Annual report of ArtEZ Masters in Fashion 2015-2016

Annual report of ArtEZ Masters in Fashion 2015-2016

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ArtEZ Fashion Masters Fashion ArtEZ

and Strategy students to become Masters in Fashion. in Masters become to students Strategy and the fashion, art and design world we prepare our Design Design our prepare we world design and art fashion, the

ArtEZ Fashion Masters annual reportArtEZ annual Masters Fashion

exchanges and an extensive list of guest lecturers from from lecturers guest of list extensive an and exchanges

Through research projects, workshops, workshops, projects, research Through

out to do so in this past academic year. year. academic past this in so do to out

of the various ways in which we have sought sought have we which in ways various the of

With this annual report, we give an overview overview an give we report, annual this With

discourses through research and design. design. and research through discourses

seek out the boundaries of prevailing fashion fashion prevailing of boundaries the out seek

interrogate the current fashion system and and system fashion current the interrogate At ArtEZ Fashion Masters we aim to to aim we Masters Fashion ArtEZ At MASTERS

Stop Motion, Radical Compassion Public Presentations 94 an introduction Klara Valkova 46 Mark van Vorstenbos About ArtEZ and Hanka van der Voet 02 Cite Fashion Masters 95 A hint toward The 100-Year plan emotional durability Alumni ArtEZ for a sustainable model Esmee Peterse, mfs 50 Fashion Masters 97 of growth in the fashion industry Scape Lecturers, Manon Randin, Janneke van Rooijen, mfs 54 guest lecturers and Mor Schwartz, team 2015-2016 99 Maximilian Schmidt, Jake of all trades Larissa Rosvaenge, Asu Aksu 58 Colophon 100 Harriet Mbonjani and Anna Jacobs 06 Joie de Vivre Hee Kim, mfd 66 Woolmark × ArtEZ Fashion Masters 16 TextielLab Lotte van Dijk 72 Atelier Néerlandais Anna Jacobs 24 Glocality in the Scandinavian Textile Innovation Lab creative industry Anna Brinkmann, mfs 28 Tessa Kreunen, mfs 76

Unknown Ordinary Stories of Near Mai Deonpen Zinzi de Brouwer, mfs 82 Chuaicharoensuk, mfs 32 Paris: Crafting Wearables IV an excursion Klaudia Stavreva 36 Martine Bovee 86

Grand illusions Movement of a great escape Memories IN Sunna Örlygsdóttir, mfd 40 Lisa Foerster, mfd 88 FASHION Table of Contents 5 DER VAN MOTION VOET HANKA Stop Motion, an introduction

ArtEZ Masters in Fashion STOP

MARK

VORSTENBOS

4 VAN 7 Mark van Vorstenbos and Hanka van der Voet took place. guidance Under Fashion Strategy applicants steadily growing, Strategy applicants Fashion steadily growing, Closing the LoopClosing ma

Fashion Strategy Fashion magazine, Pamela Golbin of Les Artsmagazine, Pamela Décoratifs, ma Vestoj Vestoj Fashion Design Fashion founder Desiree Heiss. Desiree founder Fashion Strategy we said goodbye said Strategy we Fashion to the of our Head ma ma bless Another highlight was our yearly trip to Paris. The students trip visited, to our yearly highlight was Paris. Another With great pride we present to you tomorrow’s Masters in Fashion! Masters to tomorrow’s you present pride we great With With the number of With students in this annual report.students annual in this system. This issue is central to is central projects of the second the graduation system. This issue functional, that meetvalues in productsstudents and find new services social metapreneurs needs. and cultural are stimulating They change Mark van Vorstenbos Mark van Voet der Hanka van at ArtEZ. to 2016 be of the School Dean of in January left us She by this Inspired a sustainable industry. businessthe fashion within Union studio of Lidewij Edelkoort, Anja the Trend among others, and are they forward, industry the fashion at the essence of what drives of fashion. Read all about Read and those their projects, of the design of fashion. course José Teunissen, who was Professor in Fashion Theory as well aswell Theory in Fashion Professor was who Josécourse Teunissen, togetherof Judith ter Haarstudents textile with worked recycling the practicalities to challenge of becoming company Texperium fashion strategists is and will beof fashion in dealing with a broken both Strategy and Design were stillboth labor: of her to able Strategy fruits the and Design enjoy were by José – the workshop their research. to present Brazil in Paulo, Colloquia São by the Fashion role the crucial how becoming aware but surely people slowly are outside their of the conventional rules, point Working of a new era. motivateprojects positive impact and deepermeaning to the future in collaboration with the Centre of Expertise FutureMakers – initiated of Expertisein collaboration with the Centre FutureMakers These future-proofimplementing strategies longevity. that embrace Head of Design and Technology of the London of the Students of Collegeof Fashion. Design Technology and for the better to conformity for the vantage and aim on bringing fashion Cronberg of Cronberg workshop several students wrote a paper, which led them to led which them be invited students a paper, wrote several workshop (Interim)of Head year Fashion Strategy students. By offering new ways of lookingways new Strategy students. Fashion By offering year At the the At Stop Motion ArtEZ Masters in Fashion Fashion Design however, face face Design however, Fashion /e, and Eurecat in an experimental and Eurecat /e, ma tu was a workshop in collaboration with was a workshop iv course for such in-depth introspection. Every now now in-depth introspection. such for course Every ma Fashion Design, there was a focus on valorization through a focus on valorization was through Design, there Fashion Fashion Strategy and Fashion ma ma ­ Textiel at the Audax our collaborationFinally the Textiellab with At the At These are restless times. unstable feels restless world Our These are with major

smart workshops students textiles. Council offered The Dutch Crafts and then the program is intentionally interrupted the program by shortand then workshops appear so existentially overwhelming that we no longer know where where know no longer that we appear so existentially overwhelming a natural talenta natural to think in possibilities,ideas out new and to to try cherished. crafting was questioning the role of the designer by reversing by reversing of the designer questioningcrafting was the role of our two-year of the changes simultaneously on many different levels; sociological, levels; simultaneouslychanges political, different many on economical and environmental. strategists, and have As designers we come up with solutions encounter questions in our everyday that we for challenges occupiedchallenges this past us academic – as an educational year every year, to show you life inside outside and life of the ArtEZ you to Fashion show year, every museum in Tilburg provided students with the opportunity provided museum in Tilburg to translate professor Oscar Tomico from from Oscar Tomico professor personal space. Since 2014, the new curriculum uses period the entire the new curriculum personal space. Since 2014, possibilities effort. in a collaborative dedication, and movement, mastering individual craftsmanship, laboratory near Barcelona exploring new industrial applications exploring for near Barcelona laboratory lives and professional practices. But today’s challenges sometimes challenges practices. today’s But professional and lives in a museum to design their own uniform and ask designers to designers assist and ask in a museum to uniform design their own institution and as professionals in the fashion and design world. and design world. institution the fashion in and as professionals Masters. With this report we would like to some on what shed light like report this would Masters. we With Fashion Masters 2015-2016. This is a recurring project that we initiate we that project a recurring This is 2015-2016. Masters Fashion focused on various concepts of crafts. Pascale Gatzen’s cooperative focused concepts Gatzen’s on various Pascale of crafts. workmanship for beautifully to products, made for be ready precious workmanship with experts techniques, in almost them re-interpreting forgotten their material experiments using innovative and truly refined refined and truly usingtheir material innovative experiments to make them fully future-proof. fully them to make the traditional creative process: what happens if you invite the guards invite what happens process: the traditional the guards if you creative Wearables Crafting them? that energize and boost the workflow. This year’s workshops were were workshops year’s This and boostthat energize the workflow. to start, The students an actual change. our ideas can and how make head on, taking and challenges these changes the bull by the horns. And challenges there were. there And challenges You are now holding in your hands the annual report the annual hands ArtEZ of the in your holding now are You This generation sees no problems, only possibilities only sees no problems, This generation and takes on these

Introduction 6 9 M. Randin, M. Schwartz, M. Schmidt, L. Rosvaenge, H. Mbonjani and A. Jacobs

1 social legacy do companies want simultaneouslysmall changes and demand of new products.and demand of communicationand the lack driven by an ever-growing supply supply by an ever-growing driven on the market. to survive order This constant novelty for hunger questions: To which extent can which questions: To between retailers and designers potential technology can offer. potential technology can offer. 2016 fashion the business for plan maintaining profitable them both is resulting in a worrying in a worrying is resulting industry? to And how operate in big or small companies, while in short and long term? Fashion companies are required companies required Fashion are How to develop a 20/50/100-year to a 20/50/100-year How develop fact, combined with consumers future? How to make sustainability to make How future? to and cheaper in produce faster true sustainability in be pursued industry?of What kind the fashion to behind? to leave How predict of the panorama the fashion making solution? the new profit A system called fashion A system We asked ourselves the following the following ourselves asked We

The present fashion system is fashion The present

ma organized organized 2 Closing the LoopClosing Fashion Strategy and Fashion ma We decided to question the We always keeping an eye on the total effect. Like yesterday’s cathedral, cathedral, the total on yesterday’s effect. an eye Like keeping always sharing ideas and coordinating the efforts across a creative network.’ ideas a creative and coordinating across sharing the efforts own piece to the project – a carving, a window, a fresco, a dome – a dome a fresco, a window, piece – a carving, toown the project generations, to added completemajor edifice. a his craftsman Each generations, sustainable products as well students with the practicalities of many of today’s brands are too large and too complex toand too too be managed complex are large brands today’s of many or one department. one person specialists, teamsby of require They and not only beingand not only sustainable actual image, production and will they problems as the future strategic thinking and “cathedral” as a basis, and thought about the a sustainability-focused project. and with the collaboration of generate. And to usedgenerate. do so, we daily operations and business daily ethics the company wished Renaissance. It took hundreds of craftsmen scores of years, even even years, of scores It craftsmen took of Renaissance. hundreds be implemented immediately, be implemented immediately, but practical too. of so-calledmanufacturing economicbehavioral theories becoming a sustainable business model opposed the sustainable Closing the Loop the Closing Fashion Design, it challenged us Design, it challenged Fashion Center of expertise Under the titleUnder within the fashion industry. industry. within the fashion the ArtEZ Future Makers Makers the ArtEZ Future the to project. was challenge The to create a strategy that could Starting September 2015, Annual reportAnnual 2015-2016 ‘Building a brand today is a little like building a cathedral during the during a cathedral building little is a like today a brand ‘Building The contradictory nature of the nature The contradictory

YEAR ArtEZ Masters in Fashion �

PLAN

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Research Projects ArtEZ Fashion Masters 2015-2016 2015-2016 Masters Masters Fashion Fashion ArtEZ ArtEZ Projects Projects Research Research recycling company Texperium recycling

Clothing wasteClothing at the THE 11 M. Randin, M. Schwartz, M. Schmidt, L. Rosvaenge, H. Mbonjani and A. Jacobs that promotes “radical “radical that promotes transparency”, telling Everlane is an American is an American Everlane materials, labor, duties, materials, labor, and transport. clothing company clothing the exact customers of their cost breakdown clothing—accounting for successful combinationsuccessful that strategies are obtainedstrategies are through often not thinking, short-term out manufacturing system. system. out manufacturing opportunities, technology can companies and design thinking combined a together form communication but omit the opportunities. Design & Technology be implemented can and improve planning further aheadplanning than is about giving future generations generations is about future giving It is not about instant it reward, five years. Led by marketing, years. Led by marketing, five excel in brands fashion fast thinking” “Cathedral future. works the other way around. around. way the other works to offer than just a well-thought well-thought just a than to offer High-tech industry. the fashion As embodied by 3D printing The technology has field more 5.22 3.26 0.90

17.10 38.25 65.00 175.00 325.00

$ $ $ $ $ $ $ $ . . price ......

...... price ...... Forced to show immediateto show Forced EVERLANE to know what their products cost toto make: know Materials Hardware Labor Duties applied, they all require the same all require applied, they thought-out blueprint,a well and commitment to long- a shared and instant gratification. Such and artisans and began plans laid community as places of worship, applied to space exploration, construction of the soaring, that served structures cavernous spaces havens. gathering and safe city planning long- and other so that and planning, of foresight result, business strategies fix aim at a quick nowadays We believe customers have the right have customers believe We foundation: a far-reaching vision, a far-reaching foundation: future generations can enjoy can enjoy generations future which “cathedral thinking” can be “cathedral which when architects, stonemasonswhen their full realization. Although Although realization. their full instances many are there to implementation.term term goals that require decades goals that require term Since then, the conceptSince has then, been THE EVERLANE TRENCH TRUE COST TRADITIONAL RETAIL Transport Transport Transparent Pricing Transparent 100-Year Plan 100-Year The 4 And not only And not only 5 The current difficulties The current Then there is the fact that is the fact there Then ArtEZ Masters in Fashion stretches backstretches to times, medieval still produced As in sweatshops. stylists photographers. and and unsafe working conditions. working and unsafe and of crafts as the safekeeping a car for 10 miles. a car for of third world countries world as well of third heritage.cultural our climate is roughly equal to equal our climate is roughly exploit industry does the fashion embodied by the collapsing Rana commission the same models, of each other, luxury brands have have brands luxury other, of each resources, it exploits its workers its workers it exploits resources, brands looks alike too: looks all they alike brands labor, economic empowerment economic empowerment labor, lost their identity. Advertising lost identity. their Cathedral Thinking Cathedral increase. The needincrease. is persistent human rights and fair issues, impact of one cotton on t-shirt industry, second to only oil. industry, Plaza building in Bangladesh in Bangladesh building in Plaza for fast fashion and luxury luxury and fashion fast for which 400 peoplewhich lost their lives, being rights violated are workers will not disappear in the years world’s second most polluting world’s through long working hours hours long working through is dealing with this industry will they to come. Rather, to find solutions sustainabilityto the carbon footprint driving of too. The majority is of garments the fashion industry is the is the industry the fashion The concept of “cathedral thinking” The concept“cathedral of

3 Style : ‘This assumption general Another problem we are facing facing are we problem Another As asserted by Susie Lau,

all designs look alike? The lines all designs look alike? a minimum of twelve collections twelve a minimum of and a depletionand resources. of often overlap in-betweenoften the overlap or true craftsmanship. or true craftsmanship. case. We’re overproducing.’ case. We’re consumer, who is voraciously who is voraciously consumer, this contentconsuming all and overproduction, causing pollutionoverproduction, between fashion market segments market between fashion policies Pricing become blurry. new fashion labels. The consumer new fashion prevail in clothing production, in clothing but prevail per year for fast fashion retailers. fashion fast per for year it – or than tonew apparel repair product and clothes, is not the is not clothes, product and luxury, mid and mass-market. luxury, loyalty of its consumers when when loyalty of its consumers is brand indistinguishability. indistinguishability. is brand innovative design thinking processinnovative is overdosed with possibilities,is overdosed it. does not only Overproduction too. creation in brand And every in some that to cases wash even How can a brand expect the a brand How can Nowadays it is cheaper buying buying it is cheaper Nowadays Big fashion houses switch from houses switchfrom Big fashion from the consumer. Designers are are Designers the consumer. from founder of fashion blog of fashion founder which leads towhich in loyalty a lack Bubble thus facing an enormous pressure. pressure. an enormous thus facing take with their on the market two collections to a year six, and that there’s this blanket this blanket that there’s year, fashion design graduates fashion year, With an ever-growing replication replication an ever-growing With There is no time left for an is no time left for There

