Brigid Coleman’s love of vintage scary movies can be seen in her Halloween-themed art: sketchy characters doing seemingly mundane things. A playful, ominous macabre runs through her work here. It’s a mix of commissioned work, Halloween musings, and one drawn from her experience working as an undergrad in a fast food joint. The recent Illustration grad works as freelance illustrator and art instructor at Ashcan Studio.
“I love old scary movies,” says Coleman, “so when coming up with these small Halloween illustrations, I knew right away I wanted to incorporate ‘The Invisible Man.’ I wanted to show him in a more modern setting to contrast against the original 1933 film.”
“’Jennifer’s Body,’ the 2009 horror-comedy, was the first horror movie I ever saw in a movie theater. I wanted to do an illustration that conveys how nonchalant and ruthless Jennifer is!” says Coleman.
“‘The Pumpkin King’ is inspired by the classic story of Jack,” says Coleman. “I drew him as a teenager growing after 2000. It’s why I included Y2K fashion choices such as the blue flame shirt and baggy shorts.”
“This was an album cover commission I did for Indie musician “K8.” She told me that she just wanted something with paper airplanes. When listening to her album I was reminded of high school, which is why portrayed the singer in space sitting at a school desk throwing airplanes while they wrapped around her,” says Coleman.
“This was a project for Prof. Hyesu Lee’s class,” says Coleman. “I made the illustration toward the end of 2020 when I was working nights at a fast food job. Everyone who came in seemed to look distraught, only to show some sense of joy when they received their food! I liked to think that coming together for cheap food made things feel normal again. I felt good to be a part of that normalcy, even if it was just by serving cheap food.”
It paid off artistically. “My experience as an Illustration major was amazing,” says Coleman. “I met some of my closest friends at FIT. My favorite professors were Hyesu Lee and Janis Salek. They encouraged us to think conceptually when developing illustrations.”
The Eddie Adams Workshop, now in its 34th year, is considered “one of the most important stops for up-and-coming photojournalists,” according to New York Times photographer and writer James Estrin. This year two FIT Photography students, and one Photography Certificate program graduate, were chosen to attend.
The late Eddie Adams was a highly awarded photojournalist, renowned for his coverage of the Vietnam War. He was dedicated to mentorship and teaching through large-scale collaboration and set out to do just that with a cadre of fellow professionals.
The intensive, merit-based, free workshop, has an impressive itinerary: Ten teams, each consisting of 10 students, are each led by a team leader, editor, producer, and IT person. “Team leadership works in September with students on assignments,” according to Mirjam Evers, Executive Director. “The work from the assigned topic — this year the theme was ‘transformation’ — is critiqued over three days in October by seasoned experts,” The workshop, headquartered at a former dairy farm in Jeffersonville, New York, was virtual this year.
In October, when the assignments are completed, the three-day intensive is scheduled with photography presentations; portfolio reviews of individual student work as well as the team’s work; and social networking sessions. The weekend ends with team presentations and an award show.
“The workshop is crazy because it pushes you into this intense encounter with utterly relevant challenges, but it also gives you the highest quality guides to help you navigate your way through the experience,” says esteemed Photography alum Trupal Pandya, ’16, a workshop presenter this year.
Pandya who attended the workshop as an undergrad says “It nurtures young photography professionals in a way that instills impeccably high standards, and if they really give themselves up to the process they come away with a particular kind of confidence that’s necessary in order to go out into the world and create.”
Photo: Lana Apisukh. “From Feral to Family.” TNR Specialist in her garage with a homeless cat she has rescued.We talked to the three FIT attendees about their experiences. They each shared completed work from their projects, as well as from their entry porfolios, which merited them a place in the workshop.
William Pippin (’23)
“I’m from Rochester, NY. Kodak City. Big surprise I’m a photographer! says William Pippin. “I’m most interested in documentary photos. The Eddie Adams Workshop was a very valuable experience. There are few opportunities where a group of photo editors take time to look at your work and give constructive feedback. I feel fortunate to have been accepted and for the people that I met. For the workshop I shot my homie Ryan and his little brother Paul, two BMX riders for my project “Breaking Away.”
One of the photos Pippin submitted for acceptance to the workshop, was from his project “Andy,” about his girlfriend. “We started going out before Covid and then just as we were official, Covid hit. She moved to Puerto Rico and I moved upstate. The project is about making up for lost time,” says Pippin.
