Thursday, May 4, 2023 – Seven Hills Conference Center
Apparel Design & Merchandising
Abstracts
SF Apocalypse
By Andre James Aberin, Justin Burnett & Edward Catarino Lopez
Faculty advisor/course instructor: Amy Dorie
What will we wear in the end? This apparel design is a look from a collection based upon the premise of climate change, and the effects it will have on both fashion and the environment. But observing sites such as Chernobyl and the increasing number of wildfires every summer, we were inspired by the ashes left behind. Burn holes, torn fabric, and dark colors are all that is left behind in these horrible events. By learning software such as Adobe Illustrator, we have created textiles both woven and printed, while also using photoshop to create screen printed shirts. Oversized items are the bulk of the collection, with details that hint at the fallout of environmental downfalls.
Look 1: Solitary Traveler
By Andre James Aberin
Entry #8
When faced with the end, we realize we have plenty of time to ponder our choices. When society isn’t able to stand on its own due to its own hubris, how will we dress? This graphic tee, baggy pants, and a scavenger poncho showcase a solitary traveler. The poncho displays symbols of society’s downfall, and the tee pictures a burning forest. A plaid strip of fabric is tied around the waist, ready to patch up the wearer should events turn sour. With holes and burns, it shows that sometimes clothes can outlast the wearer.
Look 2: First Responder
By Justin Burnett
Entry #10
When society collapses where do those who seek order go? First responders are praised as heroes for saving civilians. But when the heirs need saving what do they do? They adapt. This look from the collection showcases a fireman’s uniform that is reworked for a changed land. Dark colors hide the bright radioactive lining of the jacket, a solemn reminder of both the hero that wears this and a reminder of the danger that a new world holds. Patches and burns mark this outfit, showcasing battle scars of the wearer through their clothes.
Look 3: Everyman Catastrophe
By Edward Lopez
Entry #9
This design envisions the average person’s response to catastrophe by clinging to familiar styles such as comfort, yet forced to adapt to a changing world. Comprised of a workwear jacket with a hood, a graphic tee, oversized pants, and a woven scarf, this outfit would not look out of the ordinary in a closet today. However, patched up burn holes, frayed edges, and patches sewn onto it, all convey an idea that the outfit has been thoroughly worn and through a catastrophe. A yellow radioactive lining is at odds with the dark grey and brown of the outfit, asking how the wearer found such a pristine cloth in such a terrible world. What will we wear in the end? This look answers this question for the average everyman.
Native Fashion: A Research Essay on Aztec Dress
By Amanda Aguilar
Faculty advisor/course instructor: Amy Dorie
Entry #32
The Aztec Empire was one of the most influential, non-Western societies to exist. Pre-European arrival, the Aztec Empire had distinct characteristics in terms of economics, politics, society, and religion. In all aspects of culture did the Aztecs contribute and create beautiful art. In terms of fashion, the Aztecs had a particular way of style. While clothing overall was scarce, different groups within the Aztec society had specific modes of dress. As with many cultures, one’s display of fashion determined their class and served as part of one’s identity. Aztec social classes were divided into three main roles: nobility, commoner, or slave. Although many sources of evidence are no longer attainable, there are still surviving resources depicting indigenous dress that aid in gaining insight and understanding onto the Aztec World before its colonization-caused detrimental demise.
The Han Dynasty: Historical Dress
By Brittney Berglund
Faculty advisor/course instructor: Amy Dorie
Entry #37
Han dynasty fashion was influenced by previous dynasties, traditional Chinese religion, and social class structures. The popular silhouettes like the shenyi, hanfu, and ruqun shaped the Han fashion industry. These styles combined traditional Chinese religions like Confucianism while being functional and representative of social class. Although much of the fashion in the Han dynasty was similar, the differences showed in the quality and occasionally in the color worn allowed for the acknowledgement of social class. The advancements made by the Han dynasty left a legacy of literary and industrial progress that will forever be cherished by Chinese cultures.
Tang Dynasty Dress
By Malina Bohannan
Faculty advisor/course instructor: Amy Dorie
Entry #25
Dress of the Chinese 7th Century, better known as the Tang Dynasty, was known for being one of the most flourishing Chinese eras. The Tang Dynasty was a creative outlet as it was the golden age for poetry and international trade. The access they had to different fabrics from around the world made it convenient for them to experiment with different styles. This time period stayed true to their roots, and their clothing was a lot similar to traditional Chinese clothing, but with more creativity.
Capstone Collection
By Humberto Buisan
Faculty advisor/course instructor: Amy Dorie
Entry #7
The garment is part of my capstone collection for my advanced apparel design class. Along with a mood board that encapsulates the theme of the collection. This piece is very dear to me because it ties in deeply with my own personal journey and the women who have inspired my life.
History of Dress: The Incas
By Grace Cheechov
Faculty advisor/course instructor: Amy Dorie
Entry #39
This essay aims to look into the dress and its cultural significance in the northeast region of the Inca Empire called Tawantinsuyu ruled by the king Atahualpa during 1532-1533 CE. Throughout history we are able to understand cultural values, way of life, and social hierarchies through the dress of ancient people. Modern dress stems from the simplest garments worn in the past for simple necessity.
