2025 Designer Profile: Parth Wokhlu

Pushing the Boundaries of Fashion

Parth Wokhlu is a third-year Maths major with a knack for creative exploration and structural design. With a personal style that blends the unexpected—think streetwear meets unexpected pops of colour—Parth is a walking testament to his own unconventional aesthetic. His style reflects an appreciation for symmetry and experimentation, pushing the boundaries in fashion.

Finding Inspiration in the Unconventional

Parth’s designs are influenced by unexpected encounters and close collaborations. His design journey began with a spark of inspiration from a social media fashion influencer who challenged the status quo. They urged the reimagination of everyday garments like button-up shirts, ultimately inspiring Parth’s own desire to push creative boundaries. Additionally, Parth’s roommate and fellow designer, Mikhail, inspired him with interactive designs showcased in last year’s collection—with garments that seemed to interact with themselves. Motivated by these influences, Parth has sought to create pieces that engage with the body in dynamic, surprising ways.  

Themes and Philosophy

At the heart of Parth’s work is a fascination with the symmetry of the human form and the playful displacement of traditional silhouettes. Parth’s designs are a playful rebellion against the ordinary. He delights in subverting expectations, “putting clothes in the wrong places”, in challenging conventional notions of where garments should belong. Imagine garments that defy gravity, defying expectations of how they should move. This playful approach is furthermore reflected in his unconventional material choices—think foam, wiring, and caging—transforming the design process into an exciting engineering challenge that perfectly mirrors his mathematical mind. His innovative approach not only reflects his technical background but also aims to evoke a sense of curiosity and delight in the audience.

The Challenges and Joys of Design

One of the most rewarding aspects of Parth’s journey has been the freedom to explore unconventional ideas and materials. He describes his process of designing as part engineering, part artistry. However, this freedom comes with challenges, such as balancing structure with wearability and ensuring that the designs remain engaging yet functional. Despite these hurdles, Parth’s enthusiasm for pushing boundaries kept him motivated, allowing him to successfully blend precision with imagination to craft wearable art.

Looking Ahead

While this is his debut on the fashion runway, Parth’s confidence is palpable. He is eager to share his unique creations, a blend of mathematical precision and artistic expression, with the audience. His designs not only celebrate the symmetry and versatility of the human body but also invite viewers to rethink traditional fashion norms. As he steps into the spotlight, it’s clear that Parth Wokhlu is not just a designer; he’s a creative force ready to challenge conventions and redefine the boundaries of fashion.  

Whether it’s reimagining silhouettes or integrating engineering concepts into fashion, Parth Wokhlu’s work stands as a testament to the transformative power of innovation in design. Let’s look forward to seeing Parth’s final works on the runway!

What to Expect at MODA Blooms 2024

As spring approaches, we have a lot to look forward to— sun, short sleeves, and of course, the Spring 2024 Fashion Show! This past weekend, we sat down with the MODA Board Presidents Chelsea Campbell and Joao Galafassi and Design Director William Hu to discuss the show and the process in a little bit more detail. So, sit back, relax, and read more about the process and what to expect at this year’s fashion show!

What will be different about the show this year? What should we expect?

W: We tried to focus on the experience of actually being in the space. One thing to keep an eye out for is the music, for sure— each song is tailored to the design it’s playing over so it matches the aesthetics. It's going to be a lot more performative, with things like interludes, build-ups, introductions, so definitely expect a lot of different kinds of music.

On top of that, we’ve also worked really hard on the audio/visuals. There’s going to be a projector displaying live, real-time audio-reactive generative works of art on TouchDesigner.

That sounds so cool! Are those all going to be student-curated and produced?

W: Yes! All of the music will be curated by Otis and I. We worked really hard on the setlist and mixing, and all of the audio/visuals are by me.

Audio-visual by William Hu

What’s the significance of the theme, MODA Bloom?

C: Oh, good question! I know at first we threw around the word “rebirth”, or the idea of blooming into a new season or chapter to keep consistent with the idea of spring.

J: Yeah. Because last year’s show was in the winter and this year we decided to move it back to the spring, we wanted the theme to reflect the shift to warmer weather and all the changes that come with it. At UChicago it’s not just a seasonal change— you can also definitely feel a collective change in mood and vibe across campus when the weather starts to shift. We definitely wanted to integrate that spirit, the idea of a renewed energy, into the theme.

C: It also relates to having a completely new Board this year as well, so a rebirth in that sense too.

J: Yeah, it’s a completely new Board, and MODA has done a lot of new things this year like the Magazine launch party— we’ve been trying to make ourselves more involved on campus in different ways. We’ve brought in speakers and collaborated with a non-profit called the Chicago Fashion Coalition. We have a lot of new exciting initiatives and I think that we felt MODA Bloom encapsulated that nicely.

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What has been the most fun or challenging part of the whole process?