“I never took a photo of her before Covid, so going through a year of not seeing each other, it’s just us reconnecting” says Pippin. “This photo is one that’s really important to me. The name of the photo is from the project ‘Andy,’ as if I’m writing a letter to her.”
Laila Stevens ‘23:
“I heard about the workshop from a classmate who had taken it. We bonded, initially over our similar visions, aligned with a lens. My vision is focused on culture, family and gender. Much of my work revolves around sisterhood, particularly in New York.
“I have this determination to make sure my project is deeply focused andgetting to the nitty gritty. I think that’s something Eddie Adams did — to not be scared away from people he chose to focus on. He was into the moment and not afraid to enter the space. I have that sense of determination,” said Stevens.
“The workshop was a valuable and timely experience. I received constructive criticism on my work in the moment, which ultimately steered me in the right direction while photographing.
“I was fortunate to have documented Meagan Owen’s sparring session with the women of the US Marine Boxing Team. One lesson I leave with:The importance of spending as much time as possible with your subject. For me, this meant traveling with a female boxer from The Bronx. I’m thankful to have learned from professionals who are as passionate about storytelling as I am.”
Lanna Apisukh, ’20
“As a portrait and documentary photographer, says Lanna Apisukh, I felt the workshop was an amazing opportunity to learn more about photojournalism and gain insight into how to approach stories from a creative and technical perspective. The workshop is also a great way to get connected with photo editors and other photographers.”
Apisuckh had submitted work from her “ongoing passion project, ‘Everybody Skate’” for acceptance to the workshop. “It highlights women and non-binary skateboarders in New York City. Work from this project was featured in a New York Times article “The New Skaters,”
Apisukh did a series for the workshop on a Trap, Neuter, Rescue (TNR) specialist from Brooklyn, who shelters and feeds homeless cats and works to get them spayed or neutered.
“My time with the Eddie Adams Workshop has been invaluable and inspiring. I’ve made connections with many photographers from around the world and industry veterans.”
She says “It was neat to hear our photo editor Sarah Leen talk through her edit [of our work] and the sequencing process, which will help us become better storytellers. Leen was the first female director of photography at National Geographic. It was an honor to have her provide feedback of my work.”
To see video presentations of each team’s work with an interview with Alyssa Adams, co-founder of the Eddie Adams Workshop talking about the history of the workshop: Eddie Adams Presentations.
This summer Visual Presentation and Exhibition Design students created “Cowleidoscope,” a giant, dreamy blue and pink cow with magnificent iridescent wings. It’s part of the NYC CowParade, which this year benefits God’s Love We Deliver, a New York City-based charity that prepares and delivers meals for people living with severe illnesses.
“It gave students an opportunity to work on a public exhibition that benefits the local community,” says Prof. Anne Kong who oversaw the project. “They worked as a team to take the design from a sketch to a large-scale production, working with vendors, and experiment with a range of materials. This is the VPED experience!”
Have a cow? Is it possible? Yes, Cowleidoscope is being auctioned along with other cows. Bidding is open at Heritage Auctions through October 7. Since 1999, over $30 million has been raised for worldwide charitable organizations from auctioning the cows.
“It was a great learning experience, working alongside such renowned organizations. It heightened my interest in pursuing design production as a career,” says Gordon Qu.
“It was a most memorable project. I worked on such a large scale project with an incredible team, both from within FIT and outside FIT,” says Fean Manthachitra.
“It was an opportunity to work with students and faculty in-person when remote working was still prevalent,” says Diana Rico. “It was inspiring working on all phases of the fabrication.”
It’s in no small part to the work of the VPED production team that Cowleidoscope is among the fashionable and artistic elite. This year’s herd of 78 cows, according to Jerome Elbaum, founder of CowParade, “is the best we have ever produced,” he told the The New York Times.
Since late August, Cowleidoscope has been grazing at Industry City, a creative hub in Brooklyn. It’s one of eight “pastures” to host the cows this year.
Naturally, a fiberglass, 150-pound-plus cow requires a lot of resources for its adornment. MS Sign Inc. helped with execution of the wings. Big Apple Visual Group donated the floor graphics.
To learn more about the Visual Presentation and Exhibition Design program go to VPED at FIT.
