Jonathan KYLE Farmer ma(rca)

Appendix: C TEACHING

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

Appendix C:

Teaching

Appendix Y:

Service

Appendix M:

Research

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jonathan KYLE farmer ma(rca) ASSOCIATE PROFESSOR OF STUDIO METHODS

Appendix C: Teaching: • University of East London:

83 – 98

• Savannah of College of Art and Design:

99 – 102

• Academy of Art University:

103 – 140

• Parsons the New School for Design:

141 – 364

• AAS:

141 – 147

• BFA:

148 – 243

• 2010:

148 – 150

• 2011:

151 – 207

• 2012:

208 - 243

• MFA:

244 – 364

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Future Predictions: The brief, to ex plural recent events going on within the world and to consider how this could effect the future.

The second part of the brief was to utilize all services that were available to produce a six page layout for viewpoint magazine.

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Ep.O.cH

An exhibition of IDEAS in collaboration with viewpoint magazine.

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Beecher Eberhard:Savannah College of Art and Design, Georgia.

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Elizabeth Coleman:Savannah College of Art and Design, Georgia.

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Stills form video discussing the process of Design, IDEA, PLAY, FOCUS, EDIT, CONCLUDE: Academy of Art University, San Francisco

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Conclude Stills:

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Synthetic Phonics:

Aura Taylor: Academy of Art University, San Francisco

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2D Draping

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Whilst freelancing for Style Sight, I brought in a project for the Textile department, which was then profiled in 180 magazine “STYLE TIGHTS” used the prints generated as part of the project/competition. An example of how my research/scholarship impacted my teaching and service.

1

1: Myoung Hee Kim 5: Jeung Yeon Ban 9: Yi-Hui Wen

2

3

4

5

6

7

8

9

2: Amanda Lee Angott 6: Visakha Protpakorn

3: Jennifer Held 4: Maria Korovilas 7: Pooi Boey 8: Ruby Martinez

1

3

4

5

6

7

8

9

1: Chiara Zlvlani 2: Hayley Richardson 3: In Bae Kim 4: Hyunsoo Go 5: Naomi Sutton 6: Belda Farika 7: Ruby Guerra 8: Amanda Cleary 9: Jongwon Choi

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ne eighty

Fashion o

nalis

ata

tyle by Ashley ohnson, FA Fashion o Photos by ott a el

h a

, MFA

nalis

el a Fa ika, MFA Fashion Me

by G e a, MFA extile Design

i

i en, MFA extile Design

isakha Potpako n, MFA extile Design

annah Paik, FA extile Design

han ising

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Eunice Cheng: Academy of Art University, San Francisco

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Eunice Cheng: Academy of Art University, San Francisco

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130 130 130 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012 http://eunicegcheng.com/FASHION-CONCEPTS

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Eunice Cheng: Academy of Art University, San Francisco

2D Draping:

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http://www.youtube.com/watch?v=I6WXb7ZZKWA

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Leah Mendelson: Academy of Art University, San Francisco

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Leah Mendelson: Academy of Art University, San Francisco

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Leah Mendelson: Academy of Art University, San Francisco

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AAS FASHION 2010 2010 2010 2010 2010 2010 2010 2010 2010

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Sample by: Jake and Dino Chapman: Exquisite Corpse (Rotring Club) XIX 2000-2001 143 143 143

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Design through 3D play.

Design means taking a fresh look at things, we take for granted things that have always been there, and often get caught in a cycle of simply remaking them.

The word ‘Invention’ is what ‘Design’ is, made possible through the advances in technology, technique, construction, fabrication, and most importantly through IDEAS. A jacket will always be a jacket, a shirt always a shirt and a pair of pants “YES” a pair of pants, the only way these things can change is by challenging how it is you arrive at that finished item, what process have you gone through to discover these innovations? What fascinations have you stumbled across simply by playing and making a few mistakes?

In this class you will complete 3 projects each taking 5 weeks. You will work to the following 5 step system on a week by week basis. As well as a team game on day 1 of the class.

INTRODUCTION:

Day 1: Exquisite Corpse

Historically ‘Exquisite Corpse’ is a method by which a collection of words or images is collectively assembled. Each collaborator adds to a composition in sequence, either by following a rule or by being allowed to see the end of what the previous person contributed.

In this game of ‘Exquisite Drape’ Every ½ hour you will rotate out, the person next to you will take charge of the piece, resulting in a piece that has been through the hands of many people. jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

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BFA FASHION 2010 2010 2010 2010 2010 2010 2010 2010 2010

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Seung-Yeon Jee, fashion and dadaism

http://www.lanciatrendvisions.com/en/183/seung-yeon-jee-fashi...

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Seung-Yeon Jee, fashion and dadaism

The red or the black?

She is only 25 years old, but if you ask Seung-Yeon Jee to find a balance between the experimentation with a concept and actually putting it into practice, she will answer what many established designers would never even dream of saying: never forget who wears your clothes.

Interview with Barbara Franchin, ITS director

Interview with designer Piet Hein Eek

Interview with Studio Formafantasma

Interview with Rossana Orlandi

TrendHunter's sources

Gratuitous provocation, an obvious statement, or humility of this member of the new generation?

What is surprising about this young Korean woman is not only her clear and wise ideas but her ability to translate a difficult theme such as transformation into wearable clothes, ready for the market and for the tastes of those who do not want to be dominated by a style, but who can make it their own.

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Seung-Yeon Jee, fashion and dadaism

http://www.lanciatrendvisions.com/en/183/seung-yeon-jee-fashi...

W ith pale pink, black and bronz e based palette, J ee presents a collection featuring bold lines, but that leaves the wearer the freedom of finding their own personal formula.

Seung-Yeon Jee, fashion and dadaism

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BFA FASHION 2011 2011 2011 2011 bfa

Parsons The New School for Design School of Fashion 2011/ 2012

Student Name/ID:

Faculty team: 2D: Project name:

Course CRN:

3D: Final Grade:

Date: Please indicate below which portion of the semester is being assessed:

Weeks: 1-5

Weeks: 6-10

Work of Work of excpetional very high quality.

Quality.

Weeks: 11-15

Work of high quality work.

Very good work

Good work

Above average work

Average work

Good work, below academic standing.

Below average work.

Probation level

Failure, no credit

Withdrawl Failing.

B+

B

B-

C+

C

C-

D

F

WF

Learning Outcomes: A

By the successful comple/on of this course, students will be able to:

A-

Understand the fundementals of research. How it is gathered and Translated.

* Evidence of varied research sources, library, internet, musuem, interview, documentries, etc. * Appropriate documentation of research reinforcing concept/idea. (What does journal look like?) * Translation of research into initial fashion design ideas.

Begin to formulate design ideas/solutions in both 2D and 3D processes (Systems thinking).

* Creativity and innovation. * Evidence that work has evolved through both 2D and 3D processes. * Relevant documenation of process, sketching, photography, film etc. * Knowledge and application of construction.

Demonstrate you have begun to develop a personal design philosophy.

* Independent thinking. * Self motivated learning. * Resourcefulness.

Begin to establish a vocabulary of technical knowledge regarding clothing design construction and fabrication.

* Fabric knowledge and terminology. * Garment construction knowledge and terminology.

Demonstrate ability to self select, reflect on individual choices and manage time effectively.

* Evidence of self editing in both 2D and 3D processes. * Time management. * Class participation Demonstrate an understanding of globalization’s impact on the fashion industry.

* Awareness of materials used. Sources and impact on environment and industry. * Recognistion of self in the context of environment, culture and society.

Textile Quiz:

ONE TWO THREE

151

Sewing Sample Binder:

A

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ADDITIONAL COMMENTS:

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BFA FASHION 201 1 2011 2011 2011 2011 2011 2011 2011 2011

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Integrated Studio

BFA

Parsons The New School for Design SENIOR THESIS COLLECTION PHASE 1: RESEARCH Summer Assignment 2011. Due Week One, Fall 2011

SPRING 2012

VISUAL MAP TO SENIOR THESIS 2011/2012

FALL 2011/2012

Presentation of Finshed project. Thesis Week, Benefit show and Parsons Festival

Collection balancing.

Line-up

Continued research on specific focuses.

SUMMER 2011

Design development Sampling

2D/3D Problem solving

Mistake Making

Experimentation

Documentation of initial Design ideas.

Documentation of Play, Draping etc

Initial Translation of Abstract Concepts Primary Interview History Future

Internet

Sensory RESEARCH Fabric

Technology Muse Library

2D/3D Exploration Image banks Written word

How does the Idea or Concept get used in the fashion design process?

Can it be used to inform, cut, fit, color, fabric, textile, styling? Why are you looking at what you are looking at?

