#Jennifer Minniti | Explore Tumblr posts and blogs

annie-mit-ie · 3 years ago

Text

Glimpses: Part 2 (Kathryn Hahn x Fem!Reader)

Previous chapter <<< >>> next chapter

Summary: First Meeting.

Word Count: 2.6k

A/N: Hey everybody! It is LATE over here, so if you find any grammar/spelling mistakes - please just keep them. As always, my asks are open for any questions, suggestions, input or general life inquiries - I don’t bite ;)

Additionally, I’d offer to create a tag list for anyone interested :) ---

This is still for you, G.

——————————————————————————————————

“Hello?“, you ask nervously as you pick up the call.You had considered not doing so, since it was unusual for strangers to call you at all, and really - no one had any reason to do so. You hadn’t applied for anything, you hadn’t signed up for anything, hell, NO ONE new had gotten your number in a hot minute.

For a split second, your anxiety was about to take over and you wanted to decline the call, but you managed to fight it and now here you were - about to take a phone call from god knows who.

“Well, hello there!“, an unknown voice chimes through the speakers, “My name’s Jennifer Minniti and I’m calling on behalf of one of my clients. Would it be okay if I asked you a couple of questions about your afternoon?“

You’re confused and look around to see if anyone is watching you having a slight meltdown in your car. You’re still sitting in the parking lot and the sun was still up and bright so people could definitely see you.

“Are you still there?“, the woman asks.

“YES! Yes, excuse me, I am. I am confused as to why you would call me but I guess we’re about to find out. Ask me whatever it is that you need to ask, let’s go.”

You don’t know what has come over you but right now you feel like you just want to know what’s up to continue on with your day and get back home.

“Alright, thank you“, the voice continues, “I was wondering if you attended an event today hosted by Billboard?“

You’re still confused but talk yourself into the possibility that they are simply collecting data on how the audience liked the show.

“Yes I did!“, you can tell the woman on the other end is relieved.

“GREAT! And are you wearing a, I quote, pumpkin-orange top, a dangly necklace and have [you color]ed hair?“

“Yes Ma’am.“ You had a feeling where this was going but this couldn’t be, or could it?

“Fantastic. Well, the only other question that I have to ask is if you were standing close to stage C at any moment during the event?“

Your eyes widen as realization kicks in and your voice shudders as you affirm. Your heart rate must be high enough for two right now and you’re glad you’re still parked - Alexandra hates when you hold your phone in your hands while you are diving, so you try not to do so and that is the reason why you didn't move your car yet.

“Okay honey, since you confirmed all of my questions it seems like you really are the person I am searching for. Lucky us.“, she chuckles, “All I need from you now is your name before I can give you further instructions.“

“Y/N.“ You bite your lip in anticipation.

“Nice to meet you, Y/N, I would like to provide you with an address to go to tonight, to meet up with my client. Ms Hahn would like to have a drink with you, since you had a lasting impression on her during the show. You are over 21, I assume?“

“Yes Ma’am, I am 23, actually.“, you reply a little too quickly as your eyes widen in absolute shock. Did she just mention Kathryn. Is Kathryn her client? How? Why is this happening? WHAT is happening?

You remember that the woman is still in the line and bring your attention back to your phone where she had continued talking: “Great! I’ll send you the location right away and then we are all set. Do you have any further questions?“

You close your eyes for a second and breath. “I… don’t think so?“

“Fabulous. I’ll see you later then, Y/N. Bye for now.“

And as quickly as she came into your life she hangs up again, leaving you hot and cold and absolutely confused. You release a breath that you didn’t know you were holding and look at your phone in disbelief. THIS CAN’T BE. But right as you started to think that maybe it was all just a dream, a flicker in time in which you shifted realities, your phone vibrates and an iMessage including an address appears.

You quickly click on it, it leads you to the Ritz-Carlton and directs you to its rooftop bar. Still not convinced that you actually might've just talked to Kathryn’s assistant, or whoever that woman was, you are relieved to see that at least the location does not seem too fishy.

Another message appears on the screen. “Meet her there at 8pm.“

Your eyes travel to you car’s clock. 6.28pm and the Carlton is only about half an hour away. Taking another breath you grab your phone and call your best friend again. You needed to tell someone because surely this really couldn't be happening for real right now.

