College of Design

Goldstein Museum of Design

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After weeks of preparation, the day arrived. Rushing around, trying to get every detail taken care of, an entire apparel design class readied their designs, their models, and themselves for the WAM Collective's 2014 Elements: Design Competition and Runway Show.

The prompt for this fashion show was to design a piece that both embodied the life and culture of Siberia and addressed the idea of sustainability. Elizabeth Bischoff's design, a full-length coat with upcycled beaver fur, two different upholstery fabrics, and a lining fabric won honorable mention award. Bischoff described the coat materials as connecting strongly to the Taiga forest in Siberia, while the design and lining color suggest the Mongolian culture indigenous to Siberia.


The apparel design class took on this project as a lesson in designing for a theme and also handling the preparation and stress of a runway show. All of Bischoff's classmates who submitted a design won a spot in the show. They participated in a rehearsal where their personal music selections were played through while the models walked. Some chose to model their own work and some recruited models. Bischoff recruited her good friend, Casey Casella. To make sure the night of the show would go smoothly, they ran through the hair and makeup schedule during the rehearsal.

The show (check it out the video below) went off without a hitch, Bischoff took home a gift certificate to Treadle Yard Goods and she showcased her coat at GMD's Legendary Lake Design benefit (where she also showed a suit coat and a pair of pants) this past September. We hope to see more of her designs popping up on the runway soon!


GMD friends and supporters enjoyed a beautiful late summer evening at Meadow Knoll on Lake Minnetonka for Legendary Lake Design, the 5th annual fall benefit.

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Guests sported fashion statements driven by Minnesota's changing weather and bid on fun silent auction experiences including an evening with University President and Mrs. Kaler.

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Tasty food by Epicurean Garden Catering and music by sHorn hortZ set a festive tone and hostess Zita Hawley Wright gave tours of her historic lake home to the evening's VIPs.

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GMD's fall benefit raises important funds to support free exhibitions and the collection photo project.


Designed by Minneapolis-based architect Andrew Schuehle, Meadow Knoll is a sprawling shingle-clad home overlooking the shores of Lake Minnetonka. Schuehle's commitment to showcasing the area's natural beauty is reflected in all aspects of the 1920s-era house. Among the first homes built on the lake, the site was chosen for its rolling fields and sandy beaches. Sitting atop a gently sloping hill, Meadow Knoll echoes its north woods surroundings. With its light grey wooden shingles, expansive windows edged in mossy green, and elaborately carved wooden front door, the home sits unobtrusively amidst the old growth forest.

This is the site of the Goldstein's fifth annual benefit, held this year on September 13. One of the most exciting aspects of the benefit is the opportunity to visit some of Twin Cities' most interesting architectural sites. Past events have been held at locations from International Market Square to Davis-Winton-Nelson House (designed by Phillip Johnson). Despite its idyllic locale, Meadow Knoll is no ordinary lakeside cottage. Built by George F. Piper, president of the Minneapolis/St. Paul stock exchange, the house was a lavish summer resort in the manner of Jay Gatsby's fictional Long Island mansion. Shingle style houses were all the rage in beachside communities such as Newport and Cape Cod, and Piper's goal was to bring a little east coast glamour to his Midwestern lake retreat.

Party-goers might have lounged in cozy wicker chairs, enjoying the conversation and lake view inside an elegant screened porch. Bolder guests may have stood upon the broad stone terrace to drink champagne and breathe in the fresh pine-scented breeze. Others may have dipped their toes in the cool swimming pool or walked barefoot along the sandy beaches, listening to jazz music spilling from the gazebo and the clicking heels of a Charleston dancer strutting her stuff.

Meadow Knoll's current resident, Rosita "Zita" Hofmeister Hawley Wright understands the importance of maintaining the home's historic essence. She has lived here since her late husband John Blackstock Hawley, Jr. purchased the home in 1938. Zita's loving stewardship ensures that the spirit of the roaring 20s lives on in this legendary lake home.

For more information about the benefit, visit:



ElizaPantsTwophotos.jpg Rod Hasse Photography

by Elizabeth Bischoff

I am a sophomore at the U of M, Twin Cities, pursuing an apparel design major as well as a retail merchandising minor. I also have the great fortune to be a part of gallery staff at the Goldstein Museum of Design.

