Final presentation

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MA(RCA)

How do you make someone see the familiar in a new way?

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B R U C E O L D F I E L D M A X M A R A S P O R T M A X D A V I D F I E L D E N D E X T E R W O N G J O N A T H A N KY L E F A R M E R

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FALL 2014

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THETIME-LINE: PROJECT BRIEFING 10am 8/28/2014

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FALL 2014

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T H E B R I E F:

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Kering (previously known as Pinault-Printemps-Redoute until 18 May 2005 and PPR) is a French multinational holding company which develops a worldwide brand portfolio (luxury, sport & lifestyle divisions and retail brands) distributed in 120 countries. now run by his son François-Henri Pinault. It is quoted on Euronext Paris and is a constituent of the CAC 40 index col·lide [kuh-lahyd] Show IPA verb, col·lid·ed, col·lid·ing. verb (used without object) 1. to strike one another or one against the other with a forceful impact; come into

4 FINAL CRITIQUE 10am 9/25/2014

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verb (used with object) 3. to cause to collide: drivers colliding their cars in a demolition derby.

2 HATS

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1 Label ...........................1 Concept/Focus

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YOU CHOOSE T H E R E Q U I R E M E N T S:

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* Evidence of an understanding of KERING and the label you are now in creative control of, with a focus on the allocated concept/focus * A body of research around a personal inspiration/concept. * Thorough process and development.

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fabrications. * A completed presentation that reinforces the design concept as well as that of the design label allocated.

MFA

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fashion design & society

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CRE ATiVE BR i EFiNG

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SYNTHETIC PHONICS

S Y N T H E T I C P

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Synthetic phonics, also known as inductive phonics,[1] is a method of teaching reading which first teaches the letter sounds and then builds up to blending these sounds together to achieve full pronunciation of whole words.

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P E R S O N A L P R OCESSES

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INDUSTRY C OLLAB

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IN ASSOCIATION WITH

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FORECASTER

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N A L O G i G i T A L

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A D

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magazine

magazine

MFA FAshion Design AnD society

What society means to me: A place for finding, a space for interaction, the reading of our representations—and their interpretations—the exchange of knowledge, actions, culture and reactions.

Get involved: www.articulo6.pe

belong here Jessica WALSH +1 (917) 292 2456 info@j-s-walsh.com www.j-s-walsh.com

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ART DiRECTOR

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MFA The 1st Eighteen Magazine:

http://issuu.com/parsons560/docs/mag_for_online 1!

MFA Phase 2 Magazine:

h t t p : / / i s s u u . c o m / j k f 1 3 / d o c s / p h a s e 2

portfolio SPACE

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C U R A T O R

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P A T T E R N C U T T E R

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F A S H i O N D E S i G N E R

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E D U C A T O R

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the brief: he brief:

1 to 5 6 to 10 11to15 the brief: the brief:

the brief: the brief:

Fall:2012

Fall:2012

Fall:2012

noihsaF Fashion

SKIRT: (Sk-i-rt) depending on the context of the sentence could be addressing a number of issues, as exemplified by the expression “to skirt around something”, for example: “in Fashion is a skirt simply a tube of fabric that hangs from the waist to cover the legs? In German skirt can be Rock, or Tangieren but when translated back from German to English, Rock can mean: Robe, Skirt, Kilt, dress, jacket or an actual Rock. Tangieren, on the other hand, can translate to: Be tangent to, touch on, skirt, affect or bother. In Spanish is Faldilla. What might this mean in an emotional, English context?

Clothing has no first vernacular it is fluent in all languages, having both recognizable and unrecognizable dialects, accents and slang.

And is more clearly understood by the wearer to whom it is indigenous.

Week 2:

9.00am: Conversation about research: DESIGN, COMMUNICATION, VISUAL, LITERACY TEN.30am: Translating Fashion: WHAT IS ? ? ?

BRAINSTORM/MIND MAP Items such as Shirt, Coat, Dress, Pant.

Assignment: Communicate the in 2 different media the translation of a Sh.i.rt and T-Sh.i.rt

Chossing a path and making a decision, do I believe in:

To warrant the title Palindrome one half has to be entirely codependent on the other.

Narcissism and self proclaimed elitism comparable to the world of fashion. Can people exist without clothes? Can clothes exist without people, if there is NO BODY to wear them?

