The programme pursues regeneration and development by constantly adapting to the realities and needs of the designers of the future. We see this as a positive challenge and an inspiration to all the work we undertake.
Before starting at the Royal College of Art, I’d been working primarily with textiles. I did a couple of courses prior to undergraduate study, in weaving and embroidery. I worked in styling costume and as an assistant designer. I was always a consultant, in a way, but I wanted to have my own initiatives and decide the direction of my work myself.
Harriet de Roeper....continue
I’d always had an interest in textiles and colour, but never really had the chance to explore the surface design side of fashion as much as I’d wanted. And, as much as I enjoyed textiles and surface design, I never felt like I wanted to just do textiles.
My main reason for coming to the RCA was to develop my study about fashion. I’d already done a BA but needed to go further. The RCA has good connections with the Tsinghua Academy of Arts and Design, one of China’s top fashion design schools. China doesn’t have many of good design schools like it.
I graduated in 2007 from Taiwan’s Fu Jen University, in Womenswear, and then went to the Istituto Marangoni in Milan, to do an MA in Fashion Design. I met friends who told me I had to go to the best art college in the world, and that was the RCA, so it became a dream of mine.
Memory, Movement and Materiality
Does the Infrastructure of Fashion Education Embrace the Skills, Processes and Associated Techniques for the Realisation of Innovative Design for the Fashion Industry?
The Poetics of Knowledge: The Sound of Fashion
Jin Joo Ma
The Structure of Garments and the Structure of Chinese Cultural Identity
London SW7 4EU
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