J: A fun part is seeing the wedding between the creative elements of the show and the logistical headache that happens. Seeing it all come together, especially on the day of the show, will be really cool. I think this year we have let a lot of our organizers in marketing and design be more creative and less professional almost— we’ve let them spearhead a lot of the process, and I think everything, in general, has been projecting a more unique vibe.

C: I think a very specific fun thing was our collaboration with the student-run cafés on campus. I feel like that really gets people feeling like they’re involved— that they’re not just buying a ticket but that there’s also an immersive element to the show on campus.

I guess one of the main challenges has been trying to bring out the best in the space so that we can maximize the experience for everyone. We have messed with the overall configuration a lot— we want to make sure that everyone has a good view, especially the front row section. We want to make sure that everyone is getting their money’s worth and is able to have the best experience at the show. We’re pretty happy with where we landed.

W: I think a really fun thing so far in the process has been seeing the designs in photos and in person as we start leading up to the show. In the fall I was studying abroad in Paris, so I actually wasn’t able to see the designers during the interview and recruiting process in-person. But obviously, I was able to meet and work with them in the winter and spring, and it’s been really cool to see all of these designs come together because, frankly, the designers this year are extremely talented. They all come from different backgrounds— some have never sewed, some are seasoned veterans— so that’s the really fun part for me.

I could be wrong, but from what I’ve seen so far I can also see there’s a lot of movement in the pieces, so that will be interesting to see translated to the runway in relation to the theme as well.

Audio-visual by William Hu

W: Yes, for sure. I guess a little teaser or sneak peek is that some designers who are majoring in Visual Arts or Media Arts and Design are using this as an extension of their practice. Some of them are doing innovative things like crocheting pieces to go on top of other elements of their looks, some are painting over it, some have a very flowy approach to silhouette, and some have a more structured approach. There’s a little bit of everything.

J: To piggyback off of that, something that I think is really cool about MODA and the fashion show is that designers are not constrained by a season, or designing for a specific purpose. You have an almost unbridled freedom to design something that you really want to, so people end up producing a very wide range of looks. From a viewer’s standpoint, you’re able to see a lot instead of a flat, one-dimensional collection.

Are there surprises that guests can look forward to? Is there anything you can reveal?

C: Each year we have UChicago Maya and Ex Crew perform, so we are really looking forward to that performance. Every year is new, so it’s really fun to see what they come up with.

J: Yes! There are also going to be some student-made projects displayed at the show, as well as some sponsor-related materials.

Can you elaborate on some of the student-made projects?

J: Can I say it? One of them is a project by a student named Otis Gordon who created Checkpoint. We will have a Checkpoint station at the show. It’s basically… well, I don’t want to misspeak so I guess you’ll have to find out. But the concept involves taking pictures of guests and gives you a memento or souvenir from the show.

sneak peek of venue!

What are you guys most looking forward to at the show?

W: I’ve been in MODA since freshman year— I’m a third year now. So, I think out of all of the years I have been involved, this venue is the best one by far. There’s a lot of art, the acoustics are going to be great— I’m a little biased but I think the music is going to be really good. I’m looking forward to it.

C: Yes, shoutout to Will! The music is going to be great. I feel like it really brings together the connection between the designs that people came up with and the music to create a cohesive experience. There’s a lot of thought that went into it, so it’s not just random. Also, the venue itself, the art gallery, is also a flower. Are we allowed to say? Yeah, it’s a flower exhibit so it really ties together with our theme as well.

Visuals by William Hu, Music “IUDICIUM” by Passing Currents

J: I’m just excited for the show to actually start and happen— it’s not going to be the same as rehearsals, so I’m looking forward to seeing how it all comes together. It’s always different with all the guests there, it totally changes the atmosphere. I also am excited because I think that everything this year has been really thoughtful and we have put a lot of consideration into all of the minute details and have worked more closely with design to create the show.

W: And to kind of follow up on that, Parth, the Junior Design Director, and I have worked really hard to work more one-on-one with the designers more hands-on. For example, in the past couple of weekends, we’ve had the designers at our place from 7:30 am to 1 pm to just help them out as much as we could, design-wise. I think this year the looks themselves will be a lot more polished— there’s going to be super sharp tailoring, a lot of very interesting visual elements, and I think overall each collection is super cohesive.

Any other comments for our readers?

J: Buy tickets!

C: Yes, buy tickets fast!

W: It’s going to be the best thing all year.

Will do! Thanks for sitting down with us!

Come see all of this come to fruition at MODA Bloom, happening on Friday, May 3rd! Doors open for all guests at 6 pm and close at 6:45 (no exceptions)!

Buy your tickets here— hurry, they’re selling out fast! We look forward to seeing you there!

