Anna Vescovi

In my fifteen year career as a professional ballet dancer, I had the privilege of traveling the world, soaking in the experiences of new cultures, lifestyles and facets of design. When dancing at Miami City Ballet, Art Basel had come to town around the same time as the commencement of the theater season. I had never experienced such a vivid spectacle of shape, tremendous scale, color and unconventional ideas. Following my time with the Royal Danish Ballet, design had once again crept into my life, speaking though interiors, furniture and cutting-edge textiles; an element of design I had never thought much of before such exposure. It was shortly after my time in Copenhagen that I decided to pursue my creative education at the Savannah College of Art & Design.

As a textile designer, creative prospects range from unconventional garment development to print and pattern for material surfaces. Much of my inspiration is derivative of Scandinavian influence and sophisticated minimalism which can be seen through artistic decisions in the elements of my first fashion collection and CAD designs.

Although originally a CAD designer, there is something so special about the tactility of material design. Following our time in quarantine, SCAD's fibers department did their best to find alternative solutions for textile production from home. It was no easy feat for both students and professors who thrive on the studies of tactile development. This collection of garments was imagined during our time in lockdown, then further executed once lab facilities were made available to the public. The joinery process felt like baby steps in regaining the intellectual connection between physical touch and cerebral cognition.

I thoroughly enjoy creating each garment; individual works contribute unique challenges and victories through their respective elements. I admit there is one specific design which pulled the intrigue of many. The Chrysalis Garment has been one of the most impactful looks of the lineup. Earlier this year, I had the privilege of working with a talented colleague who agreed to model this particular look. I might add, this garment is quite scandalous in its transparent nature and doesn’t shy away from showcasing the complete form. Once our shoot had wrapped, she explained that she’d often felt insecure about her physique, struggling with self image and confidence. When she received the final images, she expressed that she’d felt so empowered, supported and elegant in a garment. Her confidence was apparent in the final images; hailed as a timeless example of fashion and photography across SCAD’s School of Fashion. As a designer who faced similar insecurities throughout my ballet career, the greatest, most rewarding compliment is to provide others a feeling of empowerment from a collection which aims to symbolize just that.

Prototyping to best understand the importance of materiality is crucial, especially when considering the importance of tactility. Through my journey with fashion, accessories and textiles I feel my perspective on creation stems from a microscopic view of garment making. Understanding the complete DNA of a material is essential in crafting a piece which customers can formulate a sentimental relationship with. The importance of tactility is often taken for granted, yet is fundamental in stimulating emotional communication, sentiment, bonding and memory. As Michelangelo once said, “to touch can be to give life.”

This particular series of acrylic garments has served as a therapeutic outlet of personal healing and self-acceptance. Through the narrative voice of textiles, this collection of garments was created for my senior thesis work. My thesis analyzes the juxtaposition between past and present through freedom and confinement. This collection of acrylic garments serves as an allegorical parallel to my ballet career. As a professional dancer under contract, ballet becomes less about the passion for the art due to an unethical emphasis on unrealistic aesthetic standards of such an antiquated industry. The acrylic joinery is meant to restrict the form in a way which prohibits motion, symbolizing the complex internal feeling of entrapment experienced through ballet. Despite the dark undertones of the collection, the completion of this undertaking has encouraged reconciliation with the past, perfectly timed as I embark on my professional career into the world of fashion design.

Soul, emotion and passion make for a successful design. The greatest artists and designers in history are known for unapologetically pouring personal identity into their creative endeavors.

Innovation is an integral aspect of what one may consider "good" design. There are a lot of designs in existence with great aesthetic standards, but the intentions behind a strong design make all the difference. How does this proposed creation interact with the world? Can it make an impact on societal needs? These were questions I asked myself when developing joinery material and are further addressed in the following question.

When speaking on behalf of my collection, ethics come into fruition with joinery's strategic one-size-fits-all approach. Throughout my ballet career, I’d understood corseted costuming’s restrictive fabrications to prohibit movement and snuff self-expression. Joinery presents malleable properties, elegantly designed for all shapes and sizes. Such capabilities are made possible with simple alterations in adding or removing assembled pieces. A single garment possesses the all-powerful ability to fit any individual without damage to the attire, revolutionizing fashion fabrics from the self-deprecating qualities of unforgiving debilitation. A "good" design isn't surface level, but works to solve a problem surrounding everyday needs of everyday scenarios.

