handmade-accessories business that I grew from the ground up. The star-shaped handbags [top framed photo, second from right] were my senior thesis collection.
PAMELA NAVARRO
Illustration ’19, founder and artist, L’Etoile Arts
My studio is located in Guanajuato, a beautiful town in the center of Mexico. Inside, I feel like I am in another place out of this world. I have prints from some of my favorite illustrators for inspiration and a little bed for my dog.
DEBORAH GREGORY Fashion Buying and Merchandising ’75, author and creator, The Cheetah Girls novels
The Cheetah Girls dolls are my pride and joy. They surround my workroom and office where I make handcrafted items for my Etsy shop and write my books and articles.
Hat blocks help milliners create all kinds of amazing hat shapes, but they’re also sculptural creations in their own right. Before using a block, it needs to be covered in plastic wrap to protect the wood from the heat and moisture needed to create the hat shape, as well as from any dyes that might be on the material being blocked.
MICHELLE FEINBERG
Fashion Design ’95,
founder,
New York Embroidery Studio
Over the years, we have grown beyond our roots in embroidery to offer over 60 distinct design services, including laser cutting, handbeading, pleating, novelty stitches, 3D printing, heat transfers, appliqué, custom embellishments, and so much more. The addition of our Brooklyn-based factory has further expanded our capabilities, enabling
us to take on large-scale production projects, such as cut-and-sew operations, automated spreading, nonwoven ultrasonic welding, modular garment assembly, quality assurance with ISO certifications, and the manufacturing of PPE and Navy Working Uniforms. This image is of the embroidery department of our Manhattan studio.
ANGELA RIZZA
Illustration ’11, children’s book illustrator and tattoo artist
In my space I surround myself with oddities, old naturalists’ drawings, and my six birds, who always make little cameos in my work. Having the birds in my workplace helps alleviate stress or artist’s block. They also help remind me to take breaks and not sit there hunched over for over three hours at a time. They’re very social animals and if I don’t spend time with them, they let me know they’re upset. I’m teaching Sabich, the blue Indian ringneck, to speak, and he’s got a nice list of phrases so far, like “Gimme kiss, muah,” laser noises, and the “Bacon Pancakes” song from Adventure Time.
STEVEN FAVREAU
alum, interior designer and founder, Favreau Design
I created my Favreaulous factory as my headquarters and showroom. My staff worked in areas of their choosing each day in this 11,000-square-foot Boston loft. In this room:
• A copper-and-tin mid-century palm tree light purchased at Paris’ largest flea market.
• A mid-century Scandinavian cabinet with eglomise painted birds and metallic leaf.
• An amber glass and brass midcentury chandelier from Murano.
• A massive Swedish farm table from 1820—14 feet long!
• A Chinese lacquered horse over 400 years old.
I took the space apart to relocate to New York City, and it will be recreated when I find a new office space.
Greg Premru
JENNA GANG
Photography ’11, photographer and director for many clients including Fanta, Target, Amazon, Corona, and Celsius
My studio, Lemon Poppy Studios in Long Island City, Queens, is where I shoot most of my commercial jobs. I also rent it to other photographers and productions.
The kitchen gets a lot of use! Our incredible food stylists whip up whatever’s needed for
theL shoot—like a half-cooked turkey that somehow looks perfectly golden and done on camera, or 100 slices of bacon just to find the one that works best for a bacon tie (yes, really). It also doubles as a catering prep zone and, once, even hosted my whole family for Thanksgiving.
GISELLE HABERT
Footwear and Accessories Design ’22, founder, Gisessories
My studio—in the basement of my home—is equipped with everything from industrial and home sewing machines to a leather
skiver. I’ve got fabric, notions, a mannequin, a cutting table, head forms, and more. You’ll probably find scraps of leather, pins, and patterns scattered everywhere.
FREY
Graphic Design ’95, founder and creative director, Stone DesignWorks
My dogs, Elektra and Ollie, keep me company all day. (Now it’s just Ollie. Our small dog, Elektra, died recently.) I collect vintage cameras and vintage binoculars, and I always need a disco ball nearby.
