A Look at the Next Generation: Unveiling Scad’s Visionary Designers and Their Trailblazing Collections
By Mackenzie Richard
Index
Featuring: Alberto Perkinson, Barrett Winters, Bryony Umfreville, Colleen Sheckells, Devin Morgan, Hayden (Hee Yeoi) Yang, Isabella Song, Maliki Gilbert, Nathan Barta, Patriel Bailey, Tristin Taylor, Yuhan (Yvonne) Chen, & Zixaun Xu (Suki)
Alberto Perkinson
BFA Fashion, Key Biscayne, FL
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
During my time at SCAD, my design aesthetic evolved significantly, thanks to an influential concept professor who played a vital role in shaping my unique style. My professor helped me discover my passion for sketchbooking and storytelling. I learned to pour my complex emotions and thoughts onto the pages, transforming them into silhouettes, colors, and concepts. I realized that my sketchbooks didn’t have to conform to a standard format; instead, they could be a personal outlet for creative expression. This newfound freedom allowed me to create a senior collection centered around my own experiences and the unspoken feelings shared by individuals who struggle to express themselves honestly.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
Throughout my fashion design studies, I gained invaluable knowledge and keen understanding of techniques that have made me the designer I am today, and these skills will forever shape my work. One significant skill I developed is draping, which has become a cornerstone of my design approach. Through hands-on, tactile techniques, I manipulate fabrics to create captivating garments. Additionally, my introductory textiles class introduced me to various fabric manipulations, including weaving, knitting, digital printing, placement prints, and dyeing techniques. These techniques allowed me to explore the creation of custom fabric swatches, which I often incorporate in my collections. I discovered that breaking the rules of draping and patternmaking can result in exciting and innovative garments, but it’s crucial to have a solid foundation in both areas.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
Several fashion designers have greatly influenced and inspired my creative journey. Martin Margiela, John Galliano, and Daniel Roseberry have left a lasting impact on my approach to design. Margiela’s innovative deconstruction techniques and ability to transform existing garments into luxurious, tailored pieces continue to inspire me. Galliano’s mastery of volume, color, and extravagance, allowing him to create immersive worlds and characters through his designs, has been a significant influence. Similarly, Roseberry’s ability to create wearable pieces of art, resembling golden sculptures, leaves me in awe and fuels my aspirations to reach his level of artistry.
What are your thoughts on sustainability and ethical practices in the fashion industry, and how do you plan to incorporate these values into your designs and brand?
While initially, my intention was not to create a sustainable collection, I gradually realized the potential to incorporate these values into my designs. As I developed my collection, I discovered an abundance of resources in second-hand and thrift stores that aligned perfectly with the story I wanted to convey.
I firmly believe that designers can find a wealth of materials in second-hand stores, vintage shops, and goodwill to create exciting collections without resorting to new purchases. Whether through slight alterations or deconstructing existing garments for fabric, we can reduce waste and breathe new life into fashion items that already exist. By embracing sustainability and ethical practices, I aim to contribute to a more environmentally conscious and responsible fashion industry.
Barrett Winters
BFA Fashion, Garner, NC
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
My design aesthetic truly developed through my studies at SCAD and a breadth of research across a variety of sources and mediums. From my freshman year art history course, the shelves of lookbooks and designer biographies available in the library, stage performances, music, and my personal favorite hobby of visiting art museums, I’ve just allowed myself to be a sponge and absorb other perspectives and artistry from every angle.
My style is defined by an in-depth introspection into my familial history and the culture that I come from. I grew up with very little understanding of where I come from, and it’s been in these last few years as I’ve come into adulthood that I’ve begun to seek a deeper connection to my heritage. My grandmother was particularly proud of our Scottish heritage, a bloodline that traces back to the far reaches of the Highlands in Caithness and Sutherland. My roots, which stretch and meander across the European continent, is where I derived the elements that became my senior collection. Called Marchesa бітанга (translating to “Princess Bastard”), my collection utilizes silhouettes and embellishments inspired by paintings of noble women from the Italian Renaissance, textures and motifs drawn from Carpathian textiles, and of course the all-important clashing colors, patterns, and pleating styles of the Scottish tartan and kilt.