9am: Present the Assignment given in Week 2.

10.ThiRty: Begin translating translation into 3D item.

Assignment: Continue developing 3D item

Week 4four:

9am: Work on finishing 3D item and visual presentation for Week FIVES Critique.

Assignment: Fine-tune 3D item and visual presentation for Week FIVES Critique.

If this philosophy is considered then applied and the body only calculated into the design process as the last influence and in turn clothes used as a starting point on which to design the human body what would the results be?

Week 5:

9AM: Present translation of Sh.i.rt or T-Sh.i.rt 12noon: Briefing PROJECT TWO.

Week six:

A single decision not only impacts your life but that of the world around you.

9.00am: Present research on: Fashion noihsaF TEN.30am: Individual tutorials.

Will you Create? will you Design? and therefore breath something into existance OR will you watch as things evolve without your input?

Week 7:

Will you make decisions that will inpact and influence society or will you let others make choices for you?

9.00am: Drawing with: Design communication techniques. * Drawing with scissors. * Doodling in 3D. * Imaging through listening.

TEN.am: Individual tutorials.

Week EIGHT:

9am: Presented by: Presentation as a Design Communication Tool.

10.ThiRty: Begin translating translation into 3D item.

Assignment: Continue developing 3D item

Week 9NINE:

9am: Work on finishing visual presentation for Week 10’s Critique.

Assignment: Fine-tune visual presentation for Week 10’s Critique.

that might oneday put your name on everyones tongue.

This project asks you to make the first flap of your wings that will oneday turn into a hurricane and impact the world around you in a much larger way. The world we now live in is looking for invention it is looking for innovation it is looking for YOU.

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“Be the change you want to see in the world.”

Mahatma Gandhi

Week 15:

Presenation Day jkf 2011 ∆˚ƒ

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Week 14Forteen:

9am: Present “In Chaos theory”

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Chicken . Egg . ggE . nekcihC

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Week THIRTEEN:

9am: One on One tutorials.

10.ThiRty: Continue working on “In Chaos theory” Assignment:

orecast

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Week 12:

9.00am: One on One tutorials.

TEN.am: Continue working on “IDEA”

IDEA

EEL OCUS LAVOR REQUENCY RAGRENCE

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Week eleven:

9.00am: Present “IDEA” TEN.30am: One on One tutorials.

This final brief challanges you to present an

jkf 2011 ∆˚ƒ

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We must learn to view change as a natural phenomenon - to anticipate it and to plan for it.

The future is ours to channel in the direction we want to go... we must continually ask ourselves, "What will happen if...?" or better still, "How can we make it happen?" ~Lisa Taylor~

Week 10:

9AM: Present Fashion noihsaF 12noon: Briefing PROJECT THREE.

S O C i A L RESPONSiBiLiTY

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How does a designer ensure that the audience will comprehend his or her intent?

When their perceptions are inevitably colored by their preconceived ideas, likes and dislikes, values and beliefs.

Palindrome a word that illustrates something that can be written/read the same in BOTH directions "Madam in Eden, I'm Adam"

Week THREE:

COAT: (C-oa-t) Coat was once spelt Cote. Has the function changed with the change of spelling? What goes into a Coat to make/call it a Coat?

What happens if it is spelt incorrectly? CCOOAATTT has various new elements introduced into it; what might this suggest? On the other hand, if the C is left out and it is spelt OAT, what are the implications? C=Collar, maybe? Does the idea of a COAT lose its integrity, use or title? jkf 2011 ∆˚ƒ

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Palindrome Greek roots: Palin (πάλιν; "again") Dromos (δρóµος; "way, direction") Fashion as a word originates from the word ‘Make’ or to ‘Fashion’ something.

Fashionable as a word communicates current popular style or practice, especially in clothing.

Fashionable items often become so Palin “again” and Palin “again” when revived or re-visited by designers.

The item is typically manipulated/designed into a new Dromos “way, direction”

Week one:

Research and present creatively: DESIGN, COMMUNICATION, VISUAL, LITERACY

butterfly

The effect is sensitive dependence on initial conditions; where a small change at one place in a nonlinear system can result in large differences to a later state.

Mark Twain

In breaking down garment names and titles, does the item still maintain its function if spelt incorrectly or translated into another language?

