Queenzy Gao
An Award winning designer and
Parsons MFA graduate chats with
Deborah Ferguson about designing
her MFA collection during
Covid-19 lockdown in NYC
Photography: Sesse Lind
Creative Director: Deborah Ferguson
Model: Farhiya
You have won a very prestigious fashion design award in Hong Kong : Eco-Chic award in 2017. Can you describe that collection and the materials and fabric choices which garnered such an award?
That collection is inspired by young generations’ fear of aging, and I have a desire to demonstrate that fashion and style are timeless. I utilized up-cycling and reconstruction techniques to transform textile swatches, damaged textiles, and secondhand clothing.
Why did you choose Parsons to do your MFA over other Design colleges?
I have always been amazed by the bizarre yet practical design presented by Parsons graduates. Parson encourages students to explore their identities and drive innovations while keeping design practical. It affirms that this school is the correct and ideal destination for me.
As a Parsons MFA graduate, you completed your final collection during a pandemic. Can you describe what that was like?
Basically, my apartment became my studio. Our program tried its best to support us with the equipment we need to produce our collection. I borrowed the domestic sewing machine, knitting machine, and dress form. We have a zoom tutorial with Shelley and Joff every week and discuss our progress.
Did you build and create each garment on your own during lockdown? What was your process?
Yes, I produced all the outfits during the lockdown. Since I have already confirmed the designs before the pandemic, I just focused on doing all the craftsmanship and considering how can I make my designs more practical.
How did you all connect Shelley Fox (Director of fashion design) at the various stages of conception?
Before the pandemic, Shelley always encourages us to explore our own identity and go deep into the research from the first stage of the thesis collection. We had individual tutorials and fitting tutorials every week for us to discuss our designs and how can I improve them. During the pandemic, we still have zoom meetings with Shelley every week to talk about our progress. She tried her best to support us with equipment and resources. I would never finish my collection without her help.
I’m quite inspired by your vision /MFA collection can you share the inspiration for these incredible garments and accessories?
This collection is based on my connection with the Chinese small commodity market and the toys it sold. Born and raised in an inner-city of China, the commodity market was heaven to me. My parents took me to the small commodity market to purchase toys and accessories. With ten plastic butterfly hair clips on my hair, I felt like a princess. The market is intensive and visually overwhelming as different toys piled up. Even though these toys are cheap and have quirky characteristics, they build up my fantasy. After research on the process of toy making, the preciseness of embroidery or prints and the highly engineered interior design of the toys fascinates me. If the toy is turned inside out, patterns and details never meant to be seen are now prominent physical characteristics, allowing the audience to observe the production mechanism as well as the hint of human touch. Based on this principle, the main components of my textile are the tiny laser-cut pieces. The highly controlled machine finishing and the repetition of the single objects reflect the idea of “copy and paste” from toy production. At the same time, I exhausted myself into engineering different components and embellishment to achieve intense and hyper perfection. I am using my craftsmanship to turn cheap material into more valuable goods, playing with the tension between “trash” and treasure”. The value of material can be changed by the craftsmanship as well as the memories and love attached to it. I would like to tell a real toy story through my collection and to spread the joyful memories and loves of these toys to the audience.
Who is your muse or ideal person to wear your creations?
I have seen singers, dancers, models, and students in different skin tones wearing my creations and they all look gorgeous and happy. I’d love to see people appreciate my designs and feel confident wearing them. Most of my pieces are not constrained by sizes and can suit different bodies. I welcome collaborations and feel happy to see different people perform in my designs.
D: Did you build and create each garment on your own during the 2020 Covid -19 lockdown? What was your process?
Q: Yes, I produced all the outfits during the lockdown. Since I have already confirmed the designs before the pandemic, I just focused on doing all the craftsmanship and considering how can I make my designs more practical.
Do you see yourself continuing to produce fashion collections? If so any idea of what we can expect?
Yes, I definitely will continue to produce fashion collections. I will make my designs more flexible and practical while keeping the identity playful. I still want to keep my beading craftmanship through the collection while beading pieces might be more accessories oriented.
Where would you like to be based as a designer?
New York. New York shows openness to people from whatever background and I feel encouraged and unrestrained to be a designer expressing my identity and thoughts here.
Photography
Sesse Lind
Model
Farhiya @ NewYorkmodels
Creative Director / Fashion Director
Deborah Ferguson
Makeup
Juliette Perreux @TheWallGroup
Hair
Thomas Dunkin @Statmentartists
Web Layout
Tori Smith