There is an undeniable sense of urgency surrounding the ethics of fashion. Lidewij​​ Edelkoort has composed a declarative manifesto which is an excellent example of industry accountability. In recognizing our former missteps, the collective industry can better advance planetary and humanitarian morals. The revolution of design begins at the core of empathy and at the helm of divergent thinking! As a textile designer, I’ve had the privilege of experiencing the intricate processes of fabric production from digital screen to fabricated seam. The collective industry is beginning to see a variety of designers gravitating towards second-hand materials, technological advancements, bio-engineered textiles and scientific developments in effort to provide ethical alternatives for high fashion and ready-to-wear application. To be successful in these endeavors, both consumers and designers must practice patience; to be patient in sourcing, patient in practice and patient in profit. Through our humanitarian crisis, we continue to see cutting edge ideas and forward thinking efforts. Couturier Iris van Herpen’s Roots of Rebirth collection was developed from plastic debris fished from the sea in a bio-collaboration with Parley Ocean Plastic. Meanwhile, British-born ready-to-wear designer Miriam Al Sibai has been devoted to applying vegan Pinatex pineapple leather as an ethical alternative in her chic outerwear. The marriage of unbridled curiosity and cutting-edge development delivers new possibilities for the industry; it is exciting to contribute to this groundbreaking moment in fashion history.

Paco Rabanne is one of the first high-profile designers to use joinery as a means of unconventional high-fashion application. As an architect turned couturier, his approach to dressing the physique is heavily material-based with an emphasis on form and structure. Just as Rabanne contributed his knowledge of architecture to dress-making, I come from a place of physical awareness, knowledge of kinetics and heightened sense of the physical form as it relates to psychology. Rabanne’s creative investigations with joinery are exceedingly vast; leather, metal scraps, lozenges and plastic were pieced together in a variety of shapely structures and forms. One of the reasons the new wave of open-minded it-girls flocked to Rabanne’s vision was his ability to re-write couture as imaginative and accessible to all. The power behind his theatrical garments exceeded beyond the image, instead taking a deep-dive into a realm of empowered physical embodiment.

I've always gravitated towards the intentional simplicity of Scandinavian minimalism, with an emphasis on textures and strategic materiality. I tend to employ a neutral palette as I'd never been keen on excessive use of color from a personal perspective. The palette I select must also remain intentional through all facets of the design collection. For this lineup of unconventional garmentry, I've placed a significant emphasis on more unconventional qualities of the acrylic such as transparency and reflection. The Chrysalis Garment is a particularly great example from the collection. In this design, the body of transparent roundels fade into a reflective transparent property around the thigh, then complete the gradient through to an entirely reflective acrylic which graces the hem of the garment. The middle property of semi-sheer reflective acrylic is only apparent when back lit, showcasing the superpowers of the garment if you will. Close attention to detail completes the well-rounded cohesion of each garment’s role within the collection.

As an American student, we are offered plentiful access to material resourcing. This has remained a game-changer in achieving my collection's vision without much need for artistic compromise. Despite this convenient feature, the American mentality, specifically within fashion, is delayed about two years from the progressive ideas centralized in the heart of the European fashion scene. American designers with a progressive outlook often find themselves misunderstood by the media and customer market. Avant-garde, couture and unconventional fashion thrives in Europe due to the industry's forward-thinking mindset.

Behind each effortless fashion collection lies an intense labor process filled with months of technical ideation. When speaking on behalf of a collection lineup, trend research is key. Looking towards fashion's historical past is also crucial in understanding the direction of a forward thinking industry. From this research, a variety of fashion flats are illustrated to best decide the intricate details of the garment at hand. Next is the meticulously mathematical process of sampled prototypes. Adobe files are submitted to the lab to be laser cut in a variety of labeled methods, to which a favorite is selected for the garment’s complete materialization. Once the finalized cuts are made for the large-scale order, the garment is assembled in the technical pattern decided at the beginning of the ideation process. After many laborious hours, the final garment is physically altered to the model who will wear the look for the editorial shoot.