Alex picks up quickly again and seems tired - its half past three in the middle of the night for her, so it kinda made sense. She quickly realizes how out of place you are and asks her way through the chaos while you try to recreate what had just happened. In the end, the both of you decide that you would turn your location on for her to see where exactly you are and then you would just go for it.

If it’s a scam, then at least she might be able to help you if anything goes wrong and the both of you had a crazy story to tell. And if it’s not a scam, well, then you’ll see where this is going. Either way, you turn the keys and start the engine.

It’s 7.32pm when you arrive at the Ritz. Traffic was a pain and you took a wrong turn TWICE, out of nervousness. Luckily, you brought your make up bag with you today to get yourself fixed up before the show, which comes in handy now that you really need to be touched up.

You quickly do so and put your hair up in a messy bun, some loose strands hanging out in the front. Not too casual, but definitely not too serious. Fifteen minutes later, you leave the car and enter the hotel where you quickly sit down in one of the arm chairs to not raise suspicion.

The following minutes feel like hours, if not years, and you start to get worried. Your eyes scan the room and you focus on every single face present trying to figure out what was happening. Finally, a tall blonde woman steps out of an elevator and walks towards you with a beaming smile.

You immediately recognize her voice as she introduces herself again and feel safe as she puts her hand on your lower back to lead you to the elevators. You are shy, nervous even, even though that is not representative for who you are as a person at all. The ride is longer than expected and right as you can’t bear the silence any longer she turns and faces you.

“Please know that all of these are safety measures. Kathryn is very friendly and down to earth and loves to organize things herself, today’s situation was just a little different from anything this woman has pulled before“, she rolls her eyes with a smile, “and organizing her life was a little extra hard for me today, considering it’s also my job to ensure her privacy. Anyhow, here we are…“, she says as the elevator doors open and you are greeted with the sight of a large white bar that is confined by a small pool.

There aren’t many guests up here at this time, it is probably still too early, which makes it easy for you to scan the room for a familiar face. The assistant must have noticed the sad look on your face as you couldn’t manage to make out anyone in the crowd and smiles at you fondly. “She isn’t here yet, Dear. There was a lot going on back at the show and she is probably running a little late - as always. I’ll call Stuart, the driver and make sure to keep you updated.“

You sight in relief and look at her thankfully as you sign the corresponding gesture because she is already on the phone. It’s something you do a lot. You sign as soon as someone might not be able to hear what you have to say, ever since you took a class back in high school.

She immediately picks up on it and signs a quick “You’re welcome.“ back as she listens to what Stuart has to say. It’s a quick call and when she hangs up she shoots you another smile before leading you to a nearby seating arrangement.

“Any minute now.“, she says as she leaves you to yourself.

Just like that, it was time to wait. You hate waiting. You really try to be a good friend at all times, but when it comes to meeting people you’d always chose to be a tad bit late instead of having to wait by yourself for a while until your friends arrive. It’s an annoying habit, but for you it makes life just a little easier.

Still unsure if the current situation is real, you scan the place to check your surroundings once again and take it all in. A fireplace lights up the space close to you and you can see all of downtown from where you’re seated. Your eyes travel back to the fireplace and you remember that podcast you listened to once, where a doctor talked about the dangers of carbon monoxide and how people actually die from their ovens sometimes.

For a second, you think about if you should call a waiter and make them aware of that issue, but the window front grabs your attention once again. The view is breathtaking but you can’t get too close to it because of your fear of heights. Life really is a struggle. Leaning back into your chair, you silently thank the assistant for purposefully choosing seats in the back where you would have some calm and quiet, because right now you greatly appreciate that.

Unsure what to do next, you reach for your phone to find something to do while you wait and get sucked into Tiktok for a couple of minutes. Your For You Page never fails to keep your full attention, so you don’t even realize someone is approaching your table.

“Hiya Hon!”, a familiar voice chimes and you drop your phone as you look up to meet her gaze.

The cracking noice as it hits the floor sends a shiver down your spine - not in a good way - but you’ve got better things to focus on right now. Kathryn Hahn is actually standing in front of your table and as soon as that realization sets in, you jump up to properly greet her and extend your hand only to take it back immediately to flatten out your skirt.