Costume History Research of Central Philippines: 19th Century
By Michelle Chiong
Faculty advisor/course instructor: Amy Dorie
Entry #35
During the 19th Century (circa 1801-1900), the Visayas had clothing that reflected the social, political, and economic circumstances, dictated by climate, class, religion, trade, and colonial influence. It is essential that we examine the available materials in order to comprehend the impact of Spanish colonization during this period and its effects on the national costume of the Philippines today, despite there being a limited collection of the philippines' evolution of dress. The 19th century was an ever changing period of social, political, and economic change for central philippines with the introduction of trade by way of the opening of the Suez Canal in 1863 that brought in non-traditional garments and boosted philippine economy creating upper-middle class as well as aristocratic travel accounts that helped influence the movements for freedom and independence from Imperialism. The struggle for cultural identity that the central christianized lowlands underwent while under colonial administration was heavily reflected in the fashion of the time. Men and women often kept some of the traditional pre-colonial native garments in everyday fashion such as the tapis, salawal and thebaro, yet were reconstructed in the late 19th century to adapt to western fashion by introduction of trade and imperial rule. The sayasaya was also notably a form of dress that was introduced by trade prior to Spanish rule, that showcased wealth and class distinctions as fashion at the time often did.
Mass-Manufacturing Zero Waste Workwear Project
By Dillon Cowell
Faculty advisor/course instructor: Amy Dorie
Entry #2
The purpose of this project is to create a mass-producible minimal waste workwear collection that is both aesthetically pleasing and functional. The apparel industry is responsible for ~92 million tons of textile waste per year, which is projected to grow indefinitely with current consumer habits. About 15% of this waste, on average, is due to normal pattern cutting techniques. However, most of the waste is due to consumer behavior. The designs you see here eliminate pattern cutting waste. However, creating a zero-waste garment for mass-production is more difficult, and there is inevitable waste created during the process. This waste can be eliminated by using organic plant fibers, such as hemp, which biodegrade quickly when buried in compost or soil. This allows both pre-consumer waste to be easily reused for compost, and for consumers to easily discard of their garments knowing they will decompose with in weeks to months. The qualities of these natural fibers paired with minimal waste techniques will result in less fabric used per garment and eco friendly disposability. These products are designed for the workwear market, which lacks a sustainable offering. The natural use workwear clothing (think brands like Carhartt) results in frequent discarding due to normal wear and tear. The properties of these garments have can eliminate many important environmental harms caused by the apparel industry, focusing on the workwear apparel market.
Tuile
By Christopher Filice
Faculty advisor/course instructor: Amy Dorie
Entry #4
Racing to keep up with the rapid pace of modern life, we begin to overlook the beauty that surrounds us. Without awareness, your life becomes a series of motions. The initial inspiration for Tuile was found in a simple moss covered brick wall. This grew to include all stone structures, and a goal to satisfy our innate attraction to patterns and repetition, which are serendipitously found in the intelligent design of both industrial and organic matter. Tuile spotlights the delicate balance of life, contrasting ideas and objects working in harmony, and encourages us to celebrate beauty by embracing the present. It pairs classic, structured silhouettes with adventurous organic patterns representing stone, tile, and geodes. All the fabrics utilized are cohesive and comparative in tone and weight, though closer inspection reveals their intricate differences in texture, feel, and color. It is these types of details which remind us to slow down and stop to notice the subtleties that make life precious. After all, it’s the little things that make the biggest difference.
Renascence
By Olivia Floyd
Faculty advisor/course instructor: Amy Dorie
Entry #5
Renascence is an apparel design collection that highlights the beauty and power of women throughout history by focusing on the powerful elite that lived during the Italian Renaissance. The purpose of this collection is to explore the legacy left by the women in positions of power during the Renaissance and how they helped shape our understanding of art and culture today. The colors and textiles were directly inspired by the works of art they helped fund and spread throughout the world.
West African Textile Development
By Leah Ford
Faculty advisor/course instructor: Amy Dorie
Entry #20
West Africa has a rich history of dress and textile development. West Africans have made their mark on fashion by creating a rich and culturally distinct array of colorful patterns. Dyeing and weaving techniques dating back to the 8th century has transcended time and become common practice. The craftsmanship of woven patterns originating in West Africa has spread through the entire continent of Africa (Aronson, 2010). Through the innovation in West Africa, Africans have taken traditionally techniques to create their own patterns and symbols with cultural importance.
Solandis
By Zoe Kalem
Faculty advisor/course instructor: Amy Dorie
Entry #3
“Solandis” is a Spring/Summer 2023 collection by ADM student, Zoe Kalem. Its inspiration comes from the Divine Feminine energy and its manifestations. The collection represents delicacy, growth, and intuition. The “Lily Pad Dress”is made of nylon lace hand-dyed by the designer and silk charmeuse. This garment represents the divine power that connects us to Earth.
Transformations of Japanese Kimono Fashion from Late Edo – Early Meiji Period
By Kana Miyakawa
Faculty advisor/course instructor: Amy Dorie
Entry #29
The kimono, a traditional Japanese garment, has a rich history and has influenced fashion ideas worldwide. Over time, the meaning of the kimono has evolved, and it is no longer worn as an everyday garment due to lifestyle changes. The term “kimono” originally referred to “something to wear,” but it later became a term used to distinguish between Japanese and Western-style clothing. Throughout history, the kimono has undergone various changes and developments in response to cultural, social, and economic conditions, as well as technological advancements. Despite these changes, the kimono remains a special and traditional garment recognized in modern society. Many styles of clothing continue to be inspired by kimonos, but it is crucial to respect the original meaning and significance of this garment throughout its history. As such, it is essential to maintain respect for the traditions surrounding the kimono while acknowledging its role in shaping the fashion industry.