The illustration hanging above my desk was created by an FIT student for my aunt Elaine Stone, professor emerita, aka “The Hat Lady,” who watches over me while I’m working.
TANIA STONE
CHAYA TOPAS
Home Products Development ’07, writer, designer, project manager
This is my “home office,” where I write books, answer emails, and design print media.
LIN RODABAUGH TYRPIEN
Home Products Development ’12, Visual Presentation and Exhibition Design ’10, founder and director, Lyle Gallery
This is the back kitchen area of my gallery. It’s where I spend a lot of time on calls with designers, creating marketing assets, and scheduling walkthroughs—this is a new company, so I’m constantly scheming and dreaming. The bookshelf is actually a hidden door leading to a secret room, filled with a mix of exhibition catalogs, artist monographs, zines, and plenty of queer art and design books, reflecting our ethos as a queerowned gallery. I found this space on Craigslist, and the moment I saw that bookshelf door, I knew this was the space for me.
KRISTEN KELLS
Fashion Design ’09, founder, Kristen Kells Interior Design
I have two wild little boys, so I was looking to create a space that could be entirely mine and utterly feminine. I am a former fashion designer and I have transitioned into interior design, but much of what is in my home office is very much connected to my love of fashion. Glamorous fashion photography has always been a huge source of inspiration for me.
TARA KAWAS
Advertising Design ’10, artist and high school teacher
I create drawings, paintings, and mixed media collages inspired by the natural world. My desk was created with love by my dad, and the gallery wall is always changing and growing. I am grateful for my art space, even if it is small and in my living room!
LATICHA BROWN chair, Fashion Business Management
With so much history being erased and a growing push to diversify the curriculum, I thought highlighting iconic Black designers would be a creative and meaningful way to spark conversation. While I’m not a designer by trade, I’ve always believed that representation matters.
Some of my favorites include:
• Elizabeth Hobbs Keckley, a former enslaved person who became a talented seamstress, civil rights activist, and the dressmaker for first lady Mary Todd Lincoln.
• Willi Smith, a trailblazer who brought “street couture” to the forefront of fashion.
• Aurora James, the visionary creative director and founder of Brother Vellies and the founder of the 15 Percent Pledge, pushing for lasting change in the retail industry.
• Sergio Hudson made a powerful statement when he dressed both former first lady Michelle Obama and Vice President Kamala Harris at the 2021 Inauguration.
Smiljana
Peros
CANFIELD Fashion Business Essentials certificate, founder, Danielle Canfield Designs
This gallery wall took me several years to curate. The 1930s Singer sewing machine was gifted to me by my stepmom.
DANIELLE
ANTHONY FREDA
adjunct assistant professor, Illustration; artist for many publications, including Time, The New Yorker, and The New York Times
I surround myself with Americana, skulls, vintage blackboards, and oddities I find in flea markets. I incorporate some of the items into my work and upcycle them into their new lives as “art.”
ZALDY GOCO
Fashion Design ’90, Emmywinning designer for Lady Gaga, Cirque du Soleil, and RuPaul’s Drag Race
My desk is always overflowing with inspirational samples from projects past and present. The mural was hand-painted by my best friend Miguel Villalobos over Covid lockdown, while I made papiermâché planters! I told him I wanted an imagined jungle to escape to everyday.
JADA HAIRSTON Fine Arts ’23, multidisciplinary artist
As a doll maker, I like to collect toys, trinkets, and other playful things. They provide a dialogue with my own creations. On my desk is a work-in-progress doll.
JULIA JACQUETTE
assistant chair, Fine Arts
“Studio,” gouache on paper, 12 by 16 inches, 2019.
I’ve been working in the same studio in the East Village for over 20 years. I love it dearly.
I created this work for a show called Artists Draw Their Studios at the Hewitt Gallery at Marymount Manhattan College, and then it moved on to the Kleinert/James Center for the Arts in Woodstock, NY. I was making a body of work that featured figures often seen in the media. I would create “still lives” consisting of bought figurines, or I printed out (and cut out) images of individuals I was thinking about a lot. In this work, you’ll see Anita Hill, Bella Abzug, Princess Leia, among other folks, as well as a few puddles of novelty vomit. The news of the day was making me queasy at the time (and it continues to).
