Featured Students, Alumni, and Faculty
Dr. Mary Elliott: Q & A with TAM Grads
- B.S. Textiles, Apparel Design and Merchandising
- Concentration in Merchandising
“ I’ve learned from my study abroad experience that fashion can be different depending on the country and culture. I had the opportunity to continue my studies in a foreign country with a top name in fashion, Vogue College of Fashion. ”
Skylar Osborne
Class of 2026
Q - What originally drew you to LSU?
A – Being from California, I wanted to get a new experience and go to an out-of-state college. While visiting I noticed the southern hospitality that felt so welcoming. I could envision myself here and I think you should trust your gut and in 4 years I have no regrets. From the friends I’ve gained, and the faculty I’ve met, I wouldn’t change anything.
Q – What originally drew you to TAM and majoring in fashion?
A – I’ve always had a love for fashion and how you can style an outfit 10 different ways to show your personal style. Being able to help someone feel comfortable through the styling of clothing is what drew me to fashion and specifically the business side of fashion.
Q – Why do you relate more with the business side of fashion rather than the creative side?
A – That’s a really good question. I think I have a really good sense of what the consumer is thinking when buying, so I am good at pitching ideas and have a strong sense of the sales-side of fashion. I’ve noticed that TAM does a good job with bringing the creative side together with the business side, especially in group projects. Even though I didn’t major in design, I can get a sense of that part of the industry because I’m working alongside design students. I think this is important especially for communication out in industry.
Q – What has been your most impactful class in TAM and why?
A – I think I’ll go with two. I saw in my internship the importance of having experience working with technology, so I would have to say working with Adobe Illustrator and Photoshop along with learning Microsoft Excel will be directly applicable to work. Also, the Trend Forecasting class taught me the cycle of trends and how to know whether something will stay, or has a short cycle. It’s also easier to spot styles that are recycling from previous eras.
Q – Why did you decide to pursue your Master’s degree after graduating?
A – I want to continue to study more aspects of the industry, specifically the luxury brand aspect. I’ve learned from my study abroad experience that fashion can be different depending on the country and culture. I had the opportunity to continue my studies in a foreign country with a top name in fashion, Vogue College of Fashion. It’s interesting to look at Vogue magazines from various countries and note differences. It’s exciting that I can continue to broaden my perspective about fashion by continuing to study these differences.
Q – What did you learn from your internship in London?
A - My internship was at Pepa & Co., London, a luxury children’s wear brand. They designed the clothing for Prince George and Princess Charlotte for Pippa Middleton’s wedding. I worked with their merchandising team on inventory management using Excel, gained experience styling and merchandising their clothing line when working with clients, and saw how they change the line depending on the season. For instance, how fabric selections changed between winter and summer.
Q – What challenges have you faced as an LSU student, as a TAM student, and how did you overcome them?
A – A big challenge is managing your time. It’s applicable to all students, but being so far from home, and with the size of LSU, I had to learn to build a foundation of people for myself. I pushed myself to be close to people, especially professors, and I learned it was okay to ask for help.
Q – What advise do you have for incoming TAM students?
A – Try to get involved in FALSU (the student organization), make friends in class, be respectful of professors.
Q – How important was being a part of a sorority to you?
A – Most of my best friends are with my sorority. It provided a separation from my major so I could take a break. But there was a group of us who were TAM majors and being able to go to someone with a question about classes and help with stuff was really nice. Living closely with a bunch of people with strong personalities gave me some experience on how to be flexible and adapt in order to get along. That will help me in the professional world.
Q – Where do you see yourself in 5 years?
A – I’d like to start my own sustainable brand, but if that is not possible, work for a brand that I really admire. After experiencing Semester at Sea, and getting to visit so many different countries, I want to work for an international brand so I can still work and live abroad.
Q – If you could describe your TAM experience in 3 words, what would they be?
A – Hands-on – the classes aren’t all test heavy, they are balanced with projects and presentations
Supportive – especially the staff and professors in the department; there are ways to advocate for yourself and you will be heard
Self-expression – TAM students get to express themselves through clothing and it’s really interesting
Martha Rigney
Class of 2026
Q – Where are you from?
A – I’m from Hammond. Louisiana born and raised.
Q – What originally drew you to LSU? And, what originally drew you to TAM?
A – Honestly LSU was close to my family and more affordable. But, TAM was a surprise because originally I was going to major in costume design, like theatre costuming but they didn’t have a strong program in that. I was taken on a tour of the TAM department and saw all of the cool equipment, like the fabric printer, and it was interesting because I really didn’t know much about fashion. But then I saw the museum, and that was the cherry on the top. I thought “okay, how can I work there, that is so cool” because I’ve always been interested in historical fashion so to be able to explore that combined with this new passion in apparel design just felt like the best of both worlds for me.