As any good campaign should, Tiffany & Co’s attempt to appeal to younger potential customers with its “About Love” campaign lit up both the fashion press and mainstream media last month. Beyoncé is the first Black woman to wear the hypnotically yellow Tiffany Diamond in public since its 1878 acquisition by the jeweler. The campaign is still going strong.
“The Tiffany Diamond is iconic,” says Jewelry Design Professor Wendy Yothers, who has worked as a Tiffany’s craftsman. “It is a rare, beautiful gem formed by the miraculous power of natural phenomena.”
The About Love campaign now includes a scholarship program with a $2 million pledge from Tiffany’s for students at historically Black colleges and universities. This week the campaign released a romantic home-style video of Beyoncé wearing the Tiffany Diamond while singing “Moon River.”
FIT alums, from Fashion Design, Fabric Styling, Illustration and other majors have benefited from other riches, artistically that is, from Beyoncé’s fashion choices and vision.
Beyoncé’s debut of “Black Is King,” the feature-length visual album, includes a stunning wardrobe of over 70 designs. It was “a fashion fever-dream of jaw-dropping looks by mostly Black designers,” as FIT Newsroom described.
Jerome LaMaar, Fabric Styling ’07, created a look that was inspired by matriarchs at Nigerian weddings. He hand-beaded a Nigerian lace trench-jumper with gloves, covered with turquoise, jade, hematite, mother-of-pearl, silver, and Swarovski crystals.
LaMaar has created designs for Queen Bey since 2014, including outfits for her appearance at the Billboard awards, a Coachella party, and her 35th birthday. It hasn’t changed the magnitude of working with her.
“I mean, it’s still Beyoncé. I’m honored that her team still thinks I’m worthy,” LaMaar told GQ Magazine.
Lorraine West, Illustration ’18, designed her now well-known “Abstract Palette Earrings” for Beyoncé, which the singer wore to perform the song “Water.“ As described on the designer’s website, the earrings are “a tribute to all people that are painting a new world through their positive cause in life.”
Venny Etienne, who attended FIT for Fashion Merchandising, created a broad-shouldered floral jacket with an “amped up” silhouette for the “Black Is King” film.
The experience, he told Texas Monthly,“represents how one person could uplift a whole community…Where we have the ability to portray an image of excellence, an image of Black culture.”
Other FIT alums who have designed for Beyoncé include: Mirabai Howard-Geogan, Fashion Design ’09, a design consultant for Mia Vesper, who created looks to compliment an Egyptian-inspired scene. Dynasty and Soull Ogun, FIT’s Design Entrepreneurs NYC program’19, of L’Enchanteur, submitted accessories for Beyoncé’s “Spirit” song, (above), from which followed by more commissions.
We spotted the work of four of these alums in the video for the song “Already.”
The Tiffany Diamond campaign has raised concerns, mainly on social media, as to whether the diamond was mined by colonized or slave labor, (referred to as a “blood” or “conflict” diamond). Others have said that the goal of tracking such diamonds is intended to keep money out of the hands of those who exploit and harm others in modern times. The Tiffany Diamond was found 150 years ago.
And what about those poses in front of the late Jean-Michel Basquiat painting, “Equals Pi?” Is the painting’s teal blue background the same as Tiffany’s trademarked blue boxes? No, it turns out, at least not according to the person who mixed paint for Basquiat.
As for the real worth of the diamond? For now, it’s reflected in the wearer. “The Tiffany Diamond is an iconic symbol of miraculous natural beauty. Beyoncé is miraculous, but adds genius, art and work beyond imagining to be the even rarer gem,” says Prof. Yothers.
Prof. Wendy Yothers co-edited the forthcoming book “Digital Meets Handmade,” which addresses how digital technologies and handcraft can coalesce as wearable art. She is an artisan in the Society of American Silversmiths.
Never has Dr. Anthony Fauci appeared taller than in Prof. Johanna Goodman’s view of him. The elongation – a common theme in Goodman’s illustrations – is particularly fitting. It would have been impossible to consider on-campus classes this fall without the mRNA vaccine technology (pioneered by Dr. Katalin Karikó) that Dr. Fauci championed starting 20 years ago.
Dr. Fauci (who, in real life, is 5 feet, 8 inches tall) did that at the National Institutes of Health (NIH). He also pioneered the research that turned AIDS from death sentence to a chronic, controllable disease.
