Keri Ann Yourick

Academy of Art University Graduate School of Fashion Merchandising

Midpoint Proposal29 June 2016

9:45am

B | 2 | BApparel Product Development Partner for Small Businesses

01

02

Autobiography

Table of Contents

Resumé

» Pages 4-5

» Pages 6-7

03

04

05

Course

Project

Examples

Midpoint

Thesis

Proposal

Timeline

» Pages 8-17

» Pages 18-31

» Pages 32-33

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My name is Keri Yourick. I first became interested in fashion as a profession after I graduated from The Ohio State University where I majored in Italian language. Perhaps it was those Italians and their impeccable grooming and thoughtful clothing choices I came to know during my time studying abroad that slowly, subconsciously influenced my perspective of clothing and fashion for all of those years. However, before those summer studies, I had taken out a subscription to American Vogue in September 2006 when I initially began my studies. That first issue, Kirsten Dunst was on the cover in a Marie Antoinette ensemble, full of so much whimsy and color, but her hair felt edgier, more punkish. The soundtrack to that movie played on my stereo for the next year, and the pages of Vogue during the remainder of my time at OSU became my fantasy escape from the hard days of lacrosse practice, long nights of writing précis papers, cramming for exams, and the attempts of having somewhat of a regular social existence. Following graduation, it took one year of working as an assistant manager at Famous Footwear in Colorado before I decided to do what I truly wanted. Choosing to study fashion design after having already received one degree was a risky move at the time, especially considering this was following the economy collapse in 2008, my father subsequently losing his job, and entry-level job prospects for 22 year olds were negligible if not laughable. Studying fashion design took me on the longest roller coaster ride, leading up to enrolling in this MFA program. While in design studies I moved to Rome, Italy, studied fashion for a semester at Accademia Koefia, wanting to keep my language skills sharp and learn Italian clothing vocabulary; I traveled Europe for two months, moved back, and tried to work full time again before enrolling back in school this time in a graphic design program. For two semesters at Rocky Mountain College of Art + Design I studied extensive art history, layout design, and three-dimensional expression. All of that time abroad and studying at fine art universities ultimately led me back to Colorado to finish my fashion design degree. With newly found conviction for fashion, I ultimately graduated Summa Cum Laude.

H E L L O.

01. Autobiography

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What also influenced me to pursue fashion was definitely my interest in world cultures and travel, which I have had since a child. My mother grew up in Düsseldorf, Germany and I still to this day thumb through my grandmother’s photo albums of the family’s years living abroad and traveling to foreign cities. Fashion is an industry that touches every corner of the globe and can take me anywhere. Enrolling in this MFA program with Academy of Art was the natural next step to find my voice as a fashion professional, to find my areas of strength, and how to best apply my skill set in this ever-changing industry. I never want to stop learning, though I acknowledge (to the relief of my family I am sure) that to really move forward in fashion means taking the university training wheels off after this final degree. It means discovering how all of the skills I have been acquiring in my design and merchandising studies will move me forward as a fashion professional, and in this way keep me learning new things each day. As I close this autobiography, and after having reflected on ten years of Vogue, which I continue to archive every month, and design studies, I can still recall those first editorial pages featuring Kirsten Dunst dressed as Marie Antoinette. One of those editorial pages featured Dunst in an Oscar de la Renta chiné silk dress, lazily sprawled across two French Louis XVI chairs, and perhaps not so coincidentally but rather serendipitously, the Oscar de la Renta retrospective has just closed at the de Young Museum where I stood in front of that same blue and white Chiné dress just the other day. So now, with my story feeling like it has come full circle, I am ready to continue forward.

Top: Kirsten Dunst as Marie Antoinette wearing Oscar de la Renta for Vogue chiné-taffetta dress. September 2006.Above: Oscar de la Renta dress for Vogue on display at the deYoung Museum, San Francisco, CA.

