Ozanhan Kayaoglu, photo by Bob Toy.

Ozanhan Kayaoglu, MFA Fashion Design, credits the French philosopher Michel Foucault’s description of power as the inspiration behind his collection. Foucault said, “Power is everywhere,” and described power and social order through examples of architecture in a Panapticon prison. Ozanhan researched the prison and was immediately drawn to the rusty metal pieces located inside. His inspiration can be seen directly on the runway—Ozanhan actually used rusty metal to dye the fabric! His collection features a metallic color scheme that is showcased through a variety of fabrics including thick wool, lightweight wool, and cotton.

Illustrated lineup by Ozanhan Kayaoglu.

Ozanhan’s background has shaped who he is as a designer; his real life struggles can be seen through his designs. Born in Eskisehir, Turkey, Ozanhan would later move to Istanbul where his outlook on life would change forever. He was exposed to a better quality of life, which inspired him to dream bigger than he had ever allowed himself to dream before. Ozanhan Kayaolgu had been exposed to many dark things before entering college at 23. Serving a year and a half in the military during the Iraq War, he was constantly afraid for his life. He promised himself “If I survive, I will create a better future for myself.”

Illustrated lineup by Ozanhan Kayaoglu.

He definitely kept the promise he made to himself. Ozanhan went on to study textile design as an undergraduate at two universities,  Marmara University in Istanbul and in Paris  at ENSAV. He had learned so much, but craved even more knowledge so he traveled to Antwerp looking for an internship. Ozanhan found a spot working with Daniel Andresen at a small menswear fashion house, where he created over 600 pieces for runway shows.

After completing his bachelor’s degree, Ozanhan pursued graduate studies at his alma maters Marmara University and La Cambre – ENSAV in textile design, finally coming to Academy of Art University to  finish his degree in fashion design.

Among other impressive skills, Ozanhan Kayaoglu has created a weaving technique that was patented in both Europe and Turkey and he gained full scholarship from Uludag Textile Exporters Association / Turkey. 

Ozanhan Kayaoglu has accomplished so much as a designer and now he’s about to conquer one of fashion’s biggest stages: New York Fashion Week.

Fashion School Daily: What is the best advice you have ever received?

Ozanhan Kayaoglu: Whatever you do, do your best!

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

OK: Designing my first coat in the 3D design class. It was great to see how my design came out as a wearable piece.

Fabric from Ozanhan Kayaoglu’s collection.

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

OK: Work hard, listen well and do not forget what you learned at the Academy.

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

OK: I don’t like to shop too much. I would like to buy a pair of New Balance sneakers; they would be comfortable while I am doing my collection.

FSD: What is your greatest style regret?

OK: Once I dyed my hair a black color. However, I have light skin and it was funny to look at myself on the mirror. Immediately, I went to a barber to have my hair cut very short. It looked very nice! I haven’t grown my hair long since that time. I realized that short hair is the best for me!

FSD: Which items in your closet do you most use?

OK: Jeans and t-shirts.

Inspiration board Ozanhan Kayaoglu’s collection.

FSD: What is your style motto?

OK: Old and cool.

FSD: Who are your favorite fashion icons and why?

OK: Tom Ford for his success, Karl Lagerfeld for his talent and Alexander McQueen for his philosophy.

By Tess Collins

Zhangchi Wang, B.F.A., Fashion Design, 2012

Zhangchi Wang, B.F.A. Fashion Design 2012 alumna has just recently received a full time-position at Saint Laurent Paris after being awarded a French exchange opportunity to study in Paris. Wang began as an intern at Saint Laurent and now is working as a 3D Design Assistant. She catches us up on everything she’s been doing since graduation.

Malcolm Thomas: What did you study at the School of Fashion?

Zhangchi Wang: I studied Womenswear Design, and also took applied textile classes until level 4.

MT: Tell us about what you have been doing since graduation and about your internship experience in Paris. 

ZW: After graduating I left San Francisco for Paris and spent a year at Studio Berçot. Right after that I started my internship at Saint Laurent, which lasted for a year.

