The 132nd Student SHOW

CCAD’s campus was a buzz of hyper activity Friday night as thousands converged for the slew of events that were taking place.

Students, alumni, family, faculty, staff, supporters, friends, businesses, even the mayor were on hand to celebrate the college and all it stands for.

The large campus crowd was due to several celebratory events. CCAD opened its 132^nd Annual Student Exhibition, which showcases (throughout campus) the best work of the academic year. This year the exhibition included work by MFA students. As in years past the opening included screenings in the auditorium of the media studies and animation work from 6-8 p.m.

At 8 p.m. CCAD’s Alumni Relations office welcomed the class of 2011 into the ranks of alumni with a Senior Party. Red Bull made an appearance and DAGR (Walker Crane & Alex Trimpe) brought the tunes.

While all of this was going on the college was also hosting its signature fundraiser the CCAD 2011 Senior Fashion Show. This year’s event, which raises money for scholarships, included a pre-runway party and an après-runway dance party. Read all about it and see pics on the Fashion Show blog.

Find lots of pics (now and more throughout next week) on the CCAD Facebook page, the CCAD Alumni Facebook page and the fashion show blog.

AndrewAndrew

Sometimes I just love my job. Now that we all have a natural fashion high, it’s time to work off that energy on the dance floor—thanks to alive!, our après-runway dance party sponsor.

AndrewAndrew and their magical iPads are BRINGING IT. Add in VJ Rainer’s amazing barrage of images projected on the garage walls, and the high-octane crowd already packing the dance floor—and well, if you’re here, you know, if you’re not … well …  there’s always next year.

If you haven’t already, check out my earlier posts from this evening for lots o pics (they are also on our Facebook page if you want to tag yourself). We’ll have more photos up (including from the dance party) next week (hey a girl can only do so much).

One quick note: as all guests leave tonight they will be taking home a gorgeous catalog sponsored by Abercrombie & Fitch and produced with Ologie. Our Designer Ticket guests will also receive a bottle of Icon, a delicious signature scent inspired by our event and created by Mr. Tim Maurer of Mukha Custom cosmetics.

Time to dance

I need to go now. There’s still a little time left for me to get my dance on. All work and no play … well you know the rest.

(Photos are also available on our Facebook page.)

Masters of Design

8:25 p.m. Ok, I’m set up in my new space in the giant runway tent. There’s already a huge crowd here and now 400 + VIPs are merging into the mix.

People are slowly starting to find their places for the show, but it looks like the urge to stop and talk and mingle is just as strong as the desire to find a good vantage point from which to see the show.

I cannot wait to see this show. I spent several months interviewing and writing about each designer for this blog. After talking with these amazing young people, this show feels more personal to me than any other. I am so excited to see all of their hard work come to fruition.

The “voice of god” is coming over the speakers urging people to find their seats and/or spots. And, now Ms. Andrea Cambern is on the stage, which means we are close to go time.

Now that we are in front of the FULL audience (it’s a sold-out event) Andrea is repeating a few things that were mentioned in the VIP party—and they are worth repeating. Our amazing sponsors are getting their props, and everyone is reminded that tonight they have helped someone go to college.

Ready for the show

OK, this is new—a special surprise announcement? Andrea is reminding everyone that earlier this year our title sponsor Limited Brands donated two exclusive tickets to the Victoria’s Secret Fashion Show, and we are no longer going to auction them because the Davis Foundation  gave us a grant that is allowing us to use the tickets in a different way .. OMG! They are giving the tickets to Fashion Design Outstanding Senior Carolyn Martin! This is soooo cool. You’ll agree after reading her Outstanding Senior award interview and my story on her earlier this year. (P.S. the grant money is designated to the Creative Excellence fund. Anyone so inclined can add to what the Davis Foundation started by clicking here).

OK really need to type faster, Arlene & Michael Weiss are getting up on stage. They are representing our runway sponsor EXPRESS and cutting the ribbon to start the show—NICE!

Music is up.

First model … Go!

And we are starting with Mea Adams, who was inspired by one of my favorite designers the always fun Betsey

Having watched these looks progress over the last year, I really appreciate the way they have developed and changed. Everything looks so polished. I see many people have made accessories to go with their looks. One of my favorite dresses, by Janell Clemente, got switched out. I was worried when I first heard, but the new dress is just … well … WOW!  Ryan Richmond also made a switch and it is GORGEOUS–it’s a soft pink dress that would look perfect on the red carpet of a movie premier. I could comment on each designer (and I really want to) but I’m guessing you aren’t going to read that far (if you have time go back and read their individual stories).

And here come the designers—the applause is deafening. As it should be! And, they are each getting flowers, yay!

Andrea is back on stage thanking everyone and I can hear the bass starting to thump in Design Studios on Broad as NYC DJ duo AndrewAndrew get ready to take all this excitement and turn up the volume—literally.

I’ve got pictures to upload, be there soon.

(Photos are also available on our Facebook page.)

What a great party!

7 p.m.

I’m stashed away in my corner, the perfect spot for watching the VIPs as they arrive for the pre-show party sponsored by Justice and Nationwide.

I cannot believe the transformation this space has undergone—from raw garage to hip club, all in a few days. (Check out the pre-show album on our Facebook page to see the  week-long progression.)

Ok, so, I confess I am fighting the urge to run up to people and ask “who” they are wearing, and I am having some serious fashion envy. The DJs later this evening (our new friends from NYC) are Miami-chic in matching (of course) pink suites. Later they will have the perfect accessories—ipads, which they will be mixing with during the apres-runway dance party.

The VIP Pre-Show party

I’m seeing every trend imaginable. Cocktail dresses, floor length, pants with sharp fitted jackets, halters, strapless, bow ties, and full-on suites. Lots of sparkle, red, and layered short cocktail dresses. Shoes are ranging from strappy flats to four-inch stilettos. Seeing awesome jewelry, modern silver pieces and more traditional pearls. I love it.

Third looks by the designers are on mannequins throughout the party space. It’s fun to watch people stroll through and pause, taking in each one and discussing it like they were at the Louvre.

8:00 ish—Ms. Andrea Cambern up on stage trying to get this rowdy crowd’s attention with a little O-H-I-O. She’s thanking our title sponsor Limited Brands and supporting sponsor the Davis Foundation … and saying very nice things about CCAD …  and introducing our own lovable president, one Mr. Denny Griffith—and he just announced he’s going off script. But as usual even when he wings it he gets it done.

Denny just made a great point—funds raised by this event go to the CCAD general scholarship fund. Let me elaborate: Scholarships can be the deciding factor on whether a student can come to CCAD. I hate to pull out an old cliché, but this really is a party with a purpose. (Donations can still be made online).

Now our VP Ms. Stephanie Hightower is taking the stage. She is thanking all of our amazing sponsors and our host committee, including the chairs Danielle & George Skestos, who were the driving force behind turning this event from a brunch to a full-on nighttime PARTAY.

Now for the moment where I find out which lucky VIP I will be jealous of for the rest of the night … they are about to announce the raffle winner for the diamond earrings designed by Stephen Webster—Congrats to Dionna Baker! (No, really, I mean it).

Guests are starting to move to the tent—the show is going to start soon. I love the energy in a room right before a show starts, and with this audience that energy is electric!

(Photos are also available on our Facebook page (and don’t worry we’ll add more next week.)

Thanks to title sponsor Limted Brands Foundation & supporting sponsor Davis Foundation

6:30 p.m.

Very soon our first guests will begin to arrive. I just took a quick walk through of Design Studios on Broad and the big tent. In the “back stage” area all is organized chaos as the models go through hair and make-up. But the front of the house is, for just a moment, pristine and serene.

It’s beautiful.

Every year I am in awe at how all this comes together, and I am reminded of all of the amazing organizations and individuals that make it happen.

This year’s title sponsor is Limited Brands Foundation. Their significant support not only brings this event to life, but ensures that the real purpose of the night is realized—raising money for scholarships. They are joined by our supporting sponsor the William H. Davis, Dorothy M. Davis and William C. Davis Foundation.

As our Designer Ticket guests arrive they will go into an exclusive VIP pre-party thanks to the generosity of Co-Sponsors Justice and Nationwide. They will also enjoy some special perks including a high-end raffle item provided by in-kind sponsor Diamond Cellar.

Serene.

After a few cocktails, all of the guests will gather in the tent for the main event—Masters of Design, the 2011 Senior Fashion Show. And, this is an appropriate time to note our fantastic runway sponsor, EXPRESS.

Following the runway show, all guests are invited to the après-runway dance party sponsored by alive! And as guests leave (much later!) everyone will take home a gorgeous fashion-magazine-style catalog sponsored by Abercrombie & Fitch and created with in-kind sponsor Ologie. Designer Ticket holders will also go home with a bottle of Icon, the signature scent custom blended by in-kind sponsor Mukha Custom Cosmetics just for our event.

In keeping with our theme tonight we also have several couture sponsors: Huntington Bank , Macy’s, R.G. Barry/Dearfoams, State Auto Insurance Companies, and Wells Fargo Insurance Services USA, Inc.

An event is made great by the details and many of these come to us via in-kind sponsors. In addition to the companies I just mentioned,  AKADA Hair Salon joins Mukha in providing hair and makeup for our models; Lasting Impressions Event Rentals  and Live Technologies, Inc., give us that fashion week feel; Cameron Mitchell Catering has created an amazing menu (as always); Heidelberg Distributing Company and Pepsi-Cola Bottling of Columbus join Middle West Spirits in keeping us refreshed—dancing is thirsty work—and FRESH French Floral Boutique brings the ambiance; Scott Cunningham did the amazing photography you will see in the catalog; Rainer Ziehm is our spectacular VJ; and Donatos Pizza made sure our designers, models, and crew were fed during the 5-hour tech rehearsal.

It’s also important to remember that for the last six months our media sponsors, Capital Style, CD101 at 102.5, Radio One, and Fashion Wire Press, have helped us get the word out and sell tickets.

Finally I have to give a shout out to our host committee. They commit themselves to making sure we sell the tickets we need to sell to generate scholarships.