01. Autobiography

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03. Project Examples

“Flipping Wardrobes: Learning to Love the Clothes we Own” final presentation slide selections December 13, 2015 FSH656: Fashion and Sustainability Mandana MacPherson

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03. Project Examples

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03. Project Examples

Individual Sourcebook February 1 - May 16, 2016 FSH634 Textiles & Other Raw Materials Matthew Gerring

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03. Project Examples

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Above: Urban Futures color story Right: There is no future. The future is now.Four garments presented together for Urban Futures Fashion line planning final project May 16, 2016 FSH634 Textiles & Other Raw Materials Matthew Gerring

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03. Project Examples

“Urban Nomad” Rag & Bone F/W 2016This page: Inspiration board & Materials boards FSH632 Trend Analysis & Product Development May 18, 2016 Kari Lantin

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03. Project Examples

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03. Project Examples

SPECIFICATION SHEET

XXS XS S M L3 1/4 3 1/2 3 3/4 4 4 1/4

8 1/4 8 1/2 8 3/4 9 9 1/4

8 8 1/4 8 1/2 8 3/4 9

24 1/2 24 3/4 25 25 1/4 25 1/2

27 1/2 27 3/4 28 28 1/4 28 1/2

29 3/4 30 30 1/4 30 1/2 30 3/4

22 3/4 23 23 1/4 23 1/2 23 3/4

29 29 1/4 29 1/2 29 3/4 30

12 1/4 12 1/2 12 3/4 13 13 1/4

3 1/4 3 1/2 3 3/4 4 4 1/4

5 1/4 5 1/2 5 3/4 6 6 1/4

10 3/4 11 11 1/4 11 1/2 11 3/4

20 3/4 21 21 1/4 21 1/2 21 3/4

19 1/4 19 1/2 19 3/4 20 20 1/4

18 3/4 19 19 1/4 19 1/2 19 3/4

21 1/4 21 1/2 21 3/4 22 22 1/4

15 1/2 15 3/4 16 16 1/4 16 1/2

9 9 1/4 9 1/2 9 3/4 10

17 3/4 18 18 1/4 18 1/2 18 3/4

7 7 1/4 7 1/2 7 3/4 8

12 1/4 12 1/2 12 3/4 13 13 1/4

10 1/4 10 1/2 10 3/4 11 11 1/4

5 3/4 6 6 1/4 6 1/2 6 3/4

5 1/4 5 1/2 5 3/4 6 6 1/4

3/4 1 1 1/4 1 1/2 1 3/4

12 3/4 13 13 1/4 13 1/2 13 3/4

5 1/4 5 1/2 5 3/4 6 6 1/4

5 5 1/4 5 1/2 5 3/4 6

1/2 1/2 1/2 1/2 1/2

8 3/4 8 3/4 9 9 9

3 3 3 3 3

4 4 4 1/4 4 1/4 4 1/4

3 3 3 3 3

10 1/4 10 1/2 10 3/4 11 11 1/4

1 1/4 1 1/2 1 3/4 2 2 1/4

X1. Band Width

H. HPS TO UNDERARM

E2. HPS to Back Hem

T1. CF Sleeve from Shoulder to Bottom Opening

T2. Under Sleeve from UA to Bottom Opening

G. BACK VENT LENGTH

J. ACROSS CHEST (UA Seam to UA Seam)

K. ACROSS WAIST (TOP OF VENT TO TOP OF VENT)

L. FRONT SIDE BOTTOM EDGE OPENING (Sweep)

M. BACK SIDE BOTTOM EDGE OPENING (Sweep)

N. FRONT NECKLINE LENGTH

R. ARMHOLE CIRCUMFERENCE

S. SLEEVE WIDTH (2" Below UA Seam)T. SLEEVE LENGTH

U. ELBOW WIDTH (7" Below UA Seam)

X. SLEEVE DETAIL

SKETCH

P. BACK NECKLINE LENGTH

C. SHOULDER LENGTH

A. NECK DROP

B. NECK WIDTH (HPS TO HPS)

D. SHOULDER TO SHOULDERE. LENGTH

E1. HPS to Front Hem

E3. Center Front

E4. Center Back

E5. Side (Underarm Seam to Top of Vent)

F. FRONT VENT LENGTH

X5. D-Ring Loop Length (Finished)