Furthermore, you additionally proceed to quickly pull the skirt down as far as possible because suddenly you feel very much dressed inappropriately. Kathryn looks you up and down, a soft smile playing around her lips. You’re nervous. She likes that.

Before she can look at you a second time, you finally extend your hand and meet hers in a firm, yet soft, grip. “Lovely to meet you Ms Hahn, good evening.”

“Oh dear, call me KATHRYN.”, she exclaims in a melodic tone with a beaming smile plastered all across her face.

Your hands are still holding each others and you can’t help but scan the other woman’s appearance. She hasn’t changed yet. Body still hugged by the white corset, her ponytail a little more loose than you remember, she is standing in front of you as beautiful as ever. You realize you’re staring and silently scold yourself as you offer her to choose a seat.

“Oh no honey!“, she laughs, “You sit down for now and I’ll get us drinks. Let’s start this night right!“

And as quickly as she had appeared, she disappears again on her way to the bar. Sighting, you sink into your chair and take a deep breath as the first nervous wave washes out of your body.

You’re still unsure what this is all about and what is going to happen next, but have no time to overthink once again as Kathryn slides into the chair across from you and locks her gaze on you.

“So.“ She says, looking at you in anticipation.

“So?“ You ask and the same nervousness washes over you once again.

“Well, first of all I’d like to know who I am spending my evening with.“ She winks and it makes your finger tips tingle.

“Y/N. My name is Y/N. And I am not sure I am actually the person you want to spend your evening with.“

“Y/N,“ she sighs, „as adorable as all of this is, you gotta drop those insecurities. We wouldn’t sit here if I didn’t intend to! I don’t do this a lot.“

“Do what a lot???“ You look at her surprised but get interrupted by a waiter who puts down two glasses of white wine followed by the whole bottle laying in ice and leans down to tell her something in private.

She nods and he leaves the table again after shooting you a short smile. Meanwhile, Kathryn grabs one of the glasses and hands it over to you, fingers brushing, before your eyes meet again.

This time, no one dares to look away and you can only bring yourself to a shy smile before you bite your lips for a short moment as she raises an eyebrow and grins at you. She giggles and takes a rather large sip before she continues looking right into your soul. At this point, the nervousness is unbearable and you decide to follow her in sipping the (probably really expensive) wine.

Two glasses in, it all suddenly seems easy and she leans back into her chair, chin propped on her hand, listening to one of your stories about college and work. You love working, but you are also exhausted basically all of the time and could really use a break. Her eyes are locked on you in a way that tells you she actually listens and all of that gets validated by the fact that she keeps nodding and makes small remarks every now and then.

You two had shifted into a comfortable hang out which you willingly blame on the cold air that gave you the chance to elegantly offer your black blazer to her. She had shivered, just once, for a split second but that made you jump and put the small jacket over her shoulder, which she acknowledged by placing a hand on yours, resting on her shoulder.

The whole evening felt unreal, yet familiar and comfortable at the same time. Sitting with Kathryn was very inviting, she is charming and radiates more warmth than anyone you have ever met. Not looking at the time at all, you two chat, laugh, get to know each other and occasionally glance over the rim of your glass to find the other’s gaze resting on you.

An outsider could’ve said you two were exchanging glances, but really, it was more than that. With all the fun you have you completely forgot that you were only supposed to have a single glass of wine, if even, to be able to find your way back home by car. Kathryn notices the way you look at your glass in disbelief and slides her hand across the table until it touches yours.

“Don’t worry, Hon, you don't have to drive. You can stay with me tonight.”

#Kathryn Hahn #Kathryn Hahn x Reader #Kathryn Hahn Fanfiction #Kathryn Hahn x You #Groupie Au #Groupie #Glimpses

129 notes · View notes

sincityriddler · 6 years ago

Text

Fashion

"We don't know the physical body underneath. All of the beautiful male form is not shown with a suit, and it's been like that for the past 100 years. What fashion does for the female figure is amazing, and it has failed to do so for men. And there's always this term androgynous dress, but I think that's a fallacy. It always means women wearing menswear."