My great-grandmother Estelle, I just called her Granny, was the person who taught me to sew, whether it was fixing a hole in a pair of working pants or constructing doll clothes. Sewing is a deeply rooted tradition in my family, as can be deduced by my family’s collection of blankets created by my great-grandfather, or the teddy bear my grandmother made for me as a baby, among many other creations. Yet, I’m the only person in my family who continues to frequently sew, and I feel a responsibility to preserve the skills that were given to me through the vehicle of my art and by telling my family’s stories. My experience growing up has manifested into my personal style as an attention to precision and small details, an artisanal approach to handicraft, and a rich, symbolic use of textures, colors, and fibers.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
The most valuable skill I learned over my courses is probably a strong knowledge of anatomy, both of the human body and of a garment’s construction. I’ve been taught to approach fashion design as the art of turning something two-dimensional, like fabric, into three dimensions, and I think it’s impossible to do so without knowledge of the canvas which is the body.
I particularly enjoyed being able to create my own custom fabrics utilizing the fabric printer at SCAD. Utilizing my skills in Adobe and drawing inspiration from my research into Scottish tartans, I was able to print several variations of a self-designed tartan to be utilized in my senior collection. I was really grateful for the capability of total customization in designing my own textiles, and absolutely plan to further delve into custom materials in my career.
I also know a Juki straight stitch, single-needle machine like the back of my hand at this point, so I’m grateful for the experience I’ve gained with a breadth of professional machines.
I’ve really honed my sewing skills during my college career, both with a machine and by hand. I’ve been taught nearly every finishing, hem, seam, and hand stitch in the book and I’m naturally a perfectionist in everything I do so I believe my skills would be well applied in haute couture, where precision is key.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
Thom Browne is a designer whose work intensely resonates with me, and thus has influenced me as a designer. His use of color, texture, and pattern is utterly unique and unrestrained. I believe he is a master of understanding the human body and intensely admire how he plays with its proportions, creating both impeccably tailored garments that perfectly hug the contours of the body as well as surrealist, sculptural pieces that seemingly have nothing to do with the body wearing them at all.
Alexander McQueen is also eternally a beacon of expression that I flock to. I believe that his ability to create a spectacle through clothing, set design, and storytelling are bar none. He was such a master of creating an enveloping environment and narrative and I strive to be as versatile of a designer as he was.
I’m also a huge fan of the maison Schiaparelli, both its legacy during the early twentieth century and its current iteration under the direction of Daniel Roseberry. I’ll always admire the visionary perspective that was Elsa Schiaparelli’s collaboration with the Surrealists. I believe she was a master of translating her inspiration and conceptual materials onto the body, and I love how Mr. Roseberry has taken up the reins and demonstrates the brand’s history through string motifs and bold silhouettes.
These designers have ingrained in me the need to push boundaries, sometimes to an uncomfortable breaking point, in order to exhaust my creative ideas. They encourage me to be multi-disciplinary and consider the whole of every product I create. Most of all they’ve helped to guide me by example on establishing my identity and perspective of a designer, and I do so because I believe that I have the potential to fill a niche in the fashion industry that has never been filled before.
Bryony Umfreville
BFA Fashion,Grays, United Kingdom
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
I think one of the best things about SCAD is how the entire campus is so captivating and stimulating – it is quite the environment to study in and flourish as an artist. The professors really nurture you to discover your voice as a creative, and give you the encouragement, mentorship and space to find your aesthetic. I was doing womenswear all the way up until my senior year and my professor Andrew Fionda suggested I try out menswear and something in me just clicked and I absolutely love it! I’m so grateful for his guidance, and so proud of my senior collection.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
I think some of the most valuable skills I learned through studying at SCAD were pattern making, construction, and the latest design / CAD programs such as CLO, which will be essential to my next steps as I embark on the industry.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
I take a lot of inspiration from everything around me but I think some of the designers I look up to the most are probably Thom Browne and Emily Bode. Thom Browne just sees the world in a lens I just wish I could understand and I’m just so inspired by everything he does he is a true visionary. And with Emily Bode I had the chance to meet her in person when she visited SCAD – she spoke with me about my designs and inspiration and her liking my work and encouragement was a true full circle moment for me as I’ve been an avid follower and admirer for years.She even posted my mood boards on her Instagram was honestly so cool, I’ll never forget that and I’m so grateful to SCAD for giving me that opportunity!
What are your thoughts on sustainability and ethical practices in the fashion industry, and how do you plan to incorporate these values into your designs and brand?
