SUNDRY SUN· DRY
ADJECTIVE |
ˈSƏN-DRĒ
\
INCLUDING
MANY
THINGS
OF
DIFFERENT
KINDS
MULTIDIMENSIONAL ADJECTIVE M U L · T I · D I · M E N · S I O N · A L | \ ˌ M Ə L - T Ē - D Ə ˈMENCH-NƏL HAVING
OR
RELATING
DIMENSIONS
SUNDRY: THESIS CLASS
WORK FROM
FASHION,
ASPECTS
PRESENTED THE
TOPICS
THE
OF
NEW
EXHIBITION
MEDIA
DESIGN
BY
COLLEGE
EXPLORING
THIS
MIXED
SUNDRY
MULTIPLE
MULTIDIMENSIONAL
MINNESOTA.
AND
OR
TO
AND
WORK. FROM
THE
TECHNICAL
CHOSEN
TO
THE
THE
SUNDRY:
TRADITIONAL VISIONARY RAPIDLY
AND
VARIED
FOR
CLOTHING
FAMILIAR
DESIGNERS
EVOLVING
FORMS:
SEEK
TO
INDUSTRY.
DIGITAL,
PROJECTS
TRADITIONAL,
CIRCULAR
AS
OF
THESE
THEY
MORE.
THE
DESCRIBES
BEYOND
ATTITUDE
EMBODY
AND
STYLES ALSO
EXPAND
FOR
EXPLORE
FLUIDITY,
DESIGN
AN
OF
FORMATS
CREATIVE
TO
OF
DESIGN
CONSTRUCTION,
MULTIDIMENSIONAL
POSSIBILITIES
APPAREL
UNIVERSITY
GENDER
ADAPTABILITY,
CLASS,
EXHIBITION
EMERGING
DESIGN,
REPRESENT
AN
SENIOR
DESIGN,
SHOWCASES
DESIGN
RANGING
IS
JOIN
A
table of contents 5 - Isabel Atkinson 7 - Olivia Bergerson 9 - Julianne Bur 11 - Emma Hughes 13 - Sage James 15 - Anisha Joshi 17 - Erin Pouba 19 - Jaelen Wylie
21 - Zoë Weinmann 23 - Madelyn KenKnight 25 - Megan Malotky 27 - Sonu Lane 29 - Summer Vue 31 - Mentors 32 - Thank You
Basiel
BasieL Inspired by the movement of “men wearing dresses”, Isabel strives to do away with the performative and stigmatized idea that clothing is gendered. Basiel is a collection of both physical and illustrated garments involving both masculine and feminine shapes, introducing fluidity in fashion as opposed to just “gender neutral”. Basiel features custom textile designs, used to illustrate conflicting feelings of opposition, intersectionality, and socialization. The sheer, orange, topographical print represents opposition, using movement away from the predicted straight lines and intersecting to form breaks in the pattern. The dark blue design presents intersectionality through color formation and lines that intersect to create multiple colors, blurring the multiple facets of gender presentation and the ability to flow throughout them. The use of leather textile focuses on socialization through its use in restrictive garments (corset and harness), and represents the difficulty of unlearning socialized perception of clothing and who should wear it. Basiel represents the fluidity of gender expression while showcasing Isabel's illustration, design, and construction skills.
@izaobel.png isaobel.myportfolio.com izaobel.png@gmail.com With designs inspired by the changing world around her, Isabel is an artist focusing on illustration and editorial artwork that introduces viewers to the world around them through her eyes. Her work began with traditionally painted portraits and still lifes, and has slowly morphed into conversational designs that bring up discussions about topics that are taboo and stigmatized such as gender fluidity in fashion, fetishization as fashion, and political protests. She has used her artwork to encourage social change, accompany magazine articles, and create one of a kind commissioned pieces. While getting her BS in apparel design, she has also been minoring in interdisciplinary design and retail merchandising. Isabel seeks to become a full time illustrator for fashion journalism or print design after graduation. Her artwork utilizes dark colors, liquid lines, and a mixture of traditional and digital textures to achieve eyecatching designs that begin conversations.
