Simone Cipriani has worked worldwide on behalf of responsible, sustainable industrial development in emerging economies. His deep expertise is in fashion, an industry that is often the first stop as a country develops a manufacturing and logistics base. His pioneering toils at the World Trade Organization have taken him to inform broader United Nations programs, mainly related to the UN’s Millennium Development Goals. Cipriani is an Italian citizen residing in Switzerland.
Simone Cipriani’s speaker series at FIT begins October 26. For speaker bios and schedule go to: The Hand of Fashion
Last weekend’s Designers and Books Fair brought a capacity crowd of students, faculty, and a great many other design devotees for book browsing and presentations. It was a star-studded Art and Design School affair. The Who’s Who and the Who‐Will be Who’s of the publishing design world were in attendance.
Attendees came to leaf through and touch (yes touch!) the pages of stimulating and daring design books, many available at hefty discounts. Among book signers were Steven Heller, Demetrios Eames, Chip Kidd and Andre Leon Talley. To no one’s surprise, Milton Glaser brought down (so to speak) the Katie Murphy Amphitheater with audience enthusiasm and admiration.
“As visual and tactile practitioners, it was great for us to touch the books,” says Dean Joanne Arbuckle. You’re making a more personal connection to the books’ content and glorying in the design and thought process. Some of the books were even designed to be touched.”
Typography and environmental graphics professor and author Keith Godard (above) manned the Les Trois Ourses table. “They are most unusual books in form and shape, at heart interactive and playful with a simplicity that appeals to children” And, we might add, to deans and professors!
Many established publishing houses stylishly showcased design books that beckoned creatives. “We’re always looking to discover new artists and new writers,” said Andrea Kiliany Thatcher of Schiffer Fashion Press.
Hamish Smyth and Jesse Reed, partners in the design firm Pentagram, signed copies of their reissue of the 1970s MTA signage design manual. The last of its kind it’s currently available in full- and compact-size. Speaking on a panel about crowd-sourcing campaigns for publishing design books, Smyth said “The subject matter is esoteric for a general audience. It’s understandable it’s not a fit for a traditional publisher.”
Said Craig Berger, Chair of Visual Presentation and Exhibition Design:
“It was great to see designers who have dedicated part of their careers to introducing great design of the past to the world. Of particular note are Smyth and Reed who discovered one of the great design treasures and endeavored to make it accessible to the world.”
Attendees and guest speakers received gracious welcome from FIT deans Joanne Arbuckle of the School of Art and Design and Patrick Knisley of Liberal Arts.
“It’s wonderful to have great colleagues who support such broad initiatives like this,” says Dean Arbuckle. “This brings together visual, scholarship and the huge talent from the design world for a lasting experience.”
“It’s so gratifying to connect with those who write so eloquently about design talent especially here in New York City, FIT’s home,” said Dean Arbuckle following the Architecture and Drawing panel discussion.
“I came to get my Milton Glaser fix,” says Suzanne Anoushian, chair of Communications Design. “He talked about the newer iterations of books and where they will go. He continues to talk about design and things I need to hear.”
“The idea of something existing in the mind and making it material is most exhilarating…Drawing is about inventing what you’re looking at.” – Celebrated graphic designer Milton Glaser
Said Communications Design student Julian Acevedo:
“Being around old and recently published books, as well as hearing Milton Glaser talk, was a way for me to get involved more deeply in design. I go to as many events, lectures and galleries as I can to keep my work fresh. But I also spend a lot of time at the bookshelves looking at works from past movements of art and design. One never knows what will spark inspiration’s fire. I got a copy of DJ Stout’s just-published, ‘Variations on a Rectangle,’ which showcases some of his work from the past 30 years. I find it very inspiring.”
“I know I spent a small fortune. There were too many great books and fabulous opportunities,” says Associate Dean Sass Brown. “I’m still carrying them home!” Laurence King Publishing had Ms. Brown’s two books on eco-fashion for an unprecedented half off.
A conversation about design is not complete without old media magazine and newspaper design directors and editors. From left to right, The Paris Review art editor, Aperture magazine editor, New York Times Magazine design director.
Graphic design writer Steven Heller brought to the audience’s attention Czech-born Ladislav Sutnar, founder of information design and a “lost master.” Heller’s facsimile of “Visual Design in Action,” a book Sutnar originally self-published was available at the Fair.
Philip Pearlstein who worked with Sutnar talked about Sutnar’s involvement in the Bauhaus movement and having started his own school based on practical design. “His greatest contribution to civilization are the boys and girls symbols for restrooms.” Other designs he invented that we take for granted include the area code parenthesis and airport symbols, less meant for glory than helping humanity. “His credo was that design could improve life.”
