Jonathan KYLE Farmer ma(rca)

Appendix: M RESEARCH

460 460 460

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

jonathan KYLE farmer ma(rca) ASSOCIATE PROFESSOR OF STUDIO METHODS Parsons The New School for Design

Appendix M: Research/ Scholarship • Royal College of Art (RCA) MA:

462-467

• MA RCA Press:

468-481

• MPhil RCA:

482-483

• David Fielden:

484

• jonathan KYLE farmer:

485

• Here & There:

486-487

• Fashion UGLY?:

488-489

• Style Sight:

490-491

• Contributing Books:

492-503 528-535 544-545

• Tag Illustrate:

504-507

• Landor:

508-511

• Sara Shepherd:

512-513

• Monastic Neuropreservation:

514-515

• Arts of Fashion:

516-519

• South Korea, Arts Biennale:

520-525

• Zero Waste:

526-527

• Surface Magazine:

536-537

• BLAD: Fashion Design Exercise Book:

538-543

• White Shirt Deconstruction:

546-547

• Original content for BLAD:

546-564

• PhD application:

565-568

• Alexander McQueen Millenary Marathon:

569-572

• Prada & Schiaparelli:

573-576

• Palindromic Pattern cutting:

577-580

461 461 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

461

Appendix: M RESEARCH

462 462 462

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

463 463 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

463

Appendix: M RESEARCH

464 464 464

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

465 465 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

465

Appendix: M RESEARCH

466 466 466

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

467 467 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

467

Appendix: M RESEARCH

468 468 468

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

469 469 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

469

Appendix: M RESEARCH

470 470 470

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

471 471 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

471

Appendix: M RESEARCH

472 472 472

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

473 473 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

473

Appendix: M RESEARCH

474 474 474

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

475 475 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

475

Appendix: M RESEARCH

476 476 476

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

477 477 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

477

Appendix: M RESEARCH

478 478 478

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

479 479 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

479

Appendix: M RESEARCH

480 480 480

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

481 481 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

481

Appendix: M RESEARCH

482 482 482

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

483 483 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

483

Appendix: M RESEARCH

David Fielden:

484 484 484

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

485 485 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

485

Appendix: M RESEARCH

HERE & THERE:

486 486 486

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

487 487 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

487

Appendix: M

Fashion UGLY? RESEARCH

488 488 488

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

489 489 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

489

Appendix: M RESEARCH

490 490 490

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

491 491 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

491

Appendix: M RESEARCH

492 492 492

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

493 493 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

493

Appendix: M RESEARCH

494 494 494

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

495 495 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

495

Appendix: M RESEARCH

496 496 496

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

497 497 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

497

Appendix: M RESEARCH

498 498 498

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

499 499 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

499

Appendix: M RESEARCH

500 500 500

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

501 501 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

501

Appendix: M RESEARCH

502 502 502

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

503 503 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

503

Appendix: M RESEARCH

www.tagillustrate.com

x

J o n a th a n K y le F a r m e r m a ( r c a ) Creative Director, 5 4 2 B r a n n a n St r e e t , # 2 0 3 Sa n F r a n c i s c o , Ca l i f o r n i a , 9 4 1 0 7 Te l : 4 1 5 - 2 0 5 - 1 4 5 4 Em a i l : k y l e @ t a g i l l u s t r a t e .c o m

1.

2.

3.

Beecher Eberhard

Jonathan Kyle Farmer

Sarah Beetson

TAGILLUSTRATE.COM

504 504 504

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

4.

Louise Schols

505 505

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

505

Appendix: M RESEARCH

Zoe Woodhouse

2

Jonathan Kyle Farmer

Beecher Eberhard

1

3

506 506 506

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

4

Appendix: M RESEARCH

4

Ri c h a r d St a r l i n g 507 507 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

507

Appendix: M RESEARCH

1

Landor Salon Series Future Perfect Panelist Brief November 11, 2008

508 508 508

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

509 509 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

509

Appendix: M RESEARCH

510 510 510

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

Guest list Academy of Art University

Cheryl

Academy of Art University

Mary

Locke Scott

Art Center College of Design

Katherine

Gfeller

Art Center College of Design

Wayne

Herron

Bank of the West

Sarah

Thornton

Barclays Global Investors

Paul

Nobile

Blu Skye Sustainability Consulting

Sean

Martin

CalPERS

Marilyn

Clark

CalPERS

Heather

Huerta

Cohn & Wolfe

Annie

Longsworth

Cohn & Wolfe

Tony

Obregon

Colliers International

Kim

Heuss

Colliers International

Kristen

Okerman

Definitive Partners

Marta

Salas-Porras

Dreamerz

Amanda

Steele

eBay Inc.

