Morley College London Fashion Zine January 2020

Access to HE Fashion Studies Morley College

fashion zine January 2020

Catwalk Show o review

BTEC HND (Fashion) Catwalk Show 2019 Fashion Editorial

BA (Hons) Top-Up Student Spotlight BA (Hons) Top-Up Fashion (Degree)

PLUS

Meet the team anatomie.london design awards d Sneak Peek: BA (Hons) Top-Up Graduate Collection

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In this issue Student Spotlight: Rosa Schurian-Stanzel page 3

anatomie.london design award winners 2019 page 5

Catwalk Show 2019 images page 6

Access to HE Fashion Studies 2019 Catwalk Show review

page 15

HND 2019 Look Book

page 16

Sneak Peek: Graduate Collection BA (Hons) Top-Up

page 23

Contributors: Heather Orr, Maike Gunther, Daniel Kinne Editor: Lynda Kinne Contact: lynda.kinne@morleycollege.ac.uk For details about the courses included in this issue, please visit our website: https://www.morleycollege.ac.uk/

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BA (Hons) Top-Up Fashion Student Spotlight ROSA SCHURIAN-STANZEL During your time here at Morley, you have managed to complete several individual projects related to costume and performance alongside your studies.

Can you tell us a bit more about them?

It’s my pleasure. During the “individual project” module of my first year of HND, I created the interac�ve performance “Enter the Garden Rosa. Exit your Comfort Zone.” which took place in an empty house in Peckham.

The audience was able to put on a costume I sewed, become the character and therefore act like it for a couple of moments. The costumes should help the audience to step out of their comfort zones and experience different emo�ons, thoughts and interac�ons.

During my second year of HND, I was able to assist stylist Seta Niland on a photoshoot for the Protagonist Magazine, I volunteered at the London Fashion Week for the Austrian brand “Kalissi” and I worked as Costume Design volunteer at the Lewisham Youth Theatre.

In May 2019, having built some confidence with my drawing over the last 2 years of studies, I sat down in front of the Tate Modern and performed a “live drawing session”. London Pedestrians could decide over the value of my minute-illustra�ons.

According to the mo�o “Pick a sketch, pay what you want”, I opposed my work to the museum’s value landscape and the art market.

In August 2019 I was able to bring my Performance “Garden Rosa” to an Austrian theatre fes�val where I was also the costume designer in residence and was responsible for 8 different produc�ons. I didn’t have to sew anything, but chose clothing from a costume archive.

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How were you able to find these projects; did you produce them yourself or did you find them through a job posting?

Some of them I produced myself, others I found through online research, coincidences or word of mouth. For my interac�ve performance, I came up with the concept, created the set, sewed the costumes, wrote the texts, illustrated drawings for sale, designed the programme leaflet and worked on my social media adver�sing campaign, besides working on my final collec�on for the Morley Catwalk. On other projects I worked during Half Term or holidays, which was less stressful.

Did you find it difficult to approach potential collaborators /employers with your ideas? What approach do you think worked the best for you?

Having done my performance “Garden Rosa” in London already, and having seen that it worked out well, gave me confidence to address an Austrian theatre fes�val with the idea of presen�ng my work there. It is not in�mida�ng for me to address collaborators or employers, but it is definitely a �me investment. Those emails and applica�ons have to be thought through and rewri�en quite o�en before they are ready to be sent. For some applica�ons I sent, I never got a reply, but those experiences were important for me too.

What was the most satisfying aspect of working on these projects?

What were you able to learn?

It is very sa�sfying to see that dreams and aims are achievable, and the fact that I am slowly able to prac�cally realise, what I have theore�cally learned.

During those projects, I learned a lot about the different fields of the fashion industry, about how working with others can add value to your own prac�ce and how it is so important to always stay curious.

A word from the co-founder of anatomie.london about the selection process behind the anatomie.london Avant Garde Fashion Awards

Avant Garde fashion is like falling in love.

It is a gut reaction you cannot ignore.

There are always many contenders for the prize. Every year we receive dozen of applications, and the number keeps going up.

Working together with the accredited team at Morley College, with their industry background, makes all of the difference in both the student output as well as the selection process.

Often the work of the students is so good that a purely intellectual process is impractical.

That’s where gut instinct comes in and it is the pieces that inflame desire and passion that are chosen for the award.

Alina Grosu convinced with her experimental submission, both with its unusual silhouette and concept of freedom versus construction as well as with its beautifully curated fabrics and delicate embellishments.

Kirsty Griffin-Pool stunned with handmade origami fabric of an intricacy and complexity that could hardly be believed. Combining this with achieving a structural silhouette that floated with deceptive ease put her over the top and won her the Gold Award.

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15 Even at first glance, the array of influences behind t his issue theIngarments presented at the Morley College 2019 fashion show was clear. Unique colours, textures, shapes and finishes were in abundance with each garment showcasing the creative and technical skills of the student behind it. A theme I found apparent in a handful of garments was nature and earth. One student explored a distressed texture and incorporated it into a shift dress, a cropped square neck top and a miniskirt. The influence for this unique technique is no doubt from surfaces found in nature; it could have drawn influence from natural materials such as decayed wood, snakeskin or even limescale. Combining this flawed, unkempt surface with symmetric and traditional formal shapes makes for a unique juxtaposition that looks great when worn. Another nature-influenced garment by HND student Kirsty Griffin-Pool was a white origami circle dress (pictured above). Pure white in colour with no visible neckline or hem, its slightly sheer spikes are reminiscent of icicles and as a whole provide the means for a costume-like statement dress that is bold yet dainty, almost as if it came straight out of a ballet.

By Lili Saldanha

VIEWS ON FASHION:

One current Access to HE Fashion Studies student shares her review of our 2019 “South of the River�

Catwalk Show

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Sneak peek: Graduate Collection Model: Djenaba Designer, Photography, Styling & Make up by Grete Henriette Moeller

Grete is one of our BA (Hons) Top-Up students, who created these stunning images based on her Graduate Collection work

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