Spark Magazine – Senior Design 2019: Matrix

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2019 SENIOR DESIGN MAGAZINE S PA R K M AG A Z I N E

6 AIDAN BENI 12 A . DIO GREER 16 AMANDA ARRISOLA 22 ANEL GONZALEZ 26 ANNA KRAUS 30 BAILEY BERRY 36 CARLIE ROBERSON 42 CAROL ANN LARA 46 CHRISTOPHER JOHNSON 52 DANIELA GUZMAN 56 DONNA SILVERIO 62 GUNNER LEWIS 66 GUSTAVO ZAMARRIPA 72 HUN TER TANEM 78 ILANA WAYNE 84 JOHN GOODMAN 90 KEL LY BRABANT 96 LINDSEY BUTLER 100 MAT TISON GOTCHER 104 MIA BARRERA 108 MITCHELL KERBOW 114 MOLLY GOLDSTEIN 120 NICHOLAS MOJICA 126 PAT T Y LOPEZ 132 RAWAN AL-QARQAZ 138 SARAH KELLY 144 SULHEE KIM 148 TARA BORDBAR 1

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SPA R K M AGA ZIN E

JOANNE XU EDITOR-IN-CHIEF

MANAGING EDITOR CAROLINE OTTO CREATIVE DIRECTOR CARLIE ROBERSON ASSISTANT CREATIVE DIRECTOR NIKITA KALYANA ART DIRECTOR MAYA SHADDOCK ASSISTANT ART DIRECTOR MINGYO LEE & REBECCA WONG HAIR AND MAKEUP DIRECTOR AMANDA MACFARLANE ASSISTANT HAIR AND MAKEUP DIRECTOR REBEKAH HEIDEL & SARAH STILES MODELING DIRECTOR JACQUELINE PORTENY ASSISTANT MODELING DIRECTOR MADI JANYSEK PHOTOGRAPHY DIRECTOR ANNA DRODDY ASSISTANT PHOTOGRAPHY DIRECTOR DAVID ZULLI STYLING DIRECTOR MEGAN SCHUETZ ASSISTANT STYLING DIRECTOR MEGAN ARIMANDA

WRITING DIRECTOR JADE FABELLO, ABIGAIL ROSENTHAL & CHLOE BERTRAND

CO NTR IBUTOR S F RO M

BUSINESS DIRECTOR MELANIE SHAW MARKETING DIRECTOR HARRISON XUE ASSISTANT MARKETING DIRECTOR CHRISTIE HAN EVENTS DIRECTOR NAKHIM SENG & JILLIAN WESTPHAL COMMUNITY OUTREACH DIRECTOR JULIA FERRARA

SPARK ONLINE DIRECTOR AYU SOFYAN SOCIAL MEDIA DIRECTOR KAYLON HICKS WEB DIRECTOR DANIELA PEREZ COPY EDITOR NITI MAJETHIA & PATRICIA VALDERRAMA DIGITAL DIRECTOR MAYA HALABI STAFF DANIA ABDI, HASSAN AHMAD, MARIAM ALI, VIVIAN BAIER, MIA BARRERA, SAI BARURI, MEGAN BENNETT, TEJAL BHIKHA, GLENN BOZANT, AMBER BRAY, SYDNEY BUI, JENNA CAMPBELL, JACKIE CARTER, AMBER DEAVER, ARIANA DIAZ, LINDSEY EHLERS, IVANNA SOFIA ENGLISH, RION FLETCHER, LINDSAY GALLAGHER, JULIE GARCIA, INGRID GARCIA, HAOQING GENG, MOLLY ANEL GONZALEZ, MATTISON GOTCHER, REBEKAH HEIDEL, JEANETTE HOELSCHER, EMMA HOGGARD, MARCUS IBARRA, JENNIFERJIMENEZ, SUSANNAH JOFFE, HANNAH JOHNSON, ALORA JONES, SARAH KELLY, CAMERON KELLY, LARA KOPPEL, SARAH KRUEGER, TIFFANY LAM, JANE LEE, CHIE-HSI JASMY LIU, ISABELLA MCWHORTER, GENEVIEVE MILLER, CHARLOTTE PAN, ELIANNA PANAKIS, AIDEN PARK, MELINA PEREZ, KATHERINE PERKS, SHREYA RAJHANS, SHROOTHI RAMESH, CAROLINA RODRIGUES BARUZZI LOPES, CAITLIN ROUNDS, WEATHERLY SAWYER, MARYBETH SCHMIDT, MANA SINGRI, ANNA STROTHER, GABBY TAN, CASEY TANG, ADRIANA TORRES, SARAH TRAN, SANDRA TSANG, ALEXANDRA VARKAROTAS, TERESA VU, ERIN WALTS, IZELLAH WANG, KRISTINE WANG, KAYLEIGH WILSON, MIJOLAE WRIGHT, ANDREW ZHAO

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VICE PRESIDENT OF COMMUNICATION (C) HUNTER TANEM VICE PRESIDENT OF PRODUCTION (P) KELSEY HENDERSHOT

WI T H H E L P F ROM

ASHLEY BEDFORD PRESIDENT

DIRECTOR OF SOCIAL MEDIA KARINA GAMBOA CONTENT CREATOR JENNY LANG & ANDIE KENT DIRECTOR OF PUBLIC RELATIONS EMILIA FISHBURN ASSISTANT PUBLIC RELATIONS JEANNELLE ROMERO

SECRETARY ALLIE FITZGERALD EXHIBITION ROOM MICHAEL TATALOVICH & KEMI AKINGBADE SET DESIGNER JAVIER URIEGAS ASSISTANT SET DESIGNER ISAIAH GARCIA MODEL COORDINATOR ANAI MORENO & JOANN KIM ASSISTANT MODEL COORDINATOR REBECCA PETTY TREASURER XUAN TRUONG ASSISTANT TREASURER BLAKE ROSEN SHOW PRODUCTION ANNA KRAUS & SARAH KELLY DIRECTOR OF EVENTS MADDIE BURTON ASSISTANT DIRECTOR OF EVENTS NIKITA KALYANA & KATIE TRUONG DIRECTOR OF DEVELOPMENT MARK BEJEMINO ASSISTANT DIRECTOR OF DEVELOPMENT MEGAN SHAH

U NI V ERSI T Y FASH I ON G ROUP

CREATIVE DIRECTOR IBUKUN OLADEJO ASSISTANT CREATIVE DIRECTOR AIDAN HENDERSON

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PRESID EN T O F U FG LET T ER FROM THE

ASHLEY BEDFORD My name is Ashley Bedford. I am a fourth-year Management Information Systems major in the McCombs School of Business. I often get asked if my designs will be on the runway this year, implying that I am a Senior Designer, but my response comes as a surprise every time. When I came to UT Austin, I was looking for a community of fashion professionals to connect with and an opportunity to learn about the fashion industry. I came across University Fashion Group, attended a General Meeting, and knew that this was the best organization for me to achieve my fashion goals. After one semester of being an active member in the Spring semester of my freshman year, I knew that I wanted to be President of UFG one day. I decided to run for a position at the end of the semester and started my professional journey as UFG’s Co-Treasurer.

I had no previous experience related to Treasury at the time and no idea of what major I wanted to pursue in McCombs, so I did some research and took my first year one step at a time. After not feeling completely solid with my experience and going through some tough times, I decided to remain as Co-Treasurer for a second year and improve myself along the way. As CoTreasurer, I learned how to effectively communicate with creative professionals and balance their monetary wants and needs with their visions. During this time, I grew a passion for creating opportunities for students interested in pursuing a creative career, whether that be in Fashion, PR, Buying or elsewhere. I gradually saw a need to connect current industry professionals

with students, since there wasn’t a large established network within the university to help fashion students.

It’s our duty as an organization to give these students a community to learn the skills they need to reach their goals and a network of students to have access to in the future. After I declared my current major, I found another passion for streamlining and simplifying business processes. This came in handy during my terms as Co-Treasurer and President with improving the production side of our fashion show.

I’m very grateful and honored to be the President of University Fashion Group for the 2018-2019 school year. I have an amazing team with me this year! I would like to extend a huge thanks to our Vice Presidents, my left and right hands. I’m so proud of each and every person involved with making this show a success. I’ve had the privilege of watching all of our Officers grow and learn together. They are my friends and one of my main sources of motivation throughout my term.

My hope for the future of University Fashion Group is that we continue to create opportunities for students and build a strong network of creative professionals and friends. Thank you!

Sincerely,

ASHLEY BEDFORD

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L E T T E R F RO M T HE

H U N T E R TA N E M

&

It has been our honor to work with some of the most talented and amazing students that UT has to offer. Their creativity and drive are unparalleled and inspire us each day. From our stage design team exploring new design thinking, to our model coordinating team managing 150 garments, 32 models and 28 designers, we have been in awe of the work that these students have produced.

If you are unaware, this entire organization and fashion show is run by students. Together, we are able to produce the nation’s largest student-run fashion show (!!!) while still maintaining all of the aspects of a student organization. We produce photo shoots, create promotional videos, design exhibition rooms, work New York Fashion Week, host meetings and just about everything in between. As you can imagine, this is no small feat. We rely heavily on each other, as well as on each of our almost 200 members, to keep things running smoothly. Without them, we would be nothing.

While we each have our own areas of responsibility, Hunter and I have learned that we work best together as a team. Hunter focuses on our branding, social media, merchandise, public relations and other daily operations, as well as heading the exhibition room that goes on during the fashion show. I work to produce the fashion show by overseeing the model coordinating team, helping with VIPs, working with the set design team and the like. We both work to reach out to designers and organize housing for our New York Fashion Week volunteer trip that happens every semester. We also have each other’s back whenever necessary and have learned how important it is to have someone we can trust working with us.

