Alle Beiträge von Laura Talkenberg

The Digital Multilogue on Fashion Education 2021

The Digital Multilogue on Fashion Education 2021

A Conference on Learning and Teaching Fashion in Theory and Practice 1–2 October 2021, online,
facilitated by The American University of Paris

 Education holds the potential to reinforce systems and to revolutionise them.
Fashion education has served and fed the current global fashion system.
It has also inspired and driven change in the global fashion system.

What kinds of fashion education are needed NOW?

What kinds of fashion education are needed to build more inclusive, just and beneficial (fashion) systems?
What kinds of fashion educational practices exist, can we share to learn from each other, and can we build together?
How can we turn our reflections into actions?

The Multilogue on Fashion Education 2021 is a participatory and outcome-oriented space focused on the learning and teaching of fashion at tertiary level. It aims to explore and illustrate the diversity and complexity of the field and the practices of fashion education. It aims to foster a greater understanding of its pasts, presents and futures – methods, values and didactic, pedagogic and epistemological questions. This conference seeks to inspire mutual learning, collaborative research and shared action – fashion educations for NOW.

The event will take place online. Participation will be free of charge. Please register here:
https://hopin.com/events/the-digital-multilogue-on-fashion-education-4dc1272e-1f85-4602-81a8-2008dd18ac45

PROGRAMM

We look forward to your participation!

 

 

The Multilogue is organized by
Renate Stauss
(Assistant Professor, Fashion Studies, Department of Communications, Media and Culture, The American University of Paris)

Franziska Schreiber
(Professor, Fashion Design, Institute of Experiential Fashion & Textile Design, Berlin University of the Arts)

Please visit the conference website or follow us on Instagram.

 

 

 

98% POLYESTER 2% COTTON (2021)

 

 

98% POLYESTER 2% COTTON  //  SS 21  // Design project starting from 5th Semester

Working with limitations is a creative force. For the summer semester 2021 we still weren’t back to normal, continually being forced to think and work in different ways. The challenge to work with nylon materials and to push the boundaries of the usage of this material was the main focus and task of this semester project, to put the negative notions of this material to one side and concentrate on and evolve positive ones.

Outerwear and accessories are the most obvious categories where nylons are used. Poppy colours, clean shades, construction, finishings with zips, velcro and seamless bonding have become the obvious codes for these kinds of garments and accessories. The students were challenged to put these accepted norms into question and refuse the standard trimmings and the obvious ways of constructing these kind of materials and research the more craft based techniques in other categories where nylon is used as well.

Each of the students were asked to determine from the beginning of the project a percentage of nylon they will use to create their final outfits and accessories but it must be at least 50% nylon the rest can be any other material.

Lecturer: Prof. Wowo (Waldemar) KrausKM Alexandra Börner , Stefan Hipp, Dorothée Warning

 

 

// Mona Gutheil & Laurin Stecher „STEREOTINDER“

 

It seems that most people strive for individuality. We consume clothes in order to stand out from our surroundings. However, we mostly still move within a pigeonhole and thus set clear codes to our outside world. What happens when we consciously resort to strongly connoted items of clothing from different pigeonholes and remove them from the contextual pigeonhole? This problem, the striving for individualism,
not only concerns the end consumer, but also the designer.

The human brain, as well as artificial intelligence, collects data and information to generate new contexts. We categorise and systematise our environment, thus reducing complex information to stereotypes. This happens mostly in an unconscious cognitive mapping. We have incorporated the design methodology (morphing) of an artificial intelligence into our design. The Ai cannot distinguish within its data set where the backpack ends and the top begins.

So we were able to morph stereotypical garments within a drawer into something new. It is precisely through technical innovations such as artificial intelligence that the role of the human designer is also called into question. The stereotypes depicted refer to the western world, the Berlin area.  With our project, we ourselves take on the role of the conscious observer and, by dissolving the context, attempt to remove a categorization into pigeonholes.

 

 

 

// Luzie Richter „Landlust“
>> a project about the countryside, the people and technology <<

 It’s summer in the countryside. The last couple of weeks were wonderful. You sit in your small house, with the most beautiful view over all the summerly fields, meadows and the woods. You stand up from your rocking chair, put your book aside and walk to the terrace. You step outside. Your naked feet feel the tingle of the grass. Breath in. Breath out. The air smells sweet and warm. You take your little basket and straw your way to the strawberry field.

Bling. bling. You get a notification. The tomatoes need water. You press OK. Seconds later the drone heads of with your watering can.

Later that day you take your old bike out of the shed and head to the farmers market. It’s already evening, but the air is still warm and full of crickets chirping. On the dusty country road a tractor without driver passes you. The tractors turns on a small dirt track and continues it’s way through the golden wheat spikes. It’s a perfect summer day.

 

 


// Kristel Jänes „Ühendus “

Connecting the structural design of Soviet era block buildings & the idea how simple form can affect the viewer. How much excess one can remove without making it unrecognisable?

In this context my main interest was in balconies – they are structurally very limited & firm, but also have the feeling of freedom through users own individuality. It’s a space that belongs to to the owner and to the public at the same time.

Through using historical shape my aim was to create silhouette that took up space to give the wearer the feeling of security and was easily changeable.

 

 

// Sezgin Kivrim „Anneaneme“

This semester I teamed up with a person who is very special to me – my grandmother. Listening to her personal stories, analyzing her clothing behavior and closet, seeing all the old pictures and spending a lot of quality time together, I had a very yet different but interesting and productive design process.

Aiming to create garments combining her personality, tradition and typical style on the one hand side and the use of nylon and my modern interpretation on the other hand side, the result is unisized garments fitting my grandmother, mother and younger sister leading to a discourse by three generations questioning the understanding of style, sustainability and comfort.

 

 

// Denise Kipke „DIS / CONNECTED“

Social Distancing lead to meetings in non-places, places in the digital world. These meetings on the internet restrict. Everything is focused on the face. Facial expression is the only expression that determines our being. The body becomes disconnected, cut off by the frame of the screen.

We curate ourselves in a digital cage, rectangular in front cameras that will spot every single one movement. No one can feel what it means to experience space and confinement, tightness in this non-place, in this digital universe.

In the man-made universe, the individual merges with the glossy screen to become an object.

This work is based on reconnecting the head with the body. The fragile subjectivity of the human being is transformed through a return to the perception of the physical: space and tightness. Freedom and limitations. The reconnection of subject/human and object/clothing.

 

 

// L M „Outfit (2021)“

 

 

 

 

An approach of preserving an image through cloth.
In the form of a portrait of an (in)visible person dressing and appearing in the so far 21st Century.
A person with a maximum of things or nothing to project into it.
A reproduction of existing complexities in which a person of our time lives a live in.

(reproduciton) <- – -> (the real)

It is about „reality“, outfits, „the void“ and design depression.
(violently) normal.

 

 

// Alex Hein „Sempro“

Working with a controversial and personally unconventional material is already a challenge.
When, additionally to that, things like limitation, unfamiliar ways of finishings and closures, fabric overhang,and an ongoing lockdown also come into play, you have to think outside the box and leave your comfort zone. In the beginning there was nylon; in different variations, in almost endless yardage.

Why not getting inspiration from the fabric itself? How is it different from other fabrics? How does it behave?
How does it sound? How does it feel? How does it move?

Rethinking the typical usage of the fabric, questioning its value,  try to make it more accessible to my own aesthetics, my designthinking and my wishes for the fabric. The garment research focused on volumes,  the back as a sensual bodypart, cutouts, narrowing, gatheringsand effortless closures

 

 

// Maurice Gerlach „GIKS“

Graffiti opened up the world of art to me and inspired me when I was young. The function and appeal is to create something new out of something old, and to make things new through painting. This function inspired me to transfer and combine graffiti into fashion, which is why I decided to do an upcycling project with secondhand clothes. I reworked the garments. In addition, they were written on with markers. To deviate even more from the old design, I padded the garments and incorporated lettering with the help of quilting. To make the garments reversible, I added a lining. The garments are very detailed, functional and convey the art of graffiti in combination with upcycling.

Sili-connaisance | Kasia Kucharska | 2019

 

 

Sili-Connaisance  | Masterarbeit 2019

Wenn wir heute von Spitze sprechen, denken wir wahrscheinlich an ein etwas muffiges dekoratives Element, das hauptsächlich auf weiblichen Dessous zu finden ist. Die Herstellungstechniken zur Herstellung von Spitze waren eine der wichtigsten textilen Innovationen unserer modernen europäischen Zeit – Innovationen, die hauptsächlich von Frauen entwickelt wurden, die sie zu Hause produzierten.

In meiner Arbeit habe ich versucht, neue Wege zu finden, Spitze von Hand zu kreieren und sie wieder in die moderne feminine Garderobe zu integrieren. Dafür habe ich mit Silikon gearbeitet, das in Unterwäsche meist als versteckter Funktionshelfer verwendet wird, zum Beispiel als klebrige Einlage, um Strümpfe zu fixieren. Ich wollte dieses funktionale Merkmal auf der Oberfläche meiner Kleidung sichtbar machen und als Ornament verwenden, anstatt es zu verbergen.

When we speak of lace today we probably visualize a somewhat fusty decorative element mostly found on female dessous. The manufacturing techniques to produce lace were one of the most important textile innovations of our modern european age – innovations that were mainly developed by women who produced it at home.


In my work I tried to find new ways of creating lace by hand and to integrate it back into the modern feminine wardrobe. For this I worked with silicone, which is usually used in underwear as a hidden functional helper for example as a sticky inlay in order to hold stockings in place. I wanted to take that functional characteristic, make it visible on the surface of my clothes and work with it as ornamentation instead of hiding it.
In collaboration with WOLFORD AG

 

Kollektion:

Betreuer:
Prof. Carolin Lerch, Prof. Ingeborg Harms

Margarita Rozhkova gewinnt beim FASH-AWARD

Margarita Rozhkova gewinnt den ersten Platz beim FASH-AWARD 2020

„Im Rahmen der Frankfurt Fashion Week sind sechs Nachwuchstalente mit dem European Fashion Award FASH ausgezeichnet worden. Da im letzten Jahr aufgrund der Coronapandemie eine Verleihung nicht stattfinden konnte, wurden die Preise sowohl für 2021 als auch für 2020 verliehen.“

„Ziel des European Fashion Award FASH, welcher zu den international bedeutendsten Förderpreisen für Modestudierende zählt, ist die Förderung von Nachwuchsdesignern. Anhand festgelegter Kriterien wählt eine Jury international erfahrener Experten die Finalisten aus und ermittelt die Sieger.“

Zum vollen Artikel hier.