-Jennifer Minniti in 1998 for metroactive.com

Love this! Tells so much about the way society is! Women have so many more fashion choices to them, then men will! There are days I want to wear some tights and knee high boots but it is not considered normal. In a time in our past men wore a lot more feminine clothes then they do now. When did things change so much that we have this line drawn on what can and can not be worn?

#fashion #boots #tights

1 note · View note

nasircoursera · 5 years ago

Text

Data Management and Visualisation - Week 1 Blog

This post is connected with the Coursera course titled as provided above and is part of peer review assignment submission. This is the start of course for me and my first blog using tumblr (so pardon any errors).

The topic is Getting your Research started. As per the guidance, there were several datasets provided by the course where I am expected to review the datasets and analyse these with the purpose of selecting a suitable set which I am able to analyse further and come up with a hypothesis as part of this week 1 assignment. Accompanying the datasets are “code books” which carry various variables in relation each particular dataset to assist with understanding the various aspects of the data and assist in understanding and drawing conclusions from the data and convert this into information, thus coming up with the hypothesis as stated above.

I reviewed all the four datasets and their related code books, these included - one in health sector (Adhealth), one from education sector (NESARC), one from natural sciences (Mars Crators) and one from GAP minder which included various economic related information from several countries around the world. Analysing the various sectors from these datasets, as a professional in financial world, the economic information in relation to various countries in the world attracted my attention. In addition, I have recently wirtten a paper for a course relating to economic factors which involved extensive research and studies and it only seems reasonable that I am able to apply that research by means of this new skill that I am looking forward to obtain in data management and visualisation.

With the above thoughts and analysis in mind, I opted to use the GAP minder dataset. A further analysis of the variables in this dataset also show that majority of the variables provided as quantitative variables such as income per person, female employmen rates, internet user rates or life expectancy with no categorical variables used. This will further assist in forming a hypothesis with not aving to deal with dummy data and utilise numerical variables provided in the code book.

This now further lead me to analysis the variables provided in the code book to decide on the question that I intend to ask or the topic that I would like to explore further to assist with the hypothesis. The analysis of variables show that several of the variables are dependent (to some extent) on the income per person in a country together with several other social or economic factors. For example, if we were to look at femail employment rates in a country it can be reliant to the income levels in the country together with social expectations and opportunities available in that particular country. Similarily, we we look at the internet use rate (internet penetration) in a country it may be dependent on disposable income available to individuals and also the level of education, desire and opportunities available in the country not to mention the prevelance of technology.

Looking at the above, my interest was very much towards understanding what drives the femail employment opportunities in a country and how it can be improved or understood better to support the entire country and add value to domestive growth in an country. The two variables noted for this question to be abalysed included female employment rates in various countries and the income level of people in a country. This gave me the first question that I would like to answer “What drives female employment rates in a country and how it impacts the income levels in a country?”.

The week 1 course work also expects me to than look at the variables again and consider a second question that I mwy want to ask looking at the data set and the variables available. This took me again to the code book, analysing the code book, I also found interesting to note that some countries have very high penetration levels of internet. Some of these penetration levels goes against the common understanding as not only the penetration is high in developed countries but the developing countries have fairly high levels of penetrations such as Croatia and Malta where one would expect the penetration not to be comparable with the western or developed countries. This made my second question to ask as “What leads the countries to have high level of internet penetration and what drives this penetration?”. The two variables for analysing this question included internet usage rate in a country and income levels in that country to be able to understand a correlation and theri relationship.

One the questions to be answerd were decided, I visited the literature which I have found through Google Scholar to be able to alanlyse the above two questions further and be able to understand the views from other writers and utilise their secondary data to understand their conclusions. The literature studies for the two questions being investigated included as follows:

QUESTION 1 - FEMALE EMPLOYMENT RATES

The Structure of Women's Employment in Comparative Perspective - Becky Pettit, University of Washington AND Jennifer Hook, University of Washington. Social Forces, Volume 84, Number 2, December 2005. University of North Caroline Press.

Women In Entrepreneurship - Maria Minniti, Ph.D., Babson College and Pia Arenius, Helsinki University of technology. 2003.

