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Cornelius 1

Tulloch

Trousers Unisex button down top


Cornelius 2

Tulloch

Photographed by: Cornelius Tulloch Designers: Trousers: Cornelius Tulloch Coat: James Balo Other:Sourced


Designer JH Yang Photographer Ruby Jones

Fabric Used

White cotton shirting

Extravaganza Shirt

Description

JH YANG

Experimenting with the theme accentuation and exaggeration, I decided to create a shirt with a very exaggerated collar. I made the collars larger than usual, with pleating details.


I DO...NOT

JULIANA DaRoza Inspired by the 90s and rise of Vegas Weddings, I Do… Not, is an unconventional take on bridal wear. My look takes classic aspects of bridal—the color white, silk material, gloves, a veil—and changes what is to be expected. The shorts are draped, made of a silk wool blend with side pockets, and a back zipper. The four-tier veil, made of tulle, is connected with two hair clips. The final aspect of the look is the latex dishwasher gloves with tulle trim and a large pearl ring.

I choose to use dishwasher gloves as a way to show the denial of what is expected post marriage.

In history, married women are expected to be the housekeepers. I did not make a top, to continue

with this vision as a way of to show the reclaimed freedom that one receives from being single.


SELF PROJECT

— Vegas Wedding

JULIANA DAROZA


JILLIAN LAWLER


Written by Riley Hollerand

Jillian Lawler’s

Opulence: CFC 2020 Collection

Italy has long been at the forefront of artistic and intellectual development. One would be hard pressed to find a part of the historic, sunsoaked Mediterranean country that doesn’t captivate and inspire. From the wonders of Roman history and architecture to the distinguished artistry of Florence and the extravagant runway shows in the nation’s fashion capital of Milan, Italy has captured the hearts and imaginations of artists and travelers for generations.

It was in this stimulating and captivating environment that Jillian Lawler found her inspiration for her new line, titled “Opulence.” As a junior, Lawler spent her spring studying at the London College of Fashion which afforded her the unique opportunity to travel to Italy for a fun day trips or weekend getaway. It was during these trips that Lawler was surrounded by historic landmarks like the Trevi Fountain and serene vistas covered in pastel flowers that would make their way into her designs.

Empo w e r i n g , E le v a t i

“I was really inspired by the vines that were climbing up the buildings. There was a lot of ivy and flowers creeping into the woodwork and the brick. It’s this beautiful, delicate nature intertwined with human aspects that are tough and can stand the test of time.” Lawler drew on the powerful, commanding structures and architecture in Italy as well as the soft natural details to create pieces that make women feel empowered, but elevated. Lawler was adamant about maintaining that powerful feeling in her pieces without sacrificing her penchant for elaborate embroidery and flowy silhouettes.

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A senior fiber science and apparel design student, Lawler discovered her love for fashion design at an early age. Holton-Arms, a college-preparatory school for girls and Lawler’s alma mater, exposed Lawler to her dream career and provided her with one of her first experiences as a designer. “My high school had this fashion show called PUNCH and that’s where I really got into fashion. I saw the fashion show in second grade, and I was in shock that people were able to create a sketch and then make it. So, in fourth grade I got my first sewing machine and I started sewing, not very well, but I started sewing. I just fell in love with it and now I can’t see myself doing anything other than fashion design.” Lawler’s time creating designs for PUNCH served her well, helping her to discover her talent and pursue her passion. She has since interned for both Badgley Mischka and Hayley Paige, exploring her interests in the fashion industry and discovering a love for designing evening wear and haute couture. “Badgley Mischka was an amazing experience for me. I acted as the associate designer, so my job was to keep everything running smoothly during the summer and to keep the ‘Runway Bible’ up to date. Hayley Paige was my experimenting internship. I wasn’t sure whether I wanted to go into bridal. [It was an] amazing experience all around, but my heart belongs to evening wear and couture.”