6
soirée
soirée methods. Olivia Bergerson collected garments through donation in a range of sizes, styles, and decades to compile her materials for both sampling and final construction. She deconstructed the donated garments and repurposed the fabric, trims, boning, notions, etc. to create her final looks. Her line consists of multiple evening gowns that are distinct in their own way, but come together through elements of movement created by intricate draping and hand sewn embellishment. The line was constructed by both traditional flat patterning and draping methods, using mostly satin, silk, chiffon, and tulle material. These custom gowns are not only a statement of beauty but a testimony to the art of evening wear and upcycling. Through this experience Olivia’s knowledge and understanding of patterning and construction techniques grew immensely; as did her understanding of the struggle to recreate these upcycling methods on a large scale due to time, cost, and recycling constraints. However, this experience has only increased her dedication to improving the manufacturing process of such garments. Olivia’s collection is intended to evoke consideration from designers on how they can improve upon these processes in efforts to reduce waste and create a circular economy.
@olivia_bergerson LinkedIn: Olivia Bergerson Olivia.bergerson24@gmail.com 763-248-9702 As an apparel designer, Olivia Bergerson finds inspiration in nature, intricate details, and behaviors of those close to her. She is a futuristic thinker who values authenticity and growth. After graduation, she hopes to pursue design in an enriching urban environment. Olivia aspires to explore many realms of the fashion industry including: couture, wardrobe for film/television, and creative directing. Eventually, her goal is to own a creative company shifting the fashion industry towards a more sustainable, closed loop system. Olivia views design as an opportunity for change and strives to make a social impact. Her hope is to inspire others to do so as well. Soirée: An Evening Reimagined is a women’s evening wear collection created with upcycling
8
redesigning the plus-size bra
REDESIGNING THE PLUS-SIZE BRA LINKEDIN: JULIANNE BUR WWW.JULIANNEBUR.COM With specialized fields of apparel as the guiding inspiration for her work, Julianne Bur applies exceptional technical precision to fabricate her designs. Incorporating her background as a Human Factors Intern at NASA and pattern making skills, she designs apparel for optimal comfort and quality of fit. With a critical thinking initiative, she has incorporated a sleek and contemporary aesthetic to this unique innovation for comfort. As an eager apparel innovator, she aspires to apply her focus on human factors to the diversity of soft goods production.
and the significance of a much-needed solution to these issues.
Motivated by the white space in comfortability in plus-size bras, this advanced pattern and fit thesis was curated to introduce a solution for this market segment. As the plus size market is expanding and will likely continue in this trajectory in the future, it is crucial that appropriate design components are implemented into intimates for plus sizes to better fit and support a wider range of body types. Not only is comfort an important factor, but a well-fitted bra can avoid various health problems caused by bras that do not fit appropriately, especially for plus sizes. This highlights the importance of these two elements in bra design for plus sizes,
By implementing an adjustable, wire-free design, the diversity of plus-sizing strategies is reduced with a minimalistic perspective. Adjustable straps ensure an individualized fit with custom 3D printed adjustment sliders, and four-way stretch fabric to accommodate a range of band sizes. A color palette of toned pastels reflect nostalgia to promote a psychological sense of relaxation and comfort. Architectural detailing contrasts these delicate tones, and provides physical support on the body. The duality of line and color influences reflect the combination of physical support and design present in this collection.
The values of inclusivity and comfort are the foundation for this bra design, as it addresses a gap in the current market for well-fitted plus size intimates. As the plus size market will likely continue to grow in the future, increasing product diversity and meeting the needs of this market type are essential. By exploring innovative ways to fit clothing to the human body, this collection implements experimental aspects of traditional intimatewear construction.
10
Mar
Mar visual campaign aimed to share Mar and sustainable design with the world.
@ech_creation LINKEDIN: Emma Hughes https://hughe7677af7.myportfolio.com/work hiemma22@icloud.com Emma Hughes is an environmental fashion designer who focuses on creating clothes made to be worn and loved. Coming from a small community where organic and local food products are a large part of living, Emma has always wanted to help create a world where sustainability is functional. By using her skills and knowledge of design and production she creates clothing that has an artistic flair but is comfortable and fits into everyday life. Ever passionate about the environment, she pushes to implement sustainable practices into the fashion industry a step at a time through sustainable materials and quality sewing practices. MAR. The sea is slow yet fast, ever-changing but always the same. It holds some of our deepest histories, yet still has so much to be discovered. This project is a combination of three aspects: a fashion line, research, and a
12
This fashion line is a practice in applying the principles of slow fashion, creating a line that can transition seamlessly from spring to summer with staple pieces that can be worn all year round and integrated into their wardrobe. The research is to identify and share the best practices around communicating environmentally friendly and slow fashion to the consumer as there are many misconceptions out there now. Lastly, the visual campaign consists of a portfolio and social media campaign. It is designed to integrate the fashion line and research together and communicate this slow fashion line to consumers. Sustainability has always been a challenge to communicate from the fashion industry to the consumer and for people on both ends to generally understand. Through creating a functional fashion line that the consumer can understand as a transitional collection (between seasons), this project helps the fashion industry move a step closer towards creating an industry based around better use of resources. Mar is made for women who want to learn more about sustainability and help change the world one step at a time.