Mike

Linton

Google

Hunter

Walk

Icon Estates

George

MacDonald

Kelton Research

Jen

Barth

NetApp

Stephanie

Heller

NetApp

Criss

Marshall

NetApp

Andrea

Noleroth

PayPal, Inc.

Barry

Herstein

San Francisco Redevelopment Agency

Kelley

Kahn

Silicon Valley Watcher

Tom

Foremski

Suzeman &Cole Design Associates

Todd

Cole

511 511 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

511

Appendix: M RESEARCH

Sara Shepherd

http://www.sarashepherd.com

512 512 512

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

513 513 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

513

Appendix: M RESEARCH

514 514 514

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

https://www.youtube.com/watch?v=HHyneAdzAIQ

515 515

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

515

Appendix: M RESEARCH

516 516 516

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

517 517 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

517

Appendix: M RESEARCH

2D/3D

2D/3D

518 518 518

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

Where each point intersect it presents an opportunity to let that part of the process influence the next. These points of refrence should also be documented, to help to communicate to the observer how you as a designer is thinking.

519 519 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

519

Appendix: M RESEARCH

520 520 520

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

521 521 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

521

Appendix: M RESEARCH

?

?

??

522 522 522

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

THE ONLY PYRAMID SYSTEM THAT WORKS

?

PRESENTATION OF FINISHED PROJECT

CONCLUDE LINE-UP CONTINUED RESEARCH

DESIGN DEVELOPMENT

EDIT COLLECTION BALANCING

FOCUS

CROQUISE PROCESS BEGINS

CONTINUED RESEARCH

PLAY

SAMPLING

DETAILS

CONTINUED RESEARCH

MISTAKE MAKING WRITTEN LIBRARY COLOR HISTORY

Initial Design IDEAS

PLAY

EXPERIMENTATION

INTERVIEW

FUTURE

VISUAL

PERSONAL EXPERIENCE INTERNET

TECHNOLOGY FABRIC SOUND MUSE

RESEARCH SENSORY

IDEA

Documentation of PLAY

2D

3D

How does the IDEA/CONCEPT used in the fashion design process? styling? WHY ARE YOU SELECTING???????

1

TRAVEL

RITUAL

THEATRE

HISTORY

EX P ERI EN C E

New MUSIC

FOOD

FILM

1

CULTURES

Experience as a general concept comprises knowledge of or skill in or observation of some thing or some event gained through involvement in or exposure to that thing or event.[1] The history of the word experience aligns it closely with the concept of experiment.

?

523 523

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

523

Appendix: M RESEARCH

1

1

1 1

?

11

?

1

? ?

?

??

?

?

??

524 524 524

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

525 525 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

525

Appendix: M RESEARCH

ZER

WASTE

FASHION DESIGN? + sustainability. + innovation. + inspiration. + style.

Finished garments hanging in the center of the zero-waste denim exhibit.

526 526 526

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

527 527 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

527

Appendix: M RESEARCH

528 528 528

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

529 529 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

529

Appendix: M RESEARCH

530 530 530

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

531 531 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

531

Appendix: M RESEARCH

532 532 532

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

533 533 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

533

Appendix: M RESEARCH

534 534 534

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

535 535 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

535

Appendix: M RESEARCH

536 536 536

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

537 537 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

537

Appendix: M RESEARCH

The Fashion Design Exercise Book P RACTIC E B RIEFS TO HON E YO UR S K I LLS AN D S T R E N GT H E N YO UR P ORT FO LI O

TH E BRIEF

ADD A TW I ST TO TR AD I T I ONA L CR A FT T EC H N IQU ES T HE B RIEF E X P L AINED Select a minimum of two traditional craft techniques. Practice and experiment with these in order to discover new innovative applications, and then incorporate these into a finished signature look.

J O N AT H A N K Y L E FA R M E R

T HE C ONTE X T The original meaning of the word “fashion” is to make or create; in other words, to “fashion” something. This brief addresses the fundamental aspects of design, namely craft, technique, and creation.

The aim of the challenge is for you to recognize how a technique has been carried out and applied historically, and to put your own unique stamp on it as a contemporary designer. Fashion collections are often based on themes or concepts, and in this instance the starting point will be in the exploring and subverting of traditional craft techniques.

ISSUES TO CONSIDER Are you able to use the techniques being explored to construct and not just decorate? Try not to simply decorate existing shapes, but instead allow the development process and the ‘unknown’ to inform the design, proportion, scale, and silhouette.