Now preparing for her third show with CFC, Lawler is becoming more ambitious with her designs. For her collection this year, Lawler has created ten detailed and elegant looks in light pinks, baby blues, golds, and white. As a big fan of designers like Zuhair Murad, Dior, and Ziad Nakad, one can expect to see a marriage of the timeless designs of Dior and the glamorous embroidery characteristic of Murad and Nakad in her line, which will include not only evening dresses, but also jumpsuits and a twopiece short set. “I felt like if I did ten pieces that were all dresses, it would be boring. So, I’m also doing jumpsuits and high waisted shorts with a top, but I am making sure that they are still elegant and elevated enough to wear out. One of the designs is a satin top that’s really full and drapes nicely on the body. The top looks a little Victorian and the bottoms are a little bit more modern. They’re going to be tight shorts, all hand embroidered, to keep that element of sophistication. It’s evening wear, but it’s also not a dress.” Her time interning for Hailey Paige may not have sparked a desire to pursue a career in bridal designs, but it obviously inspired her show-stopping closing design – a wedding dress. “I’m going to end with a wedding dress, so that should be really fun. I found this really shiny white tulle fabric that reflects when you hold it up to the light and I’m going to use that for the wedding dress.”

While her main inspiration for this line comes from her time in Italy, all of her pieces are informed by her upbringing and inspired by the values that she gained through her schooling and home life. “I take inspiration from my daily life and also my past. My mom was an executive at Xerox and KPMG Consulting, so she was always breaking the glass ceiling. She is a real girl boss and she can hold a room like nobody’s business. I also went to an all-girls school and there we learned a lot about female empowerment, feminism, and being your own boss. That’s kind of my whole aesthetic: being your own girl boss. A lot of the time, women don’t feel powerful in this society and I just want them to feel as beautiful and as confident as they can. That’s kind of my fashion philosophy.” Lawler’s line dares women to be bold and unapologetic and confident. Her pieces are designed to make women feel powerful whether they’re wearing the glamourous looks or just watching their peers bring Lawler’s collection to life on the runway. As an Asian woman, Lawler is especially aware of the importance of diversity and representation in the fashion industry and in the models she chooses to execute her vision.

Written by Riley Hollerand

“I feel like a lot of the models I see on the runway are white. That’s one of the things that really bugged me, I didn’t see anybody that looked like me. I was like, ‘Okay, why don’t I see any Asian people? Does that mean I’m not pretty? Does that mean I’m not meeting the fashion industry’s standards?’ I want people to be able to see themselves on the stage and be like ‘Hey, she looks like me, she’s wearing that dress, I can wear that dress.’ So, I have some white models, but I also have Black models and I have Asian models. I’m trying to be more diverse and more thoughtful because I know that’s a big topic in the present day, being able to see yourself onstage.” While it’s easy to be impressed by Lawler’s extensive internships and ambitious plans for her line, it’s her passion and enthusiasm that are most striking. Lawler’s designs are truly extensions of herself. Her passion translates into pieces inspired by her family values and schooling, a preference for hand sewn garments, and hundreds of dreams about dresses that she jots down in the middle of the night. “Opulence” is not only a tribute to the beauty and grandiosity of Italy, but it is a celebration of Lawler’s passion and her creativity.


Empowerin ElevatingEl Extravagant

Empowering Elevating Ele Extravagant Designer Julian Lawler Photographer Avery Somma


ELIZA LESSER


CONSTRUCT CFC 2019 Collection

“Construct” is inspired by modern industrial architecture, highlighting construction as it focuses on visual appeal and durability. Like modern architecture, the collection embodies strength and authenticity from the inside out and in so doing evokes a striking defiance. Throughout the collection, I used screws, bolts, hinges, buckles, exposed zippers, and other design details to incorporate the foundation of industrial architecture into design and garment construction. The anatomy of industrial architecture becomes integral to its visual appeal and its secure nature, celebrating the importance of what lies within.

Written by Christie Raymond

“Construct” is also an expression of the transformation and empowerment of the modern woman through the industrial revolution. In the late 19th century, women’s roles in society and industry began to shift dramatically. As women joined the workforce, relocated into urban areas, developed new skills, and found new ways to contribute, women found a new independence. This line seeks to capture the courageous influence of women on industry and their fight for equality. “Construct” exposes an inner strength and grace, through the anatomy of clothing and architecture, thereby celebrating the importance of power in femininity.