Y2. Bust Dart Finished Length

Y3. Shoulder Dart Distance from HPS

Y4. Shoulder Dart Finished Length

Z1. Finished SS Zipper Length

Z2. Zipper Stop (Inches Below UA Seam)

DESCRIPTION: Fited woven A-line blouse with metal sleeve detailing and elastic trim neckline

SEASON: Fall/Winter 2016FABRIC: 100% ramie

STYLE NAME: Elisa Woven TopUPDATED BY: Keri YourickTRIM:

STYLE #: AW16002DATE: 18 MAY 2016

W. 1/2 SLEEVE BOTTOM OPENING

Z. RIGHT SS ZIPPER

REMARKS/OTHER SPECS: All specification measurements are in inches unless otherwise noted in red.

Y1. Bust Dart Distance from HPS

X2. Band Circumference

X3. Band Placement (Above Bottom Opening)

X4. D-Ring Placement on Band

Y. DART PLACEMENT

FRONT

BACK

“Urban Nomad” Rag & Bone F/W 2016Far Left: Key silhouettes and includes selection of pages from collection line up. Left: Selection of pages from Specification Package including detail and material sheets FSH632 Trend Analysis & Product Development May 18, 2016 Kari Lantin

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03. Project Examples

Development pages and Final line-up for Absence of Color project

FSH602 Fashion Design 2Fall Semester 2015

John Bauernfeind

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03. Project Examples

Development pages and Final line-up for Classics project

FSH602 Fashion Design 2Fall Semester 2015

John Bauernfeind

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A B S T R A C T

04. Midpoint Thesis

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The proposed thesis project highlights a service-

oriented, business-to-business concept that will streamline the

product development process. By providing materials sourcing

assistance, pattern making, and sample development services

to local businesses and designers, those same businesses

will benefit from a more efficient production execution when

working with CMT manufacturing facilities. The company will

likely be located in Oakland, CA though other options are also

being explored. Target customers include entrepreneurial-

minded Millennials with a desire to develop a small-scale

production cottage industry in competition with mainstream

fashion. The global “Maker Movement” has brought to light

the importance of quality craftsmanship and small-scale

manufacturing. Both of these ideas will have a lasting impact

on ensuring people and the planet thrive for generations.

The final project will be presented as an extensive book with

accompanying sample garments to showcase a comprehensive,

efficient, and sustainable product development process.

04. Midpoint Thesis

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C O N C E P T

The business concept for my midpoint proposal will be a small-business and/or individual designer sourcing partner. The business will provide designer-clients sample room services, from creating garment prototypes including patterns and fitted samples, to building a full specification package ready to be sent to CMT (Cut, Make, Trim) factories. The business will also provide sustainability consultation in terms of assistance sourcing textiles, trims, and notions from industry leaders in forward-thinking sustainable production techniques. The business concept aims to enable all small-businesses and designers to realize their design goals while addressing the negative impacts of the fashion industry on people and the planet. R A T I O N A L E

“…Our artifacts need to be designed to support conscious choice and reflective competence rather than blind consumption. They should produce long-lasting human satisfaction…we will be able to flourish simply by living life as we encounter it.” – John Ehrenfeld, Sustainability by Design John Ehrenfeld is a writer and researcher concerned with sustainability in an industrial world. According to Ehrenfeld, sustainability means “the possibility that human life and other life will flourish on the planet forever” (Centre for Industrial Sustainability keynote, 14:30). He also emphasizes in his work that care should be the driving force that helps humans flourish. In his words, care means “[to attend] to the immediate world we perceive through the senses and stored in memories.” To summarize his keynote speech, if humans can design and produce products and services to support human caring in place of the present focus of need, then we are on the right path to fixing a whole industry that is not working. The fashion “system” as it is today is not working. Unintended consequences have arisen like climate change, increasingly endangered species, the hole in the ozone, and “free” markets that have created the largest levels of income inequality among people thus far. Each of these unintended consequences has contributed to the state of unsustainable industry across the globe, and in Ehrenfeld’s words “cannot by cured by recycling and other eco-efficient techniques.” Kate Fletcher explains it best that for the fashion industry, consumers must learn to reject homogenization and autonomy in favor of expressiveness and difference. In terms of the fashion business, this translates into “millions of markets of dozens,” not