Prof. Goodman says this of her illustration subject: “Physician-scientist and immunologist, advisor to every president since Ronald Reagan, superhero, Dr. Fauci lived through the challenge of serving in the Trump administration’s Coronavirus Task Force. After serving the American public for over 50 years, he’s continuing the fight against coronavirus and hopefully leading us to our salvation.”
A personal piece (below) created at the beginning of the pandemic, Plate No. 395, was later published by the Italian style magazine D la Repubblica. “It was before we went into lockdown, when I was feeling very nervous walking the city streets,” says Prof. Goodman.
The work accompanied a story about how the Italian beauty industry was responding to the crisis with new inventions to “let us experience our sexy side even at a distance and with a mask.”
Another example of her work is one of Salvatore Ferragamo’s latest projects, which explores “Love’s Many Mediums.”
To fill the void left behind by a year without much travel or connection to speak of, Ferragamo used Valentine’s Day, 2021 as an excuse for celebration. Prof. Goodman’s illustration is for a Florentine luxury label release that week, the “Patchwork of Love” project. It was the second chapter in Ferragamo’s latest series of holiday-focused artistic collaborations.
Prof. Goodman has garnered awards from The Society of Publication Design, American Illustration, and Communication Arts. Her clients include the NYC public transit system, Museum of Natural History, The Rock & Roll Hall of Fame, Time, Rolling Stone, Le Monde, The New York Times, The Wall Street Journal, Washington Post, The New Yorker, New York magazine, and many others.
Courses Prof. Goodman has taught include: Illustration Process I and Illustration Process II.
To all the gamers out there who need a good cry, a good laugh, a thrill or even a job or relationship, there’s PlayStation Therapy. Advertising and Digital Design grad Matthew Lafergola, ’21, visualizes how PlayStation characters aren’t just for shooting at, but also for providing cathartic experiences. There’s a vault of PlayStation stories and characters that can help you escape from life’s burdens. You just need to get engaged and help increase traffic to PlayStation’s subscription.
“Everyone deals with stress and hardships, and escaping from that is enticing,” says Lafergola about his Senior Thesis Ad Campaign.People can look at the parts of this campaign and see themselves in it,” he says.
For his campaign, Lafergola had to articulate both a problem and solution: The problem is that PlayStation needs to increase traffic to its subscription service, PS Now, which pales by comparison to competitors like Xbox Gamepass.
His solution? “Show gamers that PS Now is the stress relief they need to escape life’s burdens. The service provides an endless number of experiences, stories, and characters that players can resonate with.”
For advertising students, the senior thesis is a culmination of what they’ve learned throughout their major. The one thing that differs from a professional ad campaign is that students can pick their own topic.
“After four years of assignments and guidelines, I was able to go all-in on a topic I’m passionate about, and direct it from start to finish,” he says.
“I chose a topic near and dear to me,” says Lafergola. I’ve played video games my whole button-mashing life. They brought my brother and whole family closer together,” he says.
“Matt’s campaign hits that sweet spot all great work tries to, but rarely finds. First, It solves a real business problem. It does so in a unique way. And it manages to entertain us at the same time. This is how deeper consumer connections are formed,” says Advertising and Digital Design Professor Craig Markus.
“Every puzzle piece of the campaign was essential for getting the full picture” says Lafergola.
If this campaign were a real one, commissioned by a client, this is what it would include:
A written “manifesto” that captures the essence and message of a brand:
Lafergola’s manifesto proclaims there’s a window beyond gaming. There are comforts to be had and courage to be found in the stories and characters that can support you in life’s challenges.
Three poster ads:
Lafergola’s ads feature PlayStation-exclusive characters that are dealing with daily struggles. “They show that even the mighty and heroic can fall victim to everyday burdens.” Also included are banner ads. “They’re those annoying ads that pop up in the corners of your webpages!” he says.
An interactive element:
This gives consumers a way to not only look at the campaign but to use it as well, says Lafergola. His “Calm App” links players to their PlayStation Now account to get access to sleep stories, soundscapes and more, narrated by PlayStation characters.
The experiential portion:
This can be an event of some sort. For this campaign, there are PlayStation Meditation pop-ups located in parks around the world like Central Park. The sessions are hosted by PlayStation characters like Kratos.
