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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

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David Fielden:

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HERE & THERE:

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Fashion UGLY? RESEARCH

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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

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4.

Louise Schols

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Zoe Woodhouse

2

Jonathan Kyle Farmer

Beecher Eberhard

1

3

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4

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1


Landor Salon Series Future Perfect Panelist Brief November 11, 2008

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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

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Sara Shepherd

http://www.sarashepherd.com

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

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2D/3D

2D/3D

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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.

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?

?

??

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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.

?

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1

1

1 1

? 11

?

1

? ?

?

??

?

?

??

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ZER

WASTE

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

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

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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

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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

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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.

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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

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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

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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

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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.

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“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.

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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

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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:    


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CF SS

SS

CB

CB

CF CF CB

CB SS

SS 579

CF

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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.  

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Jonathan KYLE Farmer ma(rca)  

RESEARCH Portfolio

Jonathan KYLE Farmer ma(rca)  

RESEARCH Portfolio

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