04. Midpoint Thesis

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“dozens of markets of millions” as it currently stands. Fletcher highlights the key factors of sustainability to include: community: among designer, producer, consumer; empathy: understanding as part of a connection to the bigger system; participation: decreasing fashion’s power structure; and resourcefulness: decreasing the consumption of materials, energy, and toxic chemicals. The business concept will look to these four factors as guidance while building the business plan. Therefore, the business concept is founded on pragmatism, i.e. the continuous seeking of truth by all interested parties. The business will embody this psychological pursuit, working collaboratively with individual designers to discover the best way to produce his or her apparel. But the business will work in other ways to reach out to local communities around the world, and locally, for involvement in creating clothing and bring back individuality and self-expression in dress. In this way the business will help humans live an intentional, meaningful life, and, perhaps somewhat idealistically, allow us all to “flourish on the planet forever,” as Ehrenfeld would wax poetically. Shifting the focus of fashion design, production, and business practices away from the mass-consumption model currently in place is the business’s number one goal.

O B J E C T I V E S

Kate Fletcher in her book Sustainable Fashion and Textiles: Design Journeys summarizes nicely the objective behind the proposed business concept:

“The task ahead is to separate the often conjoined ideas of fashion as a market-driven cycle of consumer desire and demand, and fashion as identity construction, as the creation of a sense of self which we are empowered to change; and in so doing to give rise to a role for fashion that helps us both identify the causes of sustainability problems and cultivate new aspirations, to develop fashion based on values.”

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It is important to note here that consumption is not necessarily a negative idea because it leads one in search of self-satisfaction to meet fundamental needs. So within the confines of a market society, the business concept will serve as an alternative form of creating, buying, and selling goods and services by using resources intentionally and appropriately with the end-goal being a more satisfied consumer and a more satisfied business owner. The business concept proposes a means to satisfy the needs of businesses and consumers without blindly buying into the current fashion system of over-consumption and economies of scale.

More considered objectives of the business concept include:

» Support of up-and-coming small businesses and/or designers by helping to create more meaningful apparel.

» Localize garment sample sewing to minimize excess time and travel between overseas manufacturers.

» Streamline building individualized specification packages for clients before approaching factories for production quantities.

» Minimize fabric sample waste with initial toile fittings for each client.

» Facilitate contact with specific textile mills that are working to address a variety of waste and inefficiency problems by employing innovative production methods.

» Partner with factories that are revolutionizing how garment employees are treated and compensated.

» Positively impact the community in which the business concept is located through a number of creative-focused outreach programs.

T Y P E O F B U S I N E S S

The business concept is above all a service-oriented concept in which clients interested in having custom clothing items made for personal use or for production and resale can collaborate with the business’s internal team to create sample garments and/or full specification packages and patterns ready to be sent to CMT factories for production. The business concept opens the potential for later development of a wholesale and/or private label clothing lines. Additionally, future expansion of the business concept could include in-house small batch manufacturing capabilities as capital influx allows for employee expansion and vertical integration. The strength of the business plan also lies in its ability to be replicated in many different types of communities across the United States and around the world.

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M A R K E T O V E R V I E W

The broad market overview of the business concept is rooted in sustainable fashion. However, the concept itself fits into several market trends that are each addressing specific solutions to the sustainability issue in fashion. The roots of this business concept are in the “maker movement” that has been gaining mainstream media traction, especially in America, for a couple of years. As information has become readily accessible on the Internet, it has also become easier to find the tools to set up new businesses, and people are doing just that. Maker’s Row, a website dedicated to the movement tweeted that “there are people wanting to make in a local, customized way without large-scale production that needs to be sent overseas.” The website boasts a resource list of close to 10,000 American factories and that over 100,000 brands have used their resources to source local manufacturers. This bodes well for the business concept because there is a growing interest in this small-batch and local production that helps emerging designers and businesses to achieve their goals. This is clearly a movement that cannot be ignored. In 2014 the White House and President Obama hosted the first annual White House Maker Faire and has designated a National Week of Making to highlight the importance of American innovation. With growing interest in making there will continue to be a growing need for companies that support those that make. The business concept situates itself among these businesses offering support to the makers. Within the realm of fashion design, a search of Women’s Wear Daily on-line reveals that even countries are investing in