The scented candles are an example of merchandize that could be purchased at the meditation pop-ups:
The innovative feature:
This is the “PS Mood” feature, which goes with the user interface image.
In the practical sense, it’s where players go to choose games “that complement their mood.” Says Lafergola, “It’s the ‘Wow! no-one-has-done-this-before’ portion of the campaign.”
Case study video:
The crown jewel of the campaign is the video (above) that ties everything together in a concise and compelling one- to two-minute package.
“The video is my favorite part. Selling the idea effectively is so exciting,” says Lafergola. “I wanted to capture the escape. I wanted people to see that their struggles and stresses are real and justified. Sometimes all you need is a little time away from this world so you can jump into another one where your problems don’t weigh you down. When you come back to the real world, you’re ready to face your roadblocks head-on.”
Lafergola won’t always be working on ad campaigns related to video games. “My passion for advertising and design applies to many topics and themes. I’ve loved doing assignments pertaining to bullying, health and nutrition.”
He also wants to pursue motion graphics design. “Motion is a powerful vehicle for storytelling and that’s essentially what advertising is: a story,” he says.
“I want to hopefully create powerful art that impacts people in a meaningful way.”
It was an evening of performances in praise of the artistry of drag, at Projekt 105 art gallery in Manhattan. It was also the opening of a portraiture series “Drag Queens” by famed photographer Martin Schoeller. With the gallery’s permission, Victor Pickens, (Photography ’23), created a series of his own based on the performances.
“It was an amazing experience, a show of beauty, power, and artistic expression. It was like capturing lightning in a bottle,” says Pickens.
“There was no better way to encompass pride,” says Pickens “in seeing people living out their dreams and their personalities.” He describes some of the striking images he captured, like this “moment of vulnerability” by the performer Pietra Parker:
“The darkness behind the outer line of her face intrigued me. Being queer you take pride in yourself despite what others think. I see in her the experience of dealing with daily scrutiny and the impending lack of acceptance,” says Pickens.
Pickens’ favorite performance was Iggy Berlin singing a German ballad. “It was a moment of contemplation, a slow and solemn beauty. She greeted the audience with a fierce stare; it’s the attitude of not knowing what challenge awaits you.”
Ella Baum, who worked as gallery associate at Projekt 105 and organized the event, said Pickens’ evocative photos were difficult to get:
“I was so impressed with how Victor was able to operate within one-square foot of the space, jammed up against the stage with so many people in the background and create such emotive images, which is difficult to do in live performance photography. He was able to create very emotive, colorful, captivating images that not only depicted his subjects as performers, but as humans. That raw quality is nothing to be unhappy about.”
While the rainbow-themed outfit worn by Jasmine Rice LaBeija above is “jovial and colorful,” says Pickens, “it’s contrasted by an operatic performance. With her blond hair, dress and body shape, I expected to hear a high-pitched voice.
“An important thing about Pride is not assigning a stereotype to someone’s gender identity or appearance. Jasmine reaffirmed that to me,” he says.
Creating this photo as a black and white, says Pickens “isn’t just for the starkness of the image, but the power of Pattaya’s presence, and of her turning her back on negative energy.”
Pickens describes it further: “While her body is a blur of motion, her hair twisting
in the air, her hand is still. The ring, which represents her power, is steady. The
hand is what we complete most of our actions with; it does what the mind says.”
“Three is a powerful number,” says Pickens. “It can capture motion without overcrowding the eye. I wanted to show Pattaya engaging with the crowd between performances. She filled the crowd with electric energy. That’s the spirit of drag.”
The image on the bottom of this triplet “is about contemplation,” says Pickens. “The top one is about fear. Her eyes come back to the stare between the peacock and the predator to show she means business.”
“The point of my multiple exposures,” says Victor “is to show different emotional states. The way we feel and express ourselves can change in a minute. It doesn’t suffice to confine ourselves to one state,” says Pickens.
“Pattaya (below) has “an air of deadly precision,” says Pickens. “She’s at home on
the stage; there are the curtains, bright lights, and microphone. I see the power of her expression, and what it means to be a drag queen,” says Pickens.
For the first triplet of Iggy, I used red tones to signify danger and alert. For this image, I used blues, purples and pinks. I wanted it to feel like a galaxy, a land of fantasy and exploration,” he says.
