Designer Profile 2022: William Hu

This week I got the pleasure of getting to know William and his collection a little better. William is a first year at the College, studying economics, sociology, and architectural studies. He loves to listen to music, play guitar, and learn random skills. Here’s a little about William’s designs and inspiration:

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Give me the rundown of your designs this year:

For my first look, I wanted to create something that I thought could be practical to wear. I have always been a fan of oversized tailoring so I would be remiss to not include that. I wanted it to focus on shapes – bold shoulders, flowy bottom, and now round bishop sleeves! 

For the second design, I wanted to be a bit more experimental in terms of practicality. I have always wanted to make a collarless sort of robe made from wool, and I thought this would have been a great time. I also really wanted to experiment with pleating because I love wide-leg trousers.

For the last look, to say the least, the design was completely changed. Amid making my first few pieces, I wanted to focus on an exaggerated form while paying a sort of homage to some of my favorite designers, namely Rei Kawakubo! It will be a little bit of a surprise…

Mood board

What inspires you? How does this reflect in your collection?

Outside of a formal academic setting, I am interested in architecture and interior design, and I think many elements in those fields can be translated into fashion: proportions, functionality, form, materiality, meticulous attention to details and constructions, among others. Namely, I wanted to play with and put an emphasis on proportions throughout my collection. 

There are also definitely a few designers who inspire me, such as Yohji Yamamoto and Ann Demeulemeester. Their prominences in avant-garde and androgynous fashion definitely inspired a huge part of the aesthetics, as well as their respective design philosophies. I want my collection to appeal to both a male and female audience, similar to that of avant-garde designers. They tend to have a lot of layers and flowiness which should be apparent with my designs in person! 

Design Sketches

Is there anything you wished you knew when you first started your collection this year?

How to sew on buttons and make button holes with a machine well. As simple as it is supposed to be, I spent an unnecessary amount of time doing this :’)

Who do you imagine when designing?

My dad — he is really good at planning meticulously and has an incredible work ethic. At the same time, he tells me to adapt and not worry too much whenever mistakes happen. I have learned that beauty lies within imperfections and to show off the failures and mistakes. And I think my approach to design crystallizes this ideology.

One of William’s inspirations: Yohji Yamamoto

What has been your biggest challenge this year so far?

Living in a double room in Woodlawn, I found it hard to make patterns or cut fabric comfortably while trying to be precise. I would have to do this all on the floor with my back hunched. I also like to keep my room neat and clean, so I would also vacuum the floor everytime I finish cutting fabric.

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all images provided by William Hu

Designer Profile 2022: Caroline Chael

In advance of MODA’s Spring ‘22 Fashion Show: Moda Nouveau, I had the pleasure of speaking with first-time designer Caroline Chael (‘24) about her collection. Caroline is a second-year Biology and English double-major.  Outside of MODA, Caroline serves as an RA, a member of UC Audubon and WHPK, and works at the Field Museum doing research.

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You’re a new designer. What made you want to be a part of this process?

I’ve been making clothes for about 2 years. I taught myself how to quilt during the pandemic, starting off with simple patterns and straight lines. With quilting, I liked that I could make something I could keep for the rest of my life. As I grew more comfortable with quilting, I started teaching myself how to sew clothes and make things I could actually wear. I wanted to be in the MODA Fashion Show because it’s so rewarding to be able to see your designs worn on a runway. Plus, it’s so nice to work with other people—the models, the hair & makeup team—that’s not something you have when you're sewing by yourself. 

What are some sources of inspiration for your collection?

I draw a lot of inspiration from Elton John. Bob Mackie was the designer responsible for some of Elton John’s most outrageous costumes—the big feather hat, the crazy shoes—and I incorporated a similar sort of “go big or go home” design philosophy into my collection. I was also inspired by Dolly Parton and her “cowboy” style. There’s a lot of cowboy imagery in my work. Orville Peck is another musician who inspired me. Peck is a contemporary artist who is known for taking something classic and making it his own. I like to do the same thing. In this collection, I took classic ideas such as “the suit,” “cowboy,” and “American traditional tattoos,” and tried to subvert them.

Caroline’s Pinterest board

Walk me through your collection.  

Yeah! So I made three pieces for my collection, and you can see the sketches for them above. The pink outfit on the left is inspired by American traditional tattoos, which is a style of tattooing typically seen as very dark and masculine. I wanted to subvert that association, so I put these tattoos on an all-pink, glitter set. The sixties-inspired green outfit in the middle was almost entirely modified into something else—I removed the pinstriped pattern and made it more colorful. The Elton John, cowboy-inspired blue outfit on the right was also modified a lot. It ended up being quite impractical to quilt an entire suit, as I’d originally intended. Instead, I modified the materials and reduced the number of colors used. There are elements of all the sketch designs in my final collection, only altered to fit with what was doable. I also made sure to incorporate quilting into all three of my pieces to pay homage to my origins as a designer. 

Caroline’s Sketches

Describe your collection in three words.

Cowboy. Glitter. Hot glue. 

What are some of the most challenging and rewarding aspects of the process?

It was challenging to execute some of the grand ideas I had for my designs. I’m a self-taught designer with just one at-home sewing machine, so I didn’t always have the time or skills to do everything I hoped to do. At one point, I wasn’t sure if I could make the blue suit. With a suit jacket, there are a lot of parts you need to lay correctly. The lapels in particular were really hard to get right. However, I kept going and I ended up being able to finish it, which I’m super proud of. The most rewarding part of the process is seeing the finished product. The fittings are my favorite part. That’s when the look really comes together. The process of adjusting the clothes is also so fun: just by taking in a dress or fixing a suit lapel, you can make a design go from looking like a mess to looking amazing. 

What are you looking forward to most about the show? 

I’m really looking forward to seeing all the collections come together and be shown on the runway. I’ve been zoning out a bit in class, visualizing what it’s gonna look like when the models walk down the runway in full hair and makeup and accessories. It’s going to be so rewarding! 

If you could give yourself any advice on the design process, what would you say to your younger self?

The first thing I would say is: Try out different things. I often spent hours reworking the exact same detail or look until it seemed right. I think I would’ve preferred to create more looks instead of working so much on the same items. The second thing I’d say is: Don’t worry too much about the details until the end. I spent a lot of hours fixing minor details that in the end were not too noticeable. It’s easier to edit at the very end than throughout. 

What’s the story of your collection? 

Classic motifs are associated with certain ideas. Cowboys, suits, and American traditional tattoos each have existing, deep-rooted ideas attached to them. However, I want to show that these motifs can be displayed or worn by anybody—they don’t have to be associated with any group in particular. My collection is not a rejection, it’s a broadening of the scope.  

Designer Profile 2022: Stephanie Kim

When meeting Stephanie Kim at Pret for an interview about designing for the MODA Fashion Show, I knew that I will not struggle to find her. I knew that she was that girl with a captivating, vivid style and an artsy vibe. And I knew that our conversation will be insightful. Enjoy some inspiring, intelligent thoughts of one of our designers - Stephanie Kim, a third year majoring in Computer Science and Philosophy.

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How has your background shaped your artistic vision?

“My own struggles with fashion made me rethink my attitude towards it. Back in high school, I used wear one same outfit for a whole year.” Living her whole life in the US, Stephanie experienced tension between her South Korean roots and American identity, and it was expressed through her style. But the peak of the change happened when she came to UChicago: “Seeing people on the quad - so different, unique and artistically fearless - I started experimenting with my own style and have now totally changed the way I convey myself to others.”

What are your most/least favorite aspects about the design process?

“I love that you can just do fashion and be explanatory. I do not choose the outfit, I get to create it. What is vexing is taking apart what you’ve sewed together. But it’s actually weird for me to call it annoying: If there was an easy path to it, it wouldn’t be as worthwhile.”

What are you thinking about when designing?

“About my models. How it’s gonna look on every type of person. It’s a different outfit on every model, and you cannot detach it from them.” Why is clothes/fashion important to you? “It is the only thing all of us have in common. It is our first projection to others, and it always carries some message.” Then, Stephanie compared communication through drawings to that through clothes:

Unlike paintings, everyone can understand clothes.

After this, she shared another reason she prefers designing: one cannot take a picture and carry it with them. With clothes, though, it is possible:

The canvas is the living being.

What is the most inspiring about UChicago for your creative process?

“Watching the scenery and people in it. I like to ponder what they seem to be thinking, and they are interesting both psychologically and figuratively.” For Stephanie, witnessing that constant change is creatively stimulating, and she finds unification in that diversity: “I am thinking to myself, what if I take that man’s shirt and put it on bikers?”

My approach is mixing together a panorama of all the things and people I have seen.

Best music to play on the runway for you models?

“… that is a tough question”. Here, I thought that it is just challenging for Stephanie to choose the best songs out of the abundance out there. But I was struck: “I don’t think I'd even like any music to my show. Sound makes a big difference, and models behave in a particular way. I don’t want the music to dictate the mood for the viewers, I want them to feel it themselves. But my choice would be organic conversations, such as home-made recording or clips from audio-books of Stephen Hawking.”

Designer Profile 2022: Wendy Xiao

““In this vacuum of MODA, you can technically do whatever you want.””

As a part of 2022’s designer profile interviews, I had the chance to talk to Wendy Xiao, who’s getting prepared for her last fashion show with MODA. We had a very lively conversation about her inspirations, plans, feelings, and of course, her new collection, which she notes almost like a co-collection with Andrew Chang*, who she thanks a lot, emphasizing that she wouldn’t be able to finish the work otherwise. I had great joy talking to Wendy. Listening to her talking about her looks felt like listening to vivid stories with a carefully weaved, spider-web like intertwined narratives. Enjoy reading about Wendy’s last year journey with the MODA fashion show!

