July 1st, 2015
Interview with Bridget Donahue of Bridget Donahue Gallery
by Mae Colburn
Gallery view, Susan Cianciolo’s ‘if God COMes to visit You, HOW will you know?…,’ Bridget Donahue Gallery, New York City
Bridget Donahue Gallery, which opened in Chinatown in February 2015, can definitely claim a two-for-two. The New York Times described the Gallery’s inaugural show, Lynn Hershman Leeson’s ‘Origins of the Species’ (February-April 2015) as ‘prophetic’ and the New Yorker named its current show, Susan Cianciolo’s ‘if God COMes to visit You, HOW will you know? (the great tetrahedral kite)’ (May-July 2015), ‘enchanting’ and the gallery ‘terrific.’ Congratulations are in order, both to the artists and to the owner, Donahue herself.
Meanwhile, the show goes on. Donahue describes opening and closing the gallery five days a week, flipping on the lights and clipping the little flower. During this interview, which took place over Jessi Reaves’ ‘No Reason Work Table’ (2015), a delivery arrived, a pair of shoes to be placed among the costumes, quilts, and kits (which Donahue describes below) that comprise Cianciolo’s show. The shoe’s bag, an actual shoe bag, was noted. Only Cianciolo, Donahue smiled, would have one on hand. In the kits, most of which are boxes, are slippers, sketches, sneakers, and much more. A film, played on a laptop peeking out of a cardboard box, presents conversations about fashion, some with Cianciolo’s former students. Fashion is here, but it is bundled and wrapped, stitched, transformed. Cianciolo is a constellation artist and fashion is one of her many stars.
Mae Colburn: Let’s start with the gallery. What prompted you to open this space?
Bridget Donahue: I told people I never wanted to have my own gallery. I thought you had to be a rich person to do it. I really respect galleries, the tradition of it, and I learned from people who take it seriously. That was the hardest thing about the transition – I actually loved where I worked. It was my dream job in many senses.
My three jobs were Gladstone Gallery, D’Amelio Terras, and Gavin Brown’s enterprise. And Cleopatra’s, but that wasn’t a paycheck. That was me tithing my own wages with a group of people.
There are different models, but if you stand to make money from an artist, in my opinion you should be working for that 50% and constantly promoting them. That’s the biggest contribution I can make, is the fact that I do run my mouth pretty energetically when I’m into something. With a gallery, you invest in things, you help produce artworks, you help move them around, you photograph them, et cetera.
MC: You really support your artists. It sounds like you’re moving into the market with a lot of integrity.
BD: That’s the hilarious reality is that the first couple shows here are not particularly easy sells, the joke being that my commercial gallery starts off being wildly anti-commercial. But I believe in them so much that it doesn’t matter. And things are paying for themselves. There’s a great tradition at Gavin Brown’s enterprise of doing seemingly non-commercial shows, but he’s just this incredible person who can actually turn that around.
This [space] is a little more of a humble comparison, but it’s funny too. Sometimes people come to this show [‘If God COMes to visit you...’] and are like ‘Ok, is anything here for sale?’ They can’t believe that Susan would be willing to part with some of this stuff. It’s so meaningful and impossible to make again or get back. She’s cared for these things for sometimes up to twenty years and part of the whole exhibition is about that letting go, which blows my mind.
When Alex Fleming, who curated the archival work in the back and the costumes [in front], introduced me to Susan, he thought I would be interested in the photo archives. And I think this is absolutely part of the story, but I never for once saw an exhibition of framed photos, framed watercolors, and framed paintings. And at the same time I never saw an exhibition with clothing.
It was the second I saw those boxes that I was blown away. And then when I found out that the kits were actually part of her fashion line and that she actually continues to organize and think about and collect things in these tailored boxes, I was like, ‘we have to show these, they’re unbelievable.’ It was that idea that the paintings and pictures and archival clothes and all these other precious things are just taped together.
Susan Cianciolo, Large Doll Box, 1995-2015, Photo by Katya Reily
MC: That’s the thing. Both of the artists you’ve shown work across media: paintings, photographs, cardboard, tape. How do you approach the labels that often accompany these different ways of working?
BD: I’m thankful that I don’t see such categories existing – that could be in part because craft education was one of the first art-education experiences I had – via the social sciences, I studied Anthropology, within that category, craft is art. A more euro-centric, academic appreciation of Art helps me to understand a socialized history of forms and predecessors but it does not aid me in understanding when I feel work is important.
Nothing about this project is about trying to import craft or fashion or design into an art context. I’m not thinking, ‘this is where craft meets art.’ I’m not interested in that position. It’s like if you label anything, like when somebody says they’re vegan and then somebody busts them for wearing a leather belt. I don’t want to say, ‘I’m just going to show good things that I care about,’ because that sounds almost self-righteous or even naive, but that is more genuinely what I want to do. It will be interesting to see what I’m interested in, but it will take a while to define that.
For now, with Lynn and Susan, as much as people want to assume the program has a strategy, it was also an easier reality. I got the space and moved in in October 2014 and opened in February 2015 and it’s really hard to ask an artist to make a show in that amount of time. It’s easier to show people that have existing work and are a little more confident in what that work is, and also that are eager and willing to participate. That’s a huge thing. It’s about collaborating with a really exciting, relevant person in my mind and learning from them.
MC: Is there anything you would like to add about this show, maybe in the context of Fashion Projects?
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Posted in Exhibitions, Performance, Textiles
May 9th, 2015
‘Alternative Fashion Strategies’
by Mae Colburn
Indigo dyeing workshop at the Arnold and Sheila Aronson Gallery. Photo: Chris Hyun Cho
‘Alternative Fashion Strategies: Design Incubator with Green Eileen’ (March 30-April 5, 2015) in the Sheila C. Johnson Design Center at The New School’s Parsons School of Design was a little like a game of Twister. Students, designers, farmers, and members of the public maneuvered around a portable loom, a knitting machine, an industrial sewing machine, and various other hand-crafting implements stationed throughout the gallery to examine the interplay between industrial manufacturing and local production, testing areas of contact and overlap. Throughout the week, design samples accumulated on walls, tables, drying racks, and even on the radiators, whether de- and re- constructed sweaters, needle-felted fleece, or indigo dyed garments. Some were made in advance of the exhibition and others at workshops held throughout the week on topics ranging from fiber processing to bengala dying to machine knitting. A sense of purpose coursed through the exhibition, and so did a sense of excitement, the kind that emerges when people and materials meet. Laura Sansone
, first interviewed on Fashion Projects in 2013, curated the exhibition. Our conversation shuttled between the work she does with fiber farmers in the Hudson Valley and with designers in New York City, tracing what she envisions can become a tight-knit local supply chain.