Q – So you’ve worked with the museum all 4 years you’ve been a student here. Do you think historical costume will be in your future?
A – It might be. Definitely not in the way I originally imagined. Along with all the education I’ve had, it provides the inspiration for designing. I find I pull from historical eras for my own collections, and it serves as inspiration for me as a designer. Working at the museum and with our Geoffrey Beene collection showed me how well garments could be made. It’s turned into a vast experience that has improved me as a designer.
Q – What has been your most impactful class in your program and why?
A – A couple different ones. One of my favorite design classes has been Couture Embellishment with Dr. Stannard. That was the real meat and potatoes of what us design students are looking forward to doing—really high-quality construction and couture techniques. We did a corset, a Chanel jacket, and did a bottom of our own choosing to go with the jacket. There was a lot of creative freedom given. I was able to use the 3D printer and take the design to show at the ITAA (International Textile and Apparel Association) conference. It was really fun to experiment with traditional couture techniques. It also gave me some really good portfolio content.
I also enjoyed learning CLO (3D fashion design software). From my summer internship last year, I learned that is the next big thing that companies are doing. So, getting to combine traditional techniques with technology. I feel like this is something the department is doing really well. I’ve been able to use CLO on every design project since that class. Having these building blocks and being able to put it on my resume is really helpful.
Q – You did an internship in St. Louis. What was the name of the company?
A – Weismann ( Weissman® Studio – Exclusive Dance Costumes & Dancewear)
Q – Can you tell me about this company?
A – It was another serendipity moment for me because it was dancewear costume design. I interned at their corporate headquarters in St. Louis as a design intern in a group with 3 other design interns Because this was a dance company, they assigned us to a genre. I was a hip hop design intern. They had jazz, lyrical and contemporary ballet as well.
Q – What did you think when you were assigned as the hip hop design intern?
A – I was a little intimidated because at the time I hadn’t done a lot of streetwear, but I actually was glad I got hip hop. The costumes I designed were closer to regular fashion than say, a tutu. I feel like I learned cross-applicable skills that I could bring to a non-costume company.
There were maybe 20 interns in all. For the final design project, they gave us a prompt, different customer personas, and we had to collaborate to design a jazz collection meeting our specific persona. I designed for the tween persona. Combined we made a 20-piece collection. For each group of 4, 2 designs were selected to go into the sampling process. We got to walk them through prototype stages and present them to management with the idea that one would be selected to actually be available to customers.
It was a whole process. We sketched for a week, then checked by their trend department to make sure designs have their finger on the pulse, and this is where they might say “nope” and we would have to make new designs.
Q – Did you hand sketch
A – I personally did, but the company did all their sketches in Adobe Illustrator as tech flats. One person was responsible for making swatches in Adobe Illustrator of all their fabrics so we were able to make colored tech flats. But, in the tech pack they were black and white flats. There were no artistic sketches. It taught me how to get really good at Illustrator really fast.
Q – With your internship, what did your TAM education help prepare you for and what did you feel unprepared for?
A – I felt well prepared in the conceptualization stage. They started off with us on the mood boards and trend story boards for the project, with our customer persona's, and any details we had to follow in our designs. This is the same order we do in TAM so it felt very much like getting feedback from a professor during this process. I felt comfortable with the process because of the way we do it here in TAM.
But working for a company is more than conceptualizing like in the classroom. I feel I’ve gotten a good foundation in textiles, knowing Adobe Illustrator, and working with tech packs. However, their tech packs were completely different and a lot more detailed. In class, we learned Call Outs as a way to Zoom in on an area. But their Call Outs were arrows going to a certain part on a garment and assigning a Tech Code to it.
There was so much more detail, and since there were budgets involved, everything was taken more seriously.
Q – What has been the most rewarding part of your TAM experience?
A – For me personally, there have been a couple of big highlights. To participate in undergraduate research to the extent that I have has been a huge highlight for me that I did not anticipate. When you think of research, you think of the STEM areas. I did not anticipate so much interesting research in this academic discipline. Getting to work in the museum with Dr. Mamp, getting my first undergrad research grant, and later doing design research with Dr. Stannard, I feel like I’ve experienced both sides of college. Getting to travel to research conferences and presenting my designs nationally was really exciting and crazy.
Q – What conferences did you attend?
A – ITAA and CSA (Costume Society of America). Those were big travel moments for me.
Q – As a design undergraduate student, what were some of the challenges you faced and how did you overcome them?
A – The biggest learning curve for me was learning how to present my work so an employer would want to hire me. I thought I had a good portfolio, but when presented with examples of really good portfolios, I realized I did not. So learning how to repackage my work was a challenge.