The emphasis on ink was cathartic for many. A session on “What it Takes” included Indie pub editors and an art director (from left to right above) American Chordata and The Great Discontent,Pitchfork, and Lucky Peach, moderated by author of “Print Is Dead. Long Live Print.” They discussed culling expertise and funding, design versus photography (“also cartoons are cool,”) and how big your staff should be.
One takeaway: Lucky Peach does not yet have the funds to hire the likes of David Foster Wallace to write about lobster. But all hope to offer contributors good pay. Finally, “Don’t not be on the internet because you want to be cool,” said Meehan. “It’s faster to find an audience online.”
Book lovers browsed leisurely up to the last minute…
While the next generation kept a keen eye on design and book sales.
Dean Arbuckle and the School of Art & Design invite you to Day 2 of
Designers & Books Fair 2015!
“Drawing is not about replicating what you see. It is about inventing what you see,” – Milton Glaser
“The public is finally recognizing the ‘creative’ in the modern design and innovation world. There are so many creative people at FIT and its neighborhood.” – Dean Joanne Arbuckle, School of Art & Design
Watertown, CT, Governors Island and Provincetown are all locations with relevance to the subjects of three September exhibits by photography faculty. One that takes place at the school of her youth, is deeply introspective. Two others are vast in what they ponder–one’s specific view “through-the-lens” of the Civil War in Yankee territory, and the projection of the gay male body image.
The praise that each has received suggest their relevance extends beyond these specific locations.
“For many of us, the past is a golden place we can always revisit for shelter. Jessica Wynne creates time capsules out of her surrounding world, even as it develops: a moment turns into a legend the instant it is over. Even when picturing others, such as her daughter Molly, I feel she’s re-staging her own memories. These are serene, untouchable pictures, safer than a dream.” –Illustrator, photographer Jorge Colombo, New York City
“Wynne ’90 in Potter Gallery” runs through October 11. Potter Gallery is at The Taft School, 110 Woodbury Rd, Watertown, CT. For gallery times and directions go to: Potter Gallery. Prof. Wynne is an alumna of The Taft School.
“Brad Farwell’s ‘Sky Cannon, 2015,’ is a poetic intervention into the historic military installation at Fort Jay on Governors Island and a surreal reimagining of the objecthood and function of these decommissioned, obsolete weapons. The placement of mirrors in these cannons’ muzzles is a subtle and powerful gesture that a viewer may not see at first. Upon an inevitable second take, they will notice something quite spectacular and uncanny about looking down the barrels of these cannons – seeing bright sky reflected back at them instead of a dark, uninhabited space.” – Melissa Levin, Director of Cultural Programs, Lower Manhattan Cultural Council
EXTENDED through September 27!
“Sky Cannon” is on exhibit through September 22. 27. It is at Fort Jay on Governors Island in New York City. For more information visit: Sky Cannon Govenors Island.
“Ron Amato’s ‘Armor’ exhibit has had an extraordinary response. Art collectors have been coming to the gallery to specifically see this thought-provoking exhibition. The viewers are incredulous over his use of light, his juxtaposition of his subjects and of course the controversial subject matter.” – Patty DeLuca, owner DeLuca Gallery, Provincetown, MA
“Armor” was on exhibit until September 14 at DeLuca Gallery, located at 432 Commercial St. Provincetown, MA. For more information about the exhibit visit DeLuca Gallery.
“When working with silver make it obey you. Smack it around. It’s gotta do what you tell it to. If worse comes to worse tell it you’ll melt it down.”
Heartless words from Wendy Yothers, chair of Jewelry Design department? Or just what comes from a long working relationship with a lustrous metal?
“Silver and I are a couple,” says Yothers. “We’ve been together a long time. I’ve had my affair with glass. Silver didn’t worry about it.”
Don’t tell the Pope.
Professor Yothers work is part of the collections at the Smithsonian American Art Museum, Corning Museum of Glass, Newark, Victoria and Albert Museum in London … and, yes, the Vatican.
“Silver’s my stalwart life partner. Silver is handsome and glass is hot,” she professes.
“Both know of each other in my heart and they’re gentlemen. They can sit together and they’re fine. I’m the only one who’s suffering. When they’re done with me they find someone else.”
Says Professor Yothers, “Someone said to me that it’s quite appropriate to allude to relationships in art. That passion, it comes from a different place. It’s self-renewing. It never burns out.”
