1 Granary Magazine - Issue 3

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20July2016
Royal College of Art MA Fashion Knitwear graduate Hyun Oh on pushing the emotional value of garments.

Somewhere in between light pastel and bright neon yellow, Hyun Oh engages us in past conversations that have led to her graduate collection, and shares the challenges she faced along the way. As Hyun began to develop a relationship with each of her garments throughout the year, she focused not only on design principles, but also the quality of her collection. Considering the commercial and conceptual elements of branding, Hyun balances her work between artisan and wearable design, and firmly believes we should invest in the emotional value of a garment. Where did your primary inspiration for this collection come from? In a way my work is an extension of my own identity, but it is unconsciously found. The core of my final collection stems from a personal story, although it is something I believe everyone has in common and therefore can share with one another. The research started from

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19July2016
Meet the RCA Menswear Fashion Design graduate who captures the shifting movements of day-to-day life

Shinhwan Kim talks with us about the necessity of communication through fashion, as he believes that interaction between designer and wearer becomes essential in understanding the underlying message of individual garments. Capturing the fleeting moments of everyday life, his graduate collection ‘Shifting Movement’ conveys the mundane through unexpected materials and techniques. This seemingly odd yet necessary pairing of style and theme is what keeps his collection intriguing — not only to wear, but also to look at. Drastically reducing his colour palette to black and white, the contrast between similarity and difference of his experiences are clearly represented through his collection. “It is about my thought sequence in momentary observation of daily life, with numerous repetitions and recognition of differences.” Is your collection inherently personal? My work is an extension of my identity, whether conscious or not. Sometimes I don’t know how I end up with what I have, but

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18July2016
Meet Royal College of Art Fashion Womenswear graduate Lauren Jin, who worked from 30-second nude sketches to create her yearlong collection.

Lauren Jin’s graduate collection is so close to the skin, some may even think it represents the surfaces underneath. Using muted nude tones and occasional hints of bright red and yellow, the series of garments celebrate the human flesh and its simplicity through a familiar yet untried approach. The conversation — or, rather: the tension — between confidence and insecurities within, can be found through the revealing and concealing of certain anatomical features. Initially working from sketches of her own unveiled body, we get an insight into Lauren’s past experiences influenced by media-fed images of beauty, and her ability to disregard the idea of imperfection. Creating subtle yet intricate pieces that not only encourage self-love and acceptance — but also embrace femininity in its purest form — the collection encompasses womanhood, from drawing the body to dressing it. Do you consider your work as an extension of your own identity?

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13July2016
“If we think it is necessary, we might do a collection of 8 jackets or 6 chairs.” Eva Maria Suviste and Zoe Waters, the RCA graduates behind FLOOR SIX, explain their brand ethos.

“Months after gradution were filled with postpartum depression,” says Eva Maria Suviste, partner in business (and crime) of Zoe Waters. Other than getting drunk, as they want us to believe, these two girls were brave enough to co-found their own brand just after graduating from the Royal College of Art Fashion Design Womenswear last year. “We just had a drunken promise to each other to do something together — having no idea what it would look like or how we would do it.” Floor Six was born.  What did you do before studying at the RCA?  Zoe: I did my BA at Westminster, which was amazing. My family isn’t particularly artistic, my granny used to paint but only as a hobby. From a fairly early age, I’ve had an interest in clothing and fashion. I was a particularly stubborn toddler and refused to let my mum dress me, which resulted in

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12July2016
We speak with Helen Kirkum, who recently graduated from Footwear at the Royal College of Art, about her practice, plans and the inbetween space of art and design.

Collaging her efforts and experiments as a designer, Royal College of Art MA Footwear graduate Helen Kirkum creates re-mastered sneakers that are embedded with memory and experience. From a purely visual perspective, the forms are a structured, colourful splendour — but read on to discover how shoe design can be used to partake in a social and environmental dialogue around the very industry in which it operates. “The collection reflects ghosts of efforts, discarded and remastered.” What drives your practice? My work is a spontaneous reaction to what’s happening around me; conceptualising our connections with commerce and materiality. My final collection, ‘Our Public Youth’, is a personal reflection of our society; investigating how we seek to identify ourselves in the current climate of hyper commerciality. By looking at thrown out sneakers, I began to develop a story of confusion: one about coming of age in our oversaturated paradigm, hacking and

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11July2016
5 things you need to know about Antwerp Fashion Department BA graduate Eduard Both.

1. The most talked about piece from his BA collection was a leather recreation of a plastic Chinese supermarket bag, which epitomised his “making the ordinary extraordinary” design philosophy. “The bag works well in a graphic sense: the typography and the colours are great. It’s also a good supermarket, I enjoy going there. It’s in the Chinese district in Antwerp. There isn’t a story behind it, I just go there to shop for my groceries. I like the shape of the bag as well — I did mine in leather and embroidery. I asked the owners of the store and they were fine with it as long as it wasn’t putting the store in a bad light. I changed a few letters of the markings, but it means the same thing. I like the idea of referencing something ordinary, and making it more luxurious. I also used a material that

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07July2016
Royal College of Art MA Fashion Womenswear graduate Lillian Archibald’s ‘Our Body’ encompasses existence, unity and relationship.

When Lillian Archibald began researching for her Royal College of Art MA Fashion collection ‘Our Body’, she first turned to the mundane and personal elements of her life. This allowed her to create not only a collection of garments, but an entirely new identity as well. Initially working from various films she produced throughout the past year, her collection can be seen as an extension of her artistic career. Lillian’s lookbook images, for example, indicate a sense of motion much like a series of film stills, and evidence her abstract and emotive approach to design. Focusing on the importance of honesty, ‘Our Body’ embraces imperfections of human existence by merging two bodies as one, and developing the idea of unity as a result. Where did your primary inspiration come from? Honesty and intimacy has been key – my work is entirely an extension of my own identity. My work is

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06July2016
RCA MA Fashion Womenswear graduate Stefanie Tschirky realises the notion of her work as an extension of identity with the creation of a ‘second body’

Stefanie Tschirky’s design celebrates perfection within chaos. Her Royal College of Art MA Fashion collection entitled Controlled Chaos is a personal and visual reaction to the societal norms of aesthetics. Using a combination of thread and cling film to create a sealed ‘second body’, she experiments with the idea of her work being an extension of her own identity. Although she works with traditional methods of garment making, Stefanie successfully incorporates innovative materials and textiles to find a balance between functional and experimental fashion. In an attempt to question the ideals of what is perfect, she turns to the help of science by working with various theories to create her own version of archetypal beauty. Where does your primary inspiration come from? My design world is driven to find the beautiful, ordered, and unpredictable moments of complexity in the study of the field of mathematics. The design concepts are based

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