Life of a Fashion senior: Part four
Written by Hana Hyman
Photo courtesy of Taylor and Judy Krankowski
After the fashion show this weekend, once everything had been said and done and walked the runway, District met with Taylor Krankowski one last time to hear her closing thoughts.
Two of Krankowski’s outfits were on display throughout the weekend in the static show at the Pei Lin Chan Gallery, and she attended the show in support of her colleagues, as well. She felt the most prominent bonus of the static show over the walking show is that “you got to see all the details…because from the jury show we were so far away, and from the fashion show because [the models] just walk by.” Another perk of the static show was that Accessory Design got some much-needed attention:
“I’ve never seen [accessory design work] really displayed in the fashion building. They have one shelf on the second floor, which is pretty much all you see of their work. [Fashion majors] are always running around with their stuff, so everyone has an idea of what we do, so it was really interesting to see their stuff. It’s amazing how much work they put into the shoes, how detailed every little thing is,” said Krankowski.
However, Krankowski felt the location for the static show “was not ideal” since it is removed from the downtown area and the museum, which was this year’s fashion show location. “That kind of stunk. I would rather have just been in the library.”
For the fashion show, Krankowski decked herself out in a shirt of her own creation. Like any artist, Krankowski provided some critique of the show itself:
“…There should have been televisions in some of the rooms. [The audience] had no idea that André Leon Talley was even there because we weren’t in the theater and we couldn’t hear the speech he had made, so it was kind of like we had no idea what was going on.”
Unfortunately, only people seated in the auditorium could hear the guest speakers. Those along the galleries were unable to participate in the talks by André Leon Talley, Stephen Burrows and President Paula Wallace.
“Another thing everyone agreed on was that, as outfits came out, you didn’t know whose they were. Usually, at Trustees, they have screens that show everyone’s names. So, [events staff] could solve those issues if they just put one screen in every section so they could put the designers’ names and who is speaking.”
Krankowski had high praise of her peers, but was especially interested in seeing how they chose to dress themselves for the event, explaining that, “most designers design their own outfits for the show.”
Over all, Krankowski was pleased with the show: “It was a very good set of designers for the space, because it was more conceptual clothing. I think they all looked like pieces of art in a museum.”
Immediately following the show was the “after party” in the museum courtyard. Models took to the brick steps to continue displaying the designers’ hard work and the designers sidled up alongside them. This gave the audience the opportunity to match a collection with a face and name.
District asked Krankowski some final questions to reflect on her experiences:
Did you come into contact with any industry professionals at the static show?
Not really. Both of the times I went, it was pretty quiet. I mean, my mom was there. Yea, I didn’t really get to see anyone’s reactions. When the show was at the Trustees, everyone would flow from the theater into the Jen Library.
Do you feel like the static show didn’t get enough attention or advertising?
I had no idea where the Pei Lin Chan Gallery was, and it took me a while to find it. It was not an ideal location. I think the museum lobby would have provided a much better representation of everyone’s work. It would have been a good opportunity before the show—since there was a lot of time—for people to have seen some of the work.
How do you feel about future prospects?
The collection will be a huge part of my portfolio when I start applying. I’ve made a lot of really good connections from my internship at Jones New York Group and from SCAD. I got a great response to my collection from the jurors, so I feel like that’s a good indication of how my collection will be received in the industry.
Any regrets?
I think about it a lot, but I really don’t think so. I really like my collection. Even today, I was looking through Vogue Bambini, which is Vogue’s childrenswear magazine, and everything was so dark. And I thought, ‘You know, that’s what I really like about my collection.’ It was different. It was brighter colors, and I like the direction I went in. I did some things that hadn’t been done before, but it was all rewarding seeing how it panned out in the end. I learned a lot about different materials. I would definitely say there are no regrets. Even when I didn’t get into the jury show, I couldn’t think of anything I would have done differently.
How do you feel this collection has impacted your future as a designer?
The more risks you take, the more reward you get. Doing childrenswear was a risk because it’s something most people don’t do and I think it’s rewarding because I found something I want to do for the rest of my life. I discovered that about myself through my collection.
Any advice for prospective fashion designers and rising fashion seniors?
Definitely have fun with everything. Some people who take it too seriously wind up getting too caught up in their collection and then they get upset and stressed. You just have to remember to keep it light-hearted and that it is senior year, and to have a good experience. Sometimes in getting time away from your work, you can look at it from a completely different perspective and you could end up going in a different direction with things. That really has been a big part of my process, and how I differ from other designers is that I take time away from my work for myself. Senior III seems really scary, but it’s just a class. You’ll survive.