As a student, each day presents new possibilities and creative prospects! One aspect remains consistent, the morning always begins with a strong cup of coffee. University classes consist of networking opportunities, project critiques, industry guest visits and provided knowledge of course-relevant understandings. Projects, especially for fashion, are multi-faceted. Apart from material prototyping and sampling, digital preparation and garment making, I must also take on the role of art director, stylist, publicist, graphic designer and on the rare occasion, make-up artist. These elements support the basis of well-rounded preparation for a spontaneous and fast-paced career.

As a designer who navigates industry through intuition, I encourage other young designers to listen to their heart. At university, most institutes offer a variety of programs which are centered around similar facets of design. Remain open to new possibilities, collaborations, suggestions and feedback! Speaking from experience, I arrived at the Savannah College of Art and Design originally for interior studies, but through an inquisitive mindset, my journey was unexpectedly led to the fibers department within the overarching School of Fashion.

I always encourage myself to have fun! What good is creativity if you don’t enjoy your endeavors? When an artist or creative relishes in their project, that same joy is translated into the final product which sparks interest in consumers and design enthusiasts. It’s as simple as that.

Resilience. For the first time in my design career, I've faced both pleasant and critical feedback on behalf of my work with unconventional materials. I've been asked difficult questions which sent me back to the drawing board, developed designs which didn't always work upon sampling and faced unanticipated technical setbacks in the midst of narrow deadlines. Creative burnout is an inevitable roadblock all faced by all artists and designers, leading to a big question mark beside our value of self worth. Speaking from experience, a resilient mindset lights the way to steadfast perseverance.

There are thousands of incredible tools on the market which contribute to the success of a finished garment. The Adobe Suite is used to ideate, sketch and comprise digital elements of the work in progress. Those files are converted into applications for the digital lab to which laser cut elements for garment materialization are produced. From there, the process is far more elementary and only requires jewelry pliers and a few thousand jump rings.

During my time spent in the ballet industry, discipline was an inevitable skill which was enforced from a very young age. Time management is crucial in adapting to the fast-paced industry of fashion. I'm a huge advocate for a good personal planner, tailored to the individual needs of everyday demands. I find a tremendous amount of satisfaction in ticking off the boxes of my daily responsibilities, which rings especially true for the most laborious of days.

Speaking on behalf of individual garments, each design varies through factors relative to garment scale, size of the laser cut pieces, intricacy of the assembled pattern and external factors such as postal shipping and handling. I work alone as an independent designer so the complex process from start to finish is created with one mind, two hands and a great deal of patience. It's important to note that the count of laser cut pieces could range from 500 to over one thousand, all intricately hand-assembled with miniature jump rings. When the stars align and the complete process operates without tribulation, which is seldom the case, a single garment could take as little as one week. Larger designs which require more sample testing and material development could take slightly over one month from ideation through to completion.

There are endless possibilities of what the next big chapter could hold! One of the greatest gifts of being a creative individual is our open heart and inquisitive mindset. I'm very fortunate to have had an incredible academic support system from peers, mentors and faculty who encouraged endless imagination. Although I'll be transitioning from student to professional, I look forward to carrying the knowledge, connections and eager momentum of my studies into the next passage of this creative journey.

Each garment is imagined, designed and assembled with my own two hands; a daunting task for such an intricate process. When it comes time to bring the garments to life, I credit my photographers, videographers, set designers, assistants, makeup artists and models for their contributions to my vision.

Although I maintain relative discretion in upcoming design plans, I can joyfully share that the new collection will experiment with joinery through eco-conscious initiatives as well as cosmetic facets of draping, unconventional pattern making, light play and grand scale.

I can be reached formally through LinkedIn or the website contact form at AnnaVescoviDesign.com. For more casual requests, my social media direct message platforms are always available.