N T CO S R U C T

Written by Christie Raymond

Eliza was born and raised in Manhattan and is incredibly inspired by the place that she grew up and the urban lifestyle that New York City represents. She speaks specifically to her collection when she says, “Much of modern industrial architecture combines functionality and visual appeal. My collection is influenced by these architectural themes that marry urbanism with unique design to promote utility. By emphasizing exposed elements of structure, the pieces mirror industrial methods, means, and materials in construction. The ethos used in the construction of modern industrial architecture is applied to the design of this urban, streetwear inspired collection.”

“Something about fashion that I’ve always been fascinated with is its capacity to understand the zeitgeist of what is going on in the world and portray it in a way that captivates people.” Eliza has been experimenting with various stylistic techniques including implementing elevated hardware into her designs as a way of “remixing the expected.” Through this experimentation, she has found a particular interest in denim and feels that this is a fabric that she personally identifies with. Alongside her strong interest in youth cultures from the past and present, Eliza is fascinated by the evolution of the denim fabric and its significance in women’s empowerment. What started as a fabric invented by Levi Strauss in 1873 for the average working man has become the symbol of streetwear as we know it today. Eliza says that denim exemplifies the spirit of our youth and is an outlet for individual expression.


Lia Cernauskas


This collection explores the contradiction between giving in to the throes of life and constantly thinking about problems in the world and our own lives. We can’t control what happens to our planet or even what people in our own life are going to do. Are we ready to give in to a “joyful look at impending doom,” or should we keep fighting against what seems to be an inevitable end? Do we want to go on searching for that elusive level of control that evades us or relish the act of letting go? This act of cyclical thinking that is easy to slip into when thinking about enormous, looming issues is something that I succumb to often. Through my exploration of these themes I have continued to discover more about myself and my own ways of seeing the world.


Senior Designer Interview CFC 2020 Collection

Written by Madelyn Yu Lia Cernauskas, a CFC senior designer, has based her collection off the Talking Heads song, “Road to Nowhere”. Growing up, her parents were big fans of the Talking Heads, then coincidentally, when studying abroad her junior year at Central Saint Martins, her teacher used this exact song within class. Lia knew that she could develop an entire collection off of this one song, and saved the idea to explore for her CFC senior collection. We asked Lia a few questions about the development of her ideas and creating her garments. What was your inspiration for your senior collection?

What is your favorite piece in your collection?

I knew I wanted to make a collection just based on analyzing this song as a whole, so I started with that. I listened to interviews of the lead singer, analyzed the songs lyrics, and watched the music video many times. This lead me to broader topics about what’s going on in the world such as climate change and the end of the planet, but more importantly understanding the balance between acceptance and fear. Cyclical thinking is also something I considered while designing, because it is something I personally do a lot. I feel it is often a common tactic used when trying to understand large scale issues in which one person alone can not change.

I think one of my favorites is a large puffy coat. For the coat, I’m trying a new method where the garment itself is sheer and I fill it with different fabrics. I’m really excited to try this technique out because I made it up while sketching and developing my pieces. This technique is actually one of the only things repeated within my looks since a lot of them are very different.

Tell us about your design process? When I first started to think about the song and the larger world issues, I headed to Pinterest and Google. I looked up phrases inspired by the video, for example, cyclical thinking, cycles, stagnation, and other words that I felt related to the broader topics of my collection. From that, I found a lot of pictures, many of which were collages that were vintage-looking with people from the 70s and 80s. Bicycles, and weirdly, vintage toys became a major source of inspiration due to the cyclical thinking process. I found probably over a hundred pictures and then divided them into groups of four in my binder. I tried to have each page contain a cohesive element such as the color story, or theme. During this process, I narrowed down many of my images to consolidate my idea. From there, I sketched multiple designs for each set of pictures. In the end, I had around 75 sketches and narrowed it down to nine. Additionally, I had my models already picked out so as I picked the sketches I kept in mind their different bodies and personalities.