MODA Designer Profile: Andrew Chang

This year, I have the chance to experience my first ever MODA show—although under new, constantly changing circumstances. In this entry, you will read fourth-year MODA designer Andrew Chang’s interview about his last collection in the MODA. When I was a new member of the MODA community, not knowing what to do or how to reflect my own voice in a blog, my editor Andy was always there with his supporting and caring messages. So it was so special for me to hear his story and his ideas on creation and design. I hope you will also enjoy reading our quick conversation about Andy’s collection, designs, inspirations, and more.

Andrew’s Moodboard

I know that you have done fashion design before. And I stalked you a little bit looking at your designer profiles. I see that your previous collections were a combination of abstract ideas that occupy your mind and pinpoints of your life, such as people and readings. What are some sources of inspiration for your collection this year? And how do they differ from your previous projects?

All of my collections have always been a kind of collage of the things around me. People, music, literature… so you are absolutely right in that sense. I think I stuck to the same storyline for a lot of my collections: the idea of moving from one stage of my life to another, and this year it’s kind of the same idea.

I believe this year’s collection is the most personal one that I’ve ever done; it loosely explores the theme of isolation, and a big inspiration was Kafka’s “The Metamorphosis”—the story about the guy who turns into a bug - mixed in with a little bit of The Last of Us, this video game about killer mushrooms (laughs).

Before the pandemic, I think I had a lot of doubt in myself. I thought maybe I was a little bit too much for the people around me. I think when I started to value my individuality--what I am interested in, what I wanted to d, I got worried that the more I leaned into what I loved, the more I would be isolated from the people around me, in fear that I was just kind of different.

This collection explores this idea but told through the lens of a different story: the story of a colony of ants that gets infected by the spores of a killer mushroom.

These killer mushroom spores infect the queen of this colony and despite her contributions to the colony, all the other ants decide to exile her. As she leaves her former colony, the spores begin to sprout these mushrooms, and rather than killing her—which is what she thinks what will happen—they don’t kill her, they just unlock a part of her mind that allows her to think or see the world differently. She begins to value creativity, individuality, authenticity… She also lets go of what she valued before and her old colony—the productivity that I think we know from ants. She decides that with this new found knowledge, she is going to found a new colony that built on these values.

So, that's the story. All the looks track a different stage in this queen’s life. And, each look somewhat represents four stages of isolation: exile, solitude, individuality, and independence.

How did your current collection shape the way you look at your inspirations, plans, people in the process, or anything you would like to mention?

I actually started designing this collection before the show last year. I started designing really, really early. I just wanted to get my thoughts onto a piece of paper. The collection looked so much different then, because I always turn to creating to cope with some things I was going through: this collection really honestly deals with my fears of loneliness. I think I knew what the collection was about, and I think my close friends knew what it was about. But the way I designed it is in a way that only I have to know what it is about, and what anybody else sees will be the ants and the mushrooms.

I’m hoping people will be able to look at this collection and say “I relate to the feelings of this queen.” even if their experience with isolation was completely different from what I was going through. I find that to be the fun part of designing. You can take something so personal to you, you can abstract it through this collage of ideas, and through abstracting it, more people can resonate with it.

Working on this collection was kind of how I reframed my fears of isolation. It's kind of a metaphor for me, about what loneliness is. You realize that it is not going to be one thing or the other. Isolation can be such a cage sometime, but at the same time, it can be key to that cage. It can be something so isolating, but it can be so liberating at the same time. And I think putting together this collection made me want to be really honest about that.

So the answer to your question is that working through my fears through this collection made me look at those fears in a really honest way rather than trying to simplify them into something easily consumable.. 

What does “creation” mean to you in terms of fashion design? How does it differ from your other creative processes/purposes (ex. writing for the Blog vs. designing)?

I think of creation as a kind of translation. My creative process is translation of an idea in one form to another. So, for instance, I have this idea, loneliness; it is abstract. And I make it something designed, something touchable and wearable. Then it’s about how I can translate this feeling into this form that someone can feel on their body. You are taking something not real, not physical, and then, making it real.

And the best part of fashion design is that it is so temporary. You can put on an outfit and become a character. Then you can take it off and become you again. I like that it is not permanent. At the end of the day, it is just you having fun with it. When it is over, it is over. 

How did your experiences affect the most challenging and rewarding aspects of your design process throughout the years? What were they back in your first design year, and what are they now? 

I think the best and the worst is pretty much the same. The best part is always watching the models put on my outfit and hearing how it makes them feel. I feel like a princess, a warrior, a soldier. It is so much fun. Even the best part is them taking the outfit in a way that I have never really thought of. Also, moving forward, that also affects the way I design. I think people take fashion so seriously, so it is fun to see them have fun. This year I loved seeing people who usually don’t participate in MODA having fun with my clothes, watching them pick an outfit and dance around. I have always wanted MODA to be a community having fun with clothes. 

The most challenging part is self-doubt. For me, my collections can get so personal that sometimes I feel like I am putting my own personal story out there, for people to judge. And I always fear that people are going to use that in a way to say that I am weird. Which never happened. People are really nice. 