“It was an amazing experience, a show of beauty, power, and artistic expression. “It was like capturing lightning in a bottle.” – Victor Pickens
Pickens opened and closed his work with images of Pietra, whose personality he finds to be an enigma. “The first image of her is reminiscent of a 1970s movie poster. This one has a Broadway burlesque performance element,” he says.
“I came expecting photographs, but I got a whole visual performance. I’m grateful because it gave me a platform to make my own art. Seeing this show encapsulated for me what it means to be proud,” he said.
While the event took place near the end of Pride month, “pride should be 365 days a year,” he says. “Once Pride month ends, we easily forget about the pain, inner struggles and discrimination. I’m compelled to tell the real stories.”
M. C. Escher made an appearance at the Fashion Design Graduating Student Exhibition, courtesy of graduating senior Yves Mervin-Leroy. Leather pieces from Yves’ collection showed the interlocking design patterns strongly evocative of Escher’s work. But it was his mastery of complex leather and textile technology that dazzled the online audience.
Yves presented his collection to his senior thesis Incubator class with Professor Gerard Dellova, who lauded his work for its design concepts, and its use of innovative technology and wearable, commercial appeal. In attendance was the Dean of the School of Art and Design and industry professionals.
Yves first look was an oversized bomber jacket and micro miniskirt in embossed ivory lamb leather paired with a silk chiffon and charmeuse top.
The jacket features ribbed cuffs, hem, and collar, and a covered zipper. There are slot seams for added mobility. They conceal hidden, practical inseam pockets with clean vertical lines. There are also two oversized inner pockets.
“The pockets are big enough for the biggest iPhone you can think of,” said Yves. “Hey, that’s important!”
Here’s where it gets super techie:
“The jacket is embossed with a custom geometric interlocking ‘Y’ pattern,” Yves explains. “The leather is soaked in acrylic and stretched over custom 3D printed forms with a clamping system. The backs of the motifs are individually filled with a UV-activated curing resin for added strength.”
The same pattern is reinterpreted in the charmeuse intarsia that lightly drapes across the chest, suspended in nude chiffon.
“Yves, this is a great use of technology, wonderfully designed — wearable and innovative!” said Dean Troy Richards.
The Etscher-like motif neither overwhelms nor is trite:
“I can see a relationship to Escher but the figure-ground relationship of the monochromatic pattern has its own life,” says Fine Arts Professor Sue Willis.
Yves said he was drawn to Escher’s optical illusions. “They rely on linear perspective to create impossible structures. I also drew inspiration from his tessellations, especially for the interlocking pattern the leather is embossed with.”
Yves says the geometry throughout the patterns and textiles he developed are a nod to Escher’s work:
“My goal was to create something that wasn’t an immediately recognizable reference. I wanted to avoid the collection being too trendy.”
The second look is an embossed bias-cut dress in velvet, lined with charmeuse.
“Light catches the pattern differently depending on the angle,” says Yves. “The straps are threaded through jump rings and are detachable and reconfigurable, making it a very adjustable garment. The pattern evokes the leather embossing.”
Yves embossed velvet for his third look, as well, but with a more metallic material. “It shows a different effect. It has drawstring hems and charmeuse bound seams,” he says.
“Yves, this is a great use of technology, wonderfully designed — wearable and innovative!” – Troy Richards, Dean of the School of Art and Design.
The crossbody bag, an extra to the assignment, was made with retro-reflective glass powder and acrylic stenciled on iridescent leather. It has an adjustable and detachable strap.
“The embossed leather is beautiful. The implementation of the repetitive pattern and garment construction I find to be fascinating” says Prof. Willis who co-developed the Wearable Art course with Jewelry Design Prof. Karen Bachmann.
“Yves brings a maker mentality to his brand’s DNA, with a subtle vision,” says Prof. Dellova. “He’s a hands-on creative who uses innovative techniques for modern fashion design.”
And his work has flow. All the pieces in Yves’ collection are designed to be combined in numerous ways.
Shaniya Carrington’s “Sneakerhead” collection began with a conversation with a friend about buying and collecting sneakers. Such talk, says Carrington, can be the “telltale sign” of a sneakerhead. “The wacky thought of a person with a sneaker as a head made me laugh! There was no way I wouldn’t draw this, but had no idea how far I’d take it.” All the way to her senior thesis project.
“It’s about how just one little weird idea can become a cool illustration!” says Carrington.