 

 

 

 

Weitere Finalisten der Universität der Künste Berlin

Paula Keilholz
Sara Smed & Patrizia Wagner
Laurin Stecher
Denise Kipke

 

Jasmin Halama

Parasit | 2021 | Ba Modedesign

 

̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜
̶̦͕̫̳̜͎̮̬̋̑̋ͅ
̶̤͙̎̔̅͊̍̋̔̑͑̇͒̕̚͝͠
̵̢̨̢̛̪̬̪͍̼̹̫̬̥̝͚̔͊̓̓̏́̾̇͘̚͠͝
̵̣̝̼͖̥͉̙͈̼͇͙͍̌
̶̟̱͉̦̙͕͍̖̥̯̜̳͙̈́́͒̅̌͗̉̅̓̒̊̕͝
̴̮̑͝ Ich eigne mir ̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘p ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜äre Strategien an, um mein Fortbestehen zu sichern und Grenzdiskurse zu eröffnen.
So dient mir die theoretisierte Figur des ̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜en und seine Strategien als gestalterische Grundlage für die praktische Auseinandersetzung mit Körperlichkeit und der Untersuchung ihrer offenen Schnittstellen zu supplementären Disziplinen, wie Mode, Film, Kunst oder Technoscience, die zu fruchtbaren Kopplungen führen können und gemeinsam ko-existieren.
̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜ und Wirt bilden in Mensch-Stuhl-Morphs eine Allianz und kollaborieren, ergänzen sich, korrespondieren, doppeln sich, wuchern gemeinsam oder stoßen sich ab.
Die Rollenzuschreibungen von ̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜ und Wirt bleiben hierbei undefiniert, indem nicht aufgelöst wird wer wen ̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜iert oder ̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜iert wird, denn die Figur des ̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜en ist immer noch ambig.
Wir erinnern uns an Michel Serres’ l’hote, dessen Bedeutung sowohl Gast als auch Gastgeber meint.
Mein ̵̢̟̤͖͈̱̈́́̓͐͐̄͊̊̅̏͆̃͘P̸̛̼͈͙͎̖̯̽̓̀̿͂́͌̋͘͜͠ ̷̨̢̛̺͙̙̩̥̼̭̠͖̗͉̤̒̐͒̊̈́͊̑̓̎͠͝͝Ǎ̵͔̗͎̜̘͎͓̊̓͜ ̷̹̄R̸̢̧͍̖̤̮͕̭͉̲̣̓̇͂̌͂͌̎͘ ̶̛̭̠͎̃̑̿̈́̊́̏͐̋̎̕A̵̝̙͛̒̔͆̈̀͘͝ ̶̳̖͇͔̖̜͈̞̝̗̜͉̽͛̃͐̌̾Ś̴̭͕̻̣̰̞͓̬̰͛̃͆̆̓͐̍ ̵̛̩̘͇̹̪̑̂̈́͑̉͑̍̃͒̇͒͝I̶̡͇͇͈̘̼̐̓͗̍̑̏͝ ̵̢̢͓̪̘̪͕̜̣̰̮̐̈́͋͛͗̔̅̾̍̾̓͗̉͘͜Ţ̴̩̪̙̤͇̘͙͕̒͜ lauert an Grenzen, überschreitet sie, infiziert sie, täuscht sie, gibt sich nicht zu erkennen.
Ein Unruhestifter, ungebetener Gast, Systemsprenger, Manipulator, Verwandlungskünstler, aber auch Vermittler und Bote, ein Kritiker mit einem Anliegen, sich Grenzdiskursen zu öffnen.
̵̭̓̓̏͊̉̐͋̈́̎͋͝
̶͇̥͂̔̆́̚͝͝
̷̨̢̢̳͙͕͈̞̼̭̞͙͉̭̣̒͗̃́̔̍̉̀͛̏̒̐̚͘
̴̛̹̞͕̣̹̯̘͖͛́͑̒̊̒̈́͝ͅ

Created in consultation with: Prof. Jozef Legrand  / Prof. Wowo (Waldemar) Kraus  /  KM Evelyn Sitter
̶̡̭̊̉͠ͅ

 

Paula Keilholz

Landsknechtsmode Und WarCore | 2021 | Ba Modedesign

Landsknechtsmode und Warcore

Ein Vergleich von modischer Kriegskleidung der frühen Neuzeit mit militärischer Alltagsmode

Meine Arbeit untersucht Landsknechtsmode und das aktuelle Modephänomen War-Core.

Landsknechte hatten ihre Hochphase im 15. Jahrhundert. Sie waren Söldner und sind von modischem Interesse, weil sie für den Kriegsdienst extrem unpraktische, aufwändige Kleidung trugen. War-Core als aktuelles Modephänomen beschreibt Mode, die inspiriert ist von militärischer Einsatzkleidung.

Landsknechtsmode kann verkürzt als modische Kriegskleidung beschrieben werden und War-Core als hoch funktionelle Alltagsmode.

War-Core ist ein modisches Beispiel für den Trend der Überausrüstung, den ich auch in anderen gesellschaftlichen Bereichen beobachte.

Landsknechtsmode konnte ihre Extravaganz und ihr Begehren entwickeln, weil Landsknechte von den mittelalterlichen Kleiderordnungen ausgeschlossen waren.

Beides sind populäre Modephänomene, bedingt auch durch die Medien ihrer Zeit. Ich gehe außerdem auf einen idealisierten Naturzustand ein, der Ausdruck in beiden Phänomenen findet.

A comparison of fashionable war clothing of the early modern era with everyday military fashion

My work examines Landsknecht fashion and the current war-core fashion phenomenon.

Landsknechte had their heyday in the 15th century. They were mercenaries and are of fashion interest because they wore extremely impractical, elaborate clothing for military service. War-Core as a current fashion phenomenon describes fashion that is inspired by military action clothing.

In short, Landsknecht fashion can be described as fashionable war clothing and War-Core as highly functional everyday fashion.

War-Core is a fashionable example of the over-equipment trend that I also see in other spheres of life.

Landsknecht fashion could develop its extravagance and desire because Landsknechte were excluded from the medieval dress codes.

Both are popular fashion phenomena due to the media of their time.

I’m also exploring an idealized state of nature that finds expression in both phenomena.

Created in consultation with: Prof. Dr. Ingeborg Harms / Prof. Wowo (Waldemar) Kraus  /  KM Evelyn Sitter

Credits:
fashion and artistic direction by Paula Keilholz @linkzupaula
LinkzuPaula
Shot by Lara Ohl @lara_ohl @studio_glas
H+M: Carolin Greifenstein @care.0 , Nghiem Tuong VI @lilspringrolll
Nails: Camilla Volbert @nailsvoninge, Lisa Mard @tjolollisa
Models: Laura Talkenberg @scrmch_aaoue, Lisa Mard @tjolollisa
Four legged Model: Taranee Averkamp

Jasmin Erb

 ohne Titel  | 2021 | Ba Modedesign

 ohne Titel

For my final collection, I was exploring the subjectivity of “truth”. I consider garments to be facts.We are so extremely limited in the way we put on garments. We, mostly, wear fashion how it’s supposed to be worn. How it’s shown to be worn. We’re dressing ourselves in preconceived notions of the industry, namely the designers, makers, and stylists, conveyed by marketing and advertising.We do not really have a free choice when it comes to dressing ourselves.I used the concept of “cognitive dissonance” and the distortion of canonical representations as a design method to create my silhouettes. By using contradictory materials, silhouettes, and intents/purposes, I was able to achieve inconsistency within one garment. A garment that can be multiple different garments at the same time.A pocket could turn into an armhole.A top could be a skirt at the same time. But the hem of that skirt could also be the neckline of a jacket or coat.A hood could also be a decorative shoulder piece. And a mini dress can also be a shoulder bag.In my collection, I am leaving the decision-making to the consumer or the observer. I give examples, I give hints. By doing so, I’m qualifying and encouraging the consumer, to step away from the passive act of dressing themselves.The garments I created aren’t facts, they are fluid in their truth.Post-factual garments.

Created in consultation with: Prof. Wowo (Waldemar) Kraus  /  Gast Prof. Franziska Schreiber / Prof. Jozef Legrand / Dr. Renate Stauss

 

 

 Credits
Jasmin Erb /  instagram jasmin_erb
Photos: Milena Rahmanzadeh / instagram milenazara
Video Louis Pawlik / instagram louis.cafoni cafoni_corner
Model: Mengxuan Sun / instagram sailormenx
Shoes: Jiman Jeong / instagram goodgman
Jewellery: Scout Kauffman / instagram scout_by_scout
Make-up & Hair: Jasmin Erb
Nail Artist: Camila Volbert / instagram nailsvoninge
Assistant: Tim Keuschnig
Sponsorship: KaiserBaby www.kaiserbaby.de

Dana Aroch

OUTDOOR AREA / UNLIMITED BEVERAGES  | 2021 | Ba Modedesign

OUTDOOR AREA / UNLIMITED BEVERAGES

Going on a vacation grew to be one of the characteristics of the western modern experience. Even though tourism per se is perceived as a neutral custom, the term ‘Tourist‘ is increasingly used as a mockery label for someone who seems to be satisfied with inauthentic experiences. Inauthenticity in tourism, so as in the fashion world, is the core of my research. Tropical Islands Resort in Krausnick was built in order to simulate a “perfect beach”, clearly an obsession of western society. Tropical Island Resort, so does its “opposite” Ski Dubai, took artificiality to an extreme level- but in my project I came across many other forms of artificiality and simulation that are much less obvious to the uncritical naked eye. “Outdoor Area“ examines the relationship between the ideal and the simulated in the postmodern world. “Unlimited Beverages” is the name of my resort collection, which reflects rather realistically today’s postmodern vacationer. 

Created in consultation with: Prof. Valeska Schmidt-Thomsen  /  Gast Prof. Franziska Schreiber  / KM Magdalena Kohler

 

 

Fashion by Dana Aroch @danaach Photographers:
Johannes Erb & Eneas Bohatsch @johannes_erb_ , @eneasdominik
Model: Marlene Oberneder @marrrl3n3 Hair & Make-up:
Jasmin Erb @jasmin_erb Styling:
Elina Elli Drecker @ellidrake 

Ronja Biggemann

178103075114 | 2021 | Ba Modedesign

178103075114

Ich passe nicht rein, weder buchstäblich, noch im übertragenen Sinne.
Es ist aber meine Schuld, dass ich nicht reinpasse.
Ich habe alle Möglichkeiten und kann alles möglich machen, also habe auch ich versagt, wenn etwas nicht möglich ist.

Nicht das Produkt ist falsch oder die Art und Weise, wie es gemacht wurde, sondern ich.

Wie soll ich etwas passend machen, das nicht passt? Wie soll ich etwas gleich machen, das nicht gleich ist? Wieso muss in unserer Vergleichskultur alles miteinander verglichen werden?
Hat mein Körper die Berechtigung als eigenständige Form, ohne Bezug zu einem Ideal verstanden zu werden?

In meiner Kollektion beschäftige ich mich mit den formal-ästhetischen Qualitäten, die nur ein realer Körper besitzen kann. Mein Körper soll dabei als Stellvertreter für alle anderen realen Körper verstanden werden, die sich nur darin gleichen, dass sie nicht gleich sind.

I do not fit in, both literally and figuratively speaking.
But that’s my own fault.
We’ve got all possibilities, and we can make everything possible, so it’s me who fails, if something is not possible.

It’s not the product that’s faulty, or the way it’s been made, but me.

How can I make something fit, that doesn’t fit?
Why do we equalize something that isn’t the same?
Why do we have to compare everything in this comparative culture?
Can my body be recognized as an autonomous shape, without reference to an ideal?

In my collection, I examine the qualities of a physical body in their aesthetic form. My own body should be seen as representative for all other real bodies, that are just similar in not being the same

Created in consultation with: Prof. Dr. Ingeborg Harms  / Prof. Jozef Legrand / Prof. Wowo (Waldemar) Kraus

 

 

 

Fotos: Moritz Haase

 

 

Youjung Kim

Das ideale Selbstporträt eines Menschen projiziert auf den Gendered Cyborg | 2020 | Ba Modedesign

Das ideale Selbstporträt eines Menschen projiziert auf den Gendered Cyborg

Als ein aktives Subjekt, das das Bild des Körpers erzeugt und konsumiert, möchte ich das Problem der Klassifizierung von Geschlechterrollen und der Herstellung eines Körperbildes hinterfragen, das durch den fragmentarischen, popkulturellen Cyborg-Menschen repräsentiert wird. Welche Form und Funktion sollte ein Cyborg haben, damit unser Körper für seine Vielfalt respektiert wird und frei von sexueller Identität und Geschlechterrollen ist?

Created in consultation with: Gast Prof. Franziska Schreiber  / Prof. Jozef Legrand / KM Lars Paschke

 

 

Credits:
Fotografen: Cecilia Harling and Simon Darsell
Hair&Make: Leana Ardeleanu
Modell: Laurin Stecher

Louis A. Krüger

NEOPHYT | 2020 | Ba Modedesign

 

NEOPHYT

«neophyt» is a hybrid- a highly sensitive botanic cyborg

«neophyt» is based on a three-part system:
1. Security: the need to protect the body and the longing for contact at the same time.
2. Culture: cultivating nature according to human concepts
3. Nature: a circular flow, the essence

«neophyt» is a dialogue between culture and nature, between design and pullulated volumes.
«neophyt» Is a post-human utopia, that invites you to transcend and transform
«neophyt» wants to conquer the categories of gender race and class
«neophyt» has a moving effect on humans, animals, plants and cyborgs
«neophyt» happens in a transforming room- a blank line.

The space is constantly exposed to metamorphosis: a laboratory, an aquarium, a poetic biotope, a walk in the woods.