*Su’s note: MODA Blog’s previous editor-in-chief, an ex-designer, and my mentor in the Blog during my first-year, which I am really grateful for

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Wendy’s mood board

I know that you have done fashion design before. I see that your previous collections were very playful, if that is the right adjective to use. What are some sources of inspiration for your collection this year? And, how do they differ from your previous projects? (of course, if you would like to compare them)

My last two collections were both driven by different things. The first one was more like a storyline. The second one, well, I was kind of going insane being in quarantine, so I just looked at my dinner, and I was like “I’m gonna make a dress like this!” I think, in a way, my collections are usually a product of what I was going through during the time of its conception. This time around, I was knee-deep in my thesis project when I was conceptualizing this collection. So, it is inspired more by my academic work than usual. I feel like this is a different way to engage with topics I’m interested in, specifically, the curation of East Asian art in the West. I’m asking the question of “how did objects move from China to the US and other Western museums?” So, that’s the theme I’m playing with in this collection. 

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? Now, you mentioned that it is more about your academic work. So, this question may mean “how did your collection shape the way you look at your thesis or your academic interests?”

I think the collection is a non-academic response to my feelings on East Asian objects in America. It’s a little bit of a lighthearted satire towards the way that some of these objects are misunderstood in a foreign space. I do think that the collection is shaped with the help of my friend Andrew. We are basically co-creating this collection together and I would not have dared to attempt four looks without his help. It's interesting for us to take a look at the East Asian objects in a Western space mapped onto ourselves as well. It is kind of our own exploration of that displacement in our own lives. 

How should we expect to see that idea in your collection? 

The collection consists of four looks that are inspired by objects I’ve been looking at during the conception of this project. One of them is a dress based on a hand scroll. And then, we have this couple's outfit. I love doing a little wedding dress or a couple’s outfit in my collections. In short, one is a crypt underneath a pagoda and the other is a Bodhisattva: relic and ascended spirit. The final outfit is actually inspired by Andrew’s thesis. It is basically a Qing dynasty jacket belonging to a guy who smokes a lot of opium. So, the thread of all these objects is a fake museum display. A hodgepodge of non-temporally constructed objects that aren’t actually historically very accurate. Museums these days do a pretty good job of cataloging and researching these objects. Still, there are definitely places in which a lot of things are misunderstood. This is just a little playful kick at this foreignness, this otherness of what Chinese elements are transformed into when they enter into this misunderstood space, I suppose.

What does “creation” mean to you in terms of fashion design? How does it differ from your other creative processes/purposes?

I draw a lot in my own time. It’s like a whole other thing. But, I think fashion, at least in the space of MODA, feels like there are no limits to what I am doing. Real fashion is very different. If you were a real designer, you have to pay attention to everything that is going on. But in this vacuum of MODA, you can technically do whatever you want. So, that’s what I am trying to do with this creative process. As you can tell, the way I generate my design ideas is very spontaneous and always changing. The sketches are very different from the final products, as I am always updating my sketches. 

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 feel like the first year was the easiest because we had a teacher, and we were able to say “help! I cannot sew this the way I want to!” Because, honestly, I still don’t know how to sew. I wouldn’t say it is particularly a challenge-reward based experience for me. Honestly, I am a little tired. I love MODA, the people are fantastic. But, how should I put it…It’s fun to come up with ideas, but making them… Let me show you my floor (turns the camera to the floor). It is a complete disaster. But, I did learn things. I learned how to use the sewing machine at least. Oh! and I genuinely do love the friends I made along the way. The people are always the best part.

Just a quick question. Are you planning to continue with fashion design, designing your own clothes etc? 

I don’t know if you noticed but, I don’t like making practical things. I don’t really make things that can be worn. I wore this one jacket in my second year, one time. And that’s it. I don’t think that I have very practical sewing skills. So, I don’t think that I’ll be doing sewing. I am fine with that. I’ve been with MODA all four years of my college and it’s been a wonderful experience. So, I am happy to leave it as it is.

The last couple of years’ fashion shows had to go through drastic changes. What are you looking forward to the most about this year’s MODA Fashion Show? What do you think the audience should anticipate about this year’s show?

Being back in person is always really exciting. That’s something you can look forward to. But what I really liked about this year’s designer team is that people are taking the show as a place to creatively experiment. People seem like they are really trying to push the boundaries of what it means to make clothes, what it means to make objects to put on people, which I am super excited about. I am also looking forward to my own collection but I started very late this year and we have four looks to do. Actually, you know what, don’t look forward to my collection. Have no expectations!

Designer Profile 2022: David Schalop

What is the focus of your collection this time around? How has the materiality progressed from last year?

This year, my focus is on a lot of things. I’m definitely going to continue my emphasis on materiality: I plan to print on the fabric again for example. However, I’m also interested in exploring comfort. Namely, I hope to make clothes that my models are comfortable in physically and psychologically. I’m going to attend to the fact that comfort is a function of weather, and individual understanding of self as well as relatedly the types of clothes one feels they belong in.

Do you design with androgyny in mind?

Yes! In step with my previous answer, I am designing clothes for two friends that are women; however, I am making pieces that visually resemble menswear. My hope is to show that people of all body types can wear clothing that fits into any style category. 

How has going abroad affected the collection?

Last quarter I was lucky enough to study abroad in Paris, and the experience has definitely had a big impact on the clothes I’m making this year. Mainly after visiting fashion museums and seeing Parisian everyday style, I’m extra interested in creating looks that are formal and timeless. 

What do you feel is the role of social interaction in fashion design?

Fashion is in its most basic sense self expression. What you wear and how you present yourself are inherently related to the relationships you form with others. That being said, it is obviously just one factor in the formation of meaningful friendships. Nobody knows ultimately why some people get along well! 

In what ways does the location of the show itself affect your designs?

 In general, I tend to ignore the location of the show when making my designs. That being said, I do recognize that the site impacts how people will ultimately engage with the clothes I make. I find that dynamic fun and exciting. Overall, I do not want to directly control it but, I understand that the takeaways people will have about my clothes are inherently impacted by the location of the show.  
Will you be going to Logan or other spaces to design?

I will be designing and sewing everything at home! My home is my happy place when it comes to creative tasks. I will blast the exact music I want to listen to, and take breaks whenever I want. 

Does the fact that this is your last collection play any role in your design process?

Definitely, I’m hoping to more precise than I’ve ever been in terms of technical construction. Straight stitching is the ultimate goal!

What would be your biggest piece of advice for MODA designers in their third year or below?

RELAX! UChicago expects so much of us, and MODA is an added pressure. Try to really take in what is so fun about the design process without worrying too much about the exact outcome. Whatever you make will be great! Be easy on yourself and enjoy the process. I promise you this will lead to the “best” results! 

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Images courtesy of David Schalop

Designer Profile 2022: Jessica Xiong

Hi guys! I’m jess, and I’m a first year double majoring in economics and art history. Outside of MODA, I do some illustration and also just draw for fun. I also like horse riding and bullying my siblings.

Give me the run down of your collection:

My first design (from left to right) was inspired by that one time I went hiking with my friends and one of them wore a long, flowy dress. We were walking near a stream and the ends of the dress got wet, and I just really liked the way the dress flowed in the water. That’s kind of what I’m trying to recreate. 

The second design was inspired by evening dresses in the 90s as well as a skirt I had found in my mother’s closet. There’s a lot of lace in the skirt, and I want the lace in my design to create an ombre that blends into the white skirt underneath. There’s a lot of layering in this design which I find super fun. 

I’m still not too sure where I’m gonna end up with the third design. I think I’ll just go with whatever is in my mind when I start sewing it. It’s probably going to end up looking very different, we’ll see!

What are some of your sources of inspiration for this collection?

I used to do ballet and figure skating, so I often tried to design my own leotards for fun. That kind of stuck with me, so I take a lot of my inspiration from costumes worn by dancers and skaters. I especially like Anna Scherbakov’s costumes. I was also inspired by some of my favorite painters: Georges Rochegross, Rae Klein, and Gaston La Touche and the muted colors color palette they used interspersed with areas of soft light. I also found myself listening to Tchaikovsky’s “June: Barcarolle” a lot while drawing out my designs, so I guess that was also a source of inspiration. 

Have you ever done fashion design work before? 

Nope! I was in DBC this year, so it was my first time getting exposed to the whole design process. I had no idea how a sewing machine worked before this.

What are some of the most challenging and rewarding aspects of the designing process?

The most challenging part of the design process is probably starting in the first place. As someone with very limited experience in sewing, I am often scared that I’ll screw up my designs and make some irreversible mistakes, but it gets a lot easier once you start. Most things I learned on the go. 

Who do you have in mind when you’re designing?

I like to keep movement in mind when I’m designing. I want my designs to flow very well and enhance rather than hinder the model’s movements, so I try and stay away from anything too stiff or restricting. 

What’s your favorite aspect of the design process?

My favorite aspect of the design process is definitely when I am putting all the ideas in my head on paper. I really like to draw, so I find it very fun to sketch out all the designs.

What are you looking forward to most about the show?

I’m looking forward to seeing everyone else’s designs!

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All Images provided by Jessica Xiong

Designer Profile 2022: David Chen

I chatted with David Chen, a former design director and returning designer for the upcoming MODA Nouveau fashion show. We discussed his experience behind the scenes as a design director, the importance of going back to basics, gender-neutrality in clothing, and the way change and distortion in his own life are reflected in his designs.

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On DBC and being a design director:

I didn't join MODA until my second year—my first year, I was a little intimidated by how well-dressed everyone was. I decided to just put myself out there and apply for DBC, and I got in. I had these crazy ideas I had to whittle down and make more realistic.