Are there things you wish you did differently? Or, things that you definitely want to try in the future? 

Honestly, no. This collection is definitely the one I liked the best so far. I am trying new things that I have never done before with this collection. If there is a take away from this, after everything is done, I graduate, and MODA is over, I think I will continue to do this as a hobby. I like wearing my own clothes. I learned that I don’t enjoy fitting in all the time. And I like my clothes to be dramatic sometimes. MODA made me come to that realization. 

Considering the times we are living in and the adjustments made accordingly, what are you looking forward to the most about the MODA Fashion Show? What do you think the audience should anticipate about this year’s show?

I ALWAYS look forward to everyone else’s collections. The designers at this school are some of my favourite people. I love how they all tell their own personal stories and values through their collections. It is such a beautiful thing to see in this school, especially where you don’t always get the chance to see such creativity so explicitly. 

This year, (and maybe this is just what I’m excited for) I’m excited to see designers present their collections outside the space of fashion show. Putting together shoots, or collaborating with other designers, creating unconventional fashion presentations… With everything going on, it is difficult to centralize everything in one place, and I’m a big believer in taking advantage of that. I really feel like we should decentralize the MODA matrix, from this one, big fashion show and let the designers become directors. Collections can be so personal and unique that sometimes I find it to be reductive to put all those things into one show, and I’ve always wanted to see designers present or re-interpret their own work through their own unique presentations.

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Header graphic by Vivian Li

Biophilia, Buildings, and Beings

At its core, Biophilic design is a concept that embraces humans’ instinctive desire to connect with nature. It reflects nature and its elements, incorporating natural materials, natural finishes, and nature-inspired shapes from seashells, flowers, wings, and so on. This type of style is commonly employed within architecture and interior design. In these spaces, we often see indoor waterfalls and other water features, green ceilings with hanging plants, and large glass windows that allow for natural light to fill our rooms. 

Biophilic works have become increasingly popular due to COVID-19, which has caused individuals to stay indoors for increased periods of time and experience the outdoors less often.

Biophilic design is an aesthetic choice, but also one that is favorable to the environment. The design’s incorporation of plants in urban environments reduces carbon emissions, increases natural biodiversity, and improves air quality. 

This architectural style benefits the well-being of those it surrounds, too. Nature’s biopsychological ability to mitigate stress is likely an evolutionary adaptation. For early humans, vegetation was a critical source of food, so the presence of greenery indicated that they no longer had to worry as much about food scarcity. 

As a result, interaction with vegetative elements is said to improve creativity, relaxation, and sleep quality. A study conducted in 1984 by Professor of Architecture at Texas A&M University, Roger Ulrich, found that patients who viewed green nature were able to recover much faster than those who looked at a brick wall instead. For us, nature has healing effects.

As Biophilic design progresses, more research has been conducted on the types of greenery that people prefer. A significant concept in the field is the “Savanna Hypothesis”, which claims that we have retained our evolutionary preference for savannas. These biomes were the habitats of our early ancestors and are where humans evolved to what we are like today. Savannas offered early humans plenty of biomass for consumption; they also had easy access to low-lying vegetation for food, ameliorating humans’ survival prospects. 

A study conducted by Virginia Lohr and Caroline Pearson-Mims in 2006 discovered that individuals find the shape of trees that flourish in the savanna biome more appealing than the shapes that characterize trees from other biomes. Another study by Balling and Falk in 2010 found that eight-year-old children prefer savannas over other types of biomes. These hypotheses could revolutionize the specific types of greenery that our designs include in the future, as we may turn to savanna-inspired elements in the years to come. 

In the meantime, the world of Biophilic design offers insight into the ways we can improve our workspaces during the pandemic. It’s healthy to care for more plants in our offices, to open our windows, and to go for a walk outdoors once in a while. Embracing greenery is ultimately not just an aesthetic choice, but also one essential for self-care.

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Featured image via 

The Pop-Expression & A Glance into PAP Magazine

How do we convey ideas?

Believing that not everything can be verbalized, the concept of language is never enough for me. I have never been good at dubbing my mind anyway… When you try to narrate a memory of yours, have you ever felt that the words you are choosing from your limited vocabulary are just a very bad voiceover compared to what you experienced? That’s what I am talking about. Sometimes when there are less words, it is louder, chattier. What matters is the expression and the experience. At least, that’s what I think.

Since I think of arts as multi-perspectived experiences, arts speak more to me. Arts speak literature, films, notes and lyrics, stitches on fabric, brush strokes on paint… It is not a matter of words. It is a matter of finding the right medium to tell your story. 

As these thoughts preoccupied my mind, with my discovery of PAP Magazine, an aesthetic euphoria took over. 

