Pedagogy
Design For Disabilities: Worked with students to develop inquiry-led design processes and clothes for people with disabilities.
Professorial Work At Parsons: A collection of courses that I taught and work performed whilst being a part-time Professor at Parsons
Parsons Design Lab Fellowship: Explored alternative design methods, the PDL fellows worked in tandem with Ford Motor Company to reimagine design processes while making and how they might be applied to fashion.
Fashion Futures Lab: Wrote research-led briefs that created the lab's foundation and were instrumental in attaining program funding.
Student-Centered Course Design: Worked as a conduit between students and faculty to reimagine, draft and execute a course for the Fall intensive.
Portfolio Review Committee Member: From 2015 to 2018, I reviewed design portfolios and made recommendations for prospective students applying to Parsons.
Designing Curriculum: Developed curriculum for all core courses for Parsons MPS Fashion Management program.
International Design Teaching: Created bespoke programs for students, faculty, and administrators of international design education courses.
Teaching, learning, and facilitating critical conversations have been instrumental parts of my practice since I began working in design over ten years ago. Among other notable achievements in the educational field, I have been an Adjunct Professor at Parsons The New School for Design for over four years and spent several stints teaching and lecturing internationally. Beyond teaching, my studies and classroom explorations have helped bolster my professional and conceptual understanding of design in my practice.
During my tenure at Parsons, I was fortunate enough to facilitate a range of explorative spaces for students to engage with different facets of fashion and design thinking while teaching in four different thesis pathways—Systems and Society, Materiality, Women's Wear, and Fashion Product. Outside the classroom, I facilitated syllabi workshops as the design studio faculty lead and led faculty workshops centered on materiality and sustainable material development. I also designed courses with external institutions and partners, such as the Design for Disabilities course in conjunction with The Cerebral Palsy Foundation and Anna Sui.
As Teaching and learning have been a critical component of my practice, I am constantly scanning for new, alternative means of pedagogy centered on modes of unlearning and learning spaces outside of institutions. Genusee provided a space to build, teach, learn, and build platforms with and for others to seed what might come next through training, community engagement, cultivating community green spaces, and providing ongoing support for children poisoned by the Flint water crisis.
Design For Disabilities
Cerebral Palsy Foundation X Anna Sui X Parsons
Faculty Lead (2018)
Left to Right: Jeron Hermon, Daniel Lee, Peter Trojic, and Anthony Lopez photographed by Richard Copier at the Design for Disabilities gala.
During my tenure as Part-time faculty at Parsons The New School for Design I was afforded an opportunity to be the faculty lead and course creator for Design For Disabilities. Over the course of the Spring 2018 semester I worked with Daniel Lee (student) to create clothes that responded to the needs of people living with various disabilities. The project was developed in tandem with the Cerebral Palsy Foundation and Parsons with mentorship and textile donations from Anna Sui.
My role was to assist, guide, and facilitate conversations with Daniel and people living with disabilities so that Daniel could design for disabilities first; considering the needs and interests of a population often marginalized by design and, especially, fashion. I provided feedback, alternative solutions, and assisted in devising hacks to pre-existing solutions that might better serve our user demographic.
Our relationship to what we wear is a very intimate and yet often over-looked part of our identities, but for those with limited access to clothes that fit or function it can be a liberating experience to have their desires and needs put first.
Professorial Work At Parsons
Spring 2015 - Spring 2019
I had the pleasure of collaborating with dozens of world-renowned faculty to cultivate thought-provoking classroom experiences for hundreds of inspiring and talented students during my 1,600+ hours of teaching at Parsons over nine semesters.
Although I taught several courses in the AAS program, the bulk of my classes were in the Fashion BFA program, and over half of my total teaching hours were spent teaching capstone thesis classes. The capstone thesis class experience I designed challenged students to create a research-heavy body of work that was critical and articulated in conceptual outcomes and build into a forecasted exit strategy. The exit strategy helped shape students' portfolios, plan their careers, and consider alternative pathways to achieve their post-graduation goals.
The other half of my accumulated teaching focused on materiality, surface, and textile design; this work includes but is not limited to loom and tapestry weaving, machine knitting, natural dying, silkscreen printing, stamping, several types of shibori, batik, indigo vat making, ombré dyeing, creative sewing techniques, laser-cutting, and 3D printing. These tactile explorations focused on expanding students' skillsets and knowledge of craft processes.
Listed below are the courses I instructed and the semester in which they were taught.
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This course offers students an opportunity to explore a variety of media or processes applicable to be utilized within fashion design contexts. Technical explorations and material manipulations will be encouraged and could range from traditional solutions around contemporary concepts such as design endurance, the creation of new fabrication solutions, or the use of blended technology. Students will be encouraged to explore a range of design and technical processes in order to come up with creative material solutions that could be resolved as 3D fashion products or 2D original and innovative fabrications.