I put three looks onto the runway, and then last year—my third year—I was a design director with David Schalop. I had such a great time my second year and really enjoyed the whole experience, so I wanted to contribute even more. On top of being a design director, I designed three more looks.

I signed up to be a design director during Spring of my second year, and I thought that COVID was going to blow over and we’d go back to normal. That didn’t happen, so David and I had to create a whole new DBC program and format when it all turned virtual.

Still, it was a really fun experience and I got to work even more closely with the designers. I may have put off my designs a little bit, and in the last few weeks leading up to the show I was in a frenzy. I came up with three pieces centered around sustainability. I had one friend who had this earthworm, compost look. My roommate was a metal straw. It was just really fun, and this year I decided to take a step back—David and I both thought it would be good to have underclassmen take on these larger roles, so that once we left they would be even more prepared. We’re still a ready resource, regardless. I’ve been able to focus more on designing this year and haven’t left it to the last minute!

Is there anything from that experience that translated into how you’ve approached designing this year? 

Last year for the DBC program, we didn’t have a professional designer come in and teach the bootcamp participants like in the previous years. We created a whole new curriculum where regular designers could come in and teach DBC. It really make me think about going back to the basics, which is what I’ve been focusing my designs around this year. I’ve made basic clothes—skirts, vests, jackets, things like that—and I’ve been focusing on the details. Having straight lines, no frayed edges. In the previous years my designs were much more conceptual, and I feel like I sort of hid behind flashier looks and focused less on those lines. This year, I’ve taken the time to have a nicer construction.

Now, I’m at the point where I want to distort and deconstruct. Now that I’m a fourth year and graduation is so close I can see it, I’ve been looking back on my college years. COVID changed a lot. During quarantine, I made a lot of food with my mom, and now I’ve been trying to deconstruct recipes and refigure them—the idea of distortion has been on my mind a lot. With my designs this year, I want to focus on the basics and distort them.

On his sketches:

These are really quick sketches. I had ideas in the fall and the deadline was coming up, so I came up with them really quickly. I don’t know how close any of my pieces right now are to these exactly, but I think they’re representative of the bigger picture. These were the starting point of me focusing on construction rather than the look, and starting off simple. The slip dress is simple, and the jacket is just a cropped jacket that I wanted to explore distorting the shape of. Playing with the silhouettes of clothes as well—the overshirt/vest and the skirt combination, the chains.

Right now I’m at a stage where I’m hoping for my models to come in and vibe with my clothing. Seeing if they’re comfortable with what I’ve made so far—how they literally fit, their personalities. It’s all representative of distorting expectations. For example, one of the skirts isn’t actually being worn, it’s just being used as a cover piece. It’s long and exaggerated. The pants in one design have been cut in half and are going to be attached with rings and chains. Separating and re-attaching, playing around with re-construction. 

What is your favorite aspect of the design process? 

 I tend to approach designing just as I approach creative writing, which is by having self-imposed deadlines and sitting there for hours, getting in the zone and churning something out eventually. I think that’s just how I’ve worked, as someone who writes and designs. That’s really helpful for me, to eliminate all the other thoughts in your head and really zone in on what you’re doing—having a playlist or something going on. No, actually, I tend to put the same music on repeat for hours. 

 On inspiration:

In my first year designing, I put three really masculine guys in dresses. Growing up Chinese, I would spend time in our restaurant drawing dresses and would have family members and friends say, oh, you shouldn’t draw dresses, dresses are for girls. I kept that in my mind. Clothes are so gender neutral, I don’t think there should be an association. Skirts and dresses are really comfortable—pants are restricting, I kind of hate it. I’ve just been having fun trying on all different kinds of clothes during this process.  

It’s been a long time coming. I feel like throughout history there have been waves of men wearing dresses and skirts, and now it’s sort of evolving into an anybody can wear anything type thing, which I really like. When I first approached men in dresses during my first year designing, I thought about Billy Porter wearing that fabulous gown on the red carpet. There was a tension there. Harry Styles really broke into the mainstream in terms of men painting their nails and wearing dresses—no hate on Harry Styles, I think it’s great there was some sort of spark there—but It’s been a long time coming, people have been doing it for a while. 

My parents have raised me to be really frugal, which I really appreciate. A lot of my designs are made from clearance fabrics, and last year the garments were made from actual trash and scraps. It’s been really fun to keep all these things in mind.

What are you looking forward to most about the show? 

 Being back in person! I’m so excited. I will say a caveat to that is now our attendees are going to be restricted again. Something really great about last year, being remote, is that anybody who wanted to watch MODA could see it virtually. But the energy of being in person is insane.

One of our faculty advisors was talking about how he went to a state school, and UChicago students don’t have that state school energy—and he said it, not me, so don’t quote me on that. But the fashion show is one of the events at the school where people are together and so lively. I do want to say that I think even now at this school, there seems to be this energy that’s very much restricted to people who, y’know, buy expensive clothing and show up to MODA front row. That dynamic still exists.

But so many different communities of people come together. I don't know what to expect from this year’s show, coming off the virtual one, but that's what makes it exciting. 

 On creating new experiences for designers:

When David and I were design directors, we really got an insider sense of control over so much, like being able to create a class of designers. We got to rework the budget, too, and were able to provide a good amount of money for people to really explore. It provides an opportunity for people to explore something without buying into it. We interviewed a lot of really cool kids who were interested in fashion, from the buying aspect to the construction aspect.

Through the process, we create a really diverse class of people that bring in a diverse group of models. It creates a unified experience at the show that brings all different types of people together. I don’t think anyone should ever feel intimidated. 

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Images courtesy of David Chen. See his designs at MODA Nouveau on May 6th, 2022.

Designer Profile 2022: Arjun Kilaru

I had the pleasure of interviewing Arjun Kilaru, third-time designer and ambitious triple major hailing from the San Francisco Bay Area. Besides designing for the show, he is also involved with the magazine, having started a fashion podcast. His past collections have explored a variety of topics including gender and the social aspect of fashion, so I was very excited to see what he is cooking up this year. Keep reading to find out!

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How far along are you in your design process? 

50% done with the sewing. I will probably get some more done today. I'm taking it slowly but surely. 

Have you encountered any challenges? 

Nothing crazy. I mean, I’ve done this twice now, so I'm comfortable with how everything goes. I know that it will turn out okay, and I’m not worried about it. I’m having fun, you know, my roommate’s modeling for me. 

Are there new discoveries or things you are experimenting with? 

I'm working on using more accessories. One of my pieces is going to be like a cloak that I'm making, for the person, I'm using a lot of accessories on the clothes. I'm using bobby pins and putting things on the pins.  

For your collection this year, what inspires you? What is your design philosophy? 

A: My artistic inspiration came from a class that I took in the fall in the sociology department about cults and new religious movements, so each week we went over a new cult in length, discussed the motivations, the leaders, and one of the things we discussed was the fashion. There's a lot of cults that have very distinctive outfits, and you know, I was very interested in how these organizations have used fashion as a way to control people and make them feel separated from normal society and a part of the specific community. That's definitely inspired my collection this year.  

Rajneeshpuram and his secretary Sheela. Image via

I want to go for a cult theme and specifically, I would say the cult of Rajneeshpuram inspired a lot of my outfits. It was near Antelope, Oregon in the 80s. They were a group of followers of this Indian guru who believed in free expression and a very communal type of lifestyle. They ended up committing bioterrorism, the largest biological warfare attack in U.S. history, actually. They sprayed a bunch of local restaurants with salmonella. The class was called the Prophet Q, it was marketed as a QAnon class, but it was really a cult of the week. I mean, they had very interesting fashion choices. They also wear the same outfits. A couple of other cults I was also interested in looking at, you know, Jonestown, there were extremely uniformed, everyone there wore the same outfits. 

I'm going to have two of my male models probably wear the same outfit or similar outfits, and my female models will be the cult leaders wearing cloaks.

A scene from Wild Wild Country, which is based on the cult of Rajneeshpuram. Image via.

What doesn’t inspire you? 

Probably TikTok, I don't know, I don’t like the influencers. What else... I'm also inspired by Christopher Nolan films. I've been watching a lot of those recently, and I like how deep they pull you in. Nolan is very industrial and big budget, maybe that’s how I feel about my collection. Maybe it's kind of how I feel. 

Has your design philosophy grown in the past few years?  

My themes in the past have been very broad. First year, my whole thing for sure was that I wanted to talk about gender. I did ok, but the theme was super broad. Last year, I talked about the idea of fashion as a means for self-expression versus a means for showing off your wealth. Why do people wear things? That’s why I used the Louis Vuitton print. This year, I like having a very focused theme with it being cult fashion. 

What are you looking forward to the most about MODA Nouveau? 

My parents will be here for first time with my brother, and they've only come to Chicago once or twice, so it will be cool to see them here, especially in the spring. That's what I'm looking forward to. I gotta make sure I get the tickets! 

Do you think there is added pressure due to the show finally being in person again? 

I’m sure there is, but I’m trying to not focus on that. I think I can make it happen in the time I have remaining, so I'm not super worried.  

What kind of person embodies your design? 

People who are open minded. Cult is a very interesting word because it has been historically used to oppress groups of people. If I was being very politically correct, I would use the term new religious movement. People who were inspired by, or not inspire, people who are accepting of that idea. People have different opinions and thoughts to them, but my models are all great and I'm excited to see the result. 

Can you describe some of the silhouettes?  

