Manifesto Homework: The Vision, A Creative Manifesto

This manifesto is via WGSN. It embodies everything I believe as a fashion designer in 2020 and the future.

Keys are:

Red: Underline what the manifesto is championing, advocating, arguing pleading for or against.
Blue: Highlight significant persuasive or emotive language.
Yellow: Highlight evidence in the text that indicates who the manifesto written for (audience/ reader).
Green: Underline the key points of the manifesto.
Orange: Point out anything you do not understand, and anything you think is extraneous.

Catalogue Essay Writing: Denouement

“They told me to take a street-car named Desire, and transfer to one called Cemeteries, and ride six blocks and get off at—Elysian Fields!”

Blanche DuBois, Streetcar Named Desire by Tennessee Williams


She entered the stage in a white coat extruding a presence that made her distant from the realities of the streets of New Orleans when the audience were introduced to Blanche Dubois. Her demise was announced at her arrival at Elysian Fields where her sister resides with her husband. In Greek mythology, Elysian Fields is an underworld. This project came about as a response to a previous project created – a white 1930s dress with a blush pink ribbon for the character’s opening scene. An expression of a childlike innocence and far removed from reality. Everything these set of photographs suggests are not. Denouement is a photographic series that portrays the closure of Blanche DuBois’s chapter in her own Elysian Fields as told in the play Streetcar Named Desire written by Tennessee Williams in 1947.

Other versions of this sampler:

Denouement is a series of photographs previewing the final parts of Blanche Dubois’s story in Tennessee William’s 1947 play Streetcar Named Desire. Her narrative began at the end of the lifestyle she once had when she arrived at her sister’s apartment in New Orleans via a streetcar named Desire. It was the first project I produced when I returned to Massey in 2017 where students were to respond to one of the projects created in previous first year studio papers. Unlike most of the other students, I too began at the end, and so the concept had to come from a project I created at Southern Institute of Technology where I transferred from. There I designed a garment for the opening scene of the play, a white 1930s dress with a pink bow, a portrayal of a Southern Belle’s childlike innocence from reality. In this project, there was nothing innocent nor perfect, just the death of one’s lavish life they once knew.

Speech Writing: Isang mensahe para sa mga malikhaing Pilipino

The speech I wrote was revised from the Manifesto of a Filipino Creative. It is spoken in Tagalog, the national dialect of the Philippines. For context, it is spoken and written for fellow Filipino creatives and the youth who wants to explore the world of creativity. The basis of the manifesto is being proud of our culture and applying it onto our creative endeavours. I tried this speech said without reading too much on the written version and speak it by heart. It didn’t work quite easily as I thought. The most surprising part of this process is that, it is not any easier writing in my own language, nor speaking my language formally. It is definitely a more conversational language. I definitely ended up using some English words to feel a little bit more comfortable delivering the message to my audience. Whereas, conversationally, I find English to be quite difficult. I also realized that to moment I spoke in my language in a formal sense, and inserted polite terms such as “po” and “opo”, pulled me towards a polite tone. It is a very Filipino trait that are often pointed out by non-Filipino people.

Edit: Above is a 2-minute version of the speech from above.

Response Essay Exercise: Quicken; Photography, touch.

I know, I heard it from everyone.
Something dreadful could happen to him. He’s in and out of the hospital, at risk every time. Stuck in a country with unreliable health resources.

“How are you feeling” people would ask me.
I respond, “I don’t know. Not until I see clearly how hard it is for him to drink his medicine. I’d know then. The focus is not there, and I’d wait until it is all clear.”

While I can still see him in my mind full of life and smiles.

I wish I could hold his hand and tell him this: this year has forced us apart. It is easier, I know, to focus in on the loneliness of being alone than to enjoy what you’re forced to be surrounded with. It’s easier to focus on the darkness surrounding us. It’s easier to hear the silence of a wide open space. Hold on tight, for a bit, a hope he’d hear me say. This year will end, and whatever this year has brought us will be over.

Manifesto of a Filipino Creative

This is what I stand for and live by as a Filipino creative exploring, creating and telling the Philippine story through my choice of creative medium: clothing. I believe clothing tells the story, fact or fiction, of society. Nonetheless, this manifesto works for any Filipino creative to inspire and, hopefully, challenge them to incorporate a piece of their Filipino-ness in their work and not forget or be ashamed of our culture.

