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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.

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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 http://fashionshow.design.umn.edu/ for more information about Align.



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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 http://goldstein.design.umn.edu/exhibitions/ for more information.



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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.


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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."

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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."



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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



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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.


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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.

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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.


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

Images courtesy of Nicholas Kramer and GMD.




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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.


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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.


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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.


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


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


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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.


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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



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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.



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


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



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The team here at the Goldstein is busy installing our upcoming exhibition in Gallery 241 at McNeal Hall. Pattern Stories: Printed Textiles will be open to the public starting this Saturday, June 15, and will run through August 25.


The exhibition celebrates the skill and ingenuity of printed textile designers, both well-known and anonymous. The items in Pattern Stories were made using a broad range of techniques, including block printing, etching, roller printing, screen printing, discharge printing, and digital printing. Whether intended for a wall hanging, a dress, or even a shoe, a printed design can imbue an object with many layers of meaning. Come and explore the stories that these patterns tell!


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Jean McElvain (above) putting some finishing touches on an ensemble before it makes the trip down to the gallery. For some fascinating insights on how objects were selected and prepared for the exhibition, join Jean and Kathleen Campbell (co-curators) for a Curatorial Tour on Thursday, June 27, at 6pm in Gallery 241.


Below, Eunice Haugen in the gallery preparing to install a wall hanging. Once this step is complete, labels will be hung and a team will fine-tune the lighting. Then we'll be ready to open our doors to the public!

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The exhibition features several printed sundresses. Maybe it will even be warm and sunny this Saturday so that you can wear your favorite printed dress to the gallery!

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Fashion Redefined on Saturday, April 6th was an exciting all-day event dedicated to eco fashion! The event focused on innovative ideas presented by the current exhibition at the Goldstein Museum of Design, "Redefining, Redesigning Fashion: Designs for Sustainability," co-curated by Marilyn DeLong, Barbara Heinemann, and Kathryn Riley. This exhibit explores the creation of sustainable clothing by designers who respect environmental, economic, and social concerns.


Saturday, April 6th was a day of workshops and presentations for people of all ages. The opening ceremony brought everyone together for a warm welcome and included an interactive story by guest presenter "Auntie Beverly" as well as a discussion of the five themes of sustainability by the curators of the exhibit.These themes are: Emotional Connections, Repurposed Materials, Valuing Resources, Alternative Construction and Techniques, and Versatility. These themes were celebrated in different ways by each of the workshops and activities of the day.


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There was a "Sustainability Boutique" filled with fun designs for sale by the workshop instructors and University of Minnesota graduate students. There was a clothing swap and mid-day fashion show sponsored by Sol Inspirations, a local non-profit organization that advocates responsible and sustainable practices.


The diverse offering of workshops ranged from Bengla (mud) dye techniques to a "Project Upcycle" sewing challenge to a discussion focused on sustainability in the industry and much more!


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Everyone who participated in our "Day to Celebrate Eco Fashion" had the chance to learn new creative skills and ideas focused on sustainability and its importance. They also were able to find new ways to incorporate sustainable practices into everyday life. And they also, certainly, had fun!



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LillyPulitzertogether.jpg1. Dress with belt, 1965-1969, cotton, Gift of Sybil Roberts Seay 2001.014.008a-b
2. Caftan, 1970-1979, Gift of Felice Wender 1994.007.004
3. Dress, 1960-1969, cotton, Gift of Margot Siegel 1978.020.005


In honor of fashion maven Lilly Pulitzer, who passed away on April 7, 2013, the Goldstein is celebrating her iconic floral print designs. Pulitzer, born Lillian Lee McKim, lived a privileged life amongst American "royalty." Herself an heiress, she eloped and moved to Florida with Herbert Pulitzer, Jr. in 1952. In 1959, for something to do, she opened a juice stand in Palm Beach. Needing a dress to camouflage juice spills, she had one made in colorful citrus tones. The dresses met with such enthusiastic comments she soon began selling similar designs at the stand. Priced at just $22, these dresses were, according to the New York Times, "accessible to most, but really wearable only by the few who were so rich that they could afford to have bad taste."


While some "Lillys" certainly raise eyebrows (see the gregariously-patterned caftan above), most are charming little sundresses, ideally suited for hot and humid Florida summers. The playful use of floral patterns and innovative textiles paired with simple, clean silhouettes produced a modern look that feels just as fresh today as it did in the 1960s. In fact, the Goldstein's own Communications Assistant, Sharlene Balik, recently had the opportunity to wear a vintage Lilly Pulitzer dress. In keeping with the theme of the Goldstein's fall benefit party - Mad About Design - guests were encouraged to wear 60s-inspired fashions. Of this experience, Sharlene writes:


"Circa Vintage, a boutique that has clothing from the 1900s-1970s, offered Goldstein employees the opportunity to wear their clothing for the night. I went to Circa Vintage and found a Lilly Pulitzer dress that not only fit me perfectly but also the "Mad Men" theme! The dress was covered in a pink-and-green floral pattern and trimmed with lace around the collar. The dress fit me like a glove. I loved the feel and it worked well for all the movement I had to do while helping run the party. Looking back at images from that night I have to say that the dress looked even better on me than it felt. It hugged the right places while disguising the not-so-good places. It was a blast to see everyone in their 1960's attire and I enjoyed fitting right in wearing Lilly Pulitzer."


IMG_0632.JPGMallory Johnson and Eric Lagergren (Volunteers), and Sharlene Balik (GMD's Communication Assistant)


-- Natasha Thoreson and Sharlene Balik



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