Rocco Leo Gaglioti of Fashion News Live interviews  J. Alexander at the Academy of Art University Mercedes-Benz Fashion Week show

Rocco Leo Gaglioti is the creator, producer, and host of Fashion News Live, and always takes the time to create coverage of the Academy of Art University Mercedes-Benz Fashion Week shows. Rocco loves to support the student designers, and puts an effort into making each season’s broadcast coverage different and exciting by varying interviews with the student designers, the School of Fashion’s directors and the front row personalities- giving the School of Fashion exposure that is greatly appreciated!

Below are this season’s videos from Fashion News Live of the Academy of Art University Mercedes-Benz Fashion Week show!

“#FNL Presents Academy of Art University Mercedes-Benz Fashion Week #FW14″

“#FNL Connects with Gladys Perint Palmer at Mercedes-Benz Fashion Week #FW14″

“#FNL Alex McCord and Alex McCords Husband at Mercedes-Benz Fashion Week #FW14″

“#FNL Connects with Miss J Alexander Mercedes-Benz Fashion Week #FW14″

For more information, check out the 2012 Fashion School Daily interview with Rocco here – “Industry Interview: Rocco Leo Gaglioti”

Follow Fashion News Live on Facebook and Twitter!

International photographer and videographer Waldo Pretorius captured the beautiful chaos back stage during the Academy of Art University Fashion Show at Mercedes-Benz Fashion Week (MBFW) in New York. His career includes international photo-shoots with Marie Claire, Harpers Bazaar, Glamour, and GQ, as well as back stage coverage of MBFW in Cape Town, South Africa. We were able to get an exclusive interview with the South African nomad to learn about his creative journey and his photography career.

Ashley Castanos: We were delighted to have you backstage [at the Academy of Art University Fashion Show], what was a highlight of the experience?

Waldo Pretorius: I was delighted to be there. My highlight was seeing the young designers and their expressions. How they simultaneously experience the turmoil and bliss that accompanies creation, and the vulnerability of showing it to someone who will inevitably be judging. I can identify with that.

AC: Were there any particular pieces or collections that stood out to you?

WP: Student shows are so raw in nature – you really see each student’s talent in plain focus.  Overall I enjoyed the entire show.  It really worked as one cohesive story.

AC: As a child you grew up watching your father develop photographs in a dark room [the old-school way]. What fascinated you the most about this process? And do you ever experiment with this timeworn method? How did this impact your photography style?

WP: Well I think there isn’t enough focus on the ‘old school way’ these days. Digital has changed everything. A photograph only takes a split second of time to capture a specific moment in time. You may have only captured an accumulative few days or weeks of moments throughout your career. However that split second, as short as it may be, can represent much more than that. It can manifest as a period of time in your life, an experience, a time in your career or personal growth. It can symbolize months, years, decades even. Seeing film after it has developed, and seeing that image rise from a blank piece of paper out of nothing is equal to reflecting back on your life, and produces the same split second epiphany of how an experience has impacted my persona.

At the moment I haven’t been experimenting all that much with it, however I will be soon, especially with regards to my backstage work. I feel they would be only be done proper justice printed large… on old school silver gelatin paper.

The impact it has on me made me has allowed me to be a better photographer. It takes incessant focus and awareness to create something with film and paper. You don’t have the luxury of knowing what it looks like instantly, only later will you actually know. I believe you should be able to get at least five workable options within three to four rolls of film per shot or scene. It equates to roughly 50 shots (on medium format cameras) and that makes you a higher quality, more concise photographer.

AC: You have experience shooting in the United Kingdom, United States, and South Africa, what has been your greatest career moment so far?

WP: This is an easy one.  NY Fashion Week! It is the absolute highlight of my career to date, and a professional goal since the very beginning. Receiving recognition of your work, and having it be deemed sufficient to gain access to one of the largest international fashion events is an honor and privilege.

AC: Can you explain your photography philosophy that “reality is perception, and perception is reality”?

WP: Actually it’s a life philosophy. It relates to how we interact with the world outside of us, and how it interacts with us. None of us have the same perception, and so none of us have the same reality. Change your beliefs, change your perception, change your reality. Essentially, we are what we believe, and our reality is what we perceive.  Photography as a medium allows me to share my perception of the physical world around us with others.

AC: You have a beautiful way of showcasing the vibrancy and textures of garments. What types of fashion inspire your creativity?

WP: I think that is what a fashion photographer is supposed to do. It’s about the clothes after all. It’s the photographer’s job to convey the textures, cuts, shapes, and so on of the garments. But from another perspective, a fashion shoot isn’t all about the clothing. It’s about forming a fresh work of art encompassing the clothing design, model choice, posing and positions, lighting, location and the overall artistic concept of the shoot. All of which should compliment the clothing design. It is producing art with all the fundamentals in mind. For the most part… high fashion really does it for me as it allows me to express my own artistic input.

AC: Your films have incredible energy, and the music seems to flow perfectly with each scene. Do you create the song mixes for them as well? What role do you feel music plays in the overall final films?

WP: The music is key… pun intended. I always choose the music before fashion week even happens, much less before shooting anything. It allows me to shoot according to the song. It needs to have the perfect energy whilst having enough musical intervals and changes to cut the footage and bring forth the happenings truthfully. To me it should represent the absolute chaos behind a seamless and perfected runway show. All art is a process, a back and forth of creation. Self doubt being imperative to move forward and acquire what is intended. The music and the choice of it takes days to be decided upon. It is that process.

AC: Do you have any advice for aspiring photographers?

WP: Nobody will like everything you do and you should not measure yourself by the dislikes, or likes for that matter. Self-doubt is vital to personal and professional growth. Stay grounded, and remember you can only get better.

Written by Ashley Castanos

Image courtesy of Ra0ul Shah

Keanan Duffty talks to Raoul Shah, a visionary strategic thinker with over 20 years of experience in marketing and communications for many global fashion and fashion related brands. In 1993 he launched Exposure, a communications agency built on the power of network, great ideas and word-of-mouth. Today, the agency employs more than 200 individuals in London, New York, San Francisco and Tokyo. Clients include Levi’s, Nike, Dr. Martens, Coca-Cola, Vitamin Water, Netflix, De Beers, Samsung, Incase, Casio G Shock, Fred Perry, Hunter, Globe-Trotter and John Smedley. He is a trustee of the British Council and an avid collector of Do Not Disturb signs. He also knows a few people.

Keanan Duffty:  How did you start Exposure and who or what influenced you to do that?

Raoul Shah: I started with a simple and naïve belief that putting my friends together and networking was a career in itself. Of course, I never fully realized that when your friends are artists, DJs, musicians, designers, retailers, bar owners and journalists, the cross-pollination of ideas and diverse cultures creayes an interesting environment for things to happen. I never got paid (I ran clubs like the Subterranea to earn cash), but met a ton of great people and eventually was asked by Converse to do PR and product placement for them. Basically, hook them up with my network! The rest, as they say, is history…

My influence was probably the working environment that Nitin had created at Pepe Jeans (my first job). Lots of young energetic people who were keen to learn, work hard, and enjoy it along the way. And, most importantly, I was influenced by a work culture where you were encouraged to take responsibility, try things and not fear making mistakes. I hope I have some of that running through Exposure.

KD: What is the one piece of advice you would give to students in order to promote their work in today’s market?

RS: Whilst the world is getting faster, don’t over-look the value of making time. Making time to meet people, asking the right questions, being curious, visiting places, and absorbing what’s going on around you. Find a way to communicate and showcase your work in both physical and visual channels. The screen you’re looking at is never more interesting than the smell of fresh cut grass and getting caught in the rain! Package your work into a great story that others may then want to tell and share. Keep the windows open to receive ideas and input from others. Learn to listen, more than just hearing. Never give up if you really believe in something.

KD:  Do you think that rapid information exchange via the Internet means that print is a dying form in the media?

RS: Print will never die, it will just continue to be relevant in different ways. Magazines, books and newspapers will always exist, but they may have a different role. Magazines will become more specialist and niche, newspapers may be more like free-sheets with hourly versions on line, and we all still love the experience of holding and reading a great book. The quicker information is exchanged in the digital world, the more we will seek things that help us slow down, appreciate the moment, and cherish quality content (of our own choosing) to provide focus and knowledge. There are some things from the past worth protecting and celebrating. Print is one those trades that has re-emerged, like vinyl, and locally sourced products. It’s already apparent amongst brands like Field Notes, Nigel Cabourn and Tellason, moving back to authenticity, craft and artisan values. Too much information doesn’t make us smarter – it becomes noise. But a good read of National Geographic definitely adds to your dinner party conversation!

Image courtesy of Raoul Shah

KD: What was the most influential magazine for you when you were growing up?

RS: Smash Hits. The lyrics were such a great idea, and who’s going to ignore Blondie on the front cover? I still remember virtually every single word from the records of that era. It was music and style that made me feel grown up and part of a great British music scene. The Face was next for me (thank you, again Nick Logan) – I was luckily able to buy this bible of youth culture from the very first edition (Jerry Dammers on the front cover, I think). I’m a slightly obsessive collector of The Clash memorabilia, and I still have various copies and lyric pages that featured the band somewhere in a box.