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PAP Magazine is a digital fashion magazine based in Milan, with editorship and creative directory of Domenico Kang. They publish daily editorials from artists all over the world with contents ranging from fashion shows to philosophical reflections.

“Based on the Asian Philosophy, ‘Moment by Moment Awareness’ demonstrates how people reach self-awareness via meditation. Focus on the story line of 3 Parts <Moment - Disorder - Awareness> represented by Media Art collaborated with fashion”

What is so unique about PAP is how they create their stories. Almost with every content, the observer is drawn into an experience. The artists -and their works- are aware of the fact that if the focus is on only one aspect of the concept, the meaning would be dull. The expression would be lacking the essence. As arts is an experience, the experience of the artist, and therefore of the viewer, would be incomplete. To this end, they blend different mediums in their artistry. When one looks at a work, from the title to photography, from the costume to makeup, the chaos of all these diverse areas tells a story in unity. The observer is absorbed into an ambiance.

Intermixture

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Intermixture

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Lucid Dream

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Lucid Dream

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Beauty and Grace

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Beauty and Grace

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Their contents are not limited to fashion photography. Although an aspect is always the style, there are the decoration and ornament, the model, a storyline, and always but always the moral of the artist. The photography is motionless, yet the observer comprehends that it presents a snapshot of the moment, of the experience of the artists, of the art work. Most of the time, the content is supported by a video, even if  the movement of the work is already established.

“URODA means both 'Goddess of Agriculture & ploughed land' in Slavic paganism, and equally translates as the word 'ugly' in the Russian language. 

This is a short performance film centred around our issue of ecological crisis; humanity’s overwhelming of the natural resources of the planet and the industrial world has affected not only the health of us and the planet but the psyche and psychology of what it means to be alive, the quality of life and how we live.”

Being a home to many young artists and their works, PAP represents the extraordinary, albeit it appeals to the most familiar experiences. When concentrated on a post, maybe one is unable to tell word by word what that theme is; however, the sense is there. That familiar feeling when you do x or y, it is there. It is in harmony with the aesthetic, proving the unspoken language of  fashion, arts, and design. Proving that the creativity appreciates the experience.

I asked how we convey ideas, giving my humble answer, the expression and the experience. Consider PAP as my evidence.

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References to the art works:

Thumbnail image via: Drowsy Bloom: Photography by Kim Changjun Styling by Sim Jieun Hair & Makeup by Kim Minyoung Photography Assistant by Kim Kiwoong, Kim Yunju and Kim Taehyung Styling Assistant by Nam Yoonkyung Model by Jang Minyoung

Seasons: Photography by Nina Petko Styling by Darina Kulikova Makeup & Hair by Kate Hrustaleva Model by Anna Photography Assistant by Daria Erantseva & Anfisa Bittner Flowers by Botanica Garden Ceramic by Polina Kamardina Location by ArtKvartira

Moment by Moment Awareness: Photography & Flim by Shin Jae Lee Creative Director & Styling by Boyeon Hur Hair by Eun Hye Jo Makeup by Chakyung Park Executive Producer by Chan Hee Jung Producer by Jun Young Hwang Art Director by Han Sol Lee Media Visual Artist by Jun Hyung Park Styling Assistant by Jinhyuk Kwon Art Assistant by Ha Jung Jang & Ji Hee Choi Photography & Film Assistant by Chang Hwan Oh & Hyo Jung Son Model by Yujeong So & Yoon Lee

Intermixture: Photography & Creative Direction by Rein Kooyman Styling by Amber Aste Hair & Makeup by Xiu Yun Yu Assistant by Aristos Latrou & Laurien Doodeman Model by May Kamara from Solid Model Management

Lucid Dream: Photography by Vitaboy Styling by Maria Fuhre 3D Art by Nik Gundersen Hair by Katrine Løver Makeup by Celin Aydin Photography Assistant by Sunniva Hestenes Model by Margrethe Alida from Team Models

Beauty and Grace: Photography & Creative Directing by Joelle Grace Taylor Styling by Joelle, Grace and Tatiana Makeup & Hair by Tatiana Kazana
 Model by Grace Edward

Uroda: Direction by Vasilisa Forbes DOP by Oscar Oldershaw Styling by Vasilisa Forbes Makeup by Daisy Oldershaw AC by James Willmott Talent by Franzine Maria

Homebodies: Art Direction & Photography by Gioia Cheung Styling by Coco Chan Wing Lam Hair by Cheng Po Ki Makeup by Ruby Kh Chan Photography Assistant by Jack Hackett Model by Lucia Lau from Stage Management

Neon: Photography by An Shaoda Video Maker & Art Direction by Chiara Trimigliozzi Styling by Erica Benocci Makeup by Francesca Bechi Hair by Madia Legrottaglie Model by Maria Darts from Fabbrica Milano Management

Retrofantasia: Photography & Directing by June Hyuk Park Styling by Hye Su Jo Hair & Makeup by Hong Ju Sung Model by Bom Kim & Ye Eun Lee

Designer Profile 2023: Kate Shchukina

In conversation with first-time MODA fashion show designer Kate Shchukina:

Tell me a little about yourself.

