Our Favorites from Parsons MFA Show
A few of our favorites from Parsons MFA Fashion Show
One of the first shows of New York Fashion Week was Parsons MFA show. The MFA program is officially (and rather uniquely) called Fashion, Design and Society. It’s this intentional emphasis on looking at fashion in a holistic way that sets it apart from other programs –as well as Parsons own undergraduate program. It also allows for more experimentation and risk taking than we usual see stateside (London still has it in spades, Brexit or no). Below are the designers that most caught my eye. While all different they all seemed to have employed some sort of handicraft - whether screenprinting or embroidery that created a visual texture that complimented the forms. The accompanying text is from the designer’s own statements about their work.
@bugsgarson aka Aideen Gaynor’s work centers around her own identity through the narrative of memory in family, place, experience and the material environment. Her thesis comprises of the unpacking of twelve letters of correspondence between her grandparents in the year of 1948. Each letter is explored as an individual narrative which she has created through photographs, her grandparent’s belongings and her own personal connections with the people, places and events that take place. This body of work is created through surface manipulation, printed and painted textile, and silhouette references, derivative of her grandparents clothing.
@li_evian’s thesis collection dives into the aspect of memories – how we absorb them and how they leave a blue print on us through-out life. For her pieces she tapped into specific memories from her childhood that hold a sacred place. The romanticization of memories is expressed through the technique of faded screen prints incorporated and layered within translucent knits – creating a multidimensional trompe-l’oeil effect of texture and content.
Long obsessed with craft and the act of making, @c.a.l.l.o.w seeks to create work that gives life and form to her thoughts and emotions. Inspired by the expressive energy of artists, the imperfection of hand-craft, and the rebellion of subcultures, her work highlights alternative forms of making. Embracing an outsider status within fashion, she is uninhibited by traditional forms of construction. Her work is accretive and intuitive, seeking to subvert the precision of sartorial craft and explore the liminal space between art and fashion. This body of work is an interrogation of varied interests and practices; an exploration of rebellion and crafted identity; a manifestation of the artist’s immersive process and world.
@natalievladimiroff ‘s collection began by looking at family heirlooms of photographs and embroideries from when she was a child to several generations ago. Looking at the heirlooms, she became aware of the disconnection she had with these objects; a narrative she is part of but with limited memory and sincere feeling of attachment. The heirlooms represent a history of handcraft and making in her family, which she is connected to but also culturally disconnected from growing up as an Australian with a Russian family. Her explorations aim to acknowledge the disconnection and reinterpretation of her historical family heirlooms – juxtaposed between the valuable and invaluable, the precious and non-precious, the personal and impersonal
@yonglxx Yong’s collection focuses on the idea of imperfection as perfection. 5 years ago, his mother – who he experienced as a perfectionist in his childhood – was diagnosed with breast cancer. This tragic situation changed his mother’s perspective of on her own identity as a woman, both physically and emotionally. Through the development of his collection Yong rearticulates the notion of beauty and perfection and how one can choose to perceive this. By utilizing his mother’s pre-cancer wardrobe, he aimed to re-contextualized her former identity into the now and present the inflicted imperfections as a new idea of female beauty. This resulted in the reorganization of garments and silhouette on the body and intricate trompe-l’oeil fabrications underlining imperfection as the new perfection