KD:  Give us a really off the wall anecdote/story. Something that not many people will know about… it could be about anything related to your work.

RS: When we pitched for the Levi’s Europe account in 1998, we were tiny. About 10 to12 people in total. So I flew the whole company to Brussels for the pitch, including our brilliant receptionist Cindy, and we set up in a huge unused warehouse. We invited the client to come and hear our pitch over there, and first thing they saw were fish-tanks full of all the media in which Levi’s had appeared that month. All rubbish and destroying a great brand! And then they walked into a room with one single row of global style magazines (Dutch, Purple, Self Service, Tank, Flaunt, Nylon, Composite, Citizen K, etc.) within which we said we’d secure visibility for Levi’s if they gave us the account. They told us we had won it before we even started the actual presentation.

Subscribe to his blog at http://raouls.exposure.net or follow him on Twitter @raouls

Interview conducted by Keanan Duffty 

Image courtesy of Meg Busacca

Meg Busacca is an Academy of Art University Fashion student. We asked Meg about her inspirations, personal style and her biggest fashion faux pas (spoiler, it’s UGG boots). Meg also explains why her experience at Academy of Art University has been so much more than she ever expected.

Image courtesy of Meg Busacca

How do you define your personal style?

I have never been fond of the notion of defining a specific ‘style’ for myself, I just know what I like and I wear that, of course my tastes change, but I like to leave a bit of mystery. However, if I had to sum it up, I am a walking juxtaposition! I’ve always gravitated to lots of color, unique textures, and detailed prints that are often all thrown together, sometimes all at once! I purchase classic silhouettes, feminine fabrications and I have a tendency to layer, and layer…from my knits to my accessories. Since day one, I’ve been a ‘more is more’ kind of girl! Above all, I incorporate vintage finds that you won’t see again and I love mixing different elements until the end result makes me feel good, bottom line.

What is your inspiration right now?

I seek inspiration from a variety of places, and I typically find inspiration through my travels. But on a day-to-day basis, I have to thank the fact that I do not own a car in San Francisco, which therefore has led me to constantly see new things and become more observant as I walk the streets of this city. In addition, my latest obsession has been purchasing literature, specifically on artists from past decades, which leads my mind to go running with ideas. The only thing keeping me from reading is time; it is difficult to find the time to enjoy a leisurely read.

Image courtesy of Meg Busacca

What’s your biggest fashion indulgence?

Shoes, shoes, and more shoes! I am constantly oohing and aahing over footwear, specifically heels. I may be five foot ten, but that doesn’t stop me from wearing my five inchers.

What is your signature style accessory?

I am a huge fan of costume jewelry; I love my cocktail rings or my statement necklaces. I’ll load endless amounts of bracelets on my wrists, layer chains and pedants on my neck, and add a ton of killer stones to my fingers…I guess you can say I get this from my Grandmother Busacca, my original style icon.

Image courtesy of Meg Busacca

Which is your favorite shop in San Francisco?

My favorite shop in San Francisco would have to be Jeremy’s in SoMa. It is the ideal place to find designer merchandise at a fraction of the price. I love a good deal! Or you can’t beat a good secondhand find from Wasteland in the Haight.

Who are your best friends in fashion (your style posse)?

My real ‘style posse’ consists of my best friend, Liz Corsi. She truly has an eye for putting together the most unique ensembles and she is definitely my most authentic fashionable friend. She consistently inspires me with her edge and most importantly, her confidence.

What is your motto?

My motto has always been to believe in myself (if you don’t, who will?), to be open minded to new people, places, and to acknowledge the things presented to you. Let them mold and affect you, and hopefully result to inspire you. I believe that once you tap into this awareness, you have the opportunity to create yourself and simply find your own unique footing, while becoming proud of what is revealed. Too many people are afraid of their own heads and the possibilities in life are endless, let those fears go. Don’t get me wrong; I have to remind myself of these things regularly.

What’s your worst purchase?

A pair of UGG boots I bought when I was in high school. I didn’t buy them because I grew up in a freezing cold climate, either… I grew up in Bakersfield. I cringe at the sight of those photographs when I believed they were cute with an A&F fringed denim skirt (yikes)!

Who is your best teacher?

My experience at Academy of Art University has been so much more than I ever expected, I feel privileged to have been taught by some incredible instructors that have been tremendously influential. But there have been two specific gentlemen that truly made an impact on me as a student and as a person. Gabriel Gima and Keanan Duffty are two teachers that will not be forgotten once I leave the Academy of Art, for they have given me beneficial tools that I will take with me as I delve into the industry I love—fashion.

Right off the bat, Gabriel Gima was adamant in making sure I was prepared beyond measure for each meeting. He laid a foundation of expectations and my perfectionist personality grew to new levels in which forced me to do better, to be better, and have just as high expectations as he did for myself, my work, and the way I presented myself to my fellow classmates. He questioned our thoughts as students and made sure we knew why we believed what we did, and this is why I continue to question what I think I know and to seek valid answers to. He has generated even more of an eagerness in me to consistently learn, in and outside of the classroom.

Keanan Duffty was a breath of fresh air—his energy is contagious, one can feed off his liveliness—and I immediately was drawn to his passion simply because it is evident he loves what he does. It is refreshing to witness an instructor in their element! They are so knowledgeable and you cannot help but be influenced and inspired. Keanan has truly made an effort to be a networking force for career opportunities that go further than the classroom; he is real and unabashedly his own entity. This is the kind of individual who makes it in the crazy whirlwind of the fashion industry. He encourages a mentality full of confidence and creativity. There wasn’t a day I left class not wanting to learn more.

Greatest advice you’ve received or would give? 

I’ve been very fortunate to be surrounded by such a supportive family and friend base that has always given me their raw input that has affected who I am as a person and the student I am today. But most importantly, my parents have truly been my driving force, especially my father. He has always pushed me to go after what I want, but has always made it clear to never forget where you come from and to not lose sight of what you believe in and what makes you who you are. I feel blessed to be doing what I love everyday. I’ve realized the brevity of life at a young age and with that, it has forever been grained in my mind to simply seek every opportunity and go after what you love, face the challenges that will undoubtedly arise, and let them transform you positively, for what will be for best. You simply have to believe in that; it will be for the best.

Interview conducted by Keanan Duffty 

PR/Special Events intern Sarah Lemp

Sarah Lemp is a BFA Fashion Merchandising student who will be graduating in Fall of 2015. She is originally from Castro Valley, California where she grew up playing competitive tennis. The natural born athlete was well known  for her tennis skills as a four-year varsity letter winner at Castro Valley High-school. She played the No. 1. singles position as well as earned All-League which led her to a position on the Academy of Art University Tennis Team. Though her love of sports were what originally motivated her, she recently left the team to began living a fashion focused lifestyle 24/7 . She has interests in merchandising, PR, and journalism. From where we stand her future is bright!

Ashley Castanos: How has it been transitioning from being a highly competitive tennis player to a full-time fashion extraordinaire?

Sarah Lemp: It’s been a shock but it’s also exciting, it’s a new start for me. I’ve had to switch my passion for sports and put my energy elsewhere.  I still miss the game, but at the same time I’m so focused on all the fashion projects I’m working on right now, and I feel like I’ve found my place in the industry. I’ve always been interested in fashion and I love what I’m doing right now; it fuels me creatively.

AC: It seems you’ve truly come into your own: as a Junior in the fashion program you were able to land a spot as a winner of the YMA Fashion Scholarship Fund (FSF) for your case study. What was it like attending the award show in NYC?

SL: It was such an inspiring experience–going to New York for my first time under those circumstances was surreal. To be recognized for your hard work, as well as celebrate fellow students’ accomplishments, was something I will never forget. I am very grateful to programs like the YMA FSF that help students excel in this industry.

AC: What do you want to accomplish before you graduate?

SL: I want to further my interest in fashion journalism by landing an internship with a  local San Francisco fashion publication. Eventually, next summer, I want to intern in New York for either Nylon, Harpers Bazaar, or Refinery29. I’m really going to go for it!

AC: What has been the most exciting part about your internship with the PR department so far?

SL: I would definitely have to say going to New York. Being able to facilitate press and coverage for the AAU designers at a Mercedes-Benz Fashion Week runway show was an incredible experience. There was such a positive energy backstage–it was truly contagious. I’ve also really enjoyed contributing to Fashion School Daily. I love writing.

AC: It’s your first semester on the board of the Academy’s fashion club: Beyond The Front Row (BTFR). What has that been like?

SL: I’m in charge of the volunteers as well as coordinating the BTFR events, and helping with this year’s graduation fashion show coming up in May. I love my fellow board members, we’re constantly doing something new. It’s fun to collaborate on projects and be able to see all of our plans follow through.

AC: Style wise, who inspires you?

SL: Miroslava Duma– she’s a risk taker when it comes to fashion, as well as Alexa Chung–she has effortless, bohemian-chic style.

AC: What fashion item are you coveting right now?

SL: A pair of Frēda Salvador shoes! The Freda Commet black leather boots with a removable silver chain are just beautiful. I’ve always wanted a pair of their shoes, it’s going to happen.