Mae Colburn: Let’s start with some of the broader ideas at work. What motivated you to put on the exhibition?
Laura Sansone: Well, I’m interested in this interplay between industrial manufacturing and local production, specifically agrarian businesses, and specifically how those things can work together […] I think it can really help to create economic diversity and grow these smaller enterprises. That’s what motivated me to do this project and what motivates me in my own work as well. […] It’s not always appropriate for them to work together, but I think that it’s a way to start to see a shift, those moments when these two entities can come together – it can shift the economic power and be a good way to rethink how things are structured.
MC: And the idea to shape this into the ‘Design Incubator’?
LS: This started off as a partnership between Eileen Fisher and the students here at Parsons. The Green Eileen program is an initiative with Eileen Fisher where they take back clothing from their consumers, so they have people send back clothing and they resell it in green Eileen stores but the secondhand clothing that they can’t resell they call ‘third life’ and they ask designers to repurpose it. So I had been working on that, and in my quest to repurpose her clothing, I was mixing it with materials from the Hudson valley, from Upstate New York, […] so I started using those materials in combination with the repurposed secondhand clothing, and that became the parameter for the course I teach at Parsons, and also for this partnership. That’s really where this all began.
Eileen Fisher sweaters dyed with indigo and unraveled to be re-woven. Photo: Chris Hyun Choi
MC: So, there were prototypes on display and workshops. There was also a printed material on the walls. How did all of this come together?
LS: The prototypes were from students, and then we added to them during the exhibition. We had lots of workshops going on, and as we generated work we would hang it – so it was kind of an incubator where things were growing. The printed matter came from someone that I had met at the Textile Society of America conference in 2014, Helen Trejo, who is a PhD student at Cornell University and is writing her dissertation about the feasibility of a Fiber Shed in New York State. So we’ve been exchanging information over the past year and I asked her for permission to display some of her research and so a lot of the diagrams that were included in the exhibition were from her. She had some really great maps that showed where the mills and fiber farms are in New York, so that sort of located those for people who came into the gallery to see the work.
MC: What was a highlight of the exhibition for you?
LS: One highlight for me during this exhibition was having people from the farming community come and actually speak to the students about their experiences as farmers and fabric producers. We were talking about the supply chain and one of the farmers who came actually said, ‘I’m going to start right at the beginning of it, and I’m going to tell you what I feed my sheep,’ and I thought that was so incredible to have fashion and design students sitting there and listening to this and making that connection, that it starts with the fiber that comes from the animal, that it starts with the diet, and how that effects the quality of the fiber and the form – I think that’s a great lesson.
MC: To encourage designers to consider other variables beyond say, color and drape?
LS: That’s right. So for me, waste is essential. It’s something that I’ve always cared about and wanted to consider as a designer. Like, where do my cutoffs go? If I’m generating product, what kind of impact does it have? And with the natural dyes as well, we use the waste from farms, we use the carrot tops and concord grapes that you can’t sell – there’s this link to the origin of where things come from, and how that can be integrated into the design process. […] So [at the workshops] a lot of students were deconstructing sweaters and we were re-knitting them and I thought that was really exciting. I also have students who are working deconstructed sweaters into felted pieces, which is really great – mixing the fleece with the Eileen Fisher’s mohair and merino and cashmere materials.
Map of New York State Fibershed showing fiber farms and mills. Helen Trejo Fiber Science & Apparel Design, PhD Student, College of Human Ecology, Cornell University.
MC: I thought it was interesting that the word ‘sustainable’ didn’t appear in any of the material related to this exhibition.
LS: I was trying not to because what happens is that if things get overused – language – they become diluted and people start to dismiss it as something that isn’t important. So I think it’s really useful to always be rethinking things and reframing them. I think that’s part of growth in general. […] I was also trying to steer away from this word ‘artisanal’ because I think that’s also becoming diluted, but that it’s actually really important because ‘artisanal’ can talk about a smaller way to produce things, you know. It can talk about localizing things.
MC: But you did use the word ‘fashion’?
LS: Of course, absolutely, because I really want the fashion industry to play a critical role in changing things. I think it’s so important, because they’re responsible for a lot of the waste that we see in the supply chain – where we’re diminishing value where we could be increasing it. So yes, but I also see what I do as being completely cross-disciplinary. It’s dealing with fashion. It’s dealing with interiors. It’s dealing with architecture – we’re starting to think about how wool can be used as insulation, wool that is waste wool.
MC: So how do you envision the project moving forward?
LS: Well, I would like some designers, especially those who are located in New York and who are on this large-scale level, to build ties with some of these local artisans. They’re doing it globally, but I would really like to see it happening here in the U.S. So that’s something that I would like to see, and for me as a professor, I try to get my students to take on the responsibility of educating consumers. I think that trying to encourage them to design ethically and then to sort of take on this role of educating – I think it’s really necessary for designers: to take on this big task of shifting consumer behavior. You know it’s huge; in a capitalist system, it’s a huge thing to take on and designers need to take on that role.
Posted in Designers, Exhibitions, Fashion & Technology, Research/University Programmes, Sustainable Fashion, Textiles, fashion + Sustainability: Lines of Research Series
July 2nd, 2013
A Review of “Silks and Prints from the Abraham Archive – Couture in Colour” at MOMU
by Philip Warkander
Hubert de Givenchy, Winter 1971/72. Photo: Gian Paolo Barbieri. Gazar Brodé Chenille, Winter 1971/72. Silk and entamine, shantung appliqué. Abraham Archive.
In1982, sociologist Howard S. Becker published the book Art Worlds, in which he argued that art is not the production of single individuals – artists – but rather the result of a number of interactions among people and materials, together constituting the contexts in which art works can be defined as such. According to Becker, art is not the result of one person’s work, but is a value constructed according to specific settings, or art worlds. This perspective has become hugely influential in art theory while also having an impact in fashion studies, most notably through sociologist Yunyia Kawamura’s Fashion-ology: An introduction to Fashion Studies (2004). Explaining how fashion comes into being, Kawamura aligns herself with Becker by claiming that fashion should not be understood as the product of designers working in creative isolation in their studios, but instead as the effect of an entire system of interactions, based on the negotiations between designers, stylists, magazine editors, PR consultants, retailers as well as a number of other actors.