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.

Travel

Ritual Theatre

History

Music

People

Documentries

Food

Film Reading

The focus of the summer between junior and senior year should be that of EXPERIENCE IDEA and PLAY. Research in its broadest context, the most important aspect of what you do is that it reflects Self.

What is that you are obsessive about? What do you love, hate, fascinated by or have been saving for this very project?

It does not have to have to be fashion related at first. Think about all you do as problem solving.

Find a problem whatever form it takes and work toward solving it.

Fashion Design is not just about making clothes. It exists as a much broader context. The word fashion originally means 驶To make, to fashion something始.

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Statistically OK is the most used word in the world.

Is it OK that OK is enough?

OK is not acceptable if it has no evidence, no proof.

PROVE that OK is enough by combining PROVE and OK and in turn‌‌

PROV:OK:E

Provoke change, provoke questions provoke people into asking why and how? Provoke this industry, your audience by challenging who you are and what it is you do. Present yourself to the world from the most honest place possible. This is how you will be noticed.

Of course this does not mean that you have to try and reinvent the wheel it does not mean that you should suddenly pretend to become interested in technology or something that you may think you should be doing, something that you THINK your audience is looking for. It is in fact the exact opposite of that it is giving you room to be you, you can continue being obsessed with vintage, zero waste cutting or the classics, but as you are researching, gathering and documenting ask yourself Why am I so fascinated by this and how am I going to use it/do it differently to how it has been done before? Fashion only evolves when people take risks. This is your chance to change things.

Senior Thesis/Pre Collection. PHASE 1: Summer 2011 EXPERIENCE: By experiencing new things and by simply doing, you will not need to look for inspiration it will find you.

IDEA: Ideas come from the strangest of places. Many philosophers consider IDEAS to be a fundamental ontological category of being. What does your Idea inspire when you start to PLAY? PLAY: Children learn from playing, what works and what doesn t, this does not change the older you get. Your Idea is a starting point on which too explore the world of design, giving it context. Give yourself room to make mistakes and too learn from them. Document all you do even if it is not what you were expecting it to be.

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Requirements: Week 1. Fall Semester.

•

•

•

Present a body of research that proves you have experienced beyond your usual systems.

Provide evidence that demonstrates you have explored subject/s that have impacted you creatively. This should not only be evident in the visual presentation but also within the confidence in which you speak about your findings.

From the collected data present a minimum of 30 initial design ideas, garment details, croquis drawing, flats, silhouettes, drape, model making, sampling, textile, print etc. But NOT a finished collection. The presentation of this research can be done in any format as long as it reinforces your design idea and is clear to your audience.

Suggested formats include: Croquis book, sketchbook, journal, photo library, film or all of the listed.

In week 1 Fall Semester setup and present your research to the faculty team and peers.

The presentation should communicate the journey and indicate central themes or area/s on which you intend to concentrate on for the first 5 weeks of your senior year Pre-Collection/Phase 1.

SEMESTER 1: Weeks 1-5: Senior Thesis/Pre Collection. PHASE 1: Fall 2011/2012 IDEA: Ideas formulated and initially explored while researching during the summer are now being explored further in both 2D and 3D processes. Ideas have now been discussed with you faculty team and can now be explored in the time allocated Pre-collection/Phase 1.

PLAY: Explore your idea and it s translation from abstract into fashion design ideas by developing but still not being to attached to the initial ideas, let them evolve naturally and let the doing influence the design and the outcome.

FOCUS: Having played and stumbled upon the elements you like most now focus and develop 2 looks that are the essence of the project, signature pieces one in fabric the other in toile.

EDIT: The process of editing is a difficult one. Pre-collection/Phase 1 enables you to see what is working and what is not. Deciding to continue with what you have in Senior Thesis Collection/Phase 2 or focusing on specific elements you feel are stronger ones on which to move forward with or potentially recognizing that the initial idea has not been successful and to move on completely. This should never been seen as a negative but instead as a 171 171 171

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mature decision and one that doesn t marry you to something that you are not passionate or excited by.

Requirements: Week 5. Fall Semester.

• • •

A body of research and process documenting personal translation of abstract concepts into fashion design ideas.

A minimum of 8 looks should be presented in a 2D format (which can include 3D processes) fully swatched, creative flats and an illustrated line-up.

This is to be presented to portfolio standard.

Two looks one in toile the other in fabrics to be presented as part of the larger collection.

Optional shoot and style finished look/s.

Based on the success or failures of this project you will either continue with or move onto alternative ideas on which to focus your Senior Thesis Collection/Phase 2

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BFA FASHION 2011 2011 2011 2011 2011 2011 2011 2011 2011

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THESIS WEEK GOING DIGITAL. ALL SENIORS: COME FIND OUT MORE: AUDITORIUM: @ 3pm Wednesday 23rd March 2011

SECTION E: Personal Identity

Personal Identity and individual design process has been the foundation to the success of work you are about to see.

Each student has struggled and made many mistakes this last year, some even starting from scratch by recognizing and acknowledging that what they had set out to do was not working.

The students have been encouraged to not design with a customer in mind but instead to define their own philosophy and to be true to their own aesthetics, with the belief that if the work speaks for itself the customer will find them.

The aim was to build a collection focusing on a single concept and pushing it in every possible direction, using the in-depth research collated to inform cut, silhouette, fabric, color, finishing, styling etc These collections are about exploring self and presenting ideas to an industry and a world that in this current climate is desperate for innovation, invention and change.

The world of design leaps forward when people ask ‘Why?’ Take risks and challenge what it is to be a designer.

Class motto: I recognize how it has been done historically but this is now how I do it.

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Brian Suter- Murry : Parsons The New School for Design : BFA : 2011

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May 10, 2011 The Best of the 2011 Parsons The New School for Design BFA Show

By Tiffany Yannetta

Yesterday afternoon, 34 Parsons students from the senior fashion design class presented their collections to a packed house of faculty, fellow students, fashion people, and of course, their parents, at Pier 60 in Chelsea Piers. (A space tucked along the Hudson, which we located by following just about every fashion student in the city and their trail of designer bags.)

The show kicked off the first annual Parsons Festival, and in the past, the Parsons BFA show has shown work from the likes of Marc Jacobs and both Jack McCollough and Lazaro Hernandez—so needless to say, to show is to be honored. But we will say this: In addition to featuring some seriously impressive collections (that were praised by guest host Reed Krakoff), the student show was an endearing one—one of the designers actually stood in line at check-in in front of us until he was told that he, of course, didn't have to wait.

The show was pleasantly diverse, which is always a good thing for a show that is going to go on for an hour.

And the highlight may have happened first thing. The presentation began with three children's collections from Serena Chang, Jessica Klinger, and Karen Han, with models that were just as cute as those Fendi kids. When the first boy, no older than twelve, stomped out in a neon yellow jacket, we melted. And when

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Model Citizen: A Selection of Portraits by Doug Inglish - Style...

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Model: Jenny Shimizu Charities: HRH [Human Rights Campaign], GLSEN [Gay, Lesbian and Straight Education Network], APAHM [Asian Pacific American Heritage Month], Act Up, Save Japan!

Hometown: California Why do you think it’s important as someone in the public eye, to get involved with helping others? Well, I think in hindsight,

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Jenny Shimizu verbalized it best when she told me, “it’s a lot of power to be a model, having this much… access to reach people in different countries and all over the world…why not use some of this…power for good, rather than be just a beautiful girl in a magazine.” The girls in Model Citizen are successful by any definition, beautiful by a mile, and they’ve reached beyond the unabashed

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May 10, 2011

The Parsons Summa Cum Laude

by Brooke Bobb For the usual college senior, graduation day means donning a not-so-flattering cap and gown to a ceremony where most students are probably hungover from the night before. If you’re graduating Parsons, however, graduation comes in the form of a first fashion collection—one that marks the end of four years of crafting raw talent into what could be the next Marc Jacobs or Donna Karan (both Parsons alums).

Yesterday Reed Krakoff (also a Parsons alum) hosted the 2011 BFA Fashion Show, which parlayed the incredible creations of a hand-picked group of 35 fashion design students who were all finalists in the running for the school’s annual Designer of the Year award. Students showed off men’s, women’s and kid’s wear and while we’d expect the collections to look a little familiar, perhaps due to influences on the young designers by their idols or muses, the collections were certainly, if not refreshingly, unique. Post-show Krakoff said, “I think this was the best Parsons show I’ve ever been to. It was creative and wearable and what was great was that a lot of times the student designs can be very referential and I think this year everything seemed really personal.”

