Karl von Busse Institute of Design
W T C W T C W T C W T C W T C W Y B C W Y B C W T C
H E R E W I L L Y O U R C R E A T I V I T Y B A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U H E R E W I L L Y O U R C R E A T I V I T Y B A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U H E R E W I L L Y O U R C R E A T I V I T Y B A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U H E R E W I L L Y O U R C R E A T I V I T Y B A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U H E R E W I L L Y O U R C R E A T I V I T Y B A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U ? W H E R I L L Y O U R C R E A T I V I T Y B E T A K I N O U ? W H E R E W I L L Y O U R C R E A T I V I T E T A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U ? W H E R I L L Y O U R C R E A T I V I T Y B E T A K I N O U ? W H E R E W I L L Y O U R C R E A T I V I T E T A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U H E R E W I L L Y O U R C R E A T I V I T Y B A K I N G Y O U ? W H E R E W I L L Y O U R E A T I V I T Y B E T A K I N G Y O U
E R ? E R ? E R ? E R ? E R E G Y R E G Y R ? E R ?
KARL VON BUSSE 2/400 Kent St Sydney NSW 2000 02 9261 1191 admin@karlvonbusse.com
karlvonbusse.com facebook.com/KarlvonBusseInstituteofDesign @karlvonbusse
CONTENTS
010203 040506 PAGE 01
PAGE 15
PAGE 27
PAGE 37
PAGE 47
PAGE 57
K A R L’ S S T O R Y : I T A L L S TA R T S W I T H I N
GRAPHIC DESIGN & M U LT I M E D I A
FA SHION DESIGN
INTERIOR DESIGN & DECORATION
FA SHION & TEX TILES MERCHANDISING DESIGN
VISUAL MERCHANDISING
PAGE 05
PA GE 17
WORDS FROM THE S TA F F
GRAPHIC DESIGN FOR FA SHION HOUSE
PAGE 29 FA SHION DESIGN STUDENT WORK PAGE 31
PAGE 07
P A G E 19
INTERNATIONAL STUDY
GRAPHIC DESIGN STUDENT WORK
SECTION 01
OUR GLOBAL NETWORK
PAGE 11 KVB MANIFESTO
PAGE 21
INTERIOR DESIGN & DECORATION STUDENT WORK
PAGE 41 INTERIOR DESIGN & DECORATION STUDENT TESTIMONIALS
PAGE 59 PAGE 49 FA SHION & TEX TILES MERCHANDISING STUDENT WORK
VISUAL MERCHANDISING STUDENT WORK PAGE 61
PAGE 51 FA SHION & TEX TILES MERCHANDISING STUDENT TESTIMONIALS
VISUAL MERCHANDISING STUDENT TESTIMONIALS
GRAPHIC DESIGN STUDENT TESTIMONIALS
CONTENTS
PAGE 09
FA SHION DESIGN STUDENT TESTIMONIALS
PAGE 39
1
2
SECTION 01
Real work is part of the course.
“We’ve built a reputation for being a down-to-ear th training institute that prepares people for employment. By the time they graduate, we come to think of many of our students as family.” — Karl von Busse Like most young people, Karl von Busse was passionate and ambitious when he left Germany for Australia, with nothing more than a school friend for company, and a fearless optimism for what lay ahead.
often put them at a disadvantage to more experienced candidates.
Eager to share his craft, Karl began offering an evening graphic design course, marrying skills training with live studio experience. Recruiting Some may call it the folly of youth, a handful of students by local but Karl prefers to call it “following newspaper, the KvB Institute of your destiny”. Only expecting to stay Technology opened its doors in for a year or two, 20 year old Karl 1978, and went on to become the was quickly seduced by our climate largest private college in Australia. and sunny shores, turning his short Considered unconventional at the sabbatical into a permanent stay. time, the Institute’s one and only Eager to kickstart his graphic design course was completely industrycareer, Karl drew on the design skills driven, with lectures given by developed in his homeland, and industry professionals from began freelancing in Sydney as a successful design companies. graphic designer, art director and While studying, students could part-time tutor. also gain valuable work experience at the KvB Visual Concepts studio. It wasn’t long before he turned his ambitions towards starting his own The concept was a big hit, and was design studio, and in 1972, KvB soon expanded to include fashion Visual Concepts was born. design, interior design, photography, TV and film production, and The business grew rapidly, and while multimedia. By 1994, it had become recruiting, Karl realised many the largest private education recent design graduates often provider in Australia, with over 800 had little in the way of real-world students from all over the world. design experience. This created Home became an 18 storey building a sharp learning curve when they designed by renowned architect joined a busy design studio, and Alex Popov, and the Institute was
celebrated as the first private education provider to offer a degree program approved by the NSW Department of Education. In 2005, Karl sold the KvB Institute of Technology to an Asian educational corporation seeking expansion into the region. With the proceeds, and by applying what he’d learnt from his experiences, Karl created a new type of institute, with a new vision for design education, and in 2010, opened The Karl von Busse Institute of Design. An evolution of the KvB Institute of Technology, the industry-driven, but internationally-minded, Karl von Busse Institute of Design is an exclusive boutique college based in Sydney’s CBD. Focused on the main design disciplines, industry professionals share their insight and experience daily with students in a design studio environment. Class sizes are intentionally small to create maximum lecturer contact, and a ‘mentor-like’ environment that helps make graduates work-ready.