Editorial intern Ashley Castanos, (photo courtesy of Molly DeCoudreaux)

We are so thrilled for the designers that will be showing their collections this year at the 2014 Academy of Art University Graduation Fashion Show! As the day of show quickly approaches, the designers are anxiously awaiting their collections’ debuts. Get to know these talented students better and find out what inspired them for their biggest runway show yet.

Leo Lee, BFA Fashion Design student, was born and raised in Taipei, Taiwan. While attending Academy of Art University, he interned at Julia Panciroli Couture in San Francisco as a Design Assistant. Leo drew inspiration from the metal-patched artwork of Danh Vo, the confluence of sky and land and conflicting spaces. His womenswear collection captures the juxtaposition of soft with hard, contrasting the deep rivets to the rounded silhouettes that his mainly collection consists of. Leo used organza, chiffon, cow skin leather and 100 percent wool as the fabrics for his collection.

What advice would you give students who want to do collection?

Leo: Time management is really important for doing collection because there are so many other things going on as well-good time management will keep you on track.

What is your [style] motto?

L: The most important thing is that you’re comfortable in whatever you’re wearing.

Who are your favorite [fashion] icons and why?

L: Kris Van Assche is one-he mixes work wear and sportswear so perfectly.

Marcia Amandary, BFA Fashion Design student, was born in Jakarta, Indonesia but grew up in Perth, Australia. She draws on her experiences living in multiple countries to find inspiration and her design aesthetic. Before attending Academy of Art University, she studied Fashion Design at TAFE in Perth, Australia. Her womenswear collection was inspired by tessellation, which she translated into her collection by using geometric seams to create an illusion of three-dimensional perspectives. She wanted her collection to evoke a sporty vibe as well as play with fabric manipulation and angular silhouettes. Her collection consists of felted wool, lightweight wool, wool sweater knits and corduroys.

What is the best advice you have ever received?

Marcia: Nothing comes instantly-you must work for what you want to achieve.

What is your favorite memory of being in the School of Fashion?

M: Creating a collection of my own is something I will always remember.

Ignoring the cost, what [item of clothing / bag / designer] would you buy right now?

M: I would love to own an Alexander Wang “Parental Advisory” Sweatshirt.

Morgan Truong, BFA Fashion Design student, was born in Vietnam, but lived in both Singapore and New Zealand. Before attending the Academy of Art University, Morgan studied Fashion Design at the Raffles Design Institute in Singapore. While studying in Singapore, she won the 2011 Singapore Women’s Haute Couture Week  Competition. Once at Academy of Art, Morgan continued to be recognized for her talent and was awarded third place in Inspirare’s 2013 Global Design Competition. For her graduation collection she collaborated with Industrial Design student Han Huynh, who created the 3D printed accessories that were inspired by car engines. Her idea was to transform tradition by modernizing the shapes of both the interior and exterior of retro style cars. Her  collection consists of napa metallic leather, wool melton, hand-dyed Hmong cotton, silk, lycra and wool.

What is the best advice you have ever received?

Morgan: It’s good to work hard and keep busy but don’t spread yourself too thin.

What advice would you give students who want to do collection?

M: Have back-up plans for everything because then you always have a way out if or when things go wrong.

Which [items in your closet] do you most use?

M: Definitely my Bod & Christensen Leather Wrap Jacket because of its great fit, comfort, and attitude.

Stay tuned this week for more designer profiles to come and be sure to attend the Graduation Fashion Show on Thursday, May 8! 

Written by Sarah Lemp

“My silhouettes are based on classic Americana, but made fresh and functional with an infusion of trends from the current outdoor activewear market.” Tony Wloch

Tony Wloch, BFA Fashion Design student, was born and raised in San Diego, California and came to Academy of Art University with an AA degree in Merchandise Product Development. Tony worked as a designer for the local San Francisco-based company Betabrand for two years and has worked as a design assistant for both Farm Tactics and CC Couture, and has interned as a designer for Band of Outsiders.

Tony designed his senior collection with the goal of achieving a sense of luxury without using expensive fabrics but by taking lowly blue collar staples and elevating them through patch-working preexisting garments. He used cotton and linen chambray fabrics to create his pieces and all of the patchwork in his collection is made from recycled jeans and shirts.  The result is a collection that transcends both blue collar workwear and current activewear to become something new and everyday wearable for a young, high-end customer.

The illustration lineup for Tony’s collection.

Patchwork detailing on a garment from Tony’s collection.

What is the best advice you have ever received?

Tony: To a well organized mind, 24 hours in a day is more than enough.

What advice would you give students who want to do collection?

T: Don’t bite off more than you can chew. It’s important to design something you’re excited about, just keep in mind you’ll also have to actually sew it all at some point as well.

What is your [style] motto?

T: Add layers, add texture, repeat.

Who are your favorite [fashion] icons and why?

T: Hunter S. Thompson. He had no regard for fashion or style whatsoever, but his look is still so iconic.

“I wanted the collection to feel like you went all around the world and gathered something from every place you went; saris from India, Chinese robes and European duffel coats.” Annie Abby

Annie Abby, BFA Fashion Design student, grew up in Santa Cruz California. During her time at the Academy of Art University she has held internships in design, production, and styling at Aropostale, Indigo Hanloom, Nordstrom, and ENK International.  Her experience also includes costume design for six local theatre productions, eight years of fine art painting training, and our favorite fact — a second degree black belt in Tae Kwon Do.

For her senior collection Annie collaborated with knitwear designers Xingyu Hu and Ghazaleh Khalifeh. Her eco-responsible collection is comprised of 100 percent recycled materials including garments, curtains, tablecloths, and remnant fabrics. Most of the fabric remnants were a gift from the company “Indigo Handloom” which sells fabrics with zero-carbon footprint that are exclusively handloomed in rural villages across India. The majority of the fabric was purchased at a “pay-per-pound” clothing store for $35. She was inspired by nomads and their eclectic lifestyles.

Fabric details from Annie’s collection.

What advice would you give students who want to do collection?

Annie: TIME MANAGEMENT! This process was not too painful for me because I allocated my time from week one to week fifteen. I knew exactly what was expected when and added in extra time each week for the things that would need to be altered after a fitting.

What is your [style] motto?

A: Wear whatever the hell you want. I hate when people say, “I love it but I could never pull it off.” You can pull off whatever you want. It’s your style!

What is playing on your iPod?

A: I always go through phases wear I listen to the exact same playlist on repeat for months at a time. Right now I am hooked on Cold War Kids and the Arctic Monkeys.

Esther Shim, BFA Fashion Design Menswear student, was born and raised in San Jose, California. Prior to attending the Academy of Art University she completed an AA degree in Fashion Design. During her fashion design creative internship at Ralph Lauren, she was awarded the Ralph Lauren Summer Creative Intern Competition Winner, 2013. She is also a Joe’s Black Book Finalist, and won the CFDA Clara Hancox Scholarship Award for Menswear Design in 2013. Her senior collection was created with painted twill and cotton fabrics in various weights, loose weave wool, wool crepe suiting, wool suiting, 2 ply jersey and cotton shirting fabric. The jacket and coat in her collection were hand painted and dyed to create a look of watercolor application and a naturally aged appeal.

She was inspired by the idea that, “There is something about classic vintage pieces that stayed relevant through time. Tailored Japanese pieces especially evoke a stoic mysteriousness that brings elegance in their signature silhouettes, and a type of discipline that is recognized by those knowledgeable in the mannerisms of the culture. It is the simple nature found in the continuous state of identity rather than the coming and going of different faces as the seasons do.”

Illustration lineup for Ether’s collection.

What is your favorite memory of being in the School of Fashion?

Esther: Meeting and/or being able to study menswear with like-minded, talented peers under inspiring instructors that have continuously challenged us to participate in opportunities beyond our understood limits.

What is the best advice you have ever received?

E: Hard work always pays off and that you can always learn anything from everything.

Moodboard for Ether’s collection.

Who are your favorite [fashion] icons and why?

E: Patti Smith and Tilda Swinton because of their sense of identity in all that they do.

Which talent would you most like to have?

E: To be limitless and undefined.

Written by Ashley Castanos

“I created a collection for both girls and boys because I think there is a gap in the market for interesting, unisex clothing.” Jordan Epstein

Jordan Epstein, BFA Fashion Design student, grew up in San Mateo, CA. She recently completed a design internship at Abercrombie & Fitch, and she was the first place winner of the ASSOULINE Publishing “Impossible Collection” Illustration Contest in 2011. During her time at the Academy of Art University she has focused on childenswear. For her senior collection she created a line of unisex childrenswear, entitled Alex; which she explained as “Alex takes a critical view concerning the social impact of the stereotypically gendered market of children’s fashion.” She took  inspiration from artists such as Carlos Cruz Diaz, Briget Riley and Stephan Prina. Her prints cover a wide range of colors, textures, and optical illusions–highlighting childrens’ energy and constant movement. Her oversized silhouettes were inspired by vintage images of collegiate sports teams and the idea that Alex is trying on big brother’s/sister’s clothing.