As our time with University Fashion Group is coming to a close, we are sad to leave the family that we have formed.

We have been able to build friendships and hone in on skills that we never would have thought possible. Our involvement in UFG has shown us things that we never would have even thought of had we not found this organization. Hunter and I both hold majors that are outside of the Textile and Apparel department, but we have been drawn to the fashion industry through this organization and will be pursuing careers in this industry after graduation. We will never forget this experience and will take the lessons we have learned with us as we move on to our next chapter.

All the best,

KELSEY & HUNTER

V I CE P RESIDEN TS OF UFG

Being involved in University Fashion Group has been one of the most rewarding experiences that we have had the opportunity to participate in during our time at The University of Texas. As Vice Presidents we have learned so much about the Austin fashion industry, project management and the importance of teamwork. We have spent countless hours in meetings, sending out emails and brainstorming ideas to make UFG, as well as the Matrix Fashion Show, the best it has ever been.

K E L S E Y H E N D E R S H OT

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Aidan Beni writer SHROOTHI RAMESH photographer MARIAM ALI models AMBER DEAVER & GENEVIEVE MILLER hmua AMANDA MACFARLANE layout SYDNEY BUI

Aidan Beni is a 27-year-old designer from Iraq whose passion is art and design. He knew from a young age that routine wasn’t for him and that he wanted do something unlimited and artistic. Designing, to him, was that path. Upon hearing about the Textiles and Apparel program at UT, he knew he’d find what he always wanted here at the program.

“When I started TXA back in Fall 2016, I didn’t know how to thread the sewing machine, and commercial pattern was a new vocabulary to me. However, I knew I wanted to learn.”

Aidan believes that everything is possible and if you love what you do, you will be great at it. Now, his collection will be presented at the senior design showcase.

Aidan is inspired by many things around him as he designs and creates his vision. He has been inspired by fabrics, colors and even stories to begin a new design. Color choice is very important to him during the creative process as it usually reflects the idea and story behind the design itself. He follows each step of the process methodically: going from sketching to fitting, fashioning fabric and adjusting a final look if necessary with small touches that only a designer’s eyes can grace to notice.

His favorite material to work with is wool, and his favorite design technique is draping.

His interests outside of fashion design include art, painting, drawing and music. He says, “You can always find me at

Gearing Hall, but if not in the lab, probably in the embroidery room!”

Aidan’s senior collection, The Red Violin, is inspired by a movie of the same name. In the movie, a red violin represents an obsession over the unique violin color and sound of the instrument as it travels the world from Italy and Austria to China and Montreal for centuries. From its creation in 1681 to the end of the movie in 1997 its various owners all are shrouded by an air of mystery by the violin. In Aidan’s collection, his color choices represent the themes and motifs of the movie in his design the most.

“Obsession, possession and immortal love are the words from the movie that reflect the love in my design. It is a mix of old and new, love and obsession and worldwide cultures.” The tan color of the dress represents the violin before it was painted and the red fringe is the dye and blood of the characters seeping into the violin further foreshadowing the power of obsession and possession around the object.

Fashion has allowed Aidan to build and expand on his design thinking to let him not only find solutions in fashion but anything related to design and aesthetic.

“It changed my life to better [understand why] people wear what they are [wearing], and how it changes over time.”

Aidan hopes that one day he will find his path to become a better designer in the real world, outside the safe haven of Gearing Hall.

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A. Dio Greer writer EMMA HOGGARD photographer LARA KOPPEL models HASSAN AHMAD & HANNAH JOHNSON hmua REBEKAH HEIDEL layout SYDNEY BUI

Alexander Greer was born and raised in Austin, Texas.

When he was ten years old, he learned to sew and has been practically chained to his sewing machine ever since.

He grew up reading Japanese mangas and designing costumes for conventions. These influences have shaped his current collection, as well as his general design philosophy.

After graduating from high school, Alex went to cosmetology school. He worked in the beauty industry for several years before deciding to attend the TXA program in order to improve his patterning, sewing and design skills.

While most of his work in the program has been fashion oriented, Alex considers himself a costume designer, not a fashion designer.

This collection, Unlimited Blade Works, was inspired by a Japanese manga called “Fate/Stay Night”. His aim was to translate the characters’ fantastical costumes into streetwear for our modern world. The three pieces in his collection are directly inspired by the manga’s three main characters. Alex’s designs have an industrial, postapocalyptic aesthetic, but there is a delicate, elegant facet to his work that elevates it above similar contemporary designs. The piece he created for the sustainability challenge is made out of a tablecloth, but you would not know that from looking at it, because he was able to completely transform this everyday object into a breathtaking, runway ready garment. The tablecloth fabric is dynamic and, when viewed in sunlight, flows with mesmerizing elegance. The garment’s silhouette is sophisticated and progressive. Alex’s work in costuming has sharpened his

eye for striking profiles and dramatic designs, and is what makes him such an innovative designer.

Alex’s design process always begins with visualization.

His best work develops when he begins the creating process by using draping and intuition to transform his initial ideas and sketches into actualized garments. Alex’s fellow TXA students say that he is the fastest sewer among them. Because of this speed, as well as countless hours every day at his sewing machine, Alex has been able to manage creating both his class assignments, as well as his own personal projects. His favorite fabrics to work in are cotton and silk sateen. Alex often listens to music while designing, especially artists such as Rammstein, Funker Vogt and Wumpscut. He also likes to draw inspiration for future designs from the works of his favorite visual artists, such as H.R. Giger, Salvador Dali, Vladimir Kush and Masahiro Ito. Throughout his time in the TXA program, Alex’s favorite classes were those in which he learned a new skill, such as working with leather and millinery. Alex considers the acquisition of these new skills the most valuable aspect of the program for him. When he graduates, Alex plans to work in the costuming industry as an expert in distressing.

The process of aging fabrics and materials is one of his favorite aspects of the design process. When he’s not sewing and designing, you can find Alex at Dystopia Rising, a monthly live-action role playing event, where he wears gear he designed and made himself.

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Amanda Arrisola writer ALEXANDRA VARKAROTAS photographer SAI BARURI model SUSANNAH JOFFE hmua CAMERON KELLY layout SYDNEY BUI

Hailing from Copperas Cove, a small town outside of Killeen, Texas, Amanda Arrisola started her design journey simply by scanning her closet, thinking about how to pair together detailed patterns and vibrant colors when getting ready for the day. Initially unaware of the Textiles & Apparel program at UT Austin, Amanda found her passion for design after signing up for “Clothing the Planet,” an introductory fashion class that covers multiple facets of the industry: form design to production to building a business.

She credits Professor Ockhee Bego, an industry professional and entrepreneur, with providing a fun classroom environment. In fact, Professor Ockhee’s passion for the industry rubbed off on Amanda, as her experience in this class was just what she needed to decide to become a part of the fashion community.

Looking to her environment, Amanda finds inspiration anywhere she goes. Whether it’s something she sees during a walk downtown or something she’s eating, basic shapes intrigue her. Starting with the simplest shapes, she adds details as she sees fit to her drawings, playing with variations of colors, patterns, and forms. It is when she feels the fabric (tweed being her favorite) and can manipulate it to her desired silhouette, that the transformation from drawing to product is realized.

For her collection, The Strange and Unusual, Amanda found inspiration in Tim Burton’s Beetlejuice, watching it for the first time just recently. The artsy nature of the 1988 comedy-horror film combined with the production’s use of vivid colors led her to imagining dynamic designs, aptly calling her collection, The Strange and Unusual, an ode to Burton’s eccentric style.

When she’s not busy designing or spending her time working on her embroidery skills, Amanda enjoys spending quality time with friends. She can also be found working a part-time job at the gym. She likes to keep an active lifestyle, and living in Austin, she loves taking hikes and finding the next best eatery in town.

For Amanda, studying fashion has given her the opportunity to see where improvements in the industry can be made, specifically in sustainability. With this vision, she hopes to find her fit in the textiles industry after graduation. In five years’ time, she plans on returning to school to earn a Master’s degree and focusing her work on the science of textiles and fabrics.

She credits Professor Gail Chovan for teaching her the fundamentals of apparel design and providing a tremendous amount of support during the making of her collection.

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Anel Gonzalez writer CHLOE BERTRAND photographer VIVIAN BAIER model JACKIE CARTER hmua AMBER BRAY layout JENNIFER JIMENEZ

Born from the Windy City in Illinois, Anel Gonzalez came to Texas after discovering UT’s Textiles and Apparel program. She had already completed an associate’s degree in biology. However, she felt that pharmacy school wouldn’t suit her. Alternatively, she was beckoned to join the creative forces of fashion. Her collection title reflects her decision to be a part of this growing innovative program to ensure that she had all skills necessary for success in the design world.

city and landscapes that largely impacted color palette and concept. Considered the most important realist painter of the 20th century, he often painted his own personal interpretations of the world he saw each day.

Similarly, the triangle shape of the Flatiron Building allows passersby the control to render their own meaning for the landmark. Much like the aforementioned art, Gonzalez wants to leave her audience slack-jawed and in awe.

Gonzalez’s creative process is brief, yet of utmost importance. She begins with a sketch of a concept that she wants to bring to life. She asks herself: “What is the story that I want to tell my audience?” After much deliberation and questionable amounts of caffeine, she’s ready to begin draping. Her most favored textile is twill, and one could observe that her favorite design technique is a solid A-line or a refined princess theme.