K A R L’ S S T O R Y : I T A L L S T A R T S W I T H I N
KARL’S STORY: IT ALL STARTS WITHIN
SECTION 01
HOW ON’ ELL 3
4
5
6
WORDS FROM THE STAFF
“I teach design and product development; subjects that give students the chance to learn a wide variety of skills that will prepare them for the fashion industry.
“I’m a big believer in design as a tool for social change; my guerilla design posters appearing on the streets in the Middle East and North Africa. For me, it’s vital students understand the relationship between design disciplines, and how they enable the flow of ideas across borders.
The best advice I can give students is to love what you do – passion always shows. In times of stress, when up against deadlines, staying positive and remembering why you chose this path will usually see you through. It’s important to stay flexible too. Being open to collaboration, change and criticism really helps a designers grow.”
“The best students have genuine passion for what they’re doing and the determination to achieve their dreams. Resourcefulness, responsibility, and imagination. I see those as the most valuable attributes a student can bring to my classes.”
SECTION 01
— July Sivira, Interior Architect
“Over the years, I’ve taught Marketing and Branding, Fashion Production, Fashion Buying and Fashion Networking at KVB. I help students see what’s possible, while helping them become industryready, with real-life insights and the chance to make valuable connections from the start. Specialising in ranging and overseas manufacture, teaching students the art of trend forecasting gives me the biggest thrill.”
— Rowan Nas, Interior Design Lecturer
“My advice is to seize every opportunity with both hands. See every class as a chance to grow creatively, be hungry to learn, and absorb as much as you can, that’s how you trigger the change within.” – Pirra Griffiths, Owner and Designer at Allerton Swimwear
— Alison Bradshaw, Head Designer/ Director of Indigo Leaf
W OR DS FR OM THE STA FF
—Angelique Sloss, Illustrator at The Envy Edit
Design is highly influential in every society, creating a responsibility to drive design development and consumption in a conscious and ethical way. I teach students of all disciplines about design-thinking. But I also believe the most important skill a student can have is the ability to constantly question themselves, and their place in the greater scheme of things. To forever strive to bring something new, and worthwhile, into the world.”
7
8
INTERNATIONAL STUDY
Our goal is to develop talented designers with the skills, creativity and insight to truly make a difference in their chosen industry, with the potential to succeed on the world stage. To help new designers gain an understanding of international practice and mindsets, we offer our Diploma, and Advanced Diploma, students the opportunity to take an international learning option and study in Europe. Once enrolled in one of our Diploma courses, they can choose to take an eight-week European learning option, exposing them to the rich legacies of some of Europe’s leading design centres, including Germany, Italy, England and France. If students choose to enrol in our Advanced Diploma of Fashion Design course, they’ll also get the chance to join a comprehensive three-month study program in Paris. Here they will create a range of garments based on French design principles, and be inspired by the extraordinary fashion houses of the nation’s capital, including Christian Dior. Today’s globalised design industry calls for international insight. At the Karl von Busse Institute of Design, we give people the opportunity to bring it out from within.
KEY BENEFITS • H SC results are not used for enrolment selection • S uccessful applicants can enrol immediately • V ET FEE-HELP for domestic students • No tuition fee payment upfront • International options • C RICOS approved to provide courses to international students
INTERNATIONAL STUDY
SECTION 01
London Paris Berlin Frankfurt Venice Milan Florence
The world seems to be getting smaller every day. As international borders blur, whatever their profession, passionate individuals are competing in creative careers all over the world. That’s why many of our courses include an overseas study component.
9
1 0
“My experience over 30 years has taught me the crucial role of mentorship. Having an industr y professional who can guide students, understand their strengths and weakness, and what they need to aid their professional development, makes all the dif ference. By keeping classes small, we can get to know all our students, giving them the suppor t they need to become industr y-ready, even af ter graduation on an international scale.”
SECTION 01
— Karl von Busse
W HER E W ILL Y OUR CR EATIV ITY TA K E Y OU?
WHERE WILL YOUR CREATIVITY TAKE YOU?
SECTION 01
ACTIVE PROJECTS. LONDON. PARIS. MILAN. BERLIN. THEY’RE CALLING YOU. BUT THEY’RE ONLY STEPPING STONES. THE REAL JOURNEY STARTS WITHIN.
JOURNEY WITHIN. WHERE WILL YOUR CREATIVITY BE TAKING YOU? HARNESS THE SPARK, AND LET IT GUIDE YOU. AWAY FROM THE DAYDREAM AND INTO REALITY. RIGHT NOW. LIVE BRIEFS.
