Articles for
Fashion School Daily

a publication of Academy of Art University

Published on November 2nd, 2022

Cultures and Influences Come Together at Zhirou

Academy of Art University MFA Fashion Design alumna Ziyi “Zoe” Yin is a designer who creates minimalistic unisex designs emphasizing cut and shape, both of which are meticulously planned and articulated with architectural precision. These characteristics took shape during her time at the Academy and were seen in her graduate collection and designs for the CFDA Geoffrey Beene Scholarship Competition in 2020. These and other tendencies are present within her debut collection for her brand ZHIRóU, which launches later this year. The result is a unisex brand that blends minimalism and utilitarianism with pops of color and low-key glam. The line also brings together multiple inspiration points and contrasting ideas.

Since graduating, between her time at her various jobs, which included designing for Zinare Bride and serving as a contemporary style advisor for Saks Fifth Avenue, she began to develop the vision for her brand and first collection. The premiere of ZHIRóU has been a long time in the making due to the circumstances that affected the plans of Yin and other designers. The pandemic hit when many were ready to launch their first collections. However, instead of letting these obstacles deter her, she used this time for professional growth, finding inspiration, and refining and revising her vision.

At present, Yin relays the concept behind both by stating, “A key aspect of my collection and brand is relaying the idea that even though we have different skin colors and ethnic backgrounds, we share a love for similar aesthetics and an appreciation for all cultures!” She feels that circumstances surrounding Covid-19 resulted in more inclusion, and she reflects that with her brand and its team. Her group consists of individuals from multiple countries and throughout the US. In the future, she plans to partake in collaborative projects with fellow artists. Yin concludes that despite the unique experiences of everyone, “…we all share the same appreciation for art and fashion… (and we have) created a new community with a shared culture.”

Fittingly, the symbolism that Yin incorporates into the brand’s logo, as she details, ties into this unity. Yin explains, “…the peacock is a sacred symbol that represents peace, love, and integrity…” and it “conveys the idea of love and acceptance—crucial aspects of the brand.”

Yin’s first collection for her brand ZHIRóU will be released before the year concludes and available for purchase through the brand’s Instagram. ZHIRóU’s aesthetic references celebrate the coming together of individuals from various backgrounds by combining concepts, styles, and inspirations from Eastern and Western cultures. Yin states, “The inspiration behind the designs of my collection comes from Chinese tunic suits and 90s American television.” She also notes that it possesses influences from Scottish kilts. The styles and concepts that influence her work, as she notes, include minimalism, deconstruction, feminism, gender fluidity, and the avant-garde. Yin also shares that her collection and brand also pull “inspiration from 1946-1956, which represents femininity and conformity. I want to keep men’s tailoring techniques and create more feminine and comfortable styles for” all genders. Overall, ZHIRóU pulls references from multiple cultures, genders, periods, and aspects of lifestyle.

Yin is also known for adding pastel, bolder hues, and surface ornamentation into otherwise minimalist and, at times, utilitarian looks. The resulting looks include a pleated sleeveless shirtdress in powder blue, a sequin cap sleeve dress, a trench coat with a floral lining, and garments that feature added belts or scarf-like attachments. The looks incorporate some of her signature details which she explains include, “split and tie backs,” as well as decorative patterned and printed linings. She plans to use the linings of her garments as a canvas for collaborations with artists in the future.

While unprecedented obstacles might have delayed the premiere of her collection, it turned out to be a veiled blessing. The extra time allowed Yin to develop a unique approach to design. The resulting collection is an eclectic take on minimalism. The collection brings together multiple cultures, genders, styles, and inspirational reference points. The result is the inclusive vision Yin has for her brand as a whole.

To see this article with imagery check it out here: https://fashionschooldaily.com/cultures-and-influences-come-together-at-zhirou/71566/

Published on March 30th, 2022

Fashion Education Steps Out of the Classroom

At Academy of Art University, educational experiences go beyond the confines of the classroom. School of Fashion offers students the opportunity to participate in internships, New York Fashion Week, create work for the school’s various publications, and more. Additionally, there is an option to partake in a student exchange program. Flore Morton, School of Fashion Associate Director, explains that fashion students who are selected get to study at Kingston University in London or Studio Berçot in Paris.