I had the most amazing opportunity to be mentored through our StyleLab mentor program by Briana Danyele who is not only a SCAD alum, but has been so successful in the industry. Having her critique my work and really break it down with me is something I’m so grateful for as it allowed me to see how others understood my designs rather than always just seeing it from my own eyes. She had so much confidence in me and I hope my final collection made her proud! I also owe so much to professor Fionda, he encouraged me to achieve so much and I ended my time at SCAD on the highest possible note with a collection that is deeply personal to me, and was presented to the world on the SCAD Fashion runway!
Colleen Sheckells
BFA Fashion, Manchester, MD
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
As my has style developed, I realized that my passion for stories from the past translated over to my work in fashion. As a child one of my favorite hobbies was rummaging through my grandparent’s basement and barn to collect memorabilia that only my grandfather and I found value in. He loved that I had an interest in his “junk” and I loved hearing the stories he had for each item I touched. At the time I think my joy in it came from the happiness it brought him to story-tell but, later on in life I grew to love the antiques and stories that he has spent his life collecting. My design aesthetic comes from a place of combining the past and the present. Beginning with work that had a minimalistic and workwear design style, it transformed when I found my love for designing with antique textiles. Creating pieces that combine textiles that have a pre-existing story to them and unplanned elements, unlike when you design or purchase a new textile, I am able to create pieces that have a sentimental quality to them. Growing up with a family in the agricultural industry, I learned the importance of circularity. Finding multiple purposes for one thing is something that keeps farmers profitable and functioning. This same method is one that creates new results from the same materials in my own work.
I learned that after I sew up the garment, the base version of it, is when the magic happens. Having the garment in hand I transform it with techniques such as embroidery, appliqué, quilting, or hand-painting to name a few that were featured in my collection. This step feels very natural to me, more like the existing fabrics are telling me what to do, not the other way around. As someone whose wardrobe is made up of classic silhouette basics, I have always craved uniqueness. This is why I love to use one-of-a-kind textiles to create one-of-a-kind pieces.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
SCAD’s fashion program, in a broad way of saying it, trained my eye to see – among countless other ways it has made me the designer I am today. From the work we do studying various artforms, I was trained to see color, proportion, balance, and everything else that goes into design. From studying classic men’s tailoring not only did I find an appreciation for the craft but also found my love for menswear, menswear’s influence on womenswear, and the elimination of the line that distinguishes the two. With this love for a traditional way of working, technology without a doubt has changed the industry and designers alike, including myself.
When it comes to staying relevant it’s all about personal experience. What we see and do everyday influences every creative decision we make. These unconscious decisions we make are a reflection of trends whether we read them everyday or not but, personally taking note from individual people and their choices rather than broadcasted trends are what I prefer to see. Seeing how more classic pieces can fit into various individual styles no matter who the people are is most interesting to me.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
Emily Adams Bode’s brand Bode has become a driving inspiration for my work. The handcrafted aesthetic and story driven design that Bode garments offer align with my own design process. I studied and fell in love with Bode’s silhouette formula. The regularity and rules that go into their pieces directs attention to the textiles and techniques and the process that Bode goes through to research, source, and design each textile to bring it from the past into the present is something I really admire about her as a designer and her brand.
What are your thoughts on sustainability and ethical practices in the fashion industry, and how do you plan to incorporate these values into your designs and brand?
My approach to sustainability is focused on quality and function. Shopping with the intention to buy pieces that can be worn for a lifetime is the mindset I have when creating. When working with antique and pre-used textiles a level of wear and tear is always present. Mending techniques are often present at the initial creation of my garments and as time progresses and damage is done additional mending should be used for repair, adding to the character to the piece. Growing up with a family in the agricultural industry, I learned the importance of circularity. Finding multiple purposes for one thing is something that keeps farmers profitable and functioning. This same method is one that creates new results from the same materials in my own work.
Devin Morgan
BFA Fashion, Philadelphia, PA
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
My senior collection E N D Z O N E can be best defined as futurism meets Astro-tech. Incorporating elements from space suits as well as comfort, mobility, and functionality from street tech wear. In concepting and developing my collection, I went through about four to five different ideas and topics before I finally figured out what I wanted to design. I experimented with knit streetwear, dressy streetwear, Japanese streetwear and so much more.I wanted my garments to stick out in a crowd of designs, and they did just that.