In chaos theory:

If clothes make the man and man makes the clothes is a Palindrome? Clothes make the man. Naked people have little or no influence on society.

F F F F F ashion’s 6th f C

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THINK OF YOUR OWN IDEAS

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E D U C A T O R

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craft:OLOGY Is technology contrary to craft, or rather one of craft’s vital components? A fascination with the relationship between craft and technology has been with me for as long as I can remember, and while cultural assumptions may make it appear antithetical, the idea that craft and technology are fundamentally interwoven is no paradox. In 1845, in the wake of the industrial revolution, writer-philosopher Henry Davis Thoreau observed that “Men have become the tools of their tools,” but I see it somewhat differently. Although Thoreau’s words acknowledge something of the structural changes and emotional repercussions that new technology wrought upon agrarian society, man’s complex relationship with the potency of tools is as old as our original tool: human hands. The advent of industrialization did not set man under his tools, but rather highlighted humanity’s ongoing exploration of the creative process.

I grew up in a small working class village in Wales, a mining village; the kind of place where traditional craft practices were seen in contrast to more modern definitions of work. Perceptions of craft, of hand me down skills such as darning and knitting existed in a different realm and carried a different value than ideas about technology, which were considered in the light of advancement, especially in the mining community as a way to increase yield and profit. Both craft and technology lent themselves to the interests of daily life, yet were considered mutually exclusive, one the preservation of knowledge from the past, the other an investment in hope for a better future. But even as a child experiencing the polarity of these perceptions, the intersection of craft and technology became apparent to me. From a young age my parents engaged me with both handiwork hobbies and technology driven materials– rarely toys, but rather ‘do-ing’ gifts– a camera, airplane construction kits, needlepoint supplies. I remember getting bits of sculpted wood to construct into 3D dinosaurs, a combination of material and metaphorical elements that seems to foreshadow my present recognition of the evolutionary fusion I see operating between the realms of craft and technology. Craft and technology are both words that carry some heavy cultural baggage. As catch all terms that can be used to refer to various techniques, systems and philosophies, there is much room for interpretation of their meanings. But it seems that no matter how you define them, they are often juxtaposed. Like a macrocosm of my childhood village, our global village tends to separate craft and technology, considering them at odds along a linear timeline of past and future events, rather than mutually necessary, fluid aspects of our continual creative processes. I think that we have the shoulders of what’s come before us to stand on so we can manipulate the past, challenge it and change it, which is not an act of separation but rather a developmental continuation. Interestingly, the word ‘technology’ is derived from the ancient Greek ‘tekhne’, which translates to ‘art, craft, and technical skill.’ In origin, craft and technology are revealed as pieces of a whole, and their perceived separation contingent on the concept of linear time.

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The

word ‘technology’ is derived from the ancient Greek ‘tekhne’, which translates to ‘art, craft, and technical skill.’ In origin, craft and technology are revealed 1! as pieces of a whole, and their perceived separation contingent on the concept of linear time. jKf 2014

Henry

David Thoreau observed that, “Men have become the tools of their tools”. Thoreau’s words acknowledge changes and repercussions new technologies wrought upon agrarian society. Man’s complex relationship with tools is old as the original tool: human hands. Our interaction with new technologies are inevitably tied to struggle and learning. The human/tool adaptation is at the foundation of our evolution. jKf 2014

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Whether hand embroidering a napkin or program-

ming a 3D printing machine, the importance lies in human engagement. Human involvement & decision making is what makes machines relevant.

The simple act of pressing “print” could actually be considered craft. Awareness of the continual interface between hand and machine is the essence of craft:OLOGY. jKf 2014

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magazine

Fall 2014/Spring 2015

projects:

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Alexander McQueen: Savage Beauty Graduate Fashion Design Competition

In conjunction with the exhibition Alexander McQueen: Savage Beauty, The Costume Institute at The Metropolitan Museum of Art held a competition for fashion design graduate students in the spring of 2011, in honor of the artist’s lifelong dedication to supporting students and emerging talent in the field.