The two BFA fashion design students who were recently selected for the 2022-2023 London exchange program are Daniel Jungwoo Kim and Yachen Xie. Kim describes his design preferences and aesthetic tendencies as “modern, simple, and stable” menswear, where the focus is devoted to the quality of their craftsmanship. When asked about what his goals are during the student exchange program, Kim explains that he wants to learn about the unique design methodologies and stylistic tendencies of other countries. He also wants to find internship opportunities in London.

Xie describes her work by stating that it is often “more androgynous” and utilizes “geometric designs placed on the human body.” Xie also adds, “I tend to gravitate towards heavier fabric and contrasting colors.” While in London, Xie wants to network and improve upon her current skill set. Xie’s other goals include wanting to compare the differences in the ways in which China, the United Kingdom, and the United States approach to fashion. She also wants to use this experience to help her learn and “find [her] own individual design style,” and to try to acquire an internship there. Xie would love to intern for Alexander McQueen, a brand that is also a favorite of Kim’s.

Based on information relayed by Morton, participating in the exchange program can prove to be both challenging, yet rewarding. If this sounds like an endeavor that you would like to partake in, there are a few things that you need to know before you apply.

If you want to apply to stay in London, you must be in the Bachelor of Fine Arts program for Knitwear or Fashion Design and be at Junior-level or above, according to Morton. She notes that you can also participate in the program after recently completing your degree at the Academy. To participate in the Paris student exchange program, Morton explains that you must be a Bachelor or Master of Fine Arts program student within the majors of Fashion, Textile, or Knitwear Design. According to Morton, students can do the exchange program for a semester or a year in London, or one year in Paris. However, under certain circumstances, beyond the terms of the exchange, students may continue their educational or professional endeavors, including internships, in these cities.

Students participating in the exchange program at Kingston University, as detailed by Morton, join during what is considered the second year of the school’s fashion design program curriculum. Morton explains that “the second year focuses on industry collaborations. So, they design projects that will be seen by people of the industry for different companies, and in general, companies select interns for that.” The courses offered through the second year of Kingston’s curriculum, as detailed by Morton, include fashion design, patternmaking, professional practices and portfolio, and fashion culture. Students also work on draping, alongside making patterns.

Overall, based on the sentiments of Morton, Xie, and Kim, each student exchange program location offers the opportunity for students to expand their knowledge of fashion and design while taking it in from a different country’s perspective and culture. Xie and Kim both expressed the desire to use this experience as a chance to expand their knowledge of other cultures and the way they are dissimilar on aesthetic and professional levels. Kim also explains that he feels that having exposure to and experience with the design tendencies of multiple countries will help him become even more of an asset to the industry. It is important to note that Morton explained that participation in this program requires that one should first learn independence and take the steps necessary to prepare for the opportunity that lies ahead. On the other hand, she notes that the major positive aspect of being in these cities is that they are full of resources for career building and creative advancement.

To see this article with imagery check it out here: https://fashionschooldaily.com/fashion-education-steps-out-of-the-classroom/68680/

Dynamic Aesthetics: Anna Zhou Brings her Vision to TV as a Contestant on Project Runway

Published on October 6th, 2021

Anna Yinan Zhou, a 2019 Academy of Art University BFA Fashion Design alumna, through her education and professional experience has established a clear identity for her brand ORAZ. ORAZ is a culmination of Eastern and Western influences as well as dynamic emotional and aesthetic reference points. Zhou explains that at the heart of ORAZ is the desire to convey an “original” vision that tackles the variety of human emotions that one encounters when facing adversity.

