Comments (0)

By Rachel Ellner, May 20, 2013 4:42 pm

There’s a new men’s shoe line being advertised as the “Don’t ask– Don’t tell” of military style shoes.  But tell we must!  

Roberto Vasi collection

The Roberto Vasi line began as  a business partnership formed in a class taught by Accessories Design Professor Vasilios Christofilakos 20+ years ago.

“My God we had fun!” Vasilios recalls of the sketching accessories class (LD261) that Robert Mingione attended. “He had left Bally’s footwear and was seeking more know-how. He was putting together a portfolio for a position at Kenneth Cole. I asked him to develop a men’s line. It was fun and passionate. He got the job. He comes from the business end of the spectrum. He was business-MBA with a creative edge.”

Roberto-Vasi

The Vasilios–Mingione partnership  has yielded the “military-meets-luxury” line of 75 styles. “We’re honing in, replicating some of the sharp tailoring military uniforms offer,” says Vasilios. Styles include casual, dress, athletic and fusion, and a “fabulous boot collection.”  

The line’s rugged masculinity is enhanced by daring combinations of materials and design techniques. “There are leathers with suede and nylons, hardware and decorative stitching, embossed patterns, men’s suiting fabrics, herring bone and hounds-tooth patterns, as well as stripes and plaids for the linings.”

The line debuted at the FN Platform shoe show in Las Vegas in February and will be on shelves at DSW and at Nordstrom.com this fall.

Roberto-Vasi

After studying with Vasilios, Mingione often took on FIT students as interns. “Many  became successful footwear designers,” said Mingione. “I love the creativity and passion that comes from FIT students. Young designers benefit by getting to see their work come to life. “

Roberto-Vasi collection

Now Vasilios and Mingione have to contend with the “other side of the business.” says Vasilios. “The logistists, all the little things you deal with regarding the business of shoes. Shipping — What happens when it lands in port? How do you get it to the corporate office or warehouse and how do they get it to the retailers? There’s the independent retailers. You’ve got 90 days to pay the bills. You make cold calls to buyers and hope they show up: ‘We just made it to Vegas. Hope to see you soon.’ Then you hope they meet with you once you’re back in New York.” 

Roberto-Vasi

Says Vasilios “It’s all about the relationships you make and nurture.”

Comments (0)

By Rachel Ellner, May 9, 2013 5:35 pm

Raising of eco-consciousness has long been taking place in the perfume and cosmetics industry. Now there are awards for how well that raised awareness manifests into a meaningful response. Jewelry Design Professor Wendy Yothers recently designed four trophies, in two different styles, for the Cosmetic Executive Women (CEW)  and the Educational Foundation for the Fashion Industries.

CEW is mum about the recipient of a bowl-shaped trophy made of precious koa wood, to be awarded this summer, which gives us time to linger over Yothers’ creations.

Eco award by Wendy Yothers

Three of the awards are tapering obelisks made of crystal. “They wanted something to reflect a sense of our great city,” says Yothers. “It takes water and patience and a study of the refraction to create the visual affect you want in crystal.”

CEW eco award by Wendy Yothers

Yothers used koa, considered the “royal wood of Hawaii,” for a bowl-shaped award. Koa can only be “harvested by windfall” says Yothers, meaning only felled branches or trees can be exploited. But like royalty it has a linage. “You can’t cross its grain. You must respect its character or you’re done.” Yothers worked from the side of the koa so the bark could remain as a design element along the bowl’s rim. “You need good control of your craft and you need to know where you want to go,” she said.

Yothers chooses to retire to the sidelines when her work is done. She says she wants the receiver “to look at it and say ‘I’m worth it!’ They don’t need to know about me. When the art is good, it goes straight through; It becomes yours,” she says of the receivers-to-be. 

Comments Off

By Rachel Ellner, April 23, 2013 6:05 pm

Immersion in Ancient Rome happened easily for Fine Arts professor Vincent Arcilesi while on sabbatical in Rome in 2009.  His paintings of contemporary Romans wandering about the empire, seem to suggest a total accessibility to the ancient world.  His series “Arcilesi in Rome,” work he did while on sabbatical, will be on display at the   from May 2 to May 30.  The opening reception will be held on May 2nd from 6 p.m. to 9 p.m.

“I stayed in the historic center. The parliament was a block away,” says Arcilesi. “Lawyers and politicians were walking around, conducting business in these ancient buildings.  It’s not just a tourist place, contemporary life goes on. But there’s a new Rome as well that’s built outside the historic center.” 