Hi, I’m kate, I’m a second-year CS and psychology major, and this is my first time designing. I'm pretty excited!

What has your experience been like with the DBC program?

It’s been awesome! I came in with a big interest in fashion, and reading about and studying fashion history are some things that I have been interested in forever. But, I had no experience with practical creation—okay, my grandma taught me how to sew a button when I was six, but that doesn't count. 

Janelle, our lovely sewing instructor, was very productive and helpful, and I feel like she gave us a lot of foundation to work stuff out by ourselves—we only had six or seven four-hour sessions and that left me feeling prepared to do stuff on my own, she was great!

How would you say you grew to be a designer?

I have a checklist sort of —like a very vague one of things I wanna do that I’ll basically only have the opportunity to do in college. There’s sewing, 3D printing, and soldering in the MAAD center (I don't know why I would need it, but it’s there and you can learn it for free). I'm actually incorporating 3D printing in my design!

But, yeah, I’ve always wanted to design stuff. I’m not a particularly artsy person. I think in Math and CS there’s a certain aesthetic but beyond that, sewing felt very hobby-like to me. Presentation is just very interesting, you know? It’s creative what you choose to spend your life wearing.

Kate’s Mood Board

In what ways would you say that your surroundings contribute to your work inspirationally, creatively, and innovatively?

I think a large part of the content I consume and the things I'm interested in are pretty much directly responsible for the things I associate with fashion and inspiration. So, something I’m really interested in is mycology, the study of mushrooms. I don't know that much about it, to be honest, but I’ve been learning a lot, and a big part of that is kind of the decay as well as the interconnectedness of systems and the idea of unity—which I guess steers a bit further than just science. I think there is this sense that everything is associated with everything or linked in a way. Then there’s another part to that, which is that decay, and the idea that leaving stuff alone sometimes can be very beautiful—that's something I wanted to emulate in my designs.

Honestly, the base was just the kind of design I like, and I personally enjoy the 50s silhouette. I have a great book on the history of fashion, which really goes through the history of fashion as a concept. So, from that, I got a good sense of the general rules of fashion used during that decade.

What is the process like for you to move your creations off paper/sketch to make them tangible?

The initial sketches that I gave to MODA directors when I was applying were very vague and based on the vibe—like I wanted the audience to feel a certain way, more so than I had a vision.

 I think a big part of my creative development was picking my models and seeing them. Honestly, the night they told me I could have them, I redesigned all three of my looks because I felt like the people that were going to be wearing them all had these distinct personalities. It was interesting because not only their physical appearances but, the way they walked and carried themselves felt like it gave personality to the looks. Then I had a lot of fancy ideas about my looks, and those got simpler when I learned to sew. The other tough thing was finding patterns, you know? You're coming up with your own stuff, so it's hard to find things that are similar to alter, and I’ve been sewing for a little bit over a month so it’s still scary to alter stuff. But it's really fun and I find sewing to be very meditative. I just really enjoyed the process, and I think a lot of stuff comes up as I'm sewing, like I think, “Oh, this would be cool”, and then I show my models. 

So you talked a bit about how your models influence your looks. But how would you say you want your clothes to make your models and audience feel?

With the models, I firmly believe that if a person (this isn’t even about the runway) doesn't like the clothes that they are wearing, the clothes will look terrible on them. Even if they're the most beautiful thing in the world, it just won't work out!  I think it’s very sad in the Haute Couture fashion scene how models are seen as hangers, and I think that's part of why people are so disillusioned with modern high fashion. So, I think the key thing I wanted when I reached out to my models was that they liked what they were wearing. From the start, I said “if you hate it completely, I totally understand,” but also, I was open to reworking. I asked them what body parts they wanted to accentuate and what it was they wanted to highlight.

That’s very sweet of you.

Well... I don't even think it's like a sweet nice person thing. I think it’s important to–

Listen to your models.

Yeah! So, I got some feedback which was really nice. They asked about color choices, and I was like “I was thinking this, but what do you think would look good on you?” Another thing is that I feel like you know yourself better and the models have different skin tones and different hair than me, so I think they know what works for them better than I do. Even though I'm the one with the “vision.” If you don't listen to that I think it can feel kind of inauthentic.

Then in terms of the audience, that's a lot more intimidating to me because my experience is mostly with personal fashion, in which case I don't really care what people think. Within reason. But, for this, I think I want a sense of confusion. I think there is a contrast between things that are conventionally beautiful and things that are somewhat gross, which I think is quite hard to illicit, and I'm honestly still not sure if I'm doing it right. But, that's ideally what I would want. You know beauty, not just in terms of the body, but aesthetics are so subjective and I think it's very cool when people confront that. Like “is this beautiful?” even though it's something I've never seen before.