｡ \･:*:･((☆))･:*:･/ .｡.
. .
｡ \･:*:･((☆))･:*:･/ .｡.
. .
while still implementing the design processes I have learned throughout my design career. I was deeply inspired by the idea of going to another universe. A universe that is delicate and magical; where the sky would glow pink and the flowers would grow with sparkles. A universe that everyone walks with a little pep in their step. I really wanted to create something that would spark happiness in myself and viewers.
@SAGEASOUROUSREX SAGEJAMES.MYPORTFOLIO.COM Sage James is a storyteller and visionary designer interested in creating a world of fashion that is more cherished. She hopes to create garments that feel special and spark happiness in hopes of reducing the amount of clothing that is sent to waste. Sage is deeply inspired by the world around her and how she experiences it. She likes to take her interactions and interpret it into her designs. This collection was conceptualized using a mix of music, experimentation, and imagery. I wanted to allow my creativity to guide my path
14
Built up of nine garments and three total looks, each look utilized shape, texture, and volume to fabricate the ultimate visual experience. if you look closely, each look builds upon a circle / sphere. This shape visually unifies the collection, hinting at planets, stars, and life beyond our circular earth. The title of the collection, **\ :*: (( )) :*: /**, was intentionally left open ended so that the viewer could insert themselves into this world and choose a name that they seemed fit. Some titles that have come from this are; fem planet, terrestrial, extraterrestrial inclusivity, and jellyfish.
･ ･ ☆ ･ ･
[FLUX]
[flux] @ANISHA_714 @ANISHAJOSHI.CREATIVE LINKEDIN: ANISHA JOSHI JOSHI307.MYPORTFOLIO.COM As the daughter of two immigrants, Anisha Joshi is an Asian American designer reaching for a place within design she can call her own. Growing up, Anisha often found fashion to be frustrating due to her being unable to find clothes that fit her that were also in a style she liked. Later on, Anisha was able to find pieces and ways to style her clothing in a way that allowed her to express herself. That journey was the seed that grew into Anisha’s goal to become a designer who creates pieces that give everyone access to the ability to express themselves. After entering the apparel design program four years ago, Anisha began experimenting with anything and everything that catches her interest from different design styles, menswear, print design, and even 3D. Her passions sit at the intersection of inclusivity, design, and expression and she is resolved to be a designer and creator that spreads inclusivity. [FLUX] is a digitally rendered 3D capsule collection of fluid fashion based on a combination of research and vision. Research was gathered through several one on one interviews with the target market–gender non conforming adults between the ages of 25-35–as well as sent out a survey in addition to other market research. A fully digital collection, the looks were rendered in CLO3D on digital avatars. In addition to the five look collection, a set of line sheets of technical
16
sketches and colorways show how the various pieces can be combined in different ways and fit into everyday wardrobes and closets. The illustrations showcase the versatility and potential of each piece to be incorporated into different individual styles. When you look at a catalogue and want to buy something, you would maybe get a piece or two, not the whole look. [FLUX] is an elegant and easy capsule collection intended for adults in their mid twenties to thirties. The inspiration came from the fluid fashion trend that is rising in popularity among Gen Z and younger people and was then elevated in a way that the collection retained the trend’s fun, creative look and feel while meeting the needs of working adults. The collection is intended to take the fun and creative looks that the fluid fashion trend has been generating and make them more mature and slightly more toned down for easier daily wear for the target market. With its neutral but vivid color palette and elegant designs and styling, [FLUX] weaves back and forth between the masculine and feminine fashion and truly showcases how fluid fashion can be and the potential it has to grow even more.