The risque duo has really gotten around. Their work together have yielded a chalice for Pope Benedict, a picture frame for the last leader of the Soviet Union Mikhail Gorbachev, and a commemorative reliquary for the 82nd Airborn Division, to name a few.
Professor Yothers is a professional silversmith and process methods engineer. She worked as a silversmith specializing in restoration, prototype making and production smithing for Tiffany & Co. and Kirk Stieff & Co. She has exhibited widely and received numerous honors and awards. Among the courses she teaches are silversmithing and silversmithing for industrial processes.
From the start, artwork was a must for FIT’s new administrative offices at 333 Seventh Avenue. Written into the plans for the new 22,000 square-foot space are corridors and wall space where art would hang. Having been mined from faculty, student and alumni archives, photography and artwork now fill the space.
Prof. Brad Farwell, Photography adjunct, was put to the creative task of curating and hanging the photographs.
“It’s a great opportunity to showcase the talents of FIT’s visual artists, while enhancing the college’s newest space,” says Prof. Farwell.
“The artwork adds vibrance and imagination to a very structured environment,” says Bafemi Silver, a legal assistant in the Office of the General Counsel.
June Ng, director of space management and planning, says “It was always a concept to incorporate art work into the design of the floor.”
Fine Arts professors Jeff Way and Jean Feinberg dug into their archives, mainly accessing work of sophomores and juniors. “The main criteria was the quality of the work,” says Prof. Way. “The (administrative) staff had some input in the final selection, but we tried to place the work that had the maximum visual impact.”
Says Prof. Way, “The space there is extensive. The reception area and the conference rooms are excellent places to showcase the student work, and they’re thrilled to have their work shown in this context.”
Ms. Ng agrees. “We wanted our walls to sing in a way that reflects FIT’s brand and character.” And they do.
It is indeed “Hot Town. Summer in the City,” as the 60s song goes! But if you pace yourself you’ll be able to take advantage of much that New York City has to offer in the weeks before the start of fall classes.
The City’s cultural events and other resources feed the creativity of all of us. The sights and sounds of the City combined with your innate talent and energy will help your individual vision and make you better students and lifelong forces in our industry.
We have taken to Twitter with some excellent faculty recommendations of exhibits and happenings around New York. I want to mention a few that are current for the month of August, and to add a couple of my own suggestions:
Photography Professor Brad Farwell: The group show “Aperture Summer Open.” “It’s an excellent mix of current photographers all addressing contemporary society and the gap between what we imagine and what we actually manage to create,” says Prof. Farwell. For more info: http://www.aperture.org/exhibition/aperture-summer-open-exhibition/ (’til August 13)
Jewelry Design Chair, Wendy Yothers: “Frida Kahlo: Art, Garden, Life” at the Bronx Botanical Gardens. We can’t ever seem to get enough of this intriguing artist! For more info: www.nybg.org/frida/
I have two recommendations to add to the list. The first is, “Everything is Design: The Work of Paul Rand,” at the Museum of the City of New York. Paul Rand was such an influencer of the design world of the 1930s. It was Rand who brought European influences such as Cubism and avant garde to American design. For more info: http://www.mcny.org/exhibition/everything-design
Report from the Summer Institute on Sustainability in Fashion & Textiles
Jorg Hartmann, from machinery vendor Stoll, started his talk by showing copies of a well-worn 1880s pair of jeans bought at auction for $60,000. The jeans were copied and the look started a somewhat eco-hostile fashion idea: clothing that is almost worn-out when bought new.
Jorg said he himself used to buy jeans, rub them on the rough basement floor and run them through the washing machine to get the look. When the industry started to sell them that way, it found it had to use virgin material because consumers favor stuff that looked distressed but had never been worn.
He dryly observed that we’re in an age of “fashion democracy.” To follow the votes, the denim industry went through three stages: first companies sewed a pair of new jeans and washed them as destructively as they could.
Then there was the manual method, where skilled workers pulled, tugged, laser-distressed, soiled, bleached and dirtied, and then washed new jeans. That’s dangerous work, and also leads to quite a bit of energy use and environmental pollution.
Now the industry has a knitting machine from Stoll that does all this automatically, and in a scrapless way as well. Who knew? Knitted distressed “denim!”
Acting Associate Dean Sass Brown welcomed three dozen industry members to the second annual Sustainability and Textiles Summer Institute June 8. The four-day program introduces designers and others from around the world to practical ways of minimizing the industry’s carbon footprint.
The Institute began with Paul Dillinger, Head of Global Product Innovation at Levis Strauss & Co. Dillinger emphasized the adoption of a broad view of sustainability over a “single component” strategy.