1 1 1 2
1 3
1 4
R U O Y E V GI DESIGN G N I K N I TH N O I T C E R DI SECTION 02
GRAPHIC DESIGN
1 5
1 6
GRAPHIC DESIGN & MULTIMEDIA
SECTION 02
S U B J E C T S: Graphic Design, Digital Media, Design Branding, Packaging Design, Advertising, Communication Design and Marketing. W H E R E I T C O U L D T A K E Y O U: Ultimately, a graphic designer’s salary will depend their talent, determination and passion for the job, not to mention a little luck. Generally a graduate will earn up to $35,000 in their first job. Over the course of their career, this could increase to a top art director’s salary of $200,000 or more.
A graphic designer is a visual communicator. Through inspirational, informative and captivating design concepts, they present an organisation’s ideas and messages in a memorable way. Using a variety of visual mediums, both traditional and digital, they interpret the needs of clients in ways that have high visual impact. Our graphic design courses will give students the skills and experience they need to successfully launch a career in the evolving graphic design industry. Taught by an international faculty made up of current industry professionals, our hands-on courses focus on both traditional and modern graphic design principles and practices, offering a complete design education.
A S N A P S H O T O F T H E T R A I N I N G: The first step is to master the basics, starting by learning the essential practical and theoretical skills needed in this industry. With confidence and expertise in these core skills, students will start to explore the different areas of graphic design. They’ll be given tuition by industrybased lecturers and encouraged to focus their energies on developing their own personal creativity. By the end of the course, they will be job-ready, confident, capable, and have a solid portfolio of work that reflects their individual style, strength and skills.
A D V E R T I S I N G A R T D I R E C T O R: Advertising Art Directors usually work with a copywriter to create advertising campaigns. Their work would likely include television commercials, magazine or press advertisements, outdoor billboards and online advertising.
Through creative collaboration, students will be actively encouraged to apply newfound skills in image manipulation, typography, multimedia and digital media design, production design, and branding, to assignments that mirror realworld projects. As we believe gaining international industry experience is a great advantage for today’s aspiring designers, students can also choose to take an international learning option, allowing them to study in Europe.
E D I T O R I A L D E S I G N E R: An Editorial Designer could work for a publishing company, like ACP or Murdoch Magazines, designing the latest edition of Marie Claire, FHM, or even the design principles for a brand new magazine.
I L L U S T R AT O R: Individuals with a special talent for illustration could become involved in book, magazine and press illustration, rendering storyboards for advertising or animation. C O R P O R AT E I D E N T I T Y D E S I G N E R: A corporate identity designer could be working on the public face of any organisation – creating designs for logos, defining visual identity systems and crafting guidelines that define exactly how they’re applied across all touch-points, both online and offline. P A C K A G E D E S I G N E R: Package Designers specialise in designing packaging that both protects, and promotes a product. They could be involved in designing the latest packaging for iPad, a bespoke bottle for Calvin Klein perfume, or even conceptualising album and film art. D I G I TA L D E S I G N E R: A Digital Designer would be involved in developing the structure, user interface (UI) and user experience (UX) of websites and apps. This can include everything from site navigation to overall design and visual execution. A R T W O R K E R: For those who enjoy using their computer skills and are technically minded, they might enjoy being involved in the pre-production side of design. This is an essential part of graphic design because without it nothing would ever leave the studio. Artworkers make designs perfect, and ready to go, whatever the format.
GR A P HIC DESIGN & MULTIMEDIA
A graphic designer is a visual communicator. Through inspirational, informative and captivating design concepts, they present an organisation’s ideas and messages in a memorable way. Using a variet y of visual mediums, both traditional and digital, they interpret the needs of clients in ways that have high visual impact.
1 7
1 8
GRAPHIC DESIGN FOR FASHION HOUSE A S N A P S H O T O F T H E T R A I N I N G: Students will learn design using techniques such as photography, illustration and computergenerated imagery to design digital material like banners and social media for blogs, identify communication problems, develop visual solutions and prepare designs for print or digital publication. They will learn to understand marketing and develop digital and social media strategy. Projects with photographers on product and lifestyle brands will help students to generate new ideas and create templates for digital and print marketing material. S U B J E C T S: T-shirt Design, Pattern Design, Fashion Branding, Fashion Product Packaging Design and Media Marketing. W H E R E I T C O U L D T A K E Y O U: Ultimately, a graphic designer’s salary will depend their talent, determination and passion for the job, not to mention a little luck. Generally a graduate will earn up to $35,000 in their first job. Over the course of their career, this could increase to a top art director’s salary of $200,000 or more. Students learn essential skills such as photography, illustration and construction, from a fashion perspective. The course then delves deeper into understanding marketing, and the value of online strategies, from digital advertising and building a social platform such as a blog or social media page, to developing an online store.
SECTION 02
By the end of this course, students have the confidence to make their own products, and the commercial experience they need to share them with the world.