The cloak is going to be a statement piece. It's a black cloak, and I'm putting green lace on the back of it in the shape of a cross, and it’s going to be bound by chains to symbolize the oppressive nature of some of these cults. The chains are going to be all along the front of the cloak that I'm holding together with bobby pins. Then I'm going to put trinkets on the chains, and then my male models are going to wear robe type outfits, one of them will probably even be wearing shorts. The clothes are made of velvet, I use velvet a lot, and I’m making 90% of these by hand without a sewing machine. I prefer the accuracy. 

Designer Profile 2022: Isabel Sobolewski

Goodbye red coats and hello khaki trenches - the fashion show is coming, the fashion show is coming! As designers are sewing up their threads (read: preparing) for the show, I got a chance to catch up with Isabel Sobolewski, a second-year Molecular Engineering major and budding textile aficionado. As my Trader Joe’s tulips come into full bloom, I wanted to chat with Isabel and get her take on this spring awakening and how it has influenced her pieces this time around.

We chatted amicably for a while, getting to know each other a bit before delving into the nitty gritty details. We covered a lot of ground, from academics to style inspiration, and then dived headfirst into our haute investigation…

How does already having a show under your belt aid in contextualizing what you want to do for your pieces this time around?

This time around, I really wanted to focus on the technicality of my designs. I’ve been sewing since third or fourth grade, but I really want to focus on tailoring my pieces - like, I wanted them to look good up close. I want the seems to look straight, so I’m really focusing on making it look good in that way - from every angle, I guess.

How have you been able to build up to that? What is the process for you in terms of honing those skills?

I’m a self-taught sewer, so I’ve just been sewing a lot throughout the summer. Everytime I could, I would sew something, so now I’ve got an entire closet of outfits that I’ve sown. For the show, I’m making a pair of jeans, so I’ve been practicing jeans all summer - fixing things where I think they need to be fixed, so yeah. I’ve just been practicing and sewing a lot.

Cool, so when you’re sourcing materials for these projects, where do you go? Do you like using recycled items, or do you just kind of go to a textile shop and are like, “Yo, give me new material?” What’s your deal?

I first started out with muslins, like thin fabric so I know where I need to adjust. For zippers, I know the fabric there will be super thick, but thin fabrics help with the preliminary creation stages. I also have a lot of fabric at my own home and I practice on fabric that I would wear - like, I’ll have pants that I could wear if they turn out well. Yes - oh also, I love thrifting fabrics. I love going to thrift stores and getting blankets and sewing clothes out of them.

Why did you start using blankets?

Well, it’s essentially like two or three yards of fabric for, like, four dollars, when a yard of fabric would usually go for eight or so it really saves me money.

Okay, budding Biz Econ major instead of Meng…?

Haha, maybe…

So, you’ve been experimenting with sewing and tailoring - is that one of your goals for this Show? Are there more goals?

My biggest goal was to tailor my outfits because I don’t want to be, like, sloppy this year. I felt like last year I rushed myself, so this year I really wanted to get a head start and make it look good. I also want to make it look good on my models. That was one of my biggest goals - really accentuating my models and making them shine on the runway, I guess. 

I really like that as a focus. You also mentioned timing, and when I think about time and fashion, I think about trends, so I want to ask what your take is on the trendification of all things, like micro-trends, macro-trends, the works.

I’m all for it, like I kind of love when people just wear what they want to wear, and if they happen to like what’s trending right now, then [shrugs as if to say “That’s that”.] I’m not a big fan of fast fashion, though. I understand how Shein and all that is really playing into the microtrends, – but one thing that really surprised me is the claw clip, like that was a microtrend that has stayed.

Yeah, I think it might be the utility of it.

Yeah, I think it is. 

It’s one of those things that’s been around since the 90s, like scrunchies and claw clips. I wish that hair bobbles were coming back, like the little butterfly clips.

Oh, I love butterfly clips.

Love, love, love. Okay, cool. Since you’re focusing on jeans this time around, do you think that there have been specific changes between what you were working on last year and what you’re going to work on this year?

Yeah, so last year my theme was focused on the movement of fabric, so I had a lot of dynamic pieces. This year my theme is a little different. I collect rocks for fun when I go hiking, so I was like, “If this rock were to go have a girl’s night, what would she wear?” I’d say that this year, my pieces are a bit different - seemingly so, like they all look distinct and different from each othert, but if you understood my rock inspiration, you’d be like, “Oh, they’re like that,” – like, oh, there’s the marble, there’s the quartz rock, you know.

sketch 1

sketch 2

sketch 3

Do you attach vibes to each one? You evidently draw inspiration from the rock based on the context and theme you’ve just explained, but what about the rock influences that - is it the color, is it the shape, the texture?

It’s the color and the texture, I would say. That’s also something I look at when actually designing - the color and the texture of the fabric; I really love combining textures. It honestly comes down to textures, like for the quartz pieces, I’m using a different material that I would for the marble look - that one’s more sleek.

Do you think that influences the way that you explore tailoring?

Definitely, yeah. For the flowy fabric, it’s harder to work with, so I have to pay attention to that. For the quartz, it’s more of a structured look - once I put the boning in, I have to make sure its perfect for my model.

Oooh, so there will be boning…a little corset moment?

Yes, boning for a corset - I don’t want to reveal too much.

Exciting, my god, I’m so excited! What’s your favorite piece so far? Don’t give me too much, though, ha.

Um, what have I designed? Okay, um, I’ll tell you about the rocks. There’s marble, obviously the pink quartz, and an orange rock - I don’t know what it’s called, but its opaque with different orange streaks going through it. I chose the quartz one because I’m super girly and its a really girly outfit. Yeah, but all of them are super different from each other, so I really love all of them. I’m really excited to see the differences when they [models] walk - one of them is a clubbing outfit with pants and a crop top and, like, different textures all over.

Isabel’s Vibe Collage

Oooh, do you have any inspirations you’re drawing from, like fashion houses, brands, designers?

Personally, mine is Gucci. I’m a big Gucci girl. Some of their more outlandish designs I like; I don’t like their toned down stuff.

What do you mean by toned down?

Like, the old fashioned looks, looks with nothing new to them.

Like, is there no pattern or too much structure? What’s the deal?

Honestly, if there’s no color. I mean, no hate against it all, I love it, but I’m a color gal. In terms of designing, though, I kind of like doing my own thing. 

Do you find it difficult sometimes to do your own thing?

Sometimes, yeah. Sometimes I’ll scroll through Pinterest and I’m like, “Oh, that’s a cool idea. I wonder how I could reimagine that sort of thing.” Sometimes I’ll draw inspiration from those brands, but I have a pretty youthful outlook on desigining, like my pieces are meant for younger generations, so its hard to draw inspiration from, like, Versace and Gucci because they’re often meant for more mature people. 

Okay, so when you look at Prada versus Miu Miu, who would you gravitate more towards?

Oh, definitely Miu Miu, all the way.

Love, okay, so how do we feel about the Micro Mini™?

I don’t know, I feel like it’s overplayed at this point, like I saw this TikTok about how you can’t just wear the mini skirt. You have to wear the whole outfit; if you want to do a Miu Miu shoot, you have to wear the whole outfit. I think it’s cute, but it’s also, like, I don’t like how it’s kind of tailored to skinny girls - you don’t see enough plus sized girls in a Miu Miu mini. Like, my whole butt would hang out. I think it’s cute, but its for a very specific group.

Last year, you weren’t able to do the show live. How does it feel to be able to do things in-person?

It’s like night and day. I guess one of the biggest differences this year is that we’re allowed to do fittings with our models, which is really helpful. Last year, we couldn’t touch our models, so if something didn’t fit right, it’s like, “I don’t know what I’m going to do.” Now, it’s nice knowing that we have a venue and people will be able to come and sit to watch the show. Seeing the models and everyone’s designs is so exciting - I got goosebumps from just watching mine. So, yes, so exciting!

Do you think that energy and excitement gave you energy to keep propelling yourself forward? What was your takeaway from last year’s show?

Regardless of it not being in person, I loved every minute of it. I know I’m an engineering major, but I do want to pursue a career in fashion, and last year really opened my eyes to that fact. Seeing my looks walk down the runway, even if it was only in front of a camera, it was like, “Wow, these looks are mine, and no one else’s.” That’s a feeling I want to keep chasing - the show helped me find another passion of mine. 

When you think about specific words or specific moods that this collection will evoke, what comes to mind?

I think, like, fun and flirty - a Girls Night Out on the town - I want to be silly and vibrant with it! 

Designer Profile 2022: Kristin Wu

This week I had the pleasure of interviewing Kristin Wu, a Computer Science and Media Arts and Design double major, whose collection for the MODA fashion show centers around futuristic and functional aesthetics that are inspired by content across a variety of media. Below is an interview diving deep into design process and inspiration ahead of the reveal of Kristin’s second collection for MODA, self-described as surveillant, utilitarian, and modular.

What are some sources of inspiration for your collection?

Check out Kristin’s personalized techno playlist that has driven her design process for the MODA show!

Kristin: Music and tech concepts. For music, I’m really into instrumental productions. Things that have the audio vibe that I like to translate into the visual aesthetic and style. They’re all pretty intense, they’re all futuristic sounding, which I honestly think translates well.

And the tech concept part, since I am a CS major… a lot of the stuff that we learn is interesting and my brain likes to apply it to fashion. For example, modular fashion. I think it’s derivative of modular learning. I think modules also exist outside of AI and modular learning. But it’s basically like the breakdown of certain tasks into incremental units. That’s how the AI learns is by doing those tasks individually, and it’s a breakdown of the larger function.

Kristin’s mood board for her collection.