I’d say that my biggest two supporters from SCAD would have to be my fashion professor Long Nam To and Dean Dirk Standen. My professor, Long Nam To, pushed my limits to surpass my own expectations. He saw potential in me in the beginning of the development process and didn’t give up on my creative process. I wouldn’t be where I am today if not for him. Dean Dirk Standen was also a huge influence and supporter. He would come by class to check on my designs and email me about job opportunities I should pursue and offer design advice and critiques throughout the year.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
During the first stages of the development process, I was learning CLO-3D which is a computer program to design clothes and accessories digitally and is faster than regular pattern making by hand. CLO-3D saved me so much time and money because I didn’t have to use as much paper as you would for regular pattern making. Learning CLO-3D has actually gotten me an internship at Microsoft. I will be teaching the gamers and other associates how to use CLO-3D so they can create new merch and possibly game designs.
I would love to continue to use CLO-3D for my future career as long as possible. I’m currently working on a zero-waste project on CLO now to design a streetwear line, but using zero waste cutting and zero waste techniques. Focusing on zero-waste would save me money with fabrics and paper but also, me and my designs would be a part of a community of designers who are also using this technique to help our environment by 15%.
Hayden (Hee Yeoi) Yang
BFA Fashion, Seoul, South Korea
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
The most important aspect of preparing for this senior collection was finding my own DNA. I realized that it is more challenging to evoke emotional connection through fashion than simply creating beautiful garments. I believed that expressing my personal stories derived from my own experiences would truly represent my identity and showcase what I am capable of. Therefore, I designed a collection that was inspired by the memories of my adolescence when I was immature and vulnerable.
I conducted extensive research on school uniforms from various countries and focused on visual research, including colors, silhouettes, and textures, to build a solid concept. Additionally, I recognized the importance of experimenting with fabrics and materials to obtain fabric manipulation techniques. For instance, I transformed a commonly seen and affordable material in the fashion industry, elastic bands, into ruffle embellishments inspired by pig intestines, aiming for a fresh perspective and innovative design.
Participating in and preparing for various competitions supported by SCAD provided me with significant growth. Competitions such as CFDA, Pierre Cardin and FSF allowed me to enhance my skills and creativity, serving as strong motivation. These experiences greatly contributed to improving my abilities and fostering my innovative thinking.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
There are various methods for garment production, but the technique I preferred for the collection was draping. Draping is characterized by its creativity and flexibility. Draping involves manipulating the fabric directly to create shapes, allowing designers to express themselves creatively and freely. Through this process, the structure and form of the fabric can be utilized to achieve unique and distinctive designs and silhouettes.
In my collection, I created sustainable and deconstructive designs by dismantling and reassembling vintage school uniforms. This reflects our awareness of the impact we, as fashion designers, have on the environment. The fashion industry has a significant environmental impact in terms of production and consumption, and I feel a sense of responsibility towards it. Therefore, I aspire to pursue haute couture fashion design that takes sustainability into consideration.
Fashion design and the environment are closely interconnected, and it requires awareness and responsibility towards sustainability to minimize the environmental impact of the fashion industry and move towards a sustainable direction. Through creative and flexible design through draping, I aim to practice sustainability.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
In my journey, two remarkable designers and brands have been paramount source of inspiration for my collection: my SCAD professor Peter Jensen and Thom Browne. Throughout this entire academic year, Professor Jensen was my mentor, greatest champion, and biggest supporter. During moments of uncertainty, he provided me with invaluable direction, unveiling new perspectives that propelled me forward. Despite the brevity of our time together, he liberated me from self-imposed limitations, and taught me how to play fashion like a mischievous child. Thom Browne has also significantly influenced my work. His unparalleled audacity, distinctive allure, and captivating presentation are enough to fascinate me. The boundless imagination evoked by its visionary creations became a constant source of motivation, igniting my own creative fire.
Isabella Song
BFA Fashion, Leominster, MA
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
As a designer and as an artist, I am very focused on the details, and I think there is something uniquely beautiful about taking something simple and making it exceptional. I design genderless clothing for anyone and everyone. My design aesthetic has definitely been shaped by my experiences as a mixed-race artist as well as my own journey with my gender identity. I draw heavily from both my Korean and my Irish heritage to combine elements of classic tailoring with traditional Korean dress, or hanbok, in my androgynous designs.