“I created a collection for both girls and boys because I think there is a gap in the market for interesting, unisex clothing. We have capitalized on segregating children by gender–leveraging products that encourage children to adhere to particular colors, graphics, and conceptualizations surrounding what they are ‘supposed’ to like. Alex is masculine, feminine, and most importantly, childish.” Jordan collaborated with BFA Textile Design student Sheni Moshabesha. They used cotton twill, cotton shirting, cotton jersey, poly-ribbing, silk lining, foam, and cotton batting to create their collection.

Image taken from Jordan’s sketchbook.

What advice would you give students who want to do collection?

Jordan: Stay positive. It is easy to become overwhelmed with the stress, high intensity, and changes that come with this project. However, you are in charge of your outlook on collection. Research, experiment, and use your teachers as strong resources. You are the driver, your instructors have a map, and there are endless routes to get from point A to point B. This year is highly creative, exciting, and rewarding.

What is your [style] motto?

J: You’re only in your early twenties for so long–wear things that showcase your youth! Mix n’ match prints/color, buy crazy vintage finds, and shorten those hemlines!

Image of one of Jordan’s Childrenswear garments, and a detailed fabric image from her senior collection.

Which talent would you most like to have?

J: I am not so sure I believe in talent. Talented people have worked hard, faced challenges, and problem solved. For example: drawing, singing, persuasive speaking and business all require practice, determination, and persistence. Patience is something I need to keep practicing.

Who are your favorite [fashion] icons and why?

J: Jane Birkin because she has a youthful, quirky, effortless nature to her style, and Iris Apfel because she has always been fearless.

“Be passionate about your work. At the end of the day, that enthusiasm is what makes you a better artist.” Sheni Moshabesha

Sheni Moshabesha, BFA Textile Design student, was born in Maseru, Lesotho, Africa, and grew up in both Montreal, Canada and Nairobi, Kenya. She earned her Diplôme d’Études Collégiales
Womenswear Fashion Design at Lasalle College, Montreal, Canada, in 2009. She recently received a YMA Fashion Scholarship Fund in New York, NY. She designed and produced items for the annual Discarded to Divine charity Auction held at the deYoung Museum in San Francisco.

For her senior collection she collaborated with BFA Fashion Design student Jordan Epstein. They used cotton shirting, cotton jersey, and cotton twill fabrics. Sheni was inspired by graphic art and optical illusions; in particular Carlos Cruz-Diez and his application of color and line to create movement in his artwork. Additional inspiration came from Henri Matisse’s paper cutouts and Roy Lichtenstein’s playful use of bold colors.

Images of Sheni’s colorful textiles.

What is the best advice you have ever received?

Sheni: Love what you do.

Ignoring the cost, what [item of clothing / bag / designer] would you buy right now?

S: A Lanvin Partition bag

What is your [style] motto?

S: Wear what makes you feel good.

Which talent would you most like to have?

S: The ability to sing like Ella Fitzgerald.

Who are your favorite [fashion] icons and why?

S: Naomi Campbell, Kerry Washington, Beyoncé, Solange, and Cher Horowitz because they all have so much fun with what they wear.

Aile Hua, BFA Fashion Design student, was born in Vietnam, and grew up in San Jose, CA. She currently holds a spot on the President’s Honors List at the Academy of Art University. Her design expertise and experience includes fashion design internships with Cary Lascala, VPL by Victoria Bartlett, and BCBG Maxazria(specifically in cocktail and evening dresses). She received an Honorable Mention at the 2013 Geoffrey Beene Design Scholarship Fund, and her fashion illustrations were showcased in the Academy of Art University Spring Show in 2010.

Her senior womenswear collection was inspired by the space age and astral influences which are translated to rose quartz. She used a soft color palette including lunar white, cream, blush pink, grey, and black. Pieces of rose quartz were sewn by hand onto her garments one by one. Some are placed randomly while others are placed according to constellations. She used a mix of silk/wool blend fabrics, silk gazar, silk metallic, silk satin duchess, solid mesh, and power mesh fabrics; the pink mesh is hand-dyed.

Illustration lineup for Aile’s collection.

What is the best advice you have ever received?

A: Do what makes you happy.

What is your [style] motto?

A: Dress how you feel.

Which talent would you most like to have?

A: To be multilingual and ambidextrous.

Written by Ashley Castanos

Rosita, Angela and Margherita Missoni with the President of the Academy of Art University, Dr. Elisa Stephens, at the luncheon that followed the Fashion Symposium on May 7th, 2014. Photo by Drew Altizer.

We are still reeling with excitement from last week’s fashion events that took place at The School of Fashion. Last Wednesday we were able to witness a casual family affair between three generations of Missoni women. International Vogue Editor, Suzy Menkes, along side the Executive Director of The School of Fashion, Gladys Perint Palmer, interviewed Rosita, Angela and Margherita Maccapani Missoni.

Those who attended the Fashion Symposium were granted a rare insight into the Missonis way of life and their family-run business. The Missoni women interacted with each other just like normal family members do, discussing their passions, secrets to success, fights and even their shared love for Italian cooking.

Three generations of Missoni women, all in smiles. Photo by Drew Altizer.

The matriarch, Rosita, mastered the art of looking glamorous yet casual in a green, orange and white sweater with draped fringe. Rosita led the talk with a bit of history of their brand and the start of an iconic name. She held a joyful tone when she spoke of her late husband Ottavio (Tai). She recollected how they met at the 1948 Olympic games. Suzy, who donned a green silk jacket and navy dress, described the Missoni brand as always having “curiosity” and explained that this attribute “is kind of the essence of creative people.” She posed the question, “How do you all work so well together?” Rosita responded with, “Good luck, enthusiasm and passion.”

Suzy pressed on, “Do you ever fight?” and Rosita responded, “Fighting is life.”

Throughout the discussion the Missonis continuously referred back to their roots. These origins were set in the 1960s when Tai and Rosita built their factory and home on the same property.  Rosita credits this piece of land as part of their success, “A place to have our creativity was the secret of our lives.”

It’s because of this decision that the family remains so close. They still have family dinners; Rosita and Angela are fabulous cooks, however Margherita “has other talents,” they joked.

The discussion continued with a timeline from when Angela, who had previously designed for her own collection, stepped up and began her role as the head designer. “Mom was surprised that I could put together a collection,” Angela explained. Suzy described the monumental shift as a sophistication that Angela brought to the brand. Rosita also complimented Angela by saying her daughter had brought, “the spirit of a new generation.”

The younger generation of Missonis were all present at the celebratory luncheon, (from left to right) Margherita’s husband Eugenio Amos, Teresa Missoni, Francesco Missoni, Margherita Missoni, and Marco Missoni. Photo by Drew Altizer.

Rosita’s granddaughter Margherita, the accessories designer and brand ambassador, sported white linen pants with sheer stripes and a cropped blue and a white zigzag Missoni printed blouse. After living in New York for five years, at the age of 26 Margherita told her mom that she was ready to come back home to Italy. She felt a strong connection to her home country, “One of the strongest emotions I have is a sense of belonging.” She has been labeled the company’s “unofficial muse,” and her mother’s reasoning was that, “She had something very special. She had charisma, and she was believable in my clothes, absolutely believable.”

Margherita’s youth and beauty are just two of many reasons the public has taken on such a fawning over the heiress. Her description of her recent attendance to the Met Gala supported her humble personality, “It was very glamorous. [It was] fun to see all the gowns and people putting effort into being beautiful.” While she was definitely one of the many adored celebrities to walk the red carpet, she described the scene as though she was a fan watching it all. Marghertia enlightened the crowd with some humor when she described many of the ball gowns, as beautiful, yet somewhat of a hassle when it came to fitting into seats and avoiding getting stepped on.

When Margherita was asked about her role in the company’s success, she explained how the differentiation between work and life are nonexistent. “Everything you do has something to do with your job because you’re passionate about it.”

Rosita admiring the beautiful Missoni adorned cake. Photo by Drew Altizer.

The discussion wrapped up with students posing questions to the famed family. The students’ main curiosity was about how the brand remains relevant today and how they continue to produce new and exciting designs season after season.

Suzy paraphrased the question, “Where does that innovation come from?” Margherita responded, “[This is] something that came from a real spirit from my grandma and grandpa. This is a way of life.” Angela added, “It’s an invention that goes on. I have a very precise memory of every collection. I just go on, I never look back.”

Margherita closed with a memorable declaration, “We live on the edge.”

Written by Ashley Castanos

Carolyne Zinko

Academy of Art University fashion students were recently treated to a passionate discussion of all things fashion, trends, and the “new world of fashion journalism” between San Francisco Chronicle Style section reporter Carolyne Zinko and School of Fashion Merchandising instructor, Hersha Steinbock.

Carolyne reached out to Hersha for her expertise in reporting a Spring 2014 trend-forecasting piece (Fiercely floral dominates delicate spring) that appeared in the Chronicle’s Style section. The article did not end the conversation, which continued so well that Carolyne agreed to participate in two discussions with Hersha’s fashion students.

What began as an introduction about Carolyne’s journalism career quickly turned into a conversation regarding the new fashion media and the different perceptions of its changes. Carolyne explained how she began reporting for the Chronicle in the mid-90s covering hard politics and news on the Peninsula and Silicon Valley.