Created in consultation with:
Prof. Wowo (Waldemar) Kraus  /  Prof. Dr. Ingeborg Harms / KM Lars Paschke

 

 

 

 

 

Credits:
Fotos: Esther Haase
H&M: Gunnar Schendera
Models: Robina von M4

 

 

Isabell Schnalle

Homo Femcolage | 2020 | Ba Modedesign

Homo Femcolage

‚I like to think of us human as bricoleurs/ bricoleuses’.
The central challenge of our times is the transformation of our society in terms of sustainability, global justice and the „good life“. With my BA collection I took myself on a journey to practice the heterotopie of a post growth system.

Created in consultation with: Prof. Valeska Schmidt-Thomsen  / Prof. Dr. Ingeborg Harms / KM Lars Paschke

 

 

Credits & Thanks:
Photographin: Theresa Marx
Assistenz: Alisa Rusakova
Models: Alisa Rusakova, Kristine Krebs, Jasmin Halama, Raffaela Boss, Amely Sommer
H&M: Jasmin Erb

G.I.F.T (2021)

G.I.F.T.  //  WS 20/21  // Design project  form 3th Semester

Giving is art. Giving is culture. Giving is one of the oldest cultural techniques of mankind for the purpose of socialization, for establishing relationships in societies. In his 1923/1924 essay on the gift, the French sociologist Marcel Mauss discusses the riddle of the cultural practice of giving being a “hybrid mixture of gift and economy, of generosity and self-interest, voluntariness and coercion”. Isn’t fashion also a “hybrid mixture of gift and economy, of generosity and selfishness, voluntariness and coercion”?
In this project, fashion and clothing were explored in their various dimensions of identity constructions, and empathy was learned as an essential tool for user-oriented design. The relationships between artistic expression and service, between risk and comfort, between anticipation and reproduction, between sensuality, meaning and meaningfulness were explored.
The participants had the task to make a person of their choice a present with an outfit. The students also developed a specific textile print in screen printing techniques and a conceptual fragrance.

Lecturer: Prof. Franziska SchreiberKM Alexandra Börner , Stefan Hipp, Dorothée Warning
Guests: Christian Frank Müller &Klara Ravat (smell lab)

Students: Haleh Afshar, Andreas Soyka, Dominik Hurni, Emely Zanon, Lara Geyer, Lenard Schnitzler, Melanie Schill, Michael Siewike, Minji Park, Miriam Schade, Philine Beutel, Philip Welp, Tim Keuschnig, Titja Grefe

 

 






 

 

SCHAU20 // AT The Event

Die Tische gedeckt, Auf ans Banket. Projekte, nun esst.

Die diesjährige SCHAU20 präsentierte die Arbeiten der Studierenden in Form eines Bankets passend zu dem Semesterkonzept der Tischdecke.
Im ausreichenden Abstand wurde jeder Studierende auf einem Tisch mit musikalischer Livebegleitung präsentiert. Projekte wurden in Performance am Tisch und im Videoformat dargeboten, sowie die neue Art zu studieren im ersten „Pandemiesemester“ in einem dialog-vorgetragenen Text resümiert.

Lehrende und Studierende über das Erleben im Sommersemester 2020

„Das Schlimmste war keine Grenze mehr zwischen meiner Arbeit und meinem privaten Raum ziehen zu können. Der Rückzug vom Projekt war unmöglich, da ich mit oder auch in der Arbeit eingeschlafen und aufgewacht bin.“

„Schubartig, teils träge und teils motiviert, undiszipliniert und streng mit mir selbst, zusammen mit Oma am besten
Zuhause in Berlin in meiner neuen Wohnung, oft in der Bahn, draußen, bei meinen Eltern und meiner Großmutter bei Potsdam
Meist am effektivsten gegen Wochenende, oft spät nachts, oder sehr früh, arrhythmisch
Schön? Die enge Zusammenarbeit mit meiner Oma, jeden Tag vegan kochen zu können
Schlimm? Täglich die Versuchung zu prokrastinieren, fehlender Austausch mit Menschen
Absurd? Bei 37 Grad (Altbau Dachgeschoss) 10 Stunden pro Tag stricken“

„Die Studierenden haben Werkzeuge zuhause gebaut, unter Tischen und Stühlen und über Betten gewebt, auf dem Balkon, in alten Bilderrahmen, es gab keine Grenzen. Es war unglaublich, was in der kurzen Zeit entstanden ist. In den Phasen der eigenen Arbeit wurden die Kameras ausgeschaltet, alle waren aber den gesamten Tag online erreichbar. Ich hatte das Gefühl, ich blicke in eine neue Dimension, als ich 45 abstrakte Kästen – repräsentativ für je einen Studierenden – auf meinem Bildschirm sah, und ich wusste, wir sind alle verbunden, eben nur im fremden Digitalen.“

„In meinem Zimmer in Kreuzberg
Alleine, die Nachbarn können alle von gegenüber mitgucken. Einer winkt immer.
25Std am Tag
SCHÖN: 5 Uhr morgens, ich unterhalte mich mit den Hasen. Wir sind mittlerweile Freunde.
SCHLIMM: Ich dachte es war Sonntag, es ist Dienstag.
ABSURD: 7 Uhr morgens, ich skizziere draußen und schlafe fast ein.“

 

 

 

 

 

 

„Party Fashion“ A Collaboration

„Party Fashion“ oder „Mode zum Feiern und Ausgehen“ gehen ist ein kollaboratives Projekt zwischen den Masterabsolvent Alexandru Plesco und der Fotografin Laura Schaeffer. Es untersucht den Wandel der modernen „Ausgehmode“ hin zu einer Normativität. Basierend auf der Analyse dieser Entwicklung bietet die Kollektion somit eine alternative „Partygarderobe“. Opulente und ausschweifende Optik der Abendkleidung aus der Vergangenheit fusioniert mit der praktischen und bequemen Alltagsmode der Gegenwart.

 

 Credits :
Kleidung – Alexandru Plesco @aleksndru_
Foto – Laura Schaeffer @lauraschaefffer | https://www.lauraschaeffer.com
Hair – Naomi Gugler @naomzz
Make-Up – Hungry @isshehungry
Model – Camilla Volbert @camillaingev
Nägel – Camilla Volbert @nailsvoninge 

 

The Revenge of Butterfly | Florian Mathé | 2018

 

 

The Revenge of Butterfly | Masterarbeit 2018

 „The Revenge of Butterfly“ ist eine fiktive Fortsetzung der Opera Madama Butterfly. Eine in der Geschichte unterdrückte und misshandelte Figur bricht aus und patriarchalisches System. Die rachsüchtige Heldin; Butterfly vertritt die Figur hinter der Kinoleinwand, die Person, die kämpft.

„The Revenge of Butterfly“ is a fictional continuation of the Opera Madama Butterfly. A character which has been suppressed and mistreated in the story, breaks out. Butterfly turns into a queer and transformative character, taking revenge on behalf of individuals oppressed by a heteronormative and patriarchical system. The revenge seeking heroine; Butterfly represents the figure behind the movie screen, the person who struggles.

 

 


 

 



Betreuer:
Valeska Schmidt-Thomsen, Jozef Legrand

MYRIAD MAGAZINE #1

MYRRIAD is an autonomous publication by students focusing on fashion and textile design.

„Coming together in unconditional dialogue and practical projects.
A magazine discussing the political, social and psychological aspects of fashion and textile design.“

“In this magazine we would like to present our individual works together and put them into context in which they emerged. Out projects are very diverse – a myriad of concepts and formats – but there are topics that come up again and again. The gender dynamics of fashion, body image, the fashion system and its influence on the design process, sustainability as well as philosophical concepts that go beyond fashion. In this magazine they come together as a representation of our community in the UdK microcosm.”

“The choice to create this magazine was also heavily influenced by the current pandemic. The changes to the annual UdK Rundgang as result of Covid-19 result in new challenges for the presentation and communication of our projects. In times of otherwise more removed, social distancing approved exhibition formats, it was important to us to also create a haptic experience with [a] magazine. While digital possibilities are a true blessing during this time, we decided to put extra focus on the print version of Myriad. Digital concepts for fashion are becoming ever more important, but clothes and textiles also tether us to the material world and provide sensory experience in-between the screen-flattened world we currently operate in.”

Magazine Excerpt

 

IF (2021)


© Camilla Volbert

If //  WS 20/21  //  Design project starting from 5th Semester

The end of studies is the beginning of a new phase of life.
Who do we want to attract?   What do we want to achieve?   How and where do we want to design?   What else do we have to learn?

In the design project „if“ we dealt specifically with questions and issues of freshly graduated designers in the current fashion industry. In order to better define those, the project participants were accompanied in their design process by professional godmothers from the fashion industry, in addition to the teachers. Those, alumni of the UdK, gave insights into their daily work as designers, told about hurdles and moments of happiness, shared their experiences and were open to practical and theoretical questions. The design tasks were set individually and dealt specifically with the everyday work of self-employed / freelance or employed designers. In addition to the task of designing outfits, research and the development of one’s own vision were central.

Lecturer: Prof. Valeska Schmidt-Thomsen, KM Evelyn Sitter, Stefan Hipp, Dorothée Warning

 

 

//  Lisbeth Luzie Richter & L M „Dirk S. — 03:47:25 Std“
Supported by Kasia Kucharska, André Törner, Wanda Wollinsky & Thies Meyer

´Heroic figures with a provider complex who, in an almost military pose, bring prosperity into the country – above all, of course, into their own families, to whom the fortune is subsequently bequeathed. …’ *[1]
It is about the construction of „nature“, middle aged men, sports, business and appropriated esoterics.
An attempt to create an image of almost ∞-infinite desire.
And an approach for a liminal space for reflection and transformation.
thanks to Jim E. and Konrad K.
good job team

*[1] „Heldenhafte Unternehmner“; by Jim Elmer; 30.11.2020; Frankfurter Rundschau, fr.de

 

 

//  Camilla Volbert  „More or less successful re-editions of archive ideas“
Supported by Julian Zigerli

While it may seem like big brands and designers make a fortune by selling extravagant runway looks, it is a well-known fact to anyone in the industry that it is extremely difficult to make a profit with those collections. Luxury fashion brands stage lavish shows with expensive looks to create a fictional narrative for the rich and the wannabe rich, the bold and the conservative. In the end it is an investment necessary to sell high priced monogram bags, t-shirts and perfumes.

As the race for the ‚newest‘ designs and trends gets faster and faster and it is becoming increasingly difficult to gain the consumer‘s attraction, brands are turning to archive ideas and copying small designers. Big luxury brands cannot be understood as design brands but as marketing companies. To compete against luxury and fast fashion brands small designers are forced to play the same fictional game in an industry that is one of today’s biggest polluter.

By using body paint, shirts, socks and accessories I want to rewrite the story of competition, success and authenticity in fashion from a designer‘s perspective. Appropriating my own and other small designer’s ideas, I am generating new products to satisfy our desire for newness without any intention of originality.

Designs copied from Alexandru Plesco, Frederik Britzlmair and my own archive collections.
Modelled by Teddy The Bear

 

 

//  Maike Lauber „Über_s_ unterwinden“
Supported by Sibel Celik

Waterproof and recycling/ Water resistant/ we expect protection from the outside/ don’t want to be hit by the rain, the drops find their way/ if not, they don’t search but create/ not outside of/ but under the protection/ On the skin/ through the skin/ can you protect yourself from water/ under the skin?/ Drops/ too salty/ out of sight/ and pores/ Make skin waterproof?/ I don’t want everything hermetically sealed./ Is a function still a function if it only works halfway?/ Waterproof, water-repellent/ Is repellent for the fact that there are outside and inside separated?/ Recycling/ The internet praises/ different parts/ Interwoven sequences/ Individual parts meet, peel themselves/ on the ground/ The irony ignored/ I want to work with something new that becomes/ just the refuse/ worthless in recycling/ the cable sheaths, criss-crossed with threads, silver, cables, opulence? put together?/ Firmly/ but/ Not/ solid.

 

 

//  Clara Bageac „IF: DESIGN SYMBIOSIS“
Supported by Nan Li

 

The aim of this project is to explore different ways of involving the customer in the design process by switching its position from passive recipient to an active participant; from consumer to creator.

 

Based on this, I developed an open answer questionnaire where participants intuitively choose visually attractive elements and upload their personal pictures with things they like. The results generate a moodboard, which is the starting point of the design process. The participants stay involved in the design phase through small quizzes, giving them the chance to make their own decisions regarding the garments style, fit, fabric manipulation, etc. Thus, the designer becomes a co-creator, a orchestrator, guiding the customer through the design process.