Brian Suter-Maury, Parsons '11

After the student show, the day culminated in the annual Parsons Benefit held in the same space at Chelsea Piers with design stars like Prabal Gurung, Peter Som and Narciso Rodriguez. Guests were able to admire more student designs on display throughout the room including architectural shoes, gowns made of lace and feathers, and a new Coach bag designed by Parsons ’11 graduate Joel Harding (he won the design competition put on by Krakoff earlier in the year).

J.Crew’s Jenna Lyons was in the crowd, too. She said the best advice she got as a young designer was to “keep an open mind about learning and don’t get too concerned with the end result. Often, young designers are racing to get to the end of the game and become super famous really fast but it should be more about

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Gousche Kim : Parsons The New School for Design : BFA : 2011 194 194 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

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Gousche Kim : Parsons The New School for Design : BFA : 2011

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Sheman Hung : Parsons The New School for Design : BFA : 2011

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May 10, 2011 Highlights From Parsons’ Graduate Show

By JOHN ORTVED “Watching this show makes me think I could use a few more years in school,” said Reed Krakoff at the Parsons 2011 BFA fashion show. Krakoff, a Parsons alum and the executive creative director of Coach as well as his eponymous line, addressed the crowd of students, parents, press and faculty halfway through the show, saluting his teachers and spotlighting Parsons as the cradle of talent for the fashion industry. Krakoff’s comments were echoed in a video featuring some of the school’s other prominent alumni, including Prabal Gurung, Donna Karan, and Anna Sui. The show reflected themes and interests as diverse as one could ever hope to find in a single showing: there were architectural, adventurous collections, like Paige Kettering’s South-Asian-inspired evening gowns, decorated using traditional wood block printing techniques; Karen Han had a toned down, fun and functional approach to children’s wear; Myrtle Quillamor’s ethereal tulle bodysuit was sexy and sophisticated with its hand-applique decorations in velvet and silk; Charlie Leibel offered sensible Carmen Chen Wu blouses and trousers for, as he put it, “any woman with silver hair”; Jeanne Tasma put forth a flowing, gorgeously draped evening gown; T. Young Wang looked back to Napoleonic Europe with blazers, shirting and shorts that recalled the Grande Armée.

If there was a single standout, it was Carmen Chen Wu, who last year won the $25,000 Geoffrey Beane Design Scholar Award from the CFDA. Wu’s girl—a flapper-gone-mad, traveling through Asia, and on her way discovering Buddhist monks’ garb—was imaginative and graceful; stunning in its maturity.

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Carmen Chen Wu : Parsons The New School for Design : BFA : 2011

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Marie-Clare Brush : Parsons The New School for Design : BFA : 2011

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Lauren Burnett : Parsons The New School for Design : BFA : 2011

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Lauren Burnett : Parsons The New School for Design : BFA : 2011

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the brief: b the brief:

Ć’ashionfarming.wordpress.com

((0))-((1)) WEEK

WHAT IS IN A NAME? "What's in a name? That which we call a rose By any other name would smell as sweet." ~Shakespeare~

They say never judge a book by it’s cover. Your name is your cover. What is in a name? Creatively present your name in way that best communicates who you are.

It can be done in anyway you see fit and to whatever size you desire. As long as it is readable and illustrates your personal likes/dislikes your interests and passions.

Consider using photography, illustration, model making or all of the above or none.

Please present you name on day 1 of Design Communications class.

PLEASE remember this class is all about Design Communication, every decision you make from font to paper quality and beyond are design decisions.

DESIGN EVERYTHING YOU DO FROM HERE ON IN.

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Lucy Jones : Parsons The New School for Design : BFA : 2014

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Group work : Parsons The New School for Design : BFA : 2014

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Group work : Parsons The New School for Design : BFA : 2013/14 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

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Danielle Cloutier : Parsons The New School for Design : BFA : 2014 232 232 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

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BFA FASHION 2012 2012 2012 2012 2012 2012 2012 2012 2012

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Emily Bode : Parsons The New School for Design/Eugene Lang : BFA : 2012

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Bach Mai : Parsons The New School for Design/Eugene Lang : BFA : 2012 241 241 241

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Wynn Burson : Parsons The New School for Design/Eugene Lang : BFA : 2012 242 242 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

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Parsons The New School for Design Fashion Design and Society

mfa

SUMMER PROJECT 2010 ‘PICK A WORD’

Pick-a-Word Taken From Wikipedia A word is the smallest free form (an item that may be uttered in isolation with semantic or pragmatic content) in a language, in contrast to a morpheme, which is the smallest unit of meaning.

A word may consist of only one morpheme (e.g. wolf), but a single morpheme may not be able to exist as a free form (e.g. the English plural morpheme -s).

Typically, a word will consist of a root or stem, and zero or more affixes.

Words can be combined to create other units of language, such as phrases, clauses, and/or sentences.

A word consisting of two or more stems joined together form a compound.

A word combined with an already existing word or part of a word form a portmanteau.

Word may refer to a spoken word or a written word, or sometimes, the abstract concept behind either.

Spoken words are made up of phonemes, and written words of graphemes.

THE BRIEF: This project is all about re-SEARCH, taking the abstract and processing it into usable fashion design ideas.

Begin with a word, a personal word that does not have an apparent object or visual attached to it.

Take that word and brainstorm. Allow it take you on a journey of discovery and one that introduces you to new vocabulary.

Through this research expedition you will have found and learnt new terminology and began to obsess about a certain word/s. Begin to abstract this/these word/s and consider how it connects to you and start to develop a research process from it.

Consider using images / drawing / film / photography / draping / model-making / sound bites etc.

Use anything that you feel best communicates your point of view.

Begin to build a body of research work, which could eventually take you to the design process but does not have to translate into fashion design solutions at this point.

This work will be presented during the first week of the semester and acts to introduce you and your work.

Be sure to document this process in a creative way.

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Karou Oshima : Parsons The New School for Design : MFA FDS : 2012

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Karou Oshima : Parsons The New School for Design : MFA FDS : 2012

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ORIENTATION I, 7292, PGFD 5100 A

Shelley Fox Donna Karan Professor of Fashion, School of Fashion foxs@newschool.edu Kyle Farmer Associate Professor of Fashion Design, School of Fashion farmerk@newschool.edu COURSE DESCRIPTION Orientation I is the introductory course to the MFA Fashion Design & Society Program and takes place during the first week of the first semester. The aim is to bring the students together and for them to be able to experience group learning as well as individual learning while cultivating a dialogue for future design debates and discussions.

The intensive will be based on a ‘field research trip’ within New York City. The course intends to draw upon unassuming areas of research as well as traditional and extensive sources of study.

Additionally, it aims to familiarize the students with a new city and challenge those students who ‘know’ the city while enabling them to find news ways of researching. The course will contribute to the successful delivery of the Personal Identity: Design Studio I course.

An intensive research project will be established, and New York City will serve as the playground of ideas.

SUGGESTED RESOURCES SEE ATTACHED APPENDIX A FOR ALL SUGGESTED RESEARCH RESOURCES.

LEARNING OUTCOMES By the successful completion of this course, the students should be able to: 1. Understand the importance of challenging their preconceptions of how to research and where sources of inspiration can be found.

2. Understand how they can benefit from the interaction with other graduate students and to value the dialogue and debates of research and it’s influence on design 3. Articulate their ideas, research at a professional level and be able to assess critical feedback and act upon it as appropriate.

4. Build a network of contacts, places of resource and research locations within a new city.

COURSE STRUCTURE Students will be introduced to new places of research through their design brief, both traditional sources of study as well as unexpected influences in and around New York City. The students will work independently to develop an introductory research project and to build up a network of resources, which will support them with in preparation for the Personal Identity: Design Studio I course.

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80%

20%

In this ‘THREE as 4’ Day workshop you will be introduced to new cutting practices.

These techniques as well as the proportions of fabrics you are permitted to use within the collection will form the foundations of this project. You will be expected to apply your own methodology and systems to this project and take ownership of the new processes introduced to you by Gabi.

YOU MUST USE: 80% JERSEY 20% OTHER within the complete collection.

Project requirements: * Document Workshop and provide evidence that you have taken ownership of techniques introduced. * Substantial Process - Through 3D, Photography, collage, drawing etc * A minimum of 10 Looks/outfits, illustrated and supported by Creative Flats with fabrics. * Present entire project to portfolio standard.

Timeline: st Week 10: November 1 : Gabi (ThreeASFOUR) briefing session: 3pm. Thursday 4th November. th

Week 11: November 8 : th th 80/20% Workshop: Thursday 11 November and Friday 12 November. th

Week 12: November 15 : th 80/20% Workshop: Thursday 18 November. th

Week 13: November 29 : th Presentation on ‘creative flats’ Kyle: Monday 29 November.