“Bernini in the Roman Forum I” 20″ x 16″. Oil, 2013 by Vincent Archilesi

“Bernini in the Roman Forum I” is one of Arcilesi’s seven new paintings, many which show a commingling of ancient and contemporary figures.  They will be on display along with eleven drawings named for Roman goddesses.

Playful, anachronistic elements provide scale and humor in Arcilesi’s paintings. There are women on horseback appearing less like conquerors than tourists. In another there’s a tiny Dachshund facing the opposite direction of an imposing  Roman emperor on horseback in Piazza del Campidoglio. In another, four lazy cats appear nonplussed beside ancient nudes and a distressed goddess.

“Dreamer and Her Dream,” by Vincent Arcilesi

Vincent Arcilesi’s daughter, Francesca Arcilesi, runs the Arcilesi-Homberg Fine Art with Norma Homberg. The two recently made the transition from running a pop-up gallery to their current gallery, located at 111 Front Street in Brooklyn.  Hours are: Wednesday through Sunday 12 noon to 6 p.m. 

Photo by: Steven Tucker

Comments (0)

By Rachel Ellner, April 5, 2013 10:11 am

Prof. Suikang Zhao’s latest art installation, “Taokonick,” captures the grittiness and romance of firefighting and manufacturing. It’s a series of bronze and stainless steel pieces at the new Engine 38 firehouse in Tacony, PA. Prof. Zhao’s work was chosen for its permanence, historical detail, and reverence to the community.  Funded by Philadelphia’s Percent for Art Program, the installation is also, frankly, fun.

A laser cutout of an old Philadelphia fire truck. “They put water in it and a team pumps it and water comes out. In the old days everyone came out to help,” says Zhao. “Otherwise next time no one helps you.”

Zhao’s intent was to help knit the newly built firehouse and adjacent community center together and to connect the entire site more closely to the neighborhood.

“I can’t put up an isolated sculpture and walk away. I have to research the history, talk to firefighters and people in the neighborhood,” said Zhao. His site-specific installation includes elements of historical relevance like Disston saws (originally made nearby), images of old fire engines and an apparatus used to receive fire alarms from call-in boxes before telephones were common.  

“It really challenges the function and communication of art. Constructing permanent public art is a stricter process. Every nut and bolt has to be chosen with care, because it’s going to be up for 50 to 100 years, exposed to the weather.”

The Disston saw was manufactured by Philadelphia industrialist and saw maker Henry Disston. The small blade with disproportionately large teeth on the upper left of the right-hand panel is from a fireman’s saw that was used for demolition. Zhao’s re-creation is made of stainless steel.

“This way of art making – researching and respecting the community and the history that it’s a part of — is a way of integrating art into a sphere that is not necessarily art-savvy outside the universe of galleries and museums,” says Fine Arts Chair Stephanie DeManuelle. “It’s an excellent example for students and artists who are ready to go out into the world.”

“I bring art inside people’s lives,” said Zhao who teaches in the fine arts department. “It has to do with the context of this particular  site — the history of the neighborhood and Philadelphia, and the Disston saw.”

The Disston saw in this photo was from a collectible that Zhao borrowed and made a cast of. “Local kids didn’t know how to use it, or what it was used for,” Zhao said.

“I don’t believe art should superimpose any reality. It’s a part of the texture of reality. That’s why my work has a lot of overlapping, interweaving, texture in form and context.  To me it’s no longer about artifacts. The issue is, artifacts only work within a context in the surrounding environment.”

A fire alarm receiver. “When you pulled the handle on an alarm box — they were on many telephone poles and inside buildings — it sent an electrical signal to this machine, which typed out the alarm-box number indicating where the fire was.”

Hydrant and water gun from 50 years ago arranged as permanent art, sturdy enough for children to play on.

Most people think of public art as beautification, says Zhao. “They even have this term ‘the beautification of the site.’ But I’m ‘challenging’ the site, bringing my thinking process into this reality. Time is not linear but rather treads through different forms of social structures of past, present and future—overlapping simultaneously.”

Comments (0)

By Rachel Ellner, February 15, 2013 4:44 pm

Two FIT photographer professors, Allison Wermager and Tim Soter, are participants in The New York Photo Festival presentation SANDY: Devastation, Document, Drive, a “visual document” of  Hurricane Sandy at the Powerhouse Arena in Brooklyn.  All proceeds from the exhibit benefit artists who have had their work spaces, homes and lives upturned by Hurricane Sandy.

photo by Allison Wermager

“I was on (a photography) assignment for the Daily Mail covering Hurricane Sandy’s affects just days after the storm hit Staten Island,” says Prof. Soter. “It was obviously a human interest piece as the writer talked to a mother who had just returned from the funeral of her husband and son. ”

photo by Tim Soter

Soter says he prefered to photograph the environments without people. “The viewers can place themselves in the situation a little easier and I think the devastation is so clear, that most viewers would connect with it immediately.”

photos by Tim Soter

Soter’s assignment put him in direct contact with fellow New Yorkers. “It’s really much different than watching coverage on the television or through the internet.”