WHAT WE KEEP IN OUR WORKSPACES
Precious Things
Objects can transform a space, and they hold incredible power. Whether it’s an artwork by a family member, a trinket that brings back memories of a special trip, or photographs of a personal hero, a well-placed memento can imbue a room with warmth and inspiration. On the following pages, FIT alumni, faculty, and staff share the objects that help work feel a little more like home.
BY JONATHAN VATNER
This spinal cord, which I conceptualized and hand-drew before it was sculpted in fiberglass, sits right at the front of Spacebiskit, a studio that merges fashion and art in Chennai, India. I’ve always been fascinated by the idea of the subconscious and the unseen structures that hold us together, physically and emotionally. The spinal cord felt like the perfect symbol for that.
SHRUTI BISWAJIT
Fashion Design ’14, co-founder and creative director, Spacebiskit
When issues and stress arise, I look at photos of Audrey Hepburn and my favorite ’60s fashion, and the world becomes more peaceful.
STEVEN STIPELMAN
This is my great-grandmother Ella’s freestanding sewing box, complete with thread, notions, and a pincushion that belonged to her. Her skill and interest in textiles and needle arts were passed down to me.
LORI WEYAND MASON
Textile/Surface Design ’96, founder, Lori Mason Design
Fashion Illustration ’63, professor, Fashion Design–Art, legendary fashion illustrator
Tea gets me through my day.
MIYO SANDLIN Fashion and Textile Studies: History, Theory, Museum Practice; assistant professor, Instructional Services and Student Engagement librarian
I created this stoneware piece when I was a student, trying to figure out where I was headed. I was exploring some of the qualities that ceramics pieces could achieve—in this case, an object seemingly in suspended motion. Originally, I had planned for it to be like a series of dominoes falling, but after its firing, I thought it was better upside down. Ceramics turned out to be a step along the way toward a career in architecture and interior design, but I like to surround myself with these earlier, formative pieces as a way to remember this time in my life.
JOSEPH GOLDSTEIN adjunct assistant professor, Interior Design; founder, JGArchitects
This cairn brings me from my basement office to my happy place, the great outdoors.
PALMA GENOVESE Restoration ’01, associate coordinator, Operational Services, FIT
My daughter must have done this painting in the third or fourth grade. She is fond of skyscapes, either with a setting or full sun; nearly all of her pieces feature them. Naturally, they remind me how proud I am of her creativity, but more than that, the images just make me happy.
TRACY GAMBLES counselor associate, Academic Advisement Center, FIT
I studied the history of the corset for years, in the process acquiring an archive of visual material, including this 1933 Art Deco advertising poster by Roger Perot, which I found rolled up in the back of a used bookstore and purchased for $100.
VALERIE STEELE director and chief curator, The Museum at FIT
Cats:
Smiljana Peros
I bought these beaded patchworks and the traditional-looking hat from artisans in a remote village in Pakistan. Hand-beading, crochet, embroidery, and woven techniques inspire me tremendously.
NAZIA RANA
Textile/Surface Design ’86, owner and designer, Naazspectrum Inc.
This windbreaker hanging in my home office combines my love of boxing, admiration of Muhammad Ali, and passion for music. Ali recorded a single titled, “I Am the Greatest.” During the recordings, he had five of these jackets made for his “crew,” and they are featured in the movie The Greatest. I was told that this jacket is the only one remaining. The 45 rpm record is a first pressing used to promote the song to radio stations.
JEFF MELTZER
adjunct instructor, Advertising and Marketing Communications; owner, Meltzer Media Productions
This bold South African
poster hangs in a small section of my workspace where wall and shelf intersect.