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As the first in a two-part course sequence of senior major project study, students will draw upon experience gained at earlier stages of the program. This is a self-initiated thesis project[s] that encompasses theoretical and practical design practice. It allows the student to research and develop an area of interest, providing the opportunity to demonstrate ideas and abilities in a study, which is negotiated and progressed, in breadth and depth. It also requires the student to plan and develop a proposal/brief, based upon the synthesis of exploration, ideation, and research. Students are required to manage and communicate, their processes, while developing an individually negotiated approach to a design question or issue, which will be documented through research/reflective journals and technical notebooks were applicable.
Materiality: a focus on craft with a highly specialized approach to textile innovation, including dyeing, print, technology, weave and knit as drivers for design and collection. Deep exploration in terms of research towards unexpected outcomes in both apparel and non-apparel are encouraged.
Open to: Bachelors Degree students with a major in Fashion Design, seniors only.
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This course will expose students to culture, principles and materials that encompass fabric creation. It will cover the differences between protein fibers (silks/wools/mohair), cellulose fibers (cotton/linen/hemp), synthetic fibers and how they interact with dyes, pigments, muds, and ochre, in addition to the impact they have in the environment. Student projects will include screen printing, fabric painting, fabric dyeing, digital fabric printing, and felting.
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As the first in a two-part course sequence of senior major project study, students will draw upon experience gained at earlier stages of the program. This is a self-initiated thesis project[s] that encompasses theoretical and practical design practice. It allows the student to research and develop an area of interest, providing the opportunity to demonstrate ideas and abilities in a study, which is negotiated and progressed, in breadth and depth. It also requires the student to plan and develop a proposal/brief, based upon the synthesis of exploration, ideation, and research. Students are required to manage and communicate, their processes, while developing an individually negotiated approach to a design question or issue, which will be documented through research/reflective journals and technical notebooks were applicable.
The Collection pathway challenges you to consider approaches to body, gender, age, and size, amongst others, in order to develop new narratives, definitions and terminologies within a clearly defined visual aesthetic beyond traditional contexts. Deep exploration in terms of research and process towards unexpected outcomes across gender is encouraged. Students are encouraged to redefine the meaning of a collection.
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This course provides an opportunity for the student to continue development of personal research methodologies, design philosophy, processes and innovative approaches to materiality. Students will be guided to further develop a personalized approach to design aesthetic, vocabulary and markets. Students will examine more complex design concepts in order to demonstrate a breadth of understanding of brand identity and user contexts. Consideration will be given to the visual curation of the fashion process in terms of personal identity, communication and brand messaging. As the third in a six-course core sequence, students will identify and understand the importance of re-contextualizing, defining and applying personal design aesthetics to a broad range of product and or related fashion design outcomes.
SYSTEMS & SOCIETY: Considers design in the broader context of the fashion system and society. Approaches to garment manufacturing, methods of production and craft of use are considered towards a redefinition of make/design processes and the system they inhabit. Outcomes explore non-conformist and socio-political approaches to the body, image, communication, and dress and can result in apparel and in non- apparel directions.
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In this course we will focus on the study of fiber and fabric properties, identifications, fabric weaving, yarn systems and knitting construction, finishes, dyeing and printing as related to fabric aesthetics, quality, performance and product end-use. The course combines the study of textile science, the creative use of fiber and fabric as inspiration in fashion design, as well as applications and practices in the fashion industry. By the successful completion of this course, students will be able to demonstrate a fundamental understanding of textile and yarn terminology, communicate fabric knowledge in relation to design, understand the development of textiles within a historic, ethnic, geographic and cultural context and showcase ability to manipulate fabric in innovative ways that impact design silhouette and details.
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This course provides the student with an opportunity to develop a personal design philosophy. As the fourth in a six‐course core sequence, students will begin to theorize and contextualize their own work in readiness for senior capstone experience/final major project.
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This course allows the students to further develop 2D and 3D design skills and practices within the context of the discipline and will build on the skills introduced in Design Studio 1. As the second in a four-course core sequence, students will be moving towards a competency in the application of design and research processes while seeking appropriate technical 3D solutions. Students will then continue to refine their approaches in regard to primary research and balancing the technical with the aesthetic.
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Specialized Studio 2 is supportive of the Integrated Design Studio courses and Specialized Studio 1 and gives the student the opportunity to build on additional pathway specific skills/techniques within 2D/3D execution. Students will have the opportunity to continue this pathway and further articulate their vision through 2D/3D processes with emphasis on innovation and personalization of technique. Students will continue integrating 3D software technology such as CLO 3D and if applicable other previously learned 3D software into their design process and final development.