MT: What was an average day for you at Saint Laurent? Any mistakes you learned from your experience as an intern? 

ZW:  My responsibilities include researching volume, silhouette and design details through cutting, draping and pattern making. In short, I proposed designs in 3D manner. Everyday, every project could be a challenge. It involves problem solving, and there’s always techniques that I need to learn.

MT: Do you have any role models within the company?

ZW:  There are a lot of role models. I respect our team leader who is never impatient under intense pressure and manages to stay energetic.

MT: Funny stories? 

ZW: My manager who has worked for Yohji, Christian Lacroix, Jean Paul Gaultier told me she had to Google who Lady Gaga was when Lady Gaga had an interview with Gaultier.

MT: What do you love about Saint Laurent? 

ZW: The quality and the extremely high standard of their products, as well as the amount of work and attention they devote to their creative process.

MT: Where do you find inspiration?  

ZW: The city itself brings around endless inspiration. As well as countless exhibitions and performances.

MT: Any fashion icons? 

ZW: Yohji Yamamoto, Madam Gres, Alaia, Viktor & Rolf.

MT: Where do you see yourself in 10 years?

ZW: Something I have recently realized is that I can hardly foresee anything. There could be changes the following moment. It is difficult to say, but I shall always keep my hands busy either handling fabric, a pencil or maybe at some point I will be playing around with plaster, wood or paper. There are lots of possibilities.

MT: What advice would you give to current students? 

ZW: Please never use “I want to sew” as a reason to abandon your CDFP classes because one day you will find that the lack of technique is what stops you from being creative.

MT: Anything else you would like to share?

ZW: I miss being a student at the Academy of Art University because French fashion schools are very independent. It is such a precious opportunity to have a lot of different majors within one school. I have learned quite a bit from my friends in Industrial Design, Photography etc. Furthermore, Academy of Art University has the best teachers in the School of Fashion.

Pictures from Paris. Image: Zhangchi Wang

Auguste Rodin’s “The Thinker” monument outside the Rodin Museum. Image: Zhangchi Wang

A Parisian street at sunset. Image: Zhangchi Wang

By: Malcolm Thomas

The Tranoi International Tradeshow travels to New York from Paris for the First Time During New York Market Week.

Look: Dahui Li www.dahuili.com

Travelling overseas from Paris, France, Tranoi participates in Women’s New York Market Week for their first season February 20^th-23^rd following New York Fashion Week. Presenting their collections to buyers and press hailing from all over the country, Tranoi’s inaugural trade show continued with the vibrant spirit of fashion week.

Dress: Caban Romantic www.cabanromantic.it

Representing independent designers looking to make way into the US market, Tranoi featured eighty European, Asian and American designers ranging from ready-to-wear to shoes and accessories. All of the collections shown not only represented the entrepreneurial spirit of the designers, but also the extensive levels of innovation and creativity that they bred.

Dress: Alma Libre www.almalibre.eu/en/

Although the innovation in design reigned rampant throughout the show, there was a base in functionality amongst them all. There was also an adamant focus on sustainability and ethics, most notably in New York-based womenswear design house Behno, translated in English as “my sister,” founded in 2011 by founder Shivam Punjya. It focuses on uplifting the standard within women’s ethics in the garment and textile industries, while committing to empowering their all-female production team.

Look: Behno www.behno.com

Some of the most relevant fashion trends that were represented in the mass market included: over-sized novelty knit wear and 1970’s influenced  collections in neutral or bold levels of primary colors.

Gloves: Agnelle www.agnelle.com/en/

As international and local independent designers continue to grow, Tranoi provides an ideal platform for a plethora of unique talent to enhance individuality and specialties within the fashion industry.

By: Alexa Palacios

Instagram: @IDressThereforeIAm

Site: IDressThereforeIAmLA.com

Keith Gunning. Image: Rob Curry.

Keith Gunning, BFA Fashion Design, was born in Galway, Ireland. He grew up in Calgary, Canada, where he worked as a Sales Assistant at Club Monaco. He then went on to earn his first degree in Liberal Arts before moving to San Francisco to pursue Fashion Design at Academy of Art University. Gunning has since worked as Construction Draping and Flat Pattern teachers aide at the Academy of Art University in 2011, an intern at Smith Brand Bow Ties in 2012 and most recently as a Sales Assistant for Sandro Paris, at Bloomingdales.