Chairs: George & Danielle Skestos;  Christie Angel & Otto Beatty III, Connie Leal Ballenger, Trudy & Earl Bartley, Pam & Jack Beeler, Bev Bethge, Teresa & Brian Biernat, Kimberly A. Blackwell, W. Daniel Cordray, Mark Corna, Loann W. Crane, Toni M. Cunningham, Bev Darwin, Phaedra & Michael Edwards, Karen & Michael Fiorile, Gigi & Sam Fried, Joy & Mike Gonsiorowski, Patricia R. Hatler & Howard A. Coffin, Joan Hill, Alexis Jacobs, Tad & Nancy Jeffrey, Patty & Jerry Jurgensen, Matt Kallner & Kelly Carter, Gale King, Stephanie & Adam Lewin, Peg Mativi & Donald Dick, Tim Maurer & Sanito Mendoza, Veda Nami, Joel Pizzuti ,Jane & Rich Ramsey, Kara & Scott Razek, Jamie & Bill Reinbolt, Jody & Jeff Scheiman, Eda & David Schottenstein, Thekla Shackelford, Chris & Jacqueline Snell, Jen Walker, Arlene & Michael Weiss, Lyn Williams, and Ed & Ellen Yen.

(And, yes we sold out)

Very soon 700 plus people will enjoy what these supporters have helped to build. And generations of future students will realize their creative potential thanks to the scholarship funds raised tonight.

Thank you, everyone!

I think I see our first guests arriving …

The Creative Excellence Fund was established in 2010 with a visionary leadership gift from the Davis Foundation as a last-dollar scholarship fund to help students who are short on cash—but not on hard work—look forward to graduating from CCAD and contributing their talent and intellect to the creative economy.

“In this period of unprecedented economic uncertainty, CCAD has found that there is a vulnerable point between the junior and senior years in students’ paths toward graduation,” said CCAD President Dennison W. Griffith. “Severe challenges can result from changes in families’ financial situations and increases in the annual cost of studio materials for higher-level classes. The Creative Excellence Fund directly addresses this need.”

Specifically, the endowed fund generates need-based scholarships to support CCAD juniors and seniors with excellent academic records who have fallen short of funding for their education despite having applied for all available aid. The first scholarships will be distributed in the 2011-2012 school year.

“Last-dollar scholarships like these can be the difference between educational success and failure for students at CCAD,” Griffith continued. “The Davis Foundation grant means that some of our best students will be able to continue their education and graduate.”

Earrings by Stephen Webster with black and white diamonds set in 18k white gold

Designer Ticket holders for the 2011 CCAD Senior Fashion show have yet another reason to get excited about Friday, May 13. One lucky VIP will go home with a pair of Jules Verne Vortex earrings  with black and white diamonds set in 18k white gold by designer Stephen Webster.

Diamond Cellar has donated the earrings to be raffled off exclusively for Designer Ticket holders during the VIP pre-runway party.

In addition, Designer Ticket holders will enjoy a special Middle West Spirits tasting at the VIP pre-show party, reserved seating at the runway show, complimentary bar all evening (including both pre- and post-show parties), and a VIP gift of Iconic, the signature scent custom blended by Mukha in honor of the fashion show. Tickets are $350 (or purchase a pair for $650)— there are still a handful available at www.ccad.edu/fashion.

Tim Maurer does Rachel Kaplan's makeup before an appearance on NBC4

THE CCAD 2011 Senior Fashion Show, our signature fundraising event, will take place in exactly one week. When friends, family, sponsors, and industry leaders arrive we will be dressed to thrill and lights, cameras, flowers, music, staging—all the little details that make our event a unique memorable experience—will be in place.

But, before that happens, there is a flurry of activity on campus as the finishing touches are put in place.

A personal favorite “finishing touch” for me is the addition this week of local distillery Middle West Spirits as an in-kind sponsor. They will be bringing to the event their signature vanilla cosmopolitan. The base of their cosmo is their exquisite OYO honey vanilla bean vodka—I liked it so much after tasting the cosmo, I went and bought a bottle. They will also be providing the show’s Designer ticket holders a special tasting during the VIP pre-show party. As of this posting there were still some Designer tickets left at www.ccad.edu/fashion.

As this blog goes live, the models working through their second rehearsal. Anyone who thinks it’s easy to stomp it out down a runway in a custom made garment wearing 4-inch heels, should try it sometime. Fortunately for our models (who are all CCAD students) we bring in a runway coach to get their walk into shape.

Earlier this week Jordan Jones and model Rachel Kaplan joined VP Stephanie Hightower and the always delightful Tim Maurer (of Mukha) on Gail Hogan’s Daytime Columbus, and the week before that Sung Kim and Richard Hurley were interviewed for Female Focus with Andrea Cambern–who will again be our elegant MC for the event.

Starting Monday, Lasting Impressions will begin installing the tent. There will be more rehearsals, oh, and if this wasn’t enough to get our adrenaline pumping, the opening of our 132nd Annual Student Exhibition is also Friday night (hint: if you have your fashion show tickets consider coming early so you can check out the exhibition—you’ll be glad you did). And, the next day there will be an event that for 233 individuals is THE most important–graduation day.

Get more info online about the fashion show event, the 132nd Annual Student Exhibition, and parking for that night—don’t worry thanks to our friendly neighbors we have plenty of free parking for everyone.

Lyndsey Merryman

Lyndsey Merryman followed in the footsteps of a designer whose name is practically synonymous with red carpet fashion: Valentino. If you need a visual, just conjure up  a stunning Julia Roberts in a black and white vintage Valentino gown the year she won her Oscar, or Anne Hathaway on the red carpet this year—not only was she in vintage Valentino but it was his own patented, famous shade of red.

“Valentino was all about making a woman look beautiful and enhancing the body with elements of design” noted Lyndsey.

True to her opulent inspiration, Lyndsey’s two runway looks are red-carpet worthy. Both silk and carefully detailed, one is a floor-length black gown and the other a Valentino red cocktail dress.

Valentino red

Of course working in silk brought with it its own set of challenges. The fabric is delicate, tears and runs easily, and creating gowns in silk means learning a whole set of sewing techniques particular to couture design.

Lyndsey tackled these challenges. She learned how to hand pleat, sew roll hems, reinforce seams, and she created under structures and corseting to support the gowns so the weight of the gown would not stress the silk. Her red cocktail dress in particular took a lot of hand work as it includes layers of sheer, silk organza rose petals.

One challenge she was not expecting was to receive silk that wasn’t silk. Having purchased a fabric that she believed to be 100 percent silk, she learned (after construction had started) that it was in fact a blend. Unhappy with the result she went back to New York for a higher quality fabric. But, of course, it is these types of hurdles that designers are constantly plagued with.

Lyndsey's cocktail dress at the February photoshoot.

If quality fabric is half the battle then fit is the other half. Lyndsey worked hard not only to ensure that her garments fit her models perfectly but also to ensure that the looks were cohesive on the runway. She made slight adjustments to her designs to accommodate the fact that her models are very different heights.

Fortunately for Lyndsey, she had the chance to see a fashion week in New York up close and personal. An internship with Fashion Wire Press and international photographer Ed Kavishe afforded her the opportunity to attend a fashion week, and it revived her love for this avenue of design.

Despite her glamorous choice for her runway collection, Lyndsey’s next step is more down to earth. After graduation she is off to San Diego to continue working with the nonprofit Hug It Forward—where she has been designing graphic T-shirts.

But before she leaves for greener work, she will see her gowns come down the runway on May 13.

Tickets are available at www.ccad.edu/fashion.

Kristin Anderson

“Geoffrey Beene inspired my collection because I loved his use of polka dots and geometry,” stated CCAD fashion designer Kristin Anderson, when asked which Master Designer influenced her collection. “He used clean lines and didn’t conform to trends, and I like that about him.”

Geoffrey Beene is a premier American designer who rose to prominence in the mid 1960s. Some of his hallmarks include fluid designs, sparse use of color, polka dots and use of geometric shapes (which suggest some op-art influence). He is also noted for creating designs that were more sensual then sexy.

Beene’s Fashion Center Walk of Fame (in NYC) plaque reads: “A designer’s designer, Geoffrey Beene is one of the most artistic and individual of fashion’s creators. He is known for his surgically clean cutting and his fluid use of materials. His designs display a sensuous appreciation of the body and always permit movement. Beene blends masterful construction techniques with seemingly disparate elements, such as whimsically patterned fabrics. The end results are spirited garments, like his famous sequined football jersey evening gown.”

Geoffrey Beene designs

Kristin paid homage to Beene, in one look, with a black-and-white, polka-dot fabric as a dominant feature. Her second runway look also incorporates the polka-a-dot fabric with a bow accessory that threads the looks together.

While her black-and-white dress has a clear reference to Beene, the silhouette is softer and more feminine—a reflection of Kristin’s design aesthetic. The other dress has clean lines, but the dominant color is a bright coral, which was a very purposeful choice by the designer, who had her mind set on a specific coral color for the dress. Another nod to Kristin’s voice is a bow element that is used on each of her four looks.

While developing her collection Kristin was surprised by how much her collection’s direction could change from sketch to final garment. She admits that early on she struggled with the patterns for her looks, but she wasn’t’ shy about asking for help—and she got it. With input from instructors and even classmates, she was able to master the patternmaking and create her vision. She is particularly proud of the black-and-white, polka-dot dress which she said turned out exactly how she wanted.

“Starting with a sketch and turning that thought into a finished illustration, then a paper pattern, and finally a finished garment, is my proudest achievement while at CCAD,” said Kristin. “I have come a long way.

Beene's famous football jersey dress

Now, as she looks forward to the runway show and graduation, she can contemplate future opportunities. She is keeping her mind open, but is especially interested in designing wedding gowns or evening wear.

There are still a chance to see Kristin’s designs. Get tickets at www.ccad.edu/fashion

Female Focus on WBNS

WBNS’s Female Focus segment, hosted by Andrea Cambern was all about CCAD’s 2011 Senior Fashion Show, Wednesday, April 27th. Featuring Fashion Design Instructor Richard Hurley and senior Sung Kim the show shined a spotlight on CCAD’s Fashion Design Program program, the May 13 event, and the enormous talent of CCAD students.

Check it out at on 10TV’s website.

There are still a handful of tickets avialable at www.ccad.edu/fashion.