On October 14th, Zhou will be bringing her brand to the small screen as a contestant on the upcoming season of Project Runway. Zhou recently took the time to break down the puzzle pieces that would come together to be ORAZ and what her goals are for the brand upon taking on this new venture.

The Eastern elements of Zhou’s work derive from her home roots in Shanghai. The Western aspects in her design aesthetic and process can be partially attributed to her time spent studying fashion design in San Francisco. How does this blend of cultures come together in her work? Zhou explains, “I am actually introverted in my normal daily life, which is very typical in Eastern culture.” She goes on to add that her “characters” are constructed from “Eastern culture.” She notes that for her occupation, she finds that Western Culture “encourages me to open up and speak” about “my thoughts and ideology in my design.”

Regarding her brand’s origins, Zhou explains that “ORAZ stands for Original Anna Zhou.” It was established following her final year at the Academy. The name of her brand serves as a guiding principle within her work, to which she states, “I want to use the name ‘Original Anna Zhou’ to remind me to be creative, original, and authentic in my design.” This philosophy is embodied within her use of original stories and messages within her designs and collections, which were first put into practice within her work during she created during her studies at the School of Fashion.

The design aesthetics of her garments combine feminine silhouettes and fabrications, with more edgy and experimental construction details. Her brand’s website describes the aesthetic as “dark and romantic.” The designs currently available at Orazny.com include black shorts that are tailored and embellished with oversize ruffles that cascade out from the hips. Another one of her designs is a cropped length top with waterfall style ruffles, in linen and tulle, that are placed around the shoulders and dip across the back. The design is finished with upright ruffles around the neckline from the front and back.

Zhou explains that her aesthetics “draw” from “the inspiration of “‘dark’” scenes. A bad relationship, a social issue, violence, or traumatized psychology.” For example, she notes that her “...recent collection was inspired by” her “own wedding story that happened in the pandemic.” Given the dynamic nature of her designs, there is a lighter and more optimistic side to them as well. Zhou expounds on this stating, “I create based on these issues and try to use my design to express beauty hidden under the darkness. My designs are evocable and romantic.” Zhou adds that when it came to her recent collection this juxtaposition was exemplified through her mixture of “feminine texture with the powerful silhouette to create my profile as a strong yet delicate woman.”

While her distinct vision has allowed for the continuous development of her brand, she also had some informative prior professional experience to help guide her. Zhou relays the importance of being knowledgeable about suppliers and factories, through her time interning for Marchesa in New York where she was able to work in the sophisticated bridal atelier. Now she is continuing to learn through her latest experience as a contestant on Project Runway. Despite the show’s popularity, she explains that she “had not watched the show before.” She adds that it was through the show’s quick pace that she found that she had strong time management as well as “emotional management” skills. Overall, she describes the experience as “encouraging and confidence-boosting,” which she feels will translate to her future endeavors.

To view this story with imagery go to https://fashionschooldaily.com/dynamic-aesthetics/68230/?fbclid=IwAR01n3_iMpC6GcStGzt4bzi5SZnR1ORdJEZ1VlQ9eXP1AZfdNY0kwbnUdys

An Educational Adventure from Another Cultural Perspective

Published on March 2nd, 2022

The School of Fashion provides the foundation for building one’s skills for real-world experiences through the projects and assignments included within its coursework. There are also many opportunities available to students that will allow them to enhance their knowledge and abilities beyond the school’s curriculum. The exchange program is one instance where students can accomplish such feats. Olivia Rocquemore is one student that desired to take the learning experience beyond the Academy of Art University campus.

Rocquemore received a BFA in Fashion Design in 2021. Their focus began with womenswear before shifting toward non-binary design. Rocquemore is currently participating in the London Exchange Program. Flore Morton, School of Fashion Associate Director, explains that this program at Kingston University in London features courses in draping, patternmaking, fashion culture, design, professional practices, and portfolio.