Keith Gunning’s graduation collection line-up. Image: courtesy of Keith Gunning

Keith Gunning’s graduation collection line-up. Image: courtesy of Keith Gunning

Gunning’s graduate collection, made entirely of neoprene, was heavily inspired by the late legendary London-based artist, Leigh Bowery who has influenced artists amongst the likes of Alexander McQueen, Lucian Freud, Boy George and Lady Gaga. He was known for his flamboyant designs and his ability to cause a reaction. This is what led Gunning to create a brightly colored collection of neoprene dresses, draped kimonos and jackets using cable-ties, which were attached to rope, spray-painted, and sewn into each individual seam.

Keith Gunning’s graduation collection mood board Image: courtesy of Keith Gunning

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

Probably all of the crazy late nights working at Polk Street untill 11 pm. We would play ridiculously loud music in the fifth floor studios and danced when we cut patterns or ironed muslin samples. There was a ton of work being done, but there was also a ton of laughter.

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

You need to be open to change and criticism and you need to be able to work incredibly hard. It’s definitely difficult. You’re in a constant state of uncertainty, but you need to be confident in your work. It’s not an easy process at all, but if you’re passionate about your work then it will be right for you.

What are your plans after graduation?

A few months ago I wouldn’t know how to answer this question. Thankfully in the past month several opportunities have come my way. Directly after school finishes I will be getting myself a drink and taking a long nap. Then I am off to Los Angeles for the summer to intern with BCBG Max Azria in their eveningwear department, before moving to Paris at the end of the year.

Gunning was granted a place in Academy of Art University’s French Exchange Scholarship Program and will be studying at Studio Bercot in Paris beginning September 2015.

By: Faye Harris, MFA Fashion Journalism

Photo by: Anthony Rogers, BFA Photography

Like a zip of a dress another academic year at the School of Fashion has come to a close, and Thursday May 14, was the grand finale! The day began at 4pm at the School of Fashion at 625 Polk for the President’s Reception and Portfolio Review, which was followed by an awards ceremony honoring this year’s guests of honor, The Council of Fashion Designers of America (The CFDA) and 2014 CFDA/ Vogue Fashion Fund Runner Up and School of Fashion alumna, Ryan Roche. It concluded with a private viewing of the 2015 Graduation Collections at 7pm at the show venue just a few blocks away from the School of Fashion.

At the Portfolio Review, graduating M.F.A and B.F.A students were handpicked by the School of Fashion to showcase their portfolios to friends, family, guests of honor, perspective employers and industry bigwigs from companies including Adidas, St. Roche, Abercrombie and Fitch, Pottery Barn, Timbuk2, Williams Sonoma, and Bebe stores, to name a few.

Andy Shearer, Senior Design and Innovation Recruiter at Adidas, reviewing student’s portfolios

Also in attendance was 2013 School of Fashion guest of honor Lubov Azria, CCO of BCBG Max Azria. Azria and her team previously consulted School of Fashion students to work on a collaborative project for BCBG sister brand Hervé Léger, which is celebrating it’s 30^th anniversary. The 15-look capsule collection created by students for the project opened the fashion show. Nina Hui, M.F.A. Fashion Design, whose work was included in the collection, was selected for an internship with Hervé Léger.

Keanan Duffty, Academy of Art University Senior Director of Fashion Merchandising with Academy of Art University School of Fashion guests of honor: Danny Roberts of Igor + André and brother David Roberts; Andy Shearer, Senior Design and Innovation Recruiter at Adidas; Lisa Smilor, Executive Director of the Council of Fashion Designers of America (CFDA); Academy of Art University President Elisa Stephens; Cameron Silver of Decades; Ryan Roche, Academy of Art University School of Fashion alumna and designer; Sue Stemp of St. Roche; Monica Miller, Senior Design Director of BCBG Max Azria Group; Lubov Azria, Chief Creative Officer of BCBG Max Azria Group; and Sara Kozlowski Senior Manager of Professional Development of the Council of Fashion Designers of America (CFDA)

At Dr. Elisa Stephen’s President’s Reception, awards were given to The CFDA Executive Director Lisa Smilor and Senior Manager of Professional Development Sara Kozlowski on behalf of the organization for their Outstanding Contribution to the Fashion Industry and Fashion Education in light of their commitment to the growth of the American fashion industry.