Lauren LeCastre does a quick sequins sewing demonstration.

When Lauren LeCastre’s looks walk down the runway May 13, it won’t be her first fashion show. The fashion design senior has been making clothes for quite a while and did work for a fashion show while still in high school.

With four years of intense college course work under her belt, it’s fair to say that Lauren has upped her game since that high school show. This is reflected not only in her collection but in her choice of Masters of Design influence—the iconic Diane Von Furstenberg.

Diane Von Furstenberg (DVF), is particularly noted for her timeless wrap dress. First introduced in the ’70s this look became a staple in many modern women’s wardrobes. The look was reintroduced in the’90s after DVF returned from a hiatus from fashion, and it was just as popular the second time around.

As Lauren worked on her final collection, she was very mindful of the delicate balance between imitating a muse and staying true to her own voice. Lauren chose not to use the easily identifiable wrap dress silhouette and instead looked to more subtle ways to draw on DVF for inspiration.

Lauren was still sewing in sequins when she met with Tim Maurer to talk makeup.

Another design hallmark attributed to DVF is graphic floral prints. Lauren has used these to great effect in her runways looks. Not only did Lauren use bold floral prints in bright modern colors, but she embellished the fabric with hand-sewn details—emphasizing the print with beading and sequins.

“I think I’m the sequins queen in the our class,” she shared with a smile, while pulling out two well-organized containers, one with tiny compartments filled with different colored sequins and another with tiny boxes of seed beads.

With all of the hand detailing, Lauren ran into a challenge that many young designers can relate to—time management. It is easy, when caught up in the excitement of developing a concept, to underestimate the amount of time it will actually take to realize that concept. Lauren found that, in addition to everything else a graduating senior has to do, she had to develop strong planning skills so that she could complete all of the tasks she had set for herself.

DVF's iconic wrap dress.

One quality that Lauren admires in Diane Von Furstenberg is the designer’s high-quality ready-to-wear line. Lauren easily sees her designs reaching a similar audience—for example a working mother could wear her looks to a fun evening out.

Like DVF, Lauren leaned toward simple silhouettes, but, in keeping with her own aesthetic, she kept her looks modern with her color choices and a higher hemline.

The result is a fun, youthful collection with the kind of hand-sewing and attention to detail that takes a look from great to wow.

Tickets are available at www.ccad.edu/fashion.

Janell Clemente

Janell Clemente chose Alexander McQueen as her Masters of Design muse because, as she put it, “he created beautifully.”

As a designer Janell embraces the meticulous details, a trait she shares with McQueen who was known as an extravagant designer. New York Magazine writes the following about him: “The label is known for its dramatic, gorgeously constructed pieces, combining elements of British tailoring with French couture. Signature looks included billowy dresses cut in hourglass silhouettes, frock coats paired with skinny pants, sharp, angular suiting, and darkly romantic gowns covered in intricate embroidery and lace.”

It is the last description, the darkly romantic gowns, which Janell chose to reference as she developed the two full-length, evening-wear looks that will come down the runway May 13.

Janell and one of her models at the catalog photoshoot.

One look has a more obvious connection to her Masters of Design muse. The dress incorporates carefully applied lace appliqué and a waterfall of hand sewn ruffles. The other look is more restrained—a testament to Janell’s appreciation of simple elegance. The sleek, fitted gray dress has long sleeves, an exposed back, and subtle detailing. The beauty of the garment is dependent in its careful construction, fit, and the elegant knit fabric—and the end result is stunning.

An enormous amount of handwork went into Janell’s gowns, and each came with its own set of challenges and adjustments.

She used interlocked knit wool for the gray dress because of the way the knit draped and gently hugged the body. While the effect is elegant the stretch inherent in the knit was a construction challenge. She ended making the pattern a size smaller and used interfacing to provide support and reinforce buttons and button holes.

Alexander McQueen couture

The dress with the lace appliqué underwent design changes as she dived into construction. Originally conceived with more appliqué and a train, she modified her design after she began construction and realized that the train wouldn’t be practical on the runway.

Quality and the final outcome have always been paramount in Janell’s mind as she created her collection. She came to CCAD as a transfer student from California. A few years in a nursing degree, she was exploring pre-med when a friend suggested she consider fashion design. She took some fashion design classes, fell in love, and applied to CCAD.  She entered the college expecting to finish her undergraduate degree in two years. As she tackled the course work she chose extend her education one more year to ensure she could dedicate the time and energy to produce a collection that at the caliber that she knew she was capable of—and as the runway show and graduation nears, she is proud of the outcome.

Before heading back to California to explore opportunities in upscale bridal companies, she will present her garments at the 2011 senior fashion show on May 13.

A handful of tickets are still available online at www.ccad.edu/fashion.

Quintessa Goodley

Quintessa Goodley chose a designer with whom she already had strong affinity.

“I was inspired by Emanual Ungaro’s wide range of beautifully constructed, feminine garments that show rich color and texture,” she explained. “I chose him because our styles are similar.”

Ungaro, who retired and sold his brand in 2005, was especially popular in the ’80s and ’90s  and was noted for bold colors and patterns as well as draping silhouettes that hugged the body.

Cathy Horyn, a fashion critic for the New York Times wrote in an August 20, 2010 article: “Men loved a woman in an Ungaro dress, it was said, because the style and the vibrant colors made them imagine what she had on underneath — in a way that an Armani pantsuit did not …”

While Quintessa was drawn to the bright colors, textures, and femininity that are hallmarks of an Ungaro design, she chose to keep her silhouettes more simple than her muse might. She wanted the prints to really stand out.

The Ungaro label.

The runway look that Quintessa created with the boldest print also has Ungaro’s draping feminine touch thanks to a luxurious silk blend that Quintessa picked out. But that silk also proved to be a challenge. Sewing the slick fabric was delicate, but lining it was particularly difficult.

“It was a learning experience,” she said. “But now I know what to do when I work with fabric like that again.”

She used a silk blend on her second look as well, but this one is thicker and double sided. The skirt of the dress is not lined and it is cut short in front and longer in black to show off both the double-sided nature of the fabric and the wearer’s legs. Quintessa did, however, line the top and had to be very agile while piecing the bodice and the skirt so they would appear seamless.

In the end Quintessa is proud that she was able to focus in on an idea, learn all of the different techniques required to construct and realize that idea, and finally see her full collection come to fruition—and throughout she enjoyed the journey.

Detail of illustratino and fabric swatches.

“I love sketching because it allows you to be creative and express yourself,” she shared. “And the construction process brings the sketch and the expression to life.”

Quintessa has journeyed from the challenges and transitions of freshman year through her major classes to completing her final project.

Her creative expression is now a collection and two pieces from that collection will come down the runway on May 13.

There are still some tickets available at www.ccad.edu/fashion.

Joscelyn Wiggs

When asked to describe herself as a designer, Joscelyn Wiggs makes a few interesting observations. She describes her style as quirky and says, “I love anything that I can build or tear apart with my own hands. I think three dimensionally.”

What better muse for such a designer than Christian Lacroix, a man known for overlapping multiple prints, and creating the fantastical “pouf” skirt when he launched his couture line in the mid ’80s—a designer whose aesthetic New York Magazine describes as “unapologetically dramatic.”

Joscelyn taps into Lacroix’s style by mixing bold patterns and creating looks with definite volume—even including a pouf skirt on one runway piece. She modernizes the looks and brings in her own voice through her color choices and favoring a corseted look in the bodice.

Screenshot of Christian Lacroix designs

One challenge Joscelyn discovered while developing her collection was committing to a design and fabric. Between creating the illustration and fitting the model she was often re-evaluating and making changes.

“I’d find a fabric that I loved, but then when I worked with it I didn’t like it with the design. I’d have to start over,” she described.

While being adaptable can be a good quality, Joscelyn had to learn to balance the desire to change a garment with the need to finish it.

The piece that Joscelyn is most proud of is one that actually needed little adjustment from start to finish.

“A lot of ideas don’t come out the way you envision them or look the way you think they will look,” said Joscelyn. “But this one did.”

It’s a good thing too, since this garment (which will be on the runway May 13) had an enormous amount of hand sewing. It includes a petticoat covered by a circle skirt that is then detailed with dozens of hand-sewn, three dimensional flowers. Each flower is different from its neighbor and incorporates different patterns and fabrics. Despite the fact that each flower is different, they all come together in one cohesive look.

Detail of Joscelyn Wiggs' flowers

One thing Joscelyn could count on during this challenge was her skill at sewing—a skill she’s been developing since she was old enough to hold a needle. Between 4-H, working in a factory, and working as a seamstress to earn money while in school, she’s gained plenty of experience.

Joscelyn is already in demand in a rather niche business. She’s been tailoring fire, bomb-squad, and chemical spill uniforms for women. The uniforms are not necessarily made with a women’s shape in mind, but it is important for the uniform to fit correctly, that’s where Joscelyn comes in.

Despite all of her experience sewing, Joscelyn still found there were things to learn in CCAD’s sewing labs—new techniques and skills, which keep the skill fresh and interesting.

Joscelyn’s designs will make a dramatic entrance and come down the catwalk Friday, May 13, at Masters of Design the 2011 Senior Fashion Show.

Brittany Matyas

Brittany Matyas’s Masters of Design muse Kenzo Takada has been retired for more than a decade, but the brand that bears his name has stayed true to the reputation that he fostered for himself.

“Kenzo launched in 1970 as the brainchild of Japanese-born Kenzo Takada. The look epitomizes ‘West meets East,’ merging fun prints with an ethnic vibe, flowers (the house’s signature), and textures to blend Kenzo’s natural Japanese influences with Parisian culture.”—New York Magazine

But while the brand’s fall 2011 collection clearly shows a penchant for long flowing looks, Brittany has chosen a more structured approach to her designs. She references Kenzo’s influence with pops of color and bold prints, combining multiple textures, and plenty of smaller details like little glass flower buttons.

screen shot of an ad for Kenzo

“I took from Kenzo his bold usage of colors and unique integration of prints,” explained Brittany. “He did lots of layering and separates too, which I am also doing for my collection.”