Recently, I had the wonderful opportunity to participate in Align, the Apparel Design Fashion Show on the 15th of February. The show is meant specifically for the seniors to showcase their work, but sophomores and juniors in the program get to showcase a piece of their own work as well.

Pants Project Mood Board.jpg
I showcased a pair of pants I designed, patterned and sewed to fit my body. The pants are a palazzo style with a high waist; both the waistband and pocket openings feature a scallop detail. The inspiration came mostly from the need of a pant for the everyday girl to wear to an interview or out and about.

Before I could walk down the runway, however, there was a lot to be done. I first had to get through hair and make up, model for a photo shoot and rehearse my walk down the runway. Rehearsing and performing the walk was, perhaps, the most difficult part of the day. I was told to hold my head high, keep my shoulders back and walk with one foot in front of the other - all the while maintaining a neutral expression. From this, I learned the valuable lesson of poise, which helped me display my work to the best advantage. In addition to learning this great lesson, I got to go through this first-time experience with my classmates and show off my hard work.

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Visit for more information about Align.


by Jean McElvain, Assistant Curator at the Goldstein Museum of Design

The 2014 senior apparel lines presented at the Align Fashion Show on the 15th of February were serious and smart as they strode through the courtyard of Rapson Hall. With an array of whites, blacks, grays, and beiges, even the most devout modernist likely craved a bit of color by evening's end. But the diversity of lines brought a riot of smart styles that explored gender-bending, tradition, and futurism. As someone who is constantly looking back at the history of fashion through my work with the Goldstein Museum of Design's collection, I saw hints of past styles while viewing the work of these emerging designers. The likenesses between them are arguable, but I was inspired to explore precedents for a few of my favorites.

The calm romanticism of Karen Fiegen's wedding gown had traces of a mid-1950s Adele Simpson evening dress. The white dress is, of course, much more demure than its strident black counterpoint.

alignandcollection1.jpgleft: Gown by Karen Fiegen. Photo by Rod Hasse.
right: 1984.047.009 Adele Simpson, 1950-1955, Goldstein Museum of Design Collection, Gift of Mrs. Elmer L. Andersen.

Jessa Manthe's toothy gray coat immediately reminded me of 1970s coat by Donald Brooks. While the style lines are dissimilar, Manthe's emphasis on materiality and quirk echoed Brooks' surprising diamond-pattern of raccoon fur.

alignandcollection2.jpgleft: Coat by Jessa Manthe. Photo by Rod Hasse.
right: 1988.022.001 Donald Brooks, 1970, Goldstein Museum of Design Collection, Gift of Annette Neff.

The brooding nature of Paul Erling's dress evoked a 1980s silhouette with de-emphasis on the female form. Erling's dress "out-drama's" its Zandra Rhodes comparison, but both have a sneak-peek element that keeps us visually re-visiting the garment over and over.

alignandcollection3.jpg left: Dress by Paul Erling. Photo by Rod Hasse.
right: 1992.035.008-3 Zandra Rhodes, 1980-1989, Goldstein Museum of Design Collection, Gift of Mr. and Mrs. Miles (Shirley) Fiterman.

The crisp lines and blocked use of black and white of this ensemble by Thanh Nguyen elicits a 1980s vibe, complete with a tight turned collar and office-chic attitude.

alignandcollection4.jpgleft: By Thanh Nguyen Photo by Rod Hasse.
right: 1992.035.019 Chanel, 1975-85, Goldstein Museum of Design Collection, Gift of Mr. and Mrs. Miles (Shirley) Fiterman.

Kayna Hobbs' jacket, with its asymmetry and highly constructed angles, immediately reminded me of Thierry Mugler's work from the 1980s. Both handle complexity, rigidity, and femininity with aplomb.

alignandcollection5.jpgleft: Jacket by Kayna Hobbs. Photo by Rod Hasse.
right: 2005.001.020-1Thierry Mugler, 1990-1995, Goldstein Museum of Design Collection, Gift of Emily Willard.

Align: The Exhibition will be on display in the GMD's HGA Gallery through May 4, 2014.
Visit for more information.