My creative journey has remained vast, beginning at the age of five years old. I worked professionally as a ballet dancer with internationally acclaimed companies for over 15 years. In the midst of my time with the Royal Danish Ballet, I was influenced by the possibilities of design within a world of creative prospect, especially within the realm of textiles. I then transitioned into a design career to broaden my understanding of art in new forms. In 2018, I shifted my focus within the Fibers Department at Savannah College of Art & Design where I'll be graduating with a Bachelor of Fine Arts degree for fibers studies in May of 2022. Textile majors are offered several industry-essential courses which dive into facets of digital applications for textile production. Innovative processes include laser cutting, flatbed printing, Rhino and other 3D applications which grew to be of interest with boundless creative prospect. In awe of the infinite possibilities between refined surfaces and cutting-edge technologies, I began crafting laser-cut acrylic chainmail tops as an innocent means of experimentation. These practices led to larger scaled projects, followed by the discovery of Spanish couturier Paco Rabanne. Compelled by his memoir, I began to gain confidence that I too could use my knowledge of kinetics and the human form to narrate a collection. Textile studies and experiments had unfolded into a keen knowledge of fashion, working hand and hand with professors from both SCAD’s Fibers and Fashion Departments. Before I knew it, illustrated flats transformed into full-scale garments, art direction evolved into on-set shoots and imaginative projects became internationally recognized awards. But despite the unexpected successes of these garments, I passionately enjoy the rush of the industry and the challenges of this niche appreciation for what M. Rabanne would call “unwearable” design.

I was very fortunate to have lived in some unique cities with arts-driven community initiatives. When dancing at Miami City Ballet, Art Basel had come to town around the same time as the commencement of the theater season. I’d never experienced such a vivid spectacle of shape, tremendous scale, color and unconventional ideas. Following my time with the Royal Danish Ballet, design had once again crept into my life, speaking though Scandinavian interiors, furniture and cutting-edge textiles. It was shortly after living in Copenhagen that I decided to pursue a creative education at the Savannah College of Art & Design. I can confidently state that I am grateful for approaching university with an open mind. What had begun as an intended focus in interior design studies had unintentionally lured me to the School of Fashion's fiber's department for a specialization in textiles studies. Never would I have predicted I'd be designing a fashion collection for my senior thesis.

I've always gravitated towards the intentional simplicity of Scandinavian minimalism, with an emphasis on textures and strategic materiality. I tend to employ a neutral palette as I'd never been keen on excessive use of color from a personal perspective. The palette I select must also remain intentional through all facets of the design collection. For this lineup of unconventional garmentry, I've placed a significant emphasis on more unconventional qualities of the acrylic such as transparency and reflection. The Chrysalis Garment is a particularly great example from the collection. In this design, the body of transparent roundels fade into a reflective transparent property around the thigh, then complete the gradient through to an entirely reflective acrylic which graces the hem of the garment. The middle property of semi-sheer reflective acrylic is only apparent when back lit, showcasing the superpowers of the garment if you will. Close attention to detail completes the well-rounded cohesion of each garment’s role within the collection.

This particular series of acrylic garments has served as a therapeutic outlet of personal healing and self-acceptance. Through the narrative voice of textiles, this collection of garments was created for my senior thesis work. My thesis analyzes the juxtaposition between past and present through freedom and confinement. This collection of acrylic garments serves as an allegorical parallel to my ballet career. As a professional dancer under contract, ballet becomes less about the passion for the art due to an unethical emphasis on unrealistic aesthetic standards of such an antiquated industry. The acrylic joinery is meant to restrict the form in a way which prohibits motion, symbolizing the complex internal feeling of entrapment experienced through ballet. Despite the dark undertones of the collection, the completion of this undertaking has encouraged reconciliation with the past, perfectly timed as I embark on my professional career into the world of fashion design.

When training as a young professional dancer, discipline, poise and elegance are imposed from an early age. The ballet industry expects artists to maintain a healthy mindset whilst working towards unrealistic aesthetic standards between rigorous hours of training. These consequential tribulations have provided valuable life skills which I subconsciously apply to each of my present creative endeavors. If there’s one critical attribute I set forth, it’d be resilience. For the first time in my design career, I've faced both pleasant and critical feedback on behalf of my work with unconventional materials. I've been asked difficult questions which sent me back to the drawing board, developed designs which didn't always work upon prototypes and faced unanticipated technical setbacks in the midst of narrow deadlines. Creative burnout is an inevitable roadblock all faced by all artists and designers, leading to a big question mark beside our value of self worth. Speaking from experience, a resilient mindset lights the way to steadfast perseverance.