04. Midpoint Thesis

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young talent as ways to boost the local economies. Countries like Brazil, Israel, and the Arab Emirates are a few examples. Michelle Obama has held fashion workshops highlighting this growing role of makers in apparel and local manufacturing technologies. But there is also a clear interest in private investment in makers as crowdfunding websites like Kickstarter and GoFundMe have successfully helped small businesses scale. Kickstarter reports that over 10 million people have backed Kickstarter projects from every continent, and collectively, all of the world’s crowdfunding websites reached nearly $5 billion in transactions in 2015 (Extension.org). Specifically, Kickstarter has pledged commitments to the arts and culture “to bring creative projects to life.” A simple search on the website in “fashion design” displays 3,874 projects to explore. This statistic illustrates the number of designers and individuals working to make new products outside big box retailers and corporations focused on mass-consumption techniques of selling. The ethical consumer is another important market trend. According to Mintel market research, 63% of consumers in the United States believe that ethical issues are becoming more important. Hot button social issues like LGBT rights, living wages, and gender equality emphasize the importance to the consumer of putting people ahead of profit. Lauren Bonetto for Mintel highlights that consumers find companies to have more distinguished identities when they “[promote] a lifestyle just as much, if not more, than they promote the company itself.” Treatment of employees, provenance of product, and sustainability all contribute to a lifestyle image that are of top concern to consumers. The business concept, then, with its desire to help the companies that these ethical consumers are looking for shows the potential for a strong working relationship between the business concept, makers, and consumers. While the bulk of the market research above focuses on the United States, there are similar tendencies in other developed countries as well. For instance, in the UK the London College of Fashion sponsors the Centre for Sustainable Fashion with resources to help designers and manufacturers produce more ethically and efficiently. The French commitment to haute couture is in itself a sustainable accolade, supporting local industries and living compensation to its workers. And Berlin fashion week includes a green luxury fashion fair called Greenshowroom. The business concept understands that only supporting an American maker industry will not suffice to achieve creating the most beautiful products as specialty skills are found across the globe. Instead, the business concept will strive to work with partners to source textiles and trims from other developing companies and/or countries that can perpetuate the global Maker market.

04. Midpoint Thesis

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04. Midpoint Thesis

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O P P O R T U N I T I E S

The fashion industry suffers from “green washing,” attempting to confuse consumers into believing that a product is more sustainable or eco-friendly without any real claim to the marketing tactic. There is a true need in the industry to help consumers understand what it can mean to be a sustainable fashion brand. It is not something that simply revolves around recycling or upcycling clothing, or sourcing sustainable cotton. The business concept attempts to slow down the insatiable appetite of mass-consumption retail shoppers, decrease the initial distance of patterning and sampling new ideas, and broadening the socio-economic impact of supporting crafted textiles and small-batch manufacturers around the globe. The ultimate goal of this sourcing initiative is to bring to light those manufacturers that are working to make lasting change on the industry. The preliminary research reveals a desire for crafted products with a more personal connection. The trend moves away from big-box retailers and shopping malls in favor of smaller markets. The business concept is a solution to how industry should move away from typical consumption patterns and bring more meaning into every stage of the development process.

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T A R G E T M A R K E T

» Demographics » Age: 25 - 39 » Gender: Male and Female » Income: $55,000 - $75,000 per year » Occupation: Professional and managerial positions » Education: Bachelor degree and maybe some post-graduate work

