Twenty-seven members of the Graduation Class of the Fashion Institute of Technology offered 82 shapes in the future of the fashion show, five types of players, children’s clothing, netware, intimate costumes, and special opportunities. The program was sponsored by Messi, in which he also designed the designs of several selected students.
In the past few years, students from design schools around the world have been engaged in a progressive agenda. The work of this class was especially timber in terms of pallets and slammets, and there was no clear gender search. In fact, Mansofir was nowhere – which can be partially explained to the fact that men’s clothing in school is presented as an associate degree and is not included in the BA show. This does not mean that the students were removed from themes, (more about it), but as the School of Art and Design’s Dean Troy Richards jointly jointly, “I feel like I have experienced this year, he was exceeding some progressive politics.”
At the same time, after the epidemic, Dean has seen that students have “regenerated with substances … We have seen a rapid improvement in their hand skills and the interest of multiple textures, content structure,.” All these features were present in the work of Allison Margaret Smith (looks like 1 and 3), who started the show with pieces using Rafia, Struggle, Jute and Balasa Wood, which they hoped to “connect with the wide scenes of the United States and provide it for all its inhabitants.” Pittsburg’s evolutionary photos from the Carnegie Museum of Art Photography were the starting point for Austin Marshall’s nutware (52 and 53), while Netanyeel Samuel’s Belle Apochs Ash Opera Coat (Nazar 80) was designed as a “love letter” for New York.
The roots and family continued to encourage students like Mexico’s Evelyn Harnands (Nazar 6) who dreamed of a leg shawl, and Jigo Kim presented a beautiful and unconscious couple, which once again interpreted the elements of traditional Korean clothing (18). Jennifer Seas, the daughter of a stone Mason, added her father’s tools and materials to a sculpture in blue colors. Amanda Macawi considered the “traditions of Scottish Daspura” that shaved a plyde pattern in a scanch tapper (see 26); Huang borrowed from “ancient Tibet’s religious methods” (75/76 appears) for the shape of Syria. And the Blogbir Sanjadorj “was affected by the Syrian traditions of Mongolian Stepie” (Nazi 19). Taking borrowed from the story of “Imana” about “Nag’s mystical and changing power”, Sarwan Belisi turned the traditional jacket and pants into something delicate and unexpected (see 23).
