Hi I'm Shelby! I currently live in Portland, Oregon working at Nike. I'm from Cincinnati, Ohio and studied design in school. I learned there that I love learning and doing and making and building friendships. If you're interested in seeing more of my work check out my site on a larger device to see full projects.
I'd love to chat or brainstorm an idea or start on a new project with you! Send me a note anytime at firstname.lastname@example.org
I’m really glad you’ve taken the time to check out my site. I’ve collaborated with some really great people to make it something that’s enjoyable to explore, lending itself to better understand me and the work I create.
I currently live in Portland, Oregon working at Nike. I'm from Cincinnati, Ohio and studied design in school. I learned there that I love learning and doing and making and building friendships. I'd love to chat or brainstorm an idea or start on a new project with you! Send me a note anytime at email@example.com
October 2017 - Present
Designer 1 in Women's Performance Running Apparel
May - August 2017
Nike Apparel Design Internship with Performance Running Inline Innovation
Portland Garment Factory
September - December 2016
Internship involved in art department, client consultation, PGF brand identity, and in-house special projects
January - April 2016
Internship working in design, production, development, knit exploration, sample making, product experimentation, and client special projects
New York, New York
June - September 2015
Summer Project Associate in Design, as an assistant designer in the boys Crewcuts division, involved in the design process with a focus in print, pattern, and color
New York, New York
September - December 2014
Internship contributing to design, production, development, market research, fabric management, studio organization, social media, reports
Diane Von Furstenberg
New York, New York
January - April 2014
Design Intern / Artistic Director’s Assistant, taking initiative on tasks including sourcing fabric and embellishments, mock-up design, fittings, trend research, show preparation, sketching, samples
January 2013 - June 2015
Apparel Boutique Sales Associate with tasks focusing on providing excellent customer service, assistance, and styling of clients, prepare the sales floor, visual display, inventory store merchandise
University of Cincinnati: Design Architecture Art Planning
Fashion Design, Class of 2017
Summa Cum Laude
University of the Arts London: Central Saint Martins
Fashion Design Womenswear
Fall 2015 Semester, Visiting Student
Seton High School
General Studies, Class of 2012
Selected by The Council of Fashion Designers of America as a distinguished Class of 2017 graduate
Distinction from The University of Cincinnati, School of Design Architecture Art and Planning Deans', for excellence in Fashion Design with focus in Product Strategy
Climate CoLab Materials Matter Novelty Winner
Competition for MIT Media Lab and Nike to propose solutions on the environmental impact of materials, grant to attend Crowds and Climate Conference
Martha Steinkamp Sherman Quasi-Endowment
2015 and 2016
University of Cincinnati School of Design scholarship fund, two consecutive year recipient for dedication to learning and exploration
University of Cincinnati DAAP Fashion program recognition for excellence in illustration
Kappa Kappa Gamma
2012 - 2014
Beta Rho chapter of the women’s nationally recognized fraternity dedicated to leadership, community, sisterhood, scholarship, and service
Pattern-cutting, sewing, material sourcing, technical flat design, textile identification, illustration, watercolor, leather work, hand and machine knitting, pottery, brand identity
Adobe Creative Suite, Microsoft Office, Lectra Kaledo, Wacom products, Mac OS, Windows OS
Ceramics, Knit, Ballet, Yoga, Tennis
Designed by myself and Danny Chambers. Developed by Natasha Dalal. Between skype conversations, email threads, and trello, Natasha worked with us to create a beautiful and comprehensive platform to share our work. The framework of this site is built to give the viewer an enjoyable experience while not being distracted by the site itself.
2018 was an interesting year for the development of my personal work and self. Being a designer at a corporate institution none of 'my' work will show for over a year and it doesn't have the same feelings of ownership to me in the way that my self prompted educational research does. Working a 'full-time' job is a balancing of adjusting and maintaining the personal fulfillment in the self, especially through means of creative growth. In some capacity. Less idealistic in reality. My growth professionally on manners of business and navigation through the corporate facility has reached new heights. Write me an email and I still may have an awkward internal conflict of 'we are multi-email-threads-deep and the problem is solved, does this rhetoric last comment from my coworker require a response at this point?' But regardless progress reviews with my boss tell me that I'm making the right decisions. It feels strange, but then again, I am learning to be respectful of time and that to learn anything takes time.