“I am very proud to have been involved in the inception and growth of The CFDA’s scholarship and professional development programming over the past 19 years,” said Smilor. “It is exciting and very rewarding to identify and support such an impressive, talented group of students and emerging designers each year. Our organization is most fortunate to have the ever-present support of the fashion industry, particularly that of our sponsors and The CFDA Members, which allows us to provide the unprecedented opportunities that we offer and achieve our great success stories.”

Ryan Roche received the Distinguished Alumni Award for her success in creating a sustainable American fashion line, which has been recognized by The CFDA as well as being shortlisted for the 2015 LVMH Prize in Paris. She is also nominated for The CFDA Swarovski Womenswear Designer Award that will be announced in June. Roche announced that she had selected Gisel Ko, BFA Knitwear Design, for an internship.

Lisa Smilor, Executive Director of the Council of Fashion Designers of America (CFDA), Academy of Art University President Elisa Stephens and Ryan Roche, Academy of Art University School of Fashion alumna and designer with awards

Students won awards as well, with Smilor presenting BFA Fashion Design student Pitzy Villagomez Ortega with The CFDA Scholarship Award for $10,000 and BFA Fashion Design student Anh Phuong Thy Do with The CFDA Scholarship Award for $5,000.

Lisa Smilor, Executive Director of the Council of Fashion Designers of America (CFDA), presenting BFA Fashion Design students Anh Phuong Thy Do and Pitzy Villagomez Ortega with CFDA Scholarship Awards along with Academy of Art University President Elisa Stephens and Academy of Art University School of Fashion Executive Director Simon Ungless

Additionally, awards were announced for the winners of the Royal Society of the Arts Awards, YMA-Fashion Scholarship Fund, and the Paris Sister City Scholarship Exchange with Studio Berçot and L’Ecole de la Chambre Syndicale de la Couture Parisienne in Paris, France.

The night ended with the Graduation Fashion Show, which consisted of 21 collaborative collections from 39 student designers majoring in a variety of concentrations such as: Fashion Design, Knitwear Design, Menswear Design, Technical Design, Textile Design and Jewelry/Metal Arts. Guests were wowed by the show, and during the finale a thunderous roar of applause swept over the building as each designer stepped out onto the catwalk to take their bows.

Photo by: Anthony Rogers, BFA Photography

“We see our role in these designers’ education as going beyond the classroom. We are committed to help launch our students’ careers and have their collections seen by as many industry professionals as possible,” said Dr. Elisa Stephens, President of Academy of Art University.

By: Malcolm Thomas

School of Fashion alumni Eric Holbreich and Alice Spies both graduated in 2010 with BFAs in Fashion Design. Holbreich showed his collection at the 2010 Graduation Fashion Show, and during the awards ceremony following that show Spies was awarded an internship with Carol Lim and Humberto Leon from Opening Ceremony and received a scholarship to study in Paris at L’Ecole de la Chambre Syndicale de la Couture Parisienne. In the past years, Holbreich was an assistant designer at Club Monaco, stylist at MYKROMAG, freelance designer at Balenciaga and assistant designer at Bless. Now, Holbreich and Spies have joined forces with their brand, House 950. We had the chance to chat with Holbreich to hear all about their journey from graduation to launching their very own collection.

Fashion School Daily: Tell us about House of 950.

Eric Holbreich: House of 950 is a design duo founded in 2011 by myself and Alice Spies that explores the possibilities of design and its affect on lifestyle. We created the House with a foundation of core principles that manifest themselves throughout our collections and business practices. Functionality, nature, honesty, sentimentality, word play, sustainable design practices and a need for self-expression are fundamental to what drives us to keep pushing the House forward.