 

 

//  Fanny Freundner „Fragile Suits Of Armor“
Supported by Henning Jurke

For this project I experimented with the use of paper in context of clothing, inspired by the black punk leather jackets, where clothing becomes an information carrier through writings and embellishments on the leather. Political statements are written on the jacket and conveyed to the public by its wearer, like on cardboard signs of demonstrators. A leather jacket is almost inextricably linked with its animal material. It triggers certain associations in its wearer, that have been reproduced through films and several subcultures over and over again.

I want to keep the character of leather jackets while using a different material like paper, because it is the easiest and familiar way to make information visible. Through processing paper with textile crafting techniques such as knitting, weaving, sewing or dyeing I looked for different aesthetics, which leads away from using animal materials.

 


 

 

// Sezgin Kivrim „Sabahtan Aksama“
Supported by Janosch Mallwitz

 From day to the evening started with a basic conversation about lux. What is lux, who enjoys lux, is lux even real? This project deals with lux lived by fictional rich families from Turkish soap operas. Comparing three series ‚Ask-i Memnu (2008-2010)‘,‚Medcezir (2013-2015)‘ and ‚Yüksek Sosyete (2016)‘, typical behavior of rich people was tried to distinguish and collect in order to be translated into the outfits.
Beginning the day with decisions about what to wear, wearing a suit all day long, dressing up for dinner, not to be mistaken for a night event and going to bed in the most elegant dress, sabahtan aksama pictures a cliche day full of lux.

 

 

//  Maurice Gerlach „C03E “
Supported by Mads Dinesen

My project consisted of an individual task that was worked out with the help of alumni Mads Dinesen. In this I first dealt a lot with myself and worked out and deepened my characteristics, inspiration and provocation. I tried to incorporate these into my work. My project initially consisted of a freelance drapage work in which I tried to put together as many pieces of fabric as possible and to move away from standardized fashion in order to work with abstractness. The second part of my project work consisted in the construction of two outfits. I chose a hoodie with pants and a skirt with an additional top. For these outfits, I worked with padding and embroidery in order to achieve a coherent overall effect with detailed work.

 

 

//  Alex Hein „L GENRE C’EST MOI“
Supported by Sarah Effenberger

Based on the task given…
I asked myself
Who is a gender fluid personality
Seen in time, was gender fluidity a topic
When became fashion less outstanding
Where is sensitivity in our nowadays fashion
How to build bridges of the old and new.

Based on the task given … I imagine Ludwig XIV is back in the 21st century. In Berlin, a raving atmosphere, hedonistic and liberating. Also thrown in a discussion beyond french court, where the expression through fashion of gender where equally excessive. How to survive in that versaillelike but completely different surrounding turning the Sun King into the Queen of the Night.

Based on the task given … I created an outfit that represented the old gender fluid celebrating time of the late baroque and the modern Berlin club scene. The aim was to be genderless and historic, modern and sensual in one. It was about a shapeless silhouette, vanishing away in the darkness of the Berlin club scene but still being outstanding and visual  by dressing up to the nines. A play of hide and seek, to find your missing identity.

 

 

 

 

 

OUT OF STOCK | Alexandru Plesco | 2019 Kopieren

 

OUT OF STOCK | Masterarbeit 2019

Zeit wird in der heutigen kapitalistischen Wirtschafts- und Gesellschaftsordnung  allmählich zu einem Marktwert und einer kostbaren Ressource. Der Kapitalismus ordnet allem was wir in einer bestimmten Zeitspanne tun einen bestimmten Geldwert zu. Rentabilität, Produktivitätssteigerung und Optimierung von Arbeitsprozessen sind allgegenwärtig und  tief mit den Ideologien der Leistungsgesellschaft verwurzelt.  Jede ungenutzte Sekunde ist ein Produktionsverlust. Jede Fehlzeit bedeutet Einnahmeverlust. Welche Auswirkungen hat diese aktuelle Entwicklung im Spätkapitalismus auf die kreative Tätigkeit eines Modedesigners, wenn die tickende Uhr immer mehr den Arbeitstakt vorgibt? Durch ein Selbstexperiment mit rigorosen Bestimmungen und Beschränkungen der Arbeitszeit wollte ich eine Antwort auf diese Frage finden.

In today’s capitalist economic and social order, time is gradually becoming a market value and a valuable resource. Capitalism assigns a certain monetary value to everything we do in a certain period of time. Profitability, increased productivity and optimization of work processes are omnipresent and deeply rooted in the ideologies of the performance society.
Every unused second is a loss of production. Every absence means loss of income. What effects does this current development in late capitalism have on the creative work of a fashion designer if the ticking clock increasingly dictates the work cycle? I wanted to find an answer to this question through a self-experiment with rigorous regulations and restrictions on working hours.

 

 


     

 

Betreuer: 

Credits:

 

Johanna Braun talking about her Mastercollection in Kaltblut Magazine

„The starting point of my master project I DON’T EVEN KNOW YOUR NAME was a reoccurring observation of a person during a bus ride that left me obsessed with the memory of her sight. To counter the double-bind that ties observation, figuration and representation to the hierarchical power structures embedded in the shared realities of our lives, I aimed to focus on an inward debate on my obsession instead of trying to define another through clothing and appearance. The process centres on the possibilities of writing and creating through or by, rather than about a first starting point to generate a purely subjective source of inspiration.”

Read the full Article here: KALTBLUT MAGAZINE

Jan Tepe exhibiting at DRAFTS21

After finishing his Masterdegree at UdK Berlin Jan Tepe enrolled as a doctoral student at the Swedish School of Textiles, University of Borås, Sweden since September 2019. As part of his doctoral studies, he conducts his artistic research with a specialization in fashion design. Besides his academic education, he gained professional experiences at internationally renowned designers and brands such as at the avant-garde design studio Carol Christian Poell in Milan, Italy (2015) and the design HQ of the fashion Brand Hugo Boss in Metzingen, Germany (2016). His academic and professional experiences afforded him the opportunity to work as a researcher at the Design Research Lab Berlin in 2019 before he eventually started his doctoral studies at the University of Borås, Sweden. His research results are shown at international conferences like Drafts 2021.

 

 

PUBLICATION

 

 

Research results:

 

 

 

 

 

 

 

katharina heckmann

Profiles in Camouflage | 2020 | Ba Modedesign


Profiles in Camouflage

Profiles in Camouflage ist inspiriert von der Geschichte der Tarnung im Krieg und in der Natur und ihrem bis heute vorherrschenden Einfluss auf Kunst und Mode. Während Camouflage ein Sinnbild für Protest und Widerstand ist, ist das „Einmischen“ ein Akt konformistischer Täuschung.

Diese Kollektion ist inspiriert von historischer Tarnkultur, Performativität, Method Acting, Nation Building, Flagology, der obsessiven Ehrfurcht der modernen Gesellschaft vor Logos und der Streetfashion des 20. Jahrhunderts. Uralte Tarntechniken für Krieger, die Pracht und die Haltung militärischer Uniformen stehen der Volkskultur gegenüber.

Anstatt sich auf einen einzigen Ausdruck zu konzentrieren, weigert sich diese Kollektion, eingepackt zu werden. Sie spiegelt das postmoderne, zeitgenössische Leben mit ihrer Mix-and-Match-Thrift-Store-Mentalität wider. Sie ist ein eklektisches Prisma der Remix-Kultur, während sich das Selbst in immer kleinere Teile zersplittert.

Bei dieser Sammlung wurden die Prinzipien und Codes der Tarnung verwendet, um zu reflektieren, wie wir als Menschen Identität leben und wie wir mit der komplizierten, materiellen und psychologischen Umgebung umgehen, in der wir uns befinden.

Die Sammlung ist eine Untersuchung der Rollen, die wir spielen, und der Masken, die wir in unserem Leben spielen: Ankleiden als performativer Akt: Identität bleibt in Metamorphose. Kleidungsstück als Syntax einer Sprache, die verwendet wird, um visuell zu kommunizieren. Die Wahrheit lässt sich manchmal am besten durch Tricks und Illusionen vermitteln. Mode und Kleidung als Requisite im Theater des Lebens: Ein Versteckspiel.

Profiles in Camouflage is taking its  inspiration from t he history of camouflaging in war and in the natural world and its prevailing influence on art and fashion to this day and age. While Camouflage is an emblem of protest and resistance, “blending in” is an act of conformist subterfuge.

This collection is inspired by historical camouflage culture, performativity, method acting, nation building, flagology, modern society obsessive reverence for logos, and 20th century street fashion. Ancient warrior camouflaging techniques, the splendor and poise of military, uniforms are juxtaposed with vernacular culture.

Instead of focusing on merely a singular expression this collection refuses to be boxed in. It is reflective of postmodern, contemporary life with its mix-and-match thrift store mentality. An eclectic prism of remix culture, while t he self becomes fragmented into ever smaller bits and pieces.

With this collection use was made of t he principles and codes of camouflaging to reflect on the way we perform identity as human beings and how we relate to the complicated, material and psychological surroundings we find ourselves in.

The collection is an exploration of the roles we perform and t he masks we play in our l ives: Getting dressed as a performative act: Identity remains in metamorphosis. Garment as the syntax of a language that is used t o communicate via visuals. Truth, sometimes, is best conveyed via trickery and illusion. Fashion and dress used as a prop i n t he t heatre of l ife: A game of hide and seek. Peek a Boo.

Created in Consultation with: Gast Prof. Franziska Schreiber, Prof. Jozef LegrandKM Magdalena Kohler

SCHAU20 // Gedeckte Tische

Die diesjährige SCHAU20 bot durch das weitergetragene Konzept um Gerdas
Nachlass 
die Möglichkeit, die entstandenen Arbeiten in einem neuen nicht
„runway“ üblichen Rahmen zu präsentieren. In Form eines Bankets zeigte jeder Studierende seine Arbeit auf einem tuchbedeckten Tisch.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

 

 

 

 

 

 

SKIN (2021)

Skin //  WS 20/21  // Design project starting from 5th Semester

Leather is one of the oldest materials used by humans to protect themselves from the elements. Moreover, leather craft has deep and very distinctive roots in many cultures. For its unmatched qualities such as durability, breathability, water repellence and biodegradability, leather was and is still used in a great variety applications. During its long history it was first transformed and crafted entirely by hand, in time becoming highly industrialised in its processing, with all the associated issues related to mass global production and consumption. In modern leather processing, the hides are so highly treated, that all reference to their origin is lost and most consumers are not even aware which animal skin they wear on their own skin.

How can leather be used with due respect to create ecological and enduring products, accessories or garments? The critical aspect of working with animal skin will raise a discussion about these complex issues and on the subject of cultural appropriation.

Lecturer: Prof. Wowo (Waldemar) KrausGast Prof Deepti Barth,  Stefan Hipp, Dorothée Warning

 

 

// Denise Kipke „Skin“

Skin, thematises the surface of the body. The connection between the inside and the outside communicates with us, it reflects our behaviour and our awareness towards it: if something is too tight, it stands out like a negative of the pattern. If you hit anything, your skin turns bluish. If it is cold, the fine, soft hairs of your body begin to stand up one by one. A collage of scraps and scraps of animal skin with bite marks from parasites, scratches or organic edges that are of no further use for industrial production shape the character of the design, just as each of our scars, our scratches and stains tells the remembered story of our own selves.

 

// Linus Nicholson & Karl Hoess „Keeper Of The“

Keeper of the was born out of the desire to create a label that makes clothes that are actively sustainable. In our current time, sustainability is the most important aspect of creating anything, but even a sustainable product can be consumed too much. So sustainability begins with the product but ends with the consumer. For us this creates two main aspects: the materials and means of production, and the final use of the product. Considering both these aspects we create products for the last generation that has still has the ability to turn the tide. As a material leather is one of the longest lasting in the garment industry and one that has the potential to outweigh it’s ethical and environmental drawbacks if used long enough. A sustainable yet unused product does not add to anything meaningful. We combine this with performance textiles and deliberate design. We want the wearer to feel the durability, quality and potential through wear, educating our customers in a more tangible way.