PAULETTA BROOKS
Illustration ’79, jewelry designer
folk art
A RARE GLIMPSE
Seldom-seen spaces at The Museum at FIT
PHOTOS BY NICK PARISSE ’09
Aside from being the most fabulous museum in New York (and the only one featuring fashion exhibitions year-round), The Museum at FIT (MFIT) is also something ordinary: a workspace. Or rather, one giant workspace comprising many smaller ones. On second glance, however, these places are anything but mundane. Unseen by the average museumgoer, they glimmer with significance, evoking through their tools and technologies the critical functions that make MFIT unique. Our feature celebrates the museum—this jewel in FIT’s crown—and the singular people who work there. Alex Joseph
THE STUDY COLLECTION
RAISSA BRETAÑA
Fashion and Textile Studies:
History, Theory, Museum Practice MA ’19, education and collections assistant
“We have over 1,000 garments in the study collection. Most are too fragile or damaged to exhibit, but they reflect the quality of the pieces in the permanent collection and are incredibly valuable teaching tools for faculty. Students can actually touch these pieces—they can look inside them to understand construction and handle the fabrics. Where else could you feel the pleats of a Fortuny Delphos gown? Design students tend to get most excited about the high-end brands—Balenciaga, Dior, Chanel—while fashion historians enjoy seeing the rarer 19th-century garments. My favorite piece is this yellow dress designed by Edith Head that Shirley MacLaine wore in What a Way to Go! (1964). This thing has hugged Gene Kelly! The Museum at FIT’s collection is unique in that it includes film costumes. We have several by Adrian from his glory days at MGM, which are great to have alongside his later fashion work.”
CONSTRUCTION SHOP
KEN WIESINGER technologist
MICHAEL GOITIA senior exhibition manager
“All the built elements that go into exhibitions are made here—like that mannequin platform or ‘bump up.’
That includes the assembly of plexiglass vitrines. Fashioning Wonder [which closed April 20] was the biggest show we’ve ever built in terms of lumber. Recycling is very important to us and it also helps us maximize our budget. We also give a lot of recycled material away to students. The space can’t be very personalized because so many people come here as freelance art handlers and carpenters. They need to be able to find things, so we have to be very organized.” —Goitia
EDUCATION ROOM
TANYA MELÉNDEZ-ESCALANTE
Fashion and Textile Studies: History, Theory, Museum Practice (FTS) ’04, senior curator of education
FRIDA MCKEON LOYOLA
FTS, Art History and Museum Professions ’22, Fashion Design ’96, Fashion Buying and Merchandising ’95, assistant curator of education
“This is a hands-on learning space. We hold workshops here for children and adults as part of our public programming. One year, the museum did a Day of the Dead event and kids made picture frames dedicated to designers who had passed away— Versace, Chanel. A designer led a flower-dyeing workshop for adults. We have a partnership with Chelsea Prep, which is in the nearby public housing. Throughout the spring semester, we visit their kindergarten classrooms four to five times and lead workshops. Right now they’re dressing paper dolls. The purpose of the program is to get children to see the museum as a place of fun and learning. FIT Fashion Design students studying children’s wear come with us to Chelsea Prep. These aspiring designers get to study how children use clothing, how they move in it, something they can’t learn in a traditional classroom.” —Meléndez-Escalante
“We hold workshops here for children and adults as part of our public programming.”
REGISTRAR’S OFFICE
JILL HEMINGWAY
Fashion and Textile Studies: History, Theory, Museum Practice ’14, associate registrar
“This office is the first stop for any object coming into the museum. They get photographed, entered into our database, and tagged before they move to the conservation department for further prepping. We also arrange for the objects to get here via various couriers, including me. I’ve worked in this office for 20 years and though most items are in flux, a few have been here since my first day. That oversize photo of actor Lisa Kirk wearing a Charles James dress came from a retrospective show the museum did about James in 1993.”
“I’ve worked in this office for 20 years.”
THE CONSERVATION LAB
ALISON CASTANEDA
Fashion and Textile Studies: History, Theory, Museum
Practice (FTS) ’10, associate conservator
CALLIE O’CONNOR
FTS ’20, assistant conservator
“Our roles include much more than just conserving objects with sewn treatments or cleaning. We monitor the temperature and humidity of the exhibition and storage rooms. We make exhibition mounts and mount the objects. We research and test materials that come in contact with the objects. We also have an integrated pest management system to prevent bugs from entering the museum: When garments come in, we freeze them or seal more fragile objects in an anoxic chamber to deprive any potential pests of oxygen.”