Besides your models, who do you envision wearing your pieces?

I don't think they're very wearable outside of the runway *laughs* if I'm honest. I feel like you could possibly integrate them into daily life. I know that when there's an economic recession, fashion goes kind of crazy. So, maybe in five years, these we’ll be the most average looks ever. But, fashion is shifting so fast that I can't really say. As of today, though, I don't know if I would convince someone to wear them out and about.

If you were to choose some words to summarize your collection, what would they be?

Decrepit—

Ooh, that’s a good word.

How many words am I allowed to choose?

Let’s cap it at three.

Okay, so we’ve got decrepit, we’ve got… circular? And I don’t know if it's too big-headed to say... confrontational?

No, not at all.

That's what I would aim for. I'm not going to lie, I’m like halfway done, so I don't even know what it’s gonna turn out like yet. But that's how I imagine it.

What exactly do you want to confront?

The idea of solid beauty 'cause, I think most people, at this point, understand that there are cycles in terms of what is attractive—like in terms of bodies, fashion silhouettes, and all that jazz. But I think there’s more to it.  It's looser than a lot of people think.  As I said with the recession comment, a lot of the things we're seeing are confrontational. I think a really good example is people shaving off their eyebrows, especially after coming from the thick full-brows trend—not going for something that is subtle or trying to break apart from the norms— to me, that is confrontational.

What will be the most fulfilling part of seeing your clothes move down the hallway?

I want to see the models feel comfortable and enjoy what they are wearing; I think that’s honestly the thing I'm most nervous about. I went to the fashion show last year, and I don't think I saw anything I disliked, but I think the most impactful and important experience is that of the models; so, I hope people like how they look.

Do you have any ending lines or anything?

I would like to say that if people are curious about fashion and design and are interested in applying to DBC, I really want to encourage it! It’s very gradual; they really walk you through it. Also, if you're just interested in fashion in general, there’s a whole MODA ecosystem to find something. It's pretty awesome!

Designing My First Collection for Atelier MODA

The night before the Atelier MODA Show, I sat on my couch with two black leather shoulder plates on my lap and a sandwich bag of 200 safety pins in my mouth. I anxiously tried to stick more and more silver pins into the plates, hoping that the additions would make the look that much more striking. I suppose I conditioned myself at that point to believe that I could never have enough, and that more than anything, sticking safety pins into black leather was almost a form of meditation to calm my nerves. By that point, my backpack and suitcase were packed, excluding the plates which had to be carried in a separate bag due to their size and sharpness; the next day would turn out to be a wild and memorable night to say the least.

My Mood Board for the NO FEAR Collection.

Designing my first collection for Atelier MODA was a truly enthralling and rewarding adventure. From start to finish, it really did feel like one big blur, during which a collection was fully realized, but I’ll see how much I can relay to you through this reflection.

I went into the whole process basically as a complete amateur. I definitely remember feeling that my lack of experience in garment construction would hamper the final result.

My illustrations seemed more advanced than what was feasible for a three-dimensional model, so I was certainly insecure in the translation process from sketch to garment. Thankfully, I had such a supportive group of designers, models and friends who constantly made me feel that my decisions were justified.

When you design, it feels like you’re translating your own perspective of life, your own experiences, your own desires and fears into design, and to have so much support for my designs without judgement gave me an immense sense of inspiration and freedom.

All of the designers had such unique takes on what fashion means and the messages we wanted to share with our audience, but I was pleased to see so much cross-pollination occurred when it came to my own collection. I tell everybody that so many of my designs have bits and pieces of other designers’ works and that connection between designers is something I find really uplifting; it’s as if we all had a common link that ran through all our collections, perhaps a common love for creativity, for fashion, or for collaboration, all things I valued throughout this process.

It’s hard to believe that upwards of 200 hours of work could all be distilled into one magical night, enough to the point where all those laborious hours feel somehow worth it. I remember that on the day of the show, I told my models that the finishing touches rested in their hands. I made the clothes and now they had to bring their personalities to the pieces to bring them to life.

And they did not disappoint.

Despite the difficulties that come with strapless tops, frayed edges and a harness covered in safety pins, my models transformed my collection into something that I could have only dreamed of. It was like watching my sketches strut off the page and down a runway. The crowd was so welcoming and the comments after the show brought me to tears; I had just realized a dream that I’ve had since I first discovered the world of fashion.

More than anything, this entire process has filled me with a deep appreciation for all the wonderful people that collaborated with me through my journey. To my wonderful co-designers and design mentors, particularly those who worked in DBC with me: you filled me with so much inspiration, so much love and support and so much laughter and joy. Seeing the way you all crafted your own collections influenced my construction so much, so I’d like to say my collection was in many ways yours as well.