 

 

 

 

// FREE PROJECT //

// Laurin Stecher „Fucktrade“

Fashion has a great negative impact on our environmental conditions. We are all aware of this, yet clothing is becoming increasingly short-lived. The purchase decision is not based on the durability of the garment, but on the price in order to be able to follow quickly changing trends. In the best case, clothing should provide a sense of belonging to a group and individuality, but it should also be inexpensive and, above all, up-to-date. Essential components for self-made clothing such as sewing and cut construction are lost in mass consumption, as it is cheaper to buy new clothes instead of repairing them.
Social media also plays its part due to the general ephemeral nature of the internet. A digital identity has long been indispensable for many people. There, too, clothing is a very present medium for presenting one’s personality. However, there is an opportunity to minimise one’s
ecological footprint in the digital world.

 

 

Photo by Deepti Barth © 2011 Carol Christian Poell
Project from Denise Kipke: Photography – Caroline Thiergart; Model – Sabina Smith-Moreland

IDEKYN | Johanna Braun | 2021

 

 

IDEKYN – I DON`T EVEN KNOW YOUR NAME  | Masterarbeit 2021

Alle Objekte und Kollektionen müssen dokumentiert werden, um ihre Existenz zu beweisen oder ihre Desirability zu vermarkten. Sie werden in einem Setting platziert, um fotografiert oder gezeichnet zu werden. In meinem Masterprojekt IDEKYN schöpfte ich aus einen historischen, theoretischen und künstlerischen Ansatz des Endergebnisses: dem Bild.

Als Designerin stellt sich mir häufig die Frage, wie ich Recherche aus queeren, intersektionell-feministischen und dekolonialen Feldern in physische Formen oder Kleidungsstücke übersetzen kann. Abgesehen von bewussten studies in der Theorie, existiert am Ende nämlich ein Produkt, das nicht spricht und im schlimmsten Fall auf den ersten Blick eine eindimensionale Botschaft vermittelt. Ich habe den Eindruck, dass Ideen, die auf den gekleideten Körper projiziert werden, oft den Kontext einer Universität, einer Kunstgalerie oder intensiver Marketingmöglichkeiten benötigen, um ein Narrativ zu etablieren. Die geltenden „Dresscodes“ reproduzieren und feiern oder dekonstruieren und “reclaimen” Implikationen von beispielsweise gender-spezifischer Geschichte. Letztendlich bedeutet dies, dass Designer:innen durch das kulturelle Konstrukt der Binarität kommunizieren, da selbst ihre Kritik und Anti-Haltung auf der visuellen Akzeptanz dieses Erbes beruht. Im besten Fall sind die Kleidungsstücke dann Werkzeuge für bewusste performative Handlungen.

In meinem Masterprojekt entwarf ich ein kollektives Film-Experiment, welches in ein Wurzelgebilde aus unterschiedlichen Knotenpunkten verflochten ist, um hierarchischen Machtstrukturen, die Beobachten, Interpretieren und Repräsentieren auf konditioniertes Sehen zurückführen, entgegnen zu wirken. Der Projektprozess konzentriert sich eher auf die Möglichkeiten des Schreibens und Schaffens durch, als über einen ersten Ausgangspunkt, um eine rein subjektive Inspirationsquelle zu generieren. Ausgehend von den Möglichkeiten surrealistischer Ansätze, bewusster sowie unbewusster politischer Bildgestaltung und der exhibitionistischen Qualität des Filmemachens verstehe ich das Konzept als Experiment in der Gestaltung bewegter Bilder durch eine Collage aus Forschung, Fiktion und kollektiver Autorschaft.

All objects, fashion products or collections need to be documented in the end, to prove their existence or market their desirability. They need to be placed in a setting to be photographed, rendered or drawn. Within my master project I DON’T EVEN KNOW YOUR NAME, I drew from a historical, theoretical and artistic approach of the final result: the image.

As a designer I find it hard to translate research from queer, intersectional-feminist and decolonial theories into an actual physical form or garment. Of course, apart from conscious studies and research, in the end, there somehow is a product that does not talk and, in its worst cases, at first sight conveys a one-dimensional message. I am under the impression that ideas projected onto the dressed body often need the context of a university, an art gallery or intense marketing possibilities to shape a narrative. The “dress codes” applicable either reproduce and celebrate, or deconstruct and reclaim implications of for example gendered history. Ultimately, it means that designers communicate through the cultural construct of the binary, as even their critique and anti-attitude are based on the visual acceptance of this legacy. At their best, the garments then are tools for conscious performative acts.

To counter the double-bind that ties observation, figuration and representation to the hierarchical power structures embedded in the shared realities of our lives, I wanted to explorer methods of thinking about and collaborating with other humans. The process centres on the possibilities of writing and creating through or by, rather than about a first starting point to generate a purely subjective source of inspiration. Drawing from the possibilities of surrealists approaches, conscious and unconscious political design, and aesthetic attraction-based film making, I understand the concept as an experiment of creating images through a collage of research, fiction writing, and shared authorship.

Prozess:



Betreuer:
Valeska Schmidt-Thomsen & Ira Solomatina

Credits:
POSTER:
Photography: Lexi Sun,  Poster Design: Hilka Dirks,  Artists & Actors: Mathilda Switala, Angel Hafermaas,Liv LeMoyne, Fama M‘Boup,-
Sadie Lune, Lexi Sun, Mengxuan Sun, Hêvîn Tekin,  Hair and Make-Up: Una Ryu and Nina Luckat,  Nail Design: Camilla Volbert,  Sewing Assistances : Veronika Hopponen, Gabi Selzer, Anni Uder and Carina Schulz

FILM PROJECT:
Director of Photography: Lexi Sun, Garment Design: Johanna Braun, Production Design: Hilka Dirks, Camera: Sezigin Kivrim, Gaffer: Abby Wright, Director of Audiography: Liese Schmidt, Music by Fama M‘Boup, Liv LeMoyne and Selenay Kiray, Hair and Make-Up: Una Ryu and Nina Luckat, Nail Design: Camilla Volbert, Sewing Assistances: Veronika Hopponen, Gabi Selzer, Anni Uder and Carina Schulz.
Written and directed by Johanna Braun

With collective Input by Zuréh Zuzu Jaramillo, Dominik Cosentino, Sama Abu Hanna, Martin Fell, Stephie Morawetz, Miku Kivu, Lexi Sun and Hilka Dirks.
In collaboration with Mathilda Switala, Angel Hafermaas,Liv LeMoyne, Fama M‘Boup, Sadie Lune, Lexi Sun, Mengxuan Sun and Hêvîn Tekin.

PERENNIAL | Paula Kühn | 2018

PERENNIAL | Masterarbeit 2018

Ein nie endender Traum.

Als ich ein Kind war, hatte ich diesen wiederkehrenden Traum.

Ich bewege mich vorwärts, zusammen mit einem Walzwerk aus Stein und Dreck. Es ist so laut, Steine knacken und drehen sich immer vorwärts, wie eine Spiralschlange aus Trümmern. Ich rieche verbranntes Metall und warme Erde. Ich mag das.

An der Spitze der massiven Schlange erscheint in der Ferne ein kleines Häuschen. Ich sehe Spitzenvorhänge und kleine Blumensträuße aus verträumten Blumen in den Fenstern. Eine Spieluhr spielt leise eine verschlafene kleine Melodie. Der blumige Geruch vermischt sich mit dem üblichen Geruch von Zuhause. Nichts bewegt sich drinnen. Ich mag das.

In dem Moment, in dem die dynamische massive Schlange das winzige gelbe Haus trifft, wache ich auf, so wie Menschen in Träumen aufwachen, in denen sie sterben.

A never ending dream.

When I was a child I had this recurring dream.

I am moving forwards, together with a rolling mill of stone and dirt. It is so noisy, rocks are cracking and turning, always forwards like a spiral snake made of rubble. I smell burnt metal and warm earth. I like it.

At the head of the massive snake, in the distance, a tiny little house appears. I see lace curtains and little bouquets of dreamy flowers in its windows. A music box is playing a sleepy little melody, quietly and softly. The flowery smell mixes up with the common smell of home. Nothing inside is moving. I like it.

The moment the dynamic massive snake hits the tiny yellow house I wake up, the way people wake up in dreams in which they are dying.

 

Betreuer:
Wowo (Waldemar) Kraus, Lars Paschke

Credits:
Models: Tara Deacon, Yasmin Koppe
Fotografin: Teresa Weicken(http://stweicken.com)
Support: Dennis Eichmann

 

Habitus. Habitat. | Clara Twele | 2021

 

 

Habitus. Habitat. | Masterarbeit 2021

We are in this together…und ohne einander könnten wir nicht überleben.

Wir leben in einer globalisierten, heterogenen Welt, in der Kulturen und Gesellschaften zunehmend aufeinandertreffen – neue Lebensräume entstehen, neue Lebensräume entfalten sich. Dieses Zusammenleben ist nicht immer einfach und manche Menschen ziehen immer wieder Grenzen um sich herum. Wie kann man diese Grenzen überwinden? Ungeschützt ist es leichter, Mauern um sich zu ziehen, zu vergessen, dass wir aufeinander angewiesen sind. Was also macht unser Bedürfnis nach Sicherheit und Schutz aus? Schafft und inszeniert nicht auch  Kleidung Lebensräume und erzeugt damit Grenzen? Sie ist die Hülle, die dem Körper am nächsten ist und damit unsere erste Grenze zur Außenwelt. Sie bedeckt, schützt und gibt Raum. Wir bewohnen sie.

Kleidung und Gebäude haben demnach verwandte Gestaltungsprinzipien und erfüllen analoge menschliche Bedürfnisse. Es besteht eine enge existenzielle Beziehung zwischen ihnen. Wir fühlen uns sicher, wenn wir bedeckt sind. Paradoxerweise ist aber die Sicherheit unserer Hüllen als Schutzzonen, die einen temporären Rückzugsort von der Welt bieten, nur durch soziale Allianzen gewährleistet. Auch aus kulturanthropologischer Sicht ist der Mensch keine einsame „Monade“ im Leibnizschen Sinne, sondern ein soziales Wesen. Letztlich fühlen wir uns nur sicher, wenn unsere Hüllen transzendieren und interagieren. Es entsteht eine zusätzliche Dimension, ein Sicherheitsnetz, gewoben durch (soziale) Bindungen. Kleidung wird zur Behausung, zum temporären Rückzug aus der Welt als Schutzzone.

We are in this together and without each other we could not stay alive.

We live in a globalised, heterogeneous world where cultures and societies increasingly clash – new habitats emerge, new living spaces unfold. This living together is not always easy and some people keep drawing borders around themselves. How can these boundaries be overcome? Unprotected, it is easier to draw walls around ourselves, to forget that we depend on each other. What constitutes our need for security and protection? Doesn’t clothing also create and stage living spaces and thus generate boundaries? It is the shell that is closest to the body and thus our first border to the outside world. It covers, protects and gives space. We inhabit it.

 

Clothing and buildings thus have related design principles and fulfil analogous human needs. So there is a close existential relationship between them. We feel safe when we are covered. Paradoxically, however, the safety of our covers as protective zones that provide a temporary retreat from the world is only guaranteed through social alliances. From a cultural anthropological point of view, too, man is not a solitary „monad“ in the Leibnizian sense, but a social being. Ultimately, we only feel safe when our shells transcend and interact. An additional dimension emerges, a safety net woven through (social) bonds. Clothing becomes a dwelling, a temporary retreat from the world as a protective zone.

 

 

 

AUFBAU

Betreuer:
Valeska Schmidt-Thomsen & Ira Solomatina

Credits:
creative direction & concept: Clara Twele | @clara_twl
camera: 1999 berlin – Louis Hein & Fynn Stoldt | @1999berlin
cut: Louis Hein, Fynn Stoldt, Clara Twele
dance performance:
Charlotte Brohmeyer | @charlotte.brohmeyer.dance
Daniel Conant / @danielconant
Simona Dervishi | @trupmedykoka
Rebecca Dirler
Emma Langstrump | @emma.langstrump
Yannis Mitsos | @yannis.mitsos
Pilar Villadangos | @pilar___________
direction: Louis Hein & Fynn Stoldt
fashion: Clara Twele
lighting design: Vito Walter | @vito_lighting
set design: Clara Twele & Vito Walter
assistance: Michaela Tomaskova | @michnatomaskovna

SIMULACRUM | Paulina Münzig | 2021

 

 

SIMULACRUM | Masterarbeit 2021

Ständig in Bewegung, werden unsere digitalen Bilder in einem Netzwerk ohne Referenz gefangen, während die Kopie einer Kopie ihre eigene Wahrheit erfährt. Wenn das Original seine Funktion verliert, wird das kopierte Bild über unendliche Verteilungskanäle geschichtet, verschoben, komprimiert und ist vom Original letztendlich nicht mehr zu unterscheiden.