My journey with fine art textiles and material innovation has led me to a very coveted moment in my relationship with fashion. In working collaboratively with garment designers, accessory students and through brief exposure to couture at Iris van Herpen, these journeys and discoveries have enforced the importance of textiles as it pertains to unconventionally wearable design. With this unique collection of understandings, I wish to continue further developing laser cut materials, perhaps experimenting with bio plastics, draping, patternmaking and alternative manipulations of surfaces through the process of joinery. In the past year alone, I’ve made significant headway in the development of my acrylic garment series. I wish to push these discoveries even further, carrying forth the momentum of recent discoveries. Ideally, my inspired goal is to contribute my knowledge as a chef de produit maille et mesh for Paco Rabanne within his Paris atelier. A supporting role in maintaining M. Rabanne’s legacy would serve as an effort towards preserving an integral link in the history of fashion.

As a designer who navigates industry through intuition, I encourage other young designers to listen to their heart. At university, most institutes offer a variety of programs which are centered around similar facets of design. Remain open to new possibilities, collaborations, suggestions and feedback! Speaking from experience, I arrived at the Savannah College of Art and Design originally for interior studies, but through an inquisitive mindset, my journey was unexpectedly led to the fibers department within the overarching School of Fashion.

Speaking from a textile design perspective, I strongly advocate the significance of forming a relationship with your materials, understanding their properties and tactile DNA from the inside-out. Comprehending complete qualities of a material is essential in crafting a piece which customers can formulate a sentimental relationship with. The importance of tactility is often taken for granted, yet is psychologically fundamental in stimulating emotional communication, sentiment, bonding and recognition. As Michelangelo once said, “to touch can be to give life.” Secondly, take your time in formulating educated decisions between the intentions of your designs. Our technologically-advanced modern age has grown to be unrealistically fast-paced. Trends interchange in the blink of an eye, yet the most thoughtful designs remain timeless and long-lasting. As previously mentioned, a care of craftsmanship, meaningful intention and respect for the needs of your customer are invaluable in creating a meaningful project. To further investigate these principles, I strongly recommend Glenn Adamson's book, "Fewer, Better Things."

As a student, each day presents new possibilities and creative prospects! One aspect remains consistent, the morning always begins with a strong cup of coffee. University classes consist of networking opportunities, project critiques, industry guest visits and provided knowledge of course-relevant understandings. Projects, especially for fashion, are multi-faceted. Apart from material prototyping and sampling, digital preparation and garment making, I must also take on the role of art director, stylist, publicist, graphic designer and on the rare occasion, make-up artist. These elements support the basis of well-rounded preparation for a spontaneous and fast-paced career.

In the world of fashion and materiality, modern trends remain an impactful influence in dictating many design decisions. Speaking on behalf of my collection, I tend to look towards the past to achieve a forward-thinking design. All modern-day trends are derivative of a combination of historical influences with innovations taken from past decades. Many popular fashion trends of today, one specific example being the Y2K movement, is actually a representation of influences from the collective 1940s and 70s. These decades merged into a very distinct style of the 21st century's first decade. Pulling from the past is both a subconscious and conventional method in executing contemporary ideas. It's exciting to think that our present-day creative contributions will influence the work of future generations to come.

Innovation is an integral aspect of what one may consider "good" design. There are a lot of designs in existence with great aesthetic standards, but the intentions behind a strong design make all the difference. How does this proposed creation interact with the world? Can it make an impact on societal needs? These were questions I asked myself when developing joinery material. When speaking on behalf of my collection, ethics come into fruition with joinery's strategic one-size-fits-all approach. Throughout my ballet career, I’d understood corseted costuming’s restrictive fabrications to prohibit movement and snuff self-expression. Joinery presents malleable properties, elegantly designed for all shapes and sizes. Such capabilities are made possible with simple alterations in adding or removing assembled pieces. A single garment possesses the all-powerful ability to fit any individual without damage to the attire, revolutionizing fashion fabrics from the self-deprecating qualities of unforgiving debilitation. A "good" design isn't surface level, but works to solve a problem surrounding everyday needs of everyday scenarios.