We do not focus on trends, but instead design our clothing as a series of iterations of pattern making concepts that we discover in our exploration of ideas and in our surrounding environment.

FSD: Who is House of 950?

EH: The House is a metaphor for our own lives, not just focusing on clothing, but the purpose behind it and what it means to create.

FSD: How was the process of launching your own collection?

EH: Launching our collection was the easy part. Getting people to notice us and write orders was and still continues to be the most challenging aspect. We went into this business naively and I think if we were to launch it now with the knowledge we have it would be much more difficult. In a way it enabled us to be free with our choices and figure things out along the way allowing us to forge our own path. We are still coming up with new ideas that showcase our clothing in unique ways, but I think this all stems from how we creatively launched the brand in the beginning. We had a true identity and a point of view that has only gotten stronger and more refined since our inception.

FSD: Where do you sell?

EH: NY – In support of, OAK, Sincerey Tommy, Swordssmith, Assembly

Portland – Stand up Comedy

Japan – N-id, N-id a deux, Cul de Paris

LA – Oak

DC – Redeem

FSD: What do you love about your job?

EH: The best part of our job is that we love what we do and we get to be best friends while doing it. We hope that what we are doing will positively benefit the New York fashion industry because we are doing something different, not only with our concept, but aesthetically too. Since we are figuring it out ourselves, we always have abstract ideas that we have to turn into reality and then in the end into a product. Creating something from start to finish is such a rewarding process.

FSD: What is your average day like?

EH: There isn’t a lot of consistency in the day to day for us. Sometimes a store will reach out asking for immediate garments or a stylist will email us asking for a pull that day. There has to be a sense of flexibility. The only thing consistent is problem solving. Right now we are diving right into the new collection and looking for new fabric and techniques that we haven’t used before.

FSD: Where have you found inspiration lately?

EH: The practicality of our suburban upbringings combined with our New York lifestyles greatly impacts our design process. This dichotomy evokes quietness in our clothing that finds a home in both environments.

An exploration of patternmaking is fundamental to our design philosophy. We do not draw our ideas in croquis form and only sometimes do flat sketches before creating a pattern. We draw directly in real size, which allows us to articulate our vision in our unique way, flowing directly from brain to paper. Construction, fit, proportion, use of fabrics and unique finishing combined with our experience-based design process makes the House’s clothing visually distinct from other brands.

FSD: What is your favorite memory from your time at the School of Fashion?

EH: I think my favorite memory from the School of Fashion is actually happening now within our business. We are always talking about how grateful we are for the education we had. Since we went to school in San Francisco, we didn’t have this crazy fashion world happening around us and distracting us. We focused on the education and what we learned is much more intensive than other schools. We are able to execute every part of our business ourselves. We still do all the pattern-making and sampling ourselves because we can. Young brands spend a lot of money on pattern makers and sample makers. Luckily we can avoid that expense and it makes us better at designing since our process is so hands on.

FSD: What was your biggest challenge / surprise during your time as a student?

EH: My biggest challenge at school was sewing. I had such a hard time with it. When we started the business something clicked and I could finally put all these things I learned to school to use and the final product was successful. The biggest surprise was how disciplined I became and continue to be. The workload was a lot, but I actually really enjoyed it because it was something I cared about. I was surprised that I could design something, make the pattern, sew it and have this final product that looked exactly like the thing I imagined in my head. That alone is the best part of being a designer for me.

FSD: What was the hardest fashion lesson you’ve learned?

EH: No one has patience.

FSD: Any ‘insider information’ from the fashion industry that you could share with fashion students today?

EH: Fashion is a mix of emotionalism and finance. You have to blend the two to be successful.

FSD: What advice would you give to students who want to launch their own line?

EH: If you are going to do it, commit 100%. You have to stand behind your ideas because people will test your identity to make sure you are authentic.

http://www.houseof950.com/

Written by Isabelle Eder

Photo courtesy of Bénédicte

Inspired by the dark romanticism of 18th century France, Mexican art, and 1950’s style tattoos, French photographer and graphic designer, Bénédicte, creates a unique mix of prints for interior design pieces and fashion garments. Her work includes a recurrent theme of death, spirituality, virginity, and anatomy—subjects that inspire her artistic expression and guide her towards inner peace.