Something I've marginalized in my life has been homemaking. Or the domestic relationship with myself and the space I sleep and eat and spend the majority of my time when I am not at work or want to be alone. Basically, a physical space that I spend money to have. Throughout my education the homemaking tasks/chores/habits were on the bottom of my priority list. Since moving into a space with more permanence than I've felt in awhile it's sparked my interest in domestic experiences. The large majority of furnishings and accoutrements were sent out with me from family or collected through Craigslist with a small sprinkling of Ikea, but it's the arrangement and usage of these objects that has sparked and internal and external debate with myself. I probably use the term feng shui too liberally, but there is something about the arrangement of my space that makes me feel certain ways. I am constantly seeking a balance of how to set up and use my space to create a sense of contentment. Of course this is no where near the most fantastical dreams of what a space could be, it's more exciting to me at this point to utilize what I've got.
General Contracting aims to prove the importance of storytelling and research as key elements to creating content whose value isn't defined solely by the way it’s consumed, but rather through encouraging mental enrichment and empathetic understanding. These ideals and practices are validated in the work of Matthew B. Crawford of The World Beyond Your Head: On Becoming an Individual in the Age of Distraction. The current climate of the apparel industry is driven by profit and makes copies for quick turn around without an understanding of the content used. As a result, large retailers like Macy’s or The Gap struggle to keep consumers engaged. By challenging these traits of the industry, General Contracting explores an alternative route to creating content.
In a time of separation in the political and social climate there is a need to create conversation between groups with differing viewpoints. In creating common ground, new opportunities arise to connect and gain new perspectives.
The First iteration of General Contracting explores the American Midwest through first hand experience. Each object produced is made of materials originally intended for a singular purpose. The range of used items comes from two primary sources. Working directly with the largest workwear uniform outfitter in the United States, Cintas, provided
discarded apparel. Additional objects were collected through having grown up in and actively living within Midwest culture, a practice both personal and observational. Each resulting object of the practice is defined by the pieces that make it up. The intent of each new creation is to add self-expression to the preexisting utility of the original garments. In doing so, the first iteration of General Contracting seeks to engage two parties, those who view and use clothing as a tool to get work done and those who view clothing as a tool to reflect their thoughts and identity. In practice, General Contracting illustrates that both mindsets exist in every individual, reducing the perceived divide in culture. A similar conclusion is drawn in These aren’t the same pants your grandfather wore! The evolution of branding cargo pants in the 21st century mass fashion, a dissertation by Joseph Hancock, which explores the cultural phenomenon of cargo pants transcending time and culture.
Others have come to explore not only similar subject matter aimed at bridging gaps in culture, but also pursue a process that defines the end result. Vetements Spring 2017 collection in collaboration with 18 different brands tapped into each unique specialty of the partner brands. Similarly, New York based designer Heron Preston worked with the New York Department of Sanitation on a project called UNIFORM that has gained relevance in the fashion industry using repurposed garments. Last, Marshall McLuhan and Quentin Fiore in The Medium is the Massage explore the importance of process informing result. Within, they explain the use of restraint to drive creativity while also illustrating the relationships people form to the objects they consume.
The first iteration of General Contracting is rooted in a personal connection to the Midwest and a study of its culture. In doing so, the project connects individuals who may feel like strangers in the Midwest and those who feel at home. In the future, General Contracting seeks to continue to explore the importance of the creative process and its power to tell stories and create powerful results.
Blakeslee, Sandra. “Mind Games: Sometimes a White Coat Isn’t Just a White Coat.” The New York Times. 02 Apr 2012. Web.
Block, Melissa, and Elissa Nadworny. "Hamtramck, Michigan: An Evolving City Of Immigrants." Podcast. All Things Considered: our land. NPR, 28 Mar. 2017. Web.
Clifford, Eva. "An Intimate Glimpse Into Working Class Lives in Midwest America." Verene, Chris. Feature Shoot. 14 Mar 2016. Web.
Cover, Matthew J. “Us vs. Them: The Damaging Mentality.” Odyssey. 12 Jan 2016. Web.
Crawford, Matthew B. The world beyond your head: on becoming an individual in an age of distraction. New York: Farrar, Straus and Giroux, 2015. Print.
Francis, Lilah. “THE ROYAL 20: Helen Kirkum.” 1 Granary. 12 Jul 2016. Web.
Grant, Nick. "What People in the Midwest Think About Today's Style Trends.” Complex. 22 Jan 2014. Web.
Hajo, Adam. and Adam D. Galinsky. "Enclothed cognition." Journal of Experimental Social Psychology 48.4 (2012): 918-25. Web.
