UP Clothing Technology

Lee Denim Day x Clothing Tech @ Philippine Star

2011-10-24T15:14:00.000-07:00

LEE National Denim Day - Style Armies for Philippine Fashion Week 2012 Spring Summer

2011-10-19T10:04:00.000-07:00

Representing UP Diliman - Clothing Technology are...

photos from LEE Jeans Phils

Philippine Fashion Week Spring Summer 2012

2011-10-12T12:30:00.000-07:00

BSCT Gradshow 2011

2011-10-05T08:50:00.001-07:00

Budget Cuttoure : the Fashion Show

2011-09-14T14:28:00.000-07:00

Project Genderway

2011-09-09T14:33:00.000-07:00

Project Genderway

2011-09-02T14:27:00.000-07:00

Sulyap sa Baro at Saya: Pagbabalik Tahanan

2011-07-29T15:20:00.000-07:00

Sulyap sa Baro at Saya: Silayan ang Saya de Kola

2011-06-18T15:41:00.000-07:00

Photos: Dean UPCHE

Baro at Saya : Silayan ang Saya de Kola

2011-06-01T13:20:00.000-07:00

Philippine Fashion Week Holiday 2011

2011-05-07T21:53:00.000-07:00

UP Clothing Technology - Summer 2011 Short Courses

2011-05-01T03:17:00.000-07:00

Please see below a list of summer short courses offered by the UP College of Home Economics (Department of Clothing, Textiles and Interior Design). We are trying to finalize the list of participants a week before the start of each course. Please feel free to email me if you are interested so I can sign you up.

PROGRAM TITLE: Art Appreciation for Kids

May 2-5 (mon to thu)

P4,000.00 each / minimum 12 participants

Description: A four day four-hour each day workshop on the application of basic art principles, specifically designed for children aged 4 to 12 years old. The workshop aims to stimulate the children’s interest in creating artworks using basic shapes, colors and textures.

Objectives: The seminar aims to apply the basic theories on colors and shapes in creating artworks. It also hopes to create artwork outputs using water color, crayons, and pastel, and to do basic exercises on sculpture, textile painting

PROGRAM TITLE: Upcycling: From Trash to CashMay 9-10 (mon-tue)

P3,500.00 each / minimum 12 participants

Description: A two-day workshop on transforming old clothes and household items to upcycled clothing and home décor. The course can be offered to housewives, students, and other individuals interested in upcycling.

Objectives: The seminar aims to make home decors out of discarded household materials. It also wishes to re-create old clothing articles through upcycling, and to cost out upcycled projects for possible business ventures.

PROGRAM TITLE: Basic Concepts in Fashion DesignMay 11 (wed)

P3,000.00 each / minimum 12 participants

Description: A seven-hour seminar-workshop on the basic concepts applied in designing clothes. The course can be offered to entrepreneurs, clothing companies, and other individuals interested in learning the basic concepts of fashion design.

Objectives: This aims to identify the different motivations in clothing. This would also help the participants determine the steps involved in the design process and to apply basic fashion illustration techniques. Finally, through this seminar-workshop, participants would be able to apply design principles in designing clothes depending on their figure types.

PROGRAM TITLE: Basic Clothing Construction

may 12-13 (thu-fri)

P3,500.00 each / minimum 12 participants

Description: A two-day workshop featuring basic pattern making and sewing. The course can be offered to housewives, students, and other individuals interested in learning how to sew basic tops.

Objectives: The seminar aims to take body measurements needed to draft patterns for a basic top. It also hopes to draft flat patterns for a basic top, and to construct a basic top using a single needle sewing machine.

PROGRAM TITLE: A Short Course on Color Schemes for Interiors

May 18 (wed)

P3,000.00 each / minimum 12 participants

Description: A primer on basic concepts related to color schemes for home and office interiors, featuring lectures and workshops. This 6-hour course is open to housewives, students, ad other individuals interested in knowing basic techniques in planning color schemes for interiors.

PROGRAM TITLE: A Short Course on Space Planning

May 16(mon)

P3,000.00 each / minimum 12 participants

Description: A primer on basic concepts related to space planning for home and office interiors, featuring lectures and workshops. This 6-hour course is open to housewives, students, ad other individuals interested in knowing basic techniques in space planning for interiors.

PROGRAM TITLE: A Short Course on Interior Decoration

May 20 (fri)

P3,000.00 each / minimum 12 participants

Description: A primer on basic principles related to interior decoration, featuring lectures and workshops. This 6-hour course is open to housewives, students, and other individuals interested in knowing basic techniques in interior decoration.