80/20% project Continued: th

Week 14: December 6 : th Deadline: 80/20% project, 10 December (Portfolio project ONLY) 252 252 252

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Parsons The New School for Design Fashion Design and Society

mfa

ORIENTATION I PROJECT 2010 ‘THE EXPERIMENTAL STUDIO’ NYC

Subliminal Souvenirs: Explore the hole in your MAP Life experience and being open to the NEW is the first part of any project.

How does new experience affect relationships with self?

A souvenir is a something that one keeps to remind oneself of an experience. Often they can take the form of objects, pictures, tangible items that one can refer to at any given time.

But what about the Subliminal Souvenirs: the ones that you don’t even realise you are collecting until hours, days, months or even years later?

What if these souvenirs are the ones you acknowledge first.

How can you collect souvenirs that are not the typical and use your personal creative process for your design work?

THE BRIEF: The Purpose of the project is to develop an awareness of things around you whether they are objects, places, people, sounds, smells, tastes etc that are not obvious in the moment but the purpose is to educate yourself to see more into the unobvious as a starting point for design ideas.

Each student will be given their own individual photocopy of a map; a section of New York City.

Each map has a hole. The missing hole is the starting point for the project. Find the piece that is missing and investigate it. Let it take you on a journey….the History of the ‘missing’.

This is a one week project to introduce you to the city in a way that takes you to places that you may not know about. It leads you to ask questions about that ‘missing space’ Develop a body of research around this ‘missing space’ using text, photography, interviews, film, drawing, collecting of things/objects with the aim to present your ideas and where you seeing them going.

•

Briefing: Wednesday August 25 in person / via email to those students who are not here. (A separate briefing will be held for students not here on Monday 30th at 11am)

•

Tutorials: Held on Thursday September 2 (afternoon) and Friday September 3 all by appointment. Tutorial list will be on the MFA office door.

•

Group Presentation to be held on Thursday September 9 at 2.30pm

•

Holiday Project to be presented on Thursday September 9 at 10am

th

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Claire Diederichs : Parsons The New School for Design : MFA FDS : 2012

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Jonathan KYLE Farmer ma (rca) Associate Professor of Fashion, School of Fashion farmerk@newschool.edu Shelley Fox Donna Karan Professor of Fashion, School of Fashion foxs@newschool.edu

COURSE DESCRIPTION This course is split into two phases: Personal Identity aims to deconstruct and reconstruct the thought / research process of the student. Its intention is to force the student to question what it is to research in depth, push their own boundaries and enable them to find their own ‘starting’ points and questions’ and in turn to develop their own personal design identity. This phase seeks to nurture their ability to reach outside of the ‘usual’ fashion references and encourage them to explore areas such as literature, film, art, politics, photography, science, anthropology, history, economics, etc. It meets intensively for the first three weeks, with a brief that will open up the research areas and allow the students to form their personal visual vocabulary and thought process. Research is fundamental to the development of one’s personal design identity. The students will submit a portfolio of work produced over this period.

The second phase, Design Studio I, aims to build upon the thought processes and research material that was developed from the ‘Personal Identity’ phase of the course. This phase will see the development of a small constructed collection of clothing to be taken to toile or final fabric stage depending on the individual project.

Emphasis will be placed on the ability to translate innovative ideas with a high level of intellectual thought process illustrating proportion, silhouette, fabric innovation, new cutting techniques and the execution of garments at the highest level. It will be an experimental course with an emphasis on developing the 3D form through pattern cutting and draping on the mannequin. The students will submit a portfolio of their design development ideas, recordings of the process and a collection of highly constructed 3D work.

Evidence of toiling Process concluding in a minimum of 3 finished looks/outfits highly executed.

The option to work on an internship can be built into the course on a case by case basis with each student. Studio time is organized into one-on-one tutorials/critiques with the design studio instructor, along with group critiques with invited practitioners at interspersed throughout the semester as needed based upon the studio projects.

SUGGESTED RESOURCES SEE ATTACHED APPENDIX A FOR ALL SUGGESTED RESEARCH RESOURCES.

LEARNING OUTCOMES By the successful completion of this course, the students should be able to: 1. Demonstrate the ability to research indepth in order to find their own identity / language 2. Reflect critically on the social, cultural and global dimensions and its affect on fashion 3. Demonstrate competent and critical design development skills in proportion, innovative pattern cutting techniques, fabric innovation, silhouette and construction.

4. Demonstrate an understanding of research translation from ideas to clothing at an innovative and experimental level i.e. concept to 3D

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5 . D evelop a method of building a networks and contacts for future ongoing research sources.

G R A D IN G

A N D

E VA LU A TION

S tudents will be evaluated for the course based on the following criteria: • • • • •

D emonstrated and developed critical thinking in design research, which is supported by evidence in visual work, critiq ues and presentations.

Communication of your research ideas both visually, written and verbally D esign development skills in cutting, innovative use of fabric and construction E vidence of resource building from the research process The ability to manage your time and workload effectively and to meet deadlines

S tudents will present their work to their peers, design lecturer and guest critiq ue 3 times during the Course enabling them to obtain critical feedback and learn by peer review. It will enable them to articulate and contextualiz e the work.

FIN A L G R A D E CA LCU LA TION P e r s o n a l Id e n t i t y R e s e a r c h

3 0%

Fi n i s h e d P o r t f o l i o o f w o r k : P r o j e c t 1: P e r s o n a l I Id e n t i t y

3 5 %

P r o j e c t 2: In d u s t r y P r o j e c t ( G a b i )

25 %

E v id e n c e o f D e s ig n C o m m u n ic a t io n & T OT AL

V is u a l L ite r a c y

10% 100 %

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Elisa Van Joolen : Parsons The New School for Design : MFA FDS : 2012

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Elisa Van Joolen : Parsons The New School for Design : MFA FDS : 2012

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Iwo Piotr Panszczyk : Parsons The New School for Design : MFA FDS : 2013 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

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Hai Li : Parsons The New School for Design : MFA FDS 2013

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Melitta Baumeister : Parsons The New School for Design : MFA FDS : 2013

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Parsons The New School for Design Fashion Design and Society

mfa

CHRISTMAS BREAK PROJECT December 18th 2010 – January 24th 2011

F A S H I O N: The original meaning of the word FASHION is to make and to create: To FASHION something.

This project challenges you to address the most fundamental of elements when designing a collection, that of craft, 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 presented you will be able to make the statement: “I recognize how this has been done historically but this is now how I do it”

EXPLORING AND PERSONALISING TRADITIONAL TECHNIQUE Consider the following: Using the techniques to construct let them dictate proportion, scale and silhouette rather than simply decorating shape. Could these techniques collide? To invent new ones?

Project: • • • •

Research into a variety of techniques from which a minimum of 2 are selected.

Extensive evidence of the exploration / evolution of the selected techniques through sampling in fabric and paper.

10 looks fully illustrated and supported with readable creative flats.

Present ALL work to portfolio standard for review in the first week of Spring semester 2011.

Whip stitching Drawn thread work Pleating Needlepoint Tufting Embossing Crochet Cork Work Smocking Saddle Stitch Shirring Book binding 266

Macramé Felting Batik Patchwork Beading Cross-stitch Quilting Quiltmaking (USA) Punch-hole Cording Foiling Fusing / Bonding Enamelling

Running stitch Bobbin lace making Tapestry Faggoting Ragging Hand Knitting Appliqué Embroidery Flower making Sisal (Raffia Weave) Braiding / Plaiting Basket Making

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Ji Hye Nam: Parsons The New School for Design : MFA FDS : 2013 jonathan KYLE Farmer ma(rca) : PARSONS PPR REVIEW : AUGUST 2012

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Shelley Fox Donna Karan Professor of Fashion, School of Fashion foxs@newschool.edu

Jonathan KYLE Farmer ma (rca) Associate Professor of Fashion, School of Fashion farmerk@newschool.edu COURSE DESCRIPTION Design Studio II aims to link with Industry partners, who will be selected for their emphasis on New Technology in fabrication, garment construction, yarn use, fabric manipulation etc.

It will allow students to access industry expertise, technical innovation with the ability to further experiment with the new technology for clothing design. Although the students will direct their research and design work, industry will play an important part in this process through advising on the technology of the materials and their characteristics.

The students will develop a collection of ideas and developments around the technology / materials and further develop a small collection in conjunction with the industry partner. Emphasis will be placed on the ability to translate innovative ideas with a high level of critical thought process illustrating the best use of the materials / technology. The students will submit a portfolio of their design development ideas, recordings of the process and a collection of well constructed prototypes.