To the wonderful MODA Board who put together rehearsals, the venue, lighting, hair and makeup, who supported the entire assembly of the show, I am grateful for the time and effort you put into managing so many people: the show turned out beautifully.

And finally, to my lovely models, who remained resilient despite all the unexpected turns in their outfits, who wore whatever I put them in with no complaints and who continue to inspire me as muses to this day. I could not have asked for a better team, and I am forever grateful that MODA supports this spirit of collaboration. This process likely took up more than 200 hours of my life, but I don’t regret a single second.

If you are insecure or shy or curious when it comes to designing for the MODA Show (as I once was), I highly recommend you bite the bullet and give it a go and apply for the Designer Boot Camp. Fashion design and garment construction have taught me so much about the creative process and my own personal aesthetic, and it’s an experience that I will treasure for years to come.

I can’t wait to see what next year’s show will be like!

Pre-show poke and polaroids

Photos courtesy of Alexandra Nisenoff and Andrew Chang

Collection Highlights: Issey Miyake

For about 40 years now, Issey Miyake has been a stalwart name in the world of fashion. And, although Miyake himself now oversees designers that make his lines (as of ~1997), this has only increased his eponymous label's stronghold–the studio-style model allows it's collections to be consistently on par or downright amazing. My enthusiasm for the 'downright amazing' part comes particularly from the past two men's spring collections, designed by Yusuke Takahashi:

Left: Issey Miyake Men's Spring 2017 (Yusuke Takahashi), image courtesy Vogue

Right: Issey Miyake Men's Spring 2017 (Yusuke Takahashi), image courtesy Vogue

Woof. This may seem like hyperbole, but it honestly isn't, I think those are top two outfits I've seen this year (give or take like, I don't know, three months–anyways it's a long time). They vex me, they're somehow simultaneously structured and fluid, I love them. I love the washed-out color palette, the pleating, yes. They look like if angels got into streetwear. In the second look, I'm reminded of a coat by the women's designer, Yoshiyuki Miyame:

Issey Miyake Women's Pre-Fall 2017 (Yoshiyuki Miyame), image courtesy of Vogue (it's honestly worth it to just look through Vogue's photoshoots of Issey, they have great documentation)

In fact, this was actually the coat that first brought my attention to the label. It was after seeing both this and the 2017/2018 Men's Spring outfits that I realized that I had to bump them to people. Also, a sidenote worth sharing: Miyake designed Steve Job's signature turtleneck (L.A. Times).

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Balmain x Opéra de Paris

Balmain's creative director Olivier Rousteing has teamed up with the Paris Opéra Ballet for a series of bespoke jewel encrusted pieces for choreographer Sébastien Bertaud's latest ballet, Renaissance. 

This meeting of the minds from the realms of fashion and dance has been a fruitful and rewarding experience for the young designer. In a recent statement, Rousteing revealed: “with the world of the Opéra de Paris, we are opening up a new sector and a new era for Balmain. It’s a really nice validation of my style and a way of showing you can remain international even while being very Parisian" (Style Cartel).

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Previews of the designs can be glimpsed on Balmain, Rousteing and Bertaud's Instagram accounts, most of which feature a range of pearl and sequin-laden ensembles designed to complement each dancer's skin tone. The opulent designs not doubt pay homage to the Paris Opéra's own storied history with their Beaux-Arts era home at the Palais Garnier theater. To read more about the collaboration, click here. 

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Fashion and Football Converge in Off-White x Nike's Latest Collab

Both athletic and artistic pursuits have long served as important avenues of opportunity and self-expression for marginalized or underrepresented individuals. The Paris based mens soccer team Melting Passes, for instance, provides training for young people interested in pursuing football on both a recreational and professional level–despite the legal, financial or social barriers that otherwise inhibit these young men from pursuing their dreams.

A statement on the organization's website explains that the team "was formed in order to overcome the obstacles preventing isolated foreign minors from joining traditional football clubs... These young people come to Paris from all corners of the world to seek protection and a better life, yet due to their legal status they instead encounter lengthy and confusing bureaucratic procedures, poverty, and idleness." 

Enter fashion designer Virgil Abloh of the cult-favorite, street style inspired brand Off-White. A fruitful collaboration between Off-White and Nike has produced a unifying, empowering and impactful visual message for the team through a series of customized uniforms. In a recent interview with Vogue, Abloh cites individuality and identity as a central component of his design philosophy for the collaboration: “I wanted to overload [the shirts] with graphics to establish their new identity as a team... each is a little different to celebrate differences—because the idea of a uniform is almost too uniform in this case" (Vogue).

In a political and social landscape riddled with xenophobia, racism and anti-immigration policies, Off-White and Nike's staunch support of Melting Passes stands not only as a powerful union of the arts and sports, but also a testament to the fashion world's burgeoning role as a mouthpiece for debate, positive change and active resistance.   

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