For more questions, kindly contact us through the following details:

Department of Clothing, Textiles and Interior Design
Rm. 221 Alonzo Hall
College of Home Economics
University of the Philippines Diliman
Quezon City, Philippines

Telefax: (+632) 920 5301 local 6971
Email: ctid.che@up.edu.ph

LEE Style Army - Philippine Fashion Week 2011 Spring Summer

2010-11-05T13:19:00.000-07:00

Lee Jeans show featuring collection styled by UP Clothing Students

LEE Style Army - Philippine Fashion Week 2011 Spring Summer

2010-10-07T10:14:00.000-07:00

Representing UP Diliman - Clothing Technology are...

Clothing Technology in Manila B

2010-06-16T09:33:00.000-07:00

Philippine Fashion Week Holiday 2010

2010-05-01T21:45:00.001-07:00

Philippine Fashion Week Holiday 2010 is on May 26 - June2 2010.

Luxury brands are looking to trainers for new business

2010-04-27T23:10:00.000-07:00

Source: http://www.independent.co.uk/life-style/fashion/features/luxury-brands-are-looking-to-trainers-for-new-business-1955351.html

(Lanvin Mens Trainers Spring/Summer 2010 | Source: Nondivision)

Designer denim used to be the go-to strategy of luxury labels to lure in new customers, but now it seems as if trainers are the new jeans.

While brands like Dior Homme, Hugo Boss, and Louis Vuitton have long been in the market of men's designer trainers - with the latter's collaboration with rapper Kanye West selling out in no time last year - women's counterparts are just now gaining momentum.

Lanvin and Pierre Hardy launched successful ranges, Gucci inuagurated its Icon Temporary pop-up store in London last week to promote its new line of sneakers designed by hip music producer Mark Ronson, and this week, stiletto label Jimmy Choo celebrated the introduction of its $600 trainer collection with a social media-savvy scavenger hunt across the same city.

After its partnerships with Ugg and H&M, it could be safe to say that Choo knows where the money is, but even if in doubt, all its creative head, Tamara Mellon needs to check are the fan figures on Stylophane's Facebook Fashion Index: sneaker brands such as Converse count more than two million fans while their high-heeled competitors (Manolo Blahnik, Christian Louboutin) have 100,000 or less.

The trend is not restricted to luxury brands, by the way: leading flip flop label Havaianas also just presented its first collection of high tops.

Technology and the Future of Fashion

2010-04-11T13:44:00.000-07:00

New Website Brings Crowd Sourcing to Fashion

by Edward Krudy

NEW YORK

Thu Apr 1, 2010 4:11pm EDT

NEW YORK (Reuters) - An Internet startup called Fashion Stake launching in coming weeks aims to shake up the fashion industry, just as peer-to-peer file sharing changed the music industry.

Fashion Stake will allow customers to directly fund fashion designers by browsing on-line collections and buying a stake in a collection in return for credits to buy clothes. Patrons can also share ideas with designers and vote on collections.

The model, inspired by Internet-based social media networks like Twitter and Facebook, taps into a growing business model called crowd sourcing where entrepreneurs go directly to customers for content, funding, and distribution.

Daniel Gulati, the firm's chief executive and a student at Harvard Business School where the project was born, says creative, high margin industries are moving away from a "gatekeeper" model where executives decide what the public consumes.

"We think this can be a real game changer," he said. "What we're basically doing is redirecting the margin to fans and cutting out the retailer altogether."

Advocates of crowd sourcing say it offers consumers a cheaper, more flexible alternative and frees artists from having to get past big corporations.

New York-based designer Althea Harper says the new model could help her find funding, scarcer after the financial crisis, as well as bypass buyers at retail outlets.

"It's hard getting the retailers to trust in you as a new designer," she said. "I've seen them pick up horrible lines from more established houses just because they've got the reputation."

Olga Vidisheva, a former model and Goldman Sachs equity analyst, who is Gulati's classmate at Harvard, is looking forward to using Fashion Stake.

"You usually don't have access to the starting designers. There's a lot of pain that they go through until they can sign with Saks or Bloomingdales, said Vidisheva, who spends "several thousand" dollars a year on clothes.

POWER TO THE CROWD!
Recent years have seen a rapid growth in interactive business models and Internet-based social media, or so-called Web 2.0. Global communities centered around services like Facebook and Twitter are millions strong.

Peer-to-peer lending, linking individual lenders with borrowers, has taken off in the U.S. through companies like Prosper, while so-called open innovation companies like NineSigma allow corporations to outsource problems to networks of innovators.

"You can crowd source, you can crowd fund, you can get economies of scale, and you can customize the output to deal with local markets," said Alec Karys, a consultant advising Fashion Stake.

Gulati, a former analyst at investment bank Macquarie, sees creative industries, such as publishing and journalism, with strong fan bases, as a prime target for crowd sourcing. He points to Spot.Us, a website that allows users to select and fund journalistic work that conventional media might overlook.

"Why should we leave it up to just a couple of people to decide what the public wants? Let's actually just go straight to the crowd," he said. "It's a two way conversation between brands and their fans. It's not a one way type of logic anymore."

Harvard Professor Thomas Eisenmann, who studies platform-based businesses that exploit network effects, says the trend toward interactive business models is accelerating.

"You've got a whole bunch of businesses that worked well in Web 1.0, and those businesses either need to add social media - social networking functionality - or they're at risk of getting leapfrogged by newcomers that do this," he said.

However, Eisenmann says crowd funding has limits where curatorial choice is still desirable, for example at certain newspapers and media organizations that people turn to for editorial insight.

"I don't think the old models are going away," he said. "I think you'll see a lot of incumbent players add (network) functionality as an option."

(Editing by Mark Egan and Alan Elsner)

Lhenvil Paneda

2010-04-06T01:21:00.000-07:00

Photography : Kristian Marquez
Clothes: Lhenvil Paneda
Hair and Make up: Lhenvil Paneda
Accessories: Marko Adalia
Creative Direction: Marko Adalia
Model: Jodi Pendre

Erdem wins British Fashion Council and Vogue Designer Fund award

2010-04-01T08:54:00.000-07:00

Read about Erdem, a lean fashion house of just 5 employees, which includes the designers, and how they won the $200,000.00 Vogue Designer Fund...

Flower dressing: why Erdem is a winner

By Lisa Armstrong

Meet Erdem, candidate for the title of World’s Most Modest Designer — no, really — and, I can reveal today, winner of the first British Fashion Council and Vogue Designer Fund.

He may already be a favourite of Sarah Brown, Samantha Cameron, Keira Knightley and Michelle Obama, but 24 hours after being given the good news about the £200,000 award this week, he called back to check that there hadn’t been a mistake.

There hadn’t, although it was closely contested. There was a lot at stake. This is by far the biggest sum ever awarded to a fashion designer in this country: enough to have a significant impact on a fledgeling label. In some cases, it might make the difference between there being a future and not being one.

After the eight nominees made their presentations back in January, there was much feverish among the panel of twenty industry experts — a mixture of retailers from Harrods, Marks & Spencer and Topshop, who all contributed to the fund, and one journalist (me), headed up by the Vogue Editor, Alexandra Shulman.

After a long day of grilling, number-crunching and even a Lib Demish counter move to split the award, a decision was eventually reached. There was a recount. Then, just as the panellists gathered their belongings to go home, there was another.

This is how it should be when the contenders are of such a high quality. How do you compare the subversive brilliance of Christopher Kane’s stunning dresses with Nicholas Kirkwood’s sculptural shoes? Is there any mileage in asking whether the recently relaunched traditional menswear label E. Tautz, with its commitment to British craftsmanship, is a more worthwhile venure than Angel Jackson, the company set up by two sisters to make affordable, ethically sourced (and great-looking) handbags in Bali and Portugal?

In the end, we decided that Erdem had it all: creativity, the potential for longevity and a well-thought-out strategy. Just as importantly, his timing was right: this seemed to the judges to be the moment for a big cash injection to his business. Time will tell if we made the right decision.

Even if the name Erdem currently registers a blank in your knowledge bank (a Latin American dance festival? the currency of Burkina Faso?), you’re likely to be familiar with some of his gorgeous, herbaceous-border printed clothes.

Sarah Brown chose one of his dresses when she hosted a party at Downing Street last September. Samantha Cameron owns several of his pieces (“They’re a great way to add pattern and colour to an outfit,” she says). Romola Garai stole the Bafta for Loveliest Dress in her strapless Erdem in February. Keira Knightley pulled the same trick at the Lawrence Olivier awards earlier this month, and Michelle Obama has worn one of his skirts.

That’s an impressive haul for a label that employs only five people, including the designer. But charm is universally appealing. While Erdem Moralioglu’s peers rediscover minimalism or the new “new look”, or otherwise attempt to acclimatise to the coming era of demure, below-the-knee lengths and cleavage-free dressing, he skips along his own flower-and-butterfly-strewn path. “I’m not really interested in trends,” he says. “I hate the word ‘useful’.”

I don’t think he’s being contrary. He means that he’s not trying to come up with multi-tasking, capsule-wardrobe type clothes. He's been there — when he was employed by Diane Von Furstenberg for a year in New York. What that taught him was that he needed to work for himself. He designs lushly romantic clothes that happen to have an intriguing primness about them. The models on his catwalk exude a sophisticated, buttoned-up sense of self-containment.

Cameron, who collaborated with Erdem last year on a range of Smythson notebooks decorated with his prints, says that his shows make you feel “as though you’re in a Russian novel”. But they never look saccharine. He’s sufficiently of the modern world to want his clothes to have an undercurrent of darkness. One of his earliest collections featured a leather coat lined with Victorian-style momentoes mori in gold foil. No wonder he stayed only a year in New York.

His overriding aim is to make women look beautiful. “I never think about what’s sexy,” he says. “That’s about context. I don’t agonise over whether her bum will look big in something. I focus on the silhouettes and the proportions and hope that takes care of everything.”

He has been focusing on silhouettes for most of his 32 years. When he was 6 his parents took him to see The Nutcracker in his native Montreal. Afterwards, at home, he quietly got on with designing costumes out of paper for the entire corps de ballet. Later on, the margins of his maths books teemed with the etiolated figures that he still sketches now.

“Clearly I was never going to be a huge hit on the soccer field,” he laughs. Fitting in was a challenge. He was, and is, extremely close to his twin sister Sara, a documentary film-maker with whom he shares a flat round the corner from his studio in East London. I’m intrigued to know how his flat is decorated — he shows all the hallmarks of being a soft-furnishings obsessive. “I did rescue a pile of World of Interiors magazines from a skip recently,” he concedes. “But my friends describe my taste as tat and crap.”

In future tomes about Nature versus Nurture, there should be a chapter on how many designers find their vocation when they’re small children. The Moralioglus were hardly embedded in the fashion world. His Turkish father, who died seven years ago, was a chemical engineer. His English mother stayed at home to look after him and Sara. “This was suburban Montreal,” he says. “Picturesque, and categorically uninterested in fashion. But I was that teenager in the basement recording Fashion File [a long-running cable TV show that faithfully reports every twist and turn from the world’s catwalks]. I was steeped in couture.”

His mother, whom he describes as very cultured (she died two years ago and he used an image of her on the invitation to his most recent show), introduced him and his sister to Britain; his father took them to Turkey. He is equally drawn to both, he says, but ended up doing a postgraduate degree at the Royal College of Art in London. “There was no other place,” he explains. “I wanted to be where David Hockney and Ossie Clark had studied. And I loved the idea of being in the same building as product and textile designers.”

There’s a touch of the Professor Calculus about the way he spends hours at his computer, digitally altering images — blurring, rescaling and colour-washing them — until he achieves the intensity he wants. The boffin persona is compounded by his big spectacles, neat 1940s schoolboy hair and the slow, considered, Loyd Grossman-esque cadence of his speech.

He is understandably keen to be seen as more than a reviver of pretty prints, however. The cut and finish of his clothes is exceptional: he uses the same lace as Chanel, some of his embroideries are hand-sewn in Brighton, the camel wool trench is made by Mackintosh and the silks pieces are manufactured in Italy. All those years of studying Fashion File paid off.

It’s notable how many different kinds of women are drawn to his clothes, even women who wouldn’t normally contemplate something so obviously pretty, perhaps because there’s an oddness to the beauty, and because they’re timeless and striking without being bound up with flashiness or status.

What’s sobering is how tiny some of the businesses behind London Fashion Week’s most creative names are. A turnover of around half a million pounds a year sounds a lot, but once salaries, rents, manufacturing costs, marketing and catwalk shows are accounted for, there’s remarkably little left to live on. To compete with the Pradas (turnover around £1 billion) or even the Phillip Lims (turnover £35 million) of this world and bring jobs to the UK, British designers need to do more than make beautiful clothes and accessories. To “do a Burberry” they need to expand into perfume,underwear ...

Underwear and Burberry seem a long way off when I visit his studio in the East End of London. His Kelly green Dutch push-bike is propped against a wall on the landing. His small team desperately needs more space, he says. It also needs to become a slightly less small team. The British Fashion Council and Vogue Designer Fund that he has just won should address both problems.