The way that I’ve seen it translate into fashion, and why I like the idea of it, is the deconstruction of different garments of clothing or articles of clothing into pieces, and then you reconstruct them together as the person’s wearing it. There’s two really cool aspects of it. I think once you start removing the assignments or labelling of things as like, “this is a shirt, this is a pair of pants,” you get a lot more interesting ways to wear things.

Also, on a sustainability aspect, you don’t have to buy as much because you can take these pieces and reassemble them and reconstruct them, and wear them different ways that they were intended to be worn. I think there’s an interesting translation between these two fields, and I feel like it’s not necessarily super intuitive, so it’s the integration I kind of want to explore.

Have you done fashion design work before?

K: I did the DBC program last year, so I guess last year was my first time really designing and sewing. And then beyond doing my three works for the show, I haven’t really done that much in terms of actually constructing stuff, but I thrifted a bunch of things that I tailored and altered during the summer, which is the additional sewing experience I have.

What are some of the most challenging and rewarding aspects of the process?

K: Challenging, for me, is like… I always think at the beginning I can out-design any construction problems I’ll have later on, but that’s never true. Things you think are problems at the beginning end up not being problems, and then things that you don’t foresee as problems will end up being problems when you start sewing.

“I always like to linger on the design process because I think that’s where the fun is.”

— Kristin Wu

One of the [challenging] things is the fabric I wanted to make one of the… it’s like a hood-sleeve [laughs]! it’s basically just a hood and a sleeve. And the fabric I wanted to use to make that ended up being a lot thinner than I wanted it to be, so I had to think about double layering and stuff like that to have the structure and the kind of look that I wanted it to originally have. That’s not something you anticipate when you’re initially designing things. So there’s that aspect that I think is challenging. And for me, I have more of an art background than I do a physically sewing background, so I always like to linger on the design process because I think that’s where the fun is, then… troubles arise! when you actually get to the sewing.

But rewarding is when you actually see your models in their fits. I haven’t really gotten to that point where we’re totally fitting models yet. But I remember from my show last year, that’s super rewarding to see them in the pieces that you’ve made. And then there’s the display of the pieces you’ve made and that whole aspect, which is really rewarding. But it’s the translation of something you have created in your mind into an actual material thing is really interesting.

Look 1 in Kristin’s collection.

Look 2 in Kristin’s collection.

What are you looking forward to most about the show?

K: I think it’s the fact that we’re really having a show! I think last year it was really underwhelming cause it’s like you got all your pieces together, and then you show up to… it was like an auditorium and then your models walk, they play background music, and that was it. You didn’t really get to see anyone else’s looks and stuff like that. So, I think the whole environment of actually having a physical venue and a show where everyone gathers at the same time and you get to see everyone else’s work. Because sometimes when you’re in the MODA designer group, the individual designers are each doing their own thing, so you don’t get as much cross-interaction as you probably want or would want. A lot of times I’ll know what designers are doing but I won’t get to see final product stuff until the actual show, so I think seeing that all together is really cool.

Describe your collection in three words.

Surveillance, utilitarian, modular.

Is there a particular person or label that first inspired you to take interest in fashion?

Errolson Hugh, the designer that sparked Kristin’s interest in fashion design. Image via Nuvo Magazine.

Yes. It’s Errolson Hugh of ACRONYM. He was the first person that had the kind of design philosophy that I like. And I really, really like the aesthetic of the stuff he makes. So, he doesn’t really follow the traditional fashion cycle. A lot of the new stuff he makes are just revisions of the old pieces he’s put out but better. And there’s a lot more of a focus on the technical aspects of the pieces themselves. So it’s like the fabric: there’s a lot of consideration put into textiles, and the functionality aspect of it which I really enjoy. I think sometimes that’s overlooked in fashion a little bit. I think that emphasis is what really attracted me to his work specifically, and that pulled my into fashion.

How has your design style changed since your last collection?

K: Last year, I had a pretty solid idea of what I wanted for the aesthetic. This year, I think I have a stronger idea of what I want for the theme. So my theme this year is surveillance. All my pieces are some translation of that idea, which I think is unity that I didn’t have last year, which I’m really excited about for this year.

Is there a certain time period in fashion that you feel your designs are connected to, whether eras of the past, trends of the present, or the future of fashion?

Anna: I’m feeling like it’s gonna be future!

K: It is future. I like the post-apocalyptic, avant-garde, like a bunch of layering of fabrics and stuff, that’s totally my vibe.

Images courtesy of Kristin Wu unless specified otherwise. Soundcloud playlist courtesy of Kristin Wu.

Designer Profile 2022: Otis Gordon

a pattern of anti-precision… 

“I’m a musician and visual artist and I think a lot of that blends into what I look for in fashion. I play jazz so I think, in my heart, I’m not really used to precision I make all my own patterns using some regular paper and tracing things that may work — and a lot of times it doesn’t. But that’s part of the fun for me. I like messing up. I’m not too worried about sticking to patterns or rules or stuff like that.”

Photo Courtesy of Otis Gordon: Paper and Precision

… with the audience in mind… 

“I try to keep the audience in mind (when designing). I try to put myself in the audience’s seat – or shoes. I think if I try to objectify myself from the scene and try to look at it as if I’m just watching another designer it makes me be critical over my own designs — which I think can be an echo chamber. So I definitely keep the audience in mind which helps me choose the materials and the shapes I wanna go for. I realised that — at least for this year — I don’t want to do anything overly-complex I just want to make something that looks good visually.”

… and a direct design philosophy… 

“My design philosophy is just do it, you know, in the moment, changing things, not sticking to the plan too much, and also just getting a lot of feedback from your friends that you respect. Get other heads in the scene especially if you have artist friends who you admire. They could really give a lot of valuable (artist-driven) feedback.”

Photo courtesy of Otis Gordon: an Artist’s split seconc

​… driven to a split-second

“ I think the most exciting part of the design process is right before you try something on. When you’re not really sure if it’s going to fit right or whatever — but it looks good. For me, a lot of times it doesn’t. Just that split second before you try something on. (…) I think it’s more personal and unique that experience. I’m glad that being a designer has given me that.”

Make sure to check out Otis’ fantastic collection at this Spring MODA Fashion Show.  

“Last year I was part of the show but it was all remote which was interesting. I’m excited to have an in-person show. (…) I hope that’s cool.”

-the words of Otis Gordon

Designer Profile 2022: Emily Lin

I had the opportunity to chat with Emily Lin, a new designer for the 2022 MODA Nouveau fashion show. We discussed her experience in DBC, the influence of meme culture on her three looks, the rise of subversive basics, and the contrast between the manmade and the natural.

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On being a new designer:

Emily Lin, new designer for MODA Nouveau

I've always been interested in fashion, which is why I joined MODA my first year. I’ve done a lot of graphic design—that's why I joined the marketing team—and I have a lot of experience with creative projects. I do photography in my free time, I paint, stuff like that. For me, creating clothing has always been really intimidating.

My friend has a sewing machine, and because of COVID she was sewing masks. I gave it a try and I absolutely failed—it was horrible! I thought it would be exciting to create clothes, but I was also scared to do it without a lot of guidance. So, when I heard that MODA had this program, I was like, oh, this is kind of perfect, because it would give me the opportunity to learn from someone who's professional, and in a less intimidating way where there's also other people who are learning for the first time.

I think coming to UChicago exposed me to a lot of people that do so many different things and are so amazing. It kind of inspired me to try to do more cool things myself.

 On Designer Bootcamp:

So, the structure of DBC is that it's a six, maybe seven week course. At the beginning you just learn how to use a sewing machine because there's so many different parts. We would learn different types of stitches—front stitching, backstitching, essentially the basics of construction.

The first week was really intimidating because a lot of things can go wrong in sewing. Usually it's really easy to fix after you've experienced it, but because I've never experienced it before, the first time things went wrong was always like, oh my god, why does like the front side of my piece look fine, but the backside looks like demonic? But we had an instructor there to help us fix things.

Gradually she let us use patterns—which is how you construct clothing most of the time, there's existing patterns and you modify them in order to create original designs. We made shorts first, then T-shirts, just worked through those things slowly to gain experience. After the program ended, we’re sent on our own but still have the instructor there to talk to about our designs, discussing what fabrics we were using, what patterns, and if they were suitable for what we’re envisioning. We were left in a good place. 

“You’re seeing all of the good sides of people in terms of their work ethic, and it motivates you to think about how you’re doing things, your own process, and how you can modify it. ”

— Emily Lin

 What is your favorite part of the design process?

There were many parts of it that were fun! Trying to create something that's original—the sketching part, for example—is really fun. As I was learning to sew, there was that learning curve that was kind of demotivating. I was scared that maybe I wouldn't learn in time for the show. But every time you finish a piece, the way that it all comes together is really satisfying.

You’re kind of constructing the clothing inside out during the process, so you can’t really tell sometimes what it’s going to look like on the outside—and usually it looks pretty janky on the inside. But once you flip it the right side you're like, oh my god, that's actually a pair of pants. And I think that's the most satisfying part. 

Emily’s sketches for her three looks: gaslight, gatekeep, girlboss

On design inspiration:

I’m someone who needs a concrete direction to start. I have to have a set direction that I’m going in, and then I go for it. My interest in fashion started when I wrote a paper on Chanel—learning about her life story, and the way that she got to where she was as a brand. All of her pieces are very classic, very simple, and that was kind of what I was aiming for. But at the same time I wanted my pieces to be interesting and unique.

On TikTok I found a series talking about Independent Asian designers on the rise right now. For example, there’s one named Calvin Luo, and he has some really cool modern takes on classic staples like blazers. Gaining inspiration from those aspects of fashion is what inspired me to create my designs. 