Currently on view at the Fashion Museum in Antwerp is an exhibition exploring the effects of this theoretical perspective on the textiles, prints and fabrics manufactured by the Swiss company Abraham Ltd. The exhibition was originally produced by the Swiss National Museum in Zurich, but the Antwerp version (in the museum’s own words) “recaptures and expands” the original version. Placing the materiality of the fabrics and the print designs at the center of the exhibition, the process of producing prints is explained in detail, not only making for a pedagogical but also for an aesthetically advanced display. For example, the exhibition shows how a rose pattern, which was one of the company’s trademark prints, required nine stencils to print nine colors in nine separate print runs. The fabrics produced by Abraham Ltd. were so intricate that they became – due to the high cost of production – often reserved for haute couture, thus establishing intimate interconnections between the Swiss company and French couture houses such as Dior, Balenciaga, Givenchy and Yves Saint Laurent. As a result, Abraham Ltd. became one of the key players in the high fashion industry of the twentieth century, their patterns and textiles shaping much of what is otherwise generally assumed to have been designed within the couture houses.
Installation with 20 Abraham scrapbooks, 2010. Abraham Archive
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Posted in Designers, Exhibitions, Fashion & Technology, Museums, Textiles
January 4th, 2013
Fashion Thinking: Creative Approaches to the Design Process
On occasion of her new book on fashion design education, Fashion Thinking: Creative Approaches to the Design Process (AVA, February 2013), Fiona Dieffenbacher–director of the BFA in Fashion Design at Parsons the New School for Design–reflects on new and exciting approaches to fashion education:
by Fiona Dieffenbacher
The main question to be asked of fashion education today is “Are we training students to design clothes or to create fashion?” To be makers, creators, or both?” At Parsons The New School for Design we have re-approached our curriculum to address these questions, which has led to innovative, new pathways for our students to develop as designers.
In order to understand the difference between the spheres of making and creating fashion, we have focused on design thinking as a method of envisioning a reality that does not yet exist, and as a means for achieving innovation. Fashion thinking involves harnessing the vast array of skills at the designer’s disposal, while embracing the chaos of the process itself. This might include upending traditional approaches or reapporpriating them to unearth new ways of creating and making clothes.
“Fashion Thinking: Creative Approaches to the Design Process” highlights the work of nine students, documenting their responses to a variety of design briefs and their process: from idea to concept and design. These projects demonstrate that there are multiple entry points into that process and a million ways out. In between there are some consistent doors that each designer will go through (albeit in varying orders) and there are consistent tools they will utilize to accomplish the end result, but the rest is up for grabs. Emerging designers must learn to develop both their own personal philosophy of design and a particular way of working, which involves taking ownership of the process itself.
Traditionally, fashion design texts have tended to suggest a “one-size-fits-all” approach to the design process: research – sketch – flat-pattern – drape – fabrication – make. While this order works for many designers, and are essential building blocks of the design process, this does not work for all. At Parsons we have developed a curriculum that encourages a variety of approaches to design versus heralding a formulaic method. If we persist in training fashion students to design via a process that is rote and mundane, we have missed the point entirely.
Not everyone begins with a sketch; indeed some don’t sketch at all. Isabel Toledo is one such example, “I don’t start new things at the sketch pad or the drawing board. For me, fashion design begins at the sewing machine and the pattern-making table. I know that I am creating a design when I make things with my hands, giving them form and shape, often inventing new techniques to fold and manipulate cloth as I experiment with my designs and perfect them over time.”
Dissatisfaction with a particular way of working can also lead to a breakthrough in the design process and this was true for Rei Kawakubo, two years before her first presentation in Paris in 1979. “I decided to start from zero, from nothing, to do things that have not been done before, things with a strong image.” Speaking of her decision, Harold Koda commented on her process, “…‘to start from zero’… has become a constant of her design process. Season after season, collection after collection, Kawakubo obliterates her past… Liberated from the rules of construction, she pursues her essentially intuitive and reactive solutions, which often result in forms that violate the very fundamentals of apparel.”
In the BFA Fashion Design program here at Parsons, we have witnessed a distinct shift away from a right/wrong philosophy of teaching toward a more problem-based approach to learning. A student-centric model now exists where the fundamentals of design, construction, digital and drawing are taught in tandem with a full roster of studio electives and liberal arts that students select from a wide variety of options open to them across our university, The New School. Students learn traditional techniques and immediately apply them within the context of their own approach to design. In doing so they begin to articulate their own aesthetic and visual vocabulary from the outset of their experience in the program. Additionally, students are now encouraged to develop a central body of work that is re-contextualized across their suite of electives, which informs their work in new ways.
There is no “right” way to approach design; there are no “wrong” turns. Everything matters. Designers are problem-solvers and problems present challenges that often lead to creative solutions that could not have been conceived of any other way. Within the unpredictability of the process ‘mistakes’ transform into new ideas, yielding fresh concepts that drive silhouette and form forward. Innovation happens on the heels of error in the midst of chaos and complexity.
Jie Li, “Knitting and Pleating”.
“Roots of Style, Weaving Together Life, Love, and Fashion” by Isabel Toledo
 “ReFusing Fashion: Rei Kawakubo,” MOCAD [Museum of Contemporary Art], Detroit, Exhibition catalogue, March 2008
Fiona Dieffenbacher is Assistant Professor and Director of the BFA Fashion Design program at Parsons The New School for Design. An alumna of the program, Dieffenbacher has served as a faculty member since 2005. Prior to being appointed director of the BFA program, she served as the director of external partnerships for the School of Fashion, where she oversaw projects with Coach, Louis Vuitton, MCM, Swarovski, LVMH and others. In her current role, Dieffenbacher has led the program though the development and implementation of a new curriculum. Dieffenbacherholds an undergraduate degree in Fashion and Textiles from the University of Ulster in the UK. At Parsons, she was the recipient of a Designer of The Year Award (1993). In 1998, she launched a ready-to-wear label Fiona Walker, which was shown at Mercedes Benz Fashion Week and sold at select retailers in the U.S and internationally. The collection was featured in WWD, The New York Times, New York Magazine, Harpers Bazaar, Lucky, and Cosmopolitan
Posted in Designers, Publications, Research/University Programmes, Textiles
November 26th, 2012
Designing the Second Skin: The Work of Giorgio di Sant’ Angelo 1971-1991
by Francesca Granata
Veruschka wearing Giorgio di Sant’Angelo, Vogue 1972, Photo: Richard Avedon
As part of my newish position at Parsons, I taught one of the most interesting and stimulating classes I have ever taught. For a course I developed, called Fashion Curation, graduate students from various programs–Fashion Studies, History of Decorative Arts and Design and MA in Architecture–curated an exhibition of the work of the late Italian-Argentinean designer Giorgio di Sant’ Angelo in the Parsons Gallery at 66 Fifth Avenue, which is due to open December 4th. Focusing on his use of innovative stretch fabric, “Designing the Second Skin” is the first exhibition of the work of Giorgio di Sant’Angelo in New York. A special thanks goes to Martin Price, di Sant’ Angelo’s partner and collaborator, as well as to Tae Smith.