FA S H I O N G R A P H I C D E S I G N E R: A fashion house graphic designer’s job includes in-house graphic design, packaging and product design, creative photography, image editing, advertising design, creative and strategic planning as well as social media design and content management. F A S H I O N E X E C U T I V E A S S I S T A N T: An executive assistant will liaise between the creative director and the rest of the company. This role involves forward thinking and the active search for opportunities and solutions. They will work closely with the business owner to keep him/her well informed of upcoming commitments and responsibilities, following up appropriately. The executive assistant acts as a “barometer,” taking care of any issues and keeping the business owner informed at all times. They will also assist the creative director to manage output, workflow, and maintain all office deadlines.
E D I T O R I A L D E S I G N E R: An Editorial Designer could work for a publishing company, like ACP or Murdoch Magazines, designing the latest edition of Marie Claire, FHM, or even the design principles for a brand new magazine. FA S H I O N I L L U S T R AT O R: A fashion illustrator must have a passion for their work. A fashion illustrator would have their work featured predominantly in t-shirt design, magazine spreads and signage. F A S H I O N B R A N D I N G: Fashion branding generally involves working with a bespoke corporate identity. A brand designer could be working on the public face of any organisation, including designs for logos and branding and how they should be displayed across all fashion products and touch-points. P A C K A G E D E S I G N E R: Package Designers specialise in designing packaging that both protects, and promotes a product. They could be involved in designing jewellery boxes, a bespoke bottle for Calvin Klein perfume, or even concepts for high-end fashion shopping bags. D I G I TA L D E S I G N E R: A Digital Designer would be involved in developing the structure, user interface (UI) and user experience (UX) of websites and apps. This can include everything from site navigation to overall design and visual execution. A R T W O R K E R: For those who enjoy using their computer skills and are technically minded, they might enjoy being involved in the pre-production side of design. This is an essential part of graphic design because without it nothing would ever leave the studio. Artworkers make designs perfect, and ready to go, whatever the format.
GRAPHIC DESIGN FOR FASHION HOUSE
An eye for design, and a f lare for fashion, the graphic designers at fashion houses are masters of mixing the practical, commercial and creative. This course enables designers to develop their computer-based skills, enabling them to design, produce and promote their own products.
SECTION 02
1 9 2 0
2 1
2 2
ASHLEY COOPER
K AY SA N CO LLINS
Since graduating from my graphic design diploma, I’ve been preparing for the design career ahead of me. I’ve got an internship at ET Collective 1-2 days a week and teach basic manipulation and layout skills in Photoshop and InDesign to young people interested in design. I’m also working on small freelance projects, as well as updating my portfolio to help me apply for creative jobs in the new year.
I chose to study at KVB after completing their work experience program. I came to the program wanting to figure out which department of design was the best fit for my skills – which turned out to be graphics. After the program finished, Karl personally sat me down and asked how I felt about the experience. After talking about further education, I decided I’d give it a shot. Typography and Layout design are the two subjects I enjoy most. I love obsessing over
the details until everything intertwines in a harmonious way. A really great part of this course is the real world scenarios you get put through. They give you an insight into what it’s really like in the industry. Having the motivation to push yourself to the limit, gets you to the point where you can sit back and be happy with what you’ve done. But even then, as a perfectionist, I’m still looking for ways my work can be improved.
CHLOE GOLDSMITH
SECTION 02
ASHLEY COOPER
— “ KvB has such a family feel. For me, it was the perfect f it.”
— “After all the hard work, I am so proud of how far my design skills have come.”
The work I’m most proud of at KVB was the typography piece I did for Griffin Theatre Company. Being an illustrator, and very image based designer, I found this project very challenging. The whole idea of exploring the world of type, colour and size layout was new to me. Although it was a challenge, it quickly became something I liked, especially when i realised the resulting concept could still be very visual and playful. A style that worked well with the theatre’s brand. What inspires me most? Anything with bright colours. I also love design that is clever and has well thought out meaning. I just find it so fascinating the way other creative minds work.
STUDENT TESTIMONIALS
STUDENT TESTIMONIALS
2 3
2 4
THINKING SECTION 02
YOUR DESIGN
GIVE
DIRECTION
SECTION 03
2 5
2 6
T ’ N O D W O L L FO S N R E T T PA
N G I S E D N O I H S A F
2 7
2 8
FASHION DESIGN A S N A P S H O T O F T H E T R A I N I N G: The Fashion Design Department is focused on developing student’s flair for creating clothes, teaching them to think and act like designers. Acting like industry professionals, they’ll perform the tasks expected of fashion designers within the industry, including research, concept and product development, fabric sourcing, pattern making, garment construction, and styling. S U B J E C T S: Fashion Design, Swimwear Design, Streetwear Design, Menswear Design, Concept Development, Computer Illustration, Trade Sketch and Rendering, Tailoring, Pattern Making, Pattern Grading, Sewing and Garment Construction, Draping, Production Management and Marketing Presentation Techniques W H E R E I T C O U L D T A K E Y O U: Salaries range from $35,000 for a new design assistant, to $120,000 for a head designer. Internationally recognised designers can name their price. Fashion stylists earn around $500 per day. In other roles, such as a production coordinator, salaries start from $40,000. A pattern maker can earn around $80 an hour freelance, or up to $80,000 full time.