In recognition of Alexander McQueen’s pivotal role in shaping

Whip stitching Macramé Running stitch Molding Drawn thread work Felting Laser cutting Bobbin lace making Pleating Batik Tapestry Needlepoint 3D printing Patchwork Faggoting Tufting Beading Digital printing Ragging Vacuum Forming Embossing Cross-stitch Hand Knitting Crochet Quilting Appliqué Cork Work Quilt making Embroidery Smocking Punch-hole Flower making Saddle Stitch Ultra Sonic welding Cording Sisal(Raffia Weave) Shirring Foiling Braiding / Plaiting Bookbinding Fusing/Bonding Basket Making Enamelling Casting

craft

fashion through technique, narrative, collaboration, and show-

This project challenges you to address the most fundamental of elements when designing- that of craft and technology, technique and make.

Use Craft in a sentence craft [kraft, krahft] Show IPA noun, plural crafts or for 5, 8, craft, verb noun 1. an art, trade, or occupation requiring special skill, especially manual skill: the craft of a mason.

2. skill; dexterity: The silversmith worked with great craft.

3. skill or ability used for bad purposes; cunning; deceit; guile.

4. the members of a trade or profession collectively; a guild.

5. a ship or other vessel.

manship participants were asked to use these aspects as inspiration to create garments that will continue to push fashion forward. McQueen was a technical and conceptual designer influenced by art, literature, music, history, nature, science, and contemporary culture at large. The competition aimed to encourage his legacy regarding approach as he was masterful in his ability to create

You will be required to select a minimum of 2 techniques, which you will practice and eventually reinvent into a contemporary fashion context.

objects of fantasy set in spectacular runway presentations to articulate his vision. In addition, he was able to distill these ideas to wearable garments and build an international brand.

When this project is completed you will be able to make the statement:

tech·nol·o·gy

[tek-nol-uh-jee] Show IPA noun 1. the branch of knowledge that deals with the creation and use of technical means and their interrelation with life, society, and the environment, drawing upon such subjects as industrial arts, engineering, applied science, and pure science.

2. the terminology of an art, science, etc.; technical nomenclature.

3. a scientific or industrial process, invention, method, or the like.

4. the sum of the ways in which social groups provide themselves with the material objects of their civilization.

1 Mayumi Yamamoto

Out of the thirty entrants, a blind jury selected four finalists, Aina Beck, Paula Cheng, Mayumi Yamamoto and Jie Li—all of whom are students

2 Aina Beck Hussain

of the MFA Fashion Design and Society program at Parsons The New School for Design. For the last phase of the competition, each turned

3 Jie Li

one of their illustrations into a final garment, presented in video and images. Sarah Burton, creative director of Alexander McQueen, and

4 Paula Cheng

Andrew Bolton, curator in The Costume Institute judged the competition.

For further images and films please see:

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“I recognize how this has been done historically but this is now how I do it”

BY E X P L O R I N G AND P E R S O N A L I Z I N G TRADITIONAL and/or CONTEMPORARY TECHNIQUE

Consider the following: Using the techniques to construct let them dictate proportion, scale and silhouette rather than simply decorating shape.

•Begin to explore silhouette , proportion, fit through these techniques.

•Present ALL work to portfolio standard for review in the first week of Spring semester 2015.

fashion design & society

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at Pitti Immagine Filati

The project, promoted by Tuscany Region and ICE—the Italian Institute for Foreign Trade, coordinated by Toscana Promozione and realised in collaboration with CPF—Consorzio Promozione Filati and Pitti Immagine, involved 21 students from seven prestigious international design schools: Central Saint Martins College of Art and Design (UK), Royal College of Art (UK), Bunka Fashion College (Japan), Parsons The New School for Design (USA), BIFT Beijing Institute of Fashion Technology (China), Senac São Paulo (Brasil) and Polimoda (Italy).The project was divided into two inter-related parts: - a training focused on yarn’s features with a week stay in Prato (March 2011) production district where students attended seminars and sessions on yarn production process, visited companies of the productive process and selected yarns to realize the outfits to participate in the award - the participation at Pitti Immagine Filati (Florence, July 2011), in a special area dedicated to the project, with an exhibition/competition among the outfits created by students with Tuscan yarns.

The winner was announced during the final day of Pitti Filati. The outfit, which distinguished itself for its creativity and interpretation of the yarn used, experimental working methods and adherence to the theme of the competition was by Soojin Kang, a student on the MFA at Parsons.