“I started out as a hard-boiled crime reporter,” Zinko explained, “it’s an old-fashioned term – calling someone “hard-boiled” means they’re serious, down to business, solid in their field,” like a hard-boiled egg, firm inside, as opposed to a soft and runny yolk, “As a reporter you start at the bottom then work your way up. You learn to write incredibly fast. I covered city government meetings, public records, and politics. During these long meetings you have to learn how to make boring things sound interesting all of the time.”

Image via SFGate.com

Her ability to speedily and clearly share her findings led her to cover the society column from 2000-2004. “I transitioned to covering rich society people, and community figures.” She carried on, “I did that for four years. When I wrote for the society column I was able to meet a lot of people.” Eventually she started covering fashion related events, at boutiques, stores, and parties. This led her to the style section.

Zinko is now wearing many hats – from reporter to social mediaist, to videographer, to semi-fashion director and layout coordinator. She calls the Chronicle “a digital media company that also has a newspaper.” It’s become the standard that some of her articles, must include social media posts as well as a short video clip with a summary of the article uploaded to the web before appearing in the newspaper.

The distinction might sound strange to a younger demographic of journalists who couldn’t image not tweeting about their newest published piece. This opened up the idea of the difference between being a newspaper journalist as opposed to being a blogger or a magazine writer. I made the point that most twenty something’s might not find print to be as attractive as say instant information on their smart phone or tablet. Zinko noted that the Chronicle is aware of these findings and has since produced the ground-level news blog SFUnzipped, from the SFChronicle’s style team. She encouraged all young people to keep up with the news (in any way shape or form) and to be informed about social issues.

“It’s important that everyone is aware of the news, knowledge of the world will relate back to how worldly, local, and political affairs can affect business,” Zinko emphasized, “Things like political movements, environmental factors, and art movements all have an impact on us. You should come across as an informed person- this is a no dumb-ass zone.”

Image via SFGate.com

Carolyne elaborated on her point and used fashion critics as an example, “Certain fashion critics have earned respect and credibility because of their knowledge of fashion history. They were educated on the industry, brands, and fashion figures. Critics like Cathy Horyn are respected because of how she is able to reference style, and previous design…,She has knowledge of her topic.”

When Hersha asked Carolyne her thoughts on celebrities’ impact on beauty and fashion, while holding up the newest edition of Vogue – with Kim Kardashian and Kanye West on the cover. (The class started to groan.) Zinko responded:

“Fashion magazines like Vogue are reflecting the culture. Having huge celebrities like Kim and Kanye on the cover of Vogue is nothing that hasn’t been done before. It would be the same as if Michelle Obama or Hillary Clinton were on the cover – these are influential people whose sense of style, beliefs, and opinions were relevant at the time.”

She noted that newspapers are considered ‘traditional media’ and have certain boundaries to uphold that are very different then that of a fashion magazine. Celebrities on the red carpet may get paid hundreds if not thousands of dollars to wear a designers gown just as bloggers will don ‘gifted’ outfits from head to toe for a fee. Carolyne has been offered many times to wear local designers dresses, (some being couture) to society events but every time has had to refuse.

“I don’t admire [the looks of} any celebrities in magazines,” she said, “because more often then not [in the photos] they didn’t get ready themselves. They have so many handlers and stipulations now [during photo-shoots] that instead of printing the most compelling image we only see the least offensive one.”

One of Hersha’s students asked about dressing the part at high-end functions or parties, Carolyne responded,“Being a working journalist means being on a budget. There’s a job to do and my job is not to be the center of attention, if anything its to easily blend in and not draw attention to oneself. For events I stick to basics, classic pieces that can be worn time and time again. I treat myself to a nice pair of Prada shoes or a designer handbag every two years as to always look presentable and I never buy knockoffs!”

Hersha recollected one of Carolyne’s most memorable articles, when she flew to Europe in 2007 to interview the designers and owners of the fashion house, Ungaro, as well as attend their show at Paris fashion week for a piece for the San Francisco Chronicle Magazine.

“I decided to go to Paris to interview the designers of Ungaro as well as the new owner,” she said, “I flew out there on my own dime. They offered to pay for my flight as well as cover my hotel accommodations but I refused the offer in order to keep things ethical. As a reporter I am constantly making decisions like this, it keeps the integrity of the article intact.”

Hersha explained that the article has stuck in mind ever since it was published because it was one of the first articles where the Bay Area’s technological environment had intersected with a fashion brand. Before then it would have been odd for a tech mogul to invest in a fashion company so outwardly. Carolyne jumped at the chance to write the article as soon as she found out that a venture capitalist, Asim Abdullah, and his wife Dr. Isha Abdullah, from Atherton, California had bought the esteemed fashion house.

Carolyne focused on what was important in the fashion industry is making connections, attending events to network and create strong contacts with other industry professionals. She never knows who she might meet or end up sitting next to. It was through these events that she connected with Ken Downing, the fashion director for Neiman Marcus. He is an incredibly valuable source for trend forecasting, since he is responsible for outfitting all 42 stores with only the best designer garments throughout the world. He currently is putting together the fashion show for the San Francisco Ballet Gala.* Carolyne has received his expert opinion on trends in the past. Another one of Hershas students asked a question about how the SFChronical chooses which trends and styles to write about, Carolyne responded,

“It’s all based on the location of the [news] paper, age group, finances, climate and geography. It’s important [for me] to think about the Bay Area [people] and their lifestyle, and their opinions to know what to cover. What’s important is what the people want.”

*The fashion show sponsored by Neiman Marcus for the San Francisco Ballet occurred April 3. It ran on the cover of Sunday Style on Sunday, April 13, 2014.

Written by Ashley Castanos

There are many people that require dedicated effort to hone their talents. This commonality reigns true for so many, and while it doesn’t lessen their talents, it demonstrates the amount of hard work that is needed to perfect their gifts. While hard work is always an important component of success, a lucky few possess innate talent that sets them ahead of the crowd.

Ghazaleh Khalifeh, MFA Textile Design, is among this distinguished group of individuals who was born with the gift to create. Having a line of family members involved in design, it was inevitable that she be involved in it herself in some way.

Ghazaleh is currently living the dream—in 2008 she was the recipient of the prestigious Geoffrey Beene $25,000 scholarship award from the CFDA, and in 2010 she showed her designs at the May Graduation Fashion Show right here at Academy of Art University. Even with her assorted accolades, Ghazaleh will be the first to express her limitless humility and make known that she has worked at great lengths to reach this point.

I sat down with Ghazaleh to hear more about her inspirations and aspirations. It’s clear that the honors and success she has had thus far are just the beginning for Ghazaleh!

Textile Print by Ghazaleh Khalifeh

Alexa Palacios: Tell us a little bit about your experience in design.

Ghazaleh Khalifeh: In 2010 I got my Bachelor of Fine Arts in fashion design from the Academy of Art University. In 2008/2009 I studied at L’École de la Chambre Syndicale de la Couture Parisienne in Paris, France, through a French Exchange scholarship. In 2010 I did an internship at Diane Von Furstenberg in New York. In 2012, I began my pursuit towards a Master of Fine Arts degree in textile design, and I am currently halfway through the program.

AP: Knowing that you have numerous designers in your family, how did their designs and experiences influence you in your designs? Was it as if you were born into the design world?

GK: For many generations stemming back to Iran, many women in my family have been altering, constructing ,and designing made-to-measure garments. I have been surrounded since birth by industrial sewing machines, bolts of fabric, and even the cast-iron tools of my ancestors. I’ve been amidst the rawness of garment construction from its purest stage, which has always thrilled and grounded me immensely.

Textile Print by Ghazaleh Khalifeh

AP: 2008-2010 were very exciting and accomplishing years in your already soaring career. What were those experiences like – winning the Geoffrey Beene scholarship, studying in Paris and showing in the graduate fashion show? In what ways have those experiences impacted your career thus far? 

GK: Being the recipient of recognition of industry professionals such as the CFDA has been an honor for which I am so grateful. I am also thankful for the support I have received from many people in my life, particularly my parents and the fashion department at the Academy of Art University. I never thought that I would be sent to live in cities like New York and Paris, and I’m so glad that I had those opportunities because I discovered new places and relationships that I still maintain and hope to have for the rest of my career. When I look back at those years, memories  are all tangled together. From glamorous to surreal, from hard work and payoff to struggle, from it all I learned life lessons that I can still tap into as I move forward with my life.

AP: Your textile work is highly expressive and your inspiration seems extremely varied, as not one design is identical to another. What would you say is one constant source of inspiration for all of your designs?

GK: While the variables in my work have been different techniques that I have been studying, as well as different levels of growth and evolution, a constant source I pull from is my intensely raw and sensuous relationship with life.

Textile Print by Ghazaleh Khalifeh

AP: Can you tell me a little about your experience as a graduate student at Academy of Art University? How are you preparing yourself for the end of your academic career? 

GK: My time as a graduate student has led me to the most focused and grounding years of my educational career. I’ve returned to academia with a thirst that makes it impossible to take this opportunity for granted. With everyday that has passed I have further attempted to be as present as possible and take advantage of my time with so many professors who impart impactful guidance and wisdom.

AP: What are your short-term goals for after you graduate, and what long-term goals do you have for yourself and your already successful career? 