100-year plan for a sustainable model of growth in the fashion industry fashion the in growth of model sustainable a for plan 100-year 10 13 M. Randin, M. Schwartz, M. Schmidt, L. Rosvaenge, H. Mbonjani and A. Jacobs

7 Fashion designer Tom Ford Ford designer Tom Fashion 2016 marks the five-year an approach is built uponan approach strong and economics to create a new through the now addresses lens. a future of the Western anniversary once said: ‘You only need only to move once said: ‘You gap between and future previous own fashion careers around around careers fashion own our collective facet each explore reason to move fashion forward.’ reason to fashion move moves are significant, are moves will and point of our strategy. can bring together. knowledge crisis, the financial from recovery tomoment create a “cathedral legacy brands will leave behind;legacy will leave brands it is bigger than profit, it is bigger bigger impact the future significantly. significantly. impact the future of urgency. feeling is an honest our With industry. in a healthy It is revealing of the generational of the generational Itis revealing foundations represented by the represented foundations is a there when forward fashion few, all joined American the few, to perspective wish we fresh Our mission is to combine ethics which makes this the perfect makes which thinking” business Such plan. than money. technology company These Apple. work rather the globe, and we’d vocabulary. Our new dialect vocabulary. Soon our will be we searching 100-Year Strategy Strategy 100-Year At the base the of our strategyAt Technology is therefore a core a core therefore is Technology of ceo

6 of Yves Saint Saint of Yves ceo Compared to other industries Compared to industries other Yet, if fashion is not moving, its is not moving, if fashion Yet, should embrace technology embrace intoshould as health industry, the such standing still. The main reason without a common separately, a perfect match. The fast- moving from are They actors are. and food industry, fashion is is fashion and food industry, work researchers and scientific Quinn: by Bradley as explained complements fashion.’ complements can work as a model for fashion. ascan fashion. a model work for instead fashion division, where operate industry of fashion Textile tracks. on different manufacturing, garment paced of technology progress besides fiber technology. A clear A besides fiber technology. agriculture energies, renewable enable that would platform life, technologylife, is still struggling it. Angela Ahrendts, former it. former Ahrendts, Angela its process. British luxury label Burberry, Paul Paul label Burberry, luxury British former Deneve, from Pruniaux Laurent, Patrick Chipperfield and Chester Hermès Being an integrated Being an in our element Indeed, between exists a gap from Louis Vuitton, to cite a LouisVuitton, from fashion design features technology design features fashion it is that the components for designers fashion finishers, to field. take the fashion over technology any and design. Hardly textile designs, technology, tothem build bridges between Yet, processes. these different ‘Technology and fashion are are ‘Technology and fashion 100-Year Plan 100-Year ArtEZ Masters in Fashion , Morphogenesis

van Dongen, Dongen, van 3D-printed shoes by Pauline 3D-printed by Pauline shoes 2010 12 Bangladesh, 2013 Bangladesh, The collapse of Rana Plaza, 15 M. Randin, M. Schwartz, M. Schmidt, L. Rosvaenge, H. Mbonjani and A. Jacobs 14 15 ‘Things changed have since I started as a working from I am running still a problem. a result we need we to innovatea result I work all the time. the way But as well. Yet, what prevails as what prevails as Yet, well. singlea main assumption ‘No is: becomingare increasingly and networks of like-minded designer many years aso. I years many designer times, my practice many evolve one meeting to each another is also very And the market day. competitive moving. As and fast can transform manufacturing manufacturing can transform affecting chain both people and our environment. Those problems the only them, solve complex. To disciplines/industries, other decades A few Time: company. had to reconsider my role and had to role my reconsider manner. Technology advances advances Technology manner. processes making them by coordinatedperfectly and in consumer the by involving Right now on their own. problems institution globalcan address individuals.’ I am speaking about problems from now. from Of course, timeOf course, is management One working day in a fashion in a fashion day One working which is fantastic and exciting. within the fast fashion supply supply fashion within the fast toway do this, is to collaborate from professionals with users, the decision-making process A Future Scenario A Future . FashionUnited as suggested by 13 Being customer-driven is Being customer-driven success. Not only doessuccess. only technology Not so that instead of an inside- augmented reality are the keys to augmented the keys reality are and more ruthless. This shift shift This ruthless. and more on a gradual individual level. level. individual on a gradual beonly attained digital through change a behavioral encourage our environment intonetwork. a environment our of the power changed the are they customer and now the structure out structure, is outside-in.offered Being customer-centric also means needsorganization to be to able move togethermove with the customer Data, analytics, predictive power. robots, artificial intelligence and sustainablemore and responsible rules than traditional markets: than traditionalrules markets: need to completely change, scratch. be redesigned from not about only. business culture that an sobeing quick quick: in the driver’s seat. An interaction in the driver’s in relevant to remain in order Networks follow very different different very follow Networks It is about reversing the process It is about reversing fashion supply chain towards a towards chain supply fashion fashion market’fashion within society, it challenges the it challenges within society, with one’s favorite brand will be will brand favorite with one’s they are faster, less predictable faster, are they the online platform the coming years? As a result organizations organizations As a result ‘dictating the shape of high-end ‘dictating 100-Year Plan 100-Year This kind of intelligent speed can Technology has also transformed has also transformed Technology to The question How redesign is:

11

12 , has been ysl effortswebsite, on its csr As a result companies will As a result ‘Millennials are expecting are more ‘Millennials ArtEZ Masters in Fashion says Lucie Greene, worldwide worldwide Greene, Lucie says sustainability from and values social responsibility) by forcing and with it, markets. entire adjust to this. the rise Consider of sourcing.’ and transparent Technology company. a software and it is one of the earliest and it is one director of JWTIntelligence with responsibility combine luxury with the help of centered companies identify to clearly In fact, only of a late adopter. sustainability-one of the heaviest has so matured that exponentially brands going forward will have to will have going forward brands tohave become customer- more brands to In comparison: do so. brands luxury to pivot to to pivot appeal to them,’ luxury luxury space, causing a needluxury for it has reshaped people’s behavior, behavior, people’s it has reshaped in New York. ‘They expect hyper- York. in New its startingincreasingly to lead in the Kering, parent company to parent Gucci, Kering, and Balenciaga shy has been relatively Kering focused conglomerates, but even focused but even conglomerates, transparency, ethical behavior, ethical behavior, transparency, Luxury consume. they the brands that in predict We technology. company will be every the future themselves as responsible and themselves is something fashion trustworthy, published this past month Prada to report on its efforts. and they’re brands, from than ever Warby Parker and Everlane, which which and Everlane, Parker Warby 9 : ‘As our : ‘As one can tell 10 (corporate (corporate 8 csr With millennials set to millennials With With an increase of data an increase With and

sustainability, and highlighting sustainability, spenders by 2017 spenders and habit hasand habit its limit: system the for it has worked know as we overtake baby boomers as top of biodiversity and supply chain – chain of biodiversity and supply demands for transparency transparency for demands consumer questions.consumer Educated numbers, for will ask consumers of rupture, challenge, daring, daring, challenge, of rupture, courage, work.’ change. If I were 30, I would I would 30, I were If change. generations. Indeed, as legendary Indeed,generations. as legendary heightened matter to are They millennials. be excited about terribly it. It local efforts. manufacturing last year by Harriet Quick from from Quick by Harriet last year increasingly turning their focus their focus turning increasingly initiatives, green implementing increase, sustainabilityincrease, – what technical used to be seen as a dry, studies complex involving issue becomingis even sexy.’ information sharing, companies sharing, information Picart asserts: ‘Every structure structure Picart asserts: ‘Every focusing on transparency and focusing on transparency facts and honesty. Transparency Transparency and honesty. facts fashion consultant Jean-Jacques consultant fashion Jean-Jacques will become As asserted the norm. will no longer bewill no longer able to discard would inspire me. It’s a period me. It’s inspire would to this new market. are They to things that supposedly that luxury brands are adapting are brands that luxury 20 years and now it needs and now to 20 years Wallpaper* Magazine Wallpaper* While the Great Recession While the Great

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 14

17 ,

, Design Transitions . fashion/fashion-brands- how-consumers- their-aesthetics Lipson, H. and Kurman, M., Lipson, H. and Kurman, listen to and engage www.fashionunited. with-customers- should-listen-toengage- planet-fashion-on- p.233 demand-ethics-to-match- Online, 09.05. https:// Online, 09.05. Fabricated: The new world with customers at FashionUnited co.uk/fashion-news/ 0917589 ­0917589 201305 of 3D printing Ibid should brands Fashion Lee, J., Jefferies, E. & Jefferies, Lee, J., Based on the openingof (Accessed 5 March 2016) (Accessed 5 March 2016) (Accessed 5 March Tan, L., Tan, L.,  12. 13. 14. 15. , . And in , 29.04. , 29.04. , at

On the Rise, Planet fashion: fashion: Planet Planet fashion: fashion: Planet 100-year plan for 100-year plan http://www.barrons.com/ http://www.wallpaper. 5 March 2016) 5 March wallpaper.com/fashion/ planet-fashion-on-how- at Barron’s Online Barron’s at match their aesthetics their aesthetics aesthetics (Accessed articles/SB50001424052 at Wallpaper Online, at Wallpaper consumers-demand- ethics-to-match-their- com/fashion/ 2842742076 2842742076 28.07. http://www. 28.07. Wallpaper Online, 28.07. Online, 28.07. Wallpaper on how consumers on how on how consumers on how demand ethics to match demand ethics to (Accessed 5 March 2016) (Accessed 5 March 74870388940457844097 9. Quick, H., 10. Doherty, J., 11. Quick, H., , ,

, This paper was presented by Manon Randin Acknowledgment is the first first is the Acknowledgment a sustainable modela sustainable of growth step of our Maximilian Schmidt, Larissa Rosvaenge, MbonjaniHarriet and Anna Jacobs. change, will not live to see live will not change, its fifth In the case grasp. of this can ever in the fashion industryin the fashion and Mor Schwartz Colloquiumand Mor at the Fashion in April 2016. Brazil Paulo, of São at the University but most of all: they are changing changing are but most of all: they repercussions. dramatic have belong to already millennials the past. imagine A strategy should industry the generational gap will gap the generational industry fast. we than Faster bigger and fact, the understanding that we is, the life of our future generations. generations. of our future the life year. The times are a changing a changing times The are year. Text by Manon Randin, Mor Schwartz, Mor by Manon Randin, Text

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Insider, Insider, fashion-advice/ (Accessed fashion-advice/ fashion-can-help-tackle- jean-jacques-picart- 5 December 2015) 04.11. http://www. 04.11. these-projects-prove-it/ vogue.com/13371195/ wgsn.com/blogs/ His Best Career Advice Fashion Futures Fashion Picart Dispenses projects it prove Season 1, Episode 2 Episode Season 1, at Vogue. http://www. at Vogue. climate-change-and- Creative Mind; Tom Ford Creative Mind; Tom Jean-Jacques Consultant Steps Away From Fashion, Fashion, From Steps Away wgsn can climate tackle help change – and these (Accessed 5 March 2016) (Accessed 5 March Visionaries: Inside the  5. 6. Quinn, B., 8. Isaac-Goizé, T., 7. Bonfiglio, M.,

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, p.52

How How Europe in , at European , at European fashion-system, fashion-system, businessoffashion.com/ 08.02. http://www. 08.02. https://europa. 01.09. industry world-garment-textiles- website. http://future roundtable-fixing-the- revolution/posts/europe- makers.artez.nl, (Accessed 30 March 2016) 30 March the World: The garment, the World: textiles & fashion to Fix System the Fashion at Business of Fashion, of Fashion, at Business articles/opinion/the- and-fashion-industry eu/eyd2015/en/fashion- (Accessed 5 March 2016) (Accessed 5 March 2016) (Accessed 5 March Year of Development, Year The Brand GapThe Brand A fashion house that knows house that knows A fashion We face forecasts that 3D that forecasts face We strategies. We are simply years years simply are strategies. We NOTES and a brighter future lies within lies within and a brighter future getting radical. more already is but this ‘future’ coming, our present. are we Again, taking what it is, not clearly 3. Blanks T., hope, nor do current corporate hope, do current nor is home printing of garments and have we by the vocabulary late. The only chance for change change for chance late. only The stop measuring late. We should 2. FutureMakers official ideas, solutions and strategies consideration that it might under Numbers are not giving us any us any giving not are Numbers 1. Neumeier, M., work towards a new set a new of tools. towards work that there is no end product, no end that there is there is no end company. 4. Ditty S., A good start be would stating 100-Year Plan 100-Year In the late afternoon I will do After lunch, a meeting lunch, with After Then finally, the day winds day the finally, Then ArtEZ Masters in Fashion son his bedtime story. It is about son his bedtime story. time has He a hard skeptically. been hard.’ have must says. ‘Life a sociologist, a social psychologist and two environmentalists and speak to on the our customers online platform. This is the future This is the future online platform. of our business since are they and I am going home. down he ‘Wow,’ to the door. delivered chain while generating new new while generating chain environmental Since issues. our picture of the fashion industry. industry. fashion of the picture believing that when I was young I was young believing that when how we can our waste minimize we how the supply production through beautiful products services and and encourage behavior change latest collection create mainly we Conclusion innovative designs.innovative is scheduled to speak about In the late evening I would tell I would my In the late evening tales. age’ I was your listens He somethingI had online to order for a large audience that facilitate audience a large for which took at least 24 hours until tookwhich hours at least 24 what I enjoy the most:what I enjoy I will listen the key to our global success.the key one of those ‘when the old days, and no 3D-printers were there the latest researches on social and the latest researches the public to do positive things. textile technologiststo discuss This paper aimed a future to draft I look after whole design the The most interesting creative The most interesting creative

sustainable decadesa few in and social change. say it works! it say achieve a breakthrough on their a breakthrough achieve actively. We aim to become 100% We actively. and multidisciplinary. The The and multidisciplinary. and the shaping of positiveand the shaping also that we are growing into new growing are also that we in a responsible manner. areas own. This is why we bring people we This is why own. do. We are aware that no single aware are We do. corporation or institution will climate and the scarcity change serious are of global resources describe the way we work as work describe we the way challenge for me nowadays is me nowadays for challenge only on the design on the of productsonly and wanted to expand We experiences. responsibilityour professional to deepened in the right ways, and deepened in the right ways, compared to past the must and I problems and we address them them address and we problems nature of design itself. I would I would of design itself. nature into and the design of services strategy policy, leadership, include I think we are on the right good are I think we from several industries together. industries together. several from for attracting and hiring the right with engineers, scientists and with engineers, with my team my with is totally different track but there is still more to is still more but there track to rethink and redesign the very the very to and redesign rethink team am responsible and I to ensure I have talent. Moreover, that our expertise is constantly very networked, collaborative collaborative networked, very We moved away from focusing from away We moved Today for example, I will meet example, for Today