Parsons Design Lab Fellowship
Fellow: Parsons + Ford + Condé Nast, 2014
Focused on building better clothes systems that center on designing, making, and dressing, the inaugural Parsons Design Lab fellowship consisting of five design graduate fellows, three faculty leads, and two research assistants set out on a four-month journey to explore the body and what it wears. Sponsored by Ford and Conde Nast, the fellowship was positioned to study and research Ford’s unique supply chain and assembly line manufacturing process where no two vehicles are the same, yet are produced in the same mode of making. Speculative signal mapping, semi-structured interviews, and designing with members and stakeholders of the Detroit community in conjunction with Living Arts became integral in developing the bespoke design while making process derived and inspired by Ford’s making process.
Fashion Futures Lab
Breaking ground and creating spaces for practical dreaming that span academic and corporate fashion worlds.
Researcher 2021
In 2021 I became a researcher at the Tishman Environment and Design Center at Parsons where I was provided an opportunity to research and flesh out what a Fashion Futures Lab might look like and address. Over the course of several months, the team led by Yvonne Watson, Joel Towers, and myself wrote a substantial report on the criticality of the lab and its role in fashion futures. Centered on regenerative design practices and theories that holistically addressed complex fashion systems—supply-chain management, technological innovations, scalable craftsmanship, innovative agriculture strategies, reimagining waste, and new material streams.
Student-Centered Course Design
Redesigning intensive experiences to create a greater sense of community.
Research Assistant 2021
In the summer of 2021, while I was a student in the Transdisciplinary Design MFA Program I was asked to redesign the SkillShare portion of the intensive course to create experiences where participants and students could become more comfortable with each other and gain a better understanding of their differences.
My approach was to first gain an understanding of how and where the previous year’s courses were successful and where we might have space to grow. I created a survey and interviewed several students regarding what resonated from the SkillShare and what might be some friction points from their perspectives. After sifting and clustering all of the responses (please see the chart coupling this project) and meeting with the faculty who initially designed the course it became clear that the highest point of friction came from the language used to describe this portion of the intensive and primarily the title, SkillShare. The SkillShare denoted a sense of “I am telling you how to do _____,” which was clearly not the faculty’s intention for the space. So, after several iterations and discussions with faculty and student stakeholders, we decided to redesign and rebrand into collective-oriented Salon Sessions that centered on how and what students were interested in exploring and building together. The Salon Sessions, while slanted to a more open-ended approach, maintained the course of a unifying and learning moment that the faculty deemed critical and yet allowed for people to express other attributes of themselves beyond their knowledge and use of tools.
By providing a loose structure around a prompt, a self-sign-up document for both participating and facilitating and physical and online spaces we allowed for the semistructured course to blossom. One where people could learn with and from each other through safe spaces of inquiry and experience. We asked that everyone facilitate at least one session and participate in at least two sessions ensuring a fruitful engagement.
Portfolio Review Committee Member
2015 - 2019
Speculating as to what a meaningful student body might look like, I reviewed student applicants' portfolios and submission documents applying for the Parsons (The New School of Design) BFA programs. Within this role, I assessed creative works, advised on acceptance status, and provided students with additional feedback for advancing their work. Additionally, students must craft project-based work centered on a unique prompt that changes every year. This complementary assignment is designed to provide insight into how the applicant thinks and works into and out of parameters and guidance. Ultimately, this role informed my pedagogical practice through emerging design education trends providing more informed discourse regarding applicants' trajectories and program fit as well as areas the university could improve to enhance student experiences.
Designing Curriculum
Curriculum Development for the Fashion Management Masters in Professional Studies
2019
Worked closely with Yvonne Watson (the Associate Dean, Curriculum and Learning at Parsons), Antonia Craig, Kelly Grossi, to develop course descriptions, learning outcomes, flexible schedule formats, and training procedures for prospective instructors to ensure that the inaugural program exceeded the internal university and MSCHE standards.
Over the twelve months of the MPS Fashion Management course, students would be exposed to a wide range of courses including Systems and Strategies, Technology and Innovation, Entrepreneurship, Manufacturing and Production, Global and Local Leadership, Retailing and Service Design, Professional Development, Digital Studio and Branding, Communication and Social Media, and a multi-semester research course that culminated as their Capstone Project.
International Design Teaching
Guest Professor and Education Consultant
2016-2020
Provided lectures and workshops for students and faculty in several art & design educational institutions in China, both remotely and on the ground in eleven Chinese cities from 2016 to 2020. Guided several workshops centered on zero waste, designing through making, non-linear design, stretching the imagination with impossible tasks, and conceptual narrative development. Introduced Socratic method techniques for design teaching as a way to excavate a conceptual root to deepen and personalize the works meaning and create inroads and approaches to further abstract the extracted. Beyond the classroom, I also advised faculty on the design education futures and admissions strategies for U.S.-based universities.
Collaborative Zero Waste pattern making and fabrication exercise. (Shanghai)
Conceptual draping and pattern making course. (Beijing)
Portfolio design workshop. (Chengdu)