Rhode Island School of Design - Portfolio Yearbook (Providence, RI)

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DEPARTMENT OF APPAREL DESIGN THE APPAREL DESIGNER, in order “‘to assume with confidence a responsible professional career, must have: 1. A rich background in historic fash- ion; 2. Complete mastery of all the skills required to interpret that background; 3. A knowledge of contemporary trends in art and economics; 4. A knowledge of people, what they do and what they need.” Edna Woolman Chase, Editor of Vogue. The foundation of the apparel design department rests on these four points. This department attempts to fulfill the needs of manufacturers by presenting an accurate cross section of the garment industry. During the first year mass production methods are stressed, with simplicity and low cost manufacturing as the primary attributes of design. With each year, production standards rise, as does the intricacy of design, culminating in the high styling of top level work. These actual trade techniques are supplemented by equally broadening courses in fashion trends, sketching, and costume evolution, all of which give the graduate of this department a solid background for the competitive world of fashion. NELLE W. LINK Head, Apparel Design Department

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HELENE YVONNE CAPILLON, Attleboro, Massachusetts. BFA—Apparel Design. Take-A-Break Choreographer 4; Dean’s List 2. JACQUELINE LENORE CHAPMAN, Concord, Massachusetts. BFA—Apparel Design. Glee Club 1, 2, Secretary 2; Textile Club 2, 3; Student Council 2, 3; Dean’s List 2; Ski Club 2. DAVID WILLIAM COULTER, Newton, Massachusetts. BF A—Apparel Design. Drama Club 1, 2, 3, 4, Drama Club Key 4; Student Council 4; Glee Club 1, 2. JUDITH SUSAN SASKA, Forest Hills, New York. BFA—Apparel Design. Drama Club 1, 2, 3, 4, Board 2, 3; Textile Club 2, 3, 4; Portfolio 4; Athletic Association 1; Film Society 1, 2, 3, 4; Take-A-Break Costume Designer 4. JEAN THOMPSON, Cherry Valley, Massachusetts. BFA—Apparel Design. BEVERLY WHITE, Groton, Connecticut. BFA—Apparel Design.

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DIVISION OF PLANNING Tue Division oF ARCHITECTURE, formerly the Division of Planning, comprises the Departments of Architecture, Landscape Architecture and Interior Architectural Design. Although these three departments train students to obtain dif- ferent degrees, each has a curriculum arranged to encourage a common pattern in education, especially in the design courses. This is possible because of the versatility of the faculty who have been trained in more than one field profession- ally; for instance, three members of the faculty hold two professional degrees in allied fields— architecture and landscape architecture, plan- ning and architecture. This allows a certain amount of flexibility in training which fosters an understanding and respect among the faculty and students and creates a feeling of unity among the three departments. This versatility is a factor in directing the student to develop as a designer in the broadest meaning of the term. However, the emphasis is not confined to aesthetic logic, for the basis of instruction is related to an awareness of the social and human aspects of the times. The philosophy of designing isolated objects is not subscribed to in this division; therefore, it is necessary to stimulate the students to think properly in their designing by introducing them to the technical and social changes in our society. This method of education creates a basis for confidence in the students’ ability to design as well as a basis for de- veloping a critical faculty without which no designer is outstanding. The division teaching continually stresses the need for developing intellectual curiosity, a personal philosophy and a set of ideals which will benefit and guide him throughout his professional life. Our aim is to graduate students who are dedicated to the creative act and who thoroughly understand that only by imaginative interpretation is it possible to create a significant environment for humanity. THE DEPARTMENT OF ARCHITECTURE provides a thorough training for the professional practice of Archi- tecture in which methods of research and interpretation of scientific information are used as a basis for design instruction. However, emphasis is on developing the student’s imagination and creative powers. As design cannot be taught, but must be learned, there is an attempt to create an atmosphere within the department which will foster learning. A student is encouraged to form his own philosophy rather than follow established ones because to be creative he must have a “mind of his own” and when combined with common sense will produce the 30 best guide toward philosophical thinking. The student’s training thus is designed to develop within him a sense of analysis as well as a creative ability. When creating new ideas in design, the student should be cautious and trained to interpret the significance of new ways of thinking as well as understand their impor- tance. Therefore, each student should develop his own critical faculty which will be trustworthy and objective. He should develop these faculties within himself until they become second nature, for only through considered self criticism will the architect produce works of merit worthy of respect in the future. J. CAROL FULKERSON Chairman, Division of Planning