Gonzalez draws inspiration from paintings and other mediums of art. Outside of the studio, she can be seen daydreaming about her next project at the Union, working out her sketching hand at the gym, or spending time at the University Catholic Center. On top of her studies, Gonzalez also has two jobs. This further proves her dedication and range.

At this point, Gonzalez cannot accreddit any major life alterations to fashion. She doesn’t describe her attitude as your typical “passion for fashion.” Although, she does feel an immense sense of accomplishment and fascination upon completing a garment. Anel Gonzalez and fashion are two acquaintances with a symbiotic relationship. And they’re still figuring out what one can do for the other. Her Chicago roots act as guidance to her as the days progress. In fact, her collection was motivated by the cold climate of the city.

Manifest was heavily influenced by Edward Hopper’s art and New York’s acclaimed Flatiron Building. Each of Hopper’s paintings featured architectural factors from

Anel Gonzalez seeks to land an internship in the fashion field after graduating. She aims to work her way up to becoming a large influence in fashion. All the while, Gonzalez wants to raise awareness for human exploitation within the textiles industry. As she moves onward and upward, she will forever cherish the experiences she has shared while at UT and every all-nighter spent honing designs.

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Anna Kraus writer ISABELLA MCWHORTER photographer ANDREW ZHAO model PARKER STAVELEY hmua JENNA CAMPBELL layout JENNIFER JIMENEZ

Hands are a powerful tool. They shape, build and create, and Anna Kraus knows the strength at her fingertips. She centers her designing around it. A UT transfer from Arkansas, Kraus begins and ends her creative process holding the fabric in her hands. She feels the texture and works with an attention to detail only found in a respect for what our hands can achieve.

Hand sewing: Kraus’ favorite technique. Combining the basics with a creative mind, Kraus focuses on a connection with her designs. She builds a one-on-one relationship with the fabric, nurturing it until it has been morphed into a uniquely detailed style. For this collection, Kraus used her technique to channel the wistfulness of spring with a twisted edge. Halcyon, the name of her collection, embodies the heart of her design process. It follows the delicate and calm nature that we see in spring florals, while also playing with modern neon and body toning elements. Bright colors, bold body shaping, yet the delicacy of spring: a style successfully grouped through her detailed and meticulous process.

“I love working with my hands,” Kraus said. “There’s something so satisfying about watching an idea come to fruition and knowing that you’re responsible.”

Leading up to her graduation, Kraus has always loved to pursue creative paths. Without this quality, she would likely still be studying Advertising and Public Relations at the University of Arkansas. All it took was one garment construction class and Kraus was set on the path that would upend her life and see her transferring into UT’s reputable design program.

She calls it the best decision she has yet to make, as fashion has changed her life. Currently, she works as the assistant designer for custom bridal designer Linda Asaf.

She also works as the show production officer for Matrix, playing a critical role in the coordination of photoshoots, shows and pre-production and music coordination and sourcing. To top off the list, Kraus is one of StitchFix’s newest stylist hires in Austin.

Though, Austin has been the gateway to Kraus meeting amazing people and honing a unique skill set, she isn’t restricting herself to any one location in the future. Austin, Los Angeles, New York, you name it. She excels in environments with distinctive qualities, friendly communities and plenty of sun, but also knows that three years time could see her ending up anywhere, similar to her transition from Arkansas to Austin.

After hard work, grit and following her style intuition, Kraus has reached the end of her creative process once again through her finished collection here at UT. It explores colors, how garments may shape a body and where dreaminess meets edginess. More importantly, she holds in her hands a delicate style that can only be born from a pair of hands creating something only they could shape.

With her collection complete and practicing an open mind for the future, catch Kraus searching Austin for its best burgers and hustling at some billiards in the meantime.

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Bailey Berry writer SHREYA RAJHANS photographer DAVID ZULLI model HAOQING GENG hmua TIFFANY LAM layout JENNIFER JIMENEZ

Bailey Berry was born in Decatur, Texas; a rather small town with a population of around 6,000 people. Initially when she began attending The University of Texas at Austin, it was under a completely different major.

However, when she learned of the excellent Textiles and Apparel Design Program offered by the University, Bailey immediately transferred into the major.

Design always had a sort of calling for Bailey, as she knew she had a passion for art. This passion was honed from an early age as Bailey took art lessons from the fifth to twelfth grade. This dedication and continuity allowed Bailey to really focus on and develop her voice once she began studying at university under the textiles program.

Regarding inspiration to design her pieces, Bailey cites that she uses a technique she likes to call, “idea outline,” in which she sketches multiple designs before starting to hone in on ones that really catch her eye and seem to match her personal voice. She also keeps an inspiration board full of pictures that she loves. This board serves as her creative touchpoint before she begins the actual design process. While Bailey strives for diversity in terms of textile, there’s just something wonderful about denim that has made a special place in her creative mind, especially the potential and versatility it provides to her pieces and collections. One of her favorite design techniques, as a result, is to color block. The extra challenge and whimsical quality of incorporating funky shapes into her designs is an artistic style that she’s slowly developed through her work.

Her collection, titled Mabel, is heartwarmingly named after her grandmother, a word meaning beautiful in Latin. Bailey fondly recalls that her Advanced Apparel Design Professor, Gail, always reminded her and other students to design a collection that truly represents themselves, especially as senior year in university might be a last chance to do so for some.

Hence, this collection holds extra gravity for Bailey, as she has tried to truly channel her personal style into designed clothes that would appeal to others as well. A lot of her inspiration for her collection came from street wear in the sense that flexibility is visibly a major theme. Bailey intended to create elevated outfits that can be combined with other pieces yet still retain their unique look, reminiscent of gothic or avant-garde appearances.

Looking back to her journey, Bailey strongly feels that fashion has allowed a medium through which she can not only express her voice, but also enhance it. She strongly feels that fashion has really made an impact on her as a person and continues to do so through her work as a designer. She feels that right now she is her best version of herself because of it. If not in the design lab creating and perfecting her pieces, Bailey can be found spending quality time with her friends outdoors, enjoying the sun – something Austin can’t offer enough of. She also loves the live music scene in Austin, a result of the city’s rich and diverse culture. Although Bailey isn’t entirely sure of what the future holds for her, she knows that art and fashion will definitely be a part of it. She’s already seeking various internships in states like California, New York and of course Texas, hoping to one day secure a position within a luxury fashion house.

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Carlie Roberson writer ABIGAIL ROSENTHAL photographer TONY REDMER models SUSANNA WANG & YASMEEN NOFAL hmua SARAH STILES layout CHIE-HSI JASMY LIU

Carlie Roberson is from McKinney, Texas and first discovered a love for creating through art, painting and sculpting in a one-car garage she aptly dubbed her “Art Room.”

That same passion later turned into a love for the fashion industry, in and out of her studies at UT. “Ask any creative what their creative process looks like and they will likely respond ‘a mess,’” Carlie says. “I am among these individuals.” Carlie’s process doesn’t have a particular structure — instead, she tries to keep her process “organic and natural” in order to obtain authenticity in her work.

Her collection, Quasi Comfort, was inspired by the seemingly contradictory concepts of comfort and courage and how they can be visualized together. The idea for her zero-waste design came from the mundane, everyday activity of grocery shopping.

“It wasn’t the sounds or smells, but the individually wrapped fruits cased in Styrofoam that caught my eye,” Carlie says. “I found this to be quite amusing — fruit sweaters, I thought. To me this paralleled the wastefulness within the fashion industry. The design goal of this garment was to inspire the incorporation of sustainability into high fashion and elevated designs.”

For her couture gown, Carlie found inspiration within the Recamán Sequence and optical illusions, where math and shapes create something appealing to the eye, like a

repeating shape or a confusing but intriguing image.

“Aligning my belief that fashion is simply art with the addition of functionality, I found the Recamán Sequence especially inspiring because its blend of function and visual intrigue,” Carlie says.

While designing, Carlie loves working with woven fabrics, loving the contrast of the crispness against the human form as a garment comes together. Her favorite design technique is draping, which she thinks offers a lot of freedom.

As she has worked within fashion, Carlie is most grateful for the people she has met as she has honed her craft within the Textiles and Apparel program.

“It’s given me the opportunity to meet so many wonderfully talented people who share this passion of mine,” Carlie says.

When she’s not designing, Carlie can be found working on things for Spark Magazine, where she serves as the current Creative Director. As of now, her plans for the future are more open-ended.

“The only things I can say with certainty is that I plan to approach any given career opportunities with hard work and passion,” Carlie says. “I believe with that, success and happiness will follow.”

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Carol Ann Lara writer ALEXANDRA VARKAROTAS photographer KATHERINE PERKS model JEANETTE HOELSCHER hmua TEJAL BHIKHA layout CHIE-HSI JASMY LIU

Deciding what to wear can be a draining task for some.

But for Carol Lara, an Elsa, Texas native, it is sometimes the best part of her day. It is when she can decide how she wants to express herself. Growing up in a small town, Carol Lara wasn’t exposed to the high fashion scene until she asked her mom to buy an issue of Seventeen, a magazine catered to teen girls. In fact, she thought she had to be a teenager to read it, and at the time she was only a fifth grader. When she opened the magazine, she was immediately mesmerized by the editorials inside. A self-proclaimed idealist, Carol imagined how she could use fashion to create fantasies, and thus the designer in her was born.

For Carol, inspiration can come in many different forms, whether it is a feeling she has while listening to music or a fabric she really likes. When designing, Carol prefers to be hands-on, letting the fabric speak and influence the final product. Not wanting to limit herself, she doesn’t plan ahead, but rather lets the design come to her in the moment. “The world already tries to limit me,” she says. “I don’t want to confine myself to a process that could steer me away from exploring a new idea.”