GK: In the past I would have listed several specifics in response to a question about my future. And while I value and somewhat maintain specifics that have refined and sharpened my goals, I have come to value taking one day at a time try to exist in a time without any said-declarations. Just as the past is where it belongs, so is the future.

AP: What are some words of advice, inspiration and wisdom you can impart on Academy students looking to find similar success in their respective careers in Fashion? What do you think you discovered within yourself that has propelled you this far? 

GK: Among the elements within that have propelled me to this point, there’s a certain type of atmosphere that I’ve always sensed within and aimed to express. It feels like some sort of winged creature that I cannot yet fully capture for more than fleeting moment, if ever. But whether I ever do or not, I sense that this somewhat frustrating pursuit is in itself, a treasure. Build your dreams from the inside out.

Written by Alexa Palacios

@IDressThereforeIam

http://idressthereforeiamla.com

Image courtesy of Henry Rollins

Keanan Duffty talks to Henry Rollins, the former frontman of the hardcore punk band Black Flag. Rollins is also a writer, journalist, publisher, comedian, activist, radio host on KCRW and actor on FX network’s Sons of Anarchy.

Keanan Duffty: You’re a very driven personality and your work so far has spanned music, film, spoken word, publishing, photography, video games, and a radio show…am I missing anything? What keeps you focused, energized and creative?

Henry Rollins: I am angry. That’s it, basically. My anger fuels my curiosity and I go forward. I am not as much creative as I am in motion. If you keep moving, keep putting different things on the schedule, you keep running at it. You’re forced to move towards something. This is a good way to work if you want to get things done and you’re not creative. You can employ dissatisfaction, desperation and fury to what you do and you will get there. As soon as you get there, catch your breath and get onto the next thing.

Image courtesy of Henry Rollins

KD: You appear in FX’s Sons of Anarchy as A.J. Weston, a white-supremacist gang leader. Is it great fun for you to be ‘playing against type’?

HR: It’s not fun or much of anything else besides work for me, really. It was a job and I took it. I am extremely grateful for the opportunity but I don’t consider “type” or anything else. It’s a script and you do the work, that’s all it is for me, honestly. Doesn’t mean you don’t give it your all, but I don’t get hung up on who or what I think I am.

KD: Can you tell me when you started taking photographs and how “Occupants,” your recent book of photography, evolved?

HR: I have been taking photographs, every now and then, since I was young. When my destinations became more interesting—that is to say, when I traveled for reasons other than being onstage—I started getting more ambitious about composing a shot and getting my head around better gear. One thing lead to another and I had the audacity to put out a photo book.

Image courtesy of Henry Rollins

KD: I recently spoke to photographer Richard Kern, who you worked with in the 1980s. I asked Richard about the perceived influence of his work on mainstream culture and offered up American Apparel as an example. Richard demurred, saying he thought American Apparel ads were more influenced by Terry Richardson and that the only famous person who has told him that they were influenced by Richard’s old films was Darren Aronofsky. How do you feel about your influence own on contemporary culture, and do you feel more established as time passes?

HR: I don’t think I have had much or any influence on any culture anywhere. I am one of many people out in the world doing things. I don’t feel the need to be established. It’s nothing I aspire to. It sounds like someone else’s value system. I do the work I think I should do and get by as best I can. As to the impact I have had, if I am to believe all the letters I get and the things that are said to me, I guess some people have found what I have done to be useful. That is what it’s all about for me. To have been of service. That’s all there is when you output something and sling it out into the world. If it does someone else some good, then, that’s a good thing. I think almost anyone who thinks they are influential are probably not. It’s like when someone tells me they are a philosopher or an artist or writer. If you were any of those things, you wouldn’t feel the need to let me know.

KD: You are an amazingly outspoken human rights activist and promoter of LGBT rights. Do you feel we’ve actually turned a corner in contemporary America where being gay is accepted by average Americans?

HR: We are definitely getting up the road to a rudimentary understanding of the First, Fourth and Fourteenth Amendments, yes. I think Americans, especially the younger ones, will not be conned into the stupidity and ignorance that came before them. I think that things are changing for the better. I come to this conclusion because I see how loud the intolerant are howling. They know their way is coming to an end and they are going down hard. I would expect nothing less, of course but they are definitely going down. They’re not taking it well.

KD: What piece of advice would you give to our students who want to pursue their own creative endeavors after they graduate?

HR: Whatever it is you want to do, want it more than anything else you have ever wanted in your life. It has to be number one in your priorities. I’m not saying that you can’t have a lot of fun along the way but at some point, you really have to get serious on what it is that you will be going after. This is how you get the best out of yourself. This is how you find your personal truth. Once you have that, the world will have to look out because you are coming.

Interview conducted by Keanan Duffty 

Image courtesy of Daniel Leidheiser

Originally from Catawba Island, Ohio, Daniel Leidheiser moved to San Francisco to earn his BFA in Textile Design. Daniel’s rebellious designs and natural talent caught the attention of Senior Director of Fashion Keanan Duffty, who was Daniel’s instructor in a product development class. Seizing an opportunity offered to him by Keanan, Daniel created designs for the Pop Up SHOP, customizing merchandise generously provided by UNIQLO. In today’s spotlight, we interviewed Daniel about his inspiration, style motto, and his collaborations with San Francisco gym STUDIOMIX and fashion illustrator Devin Daniel.

Doreen Du: What made you decide to come study at Academy of Art University?

Daniel Leidheiser: I originally came out to the West Coast to visit a family member that had just received a high-ranking position at Stanford University. Upon visiting and testing out the local culture and FOOD… I just couldn’t leave it. 

Custom textiles created on UNIQLO garments by Daniel Leidheiser

DD: How did you work with and customize the merchandise for the Pop Up SHOP that was provided by UNIQLO?

DL: There weren’t any limitations set from the beginning. I bleached, dyed, striped and heat pressed eat piece by hand. I was a little bit of a rebel. Doing everything with every material my directors told me NOT to do really drove the project even further. The results were fantastic.

DD: Now that you’ve seen the Pop Up SHOP come together, what are your thoughts on how it turned out?

DL: I thought the Pop Up SHOP turned out great! The merchandising kept the customers engaged with the product, which was awesome. I liked that there was a variety of product opposed to just a few pieces. I loved working with the UNIQLO product. It was blank canvas and you just couldn’t miss a beat with the comfort of their casual wear.

Custom textiles created on UNIQLO garments by Daniel Leidheiser

DD: What kind of customer do you envision wearing your customized garments?

DL: Ultimately someone who isn’t afraid to take a risk wearing an abstract print. We all have some kind of unique style confidence inside, it’s all about how you express it.

DD: Have you done any other interesting collaborations with SF brands lately?

DL: I collaborated with a San Francisco start-up, STUDIOMIX, a 30,000 square foot health club located in the heart of the city. I recycled their old materials including latex, acrylic paints and worn yoga mats, resulting in contemporary pieces of artwork for their space. It was a great experience working with such a large, brand new company in the city. I created a collection of pieces designed specifically around their aesthetic and brand identity. Each piece placed in various spots in their phenomenal urban space. I also donated two pieces of my work for their two-year-and-growing anniversary party, which were auctioned off alongside their corporate partnership donations. There was a photo booth set up at the event and the couple that won took some awesome shots with the pair of textile prints!

STUDIOMIX design collaboration with Daniel Leidheiser

I also collaborated with a New Orleans native Fashion Illustrator, Devin Daniel. We created a line of lightweight scarves designed around the old southern New Orleans style, but introduced a modern twist by utilizing digital prints on sheer fabric. The label, Lourde&Krewe is sold in small boutiques in the French Quarter of New Orleans and has been developing more each and every month.

Lorde&Krewe collaboration with Daniel Leidheiser

DD: How has going to school at AAU affected you as an artist?

DL: The amount of people and diversity I was thrown into was so profound to my education. You kind of think you know it all until you get that one instructor or you make best friends with that one crazy person that changes your whole outlook on so many aspects of your life. It’s invigorating.

To see Daniel’s custom textiles as well as other fabulous garments and accessories by School of Fashion students and alumni, stop by the Pop Up SHOP at 625 Polk!

For more Student Spotlights, click here.

Written by Doreen Du.

Image courtesy of The North Shore Animal League

Keanan Duffty talks with John Bartlett who, apart from being a genuinely lovely guy, is an extremely talented designer and dedicated supporter of the North Shore Animal League. Bartlett launched his label in 1992, and his success earned him two Council of Fashion Designer of America awards as well as a Perry Ellis Men’s Wear award.  He then expanded into womenswear in 1997; his collection used luxurious Italian fabrics and echoed other American designers like Halston and Bill Blass with the use of clinging jersey dresses and sharp tailored jackets.

Keanan Duffty:  You recently announced that you’ve become vegan and will no longer use leather in your collections. Would you agree that it is relatively easy for all designers to find credible, aesthetically pleasing alternatives to leather and fur and more of us should follow in the footsteps of designers like yourself and Stella McCartney?