There’s this meme called gaslight, gatekeep, girlboss that I thought would be really funny to represent, to do one piece for each word. The more general theme is the corporate office. The aesthetic seems boring, and there's expectations as to how you're supposed to dress in that setting, especially for women. Skirts have to be a certain length, everything has to be a neutral color. The shape must be classic, nothing exciting. I was thinking that it would be interesting to add some details to the suits, or play around with other types of clothing that would make the styles more interesting—like creating an alternate universe where you could wear anything you wanted to the office. Nothing’s too specific yet, though. For the first one, when I was thinking gaslight I was thinking manipulative, soft, satin materials. Gatekeep is more aggressive in my mind—more dark clothing, string to tie garments together. Girlboss is a classic blazer look.  

On moodboards and aesthetics:

I knew I needed to look at a lot of different styles of clothes and see what type I wanted to create. I found that subversive basics appealed to me, so I looked for a few brands that specialized in those and incorporated them into my moodboard. I love the strings, the frills, the way you can customize how you wear the piece.

As I was making my moodboard, Sahana—one of the design directors—was telling me that I should incorporate other aspects, other visuals aside from clothing so the directors could get a sense of the vibe I was going for. I took her advice and started thinking about the setting I was imagining my clothing to be worn in. YSL, for example, is classic—there was a show in Paris where lights were coming out of the ground, and the ambiance looked really amazing. That’s where the Eiffel Tower comes from.

There’s some accessories I thought looked cool as well, along with boots constructed in cool ways. Margiela has really interesting shoes, the style, the metallic, it feels edgy yet feminine. In terms of makeup, I was thinking of something more ethereal. The ones that I chose for the moodboard have blossoms and butterflies, and when you think about the corporate setting, you imagine glass, concrete, something human-constructed. I want to create the juxtaposition between the manmade and the natural. 

Emily’s Moodboard

What are you looking forward to most about the show?

This is my first in person show. Last year I modelled for the show virtually, so online was my main experience. It was super, super fun to dress up and take pictures and all of that. Even though I'm not under the spotlight this time, I think that it's going to be more rewarding to see my creation on the runway. I'm most excited for people to see what I've been working on, because like sewing takes so much time. I probably spent like 10 hours on a pair of pants, and it seems so simple, but it’s much harder than it looks. Having people see that is what's keeping me excited and keeping me going. 

What was your experience like with other designers?

At the beginning of DBC we saw each other designs, and it was really, really eye opening. The design directors did a great job of choosing people with different styles of designing—people brought different cultural influences to the table, and so many different potential techniques. All of the possibilities within each person designs were really fascinating, and obviously we were all learning together, so it was motivating to see what others were doing. If someone finishes faster than you, then you're like, oh, maybe I can go faster too. But there's some people that go at a much slower pace, and they’re more precise in the way that they stitch. You're kind of seeing all of the good sides of people in terms of their work ethic, and it motivates you to think about how you're doing things and your own process and how you can modify it.

A fun part was seeing which fabrics people were buying, because we went on a trip together to look. People got really interesting stuff, like faux leather, vinyl, materials like that. We mostly work on designing in our own free time, so we don’t run into each other often because everyone’s schedules are so busy, but occasionally you'll be in the costume shop and you'll see someone else and it'll just be a good time. Fabric shopping was so overwhelming because there's this discount outlet for textiles in Pilsen, it’s this humongous warehouse—probably like, two times the size of Costco. It’s huge!

What advice would you give for someone who’s interested in designing next year?

You should just do it. You should apply. I was a little intimidated—I may be an artistic person in general, but sewing is different, it’s manual construction which isn’t my strong suit. It’s not something intuitive, but it’s so fun. Once you get good at something you’ve been wanting to be good at, it’s so rewarding. Learning to sew is practical too, you cane make anything and use it later on. You meet a really amazing group of people who are just as creative, and especially if you haven’t had any exposure to MODA yet, this is a great way to do it. Your work gets so much visibility and the credit it deserves for your efforts.

The Blog creates amazing content, as well as the Magazine, and this is a time where all the branches come together to collaborate in ways we don’t see often. It’s an irreplaceable experience that everyone should go for if they’re thinking about it. 

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Images courtesy of Emily Lin. See her designs at MODA Nouveau on May 6th, 2022.

MODA Designer Profile: Alex LaBossiere-Barrera

Alex LaBossiere-Barrera is a third year in the College majoring in economics and computer science while pursing a minor in architectural studies. He has been a designer for MODA since his first year, is a member of the varsity swimming team and Edge Entrepreneurship, and enjoys engaging in startup projects, music production, and writing about tech. Read on for Alex’s take on the artistic freedom he’s found in fashion design:

What about the MODA Fashion Show has kept you coming back to be a designer?

It’s the most incredible creative outlet. Having the ability to step away from class, work, or anything else going on and just work on designs for a while is incredibly cathartic.

Alex LaBossiere-Barrera

Did you have experience with fashion design work before becoming a MODA Show designer?

Not really. I was always into fashion because I hung around people who were huge enthusiasts but would always be pretty conservative with it personally. I didn’t even know how to sew until I did Designer Boot Camp in my first year.

What are your main creative inspirations?

I tend to extrapolate on things I could see myself wearing. I’ve definitely gotten more boring in the way I dress over the years, though, so I’m probably just living vicariously though my models at this point.

Does your collection this year have a theme? What were your inspirations?

I struggled with that for a while, but in all honesty a big part of what made this year’s collection so enjoyable was giving myself the liberty to just make what felt right. I literally walked into a fabric shop with no idea of what I wanted to make and came up with the entire collection on the spot.

That aside, I made a point to ask my models what they enjoyed wearing and did my best to incorporate elements of that into their clothes. It’s a lot more important to me this year that they feel comfortable in what I make.

Has the pandemic changed or influenced your design/creative process?

Above all else, it’s given me a lot more time to work and has kept me somewhat sane as we’ve all been confined to our homes. In some respects it’s also forced some introspection, hence the lack of tangible theme. Maybe the lack of clear creative vision detracts from it all, but it’s also a lot more personal and definitely feels better this way.

What are some of the most challenging and rewarding aspects of the process?

For starters, I’m still not terribly effective at all this. It took me about two weeks to make Elizabeth’s jacket so you can imagine I’ve built up some patience. On the other hand, it’s amazing to have the creative liberty and technical capability to have pretty much any idea you want take form in front of you.

What advice would you give your younger self?

Spend the time making five great pieces instead of ten okay ones.

Is there anything else you want people to know?

You know that thing you’ve always wanted to do? Stop waiting—get started.

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Photos courtesy of Alex. Thumbnail by Vivian Li.

MODA Designer Profile: Vivian Li

I am a second year Art History major, still trying to figure out a cool second major or minor. I’ve lived in Shenzhen, Beijing, and San Francisco for 6 years each — now I’m in Chicago! Besides writing, designing for MODA and a part-time job on campus, I haven’t done anything else this year. Quarantine made me want to become a hermit in the woods. 

What are some sources of inspiration for your collection? 

I LOVE plaid and checks. It started with Vans and somehow evolved to Bottega — I never actually got Vans but I did get a Bottega bag. I also own a checkered rug, an armchair, a shirt, and a pair of jeans. I also bought a vintage cookbook solely for the white-and-blue checkered cover. I might go crazy soon and paint checkered patterns on everything I own. 

The summer before freshman year, I actually tried to make a quilted duvet cover but gave up due to neck pain. I’m making a quilted jacket this year and struggling with the same neck pain. I also got into thrifting, so I thrifted a lot of my fabrics for the jacket, including old pillow cases, curtains, and faded jeans. Just trying to be sustainable and make use of old stuff that nobody wants. 

 Have you ever done fashion design work before? What are some of the most challenging and rewarding aspects of the process?

I designed last year. How I managed to make three outfits I truly cannot tell you, but I did spend the entire winter break sewing or stressing about sewing. This year is a lot more relaxing because I’m only making one outfit. It’s also easier this year because I already know, for example, what a sleeve looks like and how to attach it to the shoulder. The most challenging aspect is “making” my fabric. Sewing together my first mock-up (with muslin) took less than two hours, but I spent more than seven hours on Sunday and finished only the jacket sleeves. 

However, as time-consuming and exhausting as quilting gets, I find the process to be meditative and quite comforting. I studied painting for more than ten years, never really into sculptures, but fashion design is as close as it gets to sculpting something. How an idea in my head becomes a drawing on paper then transforms into a physical reality on somebody else’s body is truly amazing.  

Image via

Who do you have in mind when you’re designing? 

Yayoi Kusama

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Photos and thumbnail thanks to Vivian Li

MODA Designer Profile: Kristin Wu

What are some sources of inspiration for your collection?

I get a lot of inspiration from different forms of art, for instance music. The production of it allows me to grab much more creative inspiration that isn’t explicit, like with song lyrics. When I’m listening to various sounds, I envision a certain aesthetic to go along with that. Then, I visually come up with an outfit that will fit the vibe of what I’m hearing. I also get inspired by concepts and ideas that don’t initially appear like they can go together but then blend into one design. I think it’s a good way to challenge the thought process I go through to come up with my outfits.

Have you ever done fashion design work before? What are some of the most challenging and rewarding aspects of the process?

I have no prior experience in fashion design work. So, going into it was a big challenge. Especially for more technical things like learning how to use a sewing machine and knowing how to work with different fabrics under the needle. But it is so rewarding to go from struggling to load a bobbin to now being able to produce clothing and see my pieces come together.

What are you looking forward to most about the show?  

I think being able to see the clothing I made turn into the image I had in mind is what I am looking forward to the most. I know it will be exciting to see the design process in its final stages where the materials I worked with flourish into something wearable and I hope that my models feel good in what they are walking in.