During my time at SCAD, I have grown immensely as a designer. Before SCAD, I was so unsure of myself and whether my voice was worth sharing. It has been thanks to my professors and my peers that I finally began to trust in my own individual style, and explore my creative ideas to develop my own voice through fashion design. I have always known that I am a storyteller and I aim to create work that can convey intangible concepts through wearable living art. I want to share the stories of the people I see in the world, my family, and the stories of others whose voices have not yet been heard. That is what fashion is to me- what I believe fashion can be. A way to communicate, connect, and make a difference through an art that transcends language. I can only hope that my work and my voice can make an impact.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
Intimately learning each step in the design process has definitely made me a better designer because when I sketch, I am already thinking about construction, and it is an incredibly exciting feeling to make that plan in your mind as to how a drawing will come to life. I plan to focus my skills on creating and designing genderless clothing that is sustainable and long-lasting, timeless, and meaningful. The kind of clothing people want to invest in, the clothes that kids steal from their parents’ closets to make their own. I want to be a designer who can help push towards a more sustainable future for the industry. I want to be a part of the generation of young designers putting out the fires in this burning world.
Ever since the third grade, my answer to the “what do you want to be when you grow up” question has always been the same- fashion designer. I loved to sketch and to imagine and to illustrate my designs, but I never really learned to sew until I got to college. SCAD completely expanded my horizons as I learned the ins and outs of concepting, constructing and manufacturing a garment, I found myself even more excited to pursue fashion. I remember after taking our pattern-making course I told my professor how much I loved all of the math and the precision involved in drafting a pattern. I realized for the first time that I could actually make clothes from concept to final fabric, and that I could actually be good at it. When I took our advanced apparel class, I was even more excited to experiment with draping and creative pattern-making techniques and I ended up producing some of my favorite pieces.
What are your thoughts on sustainability and ethical practices in the fashion industry, and how do you plan to incorporate these values into your designs and brand?
One of the most important things I have learned from my family is that success isn’t determined by the amount of money you have, but by the number of lives you touch and impact for the better. Focusing on sustainability and ethical practices within fashion is extremely important to me because I feel we have a responsibility to not only the planet but to ourselves, our families, and the generations to come to try and preserve our environment and each other. My design philosophy is that we should all aim to create clothing that will last for generations. So, what does sustainability mean? It feels as though we have become jaded by the term. The truth of the matter is that we have already accumulated an immense surplus of material and things. We are creating more products at a rate which guarantees waste- be it from manufacturing or from consumers throwing out the old to purchase the new.
There are many approaches to creating “sustainable” fashion, but I have become quite enthralled by patchworking scraps and remnants, reusing existing and discarded material to create brand new textiles. What if scraps were not discarded but rather looked at through fresh eyes to inspire entirely new textiles? I also believe that circular business models are a necessity, and I am grateful to see more and more brands working towards circular practices- cycling textiles over and over to reduce waste and encourage people to invest in their clothing. Programs such as the ones within Eileen Fisher and Stella McCartney are just a few examples of how brands can encourage customers to engage in circular fashion practices. I myself as a designer dream that one day with my own brand to be a certified B Corporation. A title I hope all designers may aspire to achieve, in order to hold ourselves accountable in terms of environmental sustainability as well as social sustainability at each level of production. To me, fashion is about communication. I aim to use whatever platform I am granted as a stage to bring awareness to the issues that litter today’s society- about gender inequality, poverty, child famine, environmental destruction, and so many more of humanity’s vices. I want to be a designer who creates work that makes you question, makes you feel, and can make a real impact.