And exploring new ideas is what her collection, the____ between, is all about. Inspired by orbitals in outer space

and Elizabethan era gowns (the bigger the dress, the more untouchable the woman), her collection for modern women makes a statement about how a woman holds her own space and how “no one can invade the boundaries that she sets.” Fashion has always been Carol’s art form, a creative outlet for her to expand her imagination and express herself, and this collection reflects that exact sentiment.

Being in the fashion community, Carol has learned more about the problems facing the industry, making her think critically about how she uses materials. While fashion has completely consumed her life, she finds time to read, go to the gym, run and row. The relaxation that these activities provide her is the closest feeling to how she feels when she is draping, her favorite design technique. She feels that she was never meant to work in fashion, but rather the idea of communicating her thoughts and feelings through designing clothes is what has lead her to become the designer she is today. As for future plans, she hopes to use her knowledge of textiles to create innovative and sustainable pieces. Focusing on the science of materials, she would love to work in a variety of textile fields to gain more experience. She would like to thank her Mom and her sister for raising her, and being supportive of her fashion journey.

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Christopher Johnson writer TERESA VU photographer RION FLETCHER models GLENN BOZANT & KRISTINE WANG hmua JANE LEE layout MAYA SHADDOCK

Like many of us, Christopher Johnson didn’t know what he wanted to do in life. He went through multiple majors, tried out new hobbies and Googled tons of salaries and online classes, but he was never truly satisfied with anything he found. He had always loved fashion, but thought it was unattainable. Unrealistic. Unachievable. But a trip to Tokyo in 2016 changed all that. He met some friends who worked in the fashion industry and had a realization: “that could be me.” He wanted to live in the coolest city and make the coolest clothes. So, when he got back to the States, he transferred out of Biology and into Textiles and Apparel.

His design process begins with an inspiration, whether it be a shape, something he saw on the Internet or whatever piqued his interest that day. From there, he will draw a croquis and begin thinking about how he can incorporate that cool element onto a body. Usually, he starts by putting things on the waist because it’s a fun part of the body to work around. After doing that, the designs just flow naturally — born from the heart, sent through the veins and propelled onto the page. Christopher employs a method of free thinking when considering his designs. He prefers not to dwell on them; they are neither good or bad — they just are.

Although he doesn’t have a favorite design technique, he does have a favorite textile: any cotton twill. “Denims, houndstooths and chevrons will look good on everything,” Christopher explains. Given the prevalence of the Canadian tuxedo within the Austin fashion scene, there’s no

denying that he made a wise decision when choosing TXA at the UT. This collection, Nightmares, is based off Dark Souls, an adventure series video game with a medieval fantasy setting.

The apparel in the game can be described as epic warrior wear meets the glamour of royalty. However, Christopher wanted to take elements of the game’s environment, equipment and monsters and incorporate them onto the body.

He sees the models almost as the heroes in Dark Souls.

They’re trying to overcome the obstacles presented in the game, but this time, they’re wearing really cool clothes.

Christopher’s biggest plan for the future is to become a designer in the city that sparked his passion in the first place: Tokyo. In order to that, however, he must get better at Japanese. Therefore, he wants to work in New York as a designer and study Japanese until he becomes proficient enough to move. “When I’m fifty, I’ll probably disappear and go write stories as a Buddhist monk in the mountains somewhere,” Christopher jokes.

In his free time, he likes to play Dance Dance Revolution and spend his days at Arcade UFO, a local arcade famed for being Austin’s premiere Japanese-style gaming center. He also enjoys reading, playing with his cat and attending raves. When asked how fashion changed his life, Christopher has only one answer: “I finally know what I want to do with myself.”

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Daniela Guzman writer SHROOTHI RAMESH photographer ERIN WALTS models LINDSAY GALLAGHER & MIJOLAE WRIGHT hmua DANIA ABDI layout MAYA SHADDOCK

Daniela Guzman is a 20 year old designer from Mission, TX who was drawn to textiles by the art and beauty of it and fell in love with the math and science of it instead. In the 3 years she has spent at this design program, Daniela has loved her experience especially since it brought her to what she wants to do with her career. “[This program] exposed me to other routes to take in textiles. [I love it] because it made me realize what I wanted to do.”

Of the concepts and techniques she learned at UT TXA, Daniela especially loved patterning techniques and the math of figuring them out against the fabrics she was using and playing with contouring. She also loved taking Advanced Textiles and working with specified machines and learning about their functionality and purpose. To her, designing on its own lacks the passion she has for the science side regularly. “When you’re not inspired, you’re not inspired. [It’s hard to be the best when] a lot of these things are time based [along with] colors and mood boards and you have to sell it [because] it’s due the next day [even if you aren’t inspired].”

Eventually, she would like to get into a research-based career track in textiles. Her creative process for designing depends on where her inspiration stems from the feeling of a fabric or the look of a particular shape or even random mood boards could be the beginning of a new artistic idea. “There’s no black and white way as to how I began

my process, but [that] determines [what I do next].” Her favorite design technique is draping as it’s unplanned and “anything and everything” can come out of it. She loves working with textiles that have a unique hand or texture.

Her showcase collection, Amor Divinus, was inspired by her personal connection to Catholicism. Daniela wanted to portray the good side of Catholicism that she has experienced in her life so people can see her perspective instead of only seeing the scandals that often get highlighted by the media. She took a lot of her inspiration from Michelangelo’s art and paintings in the Sistine Chapel. The first design was based on the Creation of Adam, the second on La Pieta and the third was on The Last Judgment. She pulled colors that spoke to her and used them to showcase different kinds of love as Amor Divinus means “Divine Love.”

Fashion has allowed Daniela to appreciate the discipline in a different light. “Fashion is more than what you wear. It’s art.”

She has a huge appreciation for high end fashion like couture and how they reach out to architecture and other disciplines. She also has a technical appreciation for the field as well. “[Looking at] something you wear, I’m looking at how they did that, not just what it is.”

In the future, Daniela hopes to go to graduate school if things fall into place and possibly pursue a PhD in textile technology.

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Donna Silverio writer INGRID GARCIA photographer CASEY TANG models MEGAN BENNETT & AMBER DEAVER hmua ANNA STROTHER layout MAYA SHADDOCK

Inspired by the colors of a Philippine dessert, 22-yearold Donna Silverio created her collection titled Halo Halo, translating to “mix, mix.’

On a typical hot day in the Philippines, the dessert made up of shaved-ice and milk easily melts and mixes into different colored shapes and patterns under the blazing sun. Along with the sweet treats, Silverio put her own “sleek and refreshing” spin on the traditional Filipino dresses worn when designing her own collection.

After moving from the Philippines to Houston when Silverio was just 10 years old, she found it difficult to start over and make new friends, so she spent most of her time in her room drawing or playing video games.

Inspired by the RPG games she played, she mostly drew fantasy-themed art. Slowly, but surely, it became her creative outlet.

In high school, she briefly thought she wanted to pursue video game character design. Looking for inspiration for her design portfolio, she stumbled onto a video of Thierry Mugler’s fashion show in the 1990s. Silverio didn’t sleep that night; instead, she discovered new designers as she intriguingly clicked video after video until

the sun came up. The idea of telling a story on a runway drew her in closer. She decided to apply to UT as a Fine Arts major, but then quickly transferred to Textiles and Apparel as her interest in fashion grew further.

When inspired, her ideas are jumbled and mixed in her head. To visually convey those ideas, she draws until she’s let it all out. Once put onto paper, she evaluates which ideas are worth investing more time into to develop further.

Fashion keeps Silverio on her toes. The industry’s multiple facets could never bore her. Being in the industry has introduced her to life-long friends that share the same passion and face the same struggles. She spent a summer in New York City interning for luxury brand Marchesa, something she would’ve never imagined for herself. Fashion has not only helped stretch her creativity and grow as a person, but she’s also been a two-time recipient of the Fashion Scholarship Fund.

Upon receiving her Bachelor’s degree at UT, Silverio hopes to move to the city of opportunity: New York. As she builds her career, she carries the dreams of moving to London or Tokyo one day. In whatever city she may land in, she is certain that she will continue designing.

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Gunner Lewis writer ABIGAIL ROSENTHAL photographer CAITLIN ROUNDS model WEATHERLY SAWYER hmua JULIE GARCIA layout MAYA SHADDOCK

Gunner Lewis is from Houston, Texas. He was initially unaware of UT’s Textiles and Apparel program, but saw it as a great opportunity to combine his passion for clothes with his interest in design. Without further hesitation, he immersed himself in the program — eager to become more knowledgeable about the fashion industry.

His collection is titled Future Worx, and it was inspired by classic work attire. However, Gunner was influenced by his imagination and the interpretations of garments in the year 2155. Using classic structures with unexpected fabrics and details, Gunner focused his collection not on a fantastical view of what the future holds, but a more grounded look at how style might change. Viewers of the pieces will feel propelled into the future by his modern creations. Surely, they will make their own predictions of what future fashion entails as well.

Gunner’s design inspiration ultimately comes from multiple sources to gain versatile perspectives. From there, he is able to curate certain aspects and combine them to create a final design, showcasing details he appreciates while creating an original work. “I like to just compile all the things

I like at a certain time and pick and choose what aspects I like most from each source,” Gunner says.

Gunner enjoys working with duck canvas, a more tightly woven canvas, in his designs “even though it’s just insane for most applications,” he says.

Like many designers, Gunner pursues exterior inspiration before looking inward to make his art. He tends to mix draping and flat patterns, as he has found it to be the quickest way to get his ideas out and into a final product. For Gunner, efficiency is key to his process without sacrificing quality.