What do you have in mind when you’re designing?  

 When I am designing there is a final image I have present in my mind no matter how much the details of the clothes may change. So, I am driven by this idea of utilitarian, functional type of style and I allow the process to take me through variations of the outfits toward that general feeling I want to convey.

 If you could give yourself any advice on the design process, what would you say to your younger self?

 I would tell myself to just start, sit in front of the machine, and try things out. I think I over planned my designs at the beginning and then when I ordered my fabrics online, they didn’t turn out exactly how I thought they would. It hurt a little bit to have to deviate from what I originally had planned but I just had to push through the fear of not meeting my exact expectations and adjust along the way. You always figure it out in the end, and I think it’s better to work like that because you learn to embrace your obstacles with a clear head.

What’s your favorite aspect of the design process?

 For me, having this central idea come to life is such a satisfying feeling. Taking something that you can see clearly in your head and having to maneuver through different tactics to be able to make it concrete. It’s true of all art for me whether I’m sketching, painting, or sewing; it can be the most difficult part but also the most rewarding.

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Photos thanks to Kristin. Thumbnail by Vivian Li

MODA Designer Profile: Matthew Sumera

Matthew is a second year at the college, double majoring in Visual Arts and Business Econ. He is also the Head of Visual Content on MODA Blog and a first-time designer who has worked on various creative projects for MODA as well as on his own. In his free time he loves picnicking, puzzling, and taco bell with the homies.

What are some sources of inspiration for your collection?

For this collection, I look at my childhood obsession: Bratz. When I was little I wanted to be them so bad. They were just so bad and so much cooler than anyone around me. With that in mind, I wanted to bring the energy the Bratz give me to a more masculine silhouette. I was very much inspired by the adrenaline rush I get when I enter party or a club of complete strangers, where it feels like anything is possible. Thats what I want people to feel wearing my clothes, that anything is possible, and that they’re the coolest person in the room obviously.

Have you ever done fashion design work before? What are some of the most challenging and rewarding aspects of the process?

This is my first time sewing really ever besides shitty hem jobs. The most challenging aspect is just getting started. It was so daunting at first. I was just like “where do I even start?”, but once you get going it becomes so much easier and fluid.  I would say the most rewarding aspect is just seeing the garment coming together and then the finished product. 

What are you looking forward to most about the show?

To be finally done sewing.

Who do you have in mind when you’re designing?

I want to design for people who for them fear is a foreign concept. Someone who stands out when they enter a room. Someone who is fully themselves, the accepted and unaccepted parts of themselves. I want someone who isn’t afraid to say whats on their mind; someone who craves the unknown. Overall, I image my clothes worn by those people you see once in life, but they strike a cord with you and the image of them is forever in your memory. That and the kids you see at the club who are scary, hot, and definitely has some kind of substance abuse issue.

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Photos thanks to Matthew. Thumbnail by Vivian Li.

MODA Designer Profile: Ashanti Owusu–Brafi

“Materiality, texture, hardware” are not necessarily words you––or at least I––would associate with fashion, but that’s how Ashanti “Ash” Owusu–Brafi (any) describes their collection for MODA 2021. A fourth-year student majoring in Visual Arts, Ash is the sort of person that exudes creativity.

Ashanti’s collection for MODA 2021 explores the conundrum of utility in fashion. As a person that has worked extensively with welding––for them sculptural practice––they’re fascinated by industrial tools and metals, possibly the most utilitarian influences. Oppositely, their penchant for layering items also attracts them to this idea of wearing things that don’t perfectly connect with each other but solely serve the purpose of adornment. Designing with this contrast in mind, Ash’s collection also explores what is perhaps the most fundamental aspect of clothing, but one most of us don’t think about much: putting it on.

Through the lockdown last year, Ash spent a lot of time with her grandma, who had Alzheimer’s. Day in and day out, they would witness her struggle with getting things on and off. As a result, Ashanti considered the utility of their own clothes; she loves all these accessories, but they have no “use” and make clothes hard to wear. Inspired by Rebirth Garments, a designer who works specifically with queer folks and people with disabilities, Ash deep-dived into adaptive clothing, exploring ways to make clothes that are aesthetically pleasing but still easy to wear. 

Designing this year, COVID aside too, has had its fair share of challenges for everyone. Ash cited not being around people and having the chance to work together as a part of the process they really missed. “I miss having people come over and try on clothes, because now I’m making clothes for myself and I don’t want to make clothing that’s only suited for my body and my body type.” However, there are “two sides to the same quarantine coin.” Designing for herself and on herself has helped her become more in-tune with herself; it’s been a chance to explore clothing on a deeper, more personal level. What do they like about wearing clothes? What do they like about clothes?

Clothes, for Ash, have always held special value. Their self-cultivated style is “a collection of all the things [she’s] seen in the world that [she’s] loved and enjoyed.” When she’s made clothes previously, they’ve been for friends and family; with the handmade quality, they become personable gifts. Throughout the process of designing for MODA 2021, the question they’ve asked has been, “Would my roommates wear this? Would my friends wear this? Would someone from the art community in Chicago wear this?” They started this journey with a set of friends in mind they were designing for, but interviewing the models and talking to them about how they liked to move in their clothing, what kind of clothing suits them, has helped her rework who she’s designing for. 

“What you wear is like an archive of who you are and where you’ve been, and your body becomes an exhibition of history.” Their work for MODA 2021 comes from their gut, a reflection of their authentic self. Given that it’s Ash’s first time designing for MODA, they’ve really dug in deep and made this opportunity their own. She’s made her own pattern and ordered a variety of fabrics––denim, mesh, lycra––with this pattern, which she’s incorporating in layers into her final collection. 

Specifically exploring materials and texture, her research into the leather industry led to them using discarded leather for this collection. Similarly, they’ve also revamped a tent that was going to be discarded by a store, deconstructing and then reconstructing its fabric into a rain jacket. Initially drawn to the tent’s colors, a majority of Ashanti’s collection features warm tones and neutral colors––think greys, browns, military-inspired shades. 

While I wouldn’t have thought so, MODA is Ash’s first time designing clothes from scratch. They modeled for MODA a few years ago, for Sophia Harding–Jackson’s legendary intestine-inspired collection. “There was something epic about it; from the walk, the model thing, going to the place, getting my makeup done, being around creative people.” This creative atmosphere specifically, was something they wanted to be a part of. “It's one of the few RSOs that have the ability to house this sort of generative work, like an incubator.” 

The best part? This has inspired Ash to want to start making their own clothes again. Currently, they’re in the process of making a website to launch their own clothing line. She’s also applying for a Master’s program in fashion. As Ashanti put it, “There’s more than meets the eye with clothing. I like to treat it as a secret we share and send a subliminal message. I hope to be performative in dressing and undermine gender stereotypes because my fashion is radical. My fashion is empathetic and aware. I like to subvert the ways I am perceived in the world; how people might predict my behavior by how I look.”

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Images curtesy of Ash. Thumbnail by Vivian Li

MODA Designer Profile: Ella Anderson

As the publication’s annual fashion show Network MODA approaches, I had the pleasure of chatting over Zoom with designer Ella Anderson about her collection. Ella is a third-year Art History major and Chemistry minor on a pre-med track. Remotely, she works as a volunteer in UChicago’s “Art is… In” project for the Memory Center; there, she does check-ins with participants with memory loss who receive art kits every week. Alongside being a returning designer, she currently serves as the co-EIC of MODA magazine.

You’re a returning designer. What led you back?

“It’s sculptural, almost, breaking down what I’ve drawn out and figuring out how all the pieces can come together from it.”

It was just a really great experience last year. Last year I applied to design totally on a whim, I think I submitted my application five minutes before it was due, it was a very spur-of-the-moment decision. But I just had such a great time doing the whole process—I don’t take any visual arts classes here but it was something I was really into before college, so it was really nice to have a project to do.

I really like doing creative stuff, so last year it was really great to have MODA as a break from work. Because it was such a great experience last year I wanted to do it again, especially since I really liked working with the models and the whole team.

Obviously this year is totally different and the show isn’t going to be the same, but I still wanted to do it because it’s such a great project to work on.

Can you describe your collection for this year?

I’m only doing two looks, I did two looks last year as well. I feel like it’s better to do fewer and do it well rather than spreading myself too thin. Last year I made a white and pale green dress, and this year I wanted to do something more bold and colorful. So, it’s been fun trying out different things, I’m being a little more ambitious in my patternmaking this year. Last year was almost like my introduction to it all, and this time around I figured out how to do things a little better. There’s such a steep learning curve, but it’s great to feel comfortable with what I’m doing.

ELLA’S SKETCHES

ELLA’S SKETCHES

Where do you get your inspiration from?

A huge source of inspiration is Architectural Digest. I love interior design, so I feel like in terms of color especially, interiors are such a source of inspiration for me. It’s kind of funny, because I don’t really turn to fashion, Pinterest, etc. for inspiration. Definitely more so interiors and nature, looking for color palettes where it’s not necessarily something clothing-related. I really like this Instagram account @jennymwalton, she posts a lot of color palettes and random stuff she sees on the street. I’m definitely more cognizant of looking around at what looks good in non-clothing settings. I like looking everywhere I can for different colors and shapes, especially places you might not expect to find them.

What’s your design process like?

I go through so many different sketches, I honestly have no idea how many different versions of my pieces I went through this year, but it was a lot. I’m always tweaking things, so it took me a long time to actually commit to something. I’ll mess around sketching for a while and if I come up with something that I like, I’ll start making patterns. I really like making the patterns myself, I don’t buy patterns or look them up online because the most fun part of it is figuring out how to structure an article of clothing.