Zero-Waste Draping
Zero-Waste Draping There’s a reason for each design detail, whether that relates to the story concept, functionality, etc. With sustainability at the heart, this collection explores Zero-Waste Draping. Starting with a rectangle of fabric (either 1.5 or 4 yards in length), each garment was draped and sewn together without fear of a blade. Considering the many obstacles that companies face relating to sustainability, one of the biggest involves recycling and deconstruction. With these designs, at the end of the garment’s life, a seam ripper can bring the fabric back to the original rectangle to start anew. Instead of having to restart in the strange shapes and offcuts that are normally found within patternmaking, the end is the beginning.
@EMP.FASHION LINKEDIN: ERIN POUBA EPDOUBLE.MYPORTFOLIO.COM Sustainable Apparel Designer, Creative and Analytical Mind, Passionate Innovator. Erin strives to push our world forward by creating beyond what currently exists. In order to truly make change, we need paradigm shifts; her work is designed to make you think, wonder, reflect, and question. Bouncing between incremental and radical innovation ideas, the consumer is top of mind.
Sustainable Fashion should be more than simply functional. This collection encapsulates powerful beauty, inspiring the wearer to make and support change. With a mix of soft curves and strong lines, the juxtaposition hints at the balance between desire for self expression and responsibility to the world around us.
18
JOAT VLLG
JOAT VLLG @JOATSTUDIO LINKEDIN: JAELEN WYLIE JOATLIFE.COM TIK TOK: @JOATSTUDIO Jaelen Isis. Her superpower is that she has the ability to transform herself and her work through a wide range of mediums. She has accomplished launching her brand Jaelen of all Trades (JOAT) LLC where she consults and creates custom art and apparel. Relatability and attention to detail are the inspirations behind her work. She often asks herself, “what is the mood I want to evoke? What is the story I want to tell? How can I reach a broader audience?”
Naruto Shippuden, the popular Anime series, fits the narrative of this collection in that it exemplifies excellence, perseverance, and dedication. In the anime, each character has a colorway that they embody. JOAT VLLG uses a bold color pallet parallel with those colorways to represent strength and soft tones to represent peace.
Jaelen Isis believes she is a forever student, meaning that she is open to learning from any opportunity that comes her way. Through networking, she has managed to leverage valuable connections in Chicago, New York, and Minnesota. Further, developing her creativity as a designer and businesswoman.
Names like "The Leaf village: hidden in the leaves," and "The cloud Village: Hidden in the Clouds," can be found in the Naruto Shippuden series. “JOAT VLLG” is a play on these titles: “JOAT VLLG: Hidden in the Trades (Jaelen of All Trades LLC).” Through video reflections, Jaelen Isis campaigned the process of designing and creating JOAT VLLG. Her collection could be considered an experimental process determining how to create shapes that do not necessarily exist. There are multiple ways to create a desired look, but only one way that best communicates her aesthetic through silhouette and color. The Marie sleeves featured in the pink Sakura jacket can be made traditionally with one pattern or, it can be made nontraditionally; with a six-piece balloon pattern creating a 3 tear sleeve.
JOAT VLLG, is one for the bold, the brilliant, and the brave. By taking design inspiration from the 1790s-1800s fashion and adopting a nostalgic muse like anime, Jaelen creates lifestyle garments invoking richness. The mood throughout this collection is SERENITY X POWER. Elements from the 1790s to-1800s (ditto suit and Ala française), the Romance period 1820s-1850s (Demi gigot and Marie sleeve), and menswear from the the1890s were inspirations for this collection. The alluring silhouettes, exaggerated proportions, and elegant structure were the reason why these eras were chosen.
This style of design is one the designer enjoys and plans to continue in creating design for the bold, the brilliant, and the brave.
20
-evolved-
-Evolved-
-Evolved- is a plus sized capsule collection consisting of six garments, most of which are convertible in various ways. The collection as a whole is designed as a blend between edgy and sophisticated, and is targeted towards young adult women and feminine-leaning individuals roughly between ages 21-35. The design features used to make the garments convertible include reversibility, zippers, snaps and buttons. The purpose of this collection is to provide wellfitted, high-quality and timeless pieces for plus sized people, while also allowing them to have a variety of style options with fewer garments. This also may lead some to have less need for buying new clothes, and therefore help promote more sustainable shopping habits. Much of the collection consists of relaxed silhouettes; however, two of those garments (specifically the button-down shirt with extendable sleeves and the reversible tie-strap blouse) feature snaps in the center back that can be used to cinch the garment along the torso for a slightly more fitted look. The statement piece of the collection is the jacket; it is reversible and comes with a detachable extension panel, allowing it to be worn 6 different ways.