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 16 19 Name Fashion Design Fashion ma love attentionlove to detail and beautifully portrayed by Koning, showing the super- showing Koning, workmanships from the from workmanships naturalness of this versatile this versatile of naturalness material and the labour-of- designers. alumna Sunanda Chandry Chandry alumna Sunanda This year’s results were were results year’s This

ma favourite fashion house. As fashion favourite in previous years, this project this project years, in previous international suppliers. by The Woolmark Company, Company, by The Woolmark thus stimulating the creative During the secondDuring semester Design students Fashion within the contextwithin the of their sponsored was generously realized a small collection a small realized quality woollen materials and innovative usage of high and innovative and collaborations with their of the first year our first of the Annual reportAnnual 2015-2016 ArtEZ Masters in Fashion

Woolmark × ArtEZ Fashion Masters Fashion ArtEZ × Woolmark 18 by The Woolmark Company Company by The Woolmark Model Djovrie Krus Photography Photography generation 16) generation Composition: 100% Wool, Mitsuboshi Keito Co. Ltd. Composition: Keito Co. Wool, Mitsuboshi 100% Sunna Örlygsdóttir, kobalt blue skirt. kobalt Sunna Örlygsdóttir, Styling Sunanda Koning Koning Sunanda

(Master Fashion Design,(Master Fashion © 2015 Yu Lun Wong Lun Yu This project was sponsoredThis project 21 Annual reportAnnual 2015-2016 ArtEZ Masters in Fashion

Research Projects ArtEZ Fashion Masters 2014-2015 Masters Masters Fashion Fashion ArtEZ ArtEZ × Projects Research Woolmark Lisa Foerster, lavender blue coat. lavender Lisa Foerster, Composition: 100% Virgin Wool by Lanificio Raphael, Italy Wool Composition: Virgin 100% TypeWoolmark of texts × ArtEZ Fashion Masters 22 ArtEZ Masters inFashion ArtEZ

Annual report 2015-2016Annual report

Name 23 Composition: 99% Wool,Composition: 1% Hee Kim,deep purple dress. TypeWoolmark of texts × ArtEZ Fashion Masters 24 ea by misan brothers, London, uk ArtEZ Masters inFashion ArtEZ

Annual report 2015-2016Annual report

Name 25 27 Anna Jacobs

small decisions big can have way work in a off their showed strong cinematic atmosphere, cinematic atmosphere, strong space the divide breaking and was given sense of freedom space, a around centring them a dancer and choreographer and choreographer a dancer and personality of her garments and personality garments of her and models a strong – all having all the presentations in a unique one; one where seemingly seemingly one; one where consequences. I am happy that these choices through designers ottir Sunna Orlygsd designs. With collection. The characterization imagination.grabbed my an open and It is such experience. balconies,opening up the between inside and outside, a of Atelier beautiful surroundings it is presented is a very sensitive it is presented a very is interesting space, and it enriched By choosing to use the French By choosingto usethe French a wonderful was Néerlandais I could use my knowledge as I could knowledge use my finished styling a finished displayed which always eluded to more. always which togetherwe looked with Mark at of her symbolizedwhich the story The connection between way. to help talented the guide a presentationto achieve that of. proud were that they to the models the and in turn models of her in the placement theatrical – immediately presence the collections, the space how and vintage, suitcase well-travelled Joining Mark and the team in the collection was

Joie de Vivre Joie de Vivre Viewing Lisa Foerster’s Lisa Foerster’s Viewing space. I really enjoyed the process enjoyed space.I really shape their presentations within collection I quickly realized that it collection realized I quickly The detailsown. hidden that are and exposedone moment the collaborate with the second year design students and discuss concepts with different displaying discuss and of helping them of us an instant connection. interactions to for cross, take place, creating an intimacy, which which place,an intimacy, creating of its language had a movement curiosity created a natural next be beautifully The discovered. present their individual collections. individual their present of Pina language movement and the dancers where pathway, instructed models to were follow lookwhat else could further for in my opinion is the strength of opinion is the strength in my inspired by the worldly and lively and lively by the worldly inspired understand the two giving well, Hee’s collection. Master Fashion DesignMaster Mark Fashion Kim’s and I know a language Bausch, with them how they wished to wished they how with them within a tableaux of idea vivant to and question, examine and this personal environment.this personal Hee rise route. This gave their own to the opportunity paths to for van Vorstenbos invited me to Vorstenbos van collections intimate in an varying Atelier Neérlandais on March 3rd 3rd on March Neérlandais Atelier Annual reportAnnual 2015-2016 Whilst in Paris, Head of Head Paris, in Whilst movement a square We created The presentation took place at the ArtEZ Masters in Fashion

ATELIER

26 NÉERLANDAIS 29 Anna Jacobs Atelier Néerlandais Atelier

ArtEZ Masters in Fashion

Fashion Meet&Greet Salon presentation Salon Meet&Greet Fashion 28 Graduation ArtEZ Fashion Masters 2015-2016 30 ANNA BRINKMANN Masters in Fashion Strategy Textile Lab Innovation ma to shed alighton the individualto shed the designers’ research into onfacilitating that focuses the fabrics onthemarket used textile thisgapbetween to bridge 70%that about oftoday’s onthe andits impact the body to his consumerthe final has fashion to communication the value ofthematerial work ever Igraduated since Center. TheTextile Innovation from Hochschule Niederrhein Lab ( Lab My theory isthatreattributing Redefining fashion through innovative textiles. Myaimis innovative textiles. ontheonehandand innovation fibers – used even inorganic and liewithinmaterial innovation ratherits material thantrend polyester still are still theprominentlypolyester and performance, andthatcotton changes therelationprocesses my to essential been has concept forconcept Knowledge aMaterial on theother, the Ideveloped Inorder selections. conscious of its material. environment considerably can be or her textiles clothes. Andas fashion-consciousness to opposed garment-consciousness as mycycles, to isthecentral point altered through the conception altered through theconception a garment’s performance on are thecore offashion, both engineer inearlyas design 2014. During my research Ifound research at ArtEZ. Reframing research atArtEZ. til ) is aunique platform the work of anoffline a business, to become developments anda fiber textile that showcases recent themost standardized than highlighting where members directly can Anna Brinkmann isaFashion with Strategist is accessible worldwide online. is accessible in general. Andifthiswas it includes the make it tangible for people for people make ittangible would complement stand pop-up offers also It needs. theopenly research theirindividual meeting reach manufacturers outto of changechoices. within material for theFashioncoordinator Future Seminar Series [email protected] onfashion theirvision and discussed futures in a background andastrong indesign affinity project for the Within her final andretail. technology production, www.textileinnovationlab.com with ClickNL | NextFashion andAtelier Néerlandais encyclopedia that informs certifications. all over the world. For now fibers andtheir about qualities Textileaccessible Futures area requestand can apersonalized Next hershe studies to worked aproject as stories behind the tissues rather thetissues behind stories to circular strategies withinthefashionto circular strategies industry. is focusing on textile innovations andtheincentives innovations ontextile is focusing in Paris, projected where experts international til offers three functions: ma Fashion Strategy at ArtEZ she Fashion atArtEZ Strategy til til as itwould as selection, selection, til

33 Anna Brinkmann

Masters in Fashion Strategy Masters in Fashion 32 35 DEONPEN Unknown Ordinary Unknown MAI

Exploring the interactionExploring storytelling and sustainable to I strive see new strategy, storytelling and sustainable craft Using folk strategy. and by focusing on collaboration, a round woven bamboo woven containera round as my main medium, I not only craft for and created a new life and space. aspects still undervalued. that are direction for retaildirection for from stores concept to Through creation. vision my process.of my Through empowered the craft community the craft empowered between retail and the senses, an alternative is tomy aim develop aspect every and rethink reframe possibilities retail for and reflect modernity way. in a meaningful possibilities retail giving in and by focusing on collaboration, products, but also to translated in-depth research, I reinterpret, I reinterpret, in-depth research, it into a sensory experience experience it into a sensory I embrace the imperfection, the I embrace for glutinous new rice.for I saw Under my creative direction, creative my Under to Thailand to re-explore the story, to to Thailand story, the re-explore – “Kratip” product traditionalcraft value and culture behind and culture the value village people a new perspective With this in mind, I travelled back I travelled mind, this in With

Masters in Fashion Strategy Masters in Fashion CHUAICHAROENSUK Fashion Strategy, Strategy, Fashion ma My research journey began journey My research

enhanced to a greater context. and philosophies which waiting are and possibilities.and endless It holds a new notion of aesthetics and find and meaningfulness a certain in the world diversity are looking more alike. Due to the alike. more are looking crafts. When looking When crafts. back to my of retail contemporary and to push of true aestheticsof true and crafts and emotional connectivity; their sense beauties, viewpoints, living ways of roots, I realized that Thai cultural that Thai cultural roots, I realized heritage interesting holds many new ways to share information information to share new ways retail forward, embracing embracing retail forward, project at the project me think about the boundary me think about the boundary between retail and design and mass consumption in our society retailmany lost stores have look for a new possibilitylook for within in the 21st century. Many big cities in this era big citiesMany in this era for us to be learned and to be I tried toway to maintain find a with an in-depth research on folk on folk with an in-depth research that reflects that reflects consciousness this realm. For my graduation graduation For my this realm. their care for society. This made for society. their care The world is a bag of inspirationsis a bag world The

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 34 37 Mai Deonpen Chuaicharoensuk Unknown Ordinary Unknown Masters in Fashion Strategy Masters in Fashion Fashion Strategy at the course Fashion ma

her interest in retailher interest experiences. to follow the to follow the so, I give counterbalanceso, I give to mass Melbourne, Australia, she moved to The Netherlands to moved Australia, The Netherlands she Melbourne, Born in Thailand and currently living in living and currently in Thailand Born a conversation. as well as encouraging peopleas as encouraging well all five senses – sight,all five smell, connection, aesthetics, and crafts intocare the retail environment consumption society, bringing bringing consumption society, extraordinary, always stimulating always extraordinary, [email protected] and folk crafts. After living for two years in two years for living After crafts. and folk hear, taste and touch. By doing hear, back a sense of emotional rawness and ordinary and and ordinary and rawness (1988) explores the interaction between explores retail (1988) ArtEZ enhanced of the Arts, she University where to think, question, or spark interact turn it into the unusual or it intoturn unusual the The Netherlands, Mai Deonpen Chuaicharoensuk Mai Deonpen Chuaicharoensuk The Netherlands,

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 36 39 Klaudia Stavreva we crttt Due to my interest in in Due to interest my steam and heat and discovered and what we would like to start like would we what and and performance with paperand performance knit. tailoring, used for yarn adhesive around and we got triggered got triggered and we around edges or seams to not stretch after shape sewing out the fabric embroidery and the use and of embroidery In addition to this carbon fiber. specialist of chemistry came to the conclusion eventually that the discovered we of hours, material to keep the twistedmaterial to keep shape. startedhad we our concept clear polymer in my work, my group group my work, polymer in my paper different machines with on it. the paper react how would back at the piece had we put completelypaper twisted yarn in sleeves for example. When we we When example. for in sleeves us in the right direction. Looking a couple bathin the water for I was thinking of “form band” and I was thinking of “form further the possibilities of paper. further the possibilities of paper. we neededwe to incorporate another is often appliedwhich on round we expected we workshop of this on. working was stimulated to explore startedwe with to experiment towater and chemicals see the many possibilitiesthe many of shape that chemistry would not send not send would that chemistry appliedto do further tests. We yarns combined with conductive yarns metal,yarns, and polypropylene After several tests done with a several After We started to on the knitting work This lead us to the conclusion that

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ma in Berlin as in Berlin udk Eindhoven Eindhoven tu After two days of several of several two days After and disciplinesof the participants. started We and MA in Textiles. and the Research Center for for Center and the Research the possibilitiesand explore new materialas well as applying and technology solutions the for and the status of and future quo currently researching at the researching currently of knitting with soft wearables, with softof knitting wearables, or piece and one project ourselves best that would represent of work our identity as a creative. and drive presentations about different new technology involving projects split we material and technology, lectures, discussionslectures, and in London and initiated by in collaboration ArtEZ with the projects to on group work in order We started groups. up in different backgrounds into the different Based could chose on this we background a fashion with Eurecat Fashion Masters. This year Masters.This year Fashion Spain to creatives bring Mar, I got involved with two I got involved first to brainstorm to find out what to brainstorm first from different disciplines together different from Crafting Wearables is a project a project is Wearables Crafting with who we would like to work like would with who we of as well with one employee we collaborated with Eurecat introducing with individually together project. on the next textile industry. Crafting Wearables IV Wearables Crafting Architecture students, who are students, who are Architecture Textile Technology in Canet de in Canet Technology Textile couldThis so we get an insight

ArtEZ Masters in Fashion

IV

WEARABLES

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research CRAFTING 41 Klaudia Stavreva Annual reportAnnual 2015-2016 I personally believe that believe I personally ArtEZ Masters in Fashion so as to safeguard the aestheticso as to safeguard a coating instance for would willing to experiment and who are appearance and practical use different disciplines work together, work disciplines together, different eventually help to keep the shape the shape to help keep eventually the importanceconfirmed of of these materials. Because when preparations such as applying as applying such preparations production of new materials, rain or weather changes, surface surface changes, weather or rain involving fashion designers – designers fashion involving for the future. future. for the for long term. for we are really able to come up really are we solutions and useful with creative who actually work in the industry industry in the work who actually with new materials – in the that are often ignored. Only when when Only often ignored. that are this is the perfect “haute couture” couture” this is the perfect “haute textile innovations come from yarn. To me this workshop has me this workshop To yarn. “scientists”, these are aspectsthese are “scientists”, After developing and testing and developing After

shape and not damage it through it through shape and not damage silhouettes. With a few quick silhouettes. quick a few With on the computer I sketches and individual. During the drying During the drying and individual. original form, comparable as comparable original form, demonstrated how the yarn could the yarn demonstrated how developed yarn we startedwe developed yarn knitting of cotton, wool, paper and form- process the glue in the yarn will process the glue in the yarn bond with the material and stay be applied in the textile industry. be applied in the textile industry. my designer instincts were instincts designer my were band. With the reel of our newly of our newly the reel band. With in shape. In order to keep this to keep In order in shape. By applying steamBy applying to or water wearer the opportunitywearer to make to working with clay, giving the giving to with clay, working absolutely unique the garment the garment, the customerthe garment, has the opportunity to re-shape its triggered to create examples for totriggered examples for create the final prototypes.the final the final prototype yarn, of our to twist our own yarn consistingto twistyarn own our