Maliki Gilbert
BFA Fashion, Miami, FL
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
My brand MALIKI. is a luxury, phygital label surrounding the concept of futuristic streetwear inspired by retro futurism, science fiction, the metaverse, nature, space, etc. Key design codes include utilitarian and/or modular design, stemming from my military background, bold, balanced color and print, light reflective/color shifting textiles, and use futuristic technologies such as CLO3D software, 3D printing, AI, holographics, etc. In 2020, though the pandemic was rough, it gave me a lot of time to sit back and really think about my brand’s aesthetic. I love thinking about the future and how civilization could evolve a thousand years from now. This led to me discovering a new love for retro futuristic collage art; this idea of humans being able to space travel freely with advanced technology and live normally as we do today. Then I asked myself, “What would the clothes look like during this time?” I thought futuristic, but not costumey; forward, but modern. This led to a huge interest and love for the cyberpunk science fiction subgenre filled with cyborg humans, neon lights and robots. These were the exact types of worlds I’d imagine future civilization could be like. And that was the start to MALIKI. These inspirations and the advancement through each of my SCAD fashion design classes helped me shape my aesthetic, niches, target audience and helped me find the market I wanted to be in. The expert instruction I received from my professors throughout the year and feedback I received during my thesis collection presentation really reassured me that my concept was very clear to understand.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
I believe everything I learned during my time as SCAD was essential to become a successful designer. The skills I’d identify as my strongest are sewing, CLO3D, and patternmaking. Patternmaking was enjoyable because I’m very technical and my professor was also amazing, really helping me hone my technical skills. I learned CLO3D in my computer aided fashion class and I instantly fell in love with how much faster it made my design process. Though this software is still fairly new within the industry, many major brands are adopting it.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
I have many fashion designers and brands who have inspired me, not just throughout my studies, but throughout my life as well. At the beginning of my interest in fashion, I was super drawn to Virgil Abloh, Jeremy Scott, Raf Simons, and Heron Preston, who I still follow today, as well as Shayne Oliver. My favorite designers today include Iris Van Herpen, Walter Van Beirendonck, Thom Browne, Craig Green, Glenn Martens, & Demna. Many of my professors at SCAD provided me with so much guidance and direction during my studies and I can’t thank them enough. Professor Maria Koravilas, taught me the essentials of pattern making and draping to the highest industry standard and quality. Yasha Morehouse taught me an abundance in CLO3D digital software which is now one of my strongest skills. And Chair of Fashion and my senior collection professor, Peter Jensen, gave me his best advice and guidance for making my thesis project as clear, exciting, and forward as it can be. I’m so grateful for all these professors and I have connections for a lifetime.
What are your thoughts on sustainability and ethical practices in the fashion industry, and how do you plan to incorporate these values into your designs and brand?
Sustainability is a very important topic within the fashion industry and I always aim to be as sustainable as possible. CLO3D is not only one of my best skills, it also allows me as a designer to reap the benefits of increased speed to market, reduced sampling, digital fashion, and the ability to test products pre-production, which contributes to the elimination of waste and sustainability practice. Besides utilizing CLO3D, I practice sustainably by using organic textiles, straying away from polyester, and avoiding animal skins and furs, substituting them with vegetable made alternatives. I intend to raise awareness about sustainability through infographics with the power of social media, inform consumers on how to take care of their garments for longer life, collaborating with companies that collect and recycle waste fabric, peaceful protest against fast-fashion buying, styling content for consumers, and full transparency with data showing my brands sustainability practice. I’m also super drawn to Heron Preston and his constant effort to save the planet. He has a three-tier system classifying his materials less than 50% sustainable, 50% or more by weight certified sustainable, & nearly 100% sustainable. I hope to adopt a similar system progressing my environmental practice.
Photos | Alita Swanson
Nathan Batra
BFA Fashion, Martinez, GA
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
The foundation of my design philosophy is deeply rooted in my prior academic pursuits in science and medicine. These became a source of inspiration, consistently fueling my creative endeavors. Throughout my educational journey at SCAD, I was in pursuit of knowledge, constantly seeking new opportunities to learn and experiment as an artist and designer. Each project was a chance for me to push the boundaries of my creativity, eagerly exploring novel techniques and approaches. By integrating my knowledge of science and medicine into my design work, I found a harmony between art and science.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
When I first arrived at SCAD, I began my creative journey possessing no prior knowledge or experience in drawing or sewing. From the very beginning, I embraced the opportunity to learn and develop my skills from the ground up. I eagerly enrolled in a wide array of classes spanning various majors, constantly seeking new avenues for growth and experimentation. This diverse range of courses helped me flourish as a designer, nurtured my creativity and fostered versatility, all of which I related back to my fashion work. A truly defining moment occurred when I learned CLO3D as part of the fashion program. This powerful software revolutionized my approach to pattern-making, completely transforming my design capabilities. With CLO3D at my disposal, I began crafting intricate and elaborate designs that I previously thought were not possible.