Building upon the foundation of ‘Fashion Presentation’ the students will develop a personal method of presenting their Design II project. This will accumulate in a presentation at the end of the semester where the students are responsible for every aspect of the Presentation.

Studio time is organized into one-on-one tutorials/critiques with the design studio instructor, along with group critiques with invited practitioners at mid-term, final review and interspersed throughout the semester as needed based upon the studio projects.

SUGGESTED RESOURCES PLEASE SEE ATTACHED APPENDIX A FOR ALL SUGGESTED RESEARCH RESOURCES.

LEARNING OUTCOMES By the successful completion of this course, the students should be able to: 1. Demonstrate the ability to collaborate with industry partners 2. Demonstrate their design development skills through working with new technology fabrics and yarns 3. Understand how Materials Innovation affects the process of design and construction.

4. Understand the importance of presentation of the design work and how this can be communicated in an innovative manner.

5. Develop their research skills of building knowledge for future technology information and materials.

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COU R S E S TR U CTU R E W e e k 2

In d u s t r y a n d D e s i g n P r o j e c t Br i e f

W e e k 2 - 11

P R OJ E C T – SE E SE P AR AT E D E T AIL E D

W e e k 12 - 14

P r o j e c t p r e s e n t a t i o n : P h o t o g r a p h y a n d Fi l m

W e e k 15

P r o je c t p r e s e n ta t io n / C r it iq u e

G R A D IN G

A N D

BR IE F s h o o ts

E VA LU A TION

S tudents will be evaluated for the course based on the following criteria: • • • • • •

Innovative use of new technology materials in design thinking D emonstrated and developed critical thinking in design research, which is supported by evidence in visual and 3 D work, critiq ues and presentations.

Communication of your research ideas both visually, written and/ or verbally on a professional level to industry partners Critical design development skills in cutting, innovative use of fabric and construction E vidence of materials resource building to form future research ideas The ability to manage your time and workload effectively and to meet deadlines

S tudents will present their work to their peers, design lecturer and guest critiq ue 3 times during the Course enabling them to obtain critical feedback and learn by peer review. It will enable them to articulate and contextualise the work.

FIN A L G R A D E CA LCU LA TION Research / Innovative Thinking Through 2D and 3D development Minimum of 3 pieces in Final fabrication – Cutting / Construction 2D Presentation of Project

35% 45% 20%

TOTAL

100 %

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MFA Fashion Design and Society

DVF:DNA

???:DNA

Fall semester 2011 you were asked to explore your “Personal Identity”. This semester we ask you to understand DNA. Not from a scientific perspective but from a design one.

Firstly research and understand the DNA of Diane von Furstenburg the woman and the company.

How has DVF defined herself and her label by doing what has been instinctive to her, what processes has she gone through to get where she is today? How has her DNA been embedded within the brand?

Human beings are all essentially the same on the inside but what makes us evolve and change is the small percentage of our makeup that is still not totally understood, the mutations.

Your DNA, your mutations your personality and your ability to evolve is what is being called on for this project brief. Investigate your own DNA and in turn mutate the DNA with Diane Von Furstenberg.

The Process: Monday 1.30.12 @10am Briefing Session.

Wednesday 2.1.12 @ 11am - 1pm DVF Headquarter visit: FEBRUARY 1ST AT 11 AM, PLEASE MAKE YOUR WAY TO 440 WEST 14TH STREET. GREETED BY MEMBERS THE DESIGN TEAM AND NEIL GILKS. DO NOT BE LATE. YOU WILL LEARN ABOUT DVF ETHOS, INSPIRATIONS AND PROCESSES. WITH THE OPPORTUNITY TO DISCUSS DESIGN, WITH THE CREW. SPRING/SUMMER 2012 SHOW WILL BE VIEWED, FOLLOWED BY Q AND A. THEY ARE HITTING SHOW SEASON, SO THE TIME WITH THE DESIGNERS IS PRECIOUS. MAKE THE MOST OF THIS OPPORTUNITY. Week of Jan 30th: Start Research/Idea Development.

Jan 30th - March 2nd: Experiment in fabric/technical/design development in both 2D and 3D/Editing.

March 19th - April 20th: Design Editing/Construction/2 looks completed.

April 23rd - May 4th: Completed Body of work with internal presentation.

DATE TBD: External presentation of Project - Place and time TBD The requirements: * Research of DVF:DNA * Research on ???:DNA * Thorough documentation of process. * Thorough documentation of fittings. * 2 Complete finished Looks. * Full body of work to be presented to highest possible of standards.

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Amelia Lindquist : Parsons The New School for Design : MFA FDS : 2013

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Amelia Lindquist : Parsons The New School for Design : MFA FDS : 2013

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Amelia Lindquist : Parsons The New School for Design : BFA : 2011

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Abigail Lewis : Parsons The New School for Design : MFA FDS : 2013

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Melitta Baumeister: Parsons The New School for Design : MFA FDS : 2013

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Melitta Baumeister: Parsons The New School for Design : MFA FDS : 2013 V e s t , P a n t s and T-s h i r t

massive crystal collar (crystals on fake fur)

+ seems as on a denim-jacket; + seems inside = „embossed look“ + hem,pocket, seems and the button hole line are bonded to neoprene = other parts are soft. + covered buttons with the same fabric

fabric bonded to neoprene with either one double layer on the hem or a gap of bonding.v

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Jia (Daisy) Hua : Parsons The New School for Design : MFA FDS : 2013

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Hannah Jenkinson : Parsons The New School for Design : MFA FDS : 2013

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Hannah Jenkinson : Parsons The New School for Design : MFA FDS : 2013 Yung Chi Tsai : Parsons The New School for Design : MFA FDS : 2013

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Great visibility for Feel The Yarn Project @ Pitti Filati! | Feel the Yarn

About What we do Partners Explore

More than 1000 visitors at Pitti Filati came to look at Feel the Yarn outfits and spent their time to analyze and vote for the most interesting proposals.The winner is Xiao Li from the Royal College (whose project we just mentioned in the previous post), but a special mention goes also to Hanna Jenkinson from Parsons, who interpreted with ability and developed with taste the contest theme “From material to immaterial”.

Her use of metallic yarns from Lanificio Dell Olivo and the combination with transparent fabric impressed many knitwear buyers at Pitti Filati.

Search

The first blog and social netwo wholly dedicated to yarns and knit

13 Jul 2012 from material to immaterial fty Hannah Jenkinson Lanificio Dell'Olivo Pinori Xiao Li

Great visibility for Feel The Yarn Project @ Pitti Filati!

by Ornella Bignami

BLOG

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16 Jul 2012

My visit at H Niederrhein Mönchengla

by Ornella Bign

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12 Jul 2012

Vogue Knitti

by Raffaella Am Related

My experienc

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Year 2011

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Soojin Kang : Parsons The New School for Design : MFA FDS : 2012

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February 17, 2012 Circulation: 245,873

London Fashion Week Kicks Off with an International Emerging Talent Competition London Fashion Week starts today and the city is pulling out all the stops to make it extra special this season. This includes the first ever International Fashion Showcase taking place in embassies and cultural institutes across the capital. Young designers from 19 countries are duking it out for the Emerging Talent Award, to be presented on Sunday

by British Fashion Council Ambassador Sarah Mower.

Representing the US is a team from the MFA Fashion Design and Society program at Parsons, who have turned the Benjamin Franklin House in Charing Cross into a gallery of knitted garments, and are showing off plenty of talent and technical craftsmanship in the process.

The work of ten students is featured in the exhibit, under the theme "Lost Time is Never Found Again." It's a varied group: Beckett Fogg showed three Céline-style minimal dresses featuring deceptive cutaways, while at the other end Aina Hussein's outfit struck a dramatic note in lacey laddered black. But our favorite was Talia Shuvalov, a former McQueen intern who won sponsorship from Zegna Baruffa to produce six sporty knit dresses in grey and neon green stripes. With American knitwear playing a bigger role in modern fashion these days—think Alex Wang and Rodarte—Baruffa's knits feel right on time for team America.

Peep some photos in the gallery above, and if you're in London, swing by the exhibition, which will be up through February 20.—ANA KINSELLA View Original Article

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Ottimismo e grande rilancio per la filatura italiana: Pitti Filati 69 registra numeri in crescita, con buyer esteri a quota +7.4% e un totale di circa 5.250 compratori Stand affollati, presenze internazionali di peso, e un’intensa attività di contatti e campionature durante tutti e tre i giorni della manifestazione. L’edizione 69 di Pitti Filati si è conclusa all’insegna di un ottimismo diffuso, e di segnali energetici che per la filatura italiana ed internazionale di qualità il mercato è in netta ripresa. L’affluenza finale ha raggiunto le 5.250 presenze complessive (erano state 5.100 nel luglio 2010), con un importante incremento dei buyer esteri (+7,4%, per un totale di oltre 2.350 compratori), e con un numero di compratori italiani sugli stessi livelli dell’ultima edizione estiva, a totalizzare 2.900 presenze.