“This is an 1880s Charles Frederick Worth gown. It was haphazardly altered in the 20th century to make it larger, probably for a costume, and I’m returning it back to its original appearance, using hints like old creases from pleats and old stitch lines.” —Castaneda
“This is a latex garment similar to one worn by Nicki Minaj. We exhibited it in Fresh, Fly, and Fabulous: Fifty Years of Hip Hop Style [2023], and then it was accessioned into the collection. Latex is a quickly degrading material, so I’m experimenting with different ways to preserve it, using samples of the material that the designer sent us.” —O’Connor ■
See a photo of the entire museum staff at hue.fitnyc.edu.
The pandemic fundamentally changed our expectations of shared spaces. People now seek multiple, flexible areas that support different modes of work, Catterall says. The challenge is finding “the best way to encourage interaction but also offer refuge.”
The Nature of Work
The wellness-centered spaces of HILARY CATTERALL , Interior Design ’06
Nick Parisse ’09
LET’S FACE IT : We’re living in fractious, distracting times, and anything that makes our workspace more like a spa (or at least less like a conventional office) would be welcome. The director of interiors and styling at the architecture firm Cookfox, Hilary Catterall thinks a lot about what makes employees happier and healthier.
Catterall’s team helped create the cozy yet spacious workspace in the Cookfox-designed Ruby residential building on 28th Street, just north of FIT.
With her steady voice and patient demeanor, she embodies the soothing, empathic qualities of a wellness-centered environment.
“The key to being a good designer,” she says, “is thinking of every kind of person who walks into a space, how it impacts their life, and how they can thrive.”
Cookfox made its name with biophilic design—architecture that embraces the natural world. In 2024, for the newest Google headquarters at St. John’s Terminal in lower Manhattan, the firm sliced off part of an existing structure to connect the building to
“After the pandemic, outdoor spaces were in high demand. Nature has so much to offer.”
the waterfront, and added an acre and a half of green spaces, incorporating 95% native plant species.
Catterall started as a consultant in 2014 and became full time in 2016; she manages a team of interior designers with expertise in furniture, fixtures, and equipment (FF&E). Working within the wider office of about 80 people, her team of three focuses on space planning and layouts, furniture, lighting, fixtures, fittings, equipment, and artwork and accessories curation. Cookfox projects begin with the architects, and Catterall’s team makes sure that the firm’s vision, always rooted in history, is realized even in the smallest details of the interiors. Cookfox’s design for the Ruby building in the Garment District references the industry; Catterall made sure even the books on shelves in the common areas were fashion titles.
The relationship to nature is central to Catterall’s approach. “I don’t think people realize how much the outdoors are associated with a sense of wellness and stability,” she says. There’s science to back it up: A University of Michigan study, for example, found that a 20-minute nature walk significantly reduces stress hormone levels.
“Wellness started gaining traction before Covid, but now it’s tripled,” Catterall says. Cookfox’s Midtown office, much of which was designed by Catterall, is considered
Courtesy of Cookfox Architects
exemplary. The New York Times called the space, with its companionable and plentiful plants and biomorphic light fixtures, “a greener, more healthful place to work.”
Transformable wooden tables (designed by Cookfox and fabricated by noted furniture craftsman Tod Von Mertens) anchor the “harvest gathering” space, so named because it’s adjacent to the firm’s rooftop vegetable garden. Plants sway in the breeze on the terrace, and there’s even an apiary—yes, right on 57th Street—complete with buzzing honeybees.
Among healthy materials, wood and fabrics particularly please Catterall because they balance out the hardness of stone and metal. A wooden desk with an elegant grain offers a tactile connection to the natural world. “I’m a very touchy-feely person,” she admits, but she’s also mindful of sensory details because making spaces better for neurodivergence is important to her. “The more senses you’re connected to, the less stress you have.” One known technique for calming anxiety, she says, is finding three things you can see, hear, touch, or smell.