Our fashion design courses provide an understanding of form, style and context, while achieving the level of skills and experience demanded of new designers by today’s fashion industry. Led by industry professionals, our comprehensive hands-on courses will teach students the fundamentals of fashion design and the innovative techniques used in modern practice.
FA S H I O N D E S I G N E R: A Fashion Designer needs to be in touch with global trends, and have the talent to bring something new to the table. Knowledge of fabrics and pattern making, combined with good illustration and teamwork skills, is essential.
Through independent assignments and collaborations with fellow students, they’ll be encouraged to apply newfound skills in pattern making, fabric sourcing, garment construction, draping and production management, to assignments that mirror real-world projects.
SECTION 03
In the process, students will develop a strong professional portfolio that showcases their best work. As today’s globalised fashion industry demands an international perspective, there are also opportunities to choose an international learning option in the second and third year of study.
P R O D U C T I O N C O O R D I N AT O R: The Production Coordinator is responsible for coordinating the manufacture of an individual garment, or an entire collection, from concept and sample stage through to delivery to the sales outlet. P AT T E R N M A K E R: The Pattern Maker creates templates of the different shapes of fabric, which when combined, form the finished garment. The skill lies in the ability to visualise how two dimensional shapes will join to form the three-dimensional shape. FA S H I O N I L L U S T R AT O R: A Fashion Illustrator works with a wide range of people to create reference images used at preproduction and post production stage. Often designers and production manufacturers are unable to show people how a garment will look, but an illustrator will take the design brief and quickly capture this vision, enabling designers to make an assessment of validity and likely success. An illustrator needs to be a good listener and able to work under pressure. F A S H I O N S T Y L I S T: The Fashion Stylist plays a vital part in the representation of fashion garments, they work with magazine editors, photographers and designers, and are responsible for the entire look of the fashion model when in front of a camera or on a catwalk. They design and coordinate the model, the hair, the makeup, the mix of garments and location. They must have a strong interest in global trends, be aware of the differing style agendas of editors, photographers and designers, possess a keen eye for design, know what the world needs next, and have their “finger on the fashion pulse” at all times.
FASHION DESIGN
A fashion designer is an interpreter of visual self expression. Through understanding the impor tant role clothing and accessories play in identit y, they conceive and create inspiring designs that are functional, aesthetically pleasing and commercially viable.
SECTION 03
2 9 3 0
3 1
3 2
STUDENT TESTIMONIALS
LUKE PORTELLI
K H A D I JA H E D A Y A T
— “My faith is a constant source of inspiration. It helps me f ind a path to express myself creatively.”
—“I wanted to start my own fashion brand, and joined KvB to get the skills I needed to succeed.” I’ve always been interested in fashion. My mother paid so much attention to her look, and it’s something that’s left a lasting impression on me. It was only a matter of time before I started taking fashion seriously, and look towards making it my career. In 2013 I finally found the drive and ambition to push myself in a way I had never done before. Research, hard work and dedication finally paid off when I created and launched my own clothing brand – SlumRoyals. It was a steep learning curve. I was often told “you’ve chosen a hard industry to get into,” to which I’d reply “everything is hard if you want
to excel”. These types of comments only drove my determination. After constant rejection through a perceived lack of seriousness about my ambitions in the fashion industry, I decided to focus on learning the craft of fashion design, and haven’t looked back. Fashion has definitely given me a foundation to work for something, and given me a sense of direction. I want to bring the craft back to fashion, and for people to understand the time and work that is involved in making pieces, changing their perceptions of the things they wear. KVB is giving me the firepower I need to realise my dream.
STUDENT TESTIMONIALS
SECTION 03
K H A D I J A H E DAYAT
I want to bring Islamic fashion out into the spotlight and break down the stereotypes, with designs that are innovative, yet true to a timeless tradition. Most Islamic countries have sharp contrasts in climate, going from very hot, to very cold, often in a short space of time. When I design, I’m very aware of how a garment should function, and be adaptable in a wide range of environments and occasions.
LUKE PORTELLI
I love creating designs that are inspired by my surroundings, my faith and my culture. My inspiration comes mostly from architecture, the shape and forms of structures, and their intricate detailing. Religious architecture for example uses ornate mosaics and repeating motifs, which along with a the careful choice of colour, create a stunning effect.