Below is the press release and a sneak preview of some of the garments that will be on view:
On Tuesday, December 4, the opening reception for “Designing the Second Skin: The Work of Giorgio di Sant’Angelo 1971-1991” will be held from 6 to 8 PM at the Aronoson Gallery on 66 Fifth Avenue. The exhibition is curated by graduate students in the MA Fashion Studies, MA in the History of Decorative Arts and Design, and Master of Architecture program at Parsons under the supervision of faculty member Francesca Granata. The exhibit will be on view until Friday, December 14.
Parsons presents the first New York exhibition of the work of designer Giorgio di Sant’Angelo, an innovative Italian-born American designer from the 1960s through 1980s who explored the ways in which garments truly become the wearer’s second skin. Playing with texture, transparency, and newly discovered fabric technology, Sant’Angelo examined the relationship between exposure and concealment. A highlight from the exhibition is a nude sequined jumpsuit worn by Naomi Campbell and featured in an editorial shoot for Harper’s Bazaar in 1991.
The works on view are drawn from the Parsons Fashion Archive—a collection of nearly 10,000 garments, including a number of pieces donated to Parsons by the Costume Institute at The Metropolitan Museum of Art. The Sant’Angelo works were originally donated to the Met by Parsons faculty member Martin Price, Sant-Angelo’s design assistant and partner, who has been an instrumental force in keeping Sant’Angelo’s spirit alive.
Designing the Second Skin: Giorgio di Sant’Angelo 1971-1991
Dates: Tuesday, December 4 to Friday, December 14
Opening Reception: Tuesday, December 4 from 6 to 8 PM
Gallery Hours: Open daily from 12 to 6 PM, open until 8 PM on Thursday
Location: Parsons The New School for Design, Arnold and Sheila Aronson Galleries, Sheila C. Johnson Design Center, 66 Fifth Avenue
Admission: Free and Open to the Public. Wine and Hors d’oeuvres will be served.
Posted in Designers, Exhibitions, Fashion & Technology, Research/University Programmes, Textiles
September 7th, 2012
Interview with Sass Brown: Fashion + Sustainability – Lines of Research Series
by Mae Colburn
Sass Brown’s first book, Eco Fashion, published by Laurence King Publishers in 2010.
Sass Brown likens her work to that of a fashion curator, one that looks beyond aesthetics and into the realm of ethics and ideas. Her book, website, and blog feature designers from around the globe who unite fashion and ecology in thoughtful, innovative ways. Brown entered this line of inquiry after years working as a designer in mainstream fashion, a background that gives her a unique perspective on the distinct qualities, and currency of ecological ideas within the fashion sector and valuable insight into the role of fashion education within the broader global information network that supports, and defines sustainable fashion today.
Mae Colburn: To begin, how do you interpret this word – sustainability?
Sass Brown: Well, sustainability has a defined meaning that you can look up in the dictionary: not depleting, not polluting, not taking away what you can’t get back. Where it gets muddy is when you start putting it in different silos such as sustainable fashion or sustainable lifestyles – that’s where it starts to get more interpretive and where words like eco or green are much more broadly used because they have less defined meanings.
MC: I’m sure this thought process informed the title of your first book, Eco Fashion.
SB: (laughs) To some extent, yes. I actually wanted it to be called Sustainable Fashion but my publishers fought me on that one because they felt that sustainability wasn’t a completely understood term. Plus, my publisher is British, but [the book] was distributed in the U.S. and also translated into Italian and Spanish, so they felt eco was an easier term for people to grasp on to, and in fact it’s actually more correct than my initial title.
MC: Both your book and your website highlight the work of a wide variety of designers working in eco fashion. How do you go about conducting your research?
SB: Well, when I first started this research years ago, one of the nicest surprises was that eco designers would give me all of the contact information for their biggest competitors, because they supported them, too. It’s a very collaborative industry. […] People want to share because they believe in the development this area of design – and that’s dependent upon all of us understanding and knowing and sharing resources. It’s not like the mainstream fashion industry where everybody jealously guards their contacts and knowledge.
A screen shot from Sass Brown’s website.
MC: You research and write, but you also lecture and teach workshops on fashion and sustainability. Could you elaborate on the role of information sharing within this movement, and specifically your own role in shaping this dialogue?
SB: I think information sharing is absolutely vital and that my role, or what I see as my role, is to research, share, and collaborate on that information. Designers in the industry and students who are currently studying to graduate and move into the industry need to see concrete examples of what is being done, how it’s being done, and who is doing it. I focus equally on fashion as I do on ecology. I’m not interested in writing about the next beige t-shirt – whether it’s being produced ecologically, fair trade, or what. There are enough people already doing that. Fashion is a world of inspiration and aspiration and I think it’s incredibly valuable to inspire designers about what’s possible. One of the best ways of doing that is showing some of the best aesthetic examples of what’s being done with sustainability, ecology, and design.
I’ve been described as a curator by several people and that’s probably more accurate than anything because I really am curating already existing content rather than developing my own; I might be rewording and rewriting and collating it in different ways, but I’m working with things that have already being done. I think that’s actually quite a good description of what I do, especially in certain digital media like Facebook, or Twitter, or Pinterest, or StumbleUpon, or any number of other areas. It really is about collating and collecting and disseminating.
MC: This is something I’ve thought about quite a bit – this question of how specialized knowledge about production, consumption, and so on, can be translated to a broader public in a way that seems relevant.
SB: Well, I think most of the issue is that most of the specialized information comes from activistic circles and is accessed by those who are interested, as opposed to being disseminated to everyone whether they’re interested or not. It hasn’t gotten to a level where the average person on the street is aware of Labour Behind the Label or the Clean Clothes Campaign, or any number of other advocacy bodies who police or certify the fair trade or sustainability of our industry. Digital media and blogs are beginning to bridge the gap, whether it’s my blog or blogs like EcoSalon or Ecouterre, which aim for a more fun, cool, interesting notion of ecology as opposed to a grassroots, hardcore, tree-hugging ecology, which I think is still very foreign to a lot of people and off-putting in a lot of cases.