FEMALE LABOR FORCE PARTICIPATION: AN INTERNATIONAL PERSPECTIVE - George Psacharopoulos and Zafiris Tzannatos, Research Observer 4, no. 2 (July 1989,

QUESTION 2 - INTERNET PENETRATION RATES

An exploratory model of inter-country Internet diffusion - Richard Beilock AND Daniela V. Dimitrova - www.sciencedirect.com.

ICT Use in the Developing World: An Analysis ofDifferences in Computer and Internet Penetration - Menzie D. Chinn AND Robert W. Fairlie - Review of International Economids 18(1), 153-167, 2010.

Factors affecting Internet development: An Asian survey - Hao Xiaoming and Chow Seet Kay, First Monday Journal, Vol 9, No 2, 2 February 2004.

CONCLUSIONS

Following analysis of the variables and the study materials I reach to the hypothesis that the femail employment rates and the internet penetration in a particular country are very much related to the income levels and have a positive correlation. As the income levels gets higher more opportunities are generates for femails in the work force and add value to an economy as not only employees but also as entrepeneurs and providing employment. Similarily, higher income levels also reflect on the educational levels and access to technology wich means that internet penetration also have a positive correlation with income levels in a country.

While income levels are important but the studies analysed also proves that this is not the only factor. The female employment levels have been steadily increasing in remotest part of Africa due to social and societal improvements in these parts of the world contributing to further the femail employment causes. Similarily, while better income is relevant for internet penetration, at the same time, internet penetration in some of developing asian countries have been remirkable due to benefits generated due to internet access which has expedited the popularity of internet in these parts of the world.

NASIR ALI

0 notes

1filorosso · 7 years ago

Text

Quello che i sei feriti di Macerata non sanno (e neppure molti italiani)

Jennifer, Mahamadou, Gideon, Wilson, Festus, Omar e molti italiani non sanno che la nostra Costituzione è ispirata a ideali di uguaglianza e solidarietà. Non lo sanno perché quello che hanno visto finora intorno a loro è la negazione di quei principi.

Non sanno che c’è stato un tempo in cui gli italiani emigrati venivano trattati come bestie, sfruttati ai limiti della schiavitù, perseguitati…

View On WordPress

#fascismo #Festus #Gideon #Jennifer #Macerata #Mahamadou #Minniti #Omar #razzismo #Traini #Wilson

0 notes

valparaisomexico · 8 years ago

Photo

25. Wallau, de G.A. Chaves de venta en @libreriasgandhi

Desde rehacer “The Love Song of J. Alfred Prufrock” y mezclar alusiones a Dylan Thomas y Robert Hass, hasta una apropiación de Miguel Bosé, Wallau es un libro donde se consigna lo contemporáneo y lo atemporal: una elegía, una despedida al padre, pero también un encuentro con las raíces, los recuerdos y un hoy dibujado a partir de lugares y memorias.

Andrea Rivas

Entre lo elegíaco y lo festivo, a gusto por igual en el vero libre y el formal, los poemas de G.A. Chaves hablan de un modo profundamente moderno sobre asuntos eternamente humanos: la amistad, el dolor, lo que significa crear. Estos poemas resonarán en el oído y el corazón de los lectores mucho después de que hayan cerrado el libro.

Jennifer Minniti-Shippey (Jefa de edición, Poetry International)

Este libro es la crónica de un álbum ancestral, una búsqueda de identidad entre los patios donde ayer florecieron los nísperos, a través del exteriorismo nostálgico de un joven poeta que congeló el tiempo para que las cosas nunca acaben de irse.

Osvaldo Sauma

foto de portada de @rayini

#wallau #G.A. Chaves #Poesía

2 notes · View notes

nakedsexybeasts-engl220 · 5 years ago

Text

#damagedmirror #engl220 #submission

0 notes

liuxiang · 6 years ago

Video

vimeo

Tecnicontrol® from GMUNK on Vimeo.

With the robotic projection-mapping project BOX, which was completed in late 2013, Munkowitz played a vital role in imagining how robotics and screen content could be married together in a choreographed piece of art. Countless techniques were learned, and it’s common that when a project finishes a whole grip of new ideas present themselves.