Rocquemore, who is now in their second semester at Kingston, begins by explaining that they have “always wanted to go to London.” They later add, “This was one of the cities that I was hoping to potentially move to and design in.” Rocquemore states, “When we were working on our senior thesis, I realized I’m not exactly ready to finish with school. I felt like I had a lot more to learn.” As a result of this desire to continue their education, fulfill long-held goals, and experience London, they jumped at the chance to apply when the opportunity arose.

Rocquemore had a few goals going into the exchange program. They detailed these goals by stating, “The main goal was to help to build more of my portfolio. That way, I would be able to get better with the skills I had, but also showcase where my skills were at after finishing the program.” Rocquemore wanted to use this opportunity to elevate their skills, in garment construction and presentation to the level where they would feel most comfortable. They also express a desire to become a more rounded designer. Rocquemore aims to accomplish this by using this time to experience different learning styles and acquire unique knowledge from this location.

Recounting their path in the program thus far, Rocquemore explains that they took the Professional Practice course last semester. During this course, they had the opportunity to create designs for names like ASOS, Old Navy, and a brand of their choice. They selected the brand Peter Do, in addition to ASOS and Old Navy. Rocquemore notes that this semester, they are designing for the Spanish footwear and accessories label Uterqüe. They have also taken classes in product design and technical drawing. Rocquemore feels that these courses allowed them to concentrate and assess what areas they needed to improve and “where [their] strengths were.” They have also had the opportunity to learn how to create designs based on a brand’s demographics, psychographics, and aesthetic tendencies. They state, “I was able to learn how to make my own aesthetic and cater it to the brand that I am designing for.” They feel that these newly acquired and enhanced skills will benefit their future professional pursuits.

For the remainder of the program and their time in London, Rocquemore wants to embrace a few additional opportunities offered by Kingston. They want to help Kingston’s senior students prepare for their collections as well as an intern at a company such as Simone Rocha, JW Anderson, Yuhan Wang, Erdem, Bora Asku, Richard Malone, Vivienne Westwood, Nicholas Daley, Roksanda, or Temperley London.

When asked about what advice they would give to students who want to participate in the program in the future, Rocquemore states, “I think my biggest advice is to be open.” They emphasize that one shouldn’t come into this experience stressed out about how it will go and what could go wrong. They add, “Just come in with an open mind. Because if you do that, then you’ll see the positives in all of the aspects of what you’re learning and how you are learning it.” They note that one should be prepared to experience different learning styles.

Overall, one can gain insight from observing and learning about Rocquemore’s positive experience with the student exchange program thus far. We can glean from Rocquemore’s experience that it is best to take on an opportunity, such as this one, with passion, commitment, and a willingness to embrace the unfamiliar. It also seems that it is wise to consider all the circumstances that accompany studying abroad and go into the experience with a positive mindset, desire to learn, and an openness to new approaches.

To see this article with imagery check it out here: https://fashionschooldaily.com/an-educational-adventure/68572/

Published on July 6th, 2021

An Unfiltered India

BFA knitwear designer Aishwarya Gajare may have spent the last six years in the United States, but a connection to her Indian culture has remained a priority. She revisits her heritage and values within her senior thesis collection.

Gajare details that her interest in fashion began early on. According to Gajare, she took a fashion course in high school and continued to explore the subject after. Her fascination with the mechanization and handcraftsmanship behind textile creation led her to focus on knitwear.

An early inspiration for her collection was a concern over “how many years we have left to make a change and help save the planet.” Gajare explains that the tumultuous political and social environments inspired her work. She described these verbalizations as having an “end of the world” theme. She assessed what was of utmost significance in her life. A survivalist theme then emerged. Her collection’s utilization of handcraftsmanship was a means of reflecting on this idea of independent living using only nearby available materials, looking toward which groups in India have these capabilities. Specifically, Gajare reflected on the turmoil in Kashmir, including the impact of the disputes that occur as people try to take control of it. According to Gajare, her collection’s theme focused on her aim, “to bring [out] the beautiful [aspects] of Kashmir and combine it with the chaos,” honoring “the strength and richness” of the land and its inhabitants, as they encountered obstacles.