Inspiriert von der Überbevölkerung digitaler Bilder, welche wir durch das Kopieren und Teilen ständig manipulieren, untersuche ich in meiner Arbeit wie die Hyperlink Struktur des Internets unser emotionales Leben prägt.

Heute sind wir mehr denn je auf Technologie angewiesen, um unsere Gefühle zu kommunizieren, unsere Gedanken auszudrücken und unsere Emotionen zu teilen. Dies ist der einzige Weg, um in Verbindung zu bleiben, wenn physischer Kontakt unmöglich ist. Dadurch wird der Emotion ein Warenwert zugeteilt.

Bedeutung wird durch ständige Manipulation erzeugt und Wahrheit und Realität durch unendliche Kopien definiert. Gibt es in dieser von Bildern überfluteten Welt noch echte Gefühle? Und wenn ja, welchen Wert haben sie? 

Constantly in motion, our digital images are caught in a network, devoid of reference, while the copy of a copy experiences its own truth. As the original loses its function, the copied image is layered, shifted, compressed through infinite channels of distribution, indistinguishable from the original.

Inspired by the overpopulation of digital images we manipulate by copying and sharing, the work explores how the hyperlinked network structure invades our identities and questions our emotional relationship with the internet.

Today, more than ever, we depend on technology to communicate our feelings, connect our thoughts and share our emotions as the only way of staying connected when physical contact is impossible. At the same time, these shared emotions are constantly being streamlined, manipulated and even created, hence becoming valuable commodities.

As meaning is created through repetitive manipulation in our digital circulation systems and truth and reality are defined through infinite copies, are there still any real feelings left in this world overpopulated by images? And if so, what value do they hold?

 

Prozess:




Betreuer:
Valeska Schmidt-Thomsen & Ira Solomatina

Credits:
Photography: Diana Pfammatter
Model: Nyawargak Gatluak
Film: Paul Sonntag
Hair&Makeup: Felix Stößer
Casting: Julia Lange

Fashioning Education

NOW OPEN FOR REGISTRATION: Transformation through fashion education?
Towards Systemic Change.
19 May 2022, 6-7.30 pm (CEST)
long table conversation, online

In the modernist logic of the global west fashion was constructed as the favorite child of capitalism. Fashion was defined as essentially transient, modern, urban – thus western. Fashion Education has fed a system based on this narrative. Ever faster. Ever more. One of the fastest growing educational sectors. To contribute to regenerative formation, fashion education has to become unfashionable. It has to disrupt itself, to re-configure itself – to be disruptive. 

With its second public event fashioning education continues to explore the transformative potentials of different fashion educational settings. It debates the extent to which fashion education can contribute to regeneration – from within. It invites opposing positions to a long table discussion supplemented by showcases of social fashion educational projects dedicated to new ecologies of community based on principles of collectivity, collaboration and care – proposing transformative tactics.

The event takes place on Zoom. REGISTER HERE

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fashioning education is a collaborative research initiative to open, facilitate and formalise the debate on fashion education against the backdrop of global social transformations. 

It brings together experts and creatives from different fields of fashion related education, research and practice into critical conversation and exploration of the transformative potential of fashion. The intiative seeks to contribute to the reflection, networking and reorientation of fashion education that meets the demands of a sustainable, social and conscious future. The three-year project is funded by the Einstein foundation and jointly led by the colleagues of the Fashion Institute of the Berlin University of the Arts Valeska Schmidt-Thomsen, Franziska Schreiber and Renate Stauss. fashioning educationaims to share and interact by a series of annual public events culminating in a closing conference ‘Fashioning Education: A Conference on Critical Thinking and Making’ in Berlin 2023.  

fashioning education is currently shaped by the following members: Berit Greinke (Prof Dr, Wearable Computing, Berlin University of Arts(UdK)), Britta Bommert (Dr, Fashion Image Collection, Museum of Decorative Arts Berlin(KGM)), Christina Moon (Prof, Dr, Fashion Studies, The New School – Parsons New York), Dilys Williams (Prof, Centre for Sustainable Fashion, London College of Fashion (LCF)),  Elisabeth Meier (Prof, Film Costume, Berlin University of Arts (UdK)), Franziska Schreiber (Prof, Fashion Design, Berlin University of Arts (UdK)), Oliver Ibert (Prof, Dr, Leibniz Institute for Research on Society and Space (IRS)), Renate Stauss (Prof, Dr, Fashion Theory, Berlin University of Arts(UdK) & Fashion Studies The American University Paris(AUP)), Valeska Schmidt-Thomsen (Prof, Fashion- and Textile Design, Berlin University of Arts(UdK)), Wowo Kraus (Prof, Fashion Design, Berlin University of Arts(UdK)),  Zowie Broach (Prof, Fashion Design, Royal College of Art London(RCA)), Patrick Presch (Lecturer at the Technical University of Berlin), Tanveer Ahmed (PhD candidate at The Open University).

 

fashioning education
Prof. Valeska Schmidt-Thomsen, Prof. Franziska Schreiber&Dr. Renate Stauss

Institut für experimentelles Bekleidungs- und Textildesign
Universität der Künste Berlin
Strasse des 17. Juni 118
10623 Berlin

more information/ latest interaction&involvement
https://fashioning.education

contact

 

The End of Fashion Education? Towards New Beginnings 

The End of Fashion Education? Towards New Beginnings

26. Mai 2021, 6-7 pm (CET)
Talk & Discussion
Online (registration for Zoom Meeting is required – click here )

with contributions by
Nadine Gonzales (CASA93, France)
Mikele Goitom & Arabella Stewart (ARAKELE, Ethiopia)
Kim Hou (ABOUT A WORKER, France)
Franziska Schreiber & Renate Stauss (FASHION IS A GREAT TEACHER, Germany) et al.

What can fashion education do? – fashioning education is a collaborative research initiative to open, facilitate and formalise the debate on fashion education against the backdrop of global social transformations. It brings together experts and creatives from different fields of fashion related education, research and practice into critical conversation and exploration of the transformative potential of fashion. The initiative seeks to contribute to the reflection, networking and reorientation of fashion education that meets the demands of a sustainable, social and conscious future. The three-year project is supported by the Einstein foundation and jointly led by the colleagues of the Fashion Institute of the Berlin University of the Arts Valeska Schmidt-Thomsen, Franziska Schreiber and Renate Stauss.

With its first public event fashioning education explores the potentials of fashion education beyond the tertiary level. Against the backdrop of some of the fundamental shifts and challenges in fashion education “The End of Fashion Education?

Towards New Beginnings” acknowledges the need for reform and re-orientation in the way fashion is learnt and taught. It invites different perspectives on the positive educational impact: more humane, more social and more collaborative/collective. Nadine Gonzales of Casa93, Paris (France) and Mikele Goitom & Arabella Stewart of Arakele, Addis Ababa (Ethiopia), Kim Hou, ABOUT A WORKER, Paris, France (ABOUT A WORKER is a design studio, creative factory and a platform for the actors of the creation and production scene to meet, reflect and build inclusively on possible scenarios for the future of the industry. It is by co-led by the design graduates Kim Hou and Paul Boulenger. Their mission is to give workers a voice, to expose their conditions, to value their craft abilities and creative talents by using design), Franziska Schreiber & Renate Stauss of Fashion is a great teacher (Germany) will introduce their respective work. Their talks will be followed by a public conversation.

Please join fashioning education and spread the word.
We look forward to seeing you!

 

 

The event is hosted by the Berlin University of the Arts and funded by Einstein Foundation Berlin.

more information
www.fashioningeducation.udk-berlin.de

contact
Kirsten Wilmes

 

Von Mode zur Blockchain – Paula Kühn im Gespräch mit VOGUE

„Die Möglichkeiten der Blockchain-Technologie hat Paula Kühn schon vor einigen Jahren entdeckt: 2018, als sie mitten in ihrem Master in Modedesign an der renommieren Universität der Künste in Berlin steckte und gelangweilt von vielem war, was die Modewelt seinerzeit beschäftigte. Das Thema Blockchain ließ die junge Designerin nicht los – sie arbeitete sich so tief in die Szene ein, dass sie kurze Zeit später zum Managing Director des “Bundesblock”, einem der wichtigsten Verbände der Blockchain-Branche in Deutschland, wurde.“

„Das bedeutet allerdings nicht, dass Kühn die Kreativwelt komplett hinter sich gelassen hätte. Ganz im Gegenteil: Ihre modische Vision will sie in Zukunft mit Möglichkeiten der Blockchain-Technologie genauso weiterentwickeln wie an Konzepten arbeiten, deren Ideen die Kreativwirtschaft der Zukunft für immer verändern könnten.“

Hier zum vollem Artikel: VOGUE

 

Tra My Nguyen im Interview mit Year Zero

 

 

Die Masterabsolventin Tra my nguyen spricht im Interview ‚bad blood, sweat & tears‘  mit dem magazin year zero über spekulative Ideenfindung und die BEdeutung von Recherche und Inspiration im zeitgenössischen Modedesign.

Zum Interview hier:  YEAR ZERO

 

Bild Credits: Tra My Nguyen

«Ein Trenchcoat geht eigentlich immer» Justine Masché´s Artikel im ReVue-Magazin

Die Interviewreihe der Modedesignerin Justine Masché «The Stories We Are» untersucht die Wechselwirkung zwischen Kleidung und Trägerin, den biografischen Stellenwert von Mode und inwiefern sich Erinnerungen mithilfe von Kleidungsstücken aus dem Leben rekonstruieren lassen. In den insgesamt 13 Interviews kommen Frauen verschiedenen Hintergrunds im Alter von 50 bis 85 Jahren zu Wort, die ihre persönliche Kleidergeschichte mit Hilfe von Bildmaterial und sorgfältig aufbewahrten Originalkleidungsstücken teilen. Exemplarisch zeigen wir hier das Interview mit Frau Jänisch-Strempler.

Zum vollen Interview hier: REVUE – MAGAZIN

[bio’nd] | Mit Arbeiten von Alumni Anna-Luiese Sinning & BA Studentin Paula Keilholz

Zu den vollständigen Artikeln

BIOND-FUTURES
(Zu den Arbeiten weiter nach unten scrollen)

 

Same But Different (2020)

 

 

SAME BUT DIFFERENT //  WS 19/20  //  Entwurfsprojekt ab 5. Semester

Soziale Verhaltensmuster wie Unzertrennlichkeit, heftiger Streit von Zwillingen und Dominanz eines der beiden Zwillinge, die auch die moderne Zwillingsforschung aufgreift, sind vielfach für die Antike belegt, was aber das Kleiderverhalten betrifft, findet man eher weniger bis kaum Literatur.

Warum entscheidet man sich über die Pubertät hinaus und sogar bis zum Lebensende als Zwilling gleich zu kleiden? Wie und warum eignen sich zwei Persönlichkeiten den gleichen Kleidungsstil in verschiedenen Phasen ihres Lebens an? Wer entscheidet was, wann getragen wird?

Das sind Fragen mit denen wir uns in dem Wintersemester 2019/20 beschäftigt und auseinander gesetzt haben.