L L O O F F T T ’ ’ N O S D N S R N E R T E T A T PAT T FOLLOW P ON’T F D ’ N S O N D R RNS LOW PATTE LLOW PA L O O F F T T ’ ’ N N O S D N S R N E R T E T A T P T A W P O W L O L T O ’ F N O T D ’ N S O N D R S E N T R T E A P P W W O O L L L L O O F F T T ’ ’ N N O O D N S R N E R T E T A T P T A WP LOW 3 3
3 4
3 5
3 6
SECTION 04
E H T FOR T A E GR S R O O D N I N G I S E D R O I R E T IN N O I T A R O & DEC
3 7
3 8
INTERIOR DESIGN & DECORATION A S N A P S H O T O F T H E T R A I N I N G: The Interior Design and Decorating department focuses on developing each student’s creative flair when planning and styling interiors. The course equips students with the skills and knowledge to design and decorate interiors, from concept design and development, through to completion. At the diploma level the course covers design and decoration of complete decorative schemes for residential, retail, commercial and public spaces. Students will work on client briefs within project parameters as they would within the industry. S U B J E C T S: Interior Design, Decorating, Colour Design, 2D&3D Drawing, 3D Models, Lighting, Product Knowledge, Apartment Residential Design, Retail Shop Design, Commercial Hotel Design, Furniture, Fixtures and Finishes. W H E R E I T C O U L D T A K E Y O U:
Our interior design courses have been developed with the needs of aspiring interior designers in mind. Through thought-provoking lectures, and creative workshops given by international industry professionals, our hands-on courses will help students develop the necessary skills needed to successfully launch a career in interior design. Harnessing natural creative talents, and newfound skills in decorating, lighting and design production, they’ll work on assignments that mirror real-world projects and reflect the crossover found in today’s design industries.
SECTION 04
It’s a great advantage for up-and-coming design professionals to have international industry experience, so we also give the opportunity to take an overseas learning option and study in Europe.
Interior designer positions within a company would attract around $35,000 for a graduate junior design position, $60-$80,000 for a midlevel designer and up to $150,000 for a senior designer with many years of experience. Interior designers and decorators have several other ways of charging for their time. RESIDENTIAL INTERIOR DESIGNER O R I N T E R I O R D E C O R AT O R: Residential Interior Designers work more directly with the client or occupier of the proposed space. They plan and select colours, finishes and furnishings for the space. They’ll also specify furniture, wall coverings, floor coverings, artwork, lighting and other fixtures and fittings.
R E TA I L I N T E R I O R D E S I G N E R O R I N T E R I O R D E C O R AT O R: The retail design industry is an exciting and fast-paced world. Knowledge of current global trends, CAD and detailing skills are essential when working on a retail project. Retail design can include boutique stores through to large department stores. COMMERCIAL INTERIOR DESIGNER O R I N T E R I O R D E C O R AT O R: Commercial designers work on office, industrial or other public spaces such as hospitals and healthcare institutions. They plan spaces, select furniture and finishes, and draft electrical, services and lighting specifications. C O L O U R C O N S U LT A N T: Colour consultants work individually, or within a larger corporate company. An understanding of colour, combined with different finishes and specialised applied finishes is needed. They keep up to date with the very latest colour trends and ideas, supported by historic and heritage colours. E X H I B I T I O N, T V, F I L M A N D S E T D E S I G N: Set designers and decorators plan and coordinate the construction of a set space. With an emphasis on design impact and presentation, they also have to consider the strength, safety and ease of construction/ deconstruction of the set. This will require a good working relationship with builders, shopfitters and suppliers.
INTERIOR DESIGN & DECORATION
An interior designer is an exper t in the aesthetics of space. Through imagination and creativit y, they develop immersive environments that are attractive and functional; spaces that use st yle and mood to meet the needs of the client, and the end user.
SECTION 04
3 9 4 0
4 1
4 2
ELLEN WANG
ELIZABETH COLUCCIO
—“Overcome the mentality that you can’t do something.” I was always interested in design, particularly fashion, however as I was exposed to more fields I discovered that interior design was best suited to me. It allowed me to explore the conceptual, creating spaces that evoke curiosity and excitement. Some of the best moments during the course were the presentations. Being able to share
TA M A R A B R K I C
I didn’t want to go into an environment like uni, or TAFE, where you are considered just a number and can easily be left behind. KvB offered small classes with people who are currently working in the industry, meaning I could go at my own pace, and easily get help when I needed it. I loved the way KVB gave me the opportunity to express myself creatively on a regular basis, with a variety of works ranging from restaurants and shops to residential spaces of set designs.
with others ideas that you feel so passionately about. Also something that I’ve learnt is that great design is a collaborative process, with the support from those around you, including colleagues and family, essential for success. In the future I hope to be working for an international company that works on a grand scale. My career goal in which I’m striving for would be to eventually design interior fit outs for high end design companies such as Prada and Fendi.
K ARAN KUAR
SECTION 04
I loved the idea of an intimate college where you were not only seen as a student but considered a family member.
—“Few things are as rewarding as seeing your designs come to life to create the perfect space.”
At my internship with The Style Project I worked with Kim, who is the principle designer. It taught me all about running an Interior Design company, with multiple projects running at once, I now know how vital it is to stay on top of things. It’s been amazing to see the difference something as simple as reupholstering a couch, adding a couple of statement pillows or a wallpaper feature wall can make to a space.