Manipestong Pangdisenyo

Pahayag ng Isang Pilipinong Malikhain

Sa kapwa kong mga mapanlikha – mga taga-disenyo, ilustrador, dibuhante, tagalikha ng pelikula, at artista – ating isabuhay at isabahagi ang ating pagiging Pilipino gamit ang ating masining na pamamaraan sa pamamagitan ng pagsabuhay ng mga pahayag na ito:

  • Ipakita, ipakalat at ipagmalaki and mga sining at disenyong Pilipino sa kapwa Pilipino at mga ibang lahi.
  • Isabuhay ang kulturang Pilipino sa isip, salita, gawa.
  • Kilalanin ang sarili bilang isang Pilipino sa loob man o labas ng bansa.
  • Isa-ulat ang istorya ng Pilipinas sa pamamagitan ng masining na pamamaraan.
  • Gamitin at ipagmalaki ang salitang kinalakihan.
  • Gamitin ang materyales na gawang Pinoy.
  • Gamitin, ipagmalaki at bigyang kahulugan ang talento at galing ng mga Pilipinong mangagawa ng ating mga proyecto.
  • Lumingon sa ating bansa at kultura asan man tayo sa mundo.
  • Magbigay inspirasyon at ituro sa mga kabataan ang halaga ng paggawa ng sining at pagdisenyo sa kasaysayan, kultura at kabuhayan ng mga tao.
  • Pagaralan at balikan ang ating nakaraan upang matutunan at ihalintulad ang dapat at di dapat gawin sa ating kasalukuyan.
  • Kilalanin ang iba’t ibang kultura sa bawat bahagi ng Pilipinas.
  • Pagaralan ang tradisyong nagbuo sa ating kultura, ngunit ating paunlarin para sa kasalukuyang kapanahunan.
  • Gumawa ng maayos at maunlad na negosyo upang mabigyan ng sigurado, sapat at tamang pera at hanapbuhay ang mga mangagawa.
  • Alagaan ng tama at palitan ang mga kagamitan at materyales na kinuha mula sa kalikasan upang hindi ito maubos.
  • Mahalin ang ating bansa at kultura.
  • Gawin ang lahat ng ito ng may ngiti sa labi at saya ating puso.

Photo by Austin Nicomedez on Unsplash

Review Form Exercise: Es Devlin, the Art of Design

One of the highlights of the narrative on Es Devlin was how much of her work and her personality life were separated through the director’s choice of music and transitions. It created a balanced mood that it exhilarating (her work) and somber (personal life). As her work is larger than life in a visual sense, often working with cubes, digital devices and light, it is mirrored by the exciting music and a squared lense focusing on a montage of her work. Often this is without a part of an audio clip of  the interview, sometimes it does, but cut in a pace that is as exciting as her work. One bright picture or video clip to another. Then it transitions to a softer music, and the frame expands to a cinematic frame and the audience is transported to her daily life, sometimes personal with family, but most of the time in her own space as she provides us with an insight of how her mind works and her creative process revealed. I think that takes the audience into a journey.

Descriptive Form: A Writer’s Companion

Tap, tap. Its head hammered against the opened bound leaves of the unlined pages. Jetstream says the tattoo on its black slender plastic body. It’s dressed in rubber bottoms, stiff against the trembling hands of the unskilled writer at the ready for action. But the writer wasn’t ready. She’d spun her lightweight device so easily around her hands. She stopped. Then the writer continued fidgeting on to its springy head. Click, click. Click, click.

Once upon a time, it was proudly packaged in clear shiny wrapper, against white cardboard. Hanging for dear like on a hook waiting, hoping, to be picked instead of its competitors. So unique with its .38 millimetre point, it could scratch through any paper with delicate lines. Once opened, it awaits for the time it could tell stories, help study, finalize contracts, make symbols. Alas, it would stand still in a jar crammed with its comrades. It continues to wait, unbeknownst to a difficult life ahead of it.

At times it stood still in one’s pocket, watching people shake hands only to witness a beautiful fountain take its position. At times it would stay inside a bag listening as its owner asks someone for another. At times it gets passed on from hand to hand or bit by a curious child. At times it would fall off a surface, unnoticed, replaced, forever.

Nonetheless, it stays at the ready waiting for anyone to use its potential. A story teller’s companion, then it would gladly bleed out its own life so the anxious writer can learn to express.

Photo by Nathan Dumlao on Unsplash