Gajare’s collection features limited materials, including a broad use of raffia punctuated with smaller amounts of raw silk. Gajare manipulated the raffia yarn utilizing multiple styles of hand crochet, seeking to modernize these techniques within the construction of her garments. The structure of some of her crochet designs contains disk shapes that are arranged in a manner that almost resembles rough ocean waves. Some of her other knitwear pieces have almost utilitarian or armored appearances.

This collection was made in collaboration with MFA fashion designer Li Ming Li, who designed the garments that were styled underneath. According to Li, her work was inspired by the designs of different handles used on saws. She incorporated their shapes and manipulated them in various ways to create sculptural forms. Li’s fabrics allowed them to hold shape yet have movement. Her designs make use of construction details like ruffles, cascades, gathering, puff sleeves, tassels, side slits, trains, and cutouts that mimic the rounded shapes of Garjare’s knits. Li’s construction brings to mind a modern take on the silhouettes and sleeves of eighteenth-century and Victorian-era garments. However, both designers combined elements containing raw edges and rounded shapes, strategically placed, which allowed the garments to be combined in a cohesive and deconstructed manner.

Through her collection, Gajare was able to revisit her culture and address environmental, political, and sociological concerns as well as her personal values. The visions of Gajare and her collaborator Li align due to their similar design approaches. Ultimately, the collaborators captured Gajare’s inspirations and themes by presenting visually complementary aesthetics.

To view this article with imagery, check it out here: https://fashionschooldaily.com/an-unfiltered-india/67520/

Published on July 2nd, 2021

Momentum

BFA knitwear designer Mingyang Zhang’s desire to work in fashion took him from China to the United States. For his senior thesis collection, Zhang explored the concept of movement, as his future had begun its motion. Like a dancer, Zhang picked up steps, pivoted, and alternated directions along the way.

Zhang’s interest in fashion, design, and knitwear is due to his grandmother’s influence. He detailed that, at a young age, he would observe with fascination as she would knit and sew. According to Zhang, as fashion continued to hold his interest, he considered his educational options, before stumbling upon the School of Fashion’s numerous programs. He considered designing womenswear and costumes before deciding to focus on men’s knitwear.

While at School of Fashion, Zhang has worked on multiple collections. Prior to his most recent collection, he worked on a collaboration with Yue Shen, which was shown as part of the school’s Spring 2020 collection show at New York Fashion Week.

The tactile, visual, and material aspects of his most recent collection were influenced by the work of artist Louise Bourgeois. He explained that from one of her popular watercolor paintings, which had a “motherhood” theme, he developed ideas for his collection’s yarns, textiles, and color palette. He specifically noted that the artwork’s “texture,” which he described as “fuzzy” influenced the direction of his knits, made from wool and mohair.

After considering a few ideas, Zhang described the final inspiration for his collection by stating, that he was “trying to explore movement, dancing, and the twisting of arms.” In his collection, the concept of movement was addressed through the use of the design details that added movement such as wide pants with a side slit and a skirt with a front panel.

Zhang detailed that the shapes, observed in a reference image of a cluster of human limbs, influenced the appearance of his cable knits. His decision to use this technique also refers back to his grandmother’s influence on his interest in the subject. According to Zhang, the collection mimicked his early memories watching his grandmother create “cable and traditional stitches,” by featuring these techniques and combining them with the contemporary and experimental variations. He stated that he enjoyed balancing and combining, the new and old. He used an alternative approach to replicating the appearance of traditional stitching, utilizing embroidery on top. The blend of these techniques represents his past and future, as he continues to acquire more skills.

It’s impossible to know all of the specifics of one’s future. Instead, Zhang articulates his movements one step at a time, building off of each one, and revising his choreography accordingly. His BFA collection is the physical representation of his journey. It allowed him to revisit what inspired him to pursue fashion and demonstrated the momentum that has followed.

To see this article with imagery, check it out here: https://fashionschooldaily.com/momentum/67472/