Lia Cernauskas

How will your pieces be presented on the runway? I’m actually pairing all of my pieces with either a bucket hat or a pair of sunglasses. Honestly, when I was sketching I just drew whatever came to mind. I sketched a bucket hat on one of my models and really liked it and decided to repeat it throughout my collection. Also, I noticed in many of the vintage inspirational photos, the people were wearing sunglasses. When I was narrowing down my designs I decided that it would be really cool to have these crazy outfits and then weirdly pair them with sunglasses or a bucket hat. I think most of my designs are inspired by the 70s and 80s and these two accessories add a more modern twist. I’m especially excited to play around with the different materials I am using to create bucket hats in nontraditional fabrics.


Are we ready to give in to a “joyful look at impending doom�?

Or should we keep fighting against what seems to be an inevitable end?

Designer Lia Cernauskas Photographer Elisa Yi


Julia DeNey


Senior Designer Interview CFC 2020 Collection

Written by Livia Caligor Julia Deney is a senior in the Department of Fiber Science and Apparel Design majoring in Fashion Design and minoring in Business and Human Development. On campus, Julia is the VP of Alumni Relations for the Cornell Fashion Industry Network, a pre-professional industry mentorship and a Level 4 Designer for The Cornell Fashion Collective. Additionally, she conducts independent research in Adaptive Childrenswear. In her research, she seeks to combine design and function to create adaptive garments that meet the needs of those with sensory disorders but are still aesthetically pleasing to children. She has extensive experience in teaching design and construction and interned at Justice this past summer and worked as an Apparel and Accessories Designer at Fashion Loves You in Florence, Italy two summers ago. Additionally, she has interned in design at Paul Carroll NY and Justice. How did you get into childrenswear? What inspired your interest in adaptive childrenswear in particular?

What are your favorite and least favorite parts about the childrenswear industry? What do you hope to change about the industry?

All through middle and high school, I babysat a ton, so, coming into college, I was interested in human development and thought about minoring in it. But I didn’t know how to connect my passions for children and fashion. In my Intro to Fashion Design class, we had to design children’s wear, which I had not done before. Junior year, as VP of Philanthropy for my sorority, I was working on our annual Autism Speaks event and started talking with a program organizer at the Racker Center, a local organization that supports families with children with disabilities. I became more interested in childrenswear, and addressing different needs for kids with disabilities.

My favorite part of designing childrenswear is the ability to focus on creating something that’s fun and has small details. You don’t think about whether a garment is flattering or makes someone look thin— it’s more about whether they can twirl in it, whether it’s nice to touch, whether they’re excited to wear it. There’s a joy that’s very unique to childrenswear, and I love interacting with them in the process. There’s just not much adaptive clothing in the industry and I hope to make it more inclusive.

How did this evolve into your independent study on adaptive childrenswear?

I’m open to a lot of options, but I hope to either work for a company that already does adaptive wear or enter a normal company and introduce it. I would definitely love to work for a company with an interest in it. But I could also see myself working for a normal childrenswear company and continuing my work in adaptive wear separately. I never considered entrepreneurship, but I’ve recently been thinking about the possibility of starting my own company.

I began my independent study Junior Year with Kim [Phoenix], which consisted of literature review, and am now working with Professor Park on creating garments for kids with autism. Each semester, I aim to address a different need-- all of them are centered on autism and sensory. What was your latest project? For example, I designed a jumpsuit with compression lining and pockets to add additional weights to the waistband. It’s intended to have a deep calming sensation. How do you determine the efficacy of your designs?

Julia Deney

I can’t directly test them, but I send my ideas to the Racker Center since they have so much experience with kids with Autism.

How do you hope to implement these changes into the childrenswear industry?