Make It Work: Motivating Through Graphic Design and Applied Psychology
Panel Discussion
Thursday, November 7, 6pm
Room 22, McNeal Hall, UMN St. Paul Campus
FREE and Open to the Public

Graphic Designer and College of Design instructor Richelle Huff, along with Brandon Sullivan, Ph.D., director of employee engagement at the University of Minnesota, will explore the context and meaning behind the impactful posters in GMD's exhibition, "Say It with Snap!" Motivating Workers by Design, 1923-1929.

Richelle and Brandon will also explore how the themes of persuasion and shaping behavior play out today in the fields of graphic design and workplace psychology. Here, they offer an insight into the perspectives they will bring to the discussion.

The "Say it with Snap!" exhibition is on display in Gallery 241 in McNeal Hall.
Discussion attendees are encouraged to visit the gallery prior to the event.

Richelle Huff:
"As we look at the posters in the "Say it with Snap!" collection, we can observe how contemporary marketing, art and design were affecting everyday life. The collection reflects the influence of propaganda posters from WWI used in the United States, Britain, France and Germany with its strong imagery and bold statements. We can also see the use of flat color and typography guided by periodicals of the time such as Harper's Bazar and Life. Artists such as El Lissitzky saw technology and graphic design as a new way to influence the masses. The use of the lithography technique for printing created incredible colors and an amazing amount of ink coverage on the surface of the paper. It was the convergence of all these factors that shaped the look of the posters in the "Say it with Snap!" exhibition."

Images of posters and magazine covers from the 1920s (provided by Richelle Huff).

Brandon Sullivan, Ph.D.:
"It is amazing to see how the messages and motivations behind this collection of workplace posters from the 1920s still, in many ways, apply today. The large, complex organizations of 2013 continue to look for ways to inspire employees to work hard, produce quality products and services, and avoid making costly mistakes. Of course, there are a few newer ideas that are conspicuously missing from these posters. Also, it is striking how many of the specific images and words no longer resonate with today's workforce. Exploring these similarities and differences from the past provides an intriguing window into how organizations have tried to motivate employees over the past hundred years."


jackliebenberg.jpg A Monument to the Early Explorers of Minnesota, Jacob J. Liebenberg, ca. 1916, pen and ink wash mounted on heavy half inch thick board, 64.5x87in.

The College of Design's Drawing Archives contain more than 2,000 drawings by architecture students from the last hundred years. This overwhelming collection shows the range of projects that have interested students and faculty, as well as the changing views about architectural representation. Student work of the past, much like ours today, either followed the current trends within the field or reacted against them. The student drawings display the individual's style of representation and the common beliefs of each generation, which are visible in the architectural design as well as the compositional details.

observatory.jpg Observatory, P.W. Kilpatrick, 1927, ink wash, watercolor on paper, 63.9x96.8 in.

For example, the representation of trees in these drawings varies significantly through time. They show contemporary views about the use of color and line weight, as well as the preferred media. There is a distinct difference between the carefully clipped greenery of early 20th century drawings done in monotone washes and the vibrant globular trees that begin to appear in the 30s. During the 40s there is a stylistic split in the student work between the free-form umbrella style and angular geometric trees that transitions into the leafless stick trees of the 50s.

Gateway to a Great City.jpg Gateway to a Great City, Albert Ameson, 1939, watercolor on heavy board, 97x63.5 in.

The trees also display the students' beliefs about the role of nature in architecture through their relative scale when compared with the surrounding buildings and the choice of which drawings to show them in. Even the purposeful lack of trees in many mid-century projects indicates the priorities of architectural representation at that time.

visualartcenter.jpg Visual Art Center, T.J. Schlink, 1962-63, graphite, ink, watercolor, plastic on board, 76x101 in.

A selection of student drawings will be displayed on the second floor of Rapson Hall and in the Architecture Library during the Centennial Reunion, October 25-27. Pause to look at these drawings and let their details inspire your own representational style.

by Madelyn Sundberg, GDIII M. Arch & M.S. Heritage Conservation and Preservation candidate


Mixtec Stonecutting Artistry: 16th Century Ribbed Vaults in Mixteca, Mexico is on display in the Goldstein Museum of Design's HGA Gallery at Rapson Hall through October 13th. Researcher and guest exhibition curator, Benjamin Ibarra Sevilla (Assistant Professor, Architecture, CDes) will be giving an opening lecture Monday, September 16, 6pm in Rapson Hall 100.

