Hannah Tucker Portfolio

portfolio H A N N A H T U C K E R

contents

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ABOUT ME Resume and Objective 4

THE DEVIL WEARS PRADA A film study and ad branding 6-11

POLITICAL POP-UP Moser campaign office pop-up 12-23

TITLE MAGAZINE Editorial written for TITLE Magazine 24-29

OFFICE POLITICS Large scale design for Moser office 30-43

VANS NEW SKOOL Branding and retail design for Vans 44-57

about me

Hello hello! The University of Cincinnati is my home. I study interior design + fashion on the side. I am passionate about graphic art and editorial writing. Currently, I am seeking an internship in experiential, multi-disciplinary design.

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HANNAH TUCKER

TUCKERHR@MAIL.UC.EDU 517.375.7632 ISSUU.COM/HANNAHTUCKER6

WORK

PLAY

CALLISONRTKL

TITLE FASHION MAGAZINE

Working on the Williams-Sonoma team, assisting in photoshop renderings, client brand books, and construction drawings

Responsibilities include coordinating team members, articles, writing content, and editing content written by other members to be published in UC’s only print fashion magazine.

INTERN | JAN-DEC 2018

THE ARTISAN’S BENCH MERCHANDISER/ASSOCIATE | 2017

Boutique art gallery with handmade art and heirloom rugs. My tasks were merchandising the displays, updating the website and SEO, and customer servicing

COPPER ORCHID DESIGN INTERN | 2011-2015

Worked alongside the owner attending client meetings, preparing ideation boards for meetings, and working in the studio.

COPY EDITOR | FALL 2018-PRESENT

COLLEGE FASHIONISTA

EDITORIAL FELLOWSHIP | SUMMER 2018

Selected to be a part of the summer fellowship program. Responsibilities include writing for Collegefashionista.com, interviewing featured people and clubs, and editing posts.

COLLEGE FASHIONISTA

STYLE GURU | SUMMER 2017-PRESENT Responsibilities include submitting monthly blog posts

UC FASHION ASSOCIATION

CERTIFICATES

BLOG COORDINATOR | 2017

Responsibilities include creating and running the website, submitting posts, and editing others.’

SCHOLARSHIP 2016- PRESENT

Cincinnatus scholarship awarded to eligible students who must maintain a 3.2 And perform 30 hours of community service

IIDA

MEMBER | FALL 2017

DEANS LIST 2016-PRESENT

Awarded to students in excellent academic standing

EDUCATION

SKILLS PHOTOSHOP AUTOCAD VRAY

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International interior design association. Connects students to professional opportunities that reach outside campus scope.

UNIVERSITY OF CINCINNATI ILLUSTRATOR RHINOCEROUS WRITING

INDESIGN REVIT EDITING

UNDERGRADUATE | 2016-PRESENT INTERIOR DESIGN BS FASHION DESIGN STUDIES MINOR

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the

devil

wears prada To analyze The Devil Wears Prada, we must first look at Anna Wintour. The movie stems from the office of the Vogue editor in chief, almost a direct replica. The high ceilings strike the soft carpeting. A timeless maturity from Wintour’s office is laced into Miranda Priestly’s office. Women march their sharp heels through marble hallways before arriving in the sweeping lobby.

Glass doors give way to metallic lettering to mark Runway’s position in the 1930s, art deco, exterior. Apart from the subtle backdrop, bright furniture peppers the lobby as well as the editor’s office. A red Knoll chair perched in the entry beckons the brave forward. The eye is drawn throughout the space by a rush of people carrying a line for an upcoming shoot. Flashes of color appear on the screen with storyboards stretched across cherry tables in the conference room. Glass paneling separates the compartmentalized office, populated with grey cubicles.

Fresh flowers on every surface adorn the well-lit space, giving way to Miranda Priestly’s private office. Her two assistants sit on open cherry desks, ready to be called upon. Sleek black frames anchor the scene throughout the hallways leading up the large French doors and continue in a gallery formation lining the walls of the office.

The scene is cut with malice, but does not lack charm.

The idea behind this project was to look at film from a different perspective.

We were to represent the film both visually and analytically in written form.