Bénédicte’s most recent collection entitled “Renaissance,” is sold at La Ligne 29, an eclectic boutique nestled in the ancient, art-driven city of Montpellier located in the South of France.

Photo courtesy of Bénédicte

Faye Harris: Where are you from originally? 
Bénédicte: I come from a small French island called Corsica—it’s a wonderful place. The beaches are sublime and the Corsicans have strong character. My parents moved for their jobs several times, and we finally ended up in Montpellier. I studied here, met my husband and had my two sons [in Montpellier]. I love this city and could never leave it.

​FH: How did you begin your career in graphic design?
B: When I studied photography and graduated in 2001, Adobe Photoshop was new in the profession. I first began restoring old pictures and used correction techniques (adding/removing ungraceful elements, etc.), and quickly realized the possibilities within the software. I started to create my own pictures and became totally addicted to the tool. My experience with Printer Company reinforced this addiction. After Photoshop, I tested Adobe Illustrator, and subsequently added both to my design process and made my own way.

​FH: Are you commissioned for your designs elsewhere or do you design solely for your own brand? 
B: For now, I am only working for La Ligne 29 (LL29), but I’ve been working on visuals for another brand, which will launch next year.

Photo courtesy of Bénédicte

FH: Tell me about the concept of La Ligne 29?
B: ​LL29 is a concept store. The owners—my great friends, Bruno and Nicolas—sell many different curated things that they acquire from all over the world. The place is full of positive waves and spirituality.

​FH: What’s the name/theme of your latest collection?
B: My last collection is entitled “Renaissance.” I left my ex-associates when my name and my work were not taking the directions I wanted. It was constraining, and the work was completely incoherent. I felt I was losing my style. Profit had become the watchword, so that’s why I decided to work with Nicolas and Bruno at LL29. With them, I’m able to completely express myself. There is no censorship or obligation to create visuals that I don’t like or are not like me. It’s happiness—a true renaissance! The recurrent theme of my work is death, spirituality, virgin, and anatomy—subjects that always inspire me.

​FH: You use many skulls in your designs, any particular reason?
B: My alternative healer would tell you that I come from a planet where those people have been exterminated. My shrink would tell you that I think of my grandfather very often, who happened to be an artist himself. And my medium would add that I am in complete connection with him. My grandfather is a person I have had very little experience with in my life, but he means a lot to me. I have his name, Renee. It’s true that I feel connected with him, even deceased. I’ve always liked skulls. I listened to Guns N’ Roses and wore their t-shirts when I was a teen!

“Ma Madone”

FH: Can you tell me about your piece ‘Ma Madone’?
B: ‘Ma Madone’ is a painting by Ingres. The night I made this creation, I really felt the piece was guiding me. It may sound crazy, but once I finished creating it, I immersed myself in her eyes and I got chills. I felt something new and disturbing to such an extent that I went to bed with an unshakable sense of fear. I display [the piece] in my room and I meditate in front of her when I am lost. She’s the inspiration for my next tattoo. I devote a veritable cult for the virgin, even though I’m not religious! She calms me down and guides me.

​FH: Can you describe your design process?
B: I reflect on a picture for days or even weeks before I produce a piece. When I find the time and the inspiration, I search my images (if I haven’t created them myself) and I begin by assembling, cutting, and superimposing on Photoshop. Sometimes I use Illustrator to create my designs. I don’t really draw freehand, so my brush is my mouse. I need as little as one hour or as much as six to eight hours to finish a creation.

​FH: Where do you find inspiration?
B: I’m a big fan of Tim Burton movies. I also love 18th century France for its romantic aesthetic. I like everything that is old, dark, moody, as well as Mexican art, the 1950’s, and tattoo art. In fact, I mix all that I see and love. I haven’t yet traveled; I guess when I finally do, my inspiration will be tenfold!