There’s an obsession at the heart of a true sneakerhead. Footwear and Accessories Design Prof. Vasilios Christofilakos describes what sneakerhead culture is, and how Carrington’s work “captures it beautifully.”
“You’re a sneakerhead once it becomes your life. You buy, you sell, you indulge yourself completely in the sneaker world. They’re your go-to shoe every day. A sneakerhead is going to wear sneakers to a funeral to a wedding, to a baptismal, through the park, deer hunting. If they could swim in them they would,” he says.
“If Carrington’s work doesn’t visually define what a sneakerhead is than I don’t know what does. Art is a visual language. Sometimes it’s open to interpretation and guessing, but this is clear sneaker culture. Each illustration defines its customer as seen in fashion houses.”
Carrington began with her Nike Sneakerhead, her “gateway” piece she says. “After countless adjustments I saw it was going somewhere. The cup and straw are a little extra spice. There’s no way for a person with a sneaker for a head can possibly drink this! Once I completed it, I knew I would make more.”
Prof. Christofilakos is taken with “the bold feminine color,” of it. “She’s young pink and fabulous because she doesn’t know what’s ahead. She’s bold and she’s a temptress.”
While considering her senior thesis, illustrator Jessica Karpishin ’18, spoke to Carrington’s Mentor and Specialized Projects class taught by Prof. John Nickle. She showed work from her final thesis and suggested that students ask themselves what makes their work unique. “I got onto Procreate and began planning a Doc Martens Sneakerhead character,” says Carrington. I proposed the idea to Prof. Nickle, and he loved it. I created a gothic persona with a leather jacket and a choker. I added an animal to it.”
“These are so fun and funky. I love the surreal collision of visual elements. She combines high fashion with street fashion and I like the way that Shaniya uses flat graphics with realistic, and stylized rendering. Shaniya’s Sneakerheads idea has so many potential avenues to explore. I am interested and excited to see where she takes it. – Illustration Professor John Nickle.
“It’s like an homage to the late, great Eartha Kit, says Prof. Christofilakos. “It’s an Illustration of a well-known brand. It’s part of our lives. Doc Martens has become as iconic as Cat Woman from Batman.”
Carrington worked with another favorite brand, Converse, and incorporated it into her next thesis piece. “I wanted a more relaxed character wearing street and a tattoo. I went for a sitting pose. By going for a variety of poses and personas, not one piece is similar to another,” she says.
Vans Sneakerhead was a “no brainer” for Carrington. “Vans have so much personality. I joke that no one owns a clean pair of Vans. Within a week of wearing them they’re filthy and torn up,” she says.
Carrington’s Gucci Sneakerhead is her final thesis piece (below). “I wanted a classy persona with a classy dog that’s wearing a Gucci collar,” she says.
“The Doberman is powerful,: says Prof. Christofilakos. “Gucci sets the trend. Who is the powerhouse here, the Doberman or the wearer?”
Carrington says the piece was challenging because of the number of elements involved and the textures of the clothes. “I enjoy looking back at my first Sneakerhead to this one. It really shows growth that I take pride in.
“They’re part of my permanent style now. I’m into conceptual portraiture and playing with cool ideas that come into my head. I want to show that wacky side of me.”
As for Prof. Christofilakos, he has designs of his own — for Carrington to consider Fashion Illustration as a component to her career.
When Dahlia Ferrera, ’20, talks about her experiences as a Visual Presentation and Exhibition Design student, it’s never fully in the past tense. Delve deeper and you learn why. So much of what she learned, she draws on in her day-to-day professional life. While student VPED projects are often large-scale and awe-inspiring, it’s exciting to see how these skills transfer to the industry.
Here Ferrera talks about exhibits, brand activation projects, site scouting, and a heap of software and communication skills she learned in her VPED courses, and how her education translates to her work with clients:
“My view of design changed completely in my seventh semester Experiential Design class with Professor Barbara Salzman,” says Ferrera. The turning point came while working on a brand activation project: Spotify’s “For the Ride” campaign.
“The campaign typifies the experience of losing yourself in a favorite song,” she says. The project coincided with the heartbreak of losing her father. “The event I created stimulates emotion and vulnerability. It inspired me to create spaces that cultivate community, conversation, and emotion. It’s why I segued to interior design.”
