, where she paired each designer with a working photographer to build out treatments, communicate their vision to the photographer, and produce the shoot.For de Castro, the results were unexpectedly emotional. “What I loved about this process was seeing the designers discover a new appreciation for their collections,” she says. “One of my students, Chi Han, based his collection around his personal experience with shame, hiding his body, and previously being closeted.
It’s a roadblock that de Castro has come up against even as an established player in the field. “There are too many adverts out there that are directed toward brown girls, for example, where it’s a straight white guy writing the entire script. In my experience, the end product never hits its potential because not enough folks of color are in the executive seats telling their own stories.
Within the context of the Parsons project, however, she’s keen to note that she learned just as much from the students as they did from her; more specifically, in relation to the difficulties of reconciling thornier social issues in an industry that is predicated on conventional Western beauty ideals. “Fashion designers are trained to take a concept, annihilate it to shreds, and then build from there.
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