John Bartlett: I feel that the fashion community is caught up in the illusion of “luxury” and many designers feel the need to use fur and leather to speak to a more expensive customer. If you look at Stella’s work, the quality is incredible and she is able to create high fashion without contributing to the suffering of animals. I chose to become vegan after the incredibly upsetting return of fur on many runways. I could not understand the disconnect and why people who say they love animals work in fur especially.

I started to speak out against the fur industry and wanted to be very clear about my stance, so I discontinued using leather. I am not completely convinced about fake fur as it promotes the look of fur and may send the wrong message. I do think that faux leather shoes and belts are important especially for professional men and women who may not be able to wear canvas gym shoes to work.

My feeling is that it is time for the fashion community to recognize their responsibility on a global level. Fur and leather manufacturing is very damaging to the environment and I applaud anyone in fashion who is seeking alternatives that better serve the animals, the earth and our industry’s progress.

Image courtesy of John Bartlett

KD:  You are a big supporter of the North Shore Animal League. How did you get involved?

JB: When I turned 40, I visited the North Shore Animal League looking for a rescue dog and I met my sweet boy Tiny Tim, who was a tripod. He had lost his leg in a car accident and rescued from another shelter where euthanasia is common and brought to North Shore. His leg was amputated on Christmas Eve, and therefore he earned the name Tiny Tim after the Dickens character.

When I opened my store, Tim became my unofficial logo and now I have launched a complete online collection with his image to help raise money for rescue dogs everywhere. I have done several adoption events at my store with North Shore and I am now starting a Tiny Tim rescue fund to help raise money for independent rescue groups who are pulling from the high risk municipal shelters.

In 2000, John Bartlett dropped out of the fashion business for a short time, making a comeback in 2003 with a small collection of menswear, which he showed at the Harvard Club. Bartlett opened his first store in New York’s West Village in 2007 and in 2008 he was appointed Liz Claiborne’s Creative Director for their men’s sportswear line. Bartlett continues to grow his signature menswear line and recently entered the e-commerce arena.

KD: Online media and e-commerce have changed the way we receive information and shop. What in your opinion are the pros and cons of the online world?

JB: I launched my own online store, as I mentioned above, and I am blown away at the ease with which I can maintain it. I do feel that many people are drawn to the web and prefer shopping from home. I am excited by the future of online shopping as well as the future of social media and its effect on internet shopping and communication.

KD: You often say that at Harvard you studied night clubbing. Can you share a fun 1980s club story?

JB: Gosh, I don’t have any particular story per se…while most of my fellow students were studying I gathered a great deal of my education from being out in the nightclub world. As a sociology major I realize now that the combination of my sociology background and being out in Boston at the clubs was a great preparation for a career in fashion. One of my favorite clubs was called SPIT, and on Tuesday night it was a very cool mixed crowd new wave night. I liked to wear a mailbag as a skirt and lots of brooches and Salvation Army clothes…such a blast.

http://www.johnbartlettny.com/

http://www.animalleague.org/

Interview conducted by Keanan Duffty 

Image via Google.com

Whether you’re a recent grad or still have a few semesters to go, planning for your post-college employment is one of the most important things you can do.

Not sure about where to start when it comes to thinking about jobs and internships? Never fear– check out the Academy of Art University-hosted “Your Career, Our Advice” career seminar this Friday and get to work planning your future!

Your Career, Our Advice

When: Friday June 27^th

Where: 79 New Montgomery Street Theater

Schedule:

• 9:30 am – 10:30 am – Our Top 5 tips for career success: including what makes a stellar resume, learn portfolio best practices, and why your art needs to be online.
• 11:30 am – 12:00 pm – Perfect your pitch: your dream company or favorite gallery asks you about your work. What do you say?  We’ve got the answers!

For Academy of Art University students who wish to enter the world of Fashion publicity, LaForce + Stevens is one of the premier agencies to work for. James LaForce directs a wide range of communications programs across the agency’s diverse client roster, which includes Adidas, Keds, Gilt Groupe, Swarovski Crystallized and Target. With a very nimble approach, he blends his business savvy with an insatiable interest in the trends and personalities of the ever-changing media landscape.

LaForce was raised in Green Bay, Wisconsin, and studied English Literature and writing at Columbia University. For five years, the legendary fashion publicist Eleanor Lambert, who is often credited with putting American fashion on the global map, mentored him.

With many multi-year stints at top PR firms under his belt, he has managed programs for a range of prominent brands, from consumer packaged goods to fashion and luxury products. Laforce was also recently featured in Lifetime television’s 24 Hour Catwalk alongside Model and TV personality Alexa Chung, Harpers Bazaar contributor Derek Blasberg and designer Cynthia Rowley.

LaForce and his partner of twenty years, writer Stephen Henderson, live in Manhattan and spend weekends on Long Island. But he is happiest at his office sending out emails and “calling around to bug people.”

Keanan Duffty: How did you get into the business?

James LaForce: I lucked into a job with Eleanor Lambert, the legendary fashion publicist.

KD: What is the one piece of advice you would give to students in order to promote their work in today’s market?

JL: I think it is the same advice you would give a friend about any part of their life:  be yourself, bring the best of yourself every day to whatever you do.  I think in fashion and art today, “being yourself,” isn’t easy.  An artist can look at Instagram and, if they choose, see great work from artists and makers around the world.  That can be inspiring or paralyzing.  Each person has to find his or her own unique way to navigate all the noise around us.

KD:  What’s your favorite ‘fashion moment’ so far in your career?

JL:  In our business: you are only as good as your last big project. So I would have to say helping Target launch the Missoni for Target collaboration was a big one.

KD: Give us a really off the wall anecdote/story. Something that not many people will know about.

JL: I launched a cosmetic surgical procedure to use a cosmetic filler to create an enhanced cupid’s bow. It is the bow-shaped ridges above our lips. We called it the “Paris Lip.” Our spokesperson was Lauren Bacall, she stood at the podium at the Ritz Hotel in Paris (where else would you launch the Paris Lip?). She recited her famous line from Key Largo, “You know how to whistle don’t you? You just put your lips together and blow.” We got a lot of press. But I don’t think the procedure ever really caught on.

KD: How is the rapid information exchange via the Internet changing the world of fashion publicity?

JL: On the one hand, everything has changed. And in another way, it is all the same. The New York Times, WWD and Vogue are still the essential voices in the fashion conversation. However, with hundreds of sites, blogs, YouTube channels, the conversation has become much broader, more international, and more democratic.

http://www.laforce-stevens.com/

Interview conducted by Keanan Duffty   

Image courtesy of John Shearer

Keanan Duffty talks to Dana Thomas, author of the New York Times bestseller “Deluxe: How Luxury Lost Its Luster. Thomas is a contributing editor for WSJ, the Wall Street Journal’s monthly magazine; she began her career writing for the Style section of The Washington Post in Washington, D.C.

From 1995 to 2011, she served as a cultural and fashion correspondent for Newsweek in Paris and has written for the New York Times Magazine, The New Yorker, The Financial Times, Vogue, Harper’s Bazaar, Architectural Digest and Elle Décor. Thomas was the European editor of Condé Nast Portfolio. In 1987, she received the Sigma Delta Chi Foundation Scholarship and the Ellis Haller Award for Outstanding Achievement in Journalism.

Image courtesy of Dana Thomas

 Keanan Duffty: Since your book “Deluxe: How Luxury Lost Its Luster” was published in 2007, the world has experienced a major economic downturn similar to the Great Depression. How do you think this has affected the luxury sector specifically?

 Dana Thomas: The downturn whacked the luxury industry at first—sales were sluggish, tastes changed, bling and logos evaporated. It was, for a brief time, no longer cool to show off your wealth since so many people lost theirs. But that lasted two years max, and now the taste for luxury is bigger than ever. You see it on the real estate pages—the mammoth houses for sale at astounding prices. You see it in glossy travel and fashion magazines, with adds and stories hyping wildly expensive destinations and products. And it’s all selling. The downturn made the spread between rich and poor even greater—in reality, it killed the middle class—and the rich got so rich they now spend at a dizzying pace. Proof: Haute Couture has a slew of new young customers who are fine with paying $100,000 for a dress they’ll wear once, maybe twice. At the same time, Asia has boomed, particularly China, and the middle market consumer base has shifted there. Major luxury brands are experiencing record sales in Asia. This is their short and long game for the moment. And it’s making shareholders very wealthy.

 KD: What are the key ingredients to launching a European fashion or accessories brand in China or India?

DT: There are a few big differences between Asian and the West when it comes to luxury. Asians—and Japanese in particular—are obsessed with quality. They will not buy something that is not well made, or has a flaw; you won’t see them in an outlet buying rejects at a reduced price. They care deeply about logos—that’s why accessories such as handbags and belts and watches are such big sellers: because they like to be seen wearing a certain product, as if it denotes their class, taste and wealth.

When a luxury company moves into beauty, for Asian they must launch a skin care line rather than make-up; Asian women wear very little make-up, they keep it light. But they are obsessed with their complexions: the whiter and milkier, the better. I have heard that at major luxury companies, when a new product is introduced at a marketing meeting, you will hear: let’s test it in Asian first to see how it plays. And off it goes to focus groups in Asia. If it doesn’t play in Asia, it doesn’t get produced.

I don’t know about India.