STUDENT TESTIMONIALS
STUDENT TESTIMONIALS
4 3
4 4
SECTION 04
FOR THE GREAT
4 5
4 6
SECTION 05
W O H S E U R T R U YO S R U O L O C
S S E N I S U B N O I H S FA S E L I T X E & T
4 7
4 8
FASHION BUSINESS & TEXTILES A S N A P S H O T O F T H E T R A I N I N G: The fashion business department focuses on occupations involved in the development and implementation of products, as well as marketing and supply chain. Students will learn key strategies within the fashion and textiles industries. Fashion and textiles merchandisers can be in charge of product development, production, buying, promotion and marketing, sales, retail management and visual merchandising. S U B J E C T S: Fashion Design, Textile Design, Computer Illustration, Pattern Making Basics, Sewing Basics, Garment Construction Basics, Fashion Product Development, Production Management, Fashion Marketing, Branding, Promotion, Merchandising, Buying, Presentation Techniques and Industry Networking. W H E R E I T C O U L D T A K E Y O U: Positions within a company would attract around $35,000 for a graduate junior design position, $60-$80,000 for a mid-level designer and up to $150,000 for a senior designer with many years of experience.
SECTION 05
Our Fashion Business & Textiles course will give students the skills and experience needed to successfully launch a career in the retail buyer industry. Delivered through small, focused classes by international industry professionals, it explores the principles and practices of fashion textiles, teaching students the necessary tools and techniques needed to gain employment in this evolving area. Through creative collaboration they will be actively encouraged to apply newfound skills to assignments that mirror real-world projects, and in the process develop a strong professional portfolio that showcases their best work. Key areas include fashion design concepts, pattern making fundamentals, garment construction, fabric and fashion sourcing, product promotion and branding, textiles and fabrication.
As we believe gaining international industry experience is a great advantage for today’s aspiring designers, students can also choose to take an international learning option, allowing them to study in Europe.
FA S H I O N M E R C H A N D I S E R: A fashion merchandiser works behind the scenes to get fashion products to the customer, while building profit and growth for the business. Fashion merchandisers need strong fashion sense, as well as business and marketing skills. R E T A I L B U Y E R S: Retail buyers usually work closely with designers and their designated sales representatives and attend trade fairs, wholesale showrooms and fashion shows to observe trends, and scope a range. They may work for large department stores, chain stores or smaller boutiques.
FA S H I O N P R O D U C T D E V E L O P E R: A career in product development within the fashion industry needs you to become involved with developing fashionable goods for manufacturers and retailers. It involves planning, developing and presenting fashionfocused products for a specific market of the fashion or retail company you are working for. T E X T I L E S D E S I G N E R: Textile designers will usually work closely with other designers, like fashion designers or interior designers, in an effort to create the perfect pattern. In the fashion industry, they create designs for woven, knitted or printed fabrics. FA S H I O N P R O D U C T I O N M A N A G E R: Among the tasks a production manager undertakes are overseeing matters at domestic and overseas factories where fashion is sampled, design changes are made and finished garments are completed for collections. The job may include cost-tracking and spreadsheet maintenance, giving the designer a running assessment of money matters as wardrobes are created. As the liaison between the designer and fabric, trim and notion wholesalers, a production manager may be responsible for keeping tabs on inventory items and working with the designer’s sales force, keeping everyone on top of delivery orders, deadlines and fashion show bookings. FA S H I O N E V E N T M A N A G E R: Expert event planners, they oversee model fittings and act as liaison between hair stylists and makeup professionals, to convey the designer’s styling directions. This job may also handle the advance work required to book, schedule and arrange runway shows.
FASHION BUSINESS & TEXTILES
A merchandiser plays a key role in the fashion world and is involved in many important stages. In the Fashion Business & Textiles course, students learn how to identif y international fashion trends, develop lines of merchandise and, through the use of research and development techniques, gain a keen understanding of what it takes to be successful in the fashion and related industries.
SECTION 05
4 9 5 0
5 1
5 2
—“My experiences at KvB helped me secure a full-time position shortly after graduation.”
STUDENT TESTIMONIALS
I’ve always loved fashion from the time I was a little girl. I used to design clothes for my Barbie dolls and was always drawn to the idea of creating something and seeing it come to life. The small classes and the idea of gaining an international perspective from the overseas component really made KVB appeal to me.
—“I decided to go to KvB for the boutique style and personalised studying with industry experts.”
M A R I JA S T A N K O V I C
Having studied overseas at art school (Major Fashion Design) for over 4 years I already knew this was the path I wanted to follow. I was looking to develop my practical skills to help me pursue a career in fashion design, which made KVB the perfect place for me. My experiences helped me find a full time job soon after graduation, when I started working as an Assistant Brand Manager/Designer for MADMIA, a global online retailer. They specialise in designing fun, cool and crazy mismatching socks, as well as footwear and accessories for kids and teens. M O N TA N A PENDE
SECTION 05
At the moment I am interning once a week with Kit Willow for her new company KITX. It’s an Australian women’s high fashion company, with a focus on Eco fashion, and its impact on the environment. In the future I hope to be designing for my own label, enabling women to push the boundaries of fashion while staying on trend.
As an assistant brand manager/designer I help develop creative, innovative and cost effective design strategies. I do product research and analyse fashion trends, while promoting collaboration across the business. I’m very satisfied with the course I did as it prepared me to be at the place that I am now, a place I enjoy and I want to be.