Hancock, Joseph. "These aren't the same pants your grandfather wore!: the evolution of branding cargo pants in 21st century mass fashion." Diss. The Ohio State U, 2007. Abstract.
Hess, Amanda. “Is ‘Empathy’ Really What the Nation Needs?” The New York Times. 29 Nov 2016. Web.
Hong, Nicole. "Nice Cargo Shorts! You're Sleeping on the Sofa." The Wall Street Journal. Dow Jones & Company, 01 Aug 2016. Web.
Hofstadter, Richard. Anti-intellectualism in American life. New York: Knopf, 1963. Print.
Hope, Katie. "Could reinvention solve our shopping addiction?" BBC News. 10 Nov 2016. Web.
Huber, Jeanne. "Warming Up The Room." This Old House. 01 Aug 2016. Web.
Jaeger, Krista. Manager of Sustainability, Cintas Corporation. 29 Aug 2016. Interview.
Kraus, Chris. Where art belongs. Los Angeles, CA: Semiotext(e), 2011. Print.
Laita, Mark, and Ingrid Sischy. Created Equal. Göttingen: Steidl, 2008. Print.
McLuhan, Marshall, Quentin Fiore, and Jerome Agel. The Medium is The Massage. New York: Bantam, 1967. Print.
Phelan, Hayley. "Champion's Head Designer on the Vetements Effect." Racked. 06 Jul 2016. Web.
Pressfield, Steven. The war of art: break through the blocks and win your inner creative battles. New York: Black Irish Entertainment, 2012. Print.
Riemenschneider, Chris. "Lissie returns to her Midwest roots after 'Wild West'" Star Tribune. 21 Apr 2016. Web.
Roazen, Ben. "One Man's Trash: Heron Preston Teams up With DSNY to Elevate Workwear & Minimize Waste." Hypebeast. 6 Sep 2016. Web.
Senger, Marie. General Manager, Cintas Corporation – Loc. 001. 10 Dec 2016. Interview.
Sparow, Kristy. "Vetements Redefines the Whole Idea of Designer Collaborations in One Show." The Cut. 23 Jun 2016. Web.
Stuhlreyer, Vicki. Technical Design Manager, Cintas Corporation. 18 Jan 2017. Interview.
Tharp, Stephanie and Bruce. "What is Discursive Design?" Core77. 9 Dec 2015. Web.
Turner, Kim. Standard Textile. 26 Aug 2016. Interview.
Tuttle, Brad. "Study: When You Feel Loved, You Love Stuff Less.” Time. 4 Mar 2011. Web.
Tuttle, Brad. "The Reason You’re in Love With Material Possessions? Loneliness." Time. 7 Jul 2011. Web.
Williams, Ray. "The cult of ignorance in the United States: Anti intellectualism and the ‘dumbing down’ of America." SOTT.net. 14 Jun 2014. Web.
Wilson, Robert A., and Lucia Foglia. “Embodied Cognition.” Stanford Encyclopedia of Philosophy. Stanford University, 08 Dec 2015. Web.
Wright, Joshua. "America's Skilled Trades Dilemma: Shortages Loom As Most-In Demand Group Of Workers Ages." Forbes. Forbes Magazine, 23 May 2014. Web.
Hand made Norris Lake, Tennessee red clay.
Digging red mud out from the shore of Norris Lake, a reservoir in Tennessee and working it into a cone 04 firing body. Step by step transforming the clay by soaking, mixing, sifting, drying, and kneading. Developing a concept for the final collection of pots to compliment the natural beauty of the clay paired with the hand built uniqueness.
Prologue: Experiments in Amended Gyotaku
The PRESENT PERFECT TENSE is formed with a present tense form of "to have" plus the past participle of the verb (which can be either regular or irregular in form). This tense indicates either that an action was completed (finished or "perfected") at some point in the past or that the action extends to the present. The Present Perfect is used to indicate a link between the present and the past. The time of the action is before now but not specified, and we are often more interested in the result than in the action itself.
“old wisdom” Taking and appreciating elements of the past to gather an appreciation and enrich a genuine learning experience. Looking deeper into the heritage and authenticity of something in it’s entirety. A world we know so small in it’s totality can expand immensely with the breadth of knowledge that lies beneath every experience, tradition, being, and moment in time.
Gyotaku is a traditional method of Japanese fish printing, dating from the mid-1800s. Originally used by fisherman to document their catch has since become a traditional art form. Painting the fish with Sumi Ink and placing Rice Paper over the fish to imprint the textures and shape of the fish.