All independent designers know that it can be very difficult to decide when to call it a day. Our job is unique in a sense that there is not always a decisive moment where our role is "complete;" it's up to us to decide when to consciously move forward. This can be a significant challenge for detail-oriented creatives like myself. Over the course of this garment collection, I've created an abstract sequence of events to help move my process along, setting personal deadlines which allow me to progress efficiently, just as I would in a professional setting. It's inevitable to dwell on tedious aspects of a design, as there are infinite prospects which can hinder necessary headway. If I anticipate roadblocks or tribulations, I'll allot a few more days to that specific area to which I'm not feeling rushed, yet can maintain momentum within the assignment.

I thoroughly enjoy creating each garment; individual works contribute unique challenges and victories through their respective elements. I admit there is one specific design which pulled the intrigue of many. The Chrysalis Garment has been one of the most impactful looks of the lineup. Earlier this year, I had the privilege of working with a talented colleague who agreed to model this particular look. I might add, this garment is quite scandalous in its transparent nature and doesn’t shy away from showcasing the complete form. Once our shoot had wrapped, she explained that she’d often felt insecure about her physique, struggling with self image and confidence. When she received the final images, she expressed that she’d felt so empowered, supported and elegant in a garment. Her confidence was apparent in the final images; hailed as a timeless example of fashion and photography across SCAD’s School of Fashion. As a designer who faced similar insecurities throughout my ballet career, the greatest, most rewarding compliment is to provide others a feeling of empowerment from a collection which aims to symbolize just that.

Paco Rabanne is one of the first high-profile designers to use joinery as a means of unconventional high-fashion application. As an architect turned couturier, his approach to dressing the physique is heavily material-based with an emphasis on form and structure. Rabanne’s 1966 fashion manifesto collection of “Twelve Unwearable Dresses” catapulted him into the exclusive and traditionally rigid world of couture. His earliest showings at the Hotel George V as well as his Parisian strip tease at Crazy Horse Saloon, transformed runway into a theatrical affair in a frenzy of paparazzi, media, it-girls, collaboration, innovation and scandal. Rabanne’s creative investigations with joinery are exceedingly vast; leather, metal scraps, rhodoid pieces, lozenges, buttons, paper and plastic were pieced together in a variety of shapely structures and forms. One of the reasons the new wave of open-minded it-girls flocked to Rabanne’s vision was his ability to re-write couture as imaginative and accessible to all. The power behind his theatrical garments exceeded beyond the image, instead taking a deep-dive into a realm of empowered physical embodiment.

As I complete my academic studies at the Savannah College of Art and Design, I appreciate this quaint little city full of abundant history and boundless creativity. Despite Savannah's traditional southern roots, SCAD has brought multi-faceted designers together as a tight-knit creative community for over 40 years. With students from over 100 countries and all 50 US states, Savannah has exhibited a wonderful surge of artistic development and cultural enrichment. Collaboration between other students of similar facets have provided enlightening experiences which contribute to the city's abundant lifestyle. Although Savannah remains geographically small in relation to the blueprints of other cities, SCAD's resources and diverse community encourages elevated design and cutting-edge developments which have expanded to impact the international design industry.

I don't necessarily consider my creative endeavors as "work" but more as a time for play a with side of responsibility. I often work alone and find this method suits this particular season of life. I do realize that with the growth of a brand comes shared management to which I look forward to expanding teams efforts through freelance.

As I embark on a journey into the professional industry, I plan to include percentage donations and arranged media auctions towards humanitarian causes. More recently, I’ve noticed design professionals generating media frenzy through high-demand high bid wars from product auctions. This concept not only aids in design exposure, but provides essential and often urgent proceeds to the organizations which support local and international communities in need. Through time in university, I’ve grasped the importance of a collaborative community. When working as a student, there’s a very special sense of mutual respect upon the sanctified process of partnering with creatives from other departments. Photographers need a subject to shoot, designers need a model, model’s need makeup artists- so on and so forth. In a scholarly setting, we rely on each other’s support to strengthen our portfolios, formulate a network foundation and prepare for real-world experience. It is very special when those same efforts of teamwork and moral support are cultivated in healthy and professional industry environments.