Tra i mercati esteri da segnalare le ottime performance di tutti i più importanti mercati della moda – come Giappone +31%, Stati Uniti +15%, Gran Bretagna +13,5%, Spagna +11%, Olanda +8%, Hong Kong +6.7% e Russia +14%.

Al primo posto nella classifica dei primi 15 paesi si conferma la Germania (396 i buyer tedeschi), seguita da Gran Bretagna (343), Stati Uniti (240), Francia (203), Giappone (148), Spagna (128), Hong Kong (111), Svizzera (99), Olanda (84), Russia (73), Svezia (72), Turchia (63), Cina (41), Austria (33) e Danimarca (29).

“Questa di Pitti Filati – afferma Raffaello Napoleone, amministratore delegato di Pitti Immagine - è sicuramente una delle migliori edizioni delle ultime stagioni. Tutte le filature hanno confermato le ottime performance registrate dal settore nel 2010 e nei primi mesi di quest’anno: incrementi a due cifre degli ordinativi e dei volumi di fatturato, un segno evidente che – nonostante i rincari dei costi delle materie prime – nei fatti la maglieria è tornata di grande tendenza, e con essa anche le produzioni d’eccellenza della filatura italiana ed internazionale, per le quali ci sono grandi aspettative anche per le prossime stagioni.

Concludo sottolineando che ha funzionato molto bene anche il focus di questa edizione, sullo sviluppo sostenibile e sull’approccio eco-etico alla moda, interpretato dallo Spazio Ricerca Recyclethic, curato da Angelo Figus e Nicola Miller, e dall’area specifica sul progetto Tessile Sostenibile proposto da CNR, Osservatorio Arti e Mestieri dell’Ente Cassa di risparmio di Firenze e da Pitti Immagine. E ancora una volta è stata importante la concomitanza e la prossimità col salone Prima Moda Tessuto, come plus di contenuti e di servizi offerti ai nostri buyer internazionali”.

Grande successo di pubblico anche per la seconda edizione del concorso Feel the Yarn, promosso da Toscana Promozione e ICE in collaborazione con Consorzio Promozione Filati e Pitti Immagine, dedicato agli aspiranti stilisti provenienti da sette tra le migliori scuole di moda internazionali. Tra i 21 studenti finalisti, che hanno presentato capi realizzati utilizzando i filati di una selezione di filature toscane, la giuria di esperti e il pubblico di Pitti Filati hanno proclamato vincitrici le creazioni di Soojin Kang, studentessa della Parsons The New School for Design.

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PITTI FILATI 69

Firenze, Fortezza da Basso, 5-7 luglio 2011

Le novità, le sezioni, i numeri Pitti Filati è un osservatorio unico delle tendenze

Pitti Filati è l’appuntamento internazionale di riferimento del settore dei filati per maglieria.

Laboratorio di ricerca ma anche osservatorio per le nuove tendenze del lifestyle globale, il salone presenta l’eccellenza della filatura su scala internazionale, a un pubblico di buyer provenienti da tutto il mondo, ai designer e agli uffici stile dei marchi più importanti del fashion business, che vengono a Firenze a caccia di nuove suggestioni creative. Protagonista di questa edizione è l’anteprima mondiale delle collezioni per l’autunno-inverno 2012/2013.

E questa edizione di Pitti Filati presenta anche un focus specifico sui temi dello sviluppo sostenibile, del riciclo, e dell’approccio etico-ecologico alla moda e alla creatività contemporanee, attraverso una serie di progetti che saranno protagonisti alla Fortezza da Basso.

RECYCLETHIC, tema-titolo del nuovo SPAZIO RICERCA

Prosegue nella sua evoluzione la struttura e il layout dello Spazio Ricerca e dell’area Fashion at Work, fulcro gravitazionale di tutte le espressioni legate alla creatività. Osservatorio sperimentale dove vengono analizzate e lanciate le tendenze, luogo di incontro per le teste creative della moda e del design, lo Spazio Ricerca di Pitti Filati 69 propone con RECYCLETHIC, tema e titolo di questa stagione, il riciclo come risposta creativa e sostenibile alla crescente richiesta di materia prima. Uno zoom su possibilità concrete e visionarie di utilizzo e riutilizzo di materie diverse ed estranee alla maglia, che possano stimolare la ricerca e la creazione del nuovo attraverso il vecchio. Un viaggio scandito in sette tappe dentro la materia per comprenderne le potenzialità e le specificità, per riutilizzarla o crearla attraverso le suggestioni di quella esistente.

Ma anche un nuovo percorso con spazi speciali in Fortezza dedicati a progetti e collezioni basate sul riciclo creativo. Con la direzione artistica del fashion designer Angelo Figus e (vedi comunicato allegato) dell’esperta in maglieria Nicola Miller.

Magical Pitti Tour

Il viaggio è il tema guida dell’edizione estiva dei saloni di Pitti Immagine. Al centro del Piazzale Centrale della Fortezza da Basso, ad accogliere i visitatori ci sarà una grande mappa geografica, curata dallo studio grafico Antoine+Manuel, duo francese celebre per il suo modo innovativo di combinare grafica e computer design. Come un grande d’atlante geografico d’altri tempi, ma con una grafica d’avanguardia, che propone un viaggio attraverso i saloni e gli eventi di Pitti Immagine, come continenti ancora inesplorati, soste panoramiche, parole e idee-chiave, che suggeriscono ai visitatori diversi percorsi ideali all’interno di questo magico mondo, e dentro la moda e il lifestyle contemporanei. Inoltre all’interno del viaggio di Pitti Filati, ci sarà anche Souvenir de Pitti, il temporary shop di Pitti Immagine allestito all’entrata del Padiglione Centrale, in cui saranno venduti la shopping bag disegnata per questa occasione da Andrea Incontri, la tshirt Moving on Together!, creata appositamente dal gruppo giapponese United Arrows, e il foulard “Magical Pitti Tour”, ideato da Antoine+Manuel, e il cui ricavato sarà devoluto a Red Cross Japan, per iniziative in favore degli abitanti di Fukushima, colpiti il marzo scorso dallo tsunami.

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ALEXANDER McQUEEN

SAVAGE BEAUT Y

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Alexander McQueen: Savage Beauty May 4–July 31, 2011

Alexander McQueen (British, 1969–2010), Dress, autumn/winter 2010–11. Gray and white printed silk.

Courtesy of Alexander McQueen. Photograph © Sølve Sundsbø / Art + Commerce

Alexander McQueen’s iconic designs constitute the work of an artist whose medium of expression was fashion. This exhibition, organized by The Costume Institute, celebrates the late designer’s extraordinary contributions. From his postgraduate collection of 1992 to his final runway presentation which took place after his death in February 2010, McQueen challenged and expanded the understanding of fashion beyond utility to a conceptual expression of culture, politics, and identity. Approximately one hundred ensembles are on view, including signature creations such as the Bumster trouser, the Kimono jacket, and the Origami frock coat.

All programs are free with Museum admission unless otherwise noted.

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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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Mayumi Yamamoto : Parsons The New School for Design : MFA FDS : 2012

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Jie Li : Parsons The New School for Design : MFA FDS : 2012

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Aina Beck : Parsons The New School for Design : MFA FDS : 2012

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February 23, 2012; Rome, italy

United States talents in London A selection of United States Designers from the MFA Fashion Design & Society Program at Parsons The New School for Design Itâ&#x20AC;&#x2122;s called Lost Time is Never Found Again, the international US fashion showcase on stage within the exhibiting spaces of the suggestive Benjamin Franklin House in Craven Street, London.

Ten designers from the MFA in Fashion Design and Society at Parsons The New School for Design will present their projects, which include the works for the graduate competition Alexander McQueen: Savage Beauty in collaboration with the Metropolitan Museum of Art; the Donna Karan Project and Feel the Yarn Competition that will be held at Pitti Filati in Florence in July 2012.

Knitwear, of course, takes center stage, with the more experimental and design-oriented creations by Paula Cheng, Noriko Kikuchi, Mayumi Yamamoto, Aina Hussein, Jie Li, Talia Shuvalov.

Moreover, the unique textures seen in Kaoru Oshimaâ&#x20AC;&#x2122;s outfits, and the multicolored ones by Sinead Lawlor, the tricot dresses by Soojin Kang, the two-texture creations by Beckett Fogg. Innovative experimentation with a cosmopolitan twist.