To him, fashion has been an incredibly important way for him to express himself and his ideas in a physical form, where he’s able to see his ideas truly come to life once they are complete. “It’s been the most important form of self expression that I’ve ever found,” Gunner says.

When he’s not busy designing, Gunner can be found making music or watching movies with his friends. In the future, he hopes to find success in whichever path he pursues.

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Gustavo Zamarripa writer AIDEN PARK photographer MARYBETH SCHMIDT model HANNAH JOHNSON hmua ALORA JONES layout MINGYO LEE

Ranging from garments donned by Mexican actresses to female video game characters, Gustavo Zamarripa has always admired the clothing worn by women. Hailing from Dallas, Texas, Gustavo says he found the Textiles and Apparel program at the last minute. He originally majored in environmental science, but eventually switched to design, knowing it would make him happier while imagining all the possible (and impossible) designs that awaited him.

“What gay doesn’t want to dress women?” Gustavo asks.

During his time studying in Textiles and Apparel, Gustavo says the lessons he has learned ingrained in him a new appreciation for everyone’s sense of fashion. He says everybody puts at least a little thought into what they wear, whether it be an over-the-top get-up or a simple T-shirt. The reason why a person wears what they wear intrigues him.

Gustavo reaches a concept he’s satisfied with. As for his favorite material to design with, Gustavo says linen beats all the rest. He appreciates its ability to flatter a women’s figure while also draping beautifully.

His creative process informs his featured line, titled Erotixxx.

Originally inspired by the fetish undertones showcased in the movie “Hellraiser,” Gustavo was able to create three designs. However, after he felt they were a bit unfinished, Gustavo turned toward the movie “Barbarella” for another point of inspiration, finding a sophisticated tension that lies between traditional femininity and eroticism. “‘Barbarella’ gave my looks the feminine touch they were desperately needing while maintaining the erotic theme,” Gustavo says. “Hence the collection’s title.”

“Whether because it’s your favorite shirt or it makes you feel better about your body, there’s always a reason,” Gustavo says.

While not working on his collection, Gustavo says he can usually be found at home watching horror films. These types of movies serve as a form of stress relief. In fact, he claims an unexpected jumpscare does a body good.

Gustavo labels his creative process as sporadic. His creations usually start from a specific source of inspiration, from which he builds his designs. Then, however, he says he usually tears his designs back down. After this, he’ll recycle a portion of the previous designs with a new, albeit similar, point of inspiration. This cycle repeats until

Although the future remains uncharted, Gustavo hopes to one day become a part of a creative director’s team. From there, he says he hasn’t ruled out the possibility of launching his own label. Whatever his fate holds, Gustavo’s creativity will remain as palpable as his appreciation for the art of fashion.

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Hunter Tanem writer CHLOE BERTRAND photographer ARIANA DIAZ model LINDSEY EHLERS hmua REBEKAH HEIDEL layout MINGYO LEE

Hunter Tanem is from Cleburne, Texas. Influenced by the craftsmanship of his grandmother and great-grandmother, he believes that they bestowed an immense appreciation for apparel upon him. His mother’s closet played a prominent role in his developing adoration for fashion as well.

When a friend gave him a gentle push towards the fashion program in his freshman year, he was certain that this was the path he was destined to choose. Tanem’s art is often inspired by the imagery within music, special moments and the nuances of life. Much of this can be observed in his collection.

Titled The Preservation of Recollection, Tanem’s collection was inspired by his own reminiscence. He describes the memory as a hot day in August when he was burdened with a cold that led him to his local physician’s office. His mind was shadowed with malaise as he sat alongside a few elderly patients — one of which caught his eye. Tanem was drawn to the brooch above her bosom that was a medium sized picture frame with a portrait of a young newlywed couple behind the glass. He gave way to the creative prompting and returned home to sketch out the concept of immortalizing memories. He was enamored by how our culture preserves personal pasts.

Shortly after the conception of his idea, Tanem began to research Japanese Ukiyo-e prints of the Edo period, including Hiroshige and Hokusai. He was encouraged by the dreamlike characteristics of the artwork. Additionally,

Tanem sought to encapsulate his own memories in the collection. An observer can find hand embroidered scraps of silk fabric faintly tacked onto each piece. According to Tanem, the purpose of this is to embrace fragments that may be forgotten as well as be a direct reflection of the brooch he saw in the summer. “Although they seem so vivid for a moment, if they fall from our consciousness, then we may never see them again,” Tanem said.

When he isn’t manifesting masterpieces, Tanem enjoys watching documentaries and visiting museums to feed his love for learning. Outside of the design lab, where he spends the majority of his time, he still finds himself consuming art in the simplest of day to day activities. Tanem has an affinity for cotton shirting, yet he has grown to love silk as well — and pleats are his most favored design technique. All of this contributes to his overall creative process. Tanem will often find himself peering into history for features to incorporate into his projects. In addition, he’ll bring together abstract, unexpected ideas to form a concise concept much like the one featured in his presented collection The Preservation of Recollection.

In the future, Hunter Tanem is interested in landing an internship within a fashion house to create womenswear with dreams of couture design. “I think, before, I was lost within my art. I didn’t know how to apply myself,” Tanem said. “I have come to the conclusion that the art of construction is what I was meant to do.”

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Ilana Wayne writer AIDEN PARK photographer MARCUS IBARRA model PHYLLIS GONG hmua AMANDA MACFARLANE layout MINGYO LEE

Ilana Wayne grew up in Atlanta, Georgia knowing she wanted to do something creative. She just wasn’t sure what. She enjoys thinking outside the box and wants a career that would allow her to do just that. After taking a summer class at the Fashion Institute of Technology in New York during her junior year of high school, she immediately knew she wanted to pursue fashion design.

Now, her very own collection is ready to walk the runway. Her line, titled Suited, is an exploration of elements in menswear that are recreated through the use of exaggerated scale. She cites artists such as Jeff Koons, who experiments with scales and sizes through prints and fabrics, as a major inspiration for Suited.

Ilana says her line — and creative process as a whole — originates from a single spark of inspiration. Once an idea hits her, she goes straight to sketching where she allows her ideas to breathe and evolve. From there, she begins creating the tangible from the intangible.

During her time as a designer, she says her eyes were opened to the importance of ethical and sustainable

fashion. Her education led her to becoming impassioned about how large a footprint the fashion industry leaves on the world. She says this has motivated her to take a more sustainable approach not only in her designs, but in her everyday life.

Outside of her interest in fashion, Ilana says she’s passionate about traveling and cooking. While on a trip to Paris in high school, she fell in love with the opportunity to see more, and the fast-paced travel inherent to trotting the globe. Ilana returned to Paris once more with a Textiles and Apparel program and plans to study abroad in London this fall. She says traveling is what ushered in her adoration for cooking. Just as fashion design is a balance between artistry and technicality, Ilana says she is intrigued by the different elements that go into creating a meal.

Upon graduation, Ilana wants to move to New York and start work immediately. She hopes to work with a company that shares her ethical standards and a mission to positively change the fashion industry. Ilana hopes she’ll always be able to travel, where she can readily find the inspiration to never stop creating.

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John Goodman writer TERESA VU photographer SAI BURURI model KAYLEIGH WILSON hmua MARIAM ALI layout MINGYO LEE

John Goodman is what one might call a non-traditional fashion student. Originally from Victoria, Texas, he earned a degree in business management and had great success in the workforce. His experiences in life had taught him to have a strong work ethic and to be driven by goals and specific timelines. But he soon realized that he didn’t just want a job — he wanted a career that he was passionate about. John deeply desired to follow in his grandfather’s footsteps to become a part of the textile and apparel industry. So, with a newfound passion in his heart, John returned to school and never looked back.

His creative process begins by finding inspiration from his art, photography or literature. Sometimes he makes miniature patterns out of paper to better understand how the garment’s construction and proportions will help convey the mood he is trying to create. Then, John will make full-sized patterns and mock-ups of the garments to put them on a dress form. This is where the magic happens. Once on the form, he will begin to cut away or add muslin to places that he thinks will enhance the design of the garments. Finally, when that’s over, he will remove the mock-up and create the final pattern for the project.

This collection, Pestilence, is inspired by the bubonic plague in the late Middle Ages and the religious, social

and economic effects that the Black Death caused in European history. Specifically, the colors of this collection were inspired by artist Pierart dou Tielt in a painting illustrating the citizens of Tournai burying their dead in 1353 A.D. Full of intricate patterning and tailoring techniques, Pestilence is an attention-grabbing fusion of 14th century garb and the military uniforms that can be seen today.

Fashion has changed his life because, growing up, John always had design ideas trapped in his head but was unable to see them to fruition. However, through his studies in apparel design, he has developed the skills and techniques used to envision, develop, and complete his projects. His skills are now so finely tuned that he is able to intuitively let the hand of the fabric, color and fiber content communicate to him what it wants to be, whether it be a dress, a hat or anything under the sun.

Through his untraditional path through fashion, John has worked extremely hard to gain the professional knowledge and expertise to become a successful designer. His plans for the future are to either become a textile and materials researcher or a master pattern maker, with a goal of developing high-quality fashion wear centered around sustainability and eco-friendly design.

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Kelly Brabant writer JOANNE XU photographer ANNA DRODDY model SARAH TRAN hmua CAMERON KELLY layout ELIANNA PANAKIS

Kelly Brabant is very much a personification of her collection, Wild Heart. Raised on the outer edge of New York, the now 21-year-old designer has been designing since she could first make use of a sketch pad, graduating from crayon to marker to pencil to charcoal to digital design. Since her beginning days, Kelly has since been professionally trained at the Fashion Institute of Technology before finding herself cross-country, chasing a new adventure at the University of Texas.