The A'Design Award has been an incredible source of support and exposure, providing designers of all walks of life with a celebrated voice. As a novice within the creative community, I have been warmly welcomed by A’Design with open arms. Achieving international notoriety is a challenging feat in such a competitive field, yet A'Design has offered the resources to provide its designers a platform for presence! I feel a tremendous sense of gratitude for being recognized as A'Design Award's Designer of the Day. It is a significant honor to be celebrated amongst your community of esteemed creatives, thank you!

In my fifteen year career as a professional ballet dancer, I had the privilege of traveling the world, soaking in the experiences of new cultures, lifestyles and facets of design. When dancing at Miami City Ballet, Art Basel had come to town around the same time as the commencement of the theater season. I had never experienced such a vivid spectacle of shape, tremendous scale, color and unconventional ideas. Following my time with the Royal Danish Ballet, design had once again crept into my life, speaking though interiors, furniture and cutting-edge textiles; an element of design I had never thought much of before such exposure. It was shortly after my time in Copenhagen that I decided to pursue my creative education at the Savannah College of Art & Design for textile studies.

For my entire childhood, ballet was the way of which I expressed myself; being creative was a significant part of that process. As I reached a professional level, instructors and directors’ greatest emphasis for their dancers to blend in. Classical choreography is based on the notion that the corps de ballet should look and dance identically so as to not distract from the aesthetics of the stage. All aspects of diversity in ballet are practically non-existent to this very day. As I compensated my passion to achieve the antiquated standards of the industry, the joy of dance had dissipated. The world of design thrives off of diversity and multi-faceted representations where creatives are accepted and celebrated for their contributions. The timing seemed ideal to embark on a new career path; I feel very grateful that the stars aligned in such a way.

Although originally a CAD designer, there is something so special about the tactility of material design. Following our time in quarantine, SCAD's fibers department did their best to find alternative solutions for textile production from home. It was no easy feat for both students and professors who thrive on the studies of tactile development. This collection of garments was imagined during our time in lockdown, then further executed once lab facilities were made available to the public. The joinery process felt like baby steps in regaining the intellectual connection between physical touch and cerebral cognition. I look forward to working toward further joinery collections with uncharted properties and techniques.

As a designer who navigates industry through intuition, I encourage other young designers to listen to their heart. At university, most institutes offer a variety of programs which are centered around similar facets of design. Remain open to new possibilities, collaborations, suggestions and feedback! Speaking from experience, I arrived at the Savannah College of Art and Design originally for interior studies, but through an inquisitive mindset, my journey was unexpectedly led to the fibers department within the overarching School of Fashion.

Soul, emotion and passion make for a successful designer. The greatest artists and designers in history are known for unapologetically pouring personal identity into their creative endeavors.

Innovation is an integral aspect of what one may consider successful design. There are a lot of designs in existence with great aesthetic standards, but the intentions behind a educated and deliberate decisions make all the difference. How does your proposed creation interact with the world? Can it make an impact on societal needs?

As mentioned above, good design is thoughtful in objective; working to benefit a particular consumer market who experience frustrations with preexisting designs or inventions. When speaking on behalf of my collection, ethics come into fruition with joinery's strategic one-size-fits-all approach. Throughout my ballet career, I’d understood corseted costuming’s restrictive fabrications to prohibit movement and snuff self-expression. Joinery presents malleable properties, elegantly designed for all shapes and sizes. Such capabilities are made possible with simple alterations in adding or removing assembled pieces. A single garment possesses the all-powerful ability to fit any individual without damage to the attire, revolutionizing fashion fabrics from the self-deprecating qualities of unforgiving debilitation. A "good" design isn't surface level, but works to solve a problem surrounding everyday needs of everyday scenarios.