For further images and films please see: http://fashion.parsons.edu/2011/09/18/feel-the-yarn/

3 2 3 1 Soojin Kang

2 Paula Cheng

3 Kaoru Oshima

In Collaboration with

Zegna Baruffa Lane Borgosesia During the summer of July 2011, Zegna Baruffa Lane Borgosesia presented an installation of work by three students from the MFA Fashion Design and Society at Pitti Filati in Florence. A collaboration of innovation and heritage, the exhibition

featured 12 garments that express the quality and value of the versatile and natural fibres produced by the company. The three designers, Noriko Kikuchi, Sinead Lawlor and Talia Shuvalov, had the opportunity to visit Zegna Baruffa Lane Borgosesia

and gain knowledge and access to the yarn production from the raw material to the final product. They designed their collections from stitch development, color combination, silhouette, toiling, fitting and all aspects of garment making.

For further images and films please see: http://fashion.parsons.edu/2011/09/18/zegna-baruffa-lane-borgosesia/

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2 Sinéad Lawlor

3 Noriko Kikuchi

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1 Talia Shuvalov

E D U C A T O R

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•Extensive exploration / evolution of the selected technique through Sample-making.

MFA

Feel The Yarn 2011

http://fashion.parsons.edu/2011/09/18/alexander-mcqueen-savage-beauty-graduate-fashion-design-competition/

Requirements: •Research into a variety of techniques from which a minimum of 2 should be selected to explore.

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recognize how things have been done historically, but NOW this is how I do it! jKf 2014

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magazine

magazine

MFA FAshion Design AnD society

What society means to me: A place for finding, a space for interaction, the reading of our representations—and their interpretations—the exchange of knowledge, actions, culture and reactions.

Get involved: www.articulo6.pe

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A N A L O D R A W i N G belong here Jessica WALSH +1 (917) 292 2456 info@j-s-walsh.com www.j-s-walsh.com

Fall 2014/Spring 2015

W i T H

S C i S S O R

S T E R

Whip stitching Macramé Running stitch Molding Drawn thread work Felting Laser cutting Bobbin lace making Pleating Batik Tapestry Needlepoint 3D printing Patchwork Faggoting Tufting Beading Digital printing Ragging Vacuum Forming Embossing Cross-stitch Hand Knitting Crochet Quilting Appliqué Cork Work Quilt making Embroidery Smocking Punch-hole Flower making Saddle Stitch Ultra Sonic welding Cording Sisal(Raffia Weave) Shirring Foiling Braiding / Plaiting Bookbinding Fusing/Bonding Basket Making Enamelling Casting

craft

Use Craft in a sentence craft [kraft, krahft] Show IPA noun, plural crafts or for 5, 8, craft, verb noun 1. an art, trade, or occupation requiring special skill, especially manual skill: the craft of a mason.

2. skill; dexterity: The silversmith worked with great craft.

3. skill or ability used for bad purposes; cunning; deceit; guile.

4. the members of a trade or profession collectively; a guild.

5. a ship or other vessel.

tech·nol·o·gy

[tek-nol-uh-jee] Show IPA noun 1. the branch of knowledge that deals with the creation and use of technical means and their interrelation with life, society, and the environment, drawing upon such subjects as industrial arts, engineering, applied science, and pure science.

2. the terminology of an art, science, etc.; technical nomenclature.

3. a scientific or industrial process, invention, method, or the like.

4. the sum of the ways in which social groups provide themselves with the material objects of their civilization.

This project challenges you to address the most fundamental of elements when designing- that of craft and technology, technique and make.

You will be required to select a minimum of 2 techniques, which you will practice and eventually reinvent into a contemporary fashion context.

When this project is completed you will be able to make the statement: “I recognize how this has been done historically but this is now how I do it”

TRADITIONAL and/or CONTEMPORARY TECHNIQUE

Consider the following: Using the techniques to construct let them dictate proportion, scale and silhouette rather than simply decorating shape.

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projects:

In conjunction with the exhibition Alexander McQueen: Savage Beauty, The Costume Institute at The Metropolitan Museum of Art held a competition for fashion lifelong dedication to supporting students and emerging talent in the field.