Q – What advice would you give to incoming TAM students?
A – Really get involved. You’re going to get out of it what you put into it. This is a really great program, but you have to care about it, you have to ask questions, you have to show up to class, you have to form those relationships with your professors. Most probably don’t realize they can do research in fashion, or work as a student worker in the department, or just do personal development projects outside of the classroom. I did all sorts of one-off designs here and there that really helped me to develop my style and improved my construction skills. It’s all about practice and wanting to make it to that level.
Q – Do you sew on your own?
A – I do. I’m excited to have more time to do sewing for me after graduating.
Q – How much of that helped you to develop your sewing skills? How much did you sew outside of class as opposed to sewing in your labs?
A – I think I had an advantage because I sewed all through high school. But I still learned even in my freshman year. I would do maybe two or three capsule design projects per year. And I would take advantage of opportunities. I made a garment for the Hemp Impressions exhibit. I did an outside fashion show. I did costumes for the LSU Theatre club one year.
Q – What will you be doing after you graduate?
A – For now, I will be the craft and embellishment design intern at URBN headquarters for Free People in Philadelphia, PA.
Q – What are your long-term career goals?
A – I loved the corporate design experience I had with my internship in St. Louis. I’m excited to see what the experience will be this summer with URBN, and I’m especially excited because Free People is my favorite brand. I’d like to continue working for them, but if not maybe for another brand and work my way up to Senior Designer or Design Manager someday.
Q – What makes the TAM program at LSU unique?
A – It feels small in terms of really getting to know my classmates as friends. The environment is really supportive. It has been a really positive experience. No one is tearing you down, everyone is happy for each other, giving each other ideas, lifting each other up. For me going into it, fashion school was so scary because it can be so competitive. Being able to safely experiment with your style and grow in your skills within such a supportive environment has been really helpful.
Q – If you could describe your TAM experience in three words, what would they be?
A – Transformative, supportive, exploratory.
- B.S. Textiles, Apparel Design and Merchandising
- Concentration in Design
“ To participate in undergraduate research to the extent that I have has been a huge highlight for me that I did not anticipate. When you think of research, you think of the STEM areas. I did not anticipate so much interesting research in this academic discipline. ”
Blending Fashion and Engineering
TAM Graduate Assistant Mary-Gwynedd Taylor has been hard at work researching and designing a wearable exoskeleton that could help construction workers reduce injuries and fatigue over the course of their careers. This research project was recently featured in an article on the LSU Blog, on WAFB9, and in The Advocate.
Dressing Louisiana
LSU’s Textile and Costume Museum displays treasures from Louisiana’s past, from the regal wardrobe of Mardi Gras queens to familiar pieces like those worn by Buckskin Bill.
Past Features
Color Me Fashion!
High fashion takes center stage at Louisiana State University. In the exhibition Color Me Fashion, more than forty-five looks with related accessories are on view, some having been worn by leading ladies of Louisiana. Dr. Michael E. Mamp, Director & Curator LSU Textile & Costume Museum shares the inspiration behind this exhibition that includes garments that span approximately 100 years of fashion history from circa 1890 to 1990. Plus: Milwaukee, Wisconsin musician, Jordan Davis, creates a video game starring his band, Space Raft.
Alumna in Vouge!
One of our TAM graduates, Victoria, Richard, was recently featured on Vouge! Her beautiful wedding gowns and custom veil are well deserving of the spotlight. An excerpt from the article by Shelby Wax reads;
"Designer Victoria Richard’s love for bridal gowns was sparked at a young age. “Growing up with a sister with special needs, you very innately try to figure out how to connect—and for us, it was through bridal design and magazines. It was how we played,” shares Victoria. “We still design wedding dresses almost every time I see her.” While Victoria went on to become a professional ballerina—training as a student at the American Ballet Theater and Boston Ballet summer intensive programs—she found her way back to fashion when she received an internship at Ralph Lauren. After developing her skills further at Parsons School of Design, she embarked on a career as a designer at brands including Ralph Lauren, Marchesa, and Thom Browne. “I think what drives me and brings me joy is dressing people for life’s special moments,” she says.
Initially, Victoria didn’t intend to dress herself for her wedding day to marry her partner Nick D’Adamo. “I tried on over 100 dresses before I decided to design my own,” she admits. “It was hard to take myself from behind the scenes and be the subject.” What truly kicked off her design journey was an idea for her veil. “I have always been in love with antique wedding veils with hand lace work that told a story of the couple’s families, past, and future. These veils were considered heirlooms,” Victoria says. “I’ve known I wanted something that really spoke to my journey and could be passed down.”
Victoria Richard's Wedding Veil
– Mo Davis Photography
As soon as I met Nick, it’s been adventