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Books

Artimo, (1999) Victor and Rolf:199381999, Netherlands: Artimo Foundation

Samson, A (2018) Martin Margiela: The Women's Collections 198982009, Rizzoli

International Publications

Horn, R. Herkenhoff, P. (2005) Rebecca Horn: Bodylandscapes Drawings, Sculptures,

Installations: 196482004, Hayward Gallery Publishing

CSM Library Shelf marks to browse

(Shelf marks can be found here http://arts.ac.libguides.com/?b=g&d=a

Search with key words, refine to the CSM library, select books from the tabs)

Journals / eLibrary resources

(These can also be found here http://arts.ac.libguides.com/?b=g&d=a

Search with key words, refine to the CSM library, select eResources from the tabs)

librarian Beth will support with suggestions by email b.e.thompson@csm.arts.ac.uk and staff or students can email ASK for support with research, http://arts.ac.libanswers.com/)

Practitioners

Martin Margiela

Yohji Yamamoto

Preen by Thornton Bregazzi

Dr Noki

Craig Green

Goom Heo

Marvin Desroc

Nensi Dojaka

Pavel Vlodarski
Bethany Williams

Visits including museums, shops, exhibitions, etc.

https://www.timeout.com/london/art

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Ex CSM Foundation Fashion Designer who deconstructed sportswear for her BA graduate collection. She has since shown 2 seasons at LCF as part of 'Fashion East.'

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When designing their final collection at Central Saint Martins, where does one find initial sources of inspiration? Forgotten nights clubbing in the depths of East London? Maybe the visual codes of mundane hometown style as an apt starting point? Or perhaps potbellies and rubbish on the side of the street? The latter are the sort of obscure images that occupy the mood boards of Central Saint Martins menswear student Goom Heo, whose MA collection nabbed her the L'Oréal Professionnel Creative Award at the big CSM MA Fashion show during London Fashion Week, as chosen by the Machine-A founder and our good friend Stavros Karelis.

Hailing from South Korea, Goom lived stateside, in Springfield, Illinois before coming to London to kickstart her design career at the prestigious art college. "I didn't know I was interested in fashion at that time. I was in high school playing in a football team," she explains. "I love both living in Springfield and London. London gives me creative energy and my friends who inspire me are here."

Approaching the end of her time at CSM, she looked towards a wider picture. "The starting point of my MA collection was asking myself a question: why can't people dress up crazy or immensely weird and still be treated or considered normal," Goom says. "I think of people who would wear my clothes and want them to still to be treated and considered normal, not odd or funny."

At the CSM final show in February, the bulky proportions of her BA collection were deflated in favour of body-hugging leotards, appliquéd with jet black codpieces that gleefully toy with the male form. "I had to put something inside of the garment to cover the genital area as those pieces were too tight" Goom admits. "I thought 'why not to put them outside rather than hiding under the garments?'". A jester-like silhouette, with a sci-fi twinge, can be seen through technicoloured Palio scarves lining the leg and arms, complemented by thigh-high mohair socks and square-toed ankle boots. Wispy layers of chiffon wrapped around the torso form translucent capes that danced as the models sauntered down the catwalk. Tailored to gather at the centre of the chest, forming deconstructed motifs, layered over knitted body suits, royal blue clown collars and visible underwear. Super sexy if you ask us.

Goom specialised in womenswear for the first three years of her time at Central Saint Martins, ahead of a sporadic change onto menswear. "Before I started my final year of BA, I was already quite bored about it even before I started," she admits. "So I knew doing menswear for my final collection would be something new to me and something excited as I've never done it before". An array of disproportionate stocky fits that made up her BA collection won Goom the L'Oréal Professionnel Talent Award back in 2017. Blown up outerwear, brash in both wool and satin, walked alongside an assembly of second hand t-shirts sewn and piled together. It was as chaotic as it was brilliant.

Despite a drastic shift in proportions, Goom's approach to making clothes hasn't altered too much transitioning from her BA to MA, "I've learned to have a different perspective on my work so it made me be more precise, I wanted my garments to look exactly how I wanted them to be when I was presenting to people who see my work", she says. There's something pleasingly off, yet awkwardly sexy with Goom's designs - in a Martine Rose type of way. The houndstooth printed black long-sleeves, teamed with teeny-tiny neoprene shorts that she debuted, are off-kilter, yet subtly erotic. Leaving the doors of CSM for good, what does Goom have planned next? "I'd love to start my own brand," she says. But don't knock the possibility of seeing the designer head to an established house, as she explains over email, "I'm also open to working for someone as long as it allows me to be creative and do something fun".

"Heo brings that multicultural conscious to her approach in designing. She is a brand ready to enter the world of retail" says Stavros Karelis, the Machine-A founder who awarded Goom with the grand prize back in February. "Her garments are designed to challenge convention, they floated through the space inviting people to wear them. Her brand will do extremely well in the future to come, as her vision is strong, and creates that new form of menswear which has little to do with gender but a lot to say in terms of shape, construction and making". Her work is playful, yet divorced from the feeling of looking daft. And it's bound to fly off the Machine-A rails as soon as it hits the store. Goom Heo - whatever you decide to do next, we're watching you.
Look book photographs by Zhuo Chen. @goomiswatchingyou

Photo by Jason-Lloyd Evans

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Goom Heo is The Emerging Menswear Designer Crafting A New Kind of Sexy - 10 Magazine

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When designing their final collection at Central Saint Martins, where does one find initial sources of inspiration? Forgotten nights clubbing in the depths of East London? Maybe the visual codes of mundane hometown style as an apt starting point? Or perhaps potbellies and rubbish on the side of the street?

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Reflection Task 1                (FT1: Tues 3rd Nov / FT2: Mon 2nd Nov) 

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Reflection Task 1                (FT1: Tues 3rd Nov / FT2: Mon 2nd Nov) 

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Reflect (This is where you think, pause, analyze what you have done, it is the why where what when and how reflection is usually written but can also be filmed and recorded.  It is meant to help you develop your studio practice and understand your own thinking):
Think about the concept of

Write about the above references in your reflective area on workflow.
Discuss this in any for with some of your group and record these findings and thoughts.

Extension work – This exercise only has to be completed if you have finished all the above work and you are up to date with your studio practice work.

Watch the Martin Margiela Documentary on Netflix.  Below is a link to an article, which recommends this film (and some other Fashion films too). Please write your own review of the film.

https://www.independent.co.uk/life-style/fashion/fashion-documentaries-best-margiela-mcqueeen-dior-netflix-amazon-prime-youtube-a9452726.html

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1030am Register
Any live sessions will be on Blackboard communicate.

Morning Task

Discuss  Project and the Brief.
Also discuss:

• Original identity of jacket (who it was originally designed for, etc.).

• Attributes/terminology of tailored jacket/ detailing, silhouette, fabric, etc.

• Possibilities for changing jacket identity by reworking it.

• Possibilities of creating, changing shape/ silhouette.

Working on own body manipulate jacket without cutting.

Think about why working and drawing on the body is better than on the mannequin .

Draw and record progress in sketchbook, recording several ideas not just final outcome.

Investigate and document the structure of the complete, uncut jacket - focusing on every aspect: layers, outer fabric, lining, wadding, lapels, shoulder pads, stitching, seams, buttons, pockets etc.

Consider the overall silhouette, and document both whole and close up details both on and off the body experiment with a sustained series of modifications through improvisation, working ‘on their own body, (photograph and draw reflection)  keeping a clear record of every stage.

Where possible  peer discussion to question initial responses and attempt more radical solutions. ( this can be in your pre allocated groups or set up by tutor.

Document through drawing in the sketchbook, photography and written comments.

Discuss/analyse morning’s work/possible improvements/changes.

Afternoon Task
2.15pm  Register
The afternoon is focused on; Begin cutting/ removing adding/ reconnecting

Discuss/brainstorm design possibilities.

Based on ideas discusshow they would restyle or 'work; each others jacket, shirt, and material.

Trying to achieve: (not an ‘outfit’, think of structures rather than tops bottoms etc.
Reason for doing this is to create new shapes silhouettes and ideas for designs  with the emphasis on being experimental.

Discuss with tutor or in your groups: the use of colour and texture.
Analysis of colour.
Must consider how the colours, and textures work with each other/against each other. How they can make you feel or what they evoke.
watch this short demonstration explaining a Josef Albers colour experiment.
Josef Albers Squares
Longer Josef Albers colour workshop
Josef Albers interaction App

To bring with on Thursday or Friday

(* Optional) research & buy 1.m fabrics, which compliments (texture, weave, colour, style) your jacket. Or use another garment/found material. List of suppliers on Moodle

Berwick Street fabric shops. W1. (Cloth House (47 & 98), Borovicks, etc.).

Goldhawk rd. Shepherds bush (more affordable option also good)

Rolls&Rems, Seven Sisters Rd)

Selection of paper to work with for collage, and jacket

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Ex CSM Foundation Fashion Designer who used deconstructed trainers in her BA graduate collection at CSM and has recently launched a collaborative project with Adidas

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meet the csm student turned insta-babe who introduced john galliano to snapchat

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Incidentally, she just won the L’Oreal Professionnel Young Talent Award for her BA collection. Yup, Paolina Russo means business.

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Remote Research Task 1  (FT1: Tues 3rd Nov / FT2: Mon 2nd Nov)

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Remote Research Task 1  (FT1: Tues 3rd Nov / FT2: Mon 2nd Nov)

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Below are the aims and the outcomes for your offline days.  If you finish the tasks then you can continue to develop any of your studio practice that runs alongside these offline days.

Aims for the Day:
·      Help and develop your studio practice day.

·      Further knowledge of Fashion design and the initial design process of creating structures for the body.

·      Understand the design process of research, experimentation before a final outcome.

Outcome for the day:

·      Learn methods and approaches for experimenting and developing work on the body.

·      Develop or start research and experimentation in sketchbook

·      Create reflection on workflow and understand your own strength and weaknesses in the design process.

1.Research (find, search, analyze, interpret, research can be anything that inspires you. If you did not create it, it is referred to as secondary research)–

Research start to work your way through  the 'Links & References' section for this 2 week project.   Try and visit an exhibition, gallery or museum and write a review of this in your reflective section of workflow.

below are some more links to help you start your research, focusing on the construction of objects and different practitioners and designers that have used this technique.

The Antwerp Six

Deconstruction Liberty Film

Helen Kirkum

V&A clothes x rayed
McQueen Transformer

This is a blog entry about deconstruction. It was written in 2012 - is it still relevant, did you already know all the information?

Podcast episodes about being a foundation student at CSM (scroll to the bottom of the page)

https://www.arts.ac.uk/colleges/central-saint-martins/student-life-at-csm

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Reflection Task 2                (FT1: Fri 6th Nov / FT2: Thurs 5th Nov) 

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Reflection Task 2                (FT1: Fri 6th Nov / FT2: Thurs 5th Nov) 

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Write about the above references in your reflective area on workflow.

Q. What is a textile sample?

Some reflective questions – how could I change evolve or experiment with these new grid pieces?
Could I put them into a repeat?  Could they be samples on their own?

Discuss this in any for with some of your group and record these findings and thoughts.

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1030am Register
Any live sessions will be on Blackboard communicate.

Morning Task
Afternoon Task
2.15pm  Register

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Fashion Stylist & CSM Alumni

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Art + Commerce - Artists - Stylists - Ibrahim Kamara

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Remote Research Task 2  (FT1: Fri 6th Nov / FT2: Thurs 5th Nov)

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Remote Research Task 2  (FT1: Fri 6th Nov / FT2: Thurs 5th Nov)

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Continue research of the practitioners suggested and copied below.  Try and visit one of the exhibitions on the list and write a review of this in your reflective section of workflow.

Designers to look at:

Vetements
Balenciaga

Podcast episodes about being a foundation student at CSM

https://www.arts.ac.uk/colleges/central-saint-martins/student-life-at-csm

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Fashion Pathway
Textiles Pathway

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Reflection Task 3                (FT1: Tues 10th Nov / FT2: Mon 9th Nov) 

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Reflection Task 3                (FT1: Tues 10th Nov / FT2: Mon 9th Nov) 

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Write about the references in your reflective area on workflow.

Q. How could I change evolve or experiment with these new grid pieces?
Could I put them into a repeat?  Could they be samples on their own?

Discuss this in any for with some of your group and record these findings and thoughts.

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1030am Register
Any live sessions will be on Blackboard communicate.

Morning Task
Afternoon Task
2.15pm  Register

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Remote Research Task 3      (FT1: Tues 10th Nov / FT2: Mon 9th Nov)

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Remote Research Task 3      (FT1: Tues 10th Nov / FT2: Mon 9th Nov)

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Q. What does the term Deconstruction mean to you?

A definition of Deconstruction

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Reflection Task 4                (FT1: Fri 13th Nov / FT2: Thurs 12th Nov)

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Reflection Task 4                (FT1: Fri 13th Nov / FT2: Thurs 12th Nov)

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Q. What new skills have you developed from this 2 week project?

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(FT1: Fri 13th Nov / FT2: Thurs 12th Nov)

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(FT1: Fri 13th Nov / FT2: Thurs 12th Nov)

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1030am Register
Any live sessions will be on Blackboard communicate.