Crafting Wearables IV Wearables Crafting 40 Graduation ArtEZ Fashion Masters 2015-2016 42 SUNNA ORL Y G SDOTTIR ORLYGSDOTTIR Masters in Fashion Design Grand of agreat illusions escape These areThese my ‘grand ofagreat illusions garmentsThese are themanifestation A favorite wool coat – worn to pieces – A favorite –worn pieces – coat wool to What happens whenWhat happens oneyear andten carefully taped back together. back carefully taped And anddesires. Exploringchanging needs inthemiddleofnowhere – of my stay of others? How doIdress when Ionly at once a sense of immediacy and ofimmediacy asense at once would undoubtedly anoilskinarise, tarp whether Iwillfail about orsucceed animaginaryalbeit one.Thisis and how WhatdoIwear? doIchoose? Sunna Örlygsdóttir (1988)Sunna Örlygsdóttir was born dress for myself? days insolitude? WhatdoIbring isspent make a fine jacket. This collection is collection This make afinejacket. withstraps burlap heldtogether plastic iswatching? else when nobody matter my travel Andwithoutworrying trunk. my own company, makinggarments she studied atSkals Håndarbejdsskole for wearing asuitshould theoccasion offanairplane.seized A cherished nylon www.orlygsdottir.com with a ofmindthewearer. thestate to witness How do I deal with the limitations of How doIdealwiththelimitations tricot bedjacket embellished with nails. bedjacket embellishedwithnails. tricot of ofthecontents the possibilities this scenario? Will itgive me freedom to how I imagine spending myhow I imagine spending days in farbe so away from fashion andthegaze in June 2016. in Arnhem withan in Skals, She Denmark. willgraduate in Reykjavík, Iceland. Before graduating indulgence. Objects transformed bearing it whatdoes Because in my attempts. Iceland Academy of the Arts in2012, Iceland Academy oftheArts from Fashion Masters theArtEZ fashion escape’. awardrobe –reflecting fundamentally for my own serve amusement – to my A dress made of a pleated piece of piece A dress ofapleated made ba inFashion from Design the ma inFashin Design 45 Sunna Örlygsdóttir

Masters in Fashion Design Masters in Fashion

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 44 47 Sunna Örlygsdóttir Grand illusions of a great escape illusions of a great Grand

Masters in Fashion Design Masters in Fashion

Graduation ArtEZ Fashion Masters 2015-2016 2015-2016 Masters Masters Fashion Fashion ArtEZ ArtEZ Graduation Students 46 49 Klara Valkova Fashion Design students Fashion Fashion Design alumna Fashion ma ma Especially the men’s jacket jacket the men’s Especially and and aesthetics. The teamvery was Instituut Nieuwe at Het a broad with eye- and created the uniform on the guards, for the guards. for on the guards, enthusiastic about the lightness of sophisticated still layering, details as possible. And because decided to with this concept play catching details and finishings visitors.dialogue in her The will be madegarments as semi- paperprototypes. final patternsfor with function merged piece where of topics to related range design way. in a personal uniform his/her underneath was a nice was elaborate underneath silhouettein a clean with as little is addressed, the design team Iñiy Sanchez – developed the Sanchez Iñiy finished products so each guard productsguard finished so each with with wearing a gilet of with the effect the opportunitywill have to finish that should raise curiosity raise that should and Those then were then presented then Those were then Radical at Het Nieuwe Nieuwe at Het on the development of a new on the development Fashion Design students Fashion Starting cutting out by into and playfully enjoyed the creative the creative enjoyed and playfully layering. of and effects guidance of Pascale Gatzen, they Gatzen, they Pascale of guidance on pieces and a sense of clothes compact male and female collected secondhand pieces they each created two for moulages – shirt,garment tunic, skirt, pants, jacket. Later – together Pascale participated the project in a needle had experiences never process. It the harmony was between requirements individual uniform. uniform. brave very were they in their hand, In January 2016, the first year year the first 2016, In January the Instituut Under in Rotterdam. for unity that helpedfor in a group worked together with guards from from together with guards worked with interesting detailswardrobe the guards create the beautiful the guards Compassion ma hni Although some of the guards someguards of the Although Annual reportAnnual 2015-2016

ArtEZ Masters in Fashion

COMPASSION

RADICAL

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 48 51 Klara Valkova Radical Compassion

ArtEZ Masters in Fashion

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 50 53 Esmee Peterse Because of this our clothing The increasingly rapid rapid The increasingly sake of fashion”, and in essence of fashion”, sake and the succession of trends to produce faster street fashion and faster. With this vicious cycle this vicious cycle With and faster. social, and cultural arise several actual garment; about it is more our daily dress has become dress our daily part and of the disposable industry, environmental while our issues, durability],of [emotional leading changing your outfit every outfitevery your changing all fashion Almost identity. own and its actual of the individual or needs.desires to demand keep consumer’s real desires are not met ‘because are desires real most designed objects are new” – with a steady of stream objects that replace new garments the for becomehas now “fashion no eloquence and no relation than the about the wearer more large quantities of clothing says quantities says of clothing large up with the times forces high up with the times forces fragile foundation of anonymous of anonymous foundation fragile feature of contemporary fashion. of contemporary feature with this constant urge for “new” with this constant “new” for urge without the understanding to built on the a wasteful culture the times.the Magazines advocate leading consumer the two hours, to their with finding struggle theorists emphasize that “the became but once “new” that were no meaning, have these clothes new and Having to ourselves. the identity of the mass than that “old” – functions as main the “old” In its modern understandingIn its modern Sometimes you only becomeSometimes only you specific garment that hangs that specific garment and short-term trends. and short-term and then yet again picking that that again picking yet and then of the significant meaning aware rapid again because of fashion’s changing seasonschanging and collections. and constantchanges challenges of a closet full of perfectly “good” “good” perfectly of of a closet full overloaded impulses by clothes, to next the bedchair the over on the hookor the one hanging of the items hanging in the closet. a sense the of belonging, you give at home: it is one of your of feeling essentials. essential the of your when essential to part because ways; in another it want/need or you color won’t often or size. you But be able to buy that specific item Contemporary fashion landscape fashion Contemporary urge for something new, rapid rapid something new, for urge in the bathroom instead of one recovery out beyond it is worn Fashion has becomeFashion a synonym Everyday we stand we front in Everyday Because one of our it is simply for change, newness, speed change, for is about the constantfashion up with to keep the individual for favorites. Those specificfavorites. garments of being the conceptfeeling you, the same items, again and again. time and your you has come for Cite emotional durability – A hint towards We choose to dress ourselves in choose ourselves to dress We

Masters in Fashion Strategy Masters in Fashion ESMEE

PETERSE

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 52 55 Esmee Peterse Cite emotional durability – A hint towards

, is an ongoing study study , is an ongoing It serves as a guide that gives gives as that a guide It serves durability design landscape,shape the future and is it possibleand to develop toa guideline essentials? create at the same time homage paying capturing the current long-term long-term capturing the current and help and structure overview garment apart from the other apart the other garment from prospective direction and aims living an essentialliving lifestyle, when My graduation project,My graduation while inviting to think about tendency of emotional durability portrayingthrough essentials, and archetypes. their wearers provide enlighten, to inspire, story. of our life to the relics Cite towards emotional – A hint Masters in Fashion Strategy Masters in Fashion for for amfi in Fashion Strategy in Fashion ma But what turns garments into garments what turns But

learned how to translate her her to how learned translate later enrolment at later enrolment focus on essentials during fate. Her background at background Her fate. into strategy, concept and into strategy, her her but became old, with items 0031 6 53 759 511 0031 759 6 53 than “newness” and replacing and replacing than “newness” the exact same that will have spectrum, designing garments Esmee Peterse longs for longs for Peterse Esmee and environmental caused issues all of our personal needsall of our personal and essential or emotional durable essentials and what does an emotional durability can provide studies and her employment studies employment and her something more from design from something more prospective guidance). passion direction in creative design as an interdisciplinary design as an interdisciplinary & Marketing (2014) led to her (2014) & Marketing at the ArtEZ Masters. Fashion at Piet Boon Studio she a minor Fashion Theories, a minor Fashion ethnographic researcher researcher ethnographic [email protected] objects that were once new, once new, objects that were by and within the fashion world. by and within the fashion make all our frustrations disappear our frustrations all make meaningless objects.’meaningless look contain? What sets one (providing overview and overview (providing (cum laude, 2013) and her and her 2013) laude, (cum us with the opportunity to fulfill interactions with fairly interactions fairly with Artemis Styling Academie On the opposite side of the while solving all social,while solving cultural with an understanding of Through the combinationThrough of Thinking Design, Culture Thinking Design, Culture Turning to essentials Turning

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 54 57 Janneke van Rooijen Scape brings to light aims to look at Scape Scape is designed in a case Scape Scape studies along with inspirational studies along with inspirational artworks, thoughts encouraging of thinking and a and ways aims to grasp the deeper layer aims to the deeper layer grasp prospective that provides a guide us, about what this all means for and consumers. documentation and analyzing our lifestyle tendencies, and highlights the mostof change constructed In this with care. creating stable identities, brand and strategies experiences, and direction and delivers insight and direction and delivers journey. research of the vibrant madesee and we can signals a of signals occur that in remarkable package can you find custom- color made and pattern visuals, help design long-lasting products. because all of these thoughts have important inspiring aspects. and inspiration. designers brands, implications: for By intuitive observation, visual By intuitive visual observation, By doing so, first gestures have already been already have gestures first landscape. another for foundation future-counseling dictionary. future-counseling dictionary. future scenarios and serves as scenarios and serves future that is beingthat is formed. the bigger picture and deliberates picture the bigger that bundles up the outcome About About The landscape of tomorrow, The landscape of tomorrow, The case is made by hand and The content can assistin

Notable the solution is that spending more and more time and more spending more standards and fast growth, we are are we standards growth, and fast starting about to think differently society of demands full and world alternative landscape is emerging, landscapealternative is emerging, a belief living high embraced that and investigate way our own and expectations has made us their beliefs,and reconsider approach another longing for are and an expedition on finding essentials. to life’s and return environment functions as a functions as a environment spirit.one with a different The of living. This rapidly changing changing rapidly This of living. rethink individuals Many of living. exploring occurring. People are manners. We are engaging with engaging with are We manners. The natural adventure. hunt for thought and provides place for making place for other ways ways other making place for is living for new pathways necessary more meaning. It feels back, on our well-being focus is being found in nature. We are We are in nature. is being found her from learn and in nature and silence. An us with energy find more fulfillment in what fulfillment find more ways to live a life more balanced, more a life to live ways the outdoors and are on the on the the outdoors and are the definition of development the definition of development think about what matters most. purpose do and seekthey and for to take before than ever a step values and responsibilities. We and responsibilities.values We After a periodAfter on to of holding Scape The new visible new The The always-on mentalityThe always-on is slowly Masters in Fashion Strategy Masters in Fashion

VAN

ROOIJEN

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation

56 JANNEKE 59 Janneke van Rooijen ). hku Fashion Strategy course Fashion ma [email protected] 0031 561 6 39 689 significancefor us, to not only Before enrolling in the enrolling Before studiesDuring her at ArtEZ interned at Studio she started subsequently she Edelkoort, where working a coherent story. a coherent about their thoughts, visions, and actions. visually Besides this, we and illustrating stirring and attemptand to pinpoint our expedition, we travel toour expedition, travel we along the document our journey www.saunterstudio.com Communication School at Utrecht of the Arts ( at the ArtEZ Fashion Masters, Janneke van Rooijen Rooijen van at the ArtEZ Janneke Masters, Fashion as a freelancer. pillars of the movement. pillars During currently feel places that we talk to people who are matter, and learn forerunners promising place disciplines: by using various patterns and textures. Making (1989) earned her degree in Fashion Design & degree in Fashion her earned (1989) understand, but also visualize, forward. Then, we search to search we Then, forward. find patterns, filter links and the field notes, collecting souvenirs while researching is of great is of great while researching way. This documentation takesway. translate signs and design translate the most importantcomponents the particularthat drive shift taking writing pictures, down Masters in Fashion Strategy Masters in Fashion is a project initiatedis a project by Saunter Studio serves as Studio serves Saunter At first, we start first, At off with

support original ideas. and develop scenario design creative and a deeper understanding of this attention to occurring shifts being usedare to create a navigator through our current our current a navigator through and predictions into inspirational applicable in today’s rapidly rapidly applicable in today’s exploring all possible drivers all possibleexploring drivers design sense process. we When of view and translate our findings of view and translate changing society and therefore societychanging and therefore direction. At Saunter Studio Saunter we direction. At motion. process Our working happening in our environment. movements. We strongly believe in believe strongly We movements. mutatebut rather a longer over understandperiod of time. We point a long-term from movements believe that trends are no longer are believe that trends bringing together research, future future bringing together research, landscape closer and pays is comparable tois comparable an expedition is a multidisciplinary design studio,is a multidisciplinary future scenarios.future These scenarios function as tools us, tools for where we delve into the subject. delve we where where intuition is essentialwhere to the we prefer to study long-term to long-term study prefer we that a current development is development that a current taking starts journey place, a vivid that can be further introduced to tendencies that not change hastily, hastily, tendencies that not change Saunter Studio. Saunter Studio Studio. Saunter Saunter Scape About Saunter StudioAbout Various research methods research Various

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 58 61 Asu Aksu who will act as 2 should never be mistaken never should as invertedsuch agendas. and design bring about will the and its impact its is huge. But responsibility and awareness being future: createdalready for greatest experiences. Throughout Throughout greatest experiences. celebrities became designers, as got rebranded designers they and finally directors creative ecosystem is going through us colossal leaving changes, descriptions being redefined; are became been have stars. We playground. The veil of glamour of glamour The veil playground. conceptual and intangiblemore expect: would you production like fields, bridges between emerging luxury, for instance. It about is not luxury, time, self- happiness and like fusionists like in our vocabularies. Some improvement. job titles New are not in conceptual way in a very Fashion is a business, not a Fashion It is a big and ever growing growing It is a big and ever fashion and biology for instance. and biologyfor fashion witnessed we history fashion the stars, modelswere first then for the reality of the industry. reality of the industry. for the with consequences,face-to-face world: it is a serious businessa serious it is world: together communication through in starthe shift positions: at the expensive inessentials, it is the expensive technology meets the industry Welcome todark side the Welcome The interior of Jones, Arnhem We now have sustainability, sustainability, have now We Their ability to parties bring all You ask if getting ask a coffee You style mavens, hysterical bloggers hystericalstyle bloggers mavens, be this may scenario, the rabbit and your laptop with your never never laptop with your and your or hard-nosed photographers or hard-nosed photographers Instead the entrance. encircling studious women. over by smartphoneof trade: pictures, for pens, colored notebook calculator, sheet. excel ending Best-case hole that you’ll find yourself in, yourself find hole that you’ll is taking place. You are in front of of front in are is taking place.You is possible, tools set up your a buyer. are if you folders and paperwork, pored and paperwork, folders walls and long central tables central and long walls with laptops, down weighed the hidden Paris Fashion Week Week Fashion Paris hidden the no street are there the showroom; you have rails of clothing, white clothing, of rails have you Jack of all trades

Now you are at one of the are you Now ArtEZ Masters in Fashion smile and welcome you to you smile and welcome their stands, already some of them as the guards at the door checking as the guards designers are still sleepy as well as still well sleepy designers are almost are sheets. You order budget, your but wantedover and their amazing designers just a look, did she why have didn’t name so you can check it later. canname so check you back streets of La where Marais, new. You feel sorry for the talented for sorry feel You new. maybe guys, Sorry pass me by… to the memorize time, try next you OF invisible behind piles of line and which you didn’t have time before, time before, have you didn’t which looking at you are works… They she why with questioning eyes, to check this side of the fair, for for to this side of the fair, check to see if could find anything you your bags. They are trying to trying bags.your are They You are in the fair area; area; in the fair are You 1

TRADES Confessions of a Fashion Buyer of a Fashion Confessions a curious mind, and one fashion a curious mind, and one fashion an annoying overseas phone call an annoying overseas of the week. You have to be have early of the week. You of coffee in your hand, trying your hand, trying in of coffee bed, walking fast on a coldbed, and fast walking lost You’ve morning. Paris rainy by 8 with a take cup away in the fair area to take area lookin the fair a quick But it doesn’t matter it doesn’t But at all; during week party friends, and that it my is for your appointment. your for Out of bed hotel at 7 and your that is how most of us end up here.’ that is how with one of the suppliers before before with one of the suppliers the fashion week there are no days no days are there week the fashion to on time be have you there then track of your days, is it Sunday? days, of your track to get over the headache from from the headache to get over yesterday’s after show party, party, after show yesterday’s

‘It begins with a calculator, ‘It begins with a calculator,

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Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research

60 JACK 63 Asu Aksu 3 Confessions of a Fashion Buyer of a Fashion Confessions Such a seemingly easy job job easy a seemingly Such shows and the art of entertainment. of buying. The world of vendor world The of buying. and most importantly, fashion fashion importantly, and most art and science.’’ selects what items will be stocked could make economistscould make faint, just a new shirt. for store will do, all the hundreds for stores shop accessories with someone else’s accessories with someone else’s who is an individual a buyer and those silver emblazoned ones emblazoned and those silver shirts at all? I think and no gray of dollars! Dictionaries, however, Dictionaries, however, of dollars! definition of professional fashion fashion definition of professional shall together, go shopping and of shirts on their racks negotiations, order purchase buyer, who determined your your who determined buyer, and clothes purchasing millions for in bulk and money, retail In the industry, beg to differ. buyers’ job would be would job the same buyers’ complicatedmore scale. Let’s white these plain shirtspicked in a store, basedin a store, on his or her in their inventory? Besides, who in their inventory? to a fashion it was say safe it’s But where do the department But where for people who love shopping: people shopping: for love who family member. An oversimplified An oversimplified member. family tracking, exceltracking, spreadsheets that wardrobe indirectly. were probably decided on by a probably were department The nearest we? thing, on a much bigger and bigger on a much thing, As a child, your daily clothes clothes daily your As a child, Welcome to the vortexWelcome that is both good really So far what I’ve read, heard, heard, read, what I’ve So far Wrong. So wrong. But so So wrong. Wrong. at gettingat quality clothing great skills for this job? What does this job? for skills in changes of the sweeping share a huge pressure to reach the to reach a huge pressure what questions: the following ask here? already goals season. of a new are They expected toa trend than be more going to happen. This made me be? It’s basically like shopping isn’t isn’t basically shopping like It’s be? to I’m I like shop, it? meetings at leastwill last four that would of hours Three hours. be talking and budget, numbers be about or garments. trends been told and witnessed indicated positions of Most just by chance. what’s hole without knowing people? What does the future will be What their buyers? hold for is a buyer? What are the required the required is a buyer? What are from the smorgasbord of fabric of fabric the from smorgasbord forecaster, almost a trend diviner. almost a trend forecaster, stars fashion the next Are fashion? that is being me, at right? thrown to welcome you to the world while only half an hour would hour would half an while only timeframes and they are under under are and they timeframes in these were that buyers this rabbit through hadthem fallen these from demand the industry yourself…you ask how hard can how ask this yourself…you very naive I would like as well. At first it is simply a challenge simply it is to first At Jack of all trades The power of the buyer of The power They have limited budgets,They have limited ArtEZ Masters in Fashion showrooms… All those multiplying All showrooms… favored longer no are fairs saying, have simply exhausted and don’t somethingthe with goes wrong the ones who are are sales, they anymore, instead act with they anymore, and would blame myself for not not for myself blame and would attracting It was the buyers. matter no good how fairs, at trade eyes the through albeit briefly, extreme precaution. of their Most extreme clothes untouched on the racks untouchedclothes on the racks are They their eyes. round circles cast aside. Due to these burdens on my collections,on my reasonably how Empty corridors, of a buyer. of my job and I was constantlyI was and job of my me to ask, what is going on here? me to what is going on here? ask, I don’t No, are? but showrooms the black have, buyers problems or new designs. new designers problem was. Why weren’t the weren’t was. Why problem attention any paying tobuyers worked I No matter hard how me? I was sure were, line sheets my amazing hopeless designers, in fair areas but super crowded crowded but super areas in fair Paris Fashion Week March 2016, 2016, March Week Fashion Paris I priced them, how completeI priced how them, fast fingers on calculators pushed pushed on calculators fingers fast Could we explain it all just by explain Could we we were, we were still miserable. still miserable. were we were, we they carry, they don’t take don’t they risks carry, they think so. I have also witnessed I have think so. the the time or the enthusiasm for trying to figure out what the what the out to figure trying that something wrong I did was designers fellow my the same for Yet I was able to I was experience Yet They are the ones to blame when the ones to when blame are They s are s are mba Once it used to to be be trendy Yes, retail has been under Yes,

services, flagship stores, revenues revenues stores, flagship services, so far. We were ignoring maybe ignoring were We so far. and more programs and programs and more aspect; on is only their focus approach towards darker sides of darker towards approach a fashion designer, fashion schools fashion designer, a fashion and soon will cease to function. and customers: the buyers. and customers: or retailing. Everyday more more or retailing. Everyday do the defining. of revenue and profitability, both profitability, and of revenue customer experience, different different customer experience, retail true that etcetera and it’s customers or clothes or concepts or clothes customers my collectionsmy part a daily was brand. Questioning my skills and Questioning skills my brand. being launched. But they’re still far still far they’re being But launched. and numbers. business, marketing better suited to fragmented the us, is inevitable. before market has a monumental in the elephant room. Its economic entire model but mostly we were talking were we but mostly about between the designers/brands betweendesigners/brands the is collapsing under its own weight is collapsing weight its own under Now we can see the same Now we Defining a new model, one I once was on the other sideI once of other was on the from combining it with the design from fashion, such as fashion marketing marketing as fashion such fashion, for retailers and their suppliers, retailersfor and their suppliers, were marketed aggressively. aggressively. marketed were the coin, a designer with my own own the coin, with my a designer the most important people in the microscope a while now, for talking and about designers And the retailers to will have

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 62 65 Asu Aksu To succeed in this career, succeed in this career, To spirit with creative flair? creative with spirit not us Let a staple job listing and a every of Did I mention having at all levels. Or one of my eye? fashion a strong and clear a comprehensive ability to self-motivate. list that long and develop of the skills are learnt on the job. learnt are of the skills the end At system. fashion current is system the fashion of the day, essentially about selling clothes, communication skills are now now communication are skills with and appropriately effectively and others colleagues, suppliers And range. design brief/product with the individuals efficient It is rare skills. of aforementioned right? To customers, correct? customers, right? To editors, and retailers! buyers, have to meet.have verbal Excellent has tobuyer communicate clearly, entrepreneurial personal favorites: need foresight to have buyers in some will excel while buyers being adequate only in others. in suggesting calculated risks expectationis another they Despite of the daunting length forget the ability toforget put together to have extremely they be finally, well organized, methodical organized, well and the list, been told I have that most to find someone who can balance so many these qualities and skills, So says Burberry: down with the down Burberry: So says A Glorious Dawn A Glorious Dawn There is a big shake-up in the is a big shake-up There A fashion buyer needs to buyer be A fashion schedule may include sitting include schedule may appropriate coverage and develop and develop coverage appropriate and presentation in of product and negotiate with suppliers. ideas toand present gain corporate images. The packaging goes without mentioning. conscientious, professional, conscientious, professional, creative, numerate, decisive, competitive advantage. are They making skills with confidence making skills buyer job ads available online online job ads available buyer Asos, (Farfetch, NewLook,now people the price of one. for writing one day behind a desk reports and communicating travelling by phone or email, also bebut should enthusiastic, analysis in-depth market provide to seerequired beyond current line with strategies also demand imaginative and well-motivated. Michael Kors) and found out that out that and found Kors) Michael flying to the Far East Far flying to meetto the Good decision- and judgment Group, ModCloth, Adidas, Zalando, Zalando, Adidas, ModCloth, Group, work with press offices with press to create work environment in a fast-paced work world to forthcomingworld identify trends and think innovatively, and think innovatively, trends their involvement. The ability and pressure under to perform they basically ask for at least three at least basically three they for ask capitalsto various fashion of the then week, the next trends versatile and flexible as the buying and flexible versatile A good needs stamina buyer Jack of all trades TopShop, Ermenegildo Zegna Ermenegildo TopShop, monitorThey the competition, The buyer’s role at small role The buyer’s ArtEZ Masters in Fashion a buyer and the size store. of the a buyer a high street fashion chain store, store, chain fashion a high street as buy mostly independents and department is quite stores different from working for working from different of the product.or development concept stores, owned fashion there it seems like of interviews ranges of branded merchandise merchandise of branded ranges in-depth of privately study more interesting insights, after a couple betweenis no major correlation independent retailersindependent without the opportunity flexibility or more have which the big and small fashion players’ players’ the big and small fashion to become in the design involved of abilities/skills the required So I decided some to of analyze Three for the price of one the price of for Three Though I would like to do a like Though I would 5 Retail 4 The buying role differs between differs The buying role stores, which may have one buyer one buyer have may stores, which also vary, most notably at Marks also vary, are buyers where and Spencer, and promotion, to a major fashion toand promotion, a major fashion assistant and buyers buyers, are responsible for overseeing overseeing responsible for are of seniority buying team, within a companies but all fashion buyers buyers companies but all fashion of products aimed at a specific greatly affect businesses. affect greatly referred to as “selectors”. referred buying managers, headed by a buying managers, The job titles can buying director. multiple which has trainee buyers, multiplehas buyers, trainee which bracket. There are various levels levels bracket. various are There small independent from ranging popular with shoppers. predictions about what will be is an industry driven by results. by results. driven is an industry Decisions about what to stock can who also participates in sales type of customer and price the development of a range of a range the development

shop at concept at shop Paris Merci, store A Vlisco shop-in-

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 64

67

Brioni Names

, at Business of . . fashion.com/articles/ justin-oshea-creative- http://www.businessof bof-exclusive/bof- Fashion, 23 March 2016. 2016. 23 March Fashion, director Director exclusive-brioni-names- Ibid Ibid (Accessed 23 March 2016) (Accessed 23 March Justin O’Shea Creative Justin O’Shea   6. Kate Abnett, 8. 7.

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The Role Of ber. https://en.wikipedia. ber. https://www.blackwell publishing.com/ pdf (Accessed 20 March Content_store/Sample_ org/wiki/Buyer_(fashion) org/wiki/Buyer_(fashion) content/BPL_Images/ chapter/9781405149921 2016) (Accessed 20 March 2016) (Accessed 20 March /9781405149921_sample. The Fashion Buyer The Fashion 5. Unknown, , , -

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is at Studio Judith ter Haar. theoretically for the research they will be they doing the research theoretically for status after will stop their waving who then strategist But maybe? will dawn day and a new supreme as a designer in a major company. as company. in a major a designer of concepta new breed stores. designers with major celebrity with major designers and there – will merge designer and human by 3D printers over Concepts, where students prepare themselves themselves students prepare Concepts, where at their In-Company Project. Asu Aksu’s Project.at their In-Company Aksu’s Asu big names? Any day now, now, day Any big names? and start shows runway curating skilled more will have we new shift again, Then people in the industry. a bettermaybe for world. it would beit would too late if by that time But what will happen to today’s happen will what to today’s But Maybe and the titles – buyer for designers and design, or even and design, or even designers for will be no differences, so they so they will be no differences, title; the same creative will share call a designer?will we this With the whole industry is already takenalready is industry whole the If not, touch disappeared rapidly. design and materialthen will reign This essay was written for the course Fashion was written the course Fashion This essay for Buyer (fashion) How It All Starts It All How important-design-jobs- 2014. 12 January ion Buyer, https://confessionsof at Confessions of a Fash at Confessions afashionbuyer.wordpress. at Wikipedia, the free of-the-future (Accessed of-the-future com (Accessed March 17 encyclopedia, 6 Decem 20 March 2016) 20 March 2016) 3. Unknown, 4. Wikipedia, , - - -

The Most Im The Most How It All Starts It All How at Fast Company ion Buyer, 12 January 2014. 2014. 12 January ion Buyer, https://confessionsof Design. http://www.fast design-moves/the-most- Future Future portant Design Jobs Of The at Confessions of a Fash at Confessions afashionbuyer.wordpress. com (Accessed 17 March com (Accessed March 17 codesign.com/3054433/ 2016) The transition will go both schools are now implementing implementing now schools are NOTES and numbers. Thus future artfuture Thus and numbers. to of air breath the a new fresh Fashion skills. all the required and not being just a designer. directors will be chosen from high will be directors from chosen of fashion. dystopian future with who had problems designers chooseconsciously to become job as well. Designers have have Designers job as well. brand or running in vicious circles in vicious circles or running brand monitoring and analyzing trends trends monitoring analyzing and will bring They buyers. profile back to again through surface I see which as a possiblebrands, It is the perfect starterbuyers. 2. Labarre, S., industry, receding brands will come receding brands industry, into monopoly a of holding owned titles field with different in fashion and not startingindustry own your It is not a shame any more to more any It is not a shame 1. Unknown, ways. Highly skilled new fashion new fashion skilled Highly ways. title in the a different towant have they are good are they at managingteams, this might also hasten But them. the industry of the transformation will cycle fashion fast the super idea of operatingthis shifting Jack of all trades 8 It is not unconventional ArtEZ Masters in Fashion signature tosignature the House.’ articles. They have the know-how, articles. the know-how, have They as jack-of-all-trades and master as jack-of-all-trades than drawing a designer is more the puzzle are a silhouette. Buyers a holistic approach and strong a holistic and strong approach though Justin O’Shea at all. Even and exceptional a comprehensive and leather goods emerging goods leather and emerging of today’s top creative directors are are directors top creative of today’s communicate point-of- a strong I believe that of none. However, staror the label, or even designers. experience of a designer, he has of a designer, experience masters, who can put a collection prized for their abilityprized for to and craft than traditional design skills. rather brands division, added: division, ‘I join brands business understanding. believe I his vision will accurately translate monitor to what, the trends predict lacks the formal training or the or training the formal lacks into this role and addinto a distinctive this role understanding of sales. His skillset is fine-tuned and to analyze Everybody knows that being knows Everybody Brioni. An unconventional profile profile An unconventional Brioni. for such a position, such for Justin brings Gianluca Justin in welcoming director of as creative O’Shea when and to whom to sell. Were and towhen whom to sell. Were towe between read the lines, we immediatelywould see that many becomewould big brand the next together from seemingly unrelated seemingly together from those invisible people between in view across a number of channels, So far buyers have been treated have buyers So far

dna , Kering- 6 . ‘Justin soon . ‘Justin 7 Grita Loebsack, executive chief At the end of the day designers designers of the day end the At

shows, new hires and fires are are and fires new hires shows, approach on how to reinforce to how on reinforce approach as he has shown an accurateas he has shown and this choice confirms it once confirms and this choice chief again,’ Gianluca Flore, all over the media.all over both chasing are and buyers and cut out all the people all the cut out and in officer of Kering’s luxury couture couture luxury Kering’s officer of our core values.’ our core emerged as the best choice for emerged executive officer of Brioni, executive told of MyTheresa, its new creative of MyTheresa, its new creative at Brioni, In his new role director. owned luxury menswear label menswear owned luxury once to risen stardom, now will we heritage and an assertive has always been in Brioni’s been in Brioni’s has always product to the right customer for brands that stopped that brands doing fashion between. Some brands are stillbetween. are brands Some understanding of the company’s understanding of the company’s its image: ‘Challenging boundaries its image: ‘Challenging Brioni has appointed Justin Let’s talk directly to Let’s talk our customers directly O’Shea will be responsible for O’Shea On March 23rd 2016 23rd On March director fashion former O’Shea, witness the rise of buyers. Business of Fashion the brand’s creative direction creative the brand’s the brand’s collections as as well the brand’s the right price. As designers had the right price. As designers the same rabbit: to get the right trying to survive the hurricane hurricane the to survive trying caused.that Zara Stories of top leaving top designers brands,

