The Constance Howard Gallery and Goldsmiths MA Fashion are pleased to invite you to the opening of Fashion Narratives featuring current studio practices that explore the social and cultural contexts of fashion. Each project looks at the virtual, material and embodied modes of communication in fashion and the shifting relationships between these. The material and theoretical inquiries on display propose new narratives and methods for fashion practice that challenge the traditional boundaries and perceptions of fashion.
17 March – 14 April 2016
Opening: 16 March, 5 – 7pm
Postgraduate Open Evening: 6 April, 4 – 7pm – Q&A with current MA Fashion students
Constance Howard Gallery
Deptford Town Hall Building
New Cross Road, London SE14 6AF
The MA in Fashion is the youngest of our Design MAs: its first students came to Goldsmiths in 2013. Ruth Jacob was part of this inaugural group of Fashion students, and now she’s sent word to us on what her studies at Goldsmiths meant to her, and what she’s been up to since graduation:
“Since graduating from Goldsmiths in 2014, I have endeavoured to keep myself linked with fashion as much as I can. The MA Fashion was quite different to what I expected, as it took on a more contextual and theoretical viewpoint. However, this provided me with a great opportunity to learn about fashion from different viewpoints and to broaden my awareness of the industry. Being a student in the first ever year of the MA Fashion course was truly exciting and it also revived and reasserted my enthusiasm and curiosity in the subject.
While on the course, I was able to build on ideas and develop techniques that I am using today for personal projects; some of which I am working into professional ones. One of these is a fashion and lifestyle label called BIGGER BOY, which aims to combine culture and adages from Africa with contemporary fashion and style. The research and development for the label began while I was studying for a module called Social Paradigms. The course involved exploring how fashion and society interrelate. I looked at how aspects of race and ethnicity correlate with fashion. The MA Fashion degree has definitely enhanced my entrepreneurial drive.
But this is by no means my only area of interest. Others include media publications, textiles and accessories and amongst others. In addition to this, I am also completing a PGCE qualification to become a Fashion Lecturer in FE education. Having the opportunity to teach future generations about the industry, practice and subject of fashion is something that I will relish.”
We’re always interested in knowing how our graduates are evolving after leaving Goldsmiths, so if you, too, want to share your story, get in touch at n.barbu[@]gold.ac.uk.
Last week, Hannah Korsmeyer (2015 graduate of the MA in Design: Critical Practice) and Cyrielle Andre (MA Fashion, 2015) led a Critical Fashion Workshop, a day of collaboration across programs within the Goldsmiths MA Design Department. The event has been announced here, and now Hannah & Cyrielle are sharing with us the highlights of the day:
Hannah Korsmeyer and Cyrielle Andre, recent graduates from Critical Practice and Fashion, will be holding a workshop exploring the complementarity of both these fields on Monday 7 December at Goldsmiths. Fashion and Critical Practice students are invited for a collaborative day of learning through making: “Working together in the studio, we will not only be exploring our own understanding of what “critical practice” and “fashion” are, but what unexpected creative insights can be gained from a process of making to question.”
What will the workshop be about? Hannah &Cyrielle provide us with some quotes that reflect their approach:
‘[All] design is ideological, the design process is informed by values based on a specific world view, or way of seeing and understanding reality. Design can be described as falling into two very broad categories: affirmative design and critical design. The former reinforces how things are now, it conforms to cultural, social, technical and economic expectation. Most design falls into this category. The latter rejects how things are now as being the only possibility, it provides critique of the prevailing situation through designs that embody alternative social, cultural, technical or economic values.’
Dunne and Raby, Design Noir, 2001
‘Learning through making, manifesting things in the world, moving away from the narrow notion of “professional” skill in order to produce and manifest. Strategic making is making from below, from the grass roots or the existence of everyday life. It is not a matter of applying means to some utopian end, but instead to manifest new meaning into the current as a proposition, a dialogue”. The Fashion Condition Collective, 2014