SO M E CRAFTS

TO RESEARCH

H and knitting Crochet Wire sculpting Cross-stitch Q uilting Appliqué Macramé Drawn thread work F elting Bobbin lace making Weaving Pleating Batik F lower making Tapestry F using/bonding Embroidery Clockwise from top:

Examples of pleating, lacework, and macramé in fashion design

14

538 538 538

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

BRI E F S

T HE D ESIGN P ROCESS : R ESEARCH AND D E V E L OP M ENT The research in this case is mainly practicebased, but in order to truly understand the context of this brief you should look at how your chosen crafts have evolved; how have they been used historically and how have they been adapted or altered by contemporary designers or artists?

As you explore the two crafts, take a closer look at your medium; are you starting to master the techniques, and if so how can you now begin to combine the two? What happens when you do this? What are the initial moments of interest and inspiration?

S E L ECTING

A D ESIGN

Knowing what is working and what is not is core to good design. Recognize that you will have both successes and failures; being able to reflect on these and learn from your mistakes is all part of the process. Really seeing what you have is often difficult when you are so close to it. A good technique is to hold your work up to the mirror so that you can see it from a brand new perspective, as well as taking a step back and viewing from a distance. Feel free to seek alternative opinions, but always remember that there is no “right” or “wrong,” and that the decisions are ultimately yours. Not everyone will like what you do, but some will.

L-R: M odern knitwear design; Stylish crochet

15

539 539 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

539

Appendix: M RESEARCH

TH E BRIEF

R E I NVENT T H E W HI TE S HIR T T HE B RIEF E X P L AINED Reinvent the iconic and classic white shirt; how do you make someone see something so familiar in a new way?

T HE C ONTE X T Designers have explored deconstruction as a process for numerous years with varying results.

It can be a valuable technique in helping us break away from preconceived ideas and assumptions.

ISSUES TO CONSIDER How do you start designing a new white shirt without context? Is a shirt just a shirt? There are details that are synonymous to its title. Collars, cuffs, yokes, and button plackets are all important elements, but what exactly is a shirt? What is its heritage? Consider deconstructing its ancestry and its meaning to inform your design process.

T HE D ESIGN P ROCESS : T HEOR Y AND P RACTICE Theory: Deconstructing the concept of a white shirt

Practice: Deconstructing the form of the white shirt

To truly understand what a white shirt is, you must first know what it is as it currently exists.

Design is all about problem solving; what problems have been solved throughout history for the white shirt to exist as it does now? Has it always looked the way it does? Has it ever served alternative purposes?

Take a white shirt/s purchased from a flea market or second hand store, then deconstruct it (take it apart) and analyze the separate elements, while documenting the process. Pay attention to each tiny detail, such as how the seams are finished, how the collar has been attached to the stand, how the cuffs have been stiffened and so on. As you deconstruct, experiment by draping the pieces on a dressform. What happens when the back hem of the shirt is attached to the front neck of the dress-form? How can you use the idea of detachable collars and cuffs in conjunction with the process of deconstructing the shirt? You will undoubtedly stumble upon innovative design details and ideas that you can expand upon later.

34

540 540 540

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

BRI E F S

D ESIGN D E V E L OP M ENT Take photographs of the deconstructed shirt, then print these out and draw over them, picking out the elements you feel have most potential. Once the details have been selected, explore further by tracing and playing with scale on a photocopier, reapplying either onto a photograph of a dress-form or fashion figure.

As you explore shape and silhouette through your drawing, you should also start to consider ideas for materials and fabrics.

S E L ECTING

A D ESIGN

Select the more successful of your design ideas to refine. Each design should be strong enough to stand on its own but also work as part of a collection, which can be achieved by reusing details and fabrics, as well as playing with scale and proportion.

Tip Be sure to not over stretch your figure; we are currently in the design process, not presentation/ illustration, so proportions should be kept as honest as possible.

35

541 541 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

541

Appendix: M RESEARCH

TH E I NTERPRETATION

ADD A TW I ST TO TR AD I T I ONA L CR A FT T EC H N IQU ES INTE R PR ETAT I ON

AYU M I YAMAMOTO

Mayumi Yamamoto developed her interpretation of the brief as part of a submission for the “Savage Beauty� Alexander McQueen exhibition at the Metropolitan Museum, New York. She explored three central themes in her project, incorporating the techniques of flower making and wire sculpting into her designs while also using the elegant line quality of botanical flower drawings as an extra source of inspiration.

Yamamoto spent a considerable amount of time examining and experimenting with each individual element and initially had no strong pre-conceived ideas of what the final look of her piece would be, instead waiting for ideas to present themselves as part of a gradually developing organic process. As she continued to research her chosen elements she discovered additional inspiration in the life cycle of flowers, tying this into the Greek myth of Persephone, goddess of flowers, and adopting it as a background narrative concept for her final piece.