What is now the Wild Heart collection originally began as a jumble of loose leaf sketches pinned sporadically across Brabant’s bedroom. Pulling inspiration from Mother Earth and the free-spirited liberation one feels from taking in natural air, she compiled color samples and fabric swatches and landscape photography and written word and nearly every other medium of creativity one could imagine, slowly piecing together a single concept. One by one, she infused the sensations experienced in nature into her sketches: the warm touch of morning light, subtle breeze floating through airy fabric, the smell of fresh, dewy flora.

But perhaps just sampling from nature was too simple.

Much like the designer herself, Brabant, complex and layered and multifaceted in her own right, also wanted to infuse mystery and sexiness into the collection as a counteract to the organic emotion that a name like Wild Heart naturally inspires. Structured bodices and

intricate lace — two signatures in her design aesthetic — bring shape and complexity to the line. Together, the two elements work in perfect juxtaposition and, quite honestly, rightfully represent Brabant’s identity in her inaugural collection.

Challenging norms and piecing together ideas that would not ordinarily seem to match is part of what keeps her designs fresh. The young designer is daring, bold and certainly not afraid to step outside the status quo, choosing to work with fabrics and techniques that provoke and stimulate the wildest of imaginations. “[Working with harder fabrics] always makes my life a bit more difficult, but it’s nearly always worth it in the end,” she says.

For Kelly, fashion has been the inner compass that has guided every big decision in her life — it provides her with a sense of direction, a home base to venture back to whenever the path may take her astray. Her fierce love for the artistry of design, so evident in her collection, is also why she’s quietly confident in the future.

“Fashion has always been my comfort in that I know ultimately I’ll pursue a career in the industry, wherever that takes me.”

One thing is for certain: if Wild Heart is any indication of the powerhouse designer that’s to come, this is only the beginning for Kelly Brabant.

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Lindsey Butler writer JADE FABELLO photographer VIVIAN BAIER models BETSY WELBORN & LILLY HATOUM hmua AMBER BRAY layout ELIANNA PANAKIS

Lindsey Butler is a designer from Longview, a modestly-sized city in East Texas. Originally a Retail Merchandising major, Lindsey took an entry-level design course for the background and simple sewing knowledge. But after making her first garment, she knew she wanted to transfer to apparel design.

pine trees that populated the front and back yard of the house she grew up in. “I wanted to draw inspiration for my collection from something that was dear to my heart,” Lindsey says. “I knew I would pour the most passion into it if it was something that I loved.”

In her words, her first skirt was terrible. But that did not halt her feeling intense pride from creating something out of nothing. “From then on, I knew that I was meant to be a designer and that I could fully express myself creatively through pursuing design,” Lindsey says.

Her collection serves as an ode to both the natural beauty of her hometown and the constant love her family gave her. She dedicates the collection to her parents for their unconditional support.

Lindsey focuses on designing garments that allow women to feel confident and have fun while expressing themselves through fashion. “I like designing garments that have a lot of movement on the runway; when the model walks, the garment ‘dances,’” she says.

Lindsey’s creative process varies slightly for each project she takes on. Some days she will look to icons like The Beatles and their movie “Yellow Submarine,” and then get fabrics to match that color scheme. Other times, she will start with the fabrics and have them tell her the direction she should go. Whichever order she chooses, after she pins down her inspiration, she lets her pencils flow on the page.

“Whatever comes to mind, I put down on the paper,” Lindsey says. She picks her favorite sketches and adds detail and uniqueness to each one.

The inspiration for her current collection is deeply personal. Her collection, Loblolly, is named for the type of

Lindsey is hoping to make the most out of her remaining time in Austin. She loves partaking in “shenanigans” with her friends across the city. She tries to dedicate her time outside of the design lab to relaxing because she certainly does do that while in the lab.

Her time in the fashion program has helped develop a personal aesthetic that makes her feel confident and unique.

“I care about how I look not because of what other people think, but because of what it makes me think of myself,” Lindsey says. “I am more empowered now than I have ever been before.”

She plans to move to Los Angeles immediately after graduation, where she plans to spend at least the next five years.

“I would love to work my way up through a design team and end up as the head of product development or design,” Lindsey says. “A girl can dream!”

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Mattison Gotcher writer CHARLOTTE PAN photographer DAVID ZULLI models MEGAN BENNETT & PHYLLIS GONG hmua JENNA CAMPBELL layout REBECCA WONG

As an 8-year-old, Mattison Gotcher sat in from of the TV for hours, drawing outfits of Disney stars. Characters like Raven Baxter and Lizzie McGuire and the outfits they wore stirred her interest in design at a young age. From the beginning, she knew that she preferred drawing clothes on bodies rather than drawing other scenes like nature or buildings. “My heart was happy to look at clothes or create clothes, and I knew designing was for me,” she says.

Graduating from imaginative characters and imitating others’ designs, Gotcher eventually brought her own visions to life. The Textiles and Apparel program caught her attention because of its quality and reputation and its potential in becoming even better. Furthermore, she also wanted to double major in the College of Communications Radio-Television-Film school. Being her Texas dream school and also allowing her the opportunity to pursue both programs, she knew she had to apply.

Upon attending The University of Texas, Gotcher discovered her love for denim and stitchwork technique. This would explain her concept for her collection, Denim Princesses. She describes her creative process, “I start from a narrative story aspect or from a piece of fabric I love and move into telling a story about the fabric and the garment I want to create.” Inspired by her favorite fabric, she created an all denim collection. Gotcher wanted to explore both old and new ways of denim designs, forming more

nuance to denim as a fabric and the ways people wear it.

Through her research reading “Fashion’s Frontier” from a Yale archival exhibit over denim, she learned how denim began as a work-wear fabric and transformed into everyday wear. “Denim is usually not thought about past pants and jackets, and I wanted to explore the in-between of what the fabric can do,” she said. In addition, she references monarchies like Marie Antoinette of France in order to mold a tradition from a much older time into something more modern.

From copying styles of TV characters to her own fashion collection as a student, Gotcher has learned a thing or two about her perspective and potential role in the fashion world. She says fashion has changed her perspective from superficial to a more concrete understanding of the industry and the role she wants to play in it. Fashion has made her realize that designers have a responsibility to their environment, to factory workers and to consumers buying clothing. “It has made my eyes more open to the importance of fashion past just the aesthetic looks,” she said.

In the future, Gotcher plans on working in costume design for film and television. With her collection displaying innovative designs with denim, her small dreams that started with a sketchbook could make it to the big screen, inspiring us all to live happily ever after while channeling our inner denim princess.

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Mia Barrera writer IVANNA SOFIA ENGLISH photographer CASEY TANG model MELINA PEREZ hmua TIFFANY LAM layout REBECCA WONG

The form of the body, undulating curves and the power it holds is captured by the skilled hand of 22-year-old Mia Barrera. A Texas native, Grapevine offered experiences in the arts and sciences that have shaped an anatomical inclination that Barrera now expresses with needle and thread. Unearthing Karma, her senior design collection is an intentional name — having etymological influences from Hindu and Buddhism — kama means “desire, wish, longing.” The black, beaded and rouge collection holds meaning deeper still. For the designer, her works are a coming-of-age-esque representation of sexual awakening given form with combinations of fabrics and garments. This clash of innocence and discovering, or rather, unearthing desire, is especially highlighted in the sheer or “innocent” elements of the piece that provide a shell that much like in an emotional experience, must be shed, pulled back and away, to reveal the “dark” elements that give way to desire not so far underneath.

Barrera’s inspiration also lies in the experience that most [Texans] know as being raised in conservative, religious-based household whose control over their youth lost its grip as they entered lecture halls as undergraduates. These halls led to doors that were opened and behind them held growth and self-discovery. For Barrera, her piece does just that, opens doors through elastic additions that all find their purpose throughout her three-piece collection. It is no surprise this is her favorite textile. With its flexible nature, it adds a sleek, sexy effect to any style, any body type. The use of the color black in the elastics, for the designer, specifically resemble bondage in the dominating sense; that while making the wearer responsible for strained necks of onlookers, the black elastics seamlessly accentuate the female body while retaining comfort — not a pair you typically find in the fashion world.

In high school, Barrera’s interests in the body were exemplified by her studies in sports medicine and love for human anatomy; she also coupled her interests with talent as she learned to sew

and make costumes as part of the costume department for her high school’s theater program. Measurements, shapes and the love for the human form — the common thread between the arts and sciences. Drawn to the University of Texas as her dream school, she was initially determined to be a physical therapist until she discovered the TXA department, which satisfied her scientific and creative side. Sitting in her pre-medicine science courses, she realized she missed the spool in her hand and made the switch to a major she still loves and cannot wait to pursue a career in a creative field. Now, her creative spirit finds purpose and execution through various hours of “research and visual referencing.”

Without specific parameters on what to do for a piece, like most art, the process is unpredictable, malleable and everchanging. Her creative process includes a lot of trial and error, brain power and multiple pages on a sketchbook. Barrera relies on visuals and mental images, which she confidently puts under the sewing machine. Cohesive with a fluid approach to her designs, a favorite method of design technique is draping.

The technique is a process that involves the kinetic element of a garment, allowing the cloth to be maneuvered on the wearer’s body. The fluidity of draping offers perfects her piece — allowing for greater movement and design of the garments and providing much more control over the construction of the garment.