View Original Article and Slide Show

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April 23, 2011; Circulation 2,092,000

Alexander McQueen at the Met

By Pia Catton Fashion in the extreme was the hallmark of the late British fashion designer Alexander McQueen (1969-2010).

In pieces like his armadillo-shaped heels (worn by Lady Gaga) and a kimono that traps the arms like a straightjacket, Mr. McQueen embraced exaggeration, upended fashion conventions and grappled with paradox.

From May 4 to July 31, the Costume Institute at the Metropolitan Museum of Art is presenting "Alexander McQueen: Savage Beauty," 100 ensembles and 70 accessories from the designer's career that spanned 19 years and yet was cut tragically short. (He committed suicide early last year.)

Mr. McQueen's designs often defied practicality: Why add antlers and a veil to an evening gown? Why make a dress out of feathers? "He felt his work was a social document that reflected the times in which we live," said the exhibition curator Andrew Bolton. The designer was a master tailor, having worked in London's Saville Row before attending design school at the city's Central Saint Martins.

While his couture-level artistry was high concept, Mr. McQueen's effect on fashion can still be seen on city streets. In 1995, he created a new shape for trousers, the "bumster," that sat revealingly low on the hips.

"The bumsters were extreme on the catwalk, but every girl from New York to L.A. to Paris is wearing them," said Shelley Fox, director of Parsons the New School for Design's graduate program Fashion Design and Society. "It's that extremeness that pushes things forward."

The Met's exhibition follows themes â&#x20AC;&#x201D;such as Gothic design, exoticism and nationalismâ&#x20AC;&#x201D;and silhouettes that recurred in Mr. McQueen's collections. "He loved clothes that referenced history and idealized the female form," said Mr. Bolton.

That interest manifests itself in dresses that draw from the exaggerated hips of the 18th century, and in garments with torsos crafted to look like a woman's chest, a riff on the idea of molded armor.

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P

arsons The New School for Design presents a showcase of work by emerging international designers from the MFA Fashion Design and Society program at Parsons Lost Time Is Never Found Again is part of the International Emerging Talent Showcase sponsored by the British Council and the British Fashion Council, which invites the public and international press and buyers to explore work by the world’s most innovative young designers during London Fashion Week 2012. For the event, more than 20 embassies and cultural centers throughout London — including those of Australia, Belgium, Botswana, China, Estonia, Italy, Jamaica, Japan, Korea, Nigeria and the United States— host exhibitions of work by their nation’s best emerging fashion designers.

As part of London Fashion Week 2012, Parsons The New School for Design will represent the U.S. Embassy in London through a showcase of work by students from the MFA Fashion Design and Society program, a highly

Lost time is never found again

selective graduate program for emerging designers that was initiated through the support of alumna Donna Karan and is directed by Shelley Fox, the inaugural Donna Karan Professor of Fashion at Parsons. Among the work on view will be award-winning looks from recent competitions held by the Metropolitan Museum of Art Costume Institute in conjunction with Alexander McQueen: Savage Beauty, and also as part of Pitti Immagine Filati, the premier Italian knitwear industry event.

The MFA in Fashion Design and Society at Parsons is an advanced degree for talented, emerging fashion designers. The program is studio-based and fosters experimentation, providing students with the design and research skills they need to become successful in the field, including a critical awareness for self-development and growth. Program director Shelley Fox is an awardwinning designer who has created numerous experimental and innovative women’s wear collections that have been exhibited in the U.S. and internationally.

For further information on the Showcase, visit backoftheenvelope.britishcouncil.org. To learn more about the MFA Fashion Design and Society Program, visit www.newschool.edu/mfafds. For press enquires, please contact Shelley Fox at foxs@newschool.edu

INTERNATIONAL FASHION SHOWCASE 2012

Ground Floor The Card Room & The Sitting Room

Beckett Fogg

Kaoru Oshima

Donna Karan Project, 3x outfits

Feel The Yarn, 3x outfits

time; extent; degree; space; scope; field; territory; boundary; horizon.

Time is knitted into one of a kind.

Soojin Kang

Sinead Lawlor

Feel The Yarn, 3x outfits

Zegna Baruffa, 2x outfits

I believe that everyone learns something from that time that is already behind us.

To appreciate a final piece of work you have to spend time remembering the mistakes that got you there.

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Beckett Fogg : Parsons The New School for Design : MFA FDS : 2012

Talia Shuvalov : Parsons The New School for Design : MFA FDS : 2012

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Paula Cheng : Parsons The New School for Design : MFA FDS : 2012 Mayumi Yamamoto : Parsons The New School for Design : MFA FDS : 2012 Aina Beck : Parsons The New School for Design : MFA FDS : 2012 Jie Li : Parsons The New School for Design : MFA FDS : 2012 336 336 336

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Noriko Kikuchi : Parsons The New School for Design : MFA FDS : 2012 Sinead Lawlor: Parsons The New School for Design : MFA FDS : 2012 Talia Shuvalov : Parsons The New School for Design : MFA FDS : 2012

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Talia Shuvalov : Parsons The New School for Design : MFA FDS : 2012

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2010

2012

M FA Take it A W A Y P A R S ON S TH E N E W

S CH OOL FOR

D E S IG N . FA S H ION

D E S IG N

& S OCIE TY 1st G R A D U A TIN G

YE A R

W H A T W ILL TH E Y D O? ?

FINAL COLLECTION/THESIS: MFA Fashion Design & Society FINAL: A final examination (or annual) is a test given to students at the end of a course of study or training. Although the term can be used in the context of physical training, it most often occurs in the academic world. Most high schools, colleges, and universities run final exams at the end of a particular academic term, typically a quarter or semester, or more traditionally at the end of a complete degree course.

COLLECTION: In computer science, a collection is a grouping of some variable number of data items (possibly zero) that have some shared significance to the problem being solved and need to be operated upon together in some controlled fashion. Generally, the data items will be of the same type or, in languages supporting inheritance, derived from some common ancestor type. A table (or array) is usually not considered a collection because it holds a fixed number of items, although tables/arrays commonly play a role in the implementation of collections.

THESIS: A dissertation or thesis[1] is a document submitted in support of candidature for an academic degree or professional qualification presenting the author's research and findings.[2] In some countries/universities, the word "thesis" or a cognate is used as part of a bachelor's or master's course, while "dissertation" is normally applied to a doctorate, while in others, the reverse is true.[3]

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D ONNA K AR AN AL E X AND E R M C Q U E E N

D V F C AL V IN K L E IN

M AR C J AC OBS T HE M E T R OP OL IT AN M U SE U M OF AR T

T HE P R OJ E C T BR IE F: THESIS REVIEW: FALL The expectations of the thesis is to draw upon the knowledge acquired so far and build a research project that shows rigor, originality and craft and will be judged on how the student concludes their investigation. The project should be focused and concise with a design exploration that is provocative, new and original. This ‘research portfolio’ should be consistently worked on throughout this course and time management and a constant reassessment of the time frame will be crucial to the delivery.

At the end of the semester the student will present a research portfolio consisting of materials, techniques, trimmings, finishing, innovative cutting ideas with toile prototypes showing silhouette and details that may be key to the collection. These ideas will form the basis of the Design Thesis Studio and all the work so far will be reviewed externally at the intensive thesis reviews held at the beginning of the spring semester. Studio time is organized into one-on-one tutorials/critiques with the design studio instructor on a weekly basis with additional guest critics as needed.

Week 15: Research portfolio presentation.

DESIGN THESIS STUDIO: SPRING The Design Thesis Studio is the capstone project, preceded by the thesis review, where the students develop their own self-directed proposal for their final project. It brings together all the research undertaken so far and it provides the student with the opportunity to focus on one significant project with experimentation, time and planning. It is a course consisting of focused design research and is expected to expand on their intellectual and theoretical thought processes for developing concepts within fashion, showing the innovative use of technical cutting and use/manipulation of materials.

This project must demonstrate rigorous intellectual thinking with coherent design development both within 2D and 3D. The process must be being fully documented drawing upon the written form, 2D, photography, film, and 3D clothing. A Collection will consist of a minimum of 8 looks / outfits.

Week 2: Starting 30th Jan 2012: Review of work from Spring semester.

Week 7: Starting March 5th 2012: Collection Line-ups in Toile/real fabric sampling.

Week 11: Starting April 9th 2012: Collection Line-ups/fittings in auditorium.

Week 12: Starting April 20th 2012: Collection complete.

Week 13-15: Starting 23rd April 2012: Presentation and portfolio complete.

Exhibition installation 12/13 May.

EXHIBITION OPENS: 14th MAY 2012.