Initial exploration of the crafts selected

16

542 542 542

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

BRIEFS

Early steps in translating ideas from 2D to 3D

After initial exploration of her chosen crafts, Yamamoto began to translate her ideas from 2D into a 3D format, innovating with various different shapes and textures inspired by her research. Drawing on the technique of wire sculpting, she kept the floral elements of her designs highly structured rather than soft and loose, while also leaving exposed several sections of looped wire as part of her finished design in order to achieve a much more dynamic, multidimensional effect.

L-R:

17

543 543 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

543

Appendix: M RESEARCH

544 544 544

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

545 545 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

545

Appendix: M RESEARCH

546 546 546

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

547 547 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

547

Appendix: M RESEARCH

548 548 548

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

549 549 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

549

Appendix: M RESEARCH

550 550 550

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

551 551 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

551

Appendix: M RESEARCH

552 552 552

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

553 553 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

553

Appendix: M RESEARCH

554 554 554

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

555 555 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

555

Appendix: M RESEARCH

556 556 556

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

557 557 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

557

Appendix: M RESEARCH

558 558 558

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

559 559 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

559

Appendix: M RESEARCH

560 560 560

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

561 561 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

561

Appendix: M RESEARCH

562 562 562

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

563 563 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

563

Appendix: M RESEARCH

564 564 564

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

565 565 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

565

Appendix: M RESEARCH

566 566 566

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

567 567 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

567

Appendix: M RESEARCH

newschool.edu Mail - RE: Thank you

https://mail.google.com/mail/u/0/?ui=2&ik=4938824c21&view...

Kyle Farmer <farmerk@newschool.edu>

RE: Thank you 1 message Caroline Evans <c.evans@csm.arts.ac.uk> To: JONATHAN_FARMER <farmerk@newschool.edu>

Mon, Jul 18, 2011 at 4:06 PM

Dear Kyle, Thank you for such a generous response. We all really enjoyed meeting you and hearing about your proposed research. I'm glad CSM got back to you so fast, because the four of us agreed that once you had heard formally from CSM I would send you another informal email to suggest that you might apply again next year ... in fact you have pretty much said below what I was delegated to say to you!

I hope the interview was useful, and I'd be very interested to hear how you change and develop your proposal as a result. One of the issues Cathy raised was that she still wasn't sure if it was music into fashion, or vice versa. One of the things I felt was that I still wasn't sure what kind of thinking underlies this project - meaning what kind of thinker you are, and which way you'd want to take the research. A lot of the discussion / questions were about the interchangeablility of sound and image, pattern, code, systems, generative art, etc (so software programing might be a way to go) but I was left wondering if you really are this kind of thinker. I wondered if you might be more interested in more 'random' chance operations and/or poetic juxtapositions, which was what made me think of surrealism and the literature of estrangement (literally, making things strange by juxtaposition) - James' reference to Boris Vian's book 'Froth on the Daydream' with the clavicocktail set my thinking off in that direction. I was also intrigued by your suggestion to make it much more low-tech and hand-made.

If you want to be in touch at any stage do email me, or get in touch if you're ever in London. We have a procedure where we will give formal feedback on one draft before application, and for that you should probably use James who is in charge of all the postgrad applications and is very good, but informally I'm happy to be in touch at an earlier stage if you have any questions.

I hope you get a bit of a break too before you go back to work. Have a great summer and a good start to the new teaching year.

All the very best Caroline ________________________________________ From: JONATHAN_FARMER [farmerk@newschool.edu] Sent: 15 July 2011 10:48 To: Caroline Evans Subject: Thank you Dear Caroline, I just received an email informing me that I didn't get in this year. I wanted to Thank you for the time and energy you put in.

I now know what it is I need to do over the next year before applying again.

5681

of 2

7/8/12 3:52 PM

568 568

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

“Alexander McQueen: Savage Beauty” Metropolitan Museum of Art The Costume Institute Graduate Fashion Design Competition Spring 2011 In conjunction with the Metropolitan Museum of Art’s exhibition, “Alexander McQueen: Savage Beauty” (May 4–July 31, 2011), The Costume Institute invites all current U.S. students enrolled in a fashion design graduate program to participate in this competition 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 millennial fashion through technique, narrative, collaboration, and showmanship we are seeking entries that 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. We are interested in encouraging 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. We are seeking entries that do the same and will ultimately be represented by two looks, o n e

r u n w a y

a n d

o n e

r e t a i l .