The experience carried over for Ferrera, who is now a designer at Havenly, a company offering interior design services. “I love that different parts of our homes cultivate different emotions based on the intention of design,” she says.
Recently a client asked Ferrera to create a living room that would help bring family closer together. “It’s challenging to create a living room that resonates for each family member and their guests. I took a sentimental approach, one of human connection. I started with questions about color, decor, additional accent seating, and room dimensions to allow for the pieces I would be sourcing. We decided on family photos, shades of blue and neutrals, and sculptural abstract decor for a relaxing atmosphere,” says Ferrera.
Says Prof. Salzman “It’s incredible to see an already talented designer like Dahlia find her purpose through our lessons. One of the special parts of the VPED program is seeing all the unique techniques and skills we teach come together in such visually stimulating and inspiring ways that impact others.”
“The takeaway” from Graphic Strategy for Visual Presentation class with Prof. Anne Finkelstein, was the ability to get ideas across quickly, says Ferrera. “I learned to create photo montages, to curate and deliver ideas with moodboarding. This helps to quickly understand a client’s style. It’s very valuable to my process with clients.”
For the design of a patio Ferrera worked on, these skills helped better define her client’s vision early on. “It was followed by feedback, subsequent adjustments to the design, and then a design layout of the client’s space for the team to bring to life as a 3D rendering,” she says.
With Intro to Exhibition Design class with Prof. Brianne Muscente, Ferrera created an exhibition for the Children’s Museum of Manhattan. “I learned how children interact in spatial environments, the proper heights of chairs, bookshelves, tables and softer materials free of sharp edges,” says Ferrera.
Designing rooms for children is now a specialization for Ferrera. “I recently created Bohemian glam interior designs for a client with a four-year-old. This style can have a lot of glass with sharp edges. I adapted the designs to child’s needs in an aesthetically pleasing space. My client loved it. It’s safe for her daughter with storage space for toys,” she says.
Ferrera learned how to create floor plans, design showrooms, and about furniture styles in her In-Store Design class with Professor Reginald Rogers.
“I created a showroom for BoConcept, a Danish contemporary style furniture company. Using vignettes to tell the specific story of each room, I used Sketchup and Vectorworks for creating floor plans, 3D rendering, and then created a merchandising plan.”
This time Ferrera was hired to do a design project involving a contemporary bohemian outdoor patio with a luxurious outdoor dining section.
“I knew the questions to ask in order to lay out my client’s vision. I was able to show her the ways we could go with the design, the materials that could be sourced,” she says.
“Dahlia bookended her education being in my fifth- and eighth-semester class. She started with a strong interest in theatrical experience, but working with Profs. Saltzman, Kong and Rogers over the course of her education built discipline and process into her passions. In her capstone [course] she was truly well rounded, taking her skills from school into her career directly.” – Craig Berger, Chair, Communications Design Pathways
Professors Anne Kong and Craig Berger’s combined capstone course, taught Ferrera how to gather information to scope out projects at site locations. The list of considerations is exhaustive and necessary:
“What are the space dimensions? How many people will be interacting? What are their demographics?
How will the space be used? What will the flow of the space be like?
What feeling does the client want to invoke?
What duration of time will the space will be used for? What is the client’s budget?
How will the location affect store or exhibit traffic? Are they a luxury brand, or a mom and pop? What’s the culture of the brand, its color and visual identity? How can the design considerations be used to help them be more recognizable?”
Ferrera says her research and communication skills improved immeasurably in this course. “I learned to design with intention. A great designer does more than create spaces that look pretty,” she says.
Ferrera applied these skills in a consultation with the owner of Warehaus Orlando. “He wanted to grow his business for the very next quarter, while maintaining the brand’s existing stylistic approach,” she said.
“I advised him that a redesign of the storefront with a new paint job, grass hedges and a logo mural would make the space more inviting and give it new energy in ways their customer demographic would enjoy.”
Daliah Ferrera grew up in Queens, NY, in a largely Hispanic neighborhood that she says exposed her to “the beauty of small businesses and importance of community.” She is proud to be a first-generation, Cuban-American college graduate and passionate about design that serves communities. “It is an essential human right for people to live in spaces where they feel safe.” She draws inspiration from artists and musicans Andy Warhol, David Bowie, Robert Mapplethorpe, Patti Smith and Claude Monet. Fererra was recently named a NextGen Collective “Latinx to Watch.”