To maintain the character of the film, my visual representation takes to advertising both the “brand� of the film, as well as the office itself that was the subject for the piece.

&

We cannot talk about the office without discussing the work. These days, print is dying. But through the rein of Anna Wintour, who is portrayed by Meryl Streep as Miranda Priestly, the magazine continues to rise to the top.

This is an office based upon the effort of its employees. The replaceable demeanor instilled in its workforce contributes to their devotion to the magazine. They don’t need a ping pong table or an office littered with open floorplan communities. They require spaces to get work done both collaboratively and individually.

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PA R

K

re e h e r you a

F

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AY L D IN

M

T E K AR

take streets

it to the

Jordan Moser began her political journey as a grassroots campaign. Disheartened by the number of potholes on her morning commute, she decided to do something about it. Her mayoral candidacy was driven by the improvement of road conditions.

With her campaign manager by her side, she wanted to raise awareness in the community.

She needed a temporary office that is accessible to the public.This creates an interesting problem for designers - a pop-up office.

The space was to be no larger than a single parking space. However, it must accommodate Jordan Moser, her campaign manager, and two interns.

The designer is responsible for establishing the visual image, effective and efficient workspace, and most important, a sense of grassroots advocacy: people oriented, openness, and connection to government fulfilling the role of representing its constituents – the nature of democratic principles in an open society with honest political representation.

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moser mayor for

I chose to place my office in the center of bustling Findlay Market, Cincinnati, OH. The site has dedicated vendor spaces, to which are very accessible to the public. Due to the site conditions, I chose a corner spot off of the parking lot, and framed the plan to maximize user interaction.

The structure has a bike rack on the back, facing the parking lot to encourage bikers who identify with the cause to participate. The interns serve as marketing, perched on the East corner, they receive the most pedestrian traffic off of the parking lot.

Their seat tucks under the desk for easy storage, and have direct access to the retractable filing system.

Jordan Moser and her Campaign manager have desk space on the south side of the pavilion, directly visible from the market. The pavilion is open air, but still has two walls (North and West) to block noise from other vendors and allow space to pin up strategy and propaganda. The stools featured mimic the seating at Findlay market, and are movable to the outside of the structure. The roof of the pavilion offers shade and meeting space for Moser to interact with the public 18

INTERN

M O S E R A N D M A N AG E R

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romance the

of

1960’s

It’s heating up! Metaphorically of course. As the temperatures drop a little colder, there’s only one question on everyone’s mind“Be My Baby?” Contrary to the beautiful innocence of the 1964 song, the 1960s was an era of desire. Gone are the days of slow, woozy, romances.The tightness of the 1950s raised a rebellious teen, and the films of the decade reflected the same. Heating up the big screens: Movies such as Valley of the Dolls, Bonnie and Clyde, and The Graduate.

These aren’t the soft, gooey, romances of the 1950s. They are tough, enthralling, vivid imagery about times a’changing.

In Valley of the Dolls, a gritty romance about love and drugs in New York City.The female-centered cast gave us inspiration a la mode. It’s racy nature evoked by, not only the content but the short skirts and skinbaring silhouettes.

In another bad-mannered romance, Bonnie and Clyde, we saw the audience's desire for disruption. A modern day Romeo and Juliet, Bonnie and Clyde was exceptionally more sinister. The movie conveyed the real world story in a beautiful and telling way, perhaps inspiring couples in a don't-trythis-at-home sort of way. Bonnie and Clyde are unassuming fashion icons. Indicative of the 1960s lower class, you won’t find gowns and prim pastel collars. It’s the 1960sdeconstructed.

And finally, in perhaps the gooiest of 1960s

romances,The Graduate. Even with ups and ultimately downs, it's an epic tale of love and lust. Stylistically, the film is a beautiful composition that perfectly encapsulates the 1960s (backed by an excellent soundtrackSimon and Garfunkel). An upper-class society insinuating materialism, and its main character’s fight against them, prove well for our inspiration. It isn’t a film about socialites, which we’ve already addressed, it is perhaps the most ‘normal’ life evoked in the time. Interestingly enough, this normal life isn't incredibly different from ours today (wardrobe included).