One of those concepts was the exploration of robots wielding large LED Screens instead of projection-mapped canvases. This choreography would be shot with a motion controlled camera to enhance the perspective illusions. Add to that a concept of a ‘Dream Zone’ – essentially an infinite runway of screens and lighting instruments representing the panacea of what lies beyond. Finally setting the entire exercise in a richly crafted living room set and telling the story of a Television abduction, and you have a concept film that satisfies all these curiosities.

DIRECTOR

at Tool of North America for Control of the Tec®

TECHNICOLOR® CREDIT LIST

Director: GMUNK Managing Partner Live Action: Oliver Fuselier Executive Producer: Robert Helphand Producer: Wade Brandenberger Prod. Supervisor: Joshua Jaedicke Asst. Prod. Super: Dana Paris 1st AD: Ryan Lippert 2nd AD: Steve Bagnara Director of Photography: Chris Probst 1st AC: Gunnar Mortensen 2nd AC: John Roney DIT: Jesse Tyler Motion Control Operator: Mike Leben Motion Control Tech: Adam Francis Gaffer: Nizar Najm BB Electric: Julian Najm Electric: Jake Ferrero Electric: Anthoney Najem Electric: Spencer Scranton Key Grip: Eric Budlong BB Grip: Kaiyoti Pesante Grip: Johnny Segal Grip: Demetrie Cooley Grip: Chris Barnes Grip Driver: Ed Melendez Grip Driver: Sako Sogomonyan Production Designer: Charles Infante Art Director: David King Set Decorator: Jennifer Lukehart Lead Set Dresser: Michael King Prop Master: Adam Jette Set Dresser: Brian Minniti VTR: Al Chao Script Supervisor: Debbie Wright Wardrobe Stylist: Olivia Hines Wardrobe Asst: Kendal Carse Hair Makeup: Kristin Fried Hair Makeup Asst: Alma Diffie Craft Service: Brandie Garcia Gang Boss: Sebastian Zabala Animal Trainer: Stephanie Purdy Animal Trainer: Adriana Garcia

VT PRO DESIGN

VT Pro ECD: Michael Fullman VT Pro Producer: Bill Galusha VT Pro Owner: Vartan Tchekmedyian VT Pro Robo Tech: Harry Souder VT Pro Robo Tech: Houssaine Waled VT Pro Lighting Designer: Gabe Fraboni VT Pro Touch Playback: Matt Watcher VT Pro Animator: Art Perez VT Pro Tech Director: Nico Yernazian VT Pro Tech Support: Chad Burek

METHOD DESIGN

Creative Director: Jon Noorlander Creative Director: Johnny Likens Creative Director: Rupert Burton CG Supervisor: Boaz Livny Producer: Bennett Lieber Producer: Billy McMillen

THE MILL

VFX Supervisor : Robert Sethi

TALENT

Hero Actor: Lyn Quinn Dog: Squirt

CARTEL EDITORIAL

Editor: Leo Scott Head Of Post Production: Meagen Carroll Music: SoundsRED

0 notes

dresselaers792 · 7 years ago

Text

Pratt Fashion Chair Jennifer Minniti Links With Artist Beverly Semmes for Carwash Collective http://bit.ly/2wKRydk

— Dresselaers792 (@Dresselaers792) October 10, 2017

0 notes

sparklyzephirdesign-blog · 7 years ago

Text

How to Get Into the Best Fashion Schools

2,635 Shares

Comment

By Robin Mellery-Pratt September 28, 2017 17:45

As students in the US and the UK finalise their university applications, BoF asks some of fashion’s most respected educators what they look for in prospective students.

Central Saint Martins | Source: Courtesy

LONDON, United Kingdom — Fashion education has never been so fashionable. As the industry’s cultural profile rises, more and more students are applying for places on fashion related courses and the competition has never been tougher. “The difference now is that there are so many more people trying for places that, frankly, three quarters of the people that I would have given a place to 20 years ago, I am not able to give places to today,” says Willie Walters, BA course director at London’s prestigious Central Saint Martins.

Although the fashion education sector has already expanded significantly to meet demand, by creating courses and enlarging the number of places on them, non-private schools — which include many of the industry’s most renowned institutions — remain constrained by funding limitations and government-dictated quotas. As a result, securing a place at a selective school has become increasingly difficult. For the most competitive places, applicants must distinguish themselves in an internationally diverse field that numbers in the tens of thousands. Yet, given the high rates of competition, all of the educators interviewed expressed a degree of disappointment in the level of interview preparation many applicants believe to be sufficient.