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 66 Graduation ArtEZ Fashion Masters 2015-2016 68 KIM HEE Masters in Fashion Design Joie deVivre A new way ofdesigning. of Art in London andisnow graduating inLondon of Art drawing. after charcoal onthefloor traces of moulage.Theresult isanabstract, ofchoreographeremotions Pina Bausch Heatherof dancer andvisual artist at Parsons theNewfor School in Design blend withthefluid and atthesametime Sculptural shapesform solid acontrast pictures Hee Kim took frompictures remnants HeeKimtook of studied at Central Saint Martins College College atCentralstudied Saint Martins exploring the sculptural collection, point thestarting she thatas used drawings, withspontaneous started [email protected] www.heekim.allyou.net with an undergarments. Prints were from created Herrera, J. MendelShe also andHalston. New York, anddidinternships atCarolina SouthKorea)Hee Kim(Seoul, studied Each represents piece thejoyand Hansen withtheexpressiveness and drawings thekinetic Hee Kimintegrated Provocative. Dynamic.Emotion. Energy. Freedom ofexpression. Boldgestures. transferring fabric them onto bymaking beauty ofmovement. beauty fashion between boundaries andart. incisions. Followingincisions. of thelines, some ofclothing. HeeKim in theconstruction from Fashion MastersinArnhem ArtEZ ma inFashion Design. 71 Hee Kim Joie de Vivre

Masters in Fashion Design Masters in Fashion

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 70 Graduation ArtEZ Fashion Masters 2015-2016 72 Masters in Fashion Design

Joie deVivre Hee Kim Hee 75 Lotte van Dijk I have been on two working I have

surrounded by almost nothing, by almost nothing, surrounded are painted creating are beforehand, a particular type of print. Intrigued in it. of surprise an element piece of knitwear an old broken experiment. is a weaving Ikat I knitted a do this with knitwear. that the tiniestdiscovering change completely the print. alters It will her hidden artwork hidden her pop out. of printing I wantedby this way cottonplain piece and at the lab After painted on top. a flower knitted it in the exact same way, pieces. I wanted it to look like using a thin transparent yarn. yarn. using a thin transparent image, but I find it an inspiring textile ancient on ragged inspired way to approach knitwear, leaving leaving to knitwear, way approach the behavior of the yarn, to make to make the behavior yarn, of the types ikat One was an of knits. yarns the warp technique where to see possible was if it to it again and that, unraveled we take experiments up some more closeto to get it more the original She experimented with a lot She The second knit I created was The second knit

Fashion Design Fashion ma Klara Valkova created an Valkova Klara students the opportunity got an embroidery with worked she and tactile handmade as her on top of and embroidering by the dogs” used asare “guard certain spot the image. angle you’ll experimenting with intuitively with intuitively experimenting embroidery and classic driven achieved She embroidery. long-haired odd materials, like by hand. For the first time now the first by hand. For machine, but still managed pleats. hid an artwork She in Tilburg and ArtEZ’s own Petra Petra own and ArtEZ’s in Tilburg interesting piece using knitted the pleats, so only underneath Klaudia Stavreva is always StavrevaKlaudia is always Macedonian people. Romani faux fur or a sheep’s blanket. or a sheep’s fur faux when you’re looking at it from a looking at it from you’re when to work for three days with with days three to for work the experts the TextielLab of all done techniques, usually it lookto as personal make stitch typesthis by using several She was inspired by geese, which She was inspired Annual reportAnnual 2015-2016 Vonk and Pamela Spruyt. and Pamela Vonk The first year year first The ArtEZ Masters in Fashion

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Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research TEXTIEL 77 Lotte van Dijk TextielLab

ArtEZ Masters in Fashion

Research Projects ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Projects Research 76 79 Tessa Kreunen Glocality

aims to what discover of which glocalityof which arose structured interviews and six case interviews structured was tendency studies an overall cities Scandinavian of secondary across the globe became a glocal concept looks like century, consumer cultures cultures consumer century, consumptionof hyper emerged global retail-space and offline semi- research, ethnographic stores how extracted, showing can counterbalance thosein big global capitals by empowering globally and embracing customers touches upon project graduation concepts book and the resulting in the Scandinavian creative industry provides a novel basis for future basis future a novel for provides retail strategies. homogenised society and a by studying small businessesby studying rootedin local communities businesses established in the in their local community. Through Through in their local community. within pioneering for is known business in contemporary My graduation project project graduation My Göteborg and Århus. This Bergen, focused small upon enthralling that are active boththat are the online in Since their heritage locally. culture European the Northern this project culture, the western the importance glocalisation of (Klein, 2001). The aspect(Klein, 2001). of The context out The context Towards the end of the twentieth of the end Towards

society? And, to what extent social networking sites, making to this critical Inherent service. struggle with the main question the their appreciation for show and large multinationaland large becoming and more are more of what is missing in this: aware on a global their scale through what online activities. However, does the physical space add active in an online dominantly environment? experiencing retailexperiencing shifting. are technological through explained rise and the of developments across cultures consumer companies colonising consumer peoplecultures, seemingly culture questioning of consumer the significanceconcerning of the local in a globalsociety. Epitome mortar cities, in marginal stores physicalin our consumer stores local and by opening brick culture is then the function the of theseis then is change. Now more than ever, ever, than more Now is change. is also a conceptual industry However, due to due globalisation However, spotted are who New players In current society given In current the only whereas they still they exert influence whereas within the current creative creative within the current the globe more homogenised.the globe more that is distinctiveness through value tovalue pre- businesses that are values concerning consuming and consuming concerning values Glocality industry in the Scandinavian creative These changes canThese be changes partially

Masters in Fashion Strategy Masters in Fashion

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Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation

78 KREUNEN 81 Tessa Kreunen In the context and of marketing structures of common difference of common difference structures as a whole”. In short,as a whole”. glocalisation competingalong which (local) exactly becauseexactly emerging of an consciousness of the “world who came (1999), by Ger explored global competition’. Research & Ostberg, (Kjeldgaard culture of a multinational creates brand becomes significant culturally the importanceregards of the this notion hasbranding been mobilisation of local local culture, to define themselves. have brands in a city gains presence massively local in a global environment. in consumption and consumer In other words, when one brand one brand when words, In other firms can possibly ‘out-local the can firms possibly to the conclusion due to that the 2007) that the presence suggests Glocality industry in the Scandinavian creative seem is to that service realise this has experience, shopping differently, Put values. sharing stores have a specificfocushave stores on an important (lost) aspect of their as glocalisation. According are made with care and purpose made with care are toalternatives the globalisation of or the idea of local – becomes idea which global; a universal engendered a renewed surge for for surge a renewed engendered communities, telling storiesand startconsumers to resort to of retail, into resulting consumer glocalisation implies not only community, service and product and product service community, stories.share – and of coffee becoming already are cultures reconnection with brands, forming reconnection forming with brands, tonationalism the roots and return resistance and local appropriation. localhow adapt and cultures global influences, re-interpret products lifestyle and goods that can come Consumers know-how. with the people chat behind by, characterised of by degrees more offer heterogeneity and therewith Glocalisation it implicates local that the – in mind. The brick and mortar The brick in mind. In some places contemporary In some places contemporary to Kjeldgaard (2007) Ostberg and the store in person – over a cup – over in person the store the retail landscape. to a selection of premium Seeing that customers currently currently Seeing that customers This movement can be labelledThis movement Masters in Fashion Strategy Masters in Fashion . 1 Next, with the introduction of

setting and mortar op brick stores started to that something realise superficial. The proliferations superficial. The proliferations started to colonise local cultures an actual concept store dedicated apart a global online space from appears toappears be a new movement and mortar stores. Yet, consumers consumers and mortar stores. Yet, as if webstores were gradually gradually as were if webstores and state that commanding and Arsel (2004) question both (2004) and Arsel as a result shopping became shopping as a result customers. Those brands have have Thosecustomers. brands e-commerce a while it seemed for global brands exert on their localglobal brands competitors and the meanings their from derive consumers of these globalexperiences or controlling influences that influences or controlling cityscapes & Ostberg, (Kjeldgaard of large multinationalof large companies quality got lost and retail replacing the “traditional” replacing brick multinationals might forge multinationals might forge hegemonic brandscapes. By this, heterogeneity and homogeneity resulting intoresulting homogenic revolved around quantity, mass quantity, around revolved production and consumption, in which online start-ups online in which are used to be about more from another. Moreover, there there Moreover, another. from was lacking: shopping traditionally shopping was lacking: to connect physically with their than just sales namely service service than just sales namely one store that distinguished the authors mean the ruling mean the ruling the authors 2007). Researchers Thompson 2007). Researchers “servicescapes”

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 80 83 - . - No logo The Starbucks The Starbucks . Journal of Consumer of Consumer . Journal London: Flamingo, 500. London: Flamingo, 631-642. 31(3), Research, brandscape and con sumers’ (anticorporate) sumers’ tion experiences of glocaliza (2004). (2004). Naomi, K. (2001). Thompson, C. J., & Arsel, Z. & Arsel, J., Thompson, C.

. is the main main is the 3 . Consumption, Localizing Coffee grounds Review, 41(4), 64. 41(4), Review, 10(2), and Culture, Markets in the global village: markets in global California Management Management California Local firms competing and the global cup: and the global cup: Glocal consumer in culture Scandinavia (2007). 175-187. REFERENCES J. & Ostberg, D., Kjeldgaard, Ger, G. (1999). G. (1999). Ger, - -

in Art History and Danish language acquisition. language in Art History and Danish [email protected] sustainability, transparency transparency sustainability, and bonding the local with Moreover, and authenticity. objective it can and be labelled while communicatingculture glocalisation). (i.e. globally of this glocal we-economy it level, on a personal exploring values. and sharing discoveries www.glocalstories.com studies for an MSc in Corporate Communicationstudies for and Copenhagen in Berlin and worked interned she at the University of Amsterdam, with minors with minors of Amsterdam, at the University simultaneouslyat the ArtEZ she Masters, Fashion studies During her of Amsterdam. at the University Amsterdam-based for researcher as a junior trend creative agency Out Of Office. agency creative retail system are craftsmanship, retail craftsmanship, are system interest for quality manufacturing quality manufacturing for interest and experiencing it also concerns doing new is about relationships, Important characteristics core Apart from following the Master in Fashion Strategy the Master in Fashion Apart from following Other major tenets are a renewed a renewed tenetsOther major are which allocentrismwhich with the term glocalisation. term with the Tessa Kreunen obtained Kreunen in Communication a BSc Tessa . The 2 logical manifestation of istic personality attribute better-known cultural cultural better-known the concept individualism. their attention and actions Itthan themselves. is whereby people whereby centre to corresponds the which dimension of collectivism.dimension a psychological dimension, on other people on other rather Idiocentrism is the psycho Allocentrism is a collectivAllocentrism 3. 2.

higher qualityhigher in the latter that can help assess the in which the environment is provided. the service Even if the quality of the Even product is the same, the difference in customer difference a fast-fashion giant and a fast-fashion a small-scale retailer. experience between perceive customer may based on the former over Servicescape is a concept similar stores in the area. This is This in the area. similar stores economy in social, knowledge NOTES and stores feel the need to mirror the need feel stores and to mirror small businessesand how are activities of big global opponents doing. For example, as example, soonFor doing. as need the feel to brands openother of these others streets many out what happens in communities of an epochon the precipice retailer opened in one a store will be the focus on research cities, tomarginal be able to find being established other for toreasons than responding the production and idocentrism its for is known era new evolving in the retail landscape. H&M stores, opensflagship new followed. For that reason in this in reason that For followed. 1. what these fashion chains are are chains what these fashion what happened capitals. in many that is haunted mass by trends, Glocality industry in the Scandinavian creative (e.g. H&M and Zara), other brands H&M brands other (e.g. Zara), and Amsterdam, the moment a large a large the moment Amsterdam, Think about the Nine Streets in currently are we conclude, To

Masters in Fashion Strategy Masters in Fashion

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 82 85 DE BROUWER ZINZI Stories of Near and concept developers, we we and concept developers, determining the future of fashion of fashion the future determining communities we and cultures, to want connectcreation we global and local brands, opportunities in the African database a network map offer we of a community of trailblazers who are professionals creative driven by human rights and a driven todeep desire elicit and empower bridge collaborative opportunitiesbridge collaborative and the West.between Africa linking industry experts and linking industry in Africa and beyond. Stories of in Africa individuals and investors with and investors individuals Near helps brands gain a thorough gain a thorough helps brands Near fashion landscape. our online With fashion Using fashion as a toolUsing fashion to engage want towant elevate untold stories of the continent to a global audience. the people behind the products. As ethnographic intermediators intermediators As ethnographic Through storytelling and co-Through Masters in Fashion Strategy Masters in Fashion With strong heritage strong With roots

and ethical mindset. We are a database forces of the driving an incentive toan incentive close pay attention array of fashion talents of fashion have array dispersed environment of which of which dispersed environment as a whole. of fashion diverse continent.diverse an offering By divulges which online platform change. This incentive shares shares This incentive change. global audiences have by building global have audiences by co-creationdriven and social of fashion in Africa. Through Through in Africa. of fashion emerged from the continent and from emerged creativity. The world of dress of dress world The creativity. research and brand innovation, we innovation, we and brand research stakeholdershelp various to grasp proof studio specialized in the in trend background professional behind this niche (yet growing) growing) behind (yet this niche market, I hope an often to unify reflecting indications to the past, my project, Stories of Near, project,my Stories of Near, narratives fashion new African in the African market with a social market in the African in Africa, Stories positions Near of and future-itself as a visionary in a duality of globalized evidence in the African context lives context lives in the African Modern Africa is ripe with Africa Modern I believe will influence the future future the will influence I believe I challenge the perspectives I challenge the opportunities present that are the stories told through dress the stories dress told through of this and the future the present the African diaspora, awakening diaspora,the African awakening the future to for what this means yet is resolutely local. resolutely is yet recent In exciting an inspiring and years African fashion industry. With a With industry. fashion African