Written by Livia Caligor

What are your core values as a designer? I care about inclusivity, and making sure that my clothes are joyful and fun for kids to wear. I also care about comfort and fit. How would you define your aesthetic as a designer? I love creating joy and fun through surface design and color. How did you discover this aesthetic? How has this evolved in your four years at Cornell? Coming into college, I didn’t really have an aesthetic. Or at least I didn’t know what it was. I had only designed basic, well-fitted dresses for my mom, and my senior prom dress, and some other projects. They were just basic nice-fitting dresses with pleats that fit the body well. But once I started doing childrenswear in my Intro to Fashion Design Class, which encouraged us to think about design concepts rather than something we ourselves would wear, I realized that I love fun, joyful, and well-fitted childrenswear.

Where do you find the children who model for you? For CFC sophomore year, my big’s cousin happened to live in Ithaca. And ever since, Lily has been modeling every year. Last year, Lily’s mom put out a note to her dance class, and I got two more models. I also got a few girls from the local church, as well as Kim’s friend’s daughter.


Written by Livia Caligor Please walk us through each of your designs during your CFC career, from your Level 1 look to your Level 3 collection. Please tell us about your inspiration and design process each year. Freshman year, the theme was circus, and I played with pleating and sheer fabric. I kind of used pleats to create a strip effect. Sophomore year, the first time I did childrenswear for CFC, the theme was desert. I was inspired by the varying textures within the desert. When we think of desert, all we think about is sand, but there are also so many layers and textures in the environment. I played with smocking and created waved pintucks to make an intense texture. And then last year, my Level 3 collection honored and was inspired by my best friend who passed away. She loved sunflowers, so I made hand-dyed textiles dyed with cochenille and marigold. All the textiles were done in small pieces, so they were a bit different. It was an abstract sunflower print with yellow leaves and a pink center because she was the sunshine in my life.

Please give us a sneak peak on your Level 4 collection. Please tell us about your design inspiration and design process thus far. Last year, I visited high school friends who were abroad in London and Italy. I spent a lot of time just exploring Italy while my friend was in class, without a phone or a map. I just followed the river and walked and explored. I was so happy after being physically and emotionally overwhelmed for a while. So my collection is inspired by an escape from reality that is needed to be your best self. It is something everyone can relate to but also has a strong Italian influence, with color and surface lines inspired that have undertones of Italian architecture. What’s next for you? Aside from CFC, I’m excited to continue working in adaptive wear for autism and sensory disorders for the rest of and after college!


Katie Williams


Senior Designer Interview CFC 2020 Collection

Written by Ruby Li Explain Your Design Process: Throughout my design process I am constantly confronting contradictions. My work thus far has been an exploration of dichotomies that I seem to encounter through my life. Design is my medium to process and understand the gap between dichotomies. Amidst my explorations of design and the world around me, I hope to create a bridge that brings these gaps closer together, enabling me to find the connections between things that “seem” unlikely. As the design process unravels, I often find myself unveiling a chaotic mess of resolution and dissonance. There is no right or wrong, just direction. In essence, the design process is one of unpredictability, a controlled chaos. The foundations of Deconstructivism is something that my work and process adheres to.

“Through fashion design I look at the garment as a structure, a surface that is pulled, draped, contoured, and cinched together. The human form remains a vehicle for this skin to distort, emphasize, conceal the body. This skin dislocates the human body from the garments final form.”

Katie Williams

My process of design is rooted in my admiration for sculpture. The act of working and shaping three dimensions with your hands is something as an artist I gravitate towards. I value the ability to touch, feel, and adjust to the form as the product evolves. The garment to me becomes a sculpture, rather than a wearable found hanging in a closet. While constructing a piece, I also cherish the concept of perspective. Garments are three dimensional pieces that experience movement through spaces. The visual perspective of the garment will shift as it undergoes the forces of motion. Each angle, side, perspective should evoke some reaction. The garment should not be neglected at any perspective. The internal perspective, the perception of the audience, and artist is something also taken into consideration as I design. How does the viewer perceive this work, how does the viewer connect or disconnect with the artist through the medium put forth?