Patriel Bailey
BFA Fashion, Ft. Lauderdale FL
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
My design aesthetic has truly evolved since I started Savannah College of Art & Design four years ago. As I began conceptualizing ideas for what would become my senior collection, I found that I was very fond of minimalistic designs with muted colors. After taking several courses, and through the advice and direction of my professors, I began to explore menswear, which ultimately became my passion and basis for my senior collection. I now design with personal reference to my Jamaican background, utilizing vibrant colors to develop prints and put great emphasis on exaggerated structures and silhouettes.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
Programs like Adobe Illustrator and Photoshop allowed me to create illustrations, prints, technical drawings, and tech packs. My courses at SCAD taught me the entire design process from start to finish, and exposed me to the importance of concept development. These are capabilities that will influence my career as a designer and I will take with me as I embark on my career.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
Designer brands Amiri and Bianca Saunders have always resonated with me. Founder of Bianca Saunders, Bianca Saunders, and I share Jamaican heritage. I appreciate how she translates her culture throughout her design aesthetic. Mike Amiri, the founder of Amiri, is a catalyst who had a late start within the industry but has made so much progress and inspires me to not only produce great quality work, but to relentlessly works towards my goals even if I have roadblocks.
Tristin Taylor
BFA Fashion, Fayetteville, GA
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
My design aesthetic for my senior collection was rooted in three key “abilities” sustainability, convertibility, and wearability. With my garments being completely sustainable I leaned into the aesthetic of worn, torn, and repaired. I purposefully presented my garments with the appearance of being destroyed and falling apart as a representation of the used pieces I created them from. Each garment is also convertible meaning it can change appearance or usage giving some styling choice to the wearer. Most of the garments go from a wearable garment to a type bag making the whole collection portable inside itself. I intend for my garments to be worn and not just seen so I created them with the consumer and their lifestyle in mind. I want my clothes to impress but not intimidate so the silhouettes and construction are accommodating to an everyday lifestyle.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
My SCAD experience has been amazing, and all throughout the way I’ve been encouraged and guided by my professors to embrace experimentation, innovation, and explore my creative intuition. I experimented with a lot of techniques of garment distressing and subsequently many techniques of repairing, and how those two elements work together for a unique end result. I also found the technique of tracing off patterns from vintage garments very enjoyable and useful as I can use my passion and eye for vintage to inform a silhouette or a detail I can then reinterpret in my own design. The guidance and advice I received from my professor Peter Jensen will stay with me always.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
I’m influenced mostly by Japanese fashion brands who take a similar reconstructed approach to designing such as Undercover, Kapital, number nine, and Needles. I also am inspired by them because I like to see the Vintage Americana inspiration through the mind of someone outside of American culture. Also, an up-and-coming designer who inspires me a lot is Kentuckyboytyler because I see his work ethic and solid vision and it fuels me to work harder myself.
What are your thoughts on sustainability and ethical practices in the fashion industry, and how do you plan to incorporate these values into your designs and brand?
I am dedicated to sustainability in fashion. Even before creating my first garment, I sold vintage and preloved clothing with the intention of providing a more planet conscious choice when it comes to fashion. I love the challenge of designing my own way where I use locally sourced, used, and vintage clothes to create new and interesting pieces.
Yuhan (Yvonne) Chen
BFA Fashion, Changzhou, China
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
My senior collection is inspired by the special occupation of the “Bang Bang Jun” in Chongqing, China, who rely on a wooden stick to carry their lives. In modern society, people are under heavy pressure, just like the stick soldiers, they rely on their own shoulders to carry their future, so I want to use my design to express “taking weights off the shoulders”, using flowing and soft fabrics to relieve pressure and weight. I experimented with zero waste, handmade dyes and vintage fabrics in my designs. I’m also very drawn to a minimalist look. During my studies, my SCAD professor Jens Kaeumle helped me tremendously, his aesthetic and approach to fashion design is very similar to mine and he really helped me develop my collection with a minimalist approach in mind.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
SCAD taught me how to perfect my skills in pattern making, sewing, and draping – there is a very strong emphasis on the intricacies of garment construction throughout the program. I personally love draping the most, it is a relatively freer way to create and shows more of the designer’s aesthetic and ideas. Also, SCAD taught me how to take my designs to the next level using the latest technology and programs. Right now, I’m pouring myself into designing with CLO3D software.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
Alexander McQueen’s tailoring for suits has always fascinated me, so much so that my collection has some shirts and suits in them; secondly Viktor Rolf’s innovative ideas have always inspired me to continue my own design style, not to mention Maison Margiela, The Row, Jill Sander and Old Celine. Emerging designer ROBERT WUN is the latest designer I’ve been following. His unique sense of beauty captivates me, SCAD even had an entire exhibition dedicated to his work at SCAD FASH in Atlanta, it was incredible! Minimalism and these designer brands definitely influence the direction of my designs.