New York Magazine cites Kenzo’s original vision as “creating clothes for the woman or man who’s not afraid of color and prints, but still wants to look pulled together.” Brittany taps into that vision by creating a collection that combines silk, wool, cotton and leather. One rich-blue dress uses textured silk for the skirt, a wool gabardine for the bodice, and includes printed cotton detailing—the result is a pulled together look that has subtle changes in texture and detailing.

Brittany's fitted leather jacket

One of Brittany’s biggest challenges was constructing a fitted leather jacket, which is part of one of her runway looks. The leather is thin and supple and tears easily, which makes for a lovely finish but is difficult to sew. To add to the challenge, Brittany had only made a jacket once. But she practiced the sewing technique until she had it down and in the end executed a beautifully tailored jacket with lots of careful seaming and button details.

While Brittany’s collection is more structured, it is actually the draping technique (which Kenzo is also noted for) that she has come to love—but it was a love that came after a lot of labor.

fabric samples

“When I first took draping, it was a challenge,” she shared. “I was used to flat patterns, but I kept with it and by the second half of the year I loved it, and now it’s something I really enjoy doing.”

On May 13 two of Brittany’s looks will come down the runway while another is exhibited in the 132^nd Annual Student Exhibition—it will be the fourth year Brittany has had work included in the exhibition. On May 14 Brittany will join her brother (Brian Matyas class of 2007) in the ranks of CCAD alumni.

You can still get tickets to the May 13 runway show event, at www.ccad.edu/fashion.

Stevie Smith

“I chose Issey Miyake because of his concept of using origami in his garments,” noted Stevie Smith when asked which Masters of Design inspired her collection. “This would give me the chance to further explore constructing garments that are not ready-to-wear.”

A quick look at the fall 2011 Issey Miyake collection quickly underscores Stevie’s statement.

Issey Miyake has long been known for creating feminine pieces that incorporate   architectural and geometrical elements. He is also known for his Pleats Please line, which he launched after developing a revolutionary technique for creating pleats. His process not only made pleating easier for manufacturers to produce but also made the final garment easier for the wearer to care for—thus making pleating more friendly to the ready-to-wear market.

Issey Miyake fall 2011 collection

It is Issey Miyake’s more high-end conceptual work that is reflected in Stevie’s collection. She incorporates geometric elements that nod to Miyake, but she has brought in a color pallet that she feels adds a sense of strength to her looks. She wants the woman wearing her designs to feel powerful even in a feminine fitted skirt.

While developing her collection, Stevie first had to figure out how to incorporate the Masters of Design theme without losing her voice.

“It broadened my horizons, and I had to step out of my comfort zone,” she said.

Stevie started with the body. Wanting to incorporate geometrical elements, she needed to consider where those elements would work on the body so as to still allow for an elegant fit and feel.

Stevie with one of her looks in the fashion design workroom

Once she established the points of the body where her more sculptural elements would be integrated, she could start building a pattern and plan for construction.

Stevie’s design approach requires careful attention to construction details, which is an aspect of design that she finds particularly satisfying.

“I like patternmaking because it’s like a puzzle and you have to piece it together,” she explains. “Without double checking and rechecking the pieces it will not work. It’s something I enjoy.”

Like her peers, Stevie also found that even after double checking, sometimes the best way to learn is to fail.

“The first fabric I chose stretched more than I expected it to,” she shared. “I had to learn to interface and stabilize it. I then redid the piece, using the interface technique to get it to work the way I wanted.”

Inspiration and illustrations

Using the interfacing and some heavy-weight tightly woven fabrics helped Stevie achieve the geometric shapes she was going for, and pops of deep color in the lining provide additional depth.

These elements are prevalent in Stevie’s runway looks, which she is particularly proud of because they are, as she intended, more couture than ready-to-wear.

These looks will join 48 others on the catwalk May 13, at CCAD’s Fashion Show event. As of this posting there were  still a few tickets left at www.ccad.edu/fashion.

Teresa Hummel

Today’s house of Dior remains a major player in the fashion industry, but it’s the brand’s namesake, Christian Dior, and the “new look” he launched just after World War II that inspires Teresa Hummel.

The classic look that included a cinched, corseted waist and voluminous skirts, which is so iconic of ’50s fashion, was introduced by Dior in 1947. After years of hardship and rationing, the world of fashion was hungry for something new, and Paris’s fashion industry had taken a hard hit. Dior brought the major shift that was needed to resuscitate the French fashion industry. Gone were the knee-length fitted skirts and dresses that had become the trend to accommodate fabric rationing. Dior’s voluminous skirts were long and decadent in their use of yardage, and, when combined with a cinched waist, brought back the hourglass looks of the Belle Époque.

Teresa’s looks easily nod to Dior’s “new look” but she adds some elements that are all her own.

Teresa's third look for the exhibition.

“I took some of Dior’s key looks and made them modern,” she explained. “I tried to incorporate the bustier, which Dior was known for. I also added hats to all of the dresses. My color palette is more modern and has a splash of color. I wanted to mix classic Dior with my modern style.”

For Teresa the real homage to Dior is in the details. When adding the corseting to the bodice of her runway dress, she took the boning out of the casing it came in and custom-sewed casing into the dress to create a smoother fit against the body.

The dress’s full skirt has kick pleats and is made of more than 14 panels, which combine gray Italian cashmere and a sheer floral print. For the kick pleat to open correctly when the model moves each panel must be precisely sewn. If one panel is off the whole effect is ruined. Adding to that pressure, Teresa could not afford to waste an inch of the costly cashmere.

Vintage Dior

Teresa took similar care with her suit look. The jacket’s tiny waist is exaggerated by the way the bottom flairs. She got this look not with boning, but by adding an interfacing of canvas with synthetic wiring between the lining and the wool flannel top cloth. She practiced several times with the interface, sewing it between muslin pieces until she was comfortable with the technique.

Despite all the time and details that have gone into her runways looks, it is the piece she is finishing now that Teresa is particularly proud of: A long, cream-colored evening gown with a jacquard print and sheer neck, which will be on display in the 132^nd Annual Student Exhibition, which opens the same night that Teresa’s other looks come down the runway—May 13.

You’ll need a ticket to see the runway show. If you already have your tickets, be sure to come early for the opening of the 132nd Annual Student Exhibition.

Tickets are still available at www.ccad.edu/fashion.

Sarah Rowe

Laura Ashley is an unexpected Masters of Design choice for a designer who describes Rock & Roll/Punk style as some of her earliest fashion influences.

“I wanted to do something that was less obvious,” explained CCAD senior Sarah Rowe. “I wanted to push myself, and I felt that Laura Ashley was a totally untapped resource. She’s slightly looked over for being a little old-fashioned. I liked the challenge of reinventing her name into something young and bright.”

Ashley is almost as well known for her interior designs as her fashion work. She began her business at home making scarves, tea towels, table mats, aprons and the like. She designed the prints and her husband printed them on a machine he had created.

Laura Ashley showing swatches for her fabric designs.

The 19^th-century influence on her designs is easily seen in everything from her dresses to her wallpaper. High necks, full sleeves and ruffles are hallmarks of her fashion designs, and her soft floral prints are, perhaps, the most widely known look associated with the Laura Ashley name.

Sarah pulled in ruffles and pops of color in reference to Ashley, but she countered the sweetness of her looks with subtle, edgier elements—e.g. a little hint of midriff showing between cream denim pants and a ruffled summer top and a very mini dress over bicycle-style shorts.

Eschewing the obvious floral, Sarah instead brought in polka-dot prints—which Ashley only occasionally used. While Ashley’s looks seem to be either for someone more mature or very, very young, Sarah’s collection is more teen friendly.

Sarah did a lot of sketching and planning before building her collection.

“My collection is bright and youthful with a punch of sportswear in easy daytime designs,” she described. “The fabrics are light with pops of color and with simple closures for a girl on the go. The pieces look simple and are worn with ease but tiny details are what makes them so special.”

Sarah is proud of the construction on her garments, taking special care that the stitching on each piece was exact.

“I want my work to be that perfect,” she emphasized.

It wasn’t construction or technique that challenged Sarah, who has been sewing since she was a teen. For her, being able to stay focused on a few looks with one theme, one collection, for an entire year was the challenge. She noted that shorter assignments in other classes were helpful because they gave her a creative break.

Sarah is now making cloth purses to go with her looks.

Like many designers, Sarah also spent the year developing the ability to edit her own work. Some of her initial concepts were more complicated then they needed to be, but feedback from instructors helped her adjust and make changes that simplified her process.

Sarah spent the summer sketching ideas and by the time she started fall semester had a wealth of concepts to pull from. In the end it boils down to four meticulously constructed looks for her final collection, two of which will come down the runway on May 13.

Tickets to the event are available at www.ccad.edu/fashion.

Jennifer Sands

As Jennifer Sands began to conceptualize her collection, she took a slightly different approach with her Masters of Design muse Katharine Hamnett.

“I chose to embrace her use of political themes in her work rather than replicate her specific looks,” Jennifer noted.

Jennifer doesn’t take a fine arts approach to fashion design, it might be fairer to say that the double major takes a fashion approach to fine arts.

As a fine artist Jennifer is drawn to fiber arts and surface design, so she added a Fashion Design major to her curriculum to gain a better mastery of working with fabrics and sewing.

Jennifer handmade rope from fair-trade yarns.

Her Fine Arts senior thesis exhibition (displayed in fall 2010) explored themes of consumerism and its influence on young girls. She created mixed-media pieces that also included jewelry and fiber arts. For her Fashion Design collection, she is exploring similar themes.

With one piece she developed ropes out of yarn into a top.

“The ropes are symbolic of being bound to a profession,” Jennifer explained. “People in sweatshops are bound to their work and don’t have professional choices.”

Another look is more high-end and incorporates metallics to represent the abundance that Americans enjoy.

In developing her collection she was less concerned with creating something that could be mass produced, and more concerned with creating wearable fiber arts pieces that conveyed a message.

In addition to approaching her work with a message, she chose materials that reflected her views. The yarns and wools she used for her rope and crocheted pieces are fair trade and hand dyed and spun. The use of fair-trade materials is parallel to Katharine Hamnett’s crusade to encourage more designers and manufacturers to use organic cotton and fair-trade practices.

Katharine Hamnett is known for her block letter Ts with political messages.