In recognition of Alexander McQueen’s pivotal role in shaping fashion through technique, narrative, collaboration, and showmanship participants were asked to use these aspects as inspiration to create garments that will continue to push fashion forward. McQueen was a technical and conceptual designer influenced by art, literature, music, history, nature, science, and

fashion design & society

•Extensive exploration / evolution of the selected technique through Sample-making.

contemporary culture at large. The competition aimed to encourage his legacy regarding approach as he was masterful in his ability to create objects of fantasy set in spectacular runway presentations to articulate his vision. In addition, he was able to distill these ideas to wearable garments and build an international brand.

•Begin to explore silhouette , proportion, fit through these techniques.

•Present ALL work to portfolio standard for review in the first week of Spring semester 2015.

1 Mayumi Yamamoto

Out of the thirty entrants, a blind jury selected four finalists, Aina Beck, Paula Cheng, Mayumi Yamamoto and Jie Li—all of whom are students

2 Aina Beck Hussain

of the MFA Fashion Design and Society program at Parsons The New School for Design. For the last phase of the competition, each turned

3 Jie Li 4 Paula Cheng

one of their illustrations into a final garment, presented in video and images. Sarah Burton, creative director of Alexander McQueen, and Andrew Bolton, curator in The Costume Institute judged the competition.

For further images and films please see:

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Alexander McQueen: Savage Beauty Graduate Fashion Design Competition

design graduate students in the spring of 2011, in honor of the artist’s

Requirements: •Research into a variety of techniques from which a minimum of 2 should be selected to explore.

MFA

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BY E X P L O R I N G AND P E R S O N A L I Z I N G

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Feel The Yarn 2011 at Pitti Immagine Filati

The project, promoted by Tuscany Region and ICE—the Italian Institute for Foreign Trade, coordinated by Toscana Promozione and realised in collaboration with CPF—Consorzio Promozione Filati and Pitti Immagine, involved 21 students from seven prestigious international design schools: Central Saint Martins College of Art and Design (UK), Royal College of Art (UK), Bunka Fashion College (Japan), Parsons The New School for Design (USA), BIFT Beijing Institute of Fashion Technology (China), Senac São Paulo (Brasil) and Polimoda (Italy).The project was divided into two inter-related parts: - a training focused on yarn’s features with a week stay in Prato (March 2011) production district where students attended seminars and sessions on yarn production process, visited companies of the productive process and selected yarns to realize the outfits to participate in the award - the participation at Pitti Immagine Filati (Florence, July 2011), in a special area dedicated to the project, with an exhibition/competition among the outfits created by students with Tuscan yarns.

The winner was announced during the final day of Pitti Filati. The outfit, which distinguished itself for its creativity and interpretation of the yarn used, experimental working methods and adherence to the theme of the competition was by Soojin Kang, a student on the MFA at Parsons.

For further images and films please see: http://fashion.parsons.edu/2011/09/18/feel-the-yarn/

http://fashion.parsons.edu/2011/09/18/alexander-mcqueen-savage-beauty-graduate-fashion-design-competition/

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In Collaboration with

3 2 3 1 Soojin Kang

2 Paula Cheng

3 Kaoru Oshima

portfolio SPACE

Zegna Baruffa Lane Borgosesia During the summer of July 2011, Zegna Baruffa Lane Borgosesia presented an installation of work by three students from the MFA Fashion Design and Society at Pitti Filati in Florence. A collaboration of innovation and heritage, the exhibition

featured 12 garments that express the quality and value of the versatile and natural fibres produced by the company. The three designers, Noriko Kikuchi, Sinead Lawlor and Talia Shuvalov, had the opportunity to visit Zegna Baruffa Lane Borgosesia

and gain knowledge and access to the yarn production from the raw material to the final product. They designed their collections from stitch development, color combination, silhouette, toiling, fitting and all aspects of garment making.

For further images and films please see: http://fashion.parsons.edu/2011/09/18/zegna-baruffa-lane-borgosesia/

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1 Talia Shuvalov 2 Sinéad Lawlor

3 Noriko Kikuchi

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THANK YOU FOR YOUR TiME QUESTiONS?

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EEL OCUS LAVOR REQUENCY RAGRENCE

F CU R A T O R T U F F F F F ashion’s 6th f R D E A D i N T E R N A T i O N A L D E S i G N E R S R U T G T E C i i i C A H i S T O R i A N T T T T N A D O iLLUSTRATO R N U S C U L P T O R R O S F V T O A R C R A F T : O L O G Y T Y E O C R A