» Marital Status: Single or young family

The business concept will look to Millennial “makers” and recent fashion and design school graduates that show an interest in creating branded apparel lines. The business will target consumers that will want to create their own things, empower themselves to be successful, and constantly seek new and better alternatives to current consumer shopping and buying habits. The target consumer is a pragmatist at heart and a constant learner. With the wealth of information available on-line, he or she understands how to find the desired information. The target consumer likely began his or her entrepreneurial endeavors as “weekend warriors,” filling the hours on Saturday and Sunday from tinkering with a sewing machine, reading pattern making books, or doodling lose ideations of product concepts to playing music, rebuilding model cars, and gardening. They come from a vast background of different design disciplines like architecture, graphic design, and fashion, or unrelated backgrounds like finance, marketing, and science. The targeted consumer is a visual person, acutely aware of his or her surroundings. They find beauty in the every day. Ethical and environmental concerns weigh heavily on their everyday choices. This emphasizes the importance of their burgeoning business providing consumers with apparel options from an alternative supply chain source. The Millennial consumer, predominantly older Millennials, are more likely to believe that “local” is a signal for high quality goods. This segment of the market are pushing for supply chain transparency as consumer desire to know where food, and increasingly products, come from. According to Mintel research, Millennials are weary of how incorrectly outside cohorts perceive them, and this misunderstanding has made Millennials wary of older generations and the products, brands, and ideals affiliated with those generations. With this in mind, the business concept and its collaborative partner businesses will be able to tap into the consciousness of these consumers that desire to find their own defining associations.

04. Midpoint Thesis

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04. Midpoint Thesis

Map showing the location and size of Maker Faires around the United States. For the proposed Midpoint project,initial emphasis is placed on red dot and dark blue dot locations with a stronger Maker presence already existing in these cities..

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L O C A T I O N

Centered around “second cities” with an established interest in hand-crafted products and an established interest in fashion products:

» Bay Area, CA*** – Proximity to Los Angeles but ready access to ocean shipping ports. The tech industry wealth and Oakland industrial capabilities have all the resources to start a new business venture, but cost of living is a strong threat to beginning new business ventures.

» Detroit, MI** – The home of American production, the city has seen designers like John Varvatos and companies like Shinola thrive in a city built on invention and manufacturing.

» Seattle, WA* – Successful fashion scene with thriving fashion retailer Nordstrom, and access to all cities in the Pacific-Northwest with inherent fashion and art scenes. Seattle’s close proximity to Canada also opens opportunities for international marketing.

» Denver, CO* – Manufacturing facilities have seen an increase over recent years along with a true effort to establish a viable fashion scene. With new tech startup money entering the city and areas to be gentrified, Denver stands to see an influx of industry.

» Pittsburgh, PA* – An outlier in this list of cities, Pittsburgh boasts its own manufacturing capabilities due to its history as a “rust belt” state, and its proximity to NYC and solid fashion programs in the city make it the wild card selection to begin a small business sourcing company.

K E Y C O M P E T I T O R S

Most metropolitan cities in the US have small business partners that help individuals to produce their own garment designs. In the Bay Area, LJO Sew, located in Tiburon, offers consulting on all aspects of the clothing business from design and development, to sourcing and production runs. The company can offer specialized garment production and has a list of local screen printers, embroiderers, and sublimation resources. LJO is first and foremost a manufacturer and approaches the business with production numbers in mind. LJO does not offer pattern assistance, source fabrics nor manufacture labels, so there is opportunity for the proposed new business concept to integrate these additional services.

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Another competitor is Camari Henderson Design located in Benicia, CA. The most direct competitor, CHD creates professional patterns, builds tech packs, and creates samples for clients. The company goes above and beyond by offering production runs of garments and photoshoot services including hair and makeup as well as lookbook layouts and designs. The pricing is laid out in such a way so as to require the client to work with the company from first patterns to salesman samples and increases with quantity of each. The D.N.A. Group in San Francisco, CA offers the most extensive listing of services for brands hoping to start their own line. The company does pattern making, product development, fabric sourcing, textile design development, and sample making. In addition, the company also assists in brand management services. The company’s mission is to bring more manufacturing back to the US and to build a community that supports it.

C O M P E T I T I V E A DVA N TAG E S

» Will work to create a strong portfolio of partner manufacturing facilities to ensure the highest standards of craftsmanship for the client.

» Will work to build a portfolio of contacts with progressive textile mills around the world working to better sustain the textile industry.

» Collaborative mentality means the client and company work equally to create a meaningful and functional product.