Designer Katie Williams Photographer Jasmine Love

What is the theme behind your work/series? For this year’s CFC, Spring 2020, I will be exploring my passions in american history and cultural studies as and combining them with my interests in fashion design. My collection is inspired by the duality of America in the 1950’s. The collection is a historical retrospective of the 1950’s lifestyle specifically analyzing and interpreting the role of women during the 1950’s. The 1950’s are typically thought of as the “happiest decade,” in American history; sandwiched in-between the depression, WWII and the turmoil of the 1960’s it is easy to see why we look back to the 50’s as a happy time in US History. During the 50’s, in the United States, industries were booming- cars, microwaves, jello mold foods and colored televisions were found every suburban household. The concept of the “American Dream” was processed, packaged and sold as a white picket fence, car in the garage and a happy American family. But this lifestyle also came with many restrictions for women. Women in the 1950’s found themselves imprisoned holed in this “suburban coffin.” This new lifestyle was confining, and diminished some of the independence women had acquired in the 1940’s. This version of the ideal American lifestyle was a graveyard for women’s rights and aspirations.

This collection is inspired by this complex dichotomy, of the 1950’s. I intend to explore and share my interpretations, as both a designer and historian, of this complex struggle between women’s rights and American cultural trends. What is the most exciting part for you when you make a piece of design? My favorite part is creating the initial illustration of the idea, which tends to be gravity defying designs, and then experimenting with fabrics and unconventional materials to bring the sketch to life and to the runway.


Stephanie Laginestra


Senior Designer Interview CFC 2020 Collection

Stephanie Laginestra

What is your purpose in design? Why did you decide to become a designer? I have always valued art and design very highly. I think design hold a lot of power and influence in today’s world. Even beyond fashion as a medium, design helps dictate a lot of the aspects of everyday life. When I think about why I love to design and what it means to me, a really important part of that is how it has impacted me specifically. It always helps me interpret various aspects of the world and my own feelings about it. Design helps interpret beliefs, values, importance, and meaning in a tangible, visible way. Fashion design motivates, empowers, and influences. Its design can have enormous impacts on people’s everyday lives without that impact being obvious. Design has always been a perfect mix of creativity, thoughtfulness, and innovation to me.


What is the theme behind your work/series? My collection for this year explores my interest and interpretation of why we are who we are. I want to explore the delicate mix of external and internal forces that impact and influence who each of us becomes in our lives. My initial inspiration came from the profound impact music has had on me throughout my life. My collection initially came from the idea that music can so easily change how I feel at any moment, no matter the kind of mood I was in prior to turning on a song. From there, I began to look more generally at how various factors outside of ourselves impact how we feel and who we are at any given moment. Each day we have factors such as people, music, art, image, colors, and weather that impact and change how we feel. These forces contribute to how we view the world, the way we act and how we treat ourselves and others. These things become a part of us. Build who we are, connect different parts of ourselves and show us different things that are within us. They impact our emotional, physical, and mental being and contribute to the way we present and see ourselves and the world. I want to think about and represent these often overlooked forces on our lives, and how with time and environment they change, and

Where do you draw your inspiration from? I think generally I begin the design process in a similar fashion every time I go to design, which I think speaks volumes about the designs I create. I generally take my initial inspiration from feelings. Whether I am working from a defined topic that is chosen for me or from something I come up with on my own, I try to design based on the feeling that is received from an event or an image. When I look at art, images, listen to music, or read news the things that inspire me are the things that give me the initially strong gut feeling that is hard to shake. These are the things I design from and these help me to design meaningful pieces. From there I tend to focus a lot on the structure of the silhouette in my designs, always making sure what I create evokes a similar feeling in the viewer.

What is the most exciting part for you when you make a piece of design? My favorite part is a mix of the beginning and the end. I love the initial design process, coming up with a way to represent my ideas and concepts with clothing. I love the thrill of the beginning of the process and the excitement of a really unique and creative idea. To follow that up, I really love when that design comes to life. With the fabric, the finished structure, and all the details worked out and completed, the design becomes more and more impactful and exciting.


Designer Stephanie Laginestra Photographer Katie Williams


Profile for Katherine Meiying Williams

The Archives  

CFC "The Archives" deconstructs the process and identity of the Cornell Fashion Collective.

The Archives  

CFC "The Archives" deconstructs the process and identity of the Cornell Fashion Collective.

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