MC: Do you have any last thoughts about education, information sharing, and sustainability?
SB: As I said, I think that having multiple channels is really important, whether it’s the structured educational field through curriculum and classes, or personally-motivated websites and blogs, or activistic and certification bodies who really get down to the nitty-gritty of who is doing what, how, when, and where. I think it’s really vital that there are lots of different perspectives and different voices. That’s the only way we can reach the broad variety of people out there. It’s never one-size-fits-all.
Sass Brown is Acting Assistant Dean for the School of Art and Design at F.I.T. and former Director of F.I.T.’s study abroad program in Florence.
Mae Colburn is an independent textile researcher based in New York City.
Posted in Designers, Publications, Research/University Programmes, Sustainable Fashion, Textiles, fashion + Sustainability: Lines of Research Series
August 19th, 2012
Interview with Laura Sansone: Fashion + Sustainability – Lines of Research Series
by Mae Colburn
One of Sansone’s two Textile Labs, which she carts to greenmarkets in and around New York City.
Laura Sansone readily acknowledges that she comes from a “crafty background.” She received her B.A. from the Philadelphia College of Art and her M.A. From Cranbrook Academy of Fine Art (both in Fiber). Now, at Parsons’ School for Design Strategies, she teaches spinning and dying, organizes field trips to fiber farms Upstate, and takes students to greenmarkets in and around New York City as part of her mobile Textile Lab. For Sansone, “crafty” means more than technically adept or playfully skillful; it signifies a thoughtful, soulful, tactile appreciation of material productivity.
Mae Colburn: I’d like to begin by asking you about your relationship to this word, sustainability.
Laura Sansone: When I think of sustainability, I don’t just think of environmental issues. I think of the socioeconomic aspects of sustainability, and how to enrich communities through material production. Also, looking at who is making the work and where the materials originate. It’s really about designing with transparency, about realizing the interconnectedness of products and systems, and finding alternatives to commercial production. I think one way to do that is to think about things in a decentralized way, in a way that’s more local, so that communities are more in control of production and consumption.
MC: Could you describe how you arrived at this interpretation?
LS: I started becoming interested in sustainability when I moved to the Hudson Valley in 2003. My partner and I bought an apple orchard up there, and our neighbor, a local farmer, started farming our land and selling at greenmarkets here in the City. So I started to realize how these resources in Upstate find their way to the City, and the importance of venues like greenmarkets. That’s when I began thinking of ways of linking the things that I do [with fiber] to farming.
I was working with Tyvec at the time, so I was already interested in no-waste production. It’s a recyclable polyethelene material with many applications (envelopes, hazmat suits, even high fashion back in the 1960’s in sort of a playful way). I was sending my cutoffs back to Tyveck for recycling, and asking consumers to do the same. The products folded up into envelopes so they could be sent back to be recycled. So I was already thinking along those lines. Once I moved [to the Hudson Valley], I decided I had to go beyond that and try to use natural materials so that everything could be composted. That’s when I started working with organic cottons and natural dyes and that led me to investigate local materials. That’s when I realized that there were fiber farms right up there in the Hudson Valley, and a really active fiber community.
“Paper Wear,” Sansone’s line of recyclable Tyvec clothing.
Years ago, everybody had a spinning wheel in their house, and a loom. Families and villages were really self-sufficient, and while I’m not saying that that [model] is the answer to our global problems, I do find that handcrafting is a way to bring people together. There’s this cohesive nature to it, a real social connection that transcends age, gender, race, economic status. It’s amazing. That’s what I find when I take the Textile Lab out to greenmarkets. Everybody has a story about something that their mother used to knit, or all the yarn they have in their basement, or about how they’re addicted to crocheting. It’s an activity that reminds people of their past. It excites people. Maybe production can happen on a smaller scale, and maybe it can be supported by communities. You know, there’s a certain social importance to being able to produce as a culture, and I find it problematic when a culture stops being productive in a material way.
MC: It seems like every decade experiences a resurgence of craft in some form or another. How would you characterize what we’re experiencing today?
LS: Bauhaus was all about that. Arts and Crafts was all about that. There are these movements in art and design that have to do with seeing an imbalance and searching for a more assertive equilibrium among producers and the way things are made. It does happen frequently and it’s mostly this convergence, these moments in history where craft and design and art converge; right now we’re at this point where there’s a convergence. I call it vernacular craft. That is, more like folk crafts, where designers are really lifting folk methods and adapting them, using them in their designs.
MC: Could you describe the Textile Lab in a bit more detail? You’ve got a cart…
LS: Yes, a cart, and there’s a shelf that comes out in the back and a stove that sits on top. Inside, we have all of our equipment to make dyes: pots, a scale, and a blender to make paste.
MC: What do you do about electricity?
LS: When we bring it to the park, farmer Joe (the farmer who farms on my property) brings a generator for us and sometimes we can plug it in at an outlet in the park, so we find a way.
I have another lab that I received funding for from City Atlas, a project with City University of New York and Artist as Citizen, a smaller one. I spent a good deal of last spring, summer and even fall taking the smaller lab to neighborhood greenmarkets all over the City. That one has gas burners.
The Textile Lab dyepot with sunflowers (above) and stick spinning with local wool (below).
MC: There’s something I really love about your Textile Lab idea, especially in the context of education. You’re teaching students these techniques, then taking students with you to greenmarkets around the city where they teach these techniques to the public. It’s almost viral.
LS: This stuff happens online all the time; there are even social networking sites specifically on handcrafting, like Ravelry. But there’s a social component to going out and making it happen in an organic context like New York City, especially a place like Union Square where people are constantly coming and going. People stop and talk to you, trade stories, share knowledge. We bring the Lab out to the Union Square greenmarket and students just lure people in. Once we had a hearing impaired group come up to the Lab. So there I was trying to explain what we were doing, pointing to things, flailing around, and then all of a sudden one of my students walks up and starts signing. She knew Sign. I was so happy. We had another woman come over, she was from Algeria and she didn’t speak a lot of English, but we gave her a drop spindle. It was a top whirl spindle, and she was trying to spin with it, but we could tell she wasn’t that happy with what we’d handed her. Then we realized she was actually used to using a bottom whirl spindle, the kind that you spin near the ground. We also had a guy from Tibet come up and show the students how to spin on a stick, just a stick, probably like he’d been taught as a boy. Children also come over, especially at Union Square because they have all sorts of educational programs. It’s wonderful, a really nice inclusive moment for everyone.