Z E G NA BE R U FFA

FE E L T HE Y AR N BOU D IC C A T HE Y SK E NS

T HE OR Y

S OM E OF TH E S U CCE S S E S S O FA R

Out of the thirty entrants, four finalists, A ina H ussain, P aula Cheng, M ayumi Yamamoto and J ie Li— all of whom are students of the M FA Fashion D esign and S ociety program at P arsons— were selected by a blind j ury. For the last phase of the competition, each turned one of their illustrations into a final garment, presented in video and images. S arah B urton, creative director of A lexander M cQ ueen, and A ndrew B olton, curator in The Costume Institute j udged the competition.

D uring the summer Z egna B aruffa Lane B orgosesia presented an installation of work by three students from the M FA Fashion D esign and S ociety. A collaboration of innovation and heritage, the exhibition featured 12 garments that express the q uality and value of the versatile and natural fibres produced by the company. The three designers, N oriko Kikuchi, S inead Lawlor and Talia S huvalov had the opportunity to visit Z egna B aruffa Lane B orgosesia 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, sillhoette, toiling, fitting and all aspects of garment making.

T O NAM E BU T A FE W

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Jie Li : Parsons The New School for Design : MFA FDS : 2012

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Beckett Fogg : Parsons The New School for Design : MFA FDS : 2012

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AR TI CU LO

This project aims to raise awareness about the case of forced sterilizations implemented during the government of Alberto Fujimori in Peru.

narratives of gender, strength and politics A project by Lucia Cuba

The name of the project refers to the Sixth Article of the Second Chapter in the General Health Law of Peru, which establishes that “all persons have the right to choose freely the contraceptive method they prefer, and to receive appropriate information on the methods available and the risks”. The project explores different narratives related to the case of forced sterilizations in Peru, and uses the testimonies of the victims, fragments of political speeches, research documents and laws, as well as other textual and visual content, as raw materials for the project.

ARTICULO 6 consists of a collection of 34 pieces of clothing made through mixed techniques, using embroidery and prints on cotton twill and cotton canvas. The collection is inspired in the Andean “polleras” or skirts, and is the result of a process of deconstruction and reinterpretation. The blouses and suits reference the uniformization and militarization of a public policy, aiming to evoke the strength and capacity of victims to defend themselves and overcome the irreversible. The images and symbols printed in the fabrics comment on the universe of institutions, activists, press and characters related to the case. The project includes a Website www.articulo6.pe that contains information about the case, images and related content.

Fifteen years have passed and the case has recently

been

reopened

by

the

public

prosecutor’s office. The case runs the risk of

GET INVOLVED www.articulo6.pe

being dismissed, again. Now is the time to bring this case to the forefront of public opinion, raise

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awareness on the discriminatory policies that still

contacto@articulo6.pe

exist in our societies, and bring justice to those

luciacuba@luciacuba.com

affected by these practices.

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Lucia Cuba : Parsons The New School for Design : MFA FDS : 2012

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Karou Oshima : Parsons The New School for Design : MFA FDS : 2012

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Karou Oshima : Parsons The New School for Design : MFA FDS : 2012

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R uby H oette, N YC, 2011

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Ruby Hoette : Parsons The New School for Design : MFA FDS : 2012

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Soojin Kang : Parsons The New School for Design : MFA FDS : 2012

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Parsons’ ‘The First Eighteen’: The Future of Fashion? - Bullett...

http://www.bullettmedia.com/article/the-first-eighteen-parsons-...

Set among film projections, mood boards, and various contraptions which hang amid the clothing, “The First Eighteen” features the very first graduating students of the new Fashion Design MFA Program at Parsons, inaugurated with the support of Donna Karan and directed by Shelley Fox. It’s well-executed but not over-designed, and each student’s work commands the space in a way not unlike an art exhibit. But unlike an art exhibit, you can touch the masterpieces. Just don’t try anything on.

With an emphasis on process and identity, each collection is highly personal; clearly, the designers/students had the creative freedom to do virtually anything they wanted. While most of the students are seasoned designers who hail from more technical schools that revolve around the sewing machine, this program takes it a few steps above just “pretty.”

This is the kind of clothing that transcends just something you wear. From the very first design studio class, the first eighteen graduates relearned how to be inspired, drawing references from unconventional fashion authorities like literature, film, politics, even science and economics. If there’s anything to say about fashion design or art in general, it’s that a creator is just as good as her ideas.

Take Carly Ellis for instance, whose collection “That Moment Before It All Makes Sense” embarked on an architectural study of New York. After watching a documentary on the Ndbele tribe of South Africa, she incorporated the geometric designs from their artwork.

Two seemingly disjointed ideas woven together like fabric underwent yet another “accidental art form,” as she calls it: screen shots of images still loading. The result is a whirlwind of color that looks modern in crop tops and leggings even Jeremy Scott would envy.

Another standout collection influenced by technology is Soojin Kang’s “Code & Decode.”

What began as a QR code became a series of colored shapes. Kang then cut the fabric according to that matrix, and draped it into dresses. While at first glance they might just look like colorblocked dresses, Kang’s collection is displayed with plastic cutouts from the same matrix, alluding to the QR code data decrypted by your iPhone to perform a function, About (http://www.bullettmedia.com/about)

Contact (http://www.bullettmedia.com/contact)

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Meet the Team (http://www.bullettmedia.com/meet-the-team)

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The First Eighteen: Parsons MFA Exhibit | Gastro Chic

http://www.gastrochic.com/2012/fashion/the-first-eighteen-pars...

GASTRO CHIC

food and fashion

The First Eighteen: Parsons MFA Exhibit P O S T E D O N M AY 1 6 , 2 0 1 2 B Y M A R C Y S W I N G L E

Parsons feted its first graduating class of fashion MFA students with an exhibit and party on Monday. The new program, which was partially funded by Parsons alum Donna Karan, has produced some incredibly talented new designers whose clothing wouldn’t be out of place hanging next to much more established brands. Particularly interesting was a willingness to experiment with cutting edge technology in fabric design and technique. Here are a few highlights from the show.

At top, sportswear in vivid high-tech prints by Carly Ellis. Above, fabric imprinted with a convex divot texture in Becket Fogg’s clothing.

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Parsons' M.F.A. Candidates Show Off Thesis Work - Fashion S...

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GRAD EXPECTATIONS: Another night, another Parsons event — or at least that’s how it feels these days. After revealing winners of The Reed Krakoff for Coach Scholarship and The Saks Fifth Avenue's Terron Schaefer Honored Coach Iconic Legacy Competition Friday night, Parsons The New School for Design unveiled L.A. Philharmonic, Rodarte Team Up the thesis work of the first graduating class of Andrew Pollard Exits Project the school’s Master of Fine Arts in Fashion MORE ARTICLES BY Design and Society Monday. “I want to try on Marc Karimzadeh the clothes, because the quality is so impeccable,” said Donna Karan, who initiated the M.F.A. and cohosted with Marie Claire’s Joanna Coles and Parsons’ Simon Collins and Shelley Fox. MOST RECENT ARTICLES ON FASHION SCOOPS

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Highlights included Beckett Fogg’s embossed leathers seamlessly fused with chiffons, Noriko Kikuchi’s ethereal knit and beading details and Soojin Kang’s striking graphic color-block silhouettes.

The students’ work will be showcased on the runway during New York Fashion Week in September. Collins noted that even though there will be at least 150 to 180 looks, there is no need to worry. “There will be so much variety,” he said.

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Donna Karan and Joanna Coles Celebrate Parsons MFA Grads -...

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Donna Karan and Joanna Coles Celebrate Parsons MFA Grads

By Véronique Hyland

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05/15/12 at 04:00 PM

“I am a brain-bodybuilder.

Schwarzenegger of the brain.”

—Karl Lagerfeld via Telegraph U.K.

WIN IT!

Photo: Billy Farrell Agency/BFA NYC

Donna Karan and Joanna Coles.

Donna Karan told us at last night's Parsons MFA event that two years ago, she had a revelation of sorts.

"I was constantly going to Royal College and Central Saint Martin’s [to recruit designers.] And I said, why doesn’t Parsons have a graduate program? So I started it." Karan endowed a professorship in her name, a role filled by Shelley Fox, and 18 students were selected to participate in a brand-new MFA program.

Parsons' Dean of the School of Fashion Simon Collins calls the program "a sort of massive incubator of input from the entire industry," with mentors like Karan, Diane von Furstenberg, PR Consulting's Pierre Rougier, and Marie Claire's Joanna Coles and Nina Garcia. “We’re publishing a magazine in the summer, which will be a showcase for what’s happening here in the MFA program, and then in September the MFA is showing during Fashion Week.”

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ENCIÉRRENNOS/

El trabajo de Lucía Cuba en NY

TEACHING

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