Equipped with talent and passion, the future holds the promise of finding the perfect occupation for Barrera that she hopes will include her interests in film, with either a steady job in this industry, or have the means to pursue her passions through freelance. For now, she is spending her days as an undergrad — when she’s not in the design lab — snuggling with her two kitties, Piglet and Gubby in the comfort of her residential CoOp, Arrakis. Arrakis is not only a democratically run, housing cooperative run by the non-profit, ICC Austin, but is home for Barrera and some of the best people she knows.

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Mitchell Kerbow writer IZELLAH WANG photographer MARYBETH SCHMIDT model LINDSAY GALLAGHER hmua SARAH STILES layout REBECCA WONG

Mitchell Kerbow came to the University of Texas as a civil engineering major. However, after four semesters of classes that he just couldn’t get his head around, he decided a change was necessary. Mitchell credits the move from his small suburban town of Colleyville, Texas to the bustling center of Austin as the spark for his growing fascination with fashion, particularly techwear and streetwear. During his time as a civil engineering major, he perused fashion blogs and developed an interest in what people wear, and more importantly, his potential impact on the styles of others. Mitchell heard about the Textiles and Apparel program from his friend Gunner, and they both joined TXA the next semester.

The rest was history.

His collection, titled Quarry, was inspired by the excavation of marble from a stone quarry. More specifically, Mitchell sought to explore how man could take something formless like raw marble and create distinct geometric shapes that sharply contrasts with the natural form of the stone. This line is based around comfortable pants, long shirts and short cover-ups, with classic menswear pieces that utilize panelling and right angles, as if they were excavated.

Mitchell usually starts designs with flat patterning, and adjusts the shapes as he goes along. As he is not an experienced artist, Mitchell prefers to design in CAD programs such as Adobe Illustrator or Photoshop. He enjoys digging through archives of workwear and sportswear collectors, and adapting tried and true looks into more modern styles. He is drawn towards twill weave fabrics, and any Japanese cotton is much appreciated.

Outside of fashion, Mitchell is an avid cook and plays the guitar, as well as bass. Recently, he has spent more time focused on personal fitness and hitting the gym.

His guilty pleasures include playing video games and watching stand-up comedy.

After graduation, Mitchell plans on interning for a design firm, followed by a job in the technical field. In five years, he hopes to be working and eating well. The fashion design process has changed the way Mitchell thinks about a task. The way a design is constructed from conceptualization to realization is completely opposite from the analytical approach required by the math and science classes he had been used to before TXA, and it has shifted his mindset from trying to find the correct solution to expressing his own ideas and seeing what he can do.

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Molly Goldstein writer JOANNE XU photographer ERIN WALTS model IVANNA SOFIA ENGLISH hmua TEHAL BHIKHA layout REBECCA WONG

Molly Goldstein knew that she was a Longhorn long before she became a student here. She knew that she wanted the freedom to create and design and build things, but couldn’t quite put a finger on what exact path she would pursue — until she stumbled into and fell in love with the Textiles and Apparel program. Since then, Goldstein has flown through the design track with the zest and gravitas you’d expect from a young, ambitious, budding designer.

Her senior collection, Idyll, started in the Texas Hill country near her hometown, where the local flora and brilliant sunsets and neverending hills struck a nostalgic chord in her heart. From there, she drew inspiration. “I love the exhilarating, beautiful, earthy qualities of this part of Texas and wanted to reflect them in this collection,” she says. That it does. Even her couture gown and zero waste garment, both of which stand independently of her collection, share remnants of inspiration with Goldstein’s home. Rich hues of green and blue color her gown alive; ruffles cascade down her zero waste cape, resembling ripples on the open water.

It’s clear that Molly designs with heart and sentiment beyond just this most recent collection. The designer normally begins her creative process much the same, compiling photographs, color samples, fabric swatches, written word or sometimes even music — anything that can help

stimulate a visual identity of her inspiration. Then goes pencil to drawing pad and one by one sketches flow onto the paper until she’s managed to squeeze out every last idea from her mind. Only after she’s been able to translate all her thoughts to paper does she begin fine-tuning and honing in on a single concept.

Molly loves to design with textiles that inspire movement, much like the rolling hills surrounding her hometown.

Draping with fabrics like chiffon appeal to her hands-on, sleeves up design mindset and challenge her to manipulate textiles in a creative, innovative way. It’s invigorating to her — trying to truly understand the human form and how to drape it gracefully.

In fashion, Molly has found purpose. Designing grounds her and ignites a passionate fire in her — fuel to keep creating. “I feel like that is such a valuable thing to have in a world that is constantly changing and where so much is a total mystery,” she says. Fashion to her is the guiding force that shows her the way through trouble, doubt and insecurity. It gives her a solid direction to follow throughout life, one that she hopes will lead her into costume design in the future. Though what’s to come for her is still uncertain, and excitingly so, she’s confident that at the very least, she knows that this is exactly what she’s meant to do.

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Nicholas Mojica writer IZELLAH WANG photographer MARCUS IBARRA models HASSAN AHMAD & MANA SINGRI hmua JANE LEE layout CAROLINA BARUZZI

Growing up in San Antonio, Nicholas Mojica came to the University of Texas undeclared, hoping to be a business student because that’s what he did in high school. Although he enjoyed dressing up and exploring the world of suits and accessories, he did not realize that UT had a fashion design major, and thus paid it no mind. The switch happened during an intro design class with professor Ockhee; Ockhee’s life story and her accomplishments as a designer inspired Nicholas to pursue fashion midway through the semester.

Nicholas begins every design with questions: Fall? Spring?

Pants? Shorts? Jacket? Shirt? He envisions composition as basic shapes, almost like a shadow, and builds the idea around what he views through the silhouette. Although the designers are always given broad project themes, such as evening or athletic wear, he always strives to stray away from the norm. Most of his designs begin as freehand sketches, but Nicholas also enjoys the technique of flat patterning, as the precise lines and numbers give him a sense of order and control. He does not have a favorite textile that he is specifically drawn to; as a college student, the best fabric is the fabric on sale. However, he does appreciate good velvet or velour, as they are very nice to look at and feel.

His collection, How did you do that?, is inspired by something close to his heart: magic. Nicholas admits that he cannot actually perform any magic, but enjoys the amazement that accompanies a successful act. When he was younger, his father and siblings watched the magician David Blaine whenever he was on TV. Nicholas continued to watch magicians such as Penn and Teller or Dynamo as he grew up.

Outside of fashion, Nicholas enjoys spending time with his family and friends, an activity he does not get to do frequently due to the constraints of lab. His rigorous course load and busy schedule have made him more appreciative of the time he does get to spend with those important to him. He also participates in the classic college past time of binging Netflix, Hulu, and Youtube during his downtime.

Nicholas has an open mindset about the future, and wants to build up experience at a company before eventually opening up his own brand. Fashion has changed his life completely, and the knowledge he now possesses on the industry and textile design has given him a new perspective on life.

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Patty Lopez writer EMMA HOGGARD photographer ARIANA DIAZ model SARAH KRUEGER hmua DANIA ABDI layout CAROLINA BARUZZI

Patricia Lopez grew up in Venezuela and the Virgin Islands.

She moved to Houston, Texas to finish high school, then afterward decided to attend UT to study biology. After taking a few Textile and Apparel classes her freshman year, Patricia decided that fashion was where her heart and passion lay. She has been sewing since she received her first sewing machine on her twelfth birthday and has always loved the creative process required to create a garment.

When first contemplating switching majors, she had asked herself if pursuing a career in biology would lead her down a path she could be happy walking. She had always loved fashion and knew that if she didn’t choose her dream now, her dream would never come searching for her later. She thought TXA was the perfect stepping stone between science and fashion, since the program requires scientific as well as creative aptitude from its students. She transferred to TXA and has not looked back since.

Patricia has proactively sought every opportunity to learn and grow in the fashion industry. She has dressed fashion shows in both Austin and New York, created daring garments that push her out of her comfort zone.

Her experience contains working with large fashion brands.

She is passionate about the industry and excited about her future in it. In her three years in the TXA program, Patricia’s technical skill level has increased enormously. Because her designs are always very ambitious, they force her to teach herself new specialized skills to actualize the planned garments. Patricia considers this resourcefulness one of

her most valuable assets. In an industry where hustling for what you want is vital to success, she has the attitude and motivation typical to every accomplished designer.

This senior collection, Tripulacion Espacio, showcases Patricia’s precise tailoring and design capabilities. The collection’s initial inspiration came from her trip this past summer to NASA’s Johnson Space Center. The first piece, which her classmates have lovingly entitled “Tron,” is a tailored white jumpsuit with thin blue lights applied in a futuristic pattern. The influence of astronaut uniforms is evident in the piece. The second look is a black dress with a light grey knit pleated along the sleeves and down the back.

Patricia took a preowned knit and innovatively pleated it to look like an exposed spinal column. Both garments are the perfect blend of Patricia’s artistic and scientific sides.

Patricia’s design process begins by observing the world. Inspiring colors, words, shapes, or concepts drawn from the environment often serve as the impetuous for her designs.

Patricia always aims for functionality, originality and bold silhouettes in her final designs. Her favorite designer is Alexander McQueen, and you can see the influence of the designer’s sleek aesthetic, innovation and pioneering cuts in her work.

After graduation Patricia plans to continue working in the fashion industry. She hopes to one day head a design company. While she says her career may one day take a different turn, she is glad that she has decided first to pursue her dream.