I’ll look at specific garments to see how different brands do seams or specific details that are more flattering, but once I have an idea I really like, I’ll start drawing out pattern pieces on a big roll of tracing paper. It’s a lot of trial and error, transferring what’s in my head onto each individual paper for each individual piece of fabric I’ll cut. It can be tough but it’s something I’m good at, it’s really fun to me.

It’s sculptural, almost, breaking down what I’ve drawn out and figuring out how all the pieces can come together from it. I usually will sew a rough draft of it with cheap muslin to make sure it looks at least kind of okay, but when I commit to a fabric there’s a lot of tweaking since it’s not perfect to begin with. It’s a long process, I’m a little bit too much of a perfectionist when it comes to certain things, so there’s a lot of seam-ripping and starting over, but that’s the fun of it. Really trying to come up with something from my head.

What’s your favorite part of the process? It seems to be pattern-making, right?

Definitely. The design process itself is fun, but to me it’s mostly the actual pattern-making, figuring out how the design will transfer to the complete piece.

ELLA’S MOODBOARD

While designing, did you keep in mind the fact that the show would be in the internet sphere? Did it bring up any challenges for you?

Yes and no. I only design things that are my personal taste, which might be more simple than a lot of garments that come up in the show. But if the show is going to be digital, you kind of have to have something that’s a little more attention-grabbing compared to what you might see in person. So I gravitated towards much brighter colors compared to last year. At the same time,  wanted to follow my own tastes regardless. My approach is a little different since I only want to make things that are truly wearable.

I know a fun part of the show is seeing the spectacles, which are really amazing, but I guess my approach is slightly different. Trying to make something more simple stand out is a bit of a challenge when it comes to adapting to online. I think one of the big reasons why I like doing the show is because it’s very much for myself, it’s just really fun to do. At the end of the day, it’s about what I like to do.

Do you have advice for someone who’s thinking about designing next year?

Don’t be intimidated by it. I definitely was, but everyone is so friendly and supportive and anyone will help you. Last year, one thing that I was a little bit self-conscious about was that my designs could be seen as more boring. Don’t care about that, think about how it’s a great experience to just create and do something for yourself. Don’t get caught up in your head about potential judgement because no one judges, everyone is so supportive. It can be intimidating when you haven’t been in the space before and start thinking, “Can I do something as creative as that?” But that’s not what it’s all about. 

What are you looking forward to most about the show?

I’m excited to see how the show is pieced together, the video itself. I think it’ll turn out really well. In the magazine this spring we’re going to have photos of the designs since the magazine is coming out before the show, which has never happened before. We’re excited to give the designers a space where more people can see the garments.

It might be hard to get people to tune into the show online this year, since the whole ambiance of the in-person show was really important for turn-out. So, I’m excited to see how the designers approach it all and how we can get the UChicago community involved to tune into the show itself. We’ve put in a lot of work, so it’s always fun to see the end product. Even if no one watches the show I wouldn’t really care, because it’s been a great experience anyways. 

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All images courtesy of Ella. Header graphic by Vivian Li

MODA Designer Profile: Stephanie Kim

Stephanie Kim is a second year student, first time designer, and creative, laid-back person. I got the chance to sit down with her a few weeks ago to talk about her design process for the MODA Fashion Show. Between talking about her dope outfit and asking her why she chose to be a computer science and philosophy double-major, I got to hear about her influences on and off campus, her personal history with fashion, and what she cares most about when crafting her designs for this year. 

Stephanie Kim

Have you ever done fashion design before?

No. This is my first year ever doing any sort of garment construction or design. I am part of DBC which is for the newer designers so the most I've done with a sewing machine in the past is maybe making a mask or two. Other than that, I have no formal experience, so this is really exciting just because I get to try something that has been really interesting to me for quite a while now. 

What made you want to be apart of this process?

I started to develop a growing interest in fashion, in general, on the cusp of my freshman year of college. I just came here and -- I don't know if this is an experience across all college campuses -- but people here are so artsy and fashionable. I was so surprised, I just completely exploded onto the arts scene here. It was really inspirational and I thought, "Oh, yeah, I want to get into this more!" 

Stephanie’s mood board.

In middle school, all I wore were sweatshirts, sweatpants, my hair was in a ponytail every day. Fashion was a big part of my transition out of that phase, because I think when you change your clothes you are also changing the representation of yourself that you want other people to have of you.

And the other thing is that MODA's a really cool organization! I came here and in the middle of my first year this was one of the RSOs that people were raving about with its culture and just the excitement that surrounds it with the show, the magazine, the blog, and the many aspects you can get involved with.

What are some sources of inspiration for your collection?

One of the things that I find really interesting is how you can use clothing to create a narrative or tell a narrative: the aspect of storytelling through what you wear. Not just wearing specialty clothing that has to tell a story but, one of the things I kind of want to experiment with is reconceptualizing what we think of as casual streetwear, or something that you can wear down the street and it's acceptable or unique in its own right. Exploring the side of fashion that can be interpreted as an art-form is definitely one of the more interesting parts about going through the garment construction process. 

What are the most challenging/rewarding aspects of the process?

I think being a beginner designer, it's hard because you are struggling with wanting a theme or an aesthetic or artistic vibe to your clothing versus the actual amount of skills that you have and the sewing that you can do, and the timeline also. Balancing all of those three is part of the challenge. I am pretty limited by what I am able to sew and how much time I can fit in with my garment construction. At this point in time, my designs might be a bit ambitious relative to the clothing I will be able to make by the show! But this quarter isn't too bad in terms of classes so I am hoping I can fit in as much time as I can to try to achieve my original vision for my design. 

The most rewarding aspect is the entire process of meeting everybody who has been involved with setting up the show and mentoring designers this year. There was no external instruction for designers this year. For DBC, normally there is a professor from the Art Institute, but it ended up being the regular designers, the returning designers, and David and David that were mentoring us over fall quarter. I got to meet David and David and all the other designers and during model call I got to read through all the people who applied, and in my mind I felt like I was meeting them all. So definitely that process of encountering so many different people that are involved in this one show.

What are you looking forward to most about the show?

Dressing my models! During model call, I really enjoyed the process of getting to read through the applications and was really looking forward to meeting the models that I eventually selected. I want to create clothing that my models will feel comfortable wearing and enjoy wearing themselves as much as I enjoyed making them. Even though it is a recorded show it will still be sick!

Who do you have in mind when you are designing? It could be a specific look that you liked from over the years or a person that you particularly admire, or both!

I have multiple Pinterest boards. Pinterest is a huge source of inspiration because some of the fits and the designs that come up are really creative. I follow a lot of Tokyo streetwear type boards and streetwear in general. I have a large interest in that fashion trend as well as seeing what you can combine streetwear with to make different types of looks. On Pinterest, I've seen people combine it with business-formal and other styles. It's cool to see a bunch of different ideologies clashing and a bunch of different fads working in tandem with one another. Pinterest is where all that is happening at the same time. When I was creating my looks for the show, I had my sketches up on one tablet and my Pinterest board up on my computer just scrolling. And just remixing everything -- when you remix an outfit it becomes original in its own right.

What is your favorite article of clothing?

Suspenders. I have a lot of pants that don’t have belt loops and I am too lazy to sew on belt loops so suspenders do a good job of keeping them up. Also, I think they just add a nice little vintage, 80s/90s touch to an outfit, while at the same time holding up your pants!

Describe your collection in three words.

Non-linear: I kind of what all three pieces to not necessarily have a straightforward theme to them. I want them to harmonize in a way that’s not obvious at first, so I think of that as non-linearity.

Loved: In the end, I don’t really care what my designs look like so much as do my models feel comfortable wearing them and do they enjoy the process of getting to wear them in the end and did I have a good time making them.

Comfortable: Kind of random but I haven’t worn denim since sixth grade, because for some reason it’s extremely stiff and scratchy against my skin — I don’t know what it is! For me, comfort is always a factor in what I choose to wear so if I am making clothes that other people want to wear then it has to be factored for them to.

MODA Designer Profile: Nicole Helou

Nicole Helou is a multitalented second year student double majoring in Business/Econ and Visual Arts. Her hobbies include photography, which has recently expanded into filmmaking, skating, and exploring different mediums of art. Nicole is a writer in the MODA blog, where she mainly likes to dive into the history of different art forms such as graffiti and collaging. It was a pleasure to get to interview Nicole, who is one of my closest friends, and dig deeper into her creative mind!

Nicole’s Moodboard

What are some sources of inspiration for your collection? 

I was really lucky this year to have been able to choose models that I am close friends with so I was able to easily combine my appreciation for vibrant colors with my friends’ unique styles. I am really into the trend of cowboy boots so I based one of my designs around that. I also wanted to incorporate a thrifted item into my designs, since I am passionate ethical and sustainable aspects of thrifting. I managed to do this with the carpet pants look.

Have you ever done fashion design work before? What are some of the most challenging and rewarding aspects of the process?

No, this is my first try at fashion design but I definitely have always been very interested in curating looks for myself but I never had the means to do it. Moda designer boot camp allowed me to channel my inspirations into something tangible that I am passionate about. The most challenging part of the process for me has been not only learning how to use a sewing machine because that was new to me but also selecting the pattern itself and having the different garments work with each other and on the model as well. What I learned from this is that it is one thing to think of each piece individually but they also have to come together as a whole, which can be challenging but also rewarding when you see it come into fruition. 

What are you looking forward to most about the show?

Since it is the first time we do this virtually, I am looking forward to see how the show will work through a live-streamed medium. I am intrigued to see how other people’s designs are presented as well as how mine look like in a digitized runway format.