Zixaun Xu (Suki)
BFA Fashion, Wuhan, China
Can you share a bit about your design aesthetic and how you developed your unique style during your time at SCAD?
Honestly, my design philosophy has always prioritized inspiration before aesthetics. Once I complete thorough and extensive preliminary research, I verge on various points of inspiration based on the theme. By incorporating my accumulated aesthetic “ability,” the final work becomes aesthetically pleasing with personal characteristics. This presentation is direct rather than defined. My SCAD professor, Andrew Fionda, stressed the importance of not undertaking a complete design until the research topic is essentially finished, as it would only restrict creativity. For my graduation project, themed “desertopia,” I conducted a six-month survey of current news, researching the impact of human destruction on global warming, changes in the Earth’s landscape, and interviews with relatives and friends regarding their sensitivity to intense environments. To delve even deeper, I decided to concentrate on fieldwork which involved conducting interviews with friends who possessed firsthand experience in desert environments and immersing myself in a multitude of real-time documentaries portraying life in arid climates. To truly comprehend the requirements for survival in hot weather, I ventured into real wilderness, deserts, and dry lands with carefully selected natural fabrics. I allowed these fabrics to interact with nature, deliberately creating an authentic texture and color that are prominently featured in my works. This aspect holds a distinct significance within my series.
I integrated all relevant elements into my work, such as expressing heat through various forms and techniques: color, texture, pattern, and shape. These elements converged and diverged within my fabric and style design. I received very valuable feedback and direction from another professor, Russell Bennet, who encouraged me to consistently refine and revise my initial concept. By concentrating on the fabric manipulations I did by-hand and simplifying the garment silhouettes, I was able to transform my pieces into more contemporary and wearable versions. Additionally, I received such helpful input from Ben Chmura, an industry mentor from SCAD, who also expressed enthusiasm for the direction my work was taking, further boosting my confidence. With the assistance of several professors and leaders in the fashion department, I gained additional insights into fabric and style design.
All of these contributions aided me in honing in on the optimal rendition of my original concept, resulting in my senior collection that was ultimately selected for the SCAD runway show and presented in Atlanta at SCAD FASHION.
What were some of the most valuable skills and techniques you learned through your fashion design program, and how do you plan to apply them in your future work?
SCAD truly provides the best curriculum and resources to make sure we learn every technique we need in fashion design. I have learned so many valuable skills and techniques throughout my entire college fashion program studying. For example, pattern making, I learned how to draft patterns, manipulate them to create various silhouettes, and understood how different fabrics drape and behave. Also, the SCAD helped me really hone my skills in sewing and construction through working on different techniques, fabric manipulation, and garment assembly methods. This first-hand knowledge enables us as students to create well-constructed and functional garments. Concept and textile classes helped spark my creativity, and how to think through new ways to innovate, which will ultimately allow me to thrive as an artist.
Can you tell us about any specific fashion designers, brands, or industry professionals who have influenced your work and inspired you throughout your studies?
Y-project and Diesel are two brands that have influenced me and inspired me so much as a designer. Y/Project often plays with exaggerated proportions and unconventional silhouettes. Their collections encourage me to explore new possibilities in my own designs by experimenting with volume, layering, and unexpected proportions. Diesel channels individuality and self-expression, promoting a sense of uniqueness and authenticity, which inspires me to embrace my personal style, individuality and creative voice.
What are your thoughts on sustainability and ethical practices in the fashion industry, and how do you plan to incorporate these values into your designs and brand?
I think sustainability and ethical practices have become increasingly important topics in the fashion industry. The fashion industry has a significant environmental footprint due to factors such as textile waste, pollution from production processes, and overconsumption. I hope we can address this issue by Incorporating sustainable and eco-friendly materials such as organic cotton, recycled fabrics, or innovative materials made from renewable resources. In my collection, I tried as much as possible to use 100% natural fibers to do my part to support eco-friendly practices and sustainability.