The exhibit runs through March 1, 2013.  The Powerhouse Arena is located at 37 Main Street in Brooklyn. The gallery, boutique, bookstore, performance and events space is open weekdays from: 10 a.m. to 7 p.m. on weekends 11 a.m.  - 7 p.m. 

Comments (1)

By Rachel Ellner, February 14, 2013 7:13 pm

The gowns, dresses and a harem outfit designed by the late FIT instructor Rosario Rizzo are now on display in the Pomerantz (D) lobby. Professors Anne Kong and Glenn Sokoli of the Visual Presentation and Exhibition Design Department helped create a narrative for “The Master and His Muse” through the use of color and style representative of each era.

“The most interesting part of doing the exhibit was hearing about the history and life of Rosario Rizzo and how his wife Rose told the story, and then bringing to life the collection. Each garment represents a milestone in their lives,” said Professor Sokoli.

Rosario Rizzo was praised in American fashion for his fine hand-sewing, tailoring and embellishment techniques. He was also an opera singer and dedicated husband to Rose, who shared his passions and livelihood.

“Glenn and I strove to capture the time period of the garments through the styling, the hair and accessories to best illustrate for the viewer the era. The first garment we documented  is 1965 and the latest was 1987.”

- Anne Kong

Rizzo designed ensembles from silks, laces, rich wool and opulent brocades, with the finest surface detailing.  He considered every aspect of his client, her body type, coloring and the event she was attending. He draped the garment lining directly on his customer.

“The interiors of the garments were so finished off, the stitch work was so fine. We were amazed by the detail. That’s really where you get to appreciate the art of what he did.”

- Anne Kong 

 Most full-coverage beading was done on blocks, before the final garment was sewn, worked from under the frame unseen, much of which Rizzo did himself.  All the finishing was hand sewn in tiny, evenly spaced stitches. Seam allowances never showed, and unlined garments were all hand-bound.

Rose Rizzo

At the exhibit opening, Professor Sokoli had Rose stand on the red carpet with replicas of herself throughout the decades. “She still wears the clothes. Her husband designed the suit she’s wearing  in the photo with hand-beaded pockets,” says Sokoli

Rizzo was born to Italian immigrant parents in the Bronx. The family was rich with culture and hand craftsmanship. Rosario learned sewing from his mother and made wedding dresses for relatives and outfits for a girlfriend before attending Needle Trades High School on West 25 Street.

 “You know it was so much about the detail. He was like a sculptor the way he draped on the body.”

– Anne Kong

Rizzo showed singing ability at a young age. He sang on Italian radio, with the Metropolitan Opera school’s theater group, and at Carnegie Hall. It was his singing teacher, Maestro Fernando Maero, who introduced Rizzo to Rose Colaianni. The two shared many interests. Colaianni had studied mandolin, piano, singing and acting, and was also a graduate of Needle Trades High School.

“We learned from Rose that Rosario initially took jobs in fashion to pay for opera lessons. When he opened his own atelier she came to work for him.  She was there, side-by-side Rosario as he custom designed his couture fashions.”   – Glenn Sokoli

“Rose wore the red dress with the rhinestone belt [above] to President Jimmy Carter’s inaugural ball. Rosairo and Rose hobnobbed with many politicians like Tip O’Neil and Mayor Koch. I referenced from photos  of Rose wearing these gowns to create her actual hairstyles. Rose told us that Rosario did her hair and makeup for the major events they attended.” – Glenn Sokoli

In 1958 Rizzo proposed to Colaianni. He gave up his singing career and opened his atelier in Queens, where he and Rose began married life.

In 1993 Rizzo began teaching at FIT’s Fashion Design Department. He and Rose created and taught the wedding gown and beading courses in the School for Continuing and Professional Studies, as well as a range of fashion design courses. In 2000 he created the couture techniques certificate program designed to immerse students in couture hand sewing techniques through to the finished garment.

“Rose wore this  saffron and white beaded coat and dress ensemble [above] at a New Year’s gala, where she descended down a two-story marble staircase. The whole room turned and looked…What you don’t get from looking at this is that the gown weighs approximately 60 pounds.”