To be successful, applicants — most of whom are from the Instagram-generation — must impress selection panels that were educated before the digital revolution. However, across the board, educators stressed that new media, digital artistry and idiosyncratic, global cultural reference points were to be celebrated, not ignored.

BoF asked the directors of the top ranking courses that will help select the class of 2017 to share their advice with applicants.

Central Saint Martins | Source: Central Saint Martins

“WORK HARD, BE ORIGINAL” Willie Walters, BA course director, Central Saint Martins (UK)

I want to see that students have worked really, really hard. That they have put everything they possibly can into their application. The first stage of our application process is a 10 page online portfolio. In those pages, we want to see original things that [the applicant] has created. I am looking for something that is very good of its type, or different. I might see delicacy, sensitivity, strong drawing skills; it might be messy, dynamic and colourful, hard-edged and precise. Please do not show tear sheets from magazines; we are not particularly motivated by social media icons. That is happening already and is to do with the business of fashion, not with incubating creativity.

If you are invited to interview, we want to see more of you. I expect the 10 pages already seen to come from a possible 50 pages. Students should have quite a diverse range to show us — it is very dull when there is nothing more and you just see things regurgitated. At the interview, when we ask questions, we just want natural responses. Students don’t need to be wildly articulate — that doesn’t matter. We want a range of characters. The worse thing is when they keep returning to their original 10 pages, and are incapable or unwilling of expanding the discussion.

advertising

“CONNECT YOUR WORK TO YOUR SOCIAL AND POLITICAL PRACTISES.” Fiona Dieffenbacher, director of BFA Fashion Design, Parsons The New School of Fashion (USA)

The applicants who stand out have something unique to say, both in their body of work and in the written and academic portions of their applications. Students can distinguish themselves by showing a demonstrated passion for art and design throughout high school, both through rigorous academic engagement and through participation in extracurricular activities, summer courses, weekend programs and relevant internships. Students should also demonstrate a sense of themselves beyond the individual to include the context of their place in community. For incoming first-year students, we prefer to see a well-rounded portfolio that demonstrates their creative process and ability to think conceptually.

The written components of our application are an important way for students to tell us more about themselves and why they would be a good fit for Parsons. We urge them to make the most of that opportunity. Students should not only be able to talk about their work, but also contextualise their practice. We are often most impressed by applicants who have the ability to maturely and articulately discuss their work on a deeper level by connecting it to broader social, cultural, historical, political and economic forces. This is rare among artists and designers, even at the college level, so when we see this in an application, it really sets them apart.

Fashion students at Kingston University, London | Source: Kingston University

“SHOW HOW YOUR IDEAS DEVELOP” Elinor Renfrew, head of fashion, Kingston University (UK)

We’ll get 1,000 applicants for 100 places. Applicants must have a foundation course. That’s our first benchmark. Then we have to filter online first. That’s when we’ll look at the portfolio that they send in and it’s very easy to see who I want to interview. It’s when you look at someone’s sketch book and you see the thought process that shows the development of an idea; it’s not about the end product and it’s not template drawing. Alterations are good — anything that shows that they’re actually making mistakes. We’re looking for something that has maybe been drawn over and crossed out. That’s much more interesting than someone who has a very straight portfolio.

Overseas it’s more difficult because you have to do it without interviews. Normally, we bring in about 350 students. We have to do group interviews, because we don’t have enough time to interview all of the applicants individually and we’ve found that this method works very well. We’re not really interested in how they look. I’m interested in whether they are professional, polite and whether they want to learn. It’s not about what they are wearing. They’ve got to be the next creative director. They shouldn’t be just looking and aping, they should be creating.

“PUSH THE BOUNDARIES” Frances Corner, head of college, London College of Fashion (UK)

Firstly, it is very important that the student has really researched the course that they’re applying for. Next, we look for creative thinking, good research and good analysis. It’s really important that applicants consider what drives them, and why a particular course is the best place to help develop that drive and that interpretation. For portfolios, each page, each aspect must reveal something about the student. Sketchbooks and journals are really important to show how students are really exploring an idea and trying all sorts of different avenues while developing it. We look for any sign that they understand the importance of experimentation — you have to push the boundaries and challenge yourself. That’s really critical, as is drawing.