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 84 87 Zinzi de Brouwer

facilitator collecting process: in the creative and role system. fashion Instagram: @zinzidebrouwer interdisciplinary fields to reveal innovative solutions.innovative reveal fields to interdisciplinary [email protected] their surroundings and daily life. She embodies She a life. and daily their surroundings to be as future-proof ecosystems treating brands Her aim is to approach fashion intellectually, placing intellectually, aim is to fashion Her approach value in continuous and bridging value exchanges with others who feel strongly about a giving strongly who feel with others www.zinzidebrouwer.com podium to communities marginalized and (micro) She curates and creates new design curates aestheticsShe as a fashion strategist, projections her as a fashion ensuring these strategies. implements as she By giving collaborative values in her manifestation in her values collaborative as an to goals co-create are Her enquirer. ethnographic speakcultures to particular that affect issues connecting transnational stories methods. through to stories and people,empowerment to Zinzi wants contribute honest and socially to responsible a more With education as a strong driving factor, educationWith factor, driving as a strong Zinzi de Brouwer is led and empathic by de Brouwer Zinzi Why doesWhy it matter? The fashion Instagram: @storiesofnear starting toexecute define and studio inspires through consumer consumer through studio inspires Facebook: www.facebook.com/storiesofnear and unmissable to the future and unmissable to the future and workshops. Herein, the Herein, and workshops. role. a large and retail. solutions Innovative becoming being that are bred are for of inspiration a reference of fashion. of markets and consumer forces forces consumer and of markets the fashion for relevant globally These contributeexchanged. to economic and social development. www.storiesofnear.com [email protected] becoming increasingly relevant becoming relevant increasingly brands and entrepreneurs into entrepreneurs and brands of dealing and ways new forms and brands; designers many being and ideas are knowledge landscape of Africa. We guide guide landscape We of Africa. is producing landscape in Africa understanding diversity of the books trend by offering in Africa studiesinsights and trend territories toundiscovered enrich socialin which innovation plays is not merely Africa industry. it is an authentic source wherein with sustainability, luxury luxury with sustainability, the future of fashion. This leads of fashion. the future that is to market a niche enter that are defining the fashion fashion defining the that are hearts and minds, the consumer’s Stories to of Near the opportunity Twitter: @storiesofnear Twitter: A new arena of pioneers is of pioneers A new arena Stories of Near Masters in Fashion Strategy or Design Masters in Fashion 89 Martine Bovee

bless Vestoj year Strategy studentsyear ‑

shop tours and encounters with and encounters tours shop and Martine a With Bovee. stateabout the current of fashion Golbin a meeting with Pamela about their concept and vision and of Lidewij Edelkoort, learned of Les Arts Décoratifs, discovered met with of Le Marais, architecture, the store explored tour a private during of Hermès journalism during a lecture during a lecture journalism program including studio visits, including program the field, from professionals of by Anja Cronberg magazine, gained an insight products and artisanal know-how into fashion curation during curation into fashion In the first week of March week March of first In the founder Desiree Heiss to learn to Heiss Desiree learn founder went on a 4-daywent trip study to the first capital the fashion under Paris, ter of Judith Haarthe guidance plenty was of inspiration there to bring back home. The students concepts and store the treasures store. the Sèvres through visited the Trend Union studio visited Trend the Annual reportAnnual 2015-2016

AN ArtEZ Masters in Fashion

PARIS

88 EXCURSION 91 LISA FOERSTER Movement Memories Movement Masters in Fashion Design Masters in Fashion

ma ) in Milan and completed) in Milan ied In my work I combine hand-finished I combine work hand-finished In my

You may find a knittedwaistband find a may You forever own. own. forever It is about the exclusive relationship your your relationship It is about the exclusive [email protected] in Fashion Design in June 2016. Before Before Design 2016. in June in Fashion inside pants your that extends into help you to design your very own unique unique own tohelp you very design your body with clothes. An intimate enters the Bachelor of Artsthe Bachelor the University at the ArtEZ Masters with an Fashion that reinvents the story of my collection. of my the story that reinvents the first moment the garment embraced garment the moment the first the first movement you have made in it,you have the first movement London, studied at the Istituto Europeo Lisa Foerster was born in Engelskirchen, was born in Engelskirchen, Lisa Foerster But puttingBut hand into your the pocket Being trained as a ballet dancer for asBeing trained for a ballet dancer urban active wear. Striped knitwear urban active wear. www.lisa-foerster.com she came to The Netherlands she did she came toshe The Netherlands shaped the elements of my collection. of my shaped the elements manufacturing with the concept of manufacturing many years, these gained experiences years, many di Design ( details as accessories worn allow garment. the garment wearing It is you gesture that includes the memories that the memories that includes gesture Germany (1990). She will graduate from from will graduate She (1990). Germany your wardrobe, which over time over will which your wardrobe, your own personal relationship with relationship personal own your you have already experienced with your with your experienced already have you your body?your an internship at Steven Tai Studio in Tai at Steven an internship apparel language. language. apparel and add a functional layer to the piece.and add a functional layer a transparent knit detail. knit subtle a transparent Such a secret confidential moment you will you will confidentiala secret moment of Applied Sciences in Trier, Germany. of Applied Sciences in Trier, collection. a chance to develop I provide cross-combinations entire amongst the of a jacket or a coat is also an intimateof a jacket elements increase the wearing comfort the wearing increase elements exchange that only you can have – can you have that only exchange What if your garment remembers remembers garment if your What

93 Lisa Foerster Movement Memories Movement

Masters in Fashion Design Masters in Fashion

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 92 95 Lisa Foerster Movement Memories Movement

Masters in Fashion Design Masters in Fashion

Graduation ArtEZ Fashion Masters 2015-2016 Masters Fashion ArtEZ Graduation 94 PUBLIC PRESENTATIONS over the world, with works In the exhibition, work of NEW FASHION ArtEZ role within the fashion field PROFESSIONAL GUIDANCE of the Master Fashion ARTEZ FASHION MASTERS by designers such as Pauline Amber Ambrose Aurèle (msd, PERSPECTIVES FASHION MASTERS and are capable of adjusting Strategy find a position JULY 2015 – JULY 2016 van Dongen (mfd, generation generation 1) was on display. An exhibition on young their course, if relevant. A number of leading experts as strategic concept designer, 11), Jef Montes, Iris van 20.02.2016 – 29.05.2016 fashion talent dealing with We offer two unique, Based on intensive coaching from the international field fashion journalist, trend INTERVENING SPACE: Herpen and Viktor & Rolf. the changes in the current fully accredited Masters: students learn to reflect of fashion and interrelated forecaster, fashion curator but EYE MUSEUM – 29.10.2015 – 31.07.2016 FASHION SHOW fashion system. Curated by the Master Fashion Design critically on their work and creative sectors offer also as retail innovator, brand REFRAMING CONVENTIONS oct, Shanghai & oct, Fashion show by students Head of Fashion Strategy and the Master Fashion themselves, as well as to supervision to our master builder, fashion researcher Lisette Ros (mfs, generation Shenzhen from the final year of Hanka van der Voet (mfs, Strategy. Together they cover position themselves in the students, such as Ronald and so on. They work for 22) created a performance for the Master Fashion Design generation 18) and displaying, the vast variety of subjects professional, international van der Kemp, Maarten world-renowned studios and the Michelangelo Antonioni SLOW // PULP (generation 17). among others, work of of the contemporary fashion world of fashion. Spruyt, Twan Janssen companies, such as Philips exhibition opening at eye. The capsule collection 03.03.2016 Barbara Langendijk (mfd, sector. Both programs (youasme measyou) Design, elle, De Bijenkorf 11.09.2015 pulp designed by Natalie Atelier Neerlandais, Paris generation 14), Christina aim to produce critical DESIGN RESEARCH and Oscar Raaijmakers. and studio by judith ter Eye, Amsterdam de Koning (mfd, generation Braun (mfd, generation professionals whose work In the Master Fashion haar. Other graduates have 16) with repurposed MASTERCLASS 15) and Lisette Ros (mfs, reflects a unique artistic By pursuing theoretical and Strategy, professionals such chosen to explore their BOTANIC ART: and recycled materials was FUTURE FASHION generation 22). identity. Funded by the design research our graduates as Judith ter Haar (Jones personal vision by forming A FLOWERING SCIENCE presented during Amsterdam PRACTICES 15.04.2016 – 24.04.2016 Dutch Ministry of Education, will master an authentic Arnhem, studio by judith their own company, such as Ikram El Messaoudi Fashion Week. French and Dutch Looiersgracht 60, these fulltime, two-year and relevant approach ter haar), Simon Angel Andrea Wiegman of Second (MFS, generation 23) 12.01.2016 – 22.01.2016 fashion talent, among them Amsterdam curricula rely on English to the fashion field. Students and Nina Constantinescu Sight. Many Fashion Strategy showed her filmBloom, Westerlab, Amsterdam Pauline van Dongen (mfd, as language of instruction. learn to design and execute (Super Collective) share students create a new a journey to harmony during generation 11), participated EURO FASHION collections according to the their expertise. Furthermore, role for themselves within the Botanic Art: A Flowering MATERIAL.ENVIRONMENT. in a masterclass that AWARD 2016 OUR MISSION design (research) cycle, which alumni from both curricula the changing fashion system, Science exhibition at MEDIATION.01 explored the boundaries Christina Braun (mfd, consists of conceptualization, play a major role as such as creative strategist, the Noordbrabants Museum. In this installation shown of the current fashion generation 15) participated in Our aim is to educate experiment & prototyping, (guest) instructor, including enthnographic researcher, 12.09.2015 – 13.12.2015 during Amsterdam Fashion system. The masterclass the Euro Fashion Awards in fashion professionals who positioning and dissemination. Monique van Heist, Niels critical performance artist, Noordbrabants Museum, Week, Barbara Langendijk was visited by the Dutch King Görlitz, Germany. from a personal fascination At the Fashion Masters, we Klavers, Maaike Feitsma fashion activist and intuitive Den Bosch (mfd, generation 14), and Queen. 23.04.2016 critically interrogate the do not conceive of research and Femke de Vries. forecaster. Jochem Esser and Lisette 10.03-2016 – 11.03.2016 Kaufhaus, Görlitz current mainstream fashion as merely about some Graduates of the Master IN NO PARTICULAR ORDER Ros (mfs, generation 22), Atelier Neerlandais, Paris system and seek out the (design) topic or as merely a STRUCTURE Fashion Design mostly A presentation of 36 questioned how to define FASHION | NARRATORS | boundaries of the prevailing theoretical activity, but also as OF THE PROGRAM end up as Head of Design, emerging talents of fiction and reality. 100-YEAR PLAN FOR ACTIVE | METAPRENEURS fashion discourse through exploration and/or experiment Creative Director or Senior the design world supported 17.01.2016 A SUSTAINABLE MODEL The presentation of the research and design. by means of design The academic year starts Stylist of design teams by Stimuleringsfonds Mercedes-Benz Fashion OF GROWTH graduation projects of mfs, (research-through-design). in the week of September 1st. of well-known international Creatieve Industrie, Week, Amsterdam The presentation generation 24. INNOVATION We thus train inquisitive, The study consists of fashion houses such as Louis with works by designers of a paper at the Fashion 01.07.2016 research-minded fashion 4 semesters (dna, context, Vuitton, Viktor & Rolf and such as Noon Passama BODY ART Colloquium at the University Hôtel Droog, Amsterdam The capacity to innovate professionals. Our graduates redefining, statement) United Nude. Other graduates Sanpatchayapong With Body Art the mas of São Paulo, by Manon is one of the most important are capable of critically which each cover twenty- set up a successful fashion (mfs, generation 21) and developed a varied exhibition Randin and Mor Schwartz skills to master. The student reflecting in their work one weeks. The focus label of their own, such Barbara Langendijk (mfd, about forms of body (mfs, generation 25). The knows how to combine social, on the current and ongoing in each semester is on as Jan Taminiau, Spijkers generation 14). adornment, from make-up research was conducted artistic and intellectual skills discourse in the fashion world three different domains: & Spijkers and Monique 17.10.2015 – 25.10.2015 and tattoos to scarification for the workshop Closing for completing innovative and of creating innovative the Artistic, Theoretical van Heist, or they position Dutch Design Week, and surgical changes, the Loop, a collaboration projects and/or collections. collections, products and/ and Professional Domain. themselves as designer within Eindhoven throughout the centuries with the Centre of We expect students to or services which contribute Other major elements of the interdisciplinary field and in different cultures. Expertise FutureMakers. do this in a personal and to the development of the the curriculum are workshops, of fashion, technology and HOE ROTTER UT WORDT In the exhibition, work 11.04.2016 – 15.04.2016 authentic way and in relation fashion system. Our lecturer lectures and an international innovation, such as Pauline The SBK-Dordrecht held of Amber Ambrose Aurèle University of São Paulo, to the spirit of time and in Research Methodology exchange projects. Students van Dongen, who calls herself an exhibition about gabber (msd, generation 1) was São Paulo to new developments in the and Cultural Studies are also encouraged to a fashion innovator. culture and asked Lisette Ros on display. field of fashion. is Dr. Bibi Straatman. join external projects and (MFS, generation 22) to create 18.02.2016 – 17.04.2016 DUTCH DAYS participate in international LOCATION & FACILITIES a new performance work mas, Antwerp IN HONG KONG PERSONAL APPROACH THEORY PROGRAM fairs and contests. to complete the exhibition The Consulate General Our building is located Hoe Rotter Ut Wordt. HAIR! HUMAN HAIR IN of the Kingdom of the We offer a personal approach In the first year, students GRADUATES in the city centre of Arnhem 23.10.2015 – 24.12.2015 FASHION AND ART Netherlands celebrated Dutch and individual supervision of Fashion Design follow and it is open 7 days a week sbk, Dordrecht Centraal Museum art and culture at the Dutch within the framework the theory program together Master Fashion Design from 8:00 am till 1:00 am. explored human hair Days festival in Hong Kong, of a research community. with students of Fashion students will graduate from We share this location with THE FUTURE and how it is incorporated showing desings of Amber We aim to attract talented Strategy, and they are ArtEZ with a Master’s degree the master program in Fine OF FASHION IS NOW into jewelry and fashion, Ambrose Aurèle (msd, professionals who experiment stimulated to collaborate. in Fashion Design (mfd). Art; Dutch Art Institute The Future of Fashion is used for artworks and generation 1), among others. and do not refrain from inter- Hanka van der Voet, head of Students from the Master (dai). All students have is Now takes the visitor installations, and is found 05.04.2016 – 27.04.2016 disciplinary collaboration, the Fashion Strategy course, Fashion Strategy will earn their own studio workspace on a trip around the most in a diversity of forms – Gee Chang Hong Centre, who develop a clear is in charge of the content a Master’s degree in Fashion in a well-equipped atelier. innovative fashion from all especially on the body itself. Hong Kong perspective on their own of this theory program. Strategy (mfs). Graduates Furthermore there are