“Most solutions in sustainability,” said Dillinger, seek to fix the weakest single component. “But it’s a lot of different components that create an impact.”
He took on critics of water-intensive cotton. “Let’s get rid of cotton. Yes! However, think about the global economies of the top 10 producing cotton countries,” warned Dillinger. Many are poor countries “for which cotton is a linchpin of their economies. If we wean ourselves suddenly of cotton because of the tremendous impact on resources, we would throw them into chaos.”
But that doesn’t mean an important environmental change isn’t forthcoming. “There will come a time when the value of an acre-yield for domestic [food] consumption will be worth more [than] that same acre will yield cotton…We must be prepared around the re-deployment of resources.”
Hence we can all make a living. “There’s a thinking that doing the right thing and doing the profitable thing is incongruous,” said Dillinger.
He suggested that designers need to bring back some cache to long-term attachment to clothing. “An important feature of sustainability strategy is how can you craft clothing that achieves emotional durability …rather than be a candy wrapper in six months,” said Dillinger. “Make it pretty and mitigate the impact on where your kids are going to live.”
The Graphic Design Junior Show in May–referred to as “the student production”–inventively showcased work that ranged from conceptual, to what might be found in a retail environment. Two sections of graphic design juniors worked together to create an exhibit flow that kept viewers in motion–moving from hands-on displays, to interactive media to posters and book covers.
“It was a joyous way for the students to share their educational process with the FIT community,” said Communication Design Prof. Elvin Kince, the show’s advisor.
The flow didn’t just simulate a gallery-feel, but kept viewers engaged and occupied.
“I thought it was fantastic,” said Communication Design Prof. Donna David. “What struck me most was how they displayed the work. They considered context, like books on bookshelves. They used tabletops and innovative displays. All that is important because design work can’t sit in a vacuum.”
Some works hung from frames of plastic tubing. “The work seemed to float within it,” said Prof. David.
Among the provocative works on display:
Daniel Lisowski’s poster set for an “autonomous school,” one that is self-governing, he explained. “It’s a shared and fairer education, in parallel–not doing things normally. It’s mostly from a European mentality of what graphic design is.” Lisowski says the impetuous for his work comes from “being very ambivalent about American graphic design education.”
A concern that Do Kyun Kim (above) addressed is the connection of the New York Public Library to its public. “There’s not a strong connection between the NYPL and Manhattan itself. Manhattan is composed of all straight and vertical lines, which creates a rectangular shape. So I developed a system by getting rid of all diagonals.”
“The graphics in the junior show have a level of diversity that’s very impressive,” says packaging design student Sasha Baw Dusky who came to view the show.
The displays “encompass a full spectrum of educational experiences such as site design and planning, group dynamics, teamwork, goal setting, individual review and presentation, time management and financial planning,” said Prof. Kince.
Sarsha Brown (above) explained the inspiration for her posters. “The project called for us to pick a symposium and design a set of three posters to advertise it. The posters had to work together and separately. I chose the Domestic Human Sex Trafficking Symposium to be held at the YWCA. My inspiration came from the TV show ‘Once Upon a Time’ that manipulates fairy tales into over lapping storylines.
“I used Peter Pan, Little Red Riding Hood, Beauty and the Beast, and Pinocchio,” said Brown. “Originally, these stories were depressing until Disney fantasized them. I stuck with the grim connotations and combined them with the Disney appearances that everyone knows. I used this familiarity to build readability, to draw people in.”
“Sarsha’s concept was to get people to think about the fear that the original stories stimulated and to have a conversation about what fear is,” said Kince. “She used some familiar fairy tale figures to attract viewers and then used the shadows and body parts extending from outside the frame to suggest danger from the unknown and unseen.”
Prof. David lauded the students’ ability to think of the work in relation to the viewer. They elevated their work, she said, by how it was displayed. “It took things to another level.”
Eduardo Mendez described his work as a response to “how a minor change in global temperature can cause major disasters.”
Prof. Kince praised Eduardo’s “natural instincts of the Old Masters in graphic design and typography. His sense of abstraction is like that of an old soul, almost as if he’s obsessed.”
Michelle Walliser explored bulimia prevention. Her poster includes the dictionary pronunciation of bulimia. “It’s typography-based because English is not my first language. I thought it was interesting how different the pronunciation is written from the actually word. It makes you think. It draws viewers closer.”
Prof. Kince said the exhibit benefited by a change of focus. “The exhibit is no longer dependent on faculty critiques as a measure of success. This makes the process more dependent upon student involvement and student energy.”