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Rawan Al-Qarqaz writer ALORA JONES photographer ANNA DRODDY models LINDSEY EHLERS & KRISTINE WANG hmua ANNA STROTHER layout ADRIANA TORRES

Rawan Al-Qarqaz moved to Texas from The United Arab Emirates only a few years ago, which has shaped her as a designer. She takes pride in being highly dedicated and ambitious. She defines her style as feminine, empowering and elegant. To Rawan, fashion is a representation of art and a form of self-expression.

She set her heart on fashion design at a very young age, after her fourth-grade theatre teacher cast her in a production of “Pinocchio.” She was horrified by the costume and instead designed her own. When she watched the tailor put together the puzzle pieces of her design, she was mesmerized. She realized at that moment she could create anything and knew designing was the career path she wanted to pursue.

Since discovering her passion, Rawan has worked hard to achieve her goals and allowed obstacles she has faced to fuel her drive for success. In 2012, she developed serious health issues that postponed college a couple of years until she reached remission. She went on to be accepted into The University of Texas Honors Program which has enabled her to benefit from the expertise of top-notch professionals. She has submitted a thesis entitled, “Utilizing High Fashion Embellishment Techniques to Create Smart Textiles,” which she plans on publishing in the next year. She is a founding member of The American Association of Textile Chemists and Colorists chapter on campus. In 2018, she embarked on an embroidery independent study that encompassed over 300 hours of digitizing and machine embroidery. In addition, she interned with Naeem Khan in New York City during the summer of 2018. This internship provided her with a strong hands-

on experience that she believes will make her stand out in a competitive industry.

Haute couture designers have a large influence on the way Rawan approaches designing. She admires all the Arab designers that have made a name for themselves in this industry. The most influential to her love of fashion are Zuhair Murad, Elie Saab and Ziad Naked.

Rawan’s designer aesthetic revolves around empowering women through the representation of art and self-expression. She wants her designs to provide strong women with a prominent presence wherever they go. To accomplish this, she loves working with silks, satins, chiffons and embellishments. Aspects of nature inspire a majority of her work, but this collection drew from elements of Russian classical ballet. She incorporated its costumes, elaborate headpieces and shoes into her designs. The drape and flow of the dresses encapsulate the ballerina’s elegance and grace.

Outside of designing, you can catch Rawan spending time with friends and family in the sun. She loves being on the water, trying new foods, traveling and listening to live music.

After graduation, Rawan wants to grow in a company where she can add value and learn new things. She desires to go into the special occasion and high-end design field. She wants to create haute couture fashion, moving abroad to do so anywhere from Lebanon and Europe to Australia. She can also picture herself starting her own design company if the opportunity arose.

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Sarah Kelly writer CHARLOTTE PAN photographer CAITLIN ROUNDS models HAOQING GENG & LINDSEY EHLERS hmua JULIE GARCIA layout ADRIANA TORRES

Growing up near the sunny beaches of San Clemente, California, Sarah Kelly always knew that she wanted to be a creator of some type. However, her journey to becoming a designer did not always start with the dream of being one.

She never knew she wanted to be a designer and seriously considered going to art school to become a painter or sketch artist.

Now 22 and attending The University of Texas at Austin, Kelly is most certainly a design student. Once realizing that painting was not her ultimate path, she decided to try fashion design. Despite not always loving fashion or knowing a lot of brands, she still found it interesting. Her Design I professor inspired her and told her — after a semester of struggling and thinking she may not be good enough — that she will be a designer someday.

For Kelly, finding her career path was not linear and perfect, as many of us come to learn. Her collection “Identity” showcases the multifaceted qualities of a person. “I’m trying to show the values and differences in physical identity versus personal identity,” she said. She also wants to exhibit the contrasts between what we choose to identify ourselves as and how others view and identify us. On each piece of her collection, she created fingerprint shapes to show our physical identity through a fabric manipulation method she researched called book stacking.

She started her collection with word mapping and sketching. Her overall creative process usually begins by sketching random things that she likes even if they are not related to fashion design. This style of brainstorming allows Kelly to have a free range of creativity and not limit herself to concepts that already exist in the fashion world.

Her favorite textile to work with is woven fabric and her favorite design technique is fabric manipulation.

When she is not designing fashion or working on her collection, she enjoys exploring Austin. If given the opportunity, she would live outside of the U.S. for a portion of her life. Regardless of her hobbies or interests, fashion has impacted her by shaping her identity. She voiced that fashion has definitely helped to grow her creativity. Her goal in creating fashion pieces is for people to own, wear, look and talk about them.

After leaving college, Kelly plans to work for a company that gives her creative freedom. It is important that such a company aligns with her ethical values and creates clothing responsibly. Kelly’s journey in her career as a designer shows that the path to find one’s passion is not always a clear cut one while her collection portrays the duality of the superficial and more profound elements of identity.

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Sulhee Kim writer JADE FABELLO photographer KATHERINE PERKS model AMBER DEAVER hmua ALORA JONES layout SANDRA TSANG

“Your daughter changed our uniform again! This is not appropriate.” Sulhee Kim’s mother was used to calls home from school administrators. Her then middleschool-aged daughter frequently found herself in her teachers’ offices back in Korea. On this day, Sulhee had come to school without the standard issue kneesocks and she had made some adjustments to the main garment.

“I love changing stuff,” she says. Her altered and frankensteined fabrics not only composed her wardrobe but lined her wallet. Sulhee sold her clothes to fund all of her high school leisure activities. (Which she says was mainly restricted to the purchasing of pizza.)

“The skirt was really long, I hated it,” Sulhee says. With that in mind, the now 23-year-old designer took a pair of scissors and made the necessary cuts to the uniform.

Sulhee is also a huge traveler. She has been to Canada, Mexico and all but two states in the US. When she returns home to Korea, she sees the opportunity to visit other Asian countries, including China, Singapore, Japan and Malaysia.

Her globe-trotting ventures tend to be her largest source of creative inspiration.

Sulhee has always paid attention to what she likes to do.

As a designer, she sees what needs to be done and then she does it. While other garment-makers might spend a lot of time strategically sketching out a new piece before ever picking up a needle, Sulhee tends to dive right in. “I don’t really think about how to make it. I just do what my hands do,” she says. “I just do it.”

The sight of lavender or crashing waves — she translates telements seen abroad onto her designs. These visuals flow through her as she attacks the soon-to-be garment in her usual style. “I just put muslin on the mannequin and start to cut it,” she says. As she maneuvers her hands, she has small happy thoughts about how the hunk of fabric is beginning to resemble the ocean — or some other source of inspiration.

This approach has been apparent in her entire life. And unfortunately for Sulhee’s old teachers, her mother always picked the winning side. When Sulhee’s teachers would say she couldn’t take creative liberties with her skirt, her mother would retort: “Why not? It’s so pretty! Just let it be.”

Post-grad, if she doesn’t find a job in the states, she plans to continue her education in Europe. Sulhee is open to marketing jobs in addition to designer positions. Her dream is to work for European luxury goods brand Christian Dior.

“The teachers hate our family,” Sulhee says, laughing. Her family supported her early fashion interests, which didn’t stop at altering her education attire.

Sulhee effectively ran her own clothing shop as a teen. She would purchase pieces and, as always, do what she wanted.

Adding ribbons, combining garments, cutting dresses — Sulhee reformed clothing.

It was clear in my conversation with her that Sulhee is a natural creative. She comes across casual, fun-loving and humble.

At the end of the interview, I asked her what advice she had for other aspiring designers. Sulhee first made it clear she wasn’t sure she was qualified to give advice, since everyone is talented in their own right. But ultimately she said she and her fellow designers should follow their passions.

And in true Sulhee form she concluded: “We should do what we want.”

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Tara Bordbar writer INGRID GARCIA photographer HARRISON XUE model MIJOLAE WRIGHT hmua MARIAM ALI layout SANDRA TSANG

22-year-old Tara Bordbar from Dallas, Texas has never been able to pinpoint a particular moment she fell into fashion design, but it’s been a lifelong stirring and chaotic process for her.

herself in is her way of coping. Her hope was to reflect all of these ideas into a collection that make people question the principle of her design choices while also creating an opportunity for laughter.

Between the hours of 1 a.m. and 5 a.m., she can be found sketching multiple ideas on her notepad before ultimately creating a physical board pinned with fabric patches, colors, and day-to-day style inspiration. When Bordbar is not designing, she loves to go dancing with friends, reading poetry, and eating chocolate covered fruit or nuts.

Although the fashion world can be viewed as a vessel that opens doors for people of all purposes and needs, Tara strongly believes the industry is toxic; aesthetically, socially, business-wise, environmentally, and health-wise. Being in this major has really expedited these toxicities, and she often questions why she’s in the industry in the first place.

Most mornings before elementary school, you could almost always find Tara getting in trouble for taking too long to get ready or arguing with her mom because she wouldn’t allow her to choose her outfit for the day. Tara believes it’s really important for everyone to find some kind of comfort in the way they present themselves because deciding how to dress can easily affect how someone goes on with the rest of their day.

After completing a summer internship in New York, Tara promised herself one thing: to contribute to reversing toxicity in the industry in some way, shape, or form. She says that the fashion industry could use more conscious and proactive energy, which she intends to bring. But first, she will receive her cap and gown from the University of Texas.

Her immediate goal is to land a position in design or product development to build a better understanding of the fashion industry.

As a designer, Tara only hopes that the things she creates and contributes can make people laugh or feel more comfortable in the existence we all take part in. Tara’s childhood experience with color and her hate for body dysmorphia ultimately inspired her to create her collection. Humor and making light of unsettling mindsets she might find

Once Bordbar soaks her feet as a working professional in the fashion industry, she hopes to attend graduate school to study new methods for sustainable design, with the ultimate goal of making repurposed textiles accessible to a greater population than they currently are.

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