» Proximity to international shipping ports means clients receive overseas samples sooner.

» Small business helping small business battles mass market producers.

O U T L I N E O F T H E C O N C E P T

» Business Overview » Situation Analysis » Market Overview » Target Market » Service Strategy and Assortment Plan » Marketing and Promotion Strategy » Operational Plan » Financial Plan » Future Plan

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W O R K S C I T E D

“About us.” Kickstarter.com, Kickstarter PBC. n.d. https://www.

kickstarter.com/about?ref=nav.

Black, Sandy. The Sustainable Fashion Handbook. Thames &

Hudson Inc., 2012.

Bonetto, Lauren. “The Ethical Consumer – US – July 2015.” Mintel

Academic, Mintel Group Ltd., July 2015, http://0-academic.

mintel.com.library.academyart.edu/display/716584/.

Delossantos, Karl. “What is the Maker’s Movement?” Maker’s Row,

Maker’s Row, Inc., 13 April 2016, http://makersrow.com/

blog/2016/04/what-is-the-maker-movement/#.

Ehrenfeld, Dr. John. “Sustainability by Design and Flourishing – Keynote

Speech.” Youtube, Centre for Industrial Sustainability, 1 October

2013, https://youtu.be/bHK7sAUOehM.

“Faires Around the World.” Maker Faire, Maker Media, Inc., n.d., http://

makerfaire.com/map/.

Fletcher, Kate. Sustainable Fashion and Textiles: Design Journeys. 2nd

ed., Routledge, 2014.

Fletcher, Kate and Lynda Grose. Fashion & Sustainability: Design for

Change. Laurence King Publishing Ltd., 2012.

Gwilt, Alison. Basics Fashion Design: A Practical Guide to Sustainable

Fashion. Fairchild Books, 2014.

Kohrer, Ellen and Magdalena Schaffrin. Fashion Made Fair: Modern.

Innovative. Sustainable. Prestel, 2016.

Macke, Dana. “Marketing to Millennials – US – May 2016.” Mintel

Academic, Mintel Group Ltd., May 2016, http://0-academic.

mintel.com.library.academyart.edu/display/747762/.

“Nation of Makers.” The White House, President Barack Obama, n.d.

https://www.whitehouse.gov/nation-of-makers.

Routledge Handbook of Sustainability and Fashion. Edited by Kate

Fletcher and Mathilda Tham. Routledge, 2015.

04. Midpoint Thesis

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SP15

SU15

05. Timeline

FA15

SP16

SU16

FSH 600 Fashion Design 1 | Nelson Cantada FSH601 3D Design 1 | Kevy DeSantis FSH620 Knitwear Design & Construction 1 | I-Fang Chung & Helen Sharp

GLA 613 History of 20th Century Fashion Arts | Jacqueline Phelan GLA602 Art & Ideology of the 20th Century | Andrea Jost

FSH 602 Fashion Design 2 | John Bauernfeind FSH 603 3D Design 2 | Yuko Fujishima FSH 656 Fashion and Sustainability | Mandana MacPherson

FSH 630 Fashion Marketing Strategy | Sandra Parenti FSH 632 Trend Analysis & Product Development | Kari Lantin FSH 634 Textiles & Other Raw Materials | Matthew Gerring

FSH 637 Product Sourcing & Assortment Planning | Sharon Murphy GLA 627 Industrial Design in a Globalized World | Shin So

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05. Timeline

FA16

SP17

SU17

FA16 SP17 SU17 FA17

FSH 638 Product Line Development - A Collaborative Process GDS

Elective (Proposed by Keri Yourick: FSH 605 3D Design 3)

GDS GDS GDS

GDS GLA 671 Professional Practices & Communication for Fashion

A l t e r n a t i v e T i m e l i n e

FSH 638 Product Line Development - A Collaborative Process Elective (Proposed by Keri Yourick: FSH 605 3D Design 3)

GDS GDS

GDS GDS

GDS GLA 671 Professional Practices & Communication for Fashion

T o t a l U n i t s 63

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“Buy less, choose well,

make it last.”-Vivienne Westwood