Zoë Weinmann (she/they) is an aspiring plus size fashion & costume designer from St. Louis Park, Minnesota. Self-taught in sewing and designing clothes since the age of 9, she came to the U to expand her knowledge and skills, especially in designing for plus sized people like themselves. While their thesis collection is a minimalist convertible capsule line, Zoë also has interest in both costume design and alternative evening wear, and hopes to land a position in either or both fields after completing their degree in the apparel design program.
22
HAND-ME-DOWNS
Hand-me-downs
@madelynkenknight_designs madelynkenknight.myportfolio.com madelyn.kenknight@gmail.com Madelyn KenKnight’s designs stem from the desire to decrease the negative impact of the fashion industry, and to increase the positive impact of social consciousness within the world. That motive and with her use of texture, color, details, and simplicity, she’s able to create thoughtful and gripping final products. In her new future she will be adventuring into the digital world of fashion, and will find new ways to continue her devotion to the environment and the social consciousness. Past generations were comfortable with genderneutral clothing for younger children, ages 0-6. In fact, little boys, six and younger, commonly wore skirts within the western culture. At the beginning of the 20th century, the little boys started to wear breeches (shorts pants) instead of skirts. In the mid 20th century, children started to wear, for the first time, gender specific clothing by using different colors: blue for boys and pink for girls. This trend was largely motivated by industry intentions to approximately double sales revenues. The new children’s clothing fashion norm added an expense from the change from the inclusive colors that had been used for centuries to “assigned” colors. This change to gender-specific garments for children drives higher expense and extra waste for families with children of both genders.
24
One family needs to have two different wardrobes by society's standards if they have two children with different sexes. Contemporary children’s clothing is not easily reused or “passed down” to younger siblings, cousins or neighbors, resulting directly from design choices that limit cross-gender reuse. Garment designs can restrain reuse based on stylistic considerations of form, fit and function. The current garment designs may frustrate parents that are seeking and appreciate unisex garment designs. In contrast, my garments will be designed to neutralize the factors contributing to limited reuse. Inspired by the history of children’s genderneutral garment designs of royals and political elites, this collection of garments is a logical solution to the problem of limited children’s garment reuse. It will enable parents with multiple children to confidently reuse garments as younger siblings age into the appropriate size ranges. The garment designs are timeless and utilize bold contrasts of color, pattern and texture to create highly functional garments with good fit and high functional utility for all genders. These garments will remain relevant over generations to come.
good company
good company Malot009@umn.edu Megan Malotky is a young designer carving a path for herself in circular fashion. Her values of respect, responsibility, and community guide her work. Megan sees a future for fashion that is respectful of both the planet, and the hands that make the clothing. She understands the responsibility as a fashion consumer to think critically about where and when she shops; simultaneously knowing that alone her actions cannot make an impact. For this reason she values the power of community. Megan believes that being part of a strong community supporting sustainable fashion production and consumption will have the longest lasting positive impact. With her desire to work for a better future, Megan is leaning into the world of circular fashion. She wants to join others in the industry to help rethink the wasteful and exploitative nature of the current fashion system. Megan is working to be a part of the collective action ushering in a slow fashion alternative to the fast fashion reality. Megan is addressing the topic of fabric waste and overconsumption in the fashion industry. Her thesis, Good Company Sewing Lounge, is an experiment defining and producing sustainable circular fashion processes, along with a plan for real world implementation. She aims to bring circular fashion to Gen Z, a group currently heavily targeted by fast fashion. Good Company Sewing Lounge is a small business creating community specifically designed for young people who want to participate in the paradigm shift around clothing consumption. Their main focus is on education. They strive to educate Gen Z on how to be conscious consumers of fashion, and teach skills like sewing and mending.
26
Learning these skills helps keep clothing out of landfills and on bodies longer. Good Company provides resources like sewing machines, lessons in mending, and upcycle patterns to their community. They are empowering youth to buy less new clothing, and fix old treasures. Good Company believes that the act of mending creates a connection between the wearer and their garments. This connection helps to grow an understanding of the work it takes to create clothing. By mending old clothes, garments last longer. Not only because of the physical mend, but because the owner has put thought, effort, and care into reviving the piece. For her thesis Megan learned a variety of mending skills. While Good Company wishes all clothing could be made to last, they know that this is not always the case. This is why they have created a sewing pattern for beginners that transforms old knit t-shirts into updated fashionable tops. The pattern provides a creative way to reimagine that old shirt hiding in the back of a dresser or hanging unwanted in a thrift store. The fashion industry's exploitation of the planet, natural resources, and the people working in it do not have a single solution. Megan created Good Company to consider the issue of waste in a different way. Good Company is a small part of the solution for a global problem that can be implemented on a local level.
many ways that one could express themselves through what they chose to wear.