KD: Burberry has recently spoken up about a Greenpeace report that some of its children’s clothing contain hazardous chemicals that are believed to disrupt hormones,  saying that, “All Burberry products are safe and fully adhere to international environmental and safety standards.”

 Do you feel that luxury brands will continue to embrace sustainability and transparency and do you believe the luxury customer cares?

DT: No major publicly traded company will willingly spend its profits to meet international environmental and safety standards; their allegiance is to their shareholders, not the greater good. That’s why watchdog groups and whistleblowers exist: to force, through public embarrassment, companies to adhere to a higher moral standard.

I met a factory owner once who explained it to me. He worked with factories in Madagascar that were cheap in part because their safety installations were next to nothing: the places were rickety, there were no costly fire alarms, security, sprinkler systems, etc. But then there was a factory disaster in the Far East—a factory that produced major American and European brands—and the next-to-nil security and safety regulations were blamed. Several of the brands involved also produced in Madagascar, and told the factory owners there that they needed to install sprinkler systems and cooling systems and fire exits, etc.

The installation and maintenance costs would then raise the price of production to a level that was not appealing to the brands anymore, so instead of sucking it in and investing in making the factories safer, the companies pulled their production from the country and moved elsewhere, where it was safer and still cheap. And the Madagascar manufacturing business and economy collapsed.

You see? It’s all about the bottom line, and that’s that.

KD: On conducting a market test Bernard Arnault, LVMH chairman and Chief Executive Officer, says, “You will never be able to predict the success of a product… Our strategy is to trust the creators. You have to give them leeway. When a creative team believes in a product, you have to trust the team’s gut instinct.”

 Do you agree that market testing is not relevant for the luxury sector?

DT:  That’s bunk. They all test products. And don’t you believe otherwise.

KD: The prime objective of traditional marketing is raising growth. At Ferrari, production is deliberately kept to fewer than 6,000 vehicles a year. Rarity is valuable so long as the customer understands why the product is rare, and is prepared to wait.  Would you say that rarity is the still strongest commodity of luxury goods?

DT: No. And companies like Louis Vuitton, Gucci and Prada prove it. They sell billions and billions of dollars of products every year—and at Louis Vuitton, most sales are of the same products they’ve been selling for more than a century: the monogram line. What makes it luxury in part is the quality (when it is truly made of the best materials and fine craftsmanship), in part the price, and in large part by the marketing. Most of what is called “luxury” today is just overpriced, mass-manufactured stuff. If you really want luxury, have something made just for you.

Interview conducted by Keanan Duffty  

Jonathan Cheung

In the Fall of 2013, Jonathan Cheung, Head of Design for Levi Strauss & Co, kindly addressed a class of Academy of Art University Product Development students in the Fashion Merchandising program. The class hung onto every word as Cheung described his career trajectory, and with a great sense of humor relayed his ups and downs in the world of fashion.

Jonathan Cheung grew up in the British town of Grantham, perhaps best known as the birthplace of former British Prime Minister Margaret Thatcher and as the place Sir Isaac Newton was at school. Cheung explained that it was highly unusual for a young person to want to go into the creative field of fashion and his family hoped he would move toward a more traditional choice: lawyer, doctor or accountant.

Cheung’s presentation to Academy of Art University students began with a flashback to the mid 1980s when, after graduating from the UK’s prestigious Kingston University, he was hired by the late fashion design legend Franco Moschino. Cheung worked extensively in Italy for Moshino, Iceberg and after a number of years went on to become Executive Head of Global Research at Armani Jeans. Cheung then began his association with Levi’s, working in their Amsterdam design offices and eventually relocating to San Francisco to become VP of Global Men’s Merchandising, and then Head of Design. Cheung explains his own fascination with Levi’s denim:

“Levi jeans were born out of innovation and performance. The rivet gave so much strength to a pair of jeans that even two horses struggled to pull them apart. Levi’s have been tested by millions of people all across the world, throughout many decades and across many environments.”

Image courtesy of Levi’s

Image courtesy of Levi’s

The fascination with denim has spanned the globe, particularly in the last decade. Despite this globalization Cheung finds a great deal of inspiration in San Francisco:

“San Francisco is again a hotbed of innovation. California has a pioneering spirit that manifests itself in today’s tech boom, and that resonates with the Levi’s culture. I think the tech companies that are so prevalent in San Francisco challenge us all to think differently, to approach performance and function, not just of product, but in organizations and individuals. They ask: How do we become more creative, more productive and design better things that improve peoples’ lives?”

Levi’s continues to innovate, and in 2013 they company opened up a new state-of-the-art innovation center only a few minutes walk from Cheung’s office. The center, called Eureka, is an open environment which provides the Levi’s team with a fashion-forward think tank.

One of Levi’s current points of focus is one of the hottest new frontiers in apparel: wearable technology. Although Levi’s is a heritage brand, Cheung explains how it incorporates technology, performance and innovation into its products:

“From our Commuter and Skate lines, to the Revel Liquid Shaping technology, to the industry leading sustainability innovations– great design should make life better, and everyone here is committed to making peoples’ lives a little better.”

Jonathan recently started the wheels in motion for Levi’s to donate product for the Academy of Art pop up store SHOP!, which made its debut at the University’s Spring show and is moving to a permanent location this Fall. Donated product was customized by students, and proved to be a very popular item in the store. As one of the most authentic and iconic brands in the U.S., Levi’s constantly strives to stay relevant and ahead of the denim game– something it achieves with the help of Jonathan Cheung’s creative vision and leadership. Cheung’s final words of wisdom for School of Fashion students?

“I feel that design is a discipline that you strive to gain mastery in.”

Written by Keanan Duffty

In the recent years of my career development, I have often wrestled with one question:

What would I really love to do in the future?

My name is Doreen Du, born in Paris and raised in Taipei, Taiwan. It’s been a pleasure to working as an intern in the School of Fashion Public Relations department for the past 10 weeks. Time flies when you’re having fun… and working hard! Sure, it’s one thing to hear everyone in the office is talented, diligent and supportive, but it’s amazing to experience it. So please sit back and take a breath as you get the inside scoop on what School of Fashion PR interns are actually doing.

As a graduate Fashion Merchandising major, I found an astounding lack of PR resources for entry-level professionals and still fewer comprehensive definitions of public relations as a field. To me accepting an editorial internship with the School of Fashion PR department was simultaneously thrilling and nerve-wracking.

The internship started in June; I cannot begin to describe how much I’ve learned in only two months. I’ve been given a hands-on role in operations with a chance to ask questions, get involved and build a portfolio of actual work by blogging on Fashion School Daily. Everyday at the office I am expanding my skill set and acquiring knowledge about the industry that I just can’t learn in the classroom!

About ninety percent of my work involves some type of writing or presentation creation on FSD and social media outlets, which means being detail oriented is not only an asset, it is a necessity. My experience has been nothing but welcoming and educational. This internship has provided me with more insight to this side of the industry, as well as endless opportunities and better communication skills to develop my abilities as an aspiring public relations professional.

In my own experience, PR has been a learn-as-you-go type of industry, requiring a quick mind, excellent attention to detail and a strong ability to multi-task. I would say lots of energy and a great attitude are a must! What I’ve learned in these past few months is irreplaceable, and will no doubt help to jumpstart my career.

To answer the question I posed at the beginning of this post— now I know that I love PR in and of itself—communicating and creating!

I believe that a major part of life is learning. A challenge keeps you fresh whether it’s learning new skills or learning about new industries. Currently, I am looking forward to the next internship, confident that I am building a solid foundation for a career in public relations.

Written by Doreen Du

Another Mercedes-Benz Fashion Week is nearly upon us! As our September 6th Spring 2015 fashion show draws nearer we’ll be featuring profiles of the designers on the blog. Tune in weekly as we share the designers’ backgrounds, inspiration and illustrated lineups, plus their words of wisdom!

Mia Jianxia Ji Photo by Bob Toy

Mia Jianxia Ji, M.F.A. Fashion and Knitwear Design, grew up in Shangrao in the Jiangxi province of China. Mia’s design skills have earned her recognition in many different occasions. In 2010 she won an honorary award in an international design competition held by the International Textile and Apparel Association (ITAA) and Paris American Academy (PAA), and in 2008 she was a second degree scholarship winner in the Creative Sketch Competition held by her B.F.A. alma mater, the Beijing Institute of Fashion Technology. Mia’s collection, which she has named “SILHOUKNIT,” uses the texture of knitted fabrics to evoke the shapes and feelings of Ana Rajcevic’s art collection, “Animal – The Other Side Of Evolution.”

Mia’s design process for her Spring 2015 Collection.

Illustration Lineup for her Spring 2015 Collection.

What advice would you give students who want to do a collection?

Just be prepared for everything. Once you decide to do it, never think of giving it up.

Ignoring the cost, what item of clothing / bag / designer would you buy right now?

Balenciaga/Haider Ackermann/Mason Martin Margiela.

Which items in your closet do you most use?

Black silk shirts.

What is your style motto?

All black with a red lip on.

Which talent would you most like to have?

Always think outside of the box.

Who are your favorite fashion icons and why?

Cristobal Balenciaga. He is really good at designing the silhouette.

Written By: Doreen Du