MC: What would you like to see markets like this become five, ten years down the line?
LS: In my world, I would love to see the market become more than just a greenmarket. To become more like a real marketplace, selling fabric, and handmade shoes, handmade kitchenware, a place of real material commerce in the sense of material goods (not just consumable produce). The market is becoming that way to a certain degree. Something really natural happens there where there’s this sort of bartering that occurs, and I think that’s so important. Like, “I have this, you have that, let’s trade” (the farmer does that with us, he gives us food and farms our land, he brings us bread from a guy at the market who he trades with). You have to produce in order to engage in that sort of economy, but again, a productive culture is a strong culture so it goes hand in hand.
Laura Sansone is an artist, designer, and adjunct professor at Parsons the New School for Design’s School for Design Strategies.
Mae Colburn is an independent textile researcher based in New York City.
Posted in Designers, Fashion & Technology, Research/University Programmes, Sustainable Fashion, Textiles, fashion + Sustainability: Lines of Research Series
June 20th, 2012
Interview with Tamara Albu: Fashion + Sustainability—Lines of Research Series
by Mae Colburn
Tamara Albu teaching design fundamentals to young weavers in Maheshwar, India.
Tamara Albu: It seems that fashion, in general, has a slow start in whatever is happening in the global industry and I think that the same slow start happened with sustainability. We are at the beginning stage in fashion here, but I think we’ve passed the stage of resistance. It’s happening. I’m feeling optimistic now.
As Associate Professor in Fashion Design at Parsons The New School for Design and former Director of the AAS in Fashion Design program, Tamara Albu plays a central role in defining Parsons’ fashion curriculum. Her enthusiasm resonates throughout the program. Originally from Romania, she travels widely, witnessing for herself the many breakthroughs now occurring within the global fashion system. She described the work of Anne de la Sayette who, for the first time in human history, is effectively producing natural dyes on an industrial scale in France, planting (in Tamara’s words), “huge areas with the blue, the green, the red.” She described a vertically-integrated textile manufacturing plant in India, Pratibha Syntex Ltd., which employs some 8,000 local people and sells cotton seeds to local farmers at half price, asking for payment only after the crop has sold. She described the 2006 Yamamoto exhibition in Antwerp, where visitors were invited into the design process by touching, and even wearing, garments on display. Her optimism, grounded in these discreet innovations, reminds us that sustainable fashion is, perhaps, best defined by example.
Mae Colburn: It might be helpful, at this early point in the conversation, to establish a working definition of sustainable fashion.
TA: Yes, I can name two things that we’re talking about when we refer to sustainability, but before I name those things, I want to say that it’s a very complex system. What might be, let’s say, a good example of social sustainability might not meet the economic or ecologically-sustainable dimension. I think it’s actually easier to define what is sustainable in the food industry than in the fashion industry. It’s more clear-cut, but nevertheless, there are a few factors that may contribute to an item being sustainable or not.
One of the key factors is, of course, the carbon footprint, which brings us to local versus global, or ‘glocal’ – a new term that describes exactly the kind of complexity we’re arriving it. So [a garment] might be produced locally, but distributed globally, or vice versa. Glocal is really a good term to describe this mixture between what is sustainable on a small scale, and what is systemic on a large scale.
That brings us to fast fashion against slow fashion. Slow fashion is more related to the local, where you grow your own animals or plants to obtain the fiber, extract the dyes from plants or insects, make the fabric, create the samples of the collection and produce with a relatively small assembly line that might include members of one’s family or particular community members. […] The social aspect of slow fashion is providing meaningful work to people who would otherwise have to give up their skills in order to make a living. It’s something very valuable on many levels, and very much related to wellbeing. It nourishes the soul and it nourishes the body at the same time.
Handloom women weaver at Gudi Mudi, the social business supported by the WomenWeave Charitable Trust.
I went to India in January with a colleague of mine, David Goldsmith, for a research project (Slow Fashion: India) and we spent a good portion of our trip in Maheshwar, where a group of practitioners and scholars […] were meeting to put together the basis for the Handloom School. The school was launched by WomenWeave to provide education in design, textile technology, business, and sustainability for handloom weavers in Maheshwar, and also to awaken a general knowledge and appreciation of “low tech” hand weaving (which has now been replaced almost entirely by “high tech” fast and large production vertical systems). That being said, I believe that the vertical and horizontal systems can not only co-exist and interact, but can, in fact, complement each other superbly.
MC: How do you think fashion education factors into this larger discussion about changes within the industry?
TA: I think it’s the key element. You get used to something; you don’t want to change. It’s comfortable; you want it to remain that way forever. It’s not easy to change.
MC: And yet fashion is predicated on change, right?
TA: Well, I think it’s a kind of change, but I don’t consider it real change. It’s more like a habit. I mean, maybe I don’t make such a good advocate for fashion (laughs).
But back to why I think education is such a key factor: our students are young, and full of energy, and ready for change, willing to change, eager to change. I mean, we educate our students to not only look at how pretty the fabric is, but where it came from, how it was made, what was involved in the entire process; to not only look at where they bought that pretty fabric, but to be interested in how, who, and why it got to be pretty. And also, what is pretty? When certain factors are considered, you might not find that fabric so pretty. We, as educators, are the ones that need to inject these parameters within every course we’re teaching. I don’t care if I’m teaching Portfolio, or Studio Methods, or Drawing. In every class, there’s so much you could give to make [students] sensitive to these issues. I don’t think [students] should have the option to choose sustainability or not. Every course should have a component of sustainability, no matter what you’re teaching.
MC: So you’re saying that now that we’re past this stage of resistance, the word itself, sustainability, is perhaps no longer needed as a distinguishing factor in programs such as Parsons?
TA: I don’t think so. It was so overused in the beginning. It was just a fashionable way to say nothing, really. To me, it was a buzzword that I felt would come and go. But the more I started reading and being exposed to the word (not being involved myself, just by just listening to what other people had to say), I started becoming more interested. It’s sort of like the air you breathe – it has to be integrated everywhere: the way you eat, clean, smell, touch – all your senses, and all your thoughts, should be guided by this because there is an end to how much this planet can give. It’s not a joke. It’s reality.