Lanex247@umn.edu Sonu Lane has been fascinated with fashion since grade school. From the silk of her Indian dance costume to the soft flannel she used to make her first sewing project. Her exposure to different textiles was a great influence. As she paid more attention to how garments were assembled, her desire to learn and create her own garments was clear. Her design perspective is a blend of Indian culture and Western influences, and allows her to step out of her comfort zone and incorporate designs that are culturally different. In the broader world of apparel design, she aims to design womens fusion apparel that distinguishes from the rest and recognizes the
28
Raani, a Hindi word for queen, is a collection of fusion statement pieces that draws from Sonu's South Asian Heritage. The collection creates a line that embodies a sense of empowerment and elegance, similar to one of royalty, in a way that everyone can enjoy. It showcases how one’s cultural clothing can be a versatile piece within your daily lifestyle when you learn to incorporate it with your personal style and current trends. Within this collection, the creative pieces are made of silk to integrate the textiles of South Asia with modern silhouettes. The designs within this collection intend to create a fusion between popular Western designs with influences from traditional Indian fashion.. The collection also incorporates bright colors that play a very crucial role in religion, culture and other aesthetics. These colors have a very deep significance, representing India's main cultural aspect of valuing bright colors. These designs explore beyond the basic aesthetics of beauty to represent a mix of cultures. Overall, this collection bridges the gap between traditional labels and cultural norms. It’s created for the public with the intent on learning and appreciating Indian Culture.
/rəˈvōlt/
/rə ˈvōlt/ the design process but finds it challenging at times. Her interest in this is driven by the desire to make clothing that goes beyond just its intended use.
/rəˈvōlt/ was largely inspired by the Japanese concept Wabi-Sabi and Summer's love for making clothing a tool for self-expression. With the use of revealing cutouts and sheer textiles she created designs that embrace an unapologetic sensual feeling. She believes society should not shame individuals for the clothing that they choose to wear rather this collection is designed to help people feel strong and confident. Exploring the concept of Wabi-Sabi, which embraces slow living and finding use and meaning in the imperfect, Summer looked for more sustainable alternatives to source fabric and materials, like utilizing deadstock textiles. Through pushing different societal norms she creates a collection focused on her inspiration rather than putting an emphasis on who can and can’t wear these garments. Rather, it is a collection made for everyone to wear if they feel that their identities align.
@summervue.zip Linkedin: summer vue vuexx590@umn.edu Summer Vue is a fashion designer who incorporates sustainability into her work. Nature and architecture have always inspired her, but she is also working on embedding the constant changes the world undergoes into her designs, this includes going against societal norms at times. She believes clothing has the ability to make an individual feel confident and strong and designs to empower the people that wear her work. Summer enjoys learning and trying new techniques during
30
MENTORS On behalf of the Apparel Design Students Class of 2022, we would like to give a special thanks to the mentors
that
have
helped
us
along
our
design
journey by providing time, insight, and advice.
CLAIRE WARD ELIZABETH BISCHOFF KARI BUFFALO HAYLEY BRENNA LYNDSIE NASH LESLIE RANDALL WAYNE LABERDA LAUREN KACHER RACHEL O LAINE WEINBERG CAROL LEI STACEY PALMER KIRA ERICKSON IVAN GILL REGENA YU SARAH FORSYTHE KATERINA HELEBRANTOVA 31
THANK YOU The Class of 2022 would like to thank the College of Design Faculty and Staff for
their
guidance
over
the
past
few
years, mentors for dedicating their time to offer help and support in our senior collections,
and
sponsors
for
their
financial support that made it possible for our exhibition to come to life.
A special thank you to the College of Design Staff, Missy Bye, Lindsey Strange, and Luci Kandler, as well as our friends and family for their support throughout the years.
32
SPECIAL THANK YOU TO OUR SPONSORS AND SUPPORTERS!
35