The generation that brought heat to the movie screen, still impacts us today, as we embark on the romances of college.

Ah. Young love.

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so here we are I am running for political office in a referendum for Mayor of Cincinnati on the platform of fixing potholes for bike riders, building more bike paths, and most of all as an advocate for the ‘people.’ Our campaign slogan is now Take it to the Streets’ with a campaign staff of Jordan Moser and Ed as my manager and minister of propaganda. as well as a policy, budget, and publicity team.

This project is a take on the traditional office, evoking the brand of the campaign itself. We were tasked with the prompt, but discovering who Jordan Moser is and what she stands for was a task all our own.

In order to understand the project, you must first understand the campaign.

Jordan is an activist for the environment she believes in change and stands for a transparent campaign. Her goal is not only to Take it to the Streets but to Take it to the People as well.

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love affair modern

In Jordan Moser’s campaign, the effort stems from her love of the outdoors. In fact, the reason she ran in the first place was her disapproval of the road conditions on her bike route to work. The design proposed a challenge: how do we bring the outdoors in.

To solve this, I played on the whimsical side I believed Jordan to have, as well as her desire for transparency in politics to create triangular prisms that pierce through the roof of the building. Not only does this bring the light of the outdoors to the space, but it becomes a self-sustaining system. The line of the prism guides the viewer throughout the space, accompanied by vegetation to further enforce circulation.

The prisms are designed to collect rainwater and circulate it via drains to the vegetation in the space.

Where privacy is inevitably necessary, I derived “Jewelry Box� shaped offices. They remain transparent, but still offer the security of a closed door.

The floor pattern comes from the lines of the intersecting shapes, all remaining highly reflective to maintain the integrity of the prisms.This offers a zoning aspect to inform the public of different work spaces.

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D R A I N AG E SYS T E M

MOSER OFFICE

K I TC H E N

W

DINING

L O B BY

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COPY

WO R K Z O N E

WO R K Z O N E

CONFERENCE

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C O L L AG E O F VA N S F E AT U R E D A RT I S T S

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SHOP

EXPERIENCE

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old skool vans

In 1966,Vans was solely a skate shoe.

Paul and Jim Van Doren opened their doors, welcoming consumers of the California lifestyle. At their small shop in Aneheim, CA. Vans started their brand at just the right time to satisfy a need in the market. Since this time, Vans has expanded to not only serve skateboarders, but surf, snow, and bmx as well. Combining style with sport, vans was sure to become a classic Vans goes back to basics with five different refined styles: the classic, the authentic, the sk8 high, the old skool, and the slip on.

We recognize the original consumer: the skateboarders. Vans original culture is California born-and-bred.

It’s not about what is in fashion, but functionality for sport.

Their shoes wear time in the seams celebrating individuality with every unique pair.

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Vans has become a closet essential.

It’s Old Skool shoe has reached mass appeal - and mass production, but with that success comes the ‘trendiness’ that quickly passes as fast fashion street-wear moves onto something else. To keep the brand relevant, Vans must retain its exclusivity. Going back to its roots as a skate shoe.

The ‘edge’ of Vans is what separates them from the rest. For Vans to remain an influential brand, they must honor their heritage and original consumer.

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new skool vans

Today, Vans welcomes a new consumer.

While change is not a bad thing, it needs to be done with purpose. We look to vans as a brand that is making moves.

A shoe that is not just a shoe anymore.

Vans is Warped Tour, the Park Series, and House of Vans. It is a brand with identity.

This identity, however, has been shifting.

It has become in fashion to own a pair, which is good for business, but not good for the brand. The future of Vans targets fashionable creatives, to keep the brand’s exclusivity and intrigue, while still appealing to a larger market than it was first intended in the 1960s.

Vans must appeal not only to its older consumer but to a new consumer as well.

The current stores are dark and uninviting to those that are among the New Skool.Vans cannot lose its integrity, but must appeal to this newer generation of shoppers.

To become more approachable, Vans will introduce a modern spin on the classic store. Vans keeps its raw, unfiltered edge attracting consumers of their target market.

The brand remains influential and fresh, while increasing approachability for new market shoppers.

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hannah

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tucker

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