Hamnett has long used fashion to convey a political message. Most famously she launched popular block letter, oversized T-shirts with messages like “Peace” and “I Use a Condom.” The 1980s British pop duo Wham was seen wearing her CHOOSE LIFE shirts in their Wake Me Up Before You Go Go video (the reference was directed at the issues of drug abuse and suicide). Her popular style was also famously “borrowed” by Frankie Goes to Hollywood with their “Frankie Says …” T-shirts.

Jennifer’s choice in Masters of Design muse was a good mesh with her artistic voice, but she still had the challenge of creating a fashion collection—combining her fine arts point of view with a fashion design perspective to create something that is wearable.

Jennifer's collection illustrations.

“My collection is avant garde and conceptual. It is for someone that is not afraid to wear something a little crazy,” explained Jennifer.

On May 13 Jennifer will see her second thesis of the academic year come down the runway.

Following her runway show, Jennifer will continue her fine arts pursuits through an artist’s residency in Iceland http://www.nordanbal.is/en/hrisey/old-school-art-house-in-hry.html

Tickets to CCAD’s May 13 Fashion Show event can be purchased online at www.ccad.edu/fashion.

Marie Hutton

Sometimes you don’t know what you can do until someone encourages you to try. Marie Hutton didn’t intend to do all menswear for her collection. Her initial concept was one men’s look and three women’s looks. But at the urging of her instructors, she changed direction and tackled the challenge.

“I didn’t know anything about men’s wear,” admitted Marie. “I wasn’t as familiar with how to approach the fit, and women’s wear offers more choices for a designer.”

Fortunately, Ralph Lauren, a designer that has always inspired Marie, is also a perfect inspiration for creating a collection for men.

Today Ralph Lauren is practically synonymous with classic American sportswear. He began his career in the late ’60s designing ties and menswear. He launched women’s wear and his iconic Polo line in the early ’70s.

Screenshot from Ralph Lauren's homepage

Ralph Lauren was already a household name when Marie, as a small child, first showed an interest in fashion design.

“As a little girl I would set up a ‘design station’ in my basement and pretend I was a famous designer,” she shared. She always knew she wanted to be a fashion designer and she was just as focused when looking at colleges—CCAD was the only school she applied to.

Despite knowing that she wanted to go into fashion design from a young age, Marie did not know how to sew when she came to CCAD. But she learned, and she said that getting through her sophomore year, while challenging, left her with the realization: “This isn’t impossible. I can do it.”

A sheer textured shirt and a silk tweed are included in one of Marie's looks.

That attitude served her well as she learned to pattern and fit for men. And, it helped her as she chose to do a few particularly hard pieces, including a winter coat with a quilted lining and a sheer, textured dress shirt—the fabric of which was delicate and difficult to sew.

With her runway looks, Marie references two of Lauren’s more enduring signatures, the tweed jacket and preppy aesthetic. She brought her own touches, however, with unusual fabric choices. For example, she pairs the sheer textured dress shirt with a silk-tweed jacket, and a vest. The effect is subtle, but provides a nice juxtaposition of textures. For a blazer, she ignored tweed altogether and chose a blue corduroy.

While Marie found several creative ways to develop a collection that represented her voice while acknowledging her muse, it was her love of patternmaking that helped her overcome the challenge of menswear.

Two of Marie's looks being photographed.

“Without patternmaking I couldn’t have done it,” Marie declared.

Fortunately, patternmaking is Marie’s favorite part of the discipline of fashion design.

“I love problem solving and all of the technical aspects of fashion design,” she explained. “Pattermaking just relaxes me, and I love being able to see an idea become reality.”

The ‘reality’ walks down the runway on May 13 at the CCAD Fashion Show Event. Get tickets at www.ccad.edu/fashion.



Sung Kim

Hand-knitted pieces dominate Sung Kim’s Sonia Rykiel-inspired collection. It’s a fitting nod to the Master of Design muse who is known as the “Queen of Knits.”

One of Sung’s runway looks is a hand-knit dress, while the other includes a knitted top and machine-knit bottom. Her other two looks also have hand-knit features. For Sung, who has been knitting since she was 14 years old, the knit pieces were always part of her final collection plan.

“I wanted to do something that separated me from everyone else,” she explained.

Apparently hand making more than half of her textiles wasn’t quite enough of a challenge, because Sung also chose to make quilted leather, tote-style handbags to go with her looks.

Handmade, quilted, lambskin bag.

To make the two bags, she hand-quilted lambskin, then added custom zippers and handmade rivets and fringe. What made this challenge particularly attractive to Sung was its difficulty.

“When you quilt the leather and then sew the seams, and all the lines match up, it is a great feeling of satisfaction,” said Sung.

Sonia Rykiel built her design reputation on knits, and in particular sweaters. She began by designing sweaters that she wanted to wear while pregnant and grew from there. Sung’s knits reflect the color palette that Rykiel is known for, but the silhouettes and detailing are all Sung Kim. Sung worked in blends of alpaca and cotton, and acrylic and wool. She also combined yarns to create a chunkier texture, which can be seen at the necklines of her runway looks. Like Rykiel, Sung has created a collection that she wants to wear.

“It’s comfortable and soft. I followed my instincts and am really happy with the results,” she shared.

Careful planning

While building her collection, Sung was pleased to find that for the most part the concepts developed the way she expected.  She noted that one of her runway looks—of which she is especially proud—did not change from concept through construction. From the hand-knit top to the grey leather bag, it turned out exactly as planned. Sung noted, however, that there were times during the year when she needed to step back and edit to keep from over-designing.

She also said that critiques helped.

“You can’t help but be inspired by critiques,” Sung noted. “You are so close to your work for so long. Critiques help keep you from being too set in your ways.”

Screen shot from Sonia Rykiel's 2008 Paris show

Sung definitely does not like to rest on her laurels and sees the constantly changing canvas of fashion design as a good fit for her.

“I’ve always been a three-dimensional artist,” said Sung. “Growing up, I found expression through clothing fascinating and liberating. Also, I’ve always had a restless disposition, so I’m drawn to how fast fashion changes.”

Her “restless spirit” may have led her to tackle the challenge of accessory making, but despite her success with the leather bags, she says apparel is still her first love.

Her apparel and accessories will come down the runway May 13. If you don’t have your tickets yet, they are running out. Purchase online at www.ccad.edu/fashion.

AndrewAndrew the ipad DJs

Forget two turntables. That’s so 2009. It’s two ipads and a Mac laptop for NYC’s enigmatic DJ duo AndrewAndrew who will be turning out the beats on May 13 at CCAD’s Fashion Show EVENT. (That’s right. I all-caps’d it).

FYI: AndrewAndrew. Not a typo. They are literally two Andrews who share a special Andrew identity—more on that in a sec, first let me tell you what they’ll be up to in Cbus.

In addition to doing their live show for the après-runway dance party, the Andrews will be producing the mix for the runway show and the pre-parties. The audience will hear stuff they recognize but haven’t heard in ages, stuff they just heard the other day, and stuff they’ve never heard before—and they’ll end up asking: who was that and where can I download it?

Two parties sandwiching a couture runway show, with custom-mixed music = EVENT.

Dubbed the ipad DJs, AndrewAndrew have been DJing (and more) around the world as well as from their Gotham homebase, where they have standing gigs online at EastVillageRadio.com (every Tuesday), and in person at the Rif Raff club on Thursdays. In addition to DJing, they video blog everything from reviews to whatever strikes their fancy. They just got back from SXSW where they reported from the HP Mobile Park. In addition to interviewing the likes of Matt & Kim, the Submarines, and Shinobi Ninja; they asked random festival goers what the HP in HP Mobile Park stood for (you just have to see it)

AndrewAndrew are also well known for their absolute and total dedication to maintaining a shared Andrew identity—same dress, same look, same first name; and no last name, hometown or any other personal details that might distinguish one Andrew from another. It is their Andrewness that got them a profile in The New York Times earlier this year.

AndrewAndrew will set the tone for the night. But if you’ve got fashion and music, you’ve got to have video. For that we’ve brought on board local VJ Rainer (DIG!), who will be joining us fresh from his stint at the Wex’s Off the Grid event. He’s been shooting for months now and will have the walls pulsating with a menagerie of imagery during the dance party.

You can’t see it, hear it, or dance to it unless you have a ticket and those are selling fast so, don’t delay … buy online today at www.ccad.edu/fashion.

Ryan Richmond

Paul Poiret, Ryan Richmond’s Masters of Design muse, was a hugely influential early-20^th century Parisian designer. His looks are now icons of fashion history, so much so that a modern designer who looks to Poiret for inspiration must be careful not to inadvertently create a collection of period costumes.

Ryan has managed to create a collection that is modern, fun, wearable and, with a few carefully chosen elements, pays homage to Poiret without mimicking the master.

Poiret is credited with several design trends, but probably the most lasting is introducing the brassiere and moving style away from the corset—ironically he is also credited with creating the “hobble skirt,” which forced women to take itsy-bitsy steps. He is quoted saying: “I freed the bust, and I shackled the legs.”

Poiret is noted for lush fabrics, beading, bringing an oriental influence to European fashion, and for a theatrical and romantic aesthetic.

Masters of Design inspiration Paul Poiret.

While Ryan’s looks are contemporary, there is a hint of the roaring ’20s reflected in a fringed tunic top that is part of one of his runway looks. He uses velvets, laces, and beading in a rich color palette—all of which provides a mix of textures that nod to Poiret’s era.

“I looked at how he combined materials into a successful design, rather than interpreting silhouettes,” said Ryan about how he was inspired by Poiret.

Ryan was interested in Poiret’s approach to construction, which was more based on draping then tailoring—a dramatic shift in Poiret’s time and from Ryan’s own approach.

Ryan likes patternmaking. He likes the puzzle of getting all the pieces to work together. Ryan purposely chose a designer who worked off the form, however, and used both approaches in his work.

“To get something to drape well, you need to start with a flat pattern,” Ryan noted.

Illustrations

Patternmaking can be viewed as a planning stage of the design process, and planning is definitely a strength of Ryan’s. Knowing he had to create rich, expensive looks on a strict budget, Ryan was meticulous in his planning to ensure that he bought only what he absolutely needed and that he did not waste precious yardage. One of his favorite fabric finds is an embroidered tulle that he ran across at Virginia Marti Fabrics in Cleveland.