96 Public Presentations About ArtEZ Fashion Masters scan and print facilities, Students who have a TUITION FEES ArtEZ ALUMNI ARTEZ FASHION MASTER GENERATION 12 Rianne Caminada several seminar rooms and bachelor’s degree in Fashion INSTITUTE OF THE ARTS MASTERS 2016 FASHION DESIGN Jonathan Hofwegen David van Cotthem a kitchen for communal Design are eligible to apply For the 2016 – 2017 academic Zhengzheng Li Mada van Gaans lunches. All facilities for the Master Fashion Design. year the tuition fees for The Masters in Fashion are Join the Alumni Linkedin GENERATION 18 Yona van Mansfeld Monique van Heist of ArtEZ University of the Arts Applicants have to register at eer‑students* are € 1.984,– part of the acclaimed ArtEZ Group: Lotte van Dijk Nick Rosenboom Madelon Spijker are available to our master Studielink.nl. Subsequently The institutional tuition University of the Arts. This www.linkedin.com/ Klaudia Stavreva Hanna Siwecki Faye Wilde students, such as a knitting they will be asked to submit fees for non eer-students* is one of the leading arts groups?gid=4182156 Klara Valkova room, photography workshop, a digital portfolio, a resume are € 9.368,– educational institutes in the GENERATION 11 GENERATION 4 print workshop, silkscreen (C.V.) and a short letter * There are exceptions: Netherlands. It comprises a GENERATION 17 Pauline van Dongen Angelos Bratis workshop, library, etc. of motivation. Based on this please visit our website for broad range of bachelor and Lisa Foerster Franciscus van der Meer Stephanie Franzius an initial selection will be full information. master courses in fashion, Hee Kim Oda Pausma Bas Kosters APPLICATION & ADMISSION made. Selected applicants design, fine arts, architecture, Sunna Örlygsdóttir Jiska van Rossum Stephan Schreiber will be sent an admission SCHOLARSHIPS music, dance and drama and Josine Visser Jan Taminiau In order to be admitted to assignment. If the result of offers ample opportunities for GENERATION 16 Rebecca Ward the Fashion Strategy program the assignment is satisfactory, ArtEZ-scholarships interdisciplinary collaboration. Haesung Bong GENERATION 3 a relevant bachelor degree they will be invited for an for non‑eu applicants are For decades, ArtEZ has Anja Dragan GENERATION 10 Jessy Heuvelink is required, such as a degree interview before an admission available on a competitive been known for its high- Natalie de Koning Marloes Blaas Martine van ‘t Hul in fashion or product design, committee. Upon admission, basis. level fashion curriculum in Sunanda Koning Maryam Kordbacheh Percy Irausquin † media or cultural studies, fluency in English at a particular, with well-known Roos Koster Esther Loonen art history or journalism. mini-mum level of ielts 6 alumni such as Viktor & Rolf SHOE DESIGN Felicia Adelina Mak Joffrey Moolhuizen Candidates should also be is required. and Iris van Herpen. GENERATION 4 Rudolph Oniel Holmond able to demonstrate their Chrissie Houtkooper Linda Valkeman GENERATION 2 particular interest in fashion Application deadline at Hazal Karaşah Lisa Weinberg Analik Brouwer in relation to visual culture. Studielink: May 1st, 2017 Joyce Verhagen Wojciech Dziedzic GENERATION 9 Corné Gabriëls GENERATION 15 Julia Eichler Carolien Huizinga Sonia Aïssaoui Lifu Hsiao Marcel Moerel Christina Braun Claes Iversen Geert-Jan Renzen Yiyu Chen Sanne Schrijver August Robin Verena Schepperheyn Truus Spijkers GENERATION 8 Riet Spijkers SHOE DESIGN Maikel Bongaerts GENERATION 3 Pierre Millasson GENERATION 1 Ellis Droog Iñiy Sanchez van Oort Francisco van Benthum Renate Volleberg Margarethe Przywara Süleyman Demir Lars Willhausen Marcha Hüskes GENERATION 14 Michiel Keuper Stéphanie Baechler GENERATION 7 Niels Klavers Mirjam Colombo Catta Donkersloot Oscar Raaijmakers Barbara Langendijk Shoko Kawaida Melanie Rozema Simeon Morris Angela Ooi Jeroen Teunissen Hilda Wijnhoud Tülay Palit Gerrit Uittenbogaard Roos van Woudenberg Antoine Peters Mieszko van Rijsewijk SHOE DESIGN Kathrin Schampanis GENERATION 2 Teppei Sugaya Laura de Weijer Catalina Vicens

GENERATION 13 GENERATION 6 Yohji van der Aa Kim Bekker Matthias Louwen Mary-Lou Berkulin Sabela Tobar Salazar Delia Drel Gladys Tumewa Joline Jolink Monika Kluckova SHOE DESIGN Barbara de Ru GENERATION 1 Frido van der Weij Jenna Lievonen Daryl van Wouw Deniz Terli Amber Verstegen GENERATION 5 © Photography by Sabrina Bongiovanni, design by Roosje Klap and Antoine Bertaudière (montage) Charlotte Albers

98 ArtEZ Masters in Fashion Alumni 99 MASTER Pien Kaiser GENERATION 13 Fleur Schenk Nanda Hofman GENERATION 3 LECTURERS, GUEST TEAM ARTEZ FASHION FASHION STRATEGY Katarzyna Rypinska Marije Douma Dafna Suskind Kirsten Jassies Anne Bos LECTURERS AND TEAM MASTERS Charlotte Tadrowska Katja van Groningen Jacqueline Treffers Niels Keizer Monique Custers 2015-2016 GENERATION 25 Jenni Välilä Jordy Huisman Reinette van Lennep Ria Knol HEAD OF MA Asu Aksu Krista Lahaye GENERATION 10 Milja Liem Caroline Schuller to Peursum Simon Angel FASHION DESIGN Anke van den Ban GENERATION 19 Yasmin Lim Part-time program Irene Mertens Nanda de Vries Martine Bovee Mark van Vorstenbos Anne van Beers Tschagsalmaa Borchuu Anu Maijala Mike Blankenvoort Chantal Neven Sophie Carlier Loise Braganza Anne Buis Carlotte Mos Yuna Boelmans Elisa Peters GENERATION 2 Nina Constantinescu (INTERIM) HEAD OF Janneke Dekker Jenny Nessmar Karin Sillekens Sjaak Gilsing Debby Prang Hans Borgman Charlotte Corstanje MA FASHION STRATEGY Anna Jacobs Marij Rynja Joëlle Wehkamp Esther van Houdt Kelly Schoemans Jolande Bosman Rinke van Couwelaar Hanka van der Voet Daisy van Loenhout Monika Turczyn Andrea Jansen Marijke Schuil Caroline Dekker Anja Cronberg Harriet Mbonjani Kaira van Wijk GENERATION 12 Chantal Kobus Mariska Sleyffers Petra Ihde Lilian Driessen COORDINATOR Yelena Myshko Amber Zeekaf Meike Beckers Tessa Koops Machteld van der Sluis Andrej Subarew † Marieke van Dijk Maïté Tjon a Hie Manon Randin Juliette Bogers Bianca van der Linde Saskia Solberg Pauke Teunissen Saskia van Drimmelen Carolijn Wessels Larissa Rosvaenge GENERATION 18 Odette Dols Fleur van Maarschalkerwaart Noor van Spaendonck Miriam Vogels Martin van Dusseldorp Maximilian Schmidt Christine Bornfeld Floor Jager Agnes Noordermeer Mary Wesselingh Filip Eyckmans ADMISSIONS Mor Schwartz Vera Heijnen Sanne Jansen Esther van Oirschot Michelle Wuite GENERATION 1 Willemien Ippel COORDINATOR Musa Shah Kim van Leuken Janneke Peters Tina Rutjes Marianne Brink Elisa van Joolen Karin Rooijakkers Riëlle Schoeman Annouk Post Marthe Schulkens GENARATION 6 Simone van Eerdenburg Pascale Gatzen GENERATION 24 Vivian Sneep Karin Soet Karin Uyt den Bogaard Dagmar Amels Mary Hessing Pamela Golbin PARIS GRADUATION Anna Brinkmann Hanka van der Voet Annemieke Sweere Cock van der Vliet Petra van Blokland Margot van Huijkelom Ricardo van der Graaf SHOW Zinzi de Brouwer Meiske Taurisia Willemijn Vonk Nicole Brugman Angelique Janssen Judith ter Haar Rachid Naas (production) Deonpen Chuaicharoensuk GENERATION 17 Janneke van der Velden Laurine van de Wiel Hanne Caspersen Marian van Kessel Desiree Heiss J.W. Kaldenbach (photography) Tessa Kreunen Stefanie Crucius Christiaan Winkel Marjan Deenen Sandra Kiwiet Monique van Heist Esmee Peterse Marlijn van Koningsbruggen GENERATION 9 Wei-Li Huan Mirjam Nuver Majid Karrouch Janneke van Rooijen Resa Rieken GENERATION 11 Esther Beckers Lucy Maatjes Stella Oelbers Ronald van der Kemp Dominique Saal Anna Balandina Anja Bollmann Gerriette Mollink Elaine van Raaij André van Kessel GENERATION 23 Anna Luisa Sulimma Nathaniel Beard Petra van Breugel Martine van der Pligt Lilian Vos Luca Marchetti Sara Martin Mazorra Quentijn Wulffers Sirma Chausheva Blanche Chan Margot Sanderse Catelijne van Middelkoop Ikram El Messaoudi Tessa M. de Graaf Renate Heeringa Kiat Yen Mahasti Mohammadi Laura Posdziech GENERATION 16 Bouman Inkea Nora Kiessling Irma Nijenhuis Sarah Smit Basti Baroncini Geesje de Jong Irene Merten GENERATION 5 Margreet Olsthoorn Marjolein Stormezand Daniela Eschweiler Kim de Koning Joep Moolenburgh Janine Bay Bradley Quinn Katya Von Vaupel-Klein Maaike Feitsma Sjoerd Kurstjens Simone Muermans Maria Epitropaki Oscar Raaijmakers Anna de Vries Mehtap Gungormez Yvette van de Merwe Henry Peemen Haydee Fennis Eric Reiman Fabienne de Moulin Juliana Tobon Velez Manon Pigmans Jony de Gruijter-van der Milou van Rossum GENERATION 22 Yvonne Seuren Francine Stol Woude Manon Schaap Pola Hirschmann Sarah Sixma GENERATION 11 Claudia Thijssen Inez Heintzberger Jan Schoon Iris Kloppenburg Femke de Vries Part-time program Mirjam Verschoor Joyce Jacobs Maarten Spruyt Anna Kruyswijk Tanja Apeldoorn Nan Zheng Bernadette Kraanen Pamela Spruyt Silvia Naber GENERATION 15 Stefanie Derks Marco Marcus Bibi Straatman Lisette Ros Petra Buurman Marjon Floris GENERATION 8 Hana Matsuura José Teunissen Merel van der Toorn Nina-Oana Constaninescu Yvonne Kradolfer Joffrey Delfgauw Ciska Nagel Oscar Tomico Maartje Diepstraten Stephanie Rammeloo Ursula Gale-Hasham Miebeth-Martine Pruijmboom Susanne Vegter GENERATION 21 Emilia Eriksson Maaike Strengholt Barbara Heutink Mies Splinter Laura Vernier Martine Bovee Ingrid Horsselenberg Naomi Stubbe-de Groot Milou Moelard Ellen Starke Mo Veld Lilian Heinis Floor Reynders Andrea Wiegman Mireille Platjouw Kimberly Uijttewaal Hanka van der Voet Kristina Karlsson Linda Wolsing Simone Rommelaars Melise van der Ven Petra Vonk Sarah Pellis GENERATION 14 Antoine Tromp Irving Vorster Mark van Vorstenbos Paulien Routs Dorrith de Beer GENERATION 10 Dave Tromp Femke de Vries Noon Passama Jantien Beving Linda van den Berg Nancy Veeken GENERATION 4 Debbie Wester Sanpatchayapong Monique Coenen Julie Coste Anita van der Vegt Loes Bonekamp Summer Yeh Celia Geraedts Carolien Hilbrink Martine Versteeg-Bonte Marjon Gokemeyer Eveline Gieling Dennis van der Kleij Marjan Eggels GENERATION 20 Maud Göttgens Susanne Kuiper GENERATION 7 Liesbeth Melkert Başak Belen Jana Hulshof Angela van Leeuwen Nibras Al Salman Barbara van Opdorp Valerie Boersma Nina Kloth Claudia Müller Annemiek van Buren Frank van Rooy Maria Druganova Bastiaan Thijssen Heleen Pannemans Sharon Grevelt Olga Tops Kesha Felipa Janneke van Til Matthijssen Ilse Groeneveld Nico Velthuis Maud Gerards Lenka Chu Valcarcel Patricia Philips Annick Henner Arianne Wondergem

100 Alumni Team and lecturers 101 COLOPHON IMAGE CREDITS

EDITOR-IN-CHIEF Amber Zeekaf Hanka van der Voet p. 59 Asu Aksu TEXT EDITING pp. 6, 62, 86, 87 Hanka van der Voet J.W. Kaldenbach pp. 24, 26, 27, 67, 68, GRAPHIC DESIGN 70, 71, 88, 91, 92, 93 Roosje Klap & Klaudia Stavreva Antoine Bertaudière pp. 36, 39, 72, 74 www.roosjeklap.nl Lotte van Dijk pp. 72, 75 TYPEFACE Wendy van Krieken Courier New pp. 46, 48, 49 (Klap/Bertaudière) Atlas Grotesk (Carvlaho/Bernau)

PHOTOGRAPHY

Cover photography Sabrina Bongiovanni www.sabrinabongiovanni.com with thanks to Maarten Spruyt

Portrait photography Sophie van der Perre www.sophievanderperre.com Except for the portrait of Mai Deonpen Chuaicharoensuk

PRINTER Drukkerij Tielen, Boxtel

ArtEZ Fashion Masters Kortestraat 27 6811 EP Arnhem, The Netherlands P.O. Box 49 6800 AA Arnhem, The Netherlands 0031 (0)26 35 30 910 [email protected] www.artez.nl/fashionmasters www.facebook.com/ ArtEZFashionMasters www.instagram.com/ artez.fashion.masters

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© 2016

102 Colophon Annual report of ArtEZ Masters in Fashion 2015-2016

Annual report of ArtEZ Masters in Fashion 2015-2016

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0031 (0)26 35 30 910 30 35 (0)26 0031

The Netherlands The

6811 EP Arnhem, Arnhem, EP 6811

Kortestraat 27 Kortestraat

ArtEZ Fashion Masters Fashion ArtEZ

and Strategy students to become Masters in Fashion. in Masters become to students Strategy and the fashion, art and design world we prepare our Design Design our prepare we world design and art fashion, the

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