MC: How many years have you been at Parsons?
TA: Many years. I started at Parsons in 1992 as an adjunct instructor, and then I became full time in 2000, so twelve years in this position.
MC: So I’m sure you’ve witnessed other changes during this period?
TA: Yes, but I think this is the most dramatic of all. Parsons is really committed to being as involved in this movement as possible. I mean, if I hadn’t had Parsons’ support, I probably wouldn’t have been able to go to these conferences, and talks, and symposiums. I went to France, to La Rochelle last year; to Italy for two very important workshops on sustainability; to Sweden – that’s where I met Yvon Chouinard. He was the key speaker at a conference, Design of Prosperity, about sustainability within the fashion industry. I think it was David Goldsmith who asked Yvon about his definition of beautiful fashion, and he said, ‘you know, everybody thinks about fashion differently, but when I talk about what is beautiful in fashion, I think of a seventy-year-old lady in a gorgeous coat that was beautiful twenty years ago, and is still beautiful now.’ For me, that’s a perfect definition of fashion.
MC: Would you add anything to his definition?
TA: No. It’s very much connected to how I feel about fashion, and I know fashion changes every season, so the twenty year old coat, it’s the opposite of what you would think. But for me, it’s beautiful. So no. It should have a long life, not a short life; it should gain value with age. You can look at it for eternity, really admiring every detail and the whole harmony between the labor, the fabrication, the color, the texture. This is why I consider fashion a form of art.
MC: As way to tie up, are there any projects or initiatives at Parsons that have really inspired you?
TA: I’ll give you an example of a course developed by Luciana Scrutchen and Julia E. Poteat called Textile Design Exploration. It’s about making the materials, the dying process, and designing the textile surface in the context of cultural, economic, and ecological imperatives. It’s exciting to see how our students are starting to realize that they can design a garment from scratch by making the fabric (weaving or knitting it), then playing and mixing various types of fibers to create their unique collection. When they are designing that way, they become so much more aware of the power of experimentation and the benefits of trial-and-error, which is so important in the creative process. They learn […] that process is a crucial and rewarding component of their education. It is an education in itself, experimenting, and not only in fashion. I think it’s a general value. When you make your mistakes, you try again, and improve the process as you try, and go a little bit further, a little bit further, and then you perfect that.
Tamara Albu earned her M.F.A. in Fashion Design and Illustration from the Academy of Fine Arts in Bucharest in 1976. She is now an active artist and Associate Professor of Fashion Design at Parsons School of Fashion.
Mae Colburn is an independent textile researcher based in New York City.
Posted in Designers, Fashion & Technology, Research/University Programmes, Sustainable Fashion, Textiles, fashion + Sustainability: Lines of Research Series
June 7th, 2012
Interview with Pascale Gatzen: Fashion + Sustainability—Lines of Research Series
by Mae Colburn
A student’s response to Jean Luc Nancy’s Being Singular Plural from Pascale Gatzen’s class of the same name, Fall 2010.
Pascale Gatzen: Sustainability has to do with awareness, with love, with wellbeing, with the realization that we are creating this world together. It’s about exploring what we can be and who we can be, about connecting to a sense of play, pleasure, love, care, to a place where we value each other, where we see and are seen by others, and where we are willing to share, to be vulnerable, to be courageous.
Pascale Gatzen describes her position at Parsons’ School of Design Strategies as that of a facilitator, nourishing “a productive flow of energy” between students. She isn’t interested in perpetuating disciplinary distinctions, social constructions, or the capitalist paradigm. She’s motivated by love, which for her involves movement, exchange, and relationships. Her logic stems from the realization, after years working in fashion and art, that creative production is too often motivated by insecurity and the need to prove oneself. Her focus now lies on the relational aspects of fashion, on alternative models of exchange. She describes student projects that include gifting, bartering, trading – models that explicitly forge a sense of proximity, immediacy, mutuality between people, between materials. For Gatzen, sustainable fashion is about nourishing a productive flow, motivated by love, of clothes, ideas, and identities.
Mae Colburn: You, and others, often use the words ‘love’ ‘play’ and ‘beauty’ to describe your practice. How did you develop this relationship to fashion?
PG: Growing up, I was interested in the idea of clothing, and fashion eventually became the focus of my education. I didn’t understand the notion of fashion practiced at that time. I didn’t see any real progress, or any movement. I didn’t see the difference between a shirt that was produced in one kind of cloth one season, and in another kind of cloth the second season. For me, they were the same shirt. I can’t say that my work was necessarily playful at that time, but I did at that time become aware that love was very important to me, that it brought me the most life energy, and that the closer I stayed to myself and to my own fascinations, the more vibrant my work would be.
Later, when I started teaching at Arnhem [ArtEZ, Hogeschool voor de Kunsten, Arnhem], I discovered that with the introduction of H&M and Zara, students had stopped touching their own clothes. There was this illusion that because they had access to fashionable clothes (which they could buy, because they were cheap), they were participating in fashion. So I started doing assignments with students that were very much about dressing. They had to dress themselves; they had to dress each other. They had to experiment with the notion of clothing, the power of dressing, which is a very vulnerable process. We have a lot of investment in how we dress and how we see ourselves, but something beautiful happens when we move beyond our comfort zones and everybody starts to feel vulnerable at the same time. Things become less absolute, less fixed, and people begin to feel a sense of play with their clothes and identities.
MC: On the Parsons’ website, you’re quoted as saying that you want students to “test the intersection between fashion and reality.” What do you mean by this?
PG: If I said ‘reality,’ I was probably referring to habituated reality. We live in this seemingly fixed reality, or at least we think we can trust certain things around us. With clothes, most people identify with a certain style, and they gain confidence from what they think they are and how they present themselves to the world. I did a workshop once where I compared the work of Coco Chanel to the work of Yves St. Laurent. If you really look at the work of Coco Chanel and see how it’s made – her attention to the make and finishing of the garment was amazing; how the lining was quilted into the jacket, the small metal chain against the back hem to weigh the jacket down, ever so lightly, the lack of interlining and shoulder pads, the way the sleeves fit into the body of the jacket allowing for movement and comfort – it’s very much about the person wearing the piece of clothing rather than the clothing as image, which is what I see on the catwalk and what Yves St. Laurent never escaped. Even if it’s an image of comfortable clothing, his clothing remains mostly image. Catherine Deneuve is quoted as saying that that you can wear Yves St. Laurent under any social situation because you’re protected, but I think Coco Chanel would say that clothing shouldn’t take up all the attention, that it should allow a woman to emerge as herself.