But even with careful planning there are still surprises. As Ryan built his collection, he was playing with a look that strongly referenced a look that Poiret had done. He tested the piece with a denser (less expensive) fabric than was planned for the final construction. As he reviewed his test garment he was concerned about how the fabric was draping on the form (it had a bit of a diaper effect). Fortunately he took a chance and continued on. Once the piece was made with the lighter, final fabric, the look was completely different than the test run and more in line with Ryan’s original concept.

In the end he can be proud that he accomplished all of his design goals and stayed in budget. And, as his collection comes down the runway he can enjoy the show knowing he has already been asked to join the Abercrombie & Fitch team as a technical designer.

For the latest updates on CCAD’s fashion event, follow us on twitter. Get tickets online at www.ccad.edu/fashion.

Makayla Cook

Rather than build her collection based on inspiration from her muse, Makayla Cook chose her muse based on inspiration from her collection. Makayla started her collection with an idea for a dress, or more precisely a silhouette that she had had in her mind’s-eye (and in her sketchbook) for a while.

As she began sketching out her ideas, then exploring fabric options, she was able to relate to a designer, and began building from there.

Makayla is bringing a men’s look and a women’s look to the runway. And while the clean lines, wearablity, palette, and use of knits can easily be associated with Karan, they are also very much Makayla.

“I am inspired by clothing that is beautiful, but comfortable,” shared Makayla. “My collection is knitwear inspired by elegance and comfort.”

One of Makayla's looks being photographed.

Makayla also likes layering clothes, and appreciates the final look that can come with layering items that do not have an obvious connection.

“I love layers and things that you don’t think go together but then you put them together and they work.”

While working on the original dress that inspired her collection; she noticed, on the dress form next to her, a men’s jacket she had made earlier. Inspired, she pulled the jacket off the form and placed it over her dress. The end result is a long sleek knitwear dress topped by a men’s inspired, belted jacket. It is unique and urban.

“It’s an indie way of dressing up,” explains Makayla.

Another design element Makayla likes to play with is the use of line to accentuate the body. She adds extra seams to create a line effect that adds another texture of design. The use of lines ties back to Makayla’s approach to drawing and fine art. She has always seen and drawn in lines rather than the light and dark shadowing that other artists employ. Coming to CCAD meant she had to learn to see the shading and colors that were necessary in her painting and color concept classes. But she still loves clean lines and brings them back in her fashion work.

Screenshot of DK website showing sp 2011 "Casual Luxe" collection.

While making her collection, Makayla did not follow the design process in the same step by step manner as some of her peers, but her path to CCAD was a little more straight forward. A Columbus native, Makayla went to the Northeast Career Center during high school with a focus on fashion—but they focused more on the business side then the design side. She was encouraged by CCAD faculty member Ron Anderson to take some classes in the college’s Saturday Morning Art Classes and to consider getting her BFA from CCAD.

Four years later, she is ready to graduate. But first she will see her collection walk down the runway on May 13.

Get your tickets now before they run out  www.ccad.edu/fashion.

Irina Burdak

Irina Burdak designed a collection for a young urban, chic woman. Mary Quant, Irina’s Master of Design muse, started her fashion career doing the same thing.

For anyone not familiar with Mary Quant all you need to do is think 1960s, mod, and miniskirt. She began her career at the age of 21 when she opened her own boutique with a particular client in mind: the Chelsea Set. The girls (close in age to Quant) of Chelsea, London, which was the pop-culture hub of 1960s London. The only problem was, as she set out to buy merchandise for her store, she found the kinds of clothes she wanted were not available. So, working from home, she began to create a look for the Chelsea girl.

Her approach was based on simple shapes and bold fashion statements. The looks took off and soon Americans were clamoring for the “London look,” which by 1965 included the miniskirt.

Mary Quant and the mod mini.

One of Irina’s looks certainly nods to the mod look, and Mary Quant would approve of the young fresh color palette Irina uses. But, her pieces are not period costumes for another Austin Powers flick. The Quant influence is there, but these looks are for today’s twenty-something client.

“My collection is for a woman in her mid to late ’20s,” notes Irina. “She’s a successful business woman, she’s very classy and chic, and she lives in the city.”

One look could easily go from office to happy hour, while another suggests the urban woman on a Saturday.

Irina brought a modern feel to her garments both in her silhouette and fabric choices, mixing some metallic fabrics with the corals and creams.

Irina used some metallic fabric for a more modern look.

While the clean lines and easy fit of her garments suggest Irina’s skill at construction, she says she enjoys each step of the design process, from concept through construction.

“There’s a great feeling when the patterns are done, and you pick your fabric, and then start to construct,” she explains, obviously relishing the journey.

While Irina now embraces patternmaking and construction, she didn’t’ come to CCAD knowing how to sew. She didn’t come to CCAD expecting to be a Fashion Design major.

A Columbus native since she was 11-years old (when her family moved to Ohio from the Ukraine), Irina started out at Columbus State Community College with an eye on a profession in medicine. With encouragement from a high school art instructor ( she had received a silver award medal from the Scholastic Arts Awards) she applied to CCAD. She came to CCAD thinking she would major in Fine Arts, but after attending a major selection session her sophomore year and visiting Fashion Design, she changed directions, again.

Illustrations & fabric swatches.

“I liked the idea of being able to construct my own clothing,” Irina said when asked why she wanted to study Fashion Design. And now she has a collection to send down the runway May 13.

Want to see the show? Go to www.ccad.edu/fashion to get your tickets.

More designer stories are coming. Follow us on twitter for blog updates and other fashion event news, join the conversation by adding #ccadfs.

Addie Cheges

Addie Cheges likes to take a fine arts approach to fashion design; a trait she shares with her Masters of Design muse Elsa Schiaparelli.

Schiaparelli opened her first shop in Paris in the mid 1920s and retired from fashion design in the mid 1950s. During her reign as a designer she earned a reputation for bringing the extraordinary and unusual to fashion.

Influenced by futurists, cubists, New York Dadaism, Parisian surrealists, and art deco, Schiaparelli was well known for collaborating with contemporary artists such as Salvador Dali, Jean Cocteau, and Christian Bérard. Some of her most famous looks came about through collaborations with Dali, including the lobster dress, the skeleton dress and the shoe hat.

Elsa Schiaparelli's Skeleton Dress

“Her collaborations with fine artists like Salvador Dali give humor and lightness to the often serious world of fashion,” Addie noted when explaining her choice of muse.

In creating her own looks, Addie nodded to Schiaparelli in several ways, including, designing clothes that, while avant-garde, are still easy to wear; mixing unusual fabrics; and using surface design techniques to customize her fabrics.

However, Addie’s looks are clearly for a 21^st century client.

“The shapes of the garments are a bit unusual, but still wearable,” explains Addie. “They are more like art pieces or special occasion pieces than every-day wear.”

Addie is, not surprisingly, drawn to the illustration and design process parts of creating a collection. But, she says that her four finished looks have evolved a lot since her original sketches.

“I get tired of things easily,” she admits. “I sometimes struggle staying on the same track.” But, Addie added that building this collection provided her with an opportunity to learn to stay focused on a garment (and a collection) and see it through to the end.

Detail image of Addie's leather vest.

The detailing in her finished pieces is a testament to the fact that she found her focus and put in the time and perseverance to see her looks through.

One piece that she is particularly proud of is a pair of devore fabric pants. She started with white satin, died it black, and then spent six painstaking hours on the devore, a burnout technique to create a patterned partially sheer fabric. Once the fabric was created she was able to use her pattern to cut and sew a pair of harem-style pants.

The delicate pants are paired with a leather vest. Though she had never worked in leather before, her end result is a well-tailored cropped vest with a weaving detail at the shoulders.

Elsa Schiaparelli's shoe hat.

For Addie, The looks are a culmination of a journey that started before she came to CCAD.

“When I was young, my mom would always make me dresses,” she said. “I started illustrating and making them on my own, and love it” (although she added that her first clients were her dolls).

It will be fun to see where she lands next.

There is still time to get fashion show tickets, but they are selling quickly. Buy online at www.ccad.edu/fashion.

Jordan Jones

Jordan Jones is not afraid of a challenge.

“Challenges are good,” he notes, “because you learn by doing. Hard work pays off.”

He certainly didn’t back down from a challenge when he chose to do two couture gowns inspired by the iconic Givenchy.

Givenchy is perhaps best known for creating many of the designs worn by Audrey Hepburn in her movies—including Sabrina and Breakfast at Tiffany’s. He was also patronized by other high-profile clients, including Grace Kelly and Jacqueline Kennedy Onassis—women well known for having impeccable taste in fashion.

“Fashion isn’t just about creating clothes, but creating a look, a style, and telling a story,” says Jordan, who particularly appreciates couture and the idea of creating a one-of-a-kind look for one person. “Couture deals with a lot of hands-on sewing. It takes a lot of time for just one garment to be made. To me fashion is all about individuality and couture is just that.”

While Jordan’s collection references the clean lines and sheer elegance one associates with his Masters of Design muse, there are edgier touches that are all his.

Jordan hand painted & layered silk organza and charmeuse

One gown, which very subtly references the gown made famous by Audrey Hepburn in Sabrina, features layers of hand-painted fabric. Jordan used multiple layers of silk organza and charmeuse, which are difficult to sew but take paint better than synthetic fabrics. Jordan’s vision uses the layering of the delicate fabric and surface design to give an almost 3D painterly effect to the gown.

“Fashion,” he notes, “gives the creative drive to be expressive in a way that can be worn.”

While Jordan has certainly brought creativity and drive to his designs, he has embraced every aspect of fashion design both technical and imaginative. He notes patternmaking as a skill that was a particularly challenging accomplishment, and one that has served him well. Jordon is currently working as in intern at Abercrombie & Fitch, where he is getting more hands-on experience in technical design.

Jordan came to CCAD ready to study fashion.

“It’s not that I wanted to study fashion,” Jordan explains. “I had to study fashion.”