Lehrende: Prof. Wowo (Waldemar) Kraus Stefan Hipp / Dorothée Warning

 

//  Laura Talkenberg  „How many does it take becoming one“

Models: Alexandra Kimel, Sabina Moe,  Kristina Kurapkaityte

 

//  Clara Bageac   „How can the same thing be twice?“

Model: Camilla Volbert

 

//  Alessandro Gentile „Ultrashiny“

Model: Alessandro Gentile

 

//  Katharina Spitz   „Another Myth of Eternal Sameness“

Models: Rayssa M. Regis dos Santos, Sarah Sekles, Mia Raz

 

//  Chloé Le  „Knotted“

Models: Sophie Schlotter, Mikail Toprak

 

//  Hana Hon  „50:50“

Model: Dorotheé Warning

All Pictures were taken by Angelina Vernetti

 

Romantic, Dowdy, Shameless – on Fashion, Taste and Time (2020)

Romantic, Dowdy, Shameless – on Fashion, Taste and Time //  WS 19/20  // Design project starting from 5th Semester
Fashion and time are interlinked. Temporality itself and temporal references are key characteristics of the field. Fashion has always been a highly referential system, juggling and tapping its own history in order to re-contextualize past, alter present and create future in vestimentary expressions. The pleasure of ephemerality lies at its core, constantly setting distinguishing lines between old and new identities, shifting and dissolving them as soon as their marked in time. Fashion has always been occupying the interim between past and future, blurring the lines between affirmation and distinction, between dejá-vu and jamais-vu.
Fashion time seems not to be linear, going from one point towards another, but rather doubling back on itself. It is like walking through a labyrinth, where points can be mutually proximate and distant as paths run close to each other. (Caroline Evans, 2007)
Designers offer a reading of our time and propose a personal vision on future identities. This multitude of proposals holds account of the simultaneousness of potential futures as it holds account of the simultaneousness of differing understandings of our present. Is there the potential for fashion to be an expert on time and temporality? How to use signifiers of time and the diverse historic narratives to inform the future? How to turn retro-formalism into pro-active future development?

In this project the participants looked into fashion’s own sourcing and the selection and management of past knowledge for future creation. The project aimed to experiment materially with historical predecessors and exercise the development of individual proposals, training both forecasting thinking and artistic signature using the fluid temporality in fashion as a chance for developing personal perspectives on familiar sources.

Lecturer: Gast Prof. Franziska Schreiber/ KM Lars Paschke / Ivan Korolev / Elise Gettliffe / Stefanie Biedermann

 

 

//  Frederik Britzlmair  „The garment. The object. The essence“

„How to construct value within the paradigmatic changes of the ornament“
In 1908 Adolf Loos observed in his text: „Ornament and Crime“ an increasingly symbolic understanding of comoodities and the interchangeability (limited in timeand meaning) of those throughout the usage of ornaments. This state of symbolism has been manifistating itself over the last century and is now more than everaffecting fashion and design.Troughout the suit, I want to explore how to construct value within the paradigmatic changes of the ornament.

 

 

//  Camilla Volbert  „I have no vision“

I have artistic skill but no creativity or motivation. I can’t draw/ paint without copying an image/object. What do I do?
I have no vision. I have no talent. I am the poet of sin
I can’t draw/paint. What do I do?
Revolt and Reconstruction
I have no vision, I exist.
What do you do?
I am the picture of myself as I am.
I am my own audience.
Revolt
Reconstruct

Designing is disappointing. Designing is chasing an imagination, an ideal form of your idea, your Eidolon; something you will never be able to reach, something that will always leave you disappointed and frustrated. Designing is devaluing certain aesthetics. Designing means assuming that aesthetics hold an underlying value, something inevitable and  legitimate. Designing is judging your own and other people’s work. Designing is being scared that you don’t have some sort of special talent, a creative gift that gives you your raison d´être, that distinguishes you from everyone else. Designing is hoping to be better than other people. Eidolon is an image or representation of an idea; a representation of an ideal form; an apparition of some actual or imaginary entity, or of some aspect of reality. It is a phantom, a ghost or elusive entity. It‘s your-picture-of-yourself-not-as-you-are-but-as-you-would-like-the-world-to-see-you. What if I can accept this state in between? What if I can reclaim this Eidolon?

 

 

// Justin Carlo Rivera  „Body Movements and the Collective Performance“

Body Movements and the Collective Performance” is a site specific installation and performance, defining a safe space and sharing a moment through fashion, movements and collective spirituality. It presents a utopian future, where people use the power of creativity as a tool for positive self-expression and a solution for finding a common ground.

 

 

//  Rita Rozhkova„Moire Physique“

Moiré Physique is a research-based project that examines materiality and ways of its representation in fashion and illustration throughout different historical periods. It specifically looks at the fabric moiré antique as a case study and aims at creating ways of translating its optics and texture through light and shadow thus creating an archive where the fabric is the subject-matter and a medium to express it. In addition, it explores the qualities of digital moire as potential means of camouflaging in the era of permanent surveillence and endangered privacy.

 

ARTEFACT – PATTERNS AND TEXTURES IN NATURE & ITS DESTRUCTION (2020)

 

ARTEFACT – PATTERNS AND TEXTURES IN NATURE & ITS DESTRUCTION  //  WS 19/20  // Design project 3. Semester

Artefact (Latin origin ars, artis „by or using art“, and factum „something made“)

The accelerating pollution of the environment has led to actions and movements, increasingly by young people, who are concerned for the future of our planet. Moreover, it is known that the textile and clothing industries, effectuating the consumers‘ demands for cheap and fast products, contribute profoundly to our impact. Nature’s destruction can be seen at every scale, and absurdly can be as beautiful as untouched nature itself.

This is the thematic and visual inspiration for exploring colours, patterns and textures through unconventional print and dye techniques as well as experimental fabric and leather treatments. Furthermore expedition wear is the starting point for garment construction, development of a collection and realisation of an outfit.

Lehrende: Gast prof. Deepti Barth/ KM Magdalena KohlerStefan Hipp / Julia Kunz

Die Projektteilnehmer:
Lisbeth Luzie Richte, Maike Lauber, Laurin Stecher, Eliah Maag Barilli, Linus Nicholson, Sezgin Kivrim, Fanny Freundner, Mona Gutheil, Patrick Jun Engelmayer, Maurice Gerlach, René Habeth, Karl Caspar Hoess

 

 

1Granary interviews students of the fashion department on their experience studying during the lockdown

“ALTHOUGH WE MOSTLY WORK ON OUR OWN INDIVIDUAL PROJECTS, WE ALSO WORK AS A TEAM.” UDK STAFF AND STUDENTS RESPOND TO THE CRISIS TOGETHER

The series „Fashion Schools in Lockdown“ in 1Granary deals with the experiences of fashion students from all over the world about studying during the pandemic. The BA and MA students from the University of the Arts Berlin were also featured. See full article here: 1granary.com

 

4. Semester Theoriekurs

DIE WAHRNEHMUNGSSTÖRUNG DER MODE: MODE – VOM PRODUKT ZUM PROZESS

Mode wird uns vermittelt als sich ständig verändernde Serie von modischen, Lebensstil-formenden Produkten. Die vielen Prozesse, die ein Kleidungsstück materialisierte Wirklichkeit werden lassen, bleiben jedoch zum größten Teil undokumentiert und damit oft unerkannt: Die Vielzahl von Händen, die es geformt haben, seine gesamte Reise, die unzähligen Inhaltsstoffe der Textilveredlung, seine volle Auswirkung und wahren Kosten. Die heutige Modeindustrie ist ein globales Geschäft, weit entfernt von der einstigen, größtenteils lokalen handwerklichen Praxis der Fertigung von Kleidung. Die heutige Modeindustrie stellt ein weltweit vernetztes System dar, dessen geographische und wirtschaftliche Dimensionen, kulturelle und ästhetische Praktiken sowie menschliche und ökologische Auswirkungen sich in den letzten Jahrzehnten drastisch verändert haben.

Dieses Modul analysiert Mode nicht nur als Produkt, sondern vornehmlich als Prozess. Es untersucht diese Industrie vom Feld bis zum fertigen Kleidungsstück. Das komplexe globale Modesystem wird durch sieben Grundsäulen erkundet: Kulturen der Extraktion und Textilherstellung, des Designs, der Bekleidungsherstellung, des Marketings, Konsums, des Tragens und der Entsorgung – die vergessene Säule. Wesentlich für das Verständnis dieses Systems ist auch eine Betrachtung der Zusammenhänge einzelner Elemente.

Die Zuliefer- und Nutzerkette der Mode wird durch reichhaltige Text- und Bildquellen, insbesondere verschiedene Dokumentarfilme beleuchtet und in Vorlesungen, Seminaren, Referaten, Debatten, Exkursionen und einem kurzen qualitativen Forschungsprojekt analysiert. Des Weiteren beschäftigen wir uns mit dem Diskurs der Nachhaltigkeit, der in den letzten Jahren auch im Bezug auf Mode immer stärker mobilisiert wurde, sowohl als Infragestellung und Kritik an konventionellen Modepraktiken als auch zur Vermarktung sogenannter „nachhaltiger Mode“. Diesen widersprüchlichen Begriff betrachten wir genauso wie die folgenden Fragen: Wie wird Mode produziert, vermittelt, konsumiert und was passiert mit ihr wenn sie alt-modisch geworden ist? Wie hat sich das Modesystem in den letzten Jahren verändert? Welchen Einfluss haben seine veränderten Dimensionen auf die Körper, die in der Mode- und Textilindustrie arbeiten und diejenigen, die ihre Produkte tragen und mit ihnen leben? Wie gestalten sich unsere Rollen in diesem System? Inwiefern kann das endliche Modesystem verlernt und verändert werden?

 

3. Semester Theoriekurs

Modetheorie: Kleidung und Identität – Das An- & Ausziehen des Selbst

 Kleidung ist Darstellung und Verdinglichung unserer Identität. Sie ermöglicht und unterstützt soziale Rollen und Strukturen. Sie gewährt uns Individualität und bestätigt zugleich unsere Gruppenzugehörigkeit. Vermittelt als sichtbarste Form des Konsums und gängigste Art der non-verbalen Kommunikation spielt unsere modische Kleidung eine entscheidende Rolle in der Konstruktion von sozialer und individueller Identität, der reflexiven Selbstproduktion. Dieses Modul behandelt Kleidung und Mode als soziale und kulturelle Phänomene. Es untersucht, wie unterschiedliche Identitätskategorien (hinsichtlich Gesellschaft, Individuum, Körper, Gender, Klasse, Kultur) durch Kleidung konstruiert werden. Der physio-ästhetische Effekt von Kleidung auf unseren Körper wird thematisiert sowie die symbiotische Beziehung zwischen Körper, Bewegung, Stoff, Haut, Sinnen und Selbst. Desweiteren untersucht dieses Modul Kleidung als multi-sensorisches System bezüglich der Art, wie wir unser Selbst und die Welt um uns erfahren und konstruieren – ein Aspekt, der in unserer okularzentrischen Kultur oft übersehen wird.

Anhand der Lektüre einiger Kultur- und Modetheoretiker*innen (u.a. obligatorisch: Davis, Entwistle, Eco, Foucault, Fromm, Goffman, Lehnert, Lipovetsky, Mentges, Miller, Pallasmaa, Phelan, Simmel & weiterführend: Anzieu, Barthes, Butler, Craik, Eicher, Featherstone, Finkelstein, Flugel, Kaiser, König, Lacan, Steele, Stone, Veblen, Wilson) behandeln wir folgende Themen: Bekleidungsmotivationen, die Relevanz von Kleidung für das körperliche Selbst, die kommunikativen Eigenschaften von Kleidung und Mode, die tägliche Selbstperformance durch Kleidung, die Rolle des Spiegels für das Verständnis von Kleidung und Selbst, Selbstkonstruktion als multi-sensorischer Prozess und die Rolle von Kleidung darin, Kleidung als Therapie und Technologie des Selbst. Neben reichhaltigen Text- und Bildquellen benutzt dieses Modul verschiedene Filme, um Kleidung als situationsabhängige, verkörperte und multi-sensorische Praxis zu untersuchen.

 

2. Semester Theoriekurs

Mode. Kultur. Zeit

Am Anfang des 21. Jahrhunderts scheint Mode wenig mit dem gemein was am Anfang des 20. Jahrhunderts als Mode bezeichnet wurde. Der Begriff ist geblieben, das eurozentrische Modesystem, jedoch, hat sich grundlegend verändert. Als angeblich ‚liebstes Kind des Kapitalismus‘ ist Mode in den letzten Jahrzehnten immer schneller geworden: gesteigerte Produktion und vervielfachter Konsum. Doch was ist neu in der Mode und was wiederholt sich? Parallele Bereitstellungssysteme in der Modeindustrie, bedeuten, dass hyper fast fashion neben haute couture existiert, dass fast und slow fashion das heutige System der Mode ausmachen.