PLEASE SEE DETAILS FOR ENTRIES ON PAGE 2 Judges Panel: Representative(s) from Alexander McQueen Representative(s) from The Costume Institute Other industry representative(s) to be determined Winner will receive: Unpaid Internship at Alexander McQueen (dates and duration to be determined) McQueen and exhibition merchandise exclusive to MMA Private tour of the exhibition for a group <15 people Contest winner and all finalists will get one exhibition catalog.

569 569 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

569

Appendix: M RESEARCH

570 570 570

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

571 571 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

571

Appendix: M RESEARCH

572 572 572

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

The College Group at the Met invites you to Waist Up/Waist Down: An Evening of Schiaparelli and Prada Tuesday, May 15, 2012 8:00 –11:00 p.m.

The Metropolitan Museum of Art Fifth Avenue at 82nd Street Musical Guest: DJ Speakeasy Panel Discussion—Defining Chic: Then & Now 7:00–8:00 p.m.

Francesca Granata, Leandra Medine, Scott Schuman, and Lynn Yaeger Moderated by Julie Gilhart The Ruth and Harold D. Uris Center for Education Organized with the Met’s Education Department Applaud the end of the school year at a private party and viewing of The Costume Institute’s exhibition, Schiaparelli and Prada: Impossible Conversations, plus announcement of accessory design contest winner and design workshop with Parsons Professor, Jonathan KYLE Farmer ma(rca). Dress in your chicest waist up or waist down ensemble.

For inspiration, please visit www.metmuseum.org/ impossibleconversations.

Event is free with a valid student ID, however space is limited. Event is first come, first served.

Please RSVP to metcollegegroup@metmuseum.org.

Please note if you plan to attend the Panel.

The exhibition is made possible by Amazon.

Additional support is provided by Condé Nast.

Elsa Schiaparelli, L’Officiel, October 1937. Photograph by George Saad © Les Editions Jalou, L’Officiel Miuccia Prada, spring/summer 2000. Photograph © Toby McFarlan Pond

573 573 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

573

Appendix: M RESEARCH

574 574 574

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

575 575 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

575

Appendix: M RESEARCH

576 576 576

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

The starting point for each pattern a single piece of cut into with referenced garment shapes/details an Palindromic Pattern cutting: you would if making a paper snowflake). A palindr The concept of Palindrome could relate to word, phrase, number of other sequence of as athat starting point for continued units can be read the same way in either direction. manipulation of th

generated, resulting in innovative cutting and unkn The starting point for each pattern a single piece of paper folded in half or quarters cut sinto with referenced gtarment shapes/details acnd body types with scissors (as to j to tand, s tand o b ack n eck, uff t o s leeve, s kirt you would if making a paper snowflake). A palindromic shape is composed, serving as aw starting or continued manipulation of the positive arnd negative shapes be As ell apoint s afddressing the symbiotic elationship generated, resulting in innovative cutting and unknown systems of attaching collar fashion sketching/Illustration a relationship o f mut to stand, stand to back neck, cuff to sleeve, skirt to jacket and garment to body. well as addressing the symbiotic relationship between pattern cutting, design, As fashion sketching/Illustration a relationship of mutual benefit and dependence.

Appendix: M RESEARCH

Bio:

Jonathan Kyle Farmer, Kyle has an undergraduate degree in fashion design and technology and completed his master in fashion women’s wear in London at the Royal College of Art (RCA) Kyle has worked in London, Italy and New York as a fashion designer, illustrator, for labels like Max Mara, Benetton and Bruce Oldfield.

And has taught at BFA and MFA level internationally. Kyle has contributed to many books and consults on trend services like Stylesight. As a futurist Kyle’s approach as an educator and as a practicing designer is one of exploration and innovation, challenging the general perception of what it is to be fashion designer. Kyle is 577 currently authoring a book entitled “The Fashion Design Exercise book, creative 577 briefs to enhance your s kills a nd d evelop y our p ortfolio”

577 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Bio:

Appendix: M RESEARCH

578 578 578

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

CF SS

SS

CB

CB

CF CF CB

CB SS

SS 579

CF

579 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

579

ate to word, phrase, number of other sequence of n either direction.

Appendix: M RESEARCH

a single piece of paper folded in half or quarters hapes/details and body types with scissors (as flake). A palindromic shape is composed, serving anipulation of the positive and negative shapes cutting and unknown systems of attaching collar o sleeve, skirt to jacket and garment to body. c relationship between pattern cutting, design, lationship of mutual benefit and dependence.

580 580 580

jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

Appendix: M RESEARCH

581 581 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

581