Nicholas Kramer, a UMN Architecture student, shares with us the process behind the 3D printing of the models of the vaults and their keystones in the exhibition.


The models in the Mixtec Stonecutting exhibit are the product of many hours, many hands, and several different machines. Before the digital models existed, the only place to see these vaults was within their respective churches in Mexico. After many hours with a 3D scanner, they had literally been turned into clouds of points, inhabiting their respective places within a computer.

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From the point cloud data, digital models of each vault were constructed, and the keystones extracted. Building and refining these models to the exacting specifications of the 3D printer took many months. The 3D printer requires the models to be "water tight", meaning they must be a complete solid with no bare edges. This can be difficult in such complex pieces. Since each model is a different size and has a different degree of complexity, the time it takes to print each piece varies tremendously.

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Some of the pieces in the exhibit were printed overnight and took little interaction other than pressing the print button on the 3D printer, while others took upwards of two days to print and even longer to remove from the support material.


The process of creating these models was a tremendous challenge, but ultimately proved to be an invaluable learning experience. The most exciting thing for us is that the models provide the opportunity to see and study something many would never have been exposed to otherwise.



– by Nicholas J. Kramer, School of Architecture, University of Minnesota - Twin Cities, B.D.A

Images courtesy of Nicholas Kramer and GMD.


On July 9 and 11, four groups of high-energy children ages 5 through 13 visited GMD's exhibition, Printed Textiles: Pattern Stories and then enjoyed a hands-on experience with block printing.

The 52 students were attending a week-long Gopher Adventure camp on U of M's St. Paul campus. Exhibition curators Jean McElvain and Kathleen Campbell were the tour guides and block printing instructors.

The paper hearts at this mannequin's feet indicate the "favorite" votes that several students gave this Stephen Sprouse designed dress. The students liked the graffiti inspired lettering printed on its surface.

The kids impressed Jean and Kathleen by ably describing the different vantage points for these two screen prints of trees.

After the gallery tour, each group went to a nearby classroom to learn how to make block prints on cloth. The designs on the six linoleum blocks were carved by GMD staff members the week before.

Jean demonstrated how to apply ink to the linoleum block with a roller.

The kids quickly caught on. They enjoyed inking the rollers.

After rolling the ink onto the block, the next step was flipping the block face down onto the cloth and pressing down very hard on the block.

Wow! Each student took home a block-printed textile.

Special thanks to Wet Paint art supply in St. Paul for generously donating the tools, blocks, and ink so that students could experience block printing hands-on.

This exhibition is up through August 25.

−Kathleen Campbell


Join us this Thursday for a special Curatorial Tour of our summer exhibition Printed Textiles: Pattern Stories, at 6pm in the newly renamed Gallery 241 in McNeal Hall (no reservation required). The exhibition highlights items from our collection and the printing techniques that were used to create them. Throughout the summer we will share some items that didn't make it into the exhibition on our blog. See more printed textiles in the gallery and in our online collection.

Andy Warhol's 1962 iconic image of Marilyn Monroe practically defines screen print; her lips, eyelids, and hair are cannily separated out and printed in brash colors. However, this print technique is thought to have been used in Asia as far back as the 10th century AD. Europeans did not adopt screen printing and engineer it into commercial use until the early 20th century.

marilynpurse.jpg PVC handbag with screen print of Andy Warhol 'Marilyn' by Loop Designs. Gift of Margot Seigel.

While it may seem like this method of printing miraculously transfers images onto fabric, the process relies on rational technology and skill. The basic steps are:

  1. 1. Emulsify screen
    The screen, made from a stretched mesh, is evenly covered with photographic emulsion.

  2. 2. Create the design
    A separate screen will be made for each color being printed. The designer must think in a subtractive way, considering what needs to be exposed and voided in each colored layer to be printed.

  3. 3. Transfer design onto transparency
    This is often done with an inkjet printer.

  4. 4. Burn image onto screen
    The transparency is taped onto the emulsified screen and exposed to UV light. For multi-color prints, screens that will be layered must have the design in perfect alignment from one screen to the next.

  5. 5. Create print
    A squeegee is used to evenly spread ink across the stencil.

Alex Newby (MFA '13) demonstrates screen printing technique in McNeal Hall's surface design studio.

Linen screen printed hand towel, c.1960, gift of Janet L. Johnson.




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