How do you engage the world? Do you engage in the world from a position of curiosity or do you engage in the world from a sense of fixed reality in which you have to protect yourself from everything that can happen? For me, of course, the first is more interesting and has a lot more potential for growth.
MC: Could you describe a workshop or project that you’ve done that encompasses these notions of curiosity, play, love – one that you’re particularly proud of?
I’ve done many projects and I always feel they’re very special. For instance, I worked one summer, as part of the Parsons’ DEED project, in Guatemala, with five students and two artisan women’s cooperatives, Ajkem’a Loy’a and Barco in San Lucas Toliman. The beauty of that was being together for a month and seeing those students for who they are, completely. There was so much love between all of us. They were so focused – taking care of each other and taking care of me – and very responsible towards the work we were doing. There was a fullness of experience, of exchange.
That’s something that I also felt when I did an intensive program in DasArts, a post-graduate program in The Netherlands for theater and performing arts. They don’t have a fixed program; they have a sequence of different artists come in and do three-month intensive workshops with twelve students. We spent whole days together. We cooked together, ate together, and were living and learning together. I structured our days so that we did yoga together in the morning and had singing lessons three times a week. There was a real exchange of knowledge, of experiencing together, of going through rough moments and very amazing moments. I love the notion of life becoming part of teaching, teaching becoming part of life.
I also created a sequence of core classes, what is now known as the Fashion Area of Study in the Integrated Design program in Parsons, and the third core class, Love, is really about this, about students recognizing that fashion is not an isolated practice. It’s about integrating that practice in your everyday life, where they live, how they eat, and in exchanges with friends. That’s the most important thing I can imagine teaching to my students, and teaching with my students, because a lot of them just naturally understand these things. […] The traditional notion of learning involves a hierarchy between the teacher (who has the knowledge) and the student (who doesn’t have the knowledge). I think that’s the first assumption that we have to abolish if we want to grow a different type of world. Everybody possesses knowledge, which is of value to us all. I know knitting, I know sewing, I know patternmaking, but I’m much more interested in seeing students teach each other how to knit. If the students are teaching, then they understand that they have the ability to teach and grow and that’s what will support them when they’re out in the world. I think that’s the most important lesson: that they can always learn, always grow. And teaching and learning, growing are definitely not confined to the classroom.
A “singing blanket” that student Daniel Anesiadou made for a public event at DasArts in Amsterdam in spring 2005.
MC: What kind of theoretical background do you share with your students?
My teaching is very much about experience, but I do include some theory in class. Last semester I wanted my students to understand the capitalist paradigm, so we read Marx and Being Singular Plural by Jean Luc Nancy, and now we’re looking at Hannah Arendt. We read Erich Fromm, The Art of Loving, and we read The Gift by Lewis Hyde. We also read and look at the work of Sister Corita. Those are a few texts that I definitely use, but I don’t overwhelm them with theory. What I’ve learned in the past is that theory is more easily understood when there’s an experience to accompany the theory. The most successful theorists speak from a deep engagement with the world around them, and I think that’s very important.
Other people that are very influential to me – the way I think, teach, and practice – are people that I invite to teach. Susan Ciancolio is a very big inspiration for me. She has been teaching in the Fashion Area of Study for four years. I also have a very lively connection and exchange with Caroline Woolard, who teaches the barter class [at Parsons], and I’m very happy that Otto von Busch has joined our team. I’m very inspired by the people that I’m surrounded by.
MC: What do you hope to see your students to achieve in coming years, in fashion and beyond?
PG: At the moment, I think it’s about creating hybrid types of practices, hybrid types of life. Some of my students who graduated last year formed a business and living cooperative, building a business and growing their own food in a community garden nearby. If you support students in what they’re strong in, in what they want to do, they become more confident, more capable, more able to master their lives and make informed decisions.
I know from working, and many of my students know from working, that if you are really immersed in a dynamic relationship with your work, you will come up with unexpected insights that will result in unexpected outcomes. For me, it’s important that we constantly re-invent the forms that we engage with and relate to in order to give other possibilities for life. That’s what practice is about – constantly advancing the forms, because the forms are only ever temporary, limited, never sufficient for our ever-changing nature. We are always changing and always in a state of flux so we need to re-invent and continuously open up new possibilities for life to continue.
MC: What do you enjoy most about teaching?
PG: I love the exchange of collaboration, of growing together. I just think that cooperation is a much more natural way to live than practicing individually. It’s about care, and love, appreciating and respecting the things that we live with: the people, the objects, everything.
Pascale Gatzen is Associate Professor of the Body Garment Track at the School of Design Strategies at Parsons the New School for Design.
Mae Colburn is an independent textile researcher based in New York City.
Posted in Designers, Performance, Research/University Programmes, Sustainable Fashion, Textiles, fashion + Sustainability: Lines of Research Series
February 26th, 2012
Titania Inglis: Fade From Green
By Sarah Scaturro
A favorite look from Titania Inglis’ F/W 2012 collection. Photographer: Dan Lecca
Fashion Projects has been a fan of Titania Inglis ever since she launched her eponymous label a few years ago, so it was such great news to hear that she had won the 2012 Ecco Domani Fashion Foundation Award for Sustainable Design. While I initially thought of Inglis as an “eco” designer, it quickly became apparent that the term “eco” was simply too reductive for her design philosophy. For her, sustainability is not a gimmick, or just about sourcing yet another ecotextile. Rather, she is moving towards a concept of sustainability that emphasizes longevity, quality, and thoughtfulness. We are very pleased to present this interview with Inglis, coming on the heels of her recent F/W 2012 fashion presentation at Eyebeam.
Fashion Projects: Congratulations on your recent Ecco Domani Fashion Foundation Award for Sustainable Design. How has winning the award affected your business?
Titania Inglis: Thank you! Receiving the Ecco Domani award is such a dream come true — I didn’t believe it at first when I received the email telling me I’d won. It’s opened a lot of doors for me already within the fashion industry, and I was able to put together an incredible team for my show this season, including stylist Christian Stroble, makeup artist Lisa Aharon and hairstylist Ramona Eschbach, photographer Aliya Naumoff, set designer Ryan Crozier of Forgotten City — and collaborating on a series of leather body accessories with Bliss Lau, a designer whose innovative work I’ve admired for years.
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Posted in Designers, Fashion Shows, General, Interviews, Sustainable Fashion, Textiles, Uncategorized
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