- Glenn Sokoli

Rosario and Rose said their life together was like a fairy tale. They were nearly inseparable for over 50 years. They traveled extensively, attended red carpet events, political parties and inaugural balls of presidents Jimmy Carter and Ronald Reagan.

“We wanted to create the atmosphere of his atelier by creating two large-scale doors, and then detailing them with two ‘Rs’ representing the unity between Rosairo and Rose, which are also the designer’s initials.”

- Anne Kong

Known throughout the world for his couture technique classes, Rizzo and his wife and muse Rose, inspired a generation of students with exquisite workmanship and skill.

photos: Alessandro Casagli & Rachel Ellner

The exhibit “The Master and His Muse” is open to the public until March 10.  The Pomerantz building is located on the corner of 27th and 7th Avenue.  

Comments (2)

By Rachel Ellner, December 12, 2012 1:28 pm

… with jewelry design professor Steven Parker’s help of course. In the old days — the very old days — people shopped for pre-owned jewelry at their favorite Egyptian tomb. A lot of that loot survives today in the wings of major museums.

King Tut’s imagined bracelet.  Photos: John Bigelow Taylor

But sometimes precious items go missing yet again during periods of political upheaval. Well, at least they could. A bracelet of King Tut’s — a lesser known ninth bracelet — with a prescient clockwork mechanism was lost, then found, then lost again. Well, in truth it was never lost. But it was “found” by Professor Steven Parker, whose fanciful creation of this ancient Egyptian-themed bracelet suggests what Tut might have worn.

The famous archaeologist Kent P. Streaver (an anagram of Steven Parker)  writes in metalsmith magazine that when he came into possession of the original bracelet, he called on its  oracular powers.  The bracelet foretells that the famous archaeologist might not fulfill his  mission.

Sure enough, “a hand bandaged with dirty linens,” swipes the bracelet from the  archaeologist’s “field of vision.” Alas, “the bracelet [is] gone!”

“I can only hope that the bracelet will resurface someday,” concludes Streaver (setting us up for future adventures).

To read the full story of the bracelet’s journey go to: acmeclockworks.com.  And expect more amazing discoveries from the good archaeologist… err… FIT professor.

Comments (0)

By Rachel Ellner, December 7, 2012 4:33 pm

…for getting together to make gingerbread houses.  Art & Design chairs, assistant chairs, the dean and assistant dean got together for team-building and some very sweet house-building last week.

Photos: Walter Murdock

Houses are being donated to storm victims from the FIT community.

Layout designer: Paola Pachon 

Comments (1)

By Rachel Ellner, November 29, 2012 5:33 pm

One of the most exciting things about King of Prussia, PA is the town’s name. Now along with the driver’s license address “King of Prussia” (officially confirming every driver in town as royalty), you also have a community with an exciting new centerpiece.

Most town boundaries are marked with dull, functional signs. Now six new gateway monuments stand at the entrance to King of Prussia. The town’s mall remains the big attraction. It’s the largest on the East Coast, with 20 million unique visitors coming every year.

Craig Berger, chair of visual presentation and exhibition design, developed the gateway with the King of Prussia District.

One of six gateway monuments to the town of King of Prussia, PA 

Creativity doesn’t get stuff built on its own. The collaboration is the deal here, says Berger.

Berger used an educational interactive approach, which brought together designers, business leaders and fabricators. It is hardly common for these three entities to plan and develop a commercial project from beginning to end. “Well, to design yes,” says Berger. “To pay for it no.”

Made of aluminum with internal dynamic LED lighting, the gateway monument uses cutting edge technology.

“Very few urban gateway projects use lighting as a design centerpiece,” says Berger. “The soft glow of the sign edges make the signs visible from a great distance. The illuminated letters create a strong town identity.”

Photo: Eric Goldstein

Comments (0)

By Rachel Ellner, October 3, 2012 1:18 pm

This summer photography professor Jessica Wynne was one of 20 artists selected for the Freight and Volume/DNA Summer Residency Program 2012 in Provincetown, MA. The artists’ instructions were to “create new work inspired by their environment.” The DNA Gallery recently presented the results of its inaugural artist-in-residency program.   Wynne shared with us a photo from the exhibit. It’s of her little companion Molly, her source inspiration in many environments.

photo by Jessica Wynne

“The experience was great because I was surrounded by artists who were working in different mediums. This charged creative environment helped fuel the creation of a new body of work,” said Professor Wynne said of her two-week residency.