We’re looking for self-aware, confident individuals. Being true to yourself is also really important. In a way, that has always been the case, but it is even more important today given the level of competition. It’s as much about what they’re telling us as what we’re telling them, because they bring things from different reference points and that’s really important if we’re going to remain a premier institution in terms of fashion education.

Pratt Institute campus | Photo: William Abranowicz

“SHOW YOUR PASSION” Linda Loppa, strategic director, Polimoda (IT)

What we are looking for are young people who are curious, who have an idea and a dream. Ten or fifteen years ago, when you asked, “Who is your favourite designer,” they would say Jean Paul Gaultier or whomever. But now, they don’t know the names; they don’t know a lot of fashion history. That is a product of globalisation and is not really a problem. Many [applicants] are not prepared enough. They come in with a few sketches, which are not good enough despite what they and their small village’s art teacher may think. We need to see that they can see volume and light when they draw. In addition, today, there are so many [devices] they can use. If they make videos, they can show it to you. Whatever your aspiration or dreams are, show them to us and show your passion. There is global competition, which can mean 15 nationalities in a group of 50, which is an amazing, beautiful thing. That is unique to fashion education in some ways. Applicants shouldn’t worry about looking too much like the [existing] system either — because you will be wrong within a few years.

“RETHINK FASHION FOR THE NEXT GENERATION” Jennifer Minniti, chair of fashion, Pratt Institute (USA)

We are looking for students with the ability to think critically and approach design through ideation, a strong set of skills and evidence of an imaginative mind. When their references and inspirations are too obvious or superficial, it is a red flag. It is remarkably obvious when young people have been influenced by entertainment television and the cult of celebrity. At Pratt we emphasise craft (technique), concept (not just ideas) and context (social, cultural and historical). We want to see a glimmer of these in the applicant's portfolios so that we know there is something to work with. Technical skill is undervalued as a way to not only explore and express a concept, but to generate ideas. We think that this is incredibly important and that is reflected in the demands of our curriculum. Ultimately, we are looking for students that can demonstrate a strong and unique creative process, that are not afraid to rethink the fashion system for their generation. Fashion is global — bring your culture, values and taste to the table.

“BE CURIOUS, BOLD AND CULTURED” Leah Perez, head of fashion, Shenkar College of Engineering and Design (ISR)

First of all, [applicants] must be creative. They have to be enormously curious, bold minded and cultured. I look at somebody who is really ambitious and determined, but flexible. Because the industry is so global, people have to be easily adaptable to any situation and be able to work within a group. You don’t work alone these days. I want to see passion as well. If you are passionate about photography, take a lot of photos and show me that you are passionate about it. If you like to draw, show me sketchbooks and show me that you are taking every chance that you have to do what you love. I think the main mistake that candidates are making is they don’t understand or are not committed to the process of design.

“USE BOTH SIDES OF YOUR BRAIN” Christine Walter Bonini, general manager, ESMOD (FR)

The global level of competition is rising and we have many international applicants coming from all over the world. We are looking for curious, open-minded students, who are motivated and driven to be the best they can be. The studies here, in Paris, are very intensive and require a lot of time, rigour, energy and patience. It’s important that students show that they can use both sides of their brain, stay realistic and rational, but at same time full of imagination.

Our admission procedure works in several steps: After a careful review of application materials (curriculum vitae, cover letter, school transcripts), we ask applicants to submit a creative portfolio following our guidelines. We are eager to discover their personality and creative aesthetics, and to get to know them better before we meet them for a one-on-one interview. We ask them to present their personal universe (such as the designers, shops, books, movies and historical eras they admire or are inspired by) in a creative way. They are absolutely free to decide how to illustrate it, whether in the form of a book, sketchbook, collage, video or photos. My advice to students is tell us more about yourself, your experiences, activities, the accomplishments in which you take pride, your inspirations and dreams. Presentation and commitment are more important than technical skills — like in professional life, everyday work is one of the keys to success. To be on top, our students must find motivation and pleasure in everyday learning and working.

0 notes