Designing a piece for the American Met Gala would be an exciting endeavor of the highest caliber. Although the looks are dependent on the chosen annual theme, or at least intended to be, I believe a sleek joinery garment would be a show stopping alternative to the poufy gowns, ruffles and frills. Depending on Ms. Wintour's decided category, I have some wonderful ideas for Anya Taylor Joy, Jasmine Tookes, Cara Delevingne and Kerby Jean-Raymond

The secret to successful design is a positive outlook and balanced lifestyle! When I sideline these principles through my own practices, I often lose enthusiasm, energy and motivation in the early stages of ideation. This has negative long term effects on our creative mindset and can lead to more serious metal habits like self doubt and shattered confidence. The catalyst of a great designer stems from a healthy heart and clear moral conscience.

Paco Rabanne is one of the first high-profile designers to use joinery as a means of unconventional high-fashion application. As an architect turned couturier, his approach to dressing the physique is heavily material-based with an emphasis on form and structure. Just as Rabanne contributed his knowledge of architecture to dress-making, I come from a place of physical awareness, knowledge of kinetics and heightened sense of the physical form as it relates to psychology. Rabanne’s creative investigations with joinery are exceedingly vast; leather, metal scraps, lozenges and plastic were pieced together in a variety of shapely structures and forms. One of the reasons the new wave of open-minded it-girls flocked to Rabanne’s vision was his ability to re-write couture as imaginative and accessible to all. The power behind his theatrical garments exceeded beyond the image, instead taking a deep-dive into a realm of empowered physical embodiment.

I thoroughly enjoy creating each garment; individual works contribute unique challenges and victories through their respective elements. I admit there is one specific design which pulled the intrigue of many. The Chrysalis Garment has been one of the most impactful looks of the lineup. Earlier this year, I had the privilege of working with a talented colleague who agreed to model this particular look. I might add, this garment is quite scandalous in its transparent nature and doesn’t shy away from showcasing the complete form. Once our shoot had wrapped, she explained that she’d often felt insecure about her physique, struggling with self image and confidence. When she received the final images, she expressed that she’d felt so empowered, supported and elegant in a garment. Her confidence was apparent in the final images; hailed as a timeless example of fashion and photography across SCAD’s School of Fashion. As a designer who faced similar insecurities throughout my ballet career, the greatest, most rewarding compliment is to provide others a feeling of empowerment from a collection which aims to symbolize just that.

As a textile designer, I strongly advocate the significance of forming a relationship with your materials, understanding their properties and tactile DNA from the inside-out. Comprehending complete qualities of a material is essential in crafting a piece which customers can formulate a sentimental relationship with. The importance of tactility is often taken for granted, yet is psychologically fundamental in stimulating emotional communication, sentiment, bonding and recognition. As Michelangelo once said, “to touch can be to give life.” Secondly, take your time in formulating educated decisions between the intentions of your designs. Our technologically-advanced modern age has grown to be unrealistically fast-paced. Trends interchange in the blink of an eye, yet the most thoughtful designs remain timeless and long-lasting. As previously mentioned, a care of craftsmanship, meaningful intention and respect for the needs of your customer are invaluable in creating a meaningful project. To further investigate these principles, I strongly recommend Glenn Adamson's book, "Fewer, Better Things."

If I hadn't discovered design, there's a possibility I could have continued with my ballet career. My creative endeavors are where I've transformed into the most well-versed, enthusiastic version of myself; imagining an alternative livelihood would feel disingenuous.

I’ll begin by acknowledging my family; my wonderful parents, grandparents, aunts and uncles who have encouraged me to pursue my passions, for a second time, in these creative endeavors. I recognise what a privilege it is to receive endless love and support through the ebbs and flows of this sentimental journey. I further extend gratitude to my fibers family who have cheered me on, provided unconditional friendship in the midst of university’s most sentimental moments. I extend tremendous appreciation towards SCAD’s fibers faculty; the kindest maternal figures who have played a role as both educators and supporters in times of uncertainty and celebrated success. Finally, I thank the Savannah College of Art and Design for encouraging such a vibrant life beyond ballet studio mirrors. I am so grateful for the efforts, resources and care which are enthusiastically poured into the preparation of our future careers, wherever that may be.