Dieses Modul untersucht die Korrelation zwischen Mode, Kultur und Zeit: Kultur- und Modegeschichte von Anfang des 20. Jahrhunderts. Dabei hinterfragen wir die prävalente Geschichtsschreibung: Geht es bei (Mode)Geschichte immer um wichtige Dinge? Welche Stimmen hören wir nicht? Wessen Kleider sehen wir nicht? Und was sagt uns das? Lernen wir aus der Geschichte? Wie kann man den Kanon der meist westlichen und elitären Modegeschichte kritisch lesen und hinterfragen? Was passiert mit Mode in einem anderen politischen und wirtschaftlichen System? Wird gerade (Mode)Geschichte geschrieben?

Anhand der Lektüre von Kultur- und Modetheoretiker/innen, Modeschaffenden und Schriftstellern (u.a. obligatorisch: Walter Benjamin, Giacomo Bala, Cecil Beaton, Hans Magnus Enzensberger, Caroline Evans, Helen Grund, Anne Hollander, René König, Ulrich Plenzdorf, Elsa Schiaparelli, Andy Warhol, Vivienne Westwood) erforschen wir Mode im 20. und 21. Jahrhundert. Neben reichen Text- und Bildquellen benutzt dieses Modul verschiedene Filme und Tonaufnahmen, um zeitgenössische Phänomene der Mode zu untersuchen.

 

1. Semester Theoriekurs

Das liebste Kind des Kapitalismus? Vom Aufstieg der Mode

Erinnern / Vergessen
Sichtbarkeit / Unsichtbarkeit
Inkludieren / Exkludieren
Macht
Kultur / Ethnizität / Geschlecht / soziale Schicht / Alter

Was ist Geschichte? Was ist Modegeschichte? Warum blicken wir zurück? Geht es bei (Mode)Geschichte immer um wichtige Ereignisse? Geht es bei Modegeschichte nur um westliches Geschehen? Lernen wir aus der Geschichte? Welche Stimmen hören wir nicht? Wessen Kleider sehen wir nicht? Und was sagt uns das? Wo fängt Geschichte an und wo hört sie auf? Fängt sie an und hört sie auf? Wann fängt Mode an? Wird gerade (Mode)Geschichte geschrieben?

In diesem Modul geht es um Verbindungen. Es geht darum Zusammenhänge herzustellen zwischen Geschichte und Modegeschichte, Kultur und Kleidung, Technologie und Ästhetik, Politik und Wirtschaft und Mode, zwischen Vergangenheit und Gegenwart, der heutigen Arbeit als Designer und modegeschichtlicher Recherche. Wie kann man die Ursprünge der Mode und ihre unendlichen ästhetischen und technischen Entwicklungen recherchieren, strukturieren und für die heutige Designpraxis erschließen? Wie kann man dabei den Kanon der meist westlichen und aristokratischen Modegeschichte kritisch lesen und hinterfragen?

 

Vorträge, Workshops, Konferenzorganisation, Kuration & Jurymitgliedschaften | Dr. Renate Stauss

 

 

Vorträge, Workshops, Konferenzorganisation, Kuration & Jurymitgliedschaften

· (2021) ‘Dress as Therapy: Working with Dress in Psycho-medical Settings – Between Control, Cure, Care and Creative Play’ conference paper, Curative Things: Medicine / Fashion / Art, facilitated by Leeds Arts University, online event, 12 February 2021

· (2021) ‘Re-Defining Fashion Culture: From Fast Desires to True Pleasures and Beauty’ panelist, 202030 The Berlin Fashion Summit, 22 January, https://www.202030summit.com/

· (2021) ‘Fashion Culture – Think Tank’ invited participant, 202030 The Berlin Fashion Summit, 7 January

· (2021) ‘Sweatpants’ radio interview, WDR, Radio Cosmo, 4 January

· (2020/1) ‘I love it! Werte/n in der Designlehre’ (‘Values and Evaluation in Design Education’) concept, organisation & delivery of two-day professionaldevelopment workshop, Berlin Center for Higher Education, Germany, 25 November 2020 & 22 January 2021 (with Prof Franziska Schreiber)

· (2020) ‘The Digital Multilogue on Fashion Education’ concept, organisation & host of conference, facilitated by The American University of Paris,France, online event, 25 September 2020 (with Prof Franziska Schreiber) https://www.aup.edu/conferences/digital-multilogue-fashion-education

· (2020) ‘Fashion in Times of Covid-19: Chanel, Clinical, Creative: Three Face Masks Show the Complexities of Fashion’ AUP Learning Laboratory, Episode 9, 12 May, https://www.youtube.com/watch?v=TiJyyLluJDA (12.5.2020)

· (2020) ‘Fashion Education: Dimensions, Contexts and Futures’ invited lecture, Annual Conference of the Network Fashion Textile, Germany, online event, 26 September 2020 (with Prof Franziska Schreiber)

· (2020) Jurymitglied ‘Bielefelder Modepreis’ Fachhochschule, Bielefeld, Deutschland, 25. Januar 2020.

· (2019) Hybridity of Method and Theory: Research and Work in the Margins – Fashion & Other Case Studies, co-convenor of research symposium (mit Robert Earhart), The American University of Paris, Frankreich, 14. November 2019.

· (2019) ‘Fashion Education Retreat’ Konzept, Organisation & Durchführung eines zweitätigen Weiterbildungsworkshops für Modelehrende, 30. September–1. Oktober 2019, Gutshof Sauen, Berliner Zentrum für Hochschullehre, Deutschland, (mit Prof Franziska Schreiber).

· (2019) Jurymitglied des Wettbewerbs ‘Transparenz in der Modebranche’ Loveco, Berlin, Deutschland, 26. August 2019.

· (2019) ‘Lost in Reflection: Clothes, Mirrors and the Self’ Konferenzvortrag, The Annual Conference of the Association for Art History, Brighton, UK, 6. April 2019 (mit Lucia Ruggerone).

· (2019) ‘Fashion Education: Learning and Teaching Fashion in Theory and Practice’ Konzept, Organisation & Durchführung eines zweitätigen Weiterbildungsworkshops für Modelehrende, 1. April 2019, Berliner Zentrum für Hochschullehre, Deutschland (mit Prof Franziska Schreiber).

· (2018) ‘Mode & Diversität: Mehr als nur ein Marketingtrend?’ Podiumsdiskussion, Ethical Fashion, Prepeek Powered by Fashion Changers, Kraftwerk, Berlin, Deutschland, 3. Juli 2018.

· (2018) ‘Self-Fashioning: Using Foucault’s ‘Technologies of the Self’ to Analyse Fashion’ Vortrag, Fashion, Culture and the Body, NYU in London, UK, 15. November 2018.

· (2018) ‘Passing as Fashionable, Feminine and Sane: “Therapy of Fashion” and the Normalisation of Psychiatric Patients in 1960s US’ Konferenzvortrag, Passing: Fashion in American Cities, The Courtauld Institute of Art, London, 5. Mai 2018.

· (2017) ‘In the Land of Mirrors: Vêtothérapie in France. On Forced Forms of Self-reflection and Image-based Notions of a Fashionable Self’ Konferenzvortrag, Revisiting the Gaze: Feminism, Fashion & the Female Body. Chelsea College of Arts, UAL, London, 28.–29. Juni 2017.

· (2009) ‘La Vêtothèque: Dress Therapy in France’ Konferenzvortrag, Fashion and Food, Annual Symposium of the Research Centre for Fashion, the Body & Material Cultures. Institute of Contemporary Arts (ICA), London, 25. Juni 2009.

· (2008/9) ‘Beyond Espionage: Fashion under Socialism’, Cold War Modern, Friday Late, Victoria & Albert Museum, London, 31 October 2008 & British Film Institute Southbank, NFT, 8. Januar 2009 (co-Kuration with Marketa Uhlirova).

 

Publikationen | Dr. Renate Stauss

 

 

Publikationen & Rezensionen: 

· (eds.) (2021) The Digital Multilogue on Fashion Education – The Proceedings.25 September 2020, The American University of Paris, digital event, online publication. (with Franziska Schreiber)

· (2020– ) Fashion is a great teacher: The fashion education podcast. https://fashionisagreatteacher.buzzsprout.com/ (Concept, interviews and editor with Franziska Schreiber)

· (2020) ‘Mapping Fashion Education: Kontext, Dimensionen und Zukünfte’ in: Design & Bildung. Vol. 3, pp. 118–29. (with Franziska Schreiber)

· (2020) ‘The Deceptive Mirror: The Dressed Body Beyond Reflection’ in: Fashion Theory. 29 May (with Lucia Ruggerone)(doi.org/10.1080/1362704X.2020.1766228)

· (2020) ‘Passing as Fashionable, Feminine and Sane: “Therapy of Fashion” and the Normalisation of Psychiatric Patients in 1960s US’ in:
Fashion Theory. 7 April, https://doi.org/10.1080/1362704X.2020.1746515

· (2019) ‘What Fashion is Not (Only)’ in: Vestoj: The Journal of Satorial Matters. Issue No. 9: On Capital, pp. 55–75.

· (2018) Review of book proposal: Routledge Companion to Fashion Studies. London: Routledge, November 2018

· (2015) ‘Fashion Cultures Revisited – Book Review‘ in: Costume. Vol.49(1), London: Maney Publishing.

· (2014) ‘The wetsuit is Not Fashion: A Conversation with Heidi Julavits’ in: Heti, Sheila & Julavits, Heidi & Shapton, Leanne (eds.)
   Women in Clothes. London: Penguin, pp. 405–6.

· (2010) ‘Interview with Jöelle Chariau’ in: Chariau, Jöelle (ed.) Drawing Fashion: A Century of Fashion Illustration. Munich/London:
Prestel, pp. 20–3.

· (2009) ‘Mode’ in: Peretz, Pauline (ed.) New York: Histoire, Promenades, Anthologie & Dictionnaire. Paris: Robert Laffont, pp. 1164–5.

· (2008) with Ane Lynge ‘Symposium Review: The Death of Taste: Unpicking the Fashion Cycle’ in: Fashion Theory. Vol.12(2), June, pp. 261–6.

· (2008) ‚Die zivile Uniform als symbolische Kommunikation – Book Review‘ in: Costume. Number 42, London: Maney Publishing, pp. 195–6.

· (2008) ‚She shines‘ in: Fat. Issue A, pp. 98–103.

· (2006) ‚Erwin Wurm’s 59 Positions‘ in: Fashion in Film Festival. [catalogue], London: FFF, p. 40.

 

 

 

Same But Different (2020)

 

SAME BUT DIFFERENT //  WS 19/20  //  Entwurfsprojekt ab 5. Semester

Soziale Verhaltensmuster wie Unzertrennlichkeit, heftiger Streit von Zwillingen und Dominanz eines der beiden Zwillinge, die auch die moderne Zwillingsforschung aufgreift, sind vielfach für die Antike belegt, was aber das Kleiderverhalten betrifft, findet man eher weniger bis kaum Literatur.

Warum entscheidet man sich über die Pubertät hinaus und sogar bis zum Lebensende als Zwilling gleich zu kleiden? Wie und warum eignen sich zwei Persönlichkeiten den gleichen Kleidungsstil in verschiedenen Phasen ihres Lebens an? Wer entscheidet was, wann getragen wird?

Das sind Fragen mit denen wir uns in dem Wintersemester 2019/20 beschäftigt und auseinander gesetzt haben.

Lehrende: Prof. Wowo(Waldemar) Kraus Stefan Hipp / Dorothée Warning

 

//  Laura Talkenberg  „How many does it take becoming one“

Models: Alexandra Kimel, Sabina Moe,  Kristina Kurapkaityte

 

//  Clara Bageac   „How can the same thing be twice?“

Model: Camilla Volbert

 

//  Alessandro Gentile „Ultrashiny“

Model: Alessandro Gentile

 

//  Katharina Spitz   „Another Myth of Eternal Sameness“

Models: Rayssa M. Regis dos Santos, Sarah Sekles, Mia Raz

 

//  Chloé Le  „Knotted“

Models: Sophie Schlotter, Mikail Toprak

 

//  Hana Hon  „50:50“

Model: Dorotheé Warning

All Pictures were taken by Angelina Vernetti