This Givenchy gown was worn by Audrey Hepburn in Sabrina

He was attracted to CCAD’s reputation, but he also was inspired when he came to visit the college and heard alumna Nancy Binger (CCAD 1986) speak. As she describe the work she was doing (at the time with Limited Brands) he realized it was possible to find work in the fashion industry.

Though he admits that he knew little, as a freshman, about the work that goes into creating a collection; he has been a very willing student. He credits his instructors, in particular Richard Hurley, for being such a huge part of his learning experience. Jordan also looked at every critique (whether from peers, instructors, or the jury panel for the show) as an opportunity to learn.

And the final result? Well, that can be seen on May 13 when his gowns come down the runway.

There is still time to get tickets to see Jordan’s collection along with 24 of his classmates, but they are selling out, buy online now at www.ccad.edu/fashion.

Chrissy Buskirk

The fact that Chrissy Buskirk finds inspiration from ’40s and ’50s era garments, films, and music is only one reason Claire McCardell is such a fitting Masters of Design muse for her.

MCardell, a popular designer in the ’40s and ’50s, is best known for American women’s sportswear and has been called the founder of American ready-to-wear fashion. Staying away from the tradition of looking to French designers for inspiration, she created clothes that were functional and flattered the female form without artificial understructures. Designing under the label Claire McCardell Clothes by Townley, she was one of the first American designers to have name recognition.

There is an interesting parallel between the two. McCardell was forced to design around the challenges of fabric rationing during WWII—an issue that only strengthened a design aesthetic that would lead her to be referred to as the creator of the “American look.” Chrissy has worked with a sort of self-imposed fabric rationing, as she began her collection with a singular goal—to use only recycled fabric. While this approach led to some of her greatest challenges, it also supported a larger philosophy that Chrissy embraces: that fashion can be good and good for the environment.

Chrissy's illustrations (right) show influence by Claire McCardell's designs (left)

“I want to make people aware that you can do good things with fashion without hurting the environment or taking advantage of cheap labor,” Chrissy explained.

While there’s a serious mission behind her work, the clothes themselves are playful and bright. Some of the separates, including a romper and puffy shorts, reference pieces McCardell introduced to American sportswear. The mix of patterns and colors speak both to Chrissy’s creative mind and her fabric recycling endeavor.

While Chrissy would not allow herself the luxury of going to a fabric store and simply choosing a new textile that would perfectly suit her needs, she did make a trip to Chicago to shop the ample number of vintage and thrift stores. She also perused ebay and bid on a ’70s-era bed sheet for her romper—a piece she is particularly proud of due to the technical difficulty involved in constructing it.

Claire McCardell Time Magazien cover (screen shot).

Chrissy’s journey with CCAD began young when the Sunbury, OH native enrolled in Saturday Morning Art Classes while still in middle school. Later, with encouragement from her AP art instructors, Chrissy applied to CCAD with her eye on Fashion Design.

As her educational journey comes to fruition, Chrissy already has plans for her next step. Staying true to her social-good philosophies, Chrissy will be joining a group from her church on a six-month trip to Birmingham, England where she will teach sewing to individuals looking to learn an income-earning trade.

Mea Adams

Mea Adams chose Betsey Johnson as her muse because: “Her designs are so fun and energetic. Every garment that comes down the runway has its own personality. I am always inspired by people who are never afraid to stand out.”

It’s a fitting description for a designer who ran with the likes of Andy Warhol, was married (for a minute) to a member of the Velvet Underground, and whose look is still wowing the runways. New York Magazine says it best in Johnson’s online bio:

“Decades later, she’s still producing frilly retro dresses and kooky-sexy separates. While countless brands describe themselves as “flirty” or “sassy,” Betsey exemplifies both.”

A screen shot from the Betsey Johnson website.

Mea (pronounced May and short for Meagan) has captured Johnson’s energy, whimsy and youthfulness with her collection. Like her muse, Mea was daring enough to mix colors and patterns that others may have shied away from. She also likes to layer fabrics, using the palettes and textures of two pieces to create one textile.

“What I really took from Betsey Johnson,” Mea explains, “was to show my outgoing and fun personality into each of my outfits. My collection is for anyone who loves to follow trends, but is not afraid to step out of the box.”

While her illustrations gave her a jumping off point, fabric choice has been a driving force for Mea in the design process.

“I’m the kind of person who changes my mind every two seconds,” Mea said with a smile. “I design as I go. I look for fabrics and let the material inform the direction I’m going.”

a sneak peak at a garment that shows Mea's use of layering fabrics.

This same willingness to explore and change, led Mea to fashion design. Though she knew she wanted to attend CCAD since she was in middle school, she did not know she wanted to study fashion design—in fact she had done mostly painting and did not know how to sew.

“Fashion design was an unexpected decision. I had always liked fashion and expressing myself through fashion, but hadn’t thought of making clothes,” said Mea. She went on to explain that she likes the hands on aspect of making things. She applied herself to learning to sew, drape, make patterns, and all of the other hands-on training that goes into becoming a fashion designer.

When it came time to do her collection, Mea embraced the challenge and even took on doing two rompers despite being advised against it. The seemingly simple one piece outfits are actually quite difficult, and if a designer gets one element wrong during construction the entire piece can be ruined.

Starting with a sketch.

But Mea stuck with it and is pleased with the end result.

“Don’t make something simple because you don’t have time or you think you can’t do something.” Mea advised.

She certainly didn’t go “simple” with her energetic looks.

The only question left is, will she do a cartwheel down the runway?

Find the answer May 13. Buy tickets at www.ccad.edu/fashion (prices go up March 15).

Diana Velika Banas

It is fitting, on many levels, that Diana Velika Banas chose Vivienne Westwood as her Masters of Design muse.

Let’s start with music. Diana references music, in particular old-school punk, as a major influence on her life and work—The Clash, the Ramones, X, Black Flag, the Germs … to name a few. The genre is clear in Diana’s designs and a direct nod to Westwood’s early years as THE forerunner in punk-rock fashion.

Westwood built her design aesthetic and career on bucking existing fashion trends. When she and boyfriend Malcom McLaren (perhaps best known for managing punk bands the Sex Pistols and New York Dolls) opened their store at 430 Kings Road in 1971 they were more interested in 50s’-inspired “Teddy Boy” fashions then the hippie-inspired looks that were the current trend. Within five years the store changed names and looks.

Ms. Vivienne Westwood

“In 1976 the Sex Pistols’ God Save the Queen, managed by McLaren, went to number one and was refused air time by the BBC. The shop reopened as Seditionaires transforming the straps and zips of obscure sexual fetishism into fashion and inspiring a D.I.Y. aesthetic. The media called it ‘Punk Rock’.” (Excerpt from http://www.viviennewestwood.co.uk/w/the-story/kings-road]

The DIY aesthetic is something else Diana references often. “I’ve had a long history (from the age of five) of cutting ugly materials up and trying to piece them back together in a way I deemed more aesthetically pleasing,” she says.

She continues this trend of deconstruction and reconstruction in her current collection. The plaids used throughout her looks are actually constructed from several plaid garments purchased at thrift stores. She took apart several shirts, died them and pieced together the material to construct new textiles.

Painted vinyl

She also repurposes  material used in her faux leather pieces, where she took vinyl (the kind developed to be used outdoors) and painted it to give it a texture reminiscent of worn, aged leather (no animals were harmed in the making of Diana’s collection).

While Diana’s garments are clearly inspired by Vivienne Westwood, they are focused on a particular time in Westwood’s 40-year career and on one particular aesthetic of a designer whose looks are varied even from one 2011 red carpet event to another. This focus is one way in which the collection is true to Diana’s voice. Diana’s handmade textiles are another. They reflect her first year in college in Maryland where she studied fiber arts in addition to foundation classes. “There was a lot of developing the textiles,” explains Diana when talking about her decision to transfer to CCAD. “I wanted to learn how to make the clothes. I ended up with the best of both worlds.”

In the end Diana’s voice is best conveyed by the fact that she has created a collection that she wants to wear, rather than focusing on what could be mass produced—the epitome of DIY fashion.

After graduation Diana will spend the summer doing costume design for a repertory theater in California, a job she did last summer. She has an interest in costume design, and would love to do costuming for music acts, videos or TV—in particular she loves costuming modern characters and is fascinated by what clothing can do for a character and how it adds to the story.

Tickets to the show (which includes a pre-runway party and an after-runway party) are available at www.ccad.edu/fashion and if you get them before March 15 you get the advance purchase price.

Olivia VanScoyoc

Do a Google image search for Calvin Klein. You might notice that more than half the images don’t include clothes, or at least not outerwear. But the images that do show Klein’s impeccable sportswear, present a distinct sense of brand, and this brand is beautifully referenced by Olivia VanScoyoc who chose Calvin Klein as her Masters of Design muse.

“Calvin Klein’s early work served as the inspiration for my collection,” noted Olivia. “I appreciate his clean tailored lines and limited color palette. I also connect with the ease associated with American sportswear.”

An appreciation for clean lines is not surprising from a designer who included architecture among the list of things that inspire her.

screen shot from CK runway

Getting that clean, deceptively simple look, however, is anything but clean and simple.

Olivia came to CCAD with no sewing experience, so when she started learning to sew during her sophomore year, she describes it as a struggle at first.

“I broke needles got bobbins stuck in the machines. I couldn’t do a fly front when we first learned them. Now I do them all the time.”

She mastered the sewing, but discovered new hurdles as she worked on her collection.

“The jeans were a challenge,” she explained. “Getting the fit and the little details—rivets, pocket stitching, linings. The industry has machines to age jeans. I did it by hand with sandpaper, bleach, and washing.”

Olivia's menswear look at the Feb. 17 jurying.

Another unexpected hurdle involved fabrics. Olivia purchased a lot of fabric online and was surprised at how often she would be sent damaged merchandise or the wrong color.

Overcoming challenges is a natural part of the learning process. But Olivia found that some lessons, some discoveries, are a positive part of the creative process. She describes the evolution of her women’s wear garment, and how it changed multiple times as she worked from illustration to actual, wearable pieces. “Each step took me closer to what it should have been,” she said. This willingness to adapt and constantly re-evaluate her work, led her to pieces that are fitted and well finished.

While her looks clearly nod to the CK brand, she pulled her own voice in with finishes such as rib-knit cuffs and edgier zipper and rivet choices.