​FH: Where are your designs printed?
B: All of our materials are printed in France. It is much easier for us to control manufacturing here and we love working with our country. I have nothing against China, but we have neither the volume nor the means to work with them. We may outsource in the future for certain products or materials that are not available [in France], but we want to keep most of our production domestic, which LL29’s customers are in favor of.

Photo courtesy of Bénédicte

​FH: What is the art community like in Montpellier?
B: I work alone and don’t rub shoulders with the Montpellier art community very often. Not that I don’t want to, but I consider myself a very shy and unconfident person. I am in awe of the work of some street artists like Supakitch and Koralie. It’s impressive and intimidating.

​FH: Are you showcasing at any trade shows/events?
B: My next event is the Christmas market in Montpellier. I love getting back in contact with my clients and connecting with my true fans during the first hour. We can share stories all day! We will also participate at the huge exhibition “Maison et Objet” in Paris in September 2016. I love this show—I’ve done it two times, but with the LL29 team by my side, it will be even better!

​FH: What’s next for you?
B: My goal is to propel LL29 and continue my photography. Above all, I want to carry on working with my hands. I have several tracks in my life…who knows, maybe I’ll teach graphic design at a private school!

Written by Faye Harris, MA Fashion Journalism. Originally posted on What It Takes.

This content was produced by Academy of Art University MA Fashion Journalism students as part of their Fashion Journalism coursework.

Gianfranco Ferré—the “architect of fashion”

Gianfranco Ferré FW1993/Photo courtesy of Leonardo Salvini

Critics have crowned the genius of fashion design, Gianfranco Ferré, for perfectly drawing the outline of his designs. His exquisite handcraft matched his tailoring of geometric patterns, which was one of his most noticeable features of his menswear creations.

In the beginning of his design career, he mainly designed for teenagers and socialites, and it was not until 1982 that he started to design menswear. The designer with his trademark mustache remarked that his own style was often the source of inspiration for his sartorial designs.

Gianfranco Ferré SS1982/Photo courtesy of Luca Stoppini

Ferré was born on August 15,1944. After graduating from high school, he was admitted to the Milan Polytechnic Institute and obtained a Bachelors degree in architecture. As his interest in fashion grew, he started to design jewelry and clothes because he thought it would be a lucrative endeavor that would ultimately satisfy his enthusiasm. Inspired by the editors of prominent fashion magazines in Italy, he launched his fashion career by designing accessories and raincoats. Later, he went to India where he extensively studied textiles and textile design. There, he adopted an Eastern mindset centered on the concept of simplicity and established the ideal that good design encapsulated purity.

Gianfranco Ferré FW1992/ Photo courtesy of Steven Meisel

In 1978, Ferré established his namesake womenswear line. The clothes of his signature line embodied elegance and aimed to seek the harmonious unity of innovation and tradition. Ferre was presented the prestigious L’Occhio d’Oro (The Golden Eye) award for Best Italian Designer six times throughout his career.

With a background in architecture, Ferré’s time in India greatly influence his design aesthetic. His early experiences gave him a sense of sculpture and culture—one drastically different from his Western upbringing. As the art director of Christian Dior from 1989 and 1996, his achievements were witnessed on a global level.

The most important features of Ferré’s designs are quality, uniqueness, and luxury. His collections imbued power and femininity. Furthermore, he was known for his exquisite tailoring, his use of opulent fabrics, and his dynamic use of bright colors. His designs are deceivingly simple, yet undeniably eye-catching, demonstrating a blend of classical and modern styles.

Gianfranco Ferré FW2009 campaign

The booming trend of minimalism in the 1990s made Ferré produce fewer accessories. However, the designer would still design several minimalistic bracelets and necklaces to complement and highlight his garments. The designer’s sunglasses also reflected his architectural sensibility.

Ferré died on July 17,2007 in Milano. The late designer’s passion for fashion design and innovative approach continues to influence the fashion industry today.

Written by Ginger Qian, MA Fashion Journalism. Originally posted on Architecture in Fashion.

This content was produced by Academy of Art University MA Fashion Journalism students as part of their Fashion Journalism coursework.