Morning Task
Afternoon Task
2.15pm  Register

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JJ Hudson has been waging a personal war on mass-produced fashion for over a decade. His subversive label NOKI (an anagram of IKON) is famous for taking brand-name garments and - with the help of gaffer tape and scissors - mutating them into one-off DIY couture pieces. For the last two seasons, Hudson's NOKI - House of Sustainability runway collections have forced the press to sit up and take notice. But now NOKI is a legitimate fashion fixture, is the 37-year-old publicity-shy Scot finally growing up? Don't hold your breath.
Are you an artist or a designer?
I see myself as an artist: NOKI is one big work-in-progress installation. I can't design to save my life. I'm terrible at pattern cutting. Customising has made me feel as near to being a designer as I ever will.
You often wear a mask at public events. How important is your anonymity?
It's crucial because I'm not doing this to be famous. I worked at MTV styling presenters so I've been in that zone and it's not pretty: I watched normal people become commodities. It was there I started mucking about with t-shirts in the styling wardrobe. MTV wanted me to use well-known brands but I couldn't show the actual name on air so I used gaffer tape to cover letters up. So Adidas became Aids. The Nike tick would turn into a smile with some Minnie Mouse eyes above it and then it'd hole punch the t-shirt until it looked like it'd been involved in a drive-by shooting.

Have you always worked with discarded materials?

Yes, as far back as my graduation collection. I did fashion design at Edinburgh School of Art from 1989 to '93. The screen-printing department were throwing out all the old gauze. I found a huge pile of this mesh lying about; it had amazing painted graphics all over it. So I used it to make big dresses for my show.

Is recycling an economic or ethical decision for you?
Originally NOKI was going to be a subversive magazine. I had a few meetings with people but it was never going to work so I treated t-shirts as pages of this imaginary publication. I'd cut and paste things down with gaffer tape; I never even thought about it coming off in the wash. Because it was all an experiment I wasn't going to buy a new t-shirt for £25, cut it up and get it wrong. I'd rather go to the bargain basement.

There were some innovative knits in your last show...

I worked with a 52-year-old master of crochet called Dr. Hook. I met him in a juice bar in Brighton, where I live. Together we developed a new textile, which is called DNA yarn. A lot of it is shredded up Calvin Klein, Gucci and Tommy Hilfiger clothes. Dr. Hook normally does really fine stuff like baby and wedding shawls but he made big, sculptural shapes for me. I wish I could knit but it's one of those arts and crafts things that I just can't do.
Is your basic ideology anarchic?
To me cutting up a t-shirt is the same as smashing a McDonald's window. But anarchy doesn't help anybody; it just causes problems. I can be more effective working within the fashion world, rather than outside it. A lot of people presume that I'm anti-brand, but I'm not. I'm an Eighties kid so I like all that. My work doesn't come from a place of hate... I'm using things that I love.

Is NOKI - House of Sustainability (NHS) a departure for you?

It's still subverting brand names but moving it into a serious fashion game. I want the NHS to prove that a sustainable product can be as high-end as a Fendi leather jacket. It's me growing up, basically. I see myself as a doctor of customisation: old rags come into the NHS knackered and broken, they get repaired and leave totally new.

Where do you get all your second-hand clothing?

My fairy godmother has come in the guise of a recycling plant called LMB. It's a family-run business - with no political agenda - that recycles metal, paper and plastics as well as rags. They deal with thousands of tons of brand-name waste. It all comes in on a conveyor belt and they let me pick out whatever I want. The whole NOKI silhouette starts to come together right there and then. Now I've got my source locked down, ideas are infinite. This summer, LMB are also opening a shop on Brick Lane and they've given me my own NHS floor there.
Do you think major fashion houses will adopt sustainable materials?
The consumer is a lot more clued up and big firms will have to catch on to it at some point. Everything comes to a conclusion and ultimately eats itself. The ship will sink. And I'll be there in a dingy... gaffer-taping for dear life.
Photography: Aitken Jolly
A full version of this article first appeared in Wonderland #13, April/May 2008

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JJ Hudson has been waging a personal war on mass-produced fashion for over a decade. His subversive label NOKI (an anagram of IKON) is famous for taking brand-name garments and - with the help of gaffer tape and scissors - mutating them into one-off DIY couture pieces.

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Remote Research Task 4  (FT1: Fri 13th Nov / FT2: Thurs 12th Nov)

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Remote Research Task 4  (FT1: Fri 13th Nov / FT2: Thurs 12th Nov)

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Research further and into more detail on one of the practitioners in the bibliography or that you have found yourself that relates to this project.