Olivia’s open engaging attitude was clear when she was asked to describe the most important thing she learned at CCAD: “Have integrity,” she wrote. “Listen to criticism and don’t disregard others’ interpretations of your work. Your greatest influences are the creative people you surround yourself with.”

As she finishes up her collection, she is getting ready for graduation—working on her portfolio, setting up interviews, and keeping her options open.

Carolyn Martin

Getting to the runway hasn’t been a point A to point B journey for Carolyn Martin. Actually, she started as pre-veterinary medicine major at The Ohio State University.

Fortunately Carolyn learned a lesson early that many of us come to later in life—find your passion.

“After many sleepless nights and countless hours with my face in a textbook and still no gratification, I decided to put all these efforts (plus a little sweat and blood) into something I was more passionate about,” explained Carolyn.

With some guidance from friends and family, she realized that what had always been a hobby for her, sewing, was also what inspired her.

She transferred majors within OSU, but was soon advised that if she really wanted to dive deep into the design facet of fashion design she needed to transfer to CCAD.

Chanel used refined touches like bias bindings and hand-sewn hems.

But even after starting at CCAD, her path took a turn. To help pay for her education, Carolyn joined the National Guard while still a senior in high school. In the final year of her six-year contract; Carolyn, a human resources sergeant, was transferred to another unit and deployed to Iraq—with two weeks’ notice.

“I went overseas with an aviation unit that flew Blackhawks, probably one of the best deals to score if you are going overseas,” Carolyn shared.

“I was so afraid I would lose my skills and come back feeling lost,” said Carolyn who was out for the entire year in 2009. But instead she came back even more focused, motivated, and with a clear image of what she wanted to accomplish at CCAD. Her collection reflects that tenacity.

Inspired by Coco Chanel, Carolyn has brought to her collection many of the refined, hand finishes that Chanel was so well known for—including quilted jacket linings, bias bindings, and hand-sewn hems. Her lines are clean and neither of her runway looks are dresses—another homage to a designer who crossed gender boundaries with fashion.

Marlene Dietrich modeling a masculine-styled pant suit designed by Coco Chanel, 1933. © AP/Wide World Photos.

While her inspiration is Chanel, Carolyn points out that “Your chosen designer is inspiring you, you are not to replicate or create their collection.”

Carolyn brings her own whimsical touch to her pieces including bold colors and trims. One unexpected favorite touch to her collection is a tassel trim she used.

“I was wary about how the tassels on the shorts would turn out,” Carolyn said. “I didn’t want them to look crafty. But I love how they look. They add a playfulness and touch of humor.”

While the extra touches are playful, Carolyn notes that she also sees a military influence in some of her choices. She also credits her time with the military for enhancing her attention to detail and perfection, a quality that was noted by the fashion show jury.

“I want my designs to be beautiful, not just from the runway, but even down to the linings, hems, button holes, etc. For example I fully lined the pants  because I wanted the interior to be just as well made as the outside—even though no one is going to see the lining from the runway or even know that it’s there, I will know and I will be satisfied.

To see the Chanel-inspired collection up close on May 13, you’ll need to get your tickets—and FYI, ticket prices go up March 15.

Pierre Cardin home page

What first struck me, when I started looking into Lisa Vogel’s Masters of Design muse Pierre Cardin, was how quickly I could see the connection between his aesthetic and her garments.

When describing why she chose Cardin, Lisa wrote “I was impressed by how he incorporated geometry [especially the circle] into his work.” Lisa also noted that she used the circle and a 60s mod aesthetic in her designs.

A quick trip to Cardin’s website shows exactly what she described—circles and a mod look.

Some Cardin highlights include introducing the “bubble dress” in 1954, designing the stylish suites worn by the pristine Mr. John Steed in the British TV series The Avengers, and proposing the collarless button jackets favored by the Beatles. He was also known for exploring space-age and unisex designs.

In addition to his use of geometric shapes, Lisa noted that she appreciated the way Cardin ignores the shape of the body and takes a more sculptural approach to design.

While inspired by Cardin, Lisa has certainly brought her own vision to her collection, including a more modern silhouette, embroidery and other hand stitching details, and using natural fabrics rather than the synthetic fabrics that were popularized by Cardin in the 60s.

Lisa Vogel 2011 Senior Fashion Design Major

One piece that she is particularly proud of is a black, boiled-wool cape.

“I hadn’t worked in boiled wool before,” Lisa said. “It draped even better than I anticipated.”

Also apparent in her collection is Lisa’s interest in construction.

“I love pattern making and construction,” she noted. “To me, these two disciplines are like solving a puzzle. All the pieces have to fit together just perfectly.”

Lisa, who hopes to build on her appreciation for the art of construction by working in technical design, has been getting a lot of hands-on experience interning with Lane Bryant. She adds that she could see herself staying in Columbus after graduation.

“A lot of people don’t realize that Ohio is such a hub for fashion,” she said. “Lots of companies are here.”

Stay tuned this spring as we check in with all 26 designers in the 2011 CCAD Senior Fashion Show. Don’t miss seeing their work in person. Get tickets at www.ccad.edu/fashion.

Photo shoot Sunday, Feb. 27

If the first half of the photo shoot was chaos, the second half was a lot of hurry up and wait.

Eventually all the hair and make up people were done with their part, which left models and designers queuing up for their time in front of the camera. When you have 26 designers showing two looks each, you have to expect things to get a little behind schedule–hey, the good stuff takes time.

With about 18 designs left to shoot we headed down into the basement. This part of the building hasn’t been renovated yet, which means lots of raw brick and industrial looking areas to shoot in–at least once we found a place to plug in the lights.

here’s what impressed me: even after dozens of models and outfits, Scott kept finding different angles and spaces to shoot. Seriously, I can’t wait to see the finished shots. FYI: these photos are used in the catalog give to every Fashion Show ticket holder. Do you have your tickets yet?

Victoria's Secret Fashion Show

On the evening of May 13, during CCAD’s Senior Fashion Show Event, CCAD will auction off two tickets to the celebrity-studded and very exclusive Victoria’s Secret Fashion Show and After Party.

“We are extremely fortunate to get these tickets,” said Stephanie Hightower, CCAD’s vice president of Institutional Advancement. “It’s like the Oscar’s or the Grammy’s—the public can’t just buy tickets to this event. We are offering an exclusive opportunity to attend one of the most anticipated events of the year.”

Thanks to a generous donation by CCAD Fashion Show sponsor Limited Brands, the college was able to acquire the tickets for auction to raise funds for CCAD scholarships.

The lucky bidder will receive prime seating at the Victoria’s Secret Fashion Show, which means they will be surrounded by A-list celebrities while they watch some of today’s top supermodels strut down the runway along with chart-topping musical acts. Following the show the winning ticket holders will be invited to the exclusive, official after-show party.

Katy Perry and Akon performed at last year’s show; past Angels have included Heidi Klum, Adriana Lima, Alessandra Ambrosio, Doutzen Kroes and Miranda Kerr. In previous years the Grammy Award winning Black Eyed Peas, Usher, Seal, Justin Timberlake, The Spice Girls, Chris Botti, Ricky Martin, Sting, will.i.am, Mary J. Blige and Destiny’s Child performed at this extraordinary runway event. Guests at the Victoria’s Secret Fashion show will be seated among a star-studded audience, which has previously included celebrities such as Jay Z, Elton John, Elizabeth Taylor, Joaquin Phoenix, Mark Wahlberg, Terrance Howard, Josh Lucas, Alex Rodriguez, Martha Stewart, Eva Longoria, Ryan Seacrest, Hayden Panettiere, Gabrielle Union, Amanda Bynes, Jeremy Piven, Neil Patrick Harris, Molly Sims, Denzel Washington, P. Diddy, Derek Jeter, Lenny Kravitz, and Sting.

(Check out Victoria’s Secret’s website for video, runway photos, and red carpet photos)

Bidding for the tickets will start at $25,000 with all proceeds going to CCAD’s general scholarship fund (100 percent of the bid is tax deductible).

Only guests of the May 13 CCAD Senior Fashion Show will be able to bid (you must be present to bid), so if you haven’t gotten your tickets, purchase them online today.

The 2011Victoria’s Secret Fashion Show is Wednesday, Nov. 9. The location and musical acts have yet to be announced as of this posting.

The winning bidder will receive updated event information from Limited Brands as it is announced, and tickets will be mailed two weeks prior to the show. Please note that the Victoria’s Secret Fashion show is subject to cancellation, and should this occur the winning bid on this item will be fully refunded upon the winning bidder’s request.

(click on thumbnail to see full image.)

All aspects of each garment were carefully reviewed.

One of the first big tests on the road to launching the CCAD Fashion Show is facing the jury. This is where a group of professionals evaluate two garments from each designer.  A lot is at stake. No one is guaranteed a spot on the runway and if the jury thinks a designer’s work is not ready to walk, they could be dropped from the line up.

This year’s seven-member jury included Sarah Brennand and Kristen Tonge from Abercrombie & Fitch; Kristy Eckert from Dispatch Media; Melissa Kieffer from Lane Bryant; Julie Dean and CCAD Fashion Design alumna Sally Ewing (CCAD ’07) from Limited Brands; and Maren Roth from Rowe Boutique.

Designers were not present during the review, leaving the jurer’s to look at each garment objectively, knowing only the Master Designer muse associated with the look.

They carefully looked at each piece from every angle, they felt fabrics, examined linings, and paid close attention to handmade accessories.

Over all the jury was very impressed with what they saw (soon after leaving Ms Kristy Eckert tweeted, “Some really beautiful pieces in this year’s show! So impressed.” But rest assured the designers are getting invaluable constructive feedback from this experience—during the three-hour process each jury member took detailed notes, which will be typed up and turned over to each student.

Soon we will have a list of all the designers participating in the 2011 Fashion Show (and we’ll include their Masters of Design muse with links to websites or Wiki bios).  Then there’s the photo shoot and for the rest of the spring you’ll be able to dive deeper into each designer’s creative approach and inspiration for his or her collection.

If you want to see the finished looks, be sure to buy your tickets online now. They are selling quickly and prices go up in March. (Click thumbnail to view full image).