The idea that simple measures can make or break a designer business is what made the idea of setting up a fund so tantalising for Vogue. “It’s so frustrating that we have these talented designers who don’t seem able to grow a business,” says Shulman. “I liked the idea of the fund, which follows the American initiative of a very closely monitored mentoring programme. I am delighted with the choice of Erdem. We had a very strong range of contenders and it was a hard-fought contest, but I feel confident that Erdem has a vision that can move onwards and upwards.”

Organizing for Digital and Social Media

2010-03-28T09:45:00.000-07:00

28 March, 2010 by Vikram Alexei Kansara

Fashion 2.0 | Organizing for Digital and Social Media

Digital Organization | Source: LuxuryLab

NEW YORK, United States — Last Friday, BoF attended “Organizing for Digital and Social Media: Metrics, Structure, Culture,” an event with a long name that turned out to be refreshingly succinct. The half-day session at NYU’s Stern School of Business was hosted by Professor Scott Galloway’s thinktank, LuxuryLab, and attended by brands including Burberry, Gucci and Cartier.

Sarah Chubb, President of Condé Nast Digital (US), kicked off the morning, announcing that her team had just submitted a number of iPad applications to Apple in advance of the tablet’s much anticipated arrival (in the US market) later this week. “We want our brands to be wherever people want to consumer them,” said Ms. Chubb, adding that the iPad was the perfect platform for translating the “delicious” experience of print magazines into digital.

Initial user testing of the new iPad apps, which let readers page through an entire issue of a magazine, have yielded some impressive numbers, she said. On average, testers returned to an iPad issue about 2-3 times a month, for a total of 90 minutes, about the same as a print magazine and “many times” what Condé Nast has seen on its web properties.

Also speaking was Sharon Novak from MIT’s Sloan School of Management, who focused her presentation on a tremendously important issue: the impact digital media has on a company’s supply chain operations. Digital gives brands an “immediate interface with consumers,” said Ms. Novak. But the question becomes: once you’ve excited your fans and followers, how do you deliver something that’s special, and tangible, in realtime?

At the present moment, this issue is particularly acute in the fashion industry where live streaming runway shows have been generating waves of excitement amongst consumers, who are then forced to wait 6 months before they can get their hands on the merchandise. “What can you sell at the moment of excitement to satisfy that immediate impulse?” asked Ms. Novak, citing British megabrand Burberry, who were able to sell key pieces from their A/W 2010 Prorsum collection directly after the runway show was streamed online.

Digital is sometimes thought of as a great equaliser, but when it comes to operational flexibility, scale is a relative advantage, said Ms. Novak: “Burberry was able to leverage its ability to carry materials cost to satisfy impulse,” something smaller brands, who have a more rigid supply chain, would not have been able to accomplish.

But whether you are a global luxury brand or a small fashion company, your digital initiatives must be rooted in solid business strategy, said Sonia Marciano, Professor of Management and Organizations at NYU’s Stern School of Business and the most compelling speaker of the day. The core of Professor Marciano’s presentation was an insightful case study on sweeping changes to the business strategy of diamond traders DeBeers, following a strategic review by Bain & Company. But her underlying message applied to all brands. Before you craft your strategy, she said, ask yourself two fundamental questions: “What social problem am I addressing?” and “What ability can I leverage or create to solve this?”

So how do you know when you’ve succeeded? A revolution in battery power, chip technology and “cloud computing” is making digital technology available to consumers anywhere, at anytime, observed Lance Neuhauser, executive digital director at media agency PhD. But it’s also giving brands highly sophisticated methods for tracking and analysing the resulting “precipitation of participation.”

In terms of measuring return on digital investment, social intelligence tools that can monitor when, where, who and what people are saying about a brand online are of vital importance.

“You need to be listening,” said Mr. Neuhauser. Measuring success shouldn’t just be about quantifying “value received by the brand,” but about understanding “value delivered to the consumer.”

The Business of Fashion was an official media partner of the LuxuryLab conference.

Ella Santos

2010-03-25T11:42:00.000-07:00

Zebra Print Cotton Jumper by Ella Santos

Location:
Clothing Design Laboratory Shoot Grounds

Photographer:
Ernest Santos

Model:
Ella Santos

Hair and Make-up
Lhenvil Paneda

Creative Direction:
Marko Adalia

Paris Highlights: Fall 2010 RTW

2010-03-20T02:46:00.000-07:00

Dries Van Noten: Fall 2010 RTW

2010-03-19T03:01:00.000-07:00

Gareth Pugh: Fall 2010 RTW

2010-03-19T03:00:00.001-07:00