Sustainability concerns also matter. According to the Carbon Leadership Forum, interiors can account for 18% of greenhouse gas emissions produced over the lifetime of a building. Cookfox’s own office space achieved both LEED Platinum and WELL Gold certification, with Catterall’s team reusing furniture from their original office and incorporating vintage pieces. When possible, they avoid vinyl, polyurethane, and PFAs— materials that can’t be recycled and therefore lack “sustainable circularity.”
Lighting receives special attention. “The amount of light you’re getting can affect your stress levels,” she explains. Cookfox’s office features lighting that adjusts throughout the day—blue light in the morning becomes “warmer and softer” as the day progresses, helping the transition into after-hours life. “It helps your body shut down and unwind,” she says.
With Catterall’s guidance, it’s easy to imagine a fantastic future for the office: A place people no longer avoid, but seek out as a sanctuary. ■
ABOVE : A patio at the Ruby. BELOW : A table featuring terrariums at Cookfox.
Ruby: Courtesy of Cookfox Architects; Studio: Eric Laignel
NICK PARISSE
, Photography ’09, captured five essential yet unrecognized workspaces at The Museum at FIT (“A Rare Glimpse,” p. 32) and biophilic interior designer Hilary Catterall ’06 at the Cookfox offices (“The Nature of Work,” p. 42). Parisse, a photojournalist who usually travels the world documenting migration stories, serves as the director of photography at Dawning, a multimedia investigative reporting organization. In May, FotoEvidence published his first book, Pipe Dreams, developed in collaboration with Dawning, about the impact of Kenya’s water crisis on women and girls. Parisse appreciated the change of pace for this assignment. “What impressed me most was the professionalism of the staff,” he says. “I saw painstaking dedication to work and craft, like restoring a 19th-century dress bodice to its original proportions one stitch at a time.”
Parisse’s attic office.
“It’s peaceful up here. I painted the walls dark gray to minimize light in the room. The carpet is from a small market in Niger that I fell in love with while on assignment. I have an ivory cane from Bangladesh inlaid with gold and elephant bone from the Mongol Empire. Same with the two wooden soldier figures. I also have a Chinese
king and queen carved from bone and a bone storage container from Indonesia. I bought the large wooden male figure to the right in Kenya. A few books, a printed archive and photographs of my mother set alongside ceramic statues of Jesus and Padre Pio with her cremated remains. There are also many loon figurines, as I love them.”
The Magazine of the Fashion Institute of Technology
HUE is published three times a year by the Division of Communications and External Relations 227 West 27th Street, Room B905 New York, NY 10001-5992 (212) 217-4700
State University of New York
ALEX JOSEPH , MA ’15 Chief Storyteller
JONATHAN VATNER Managing Editor
SMILJANA PEROS
Photography Coordinator
ALEXANDER ISLEY INC. Art Direction and Design
GOODFOLK AGENCY Web Design
HUE ONLINE hue.fitnyc.edu
EMAIL hue@fitnyc.edu
Are you an FIT alum? STAY CONNECTED FITAlumni
UPDATE YOUR PROFILE fitnyc.edu/alumniprofile
HUE is mailed to donors who give at least $25 per year to FIT. Donate now at impact.fitnyc.edu.
FashionInstituteofTechnology fitnyc Fashion Institute of Technology
Printed by GHP Media, Inc. on Accent Opaque, an FSC-certified paper containing 10% post-consumer waste.
Please recycle or share this magazine.
Jason Modara
State University of New York
Fashion Institute of Technology
227 West 27th Street
New York, NY 10001-5992
RETURN SERVICE REQUESTED
A PRESIDENTIAL FAREWELL
“I’m really comfortable in this office,” says President Joyce F. Brown, who has worked here on the ninth floor of the Marvin Feldman Center since arriving at FIT in 1998. Her desk teems with trinkets given to her by faculty members from their travels as well as some recent trophies: the Fragrance Foundation Leadership Award,
FIT Student Government Association Presidential Legacy Award, and Sustainability Changemaker Award. After 27 years as president of the college, Dr. Brown will step down as soon as a successor is named—but she isn’t retiring just yet. “I don’t intend to ride off into the sunset,” she says.