STUDENT TESTIMONIALS
MARLEE CREAGAN
M O N TA N A P E N D E R
SECTION 05
5 3 5 4
5 5
5 6
E H T SET E G A ST
SECTION 06
G N I S I D N A H C R E M VISUAL
5 7
5 8
VISUAL MERCHANDISING A S N A P S H O T O F T H E T R A I N I N G: Delivered through small, focused classes by international industry professionals, our course explores the principles and practices of modern visual merchandising and teaches the necessary tools and techniques needed to gain employment in this evolving area. Students will be able to develop floor plans and threedimensional displays like a professional, in order to help retailers maximise sales. S U B J E C T S: Interior Design, Decorating, Colour Design, Technical Drawings 2D & 3D, 3D Models, Lighting, Product Knowledge, Merchandising Environments, Merchandising Photography, Presentation, Marketing, Branding. W H E R E I T C O U L D T A K E Y O U: Our visual merchandising course will give students the skills they need to successfully launch a career in the retail industry. Delivered through small, focused classes by international industry professionals, the course explores the principles and practices of modern visual merchandising. Through creative collaboration, they’ll develop a strong professional portfolio that showcases their best work. In the process, they’ll be actively encouraged to apply newfound skills in design research, prop production, illustration, merchandise styling, photography and display development, to assignments that mirror real-world projects.
SECTION 06
As we believe gaining international industry experience is a great advantage for today’s aspiring designers, students can also choose to take an international learning option, allowing them to study in Europe.
The salary for a Visual Merchandiser can range from $45,000 up to $150,000 a year, depending on experience. V I S U A L M E R C H A N D I S E R: A Visual Merchandiser will create an unforgettable experience for customers through the execution of visual merchandise design and standards across the store.
VISUAL MERCHANDISING M A R K E T I N G C O O R D I N AT O R: Working closely with visual merchandisers, and marketing teams, a visual merchandising marketing coordinator would coordinate marketing activities and direction to all stores they work with and produce regular updates and reports. They’d monitor key category sales, keep an eye on the competition and help put together key looks in-store. M E R C H A N D I S E P L A N N E R: Taking ownership of how items are sold, a merchandise planner would be very hands on, managing sales campaigns, websites and instore promotions, making sure the right product is sold in the right way, to the right people.
A highly developed sense of style, coupled with creativity and product knowledge, will assist a visual merchandiser in transforming the store, delighting customers with every step they take, while working to specific sales objectives. VISUAL MERCHANDISING BRAND S P E C I A L I S T: A Brand Specialist would be reporting directly to the Visual Merchandiser in any shopfront or retail store. Responsible for ensuring that the Visual Merchandising is on brand, up to standard, and doing the job of presenting merchandise in the best possible light. They’d also help manage implementation of store promotions, installation of fittings, and use their creative flair on a daily basis.
VISUAL MERCHANDISING
Visual merchandisers are exper ts in visual enticement. As interpreters of brand experience, they apply their knowledge of st yle, shape and colour to create interesting displays that perfectly communicate a client’s vision and brand experience to customers.
SECTION 06
5 9 6 0
6 1
6 2
BRANDON JEAN
BRANDON JEAN
Visual merchandising is a real niche industry. Having worked in retail for over five years, KVB has enabled me to grow my skills in this area, and create a more structured and commercially-minded framework for my creativity. Coming from a fine arts background, I’ve learnt to find inspiration everywhere. My visual process zooms in on everyday, colour
MICHAEL HERNANDEZ
After working 15 years in the corporate world, I knew it was time to follow my real passion, and finally found the courage to leave and study interior design. I thought I’d struggle finding a school that would take me seriously, but the first time I met San San von Busse, I felt a real connection, and knew I’d feel right at home here.
and tones, and looks for ways to make them work in harmony to express a mood or idea. Working in such a fast paced competitive industry, the ultimate dream is to be the go-to person for visually merchandising a major brand. I want to work with a range of high-end fashion houses, department stores and creative art directors to gain as much skill, knowledge and experience as I can.
The curriculum and method of teaching were spot-on. My teachers are full of brilliant ideas and bursting with energy. They have been a real source of inspiration for me, as has the abundance of talent my classmates have. ANISSA
SECTION 06
—“What Anna Wintour is to Vogue, I want to be for visual merchandising.”
—“KvB has played an instrumental part in changing my direction and unlocking my true passion.”
The whole experience has been deeply insightful and given me the momentum and skills I need to follow my heart and find a career I truly believe in.
STUDENT TESTIMONIALS
STUDENT TESTIMONIALS
SECTION 06
6 3 6 4
Karl von Busse Institute of Design 2/400 Kent Street Sydney NSW 2000 Call 02 9261 1191 or visit karlvonbusse.com
Copy Karl von Busse Institute of Design. This brochure is correct at time of print, 18/07/2016. After this date, the Institute holds the right to make changes without notifications. Visual Concepts & Design Pty Ltd trading as Karl von Busse Institute of Design. ABN: 49 135 636 921 RTO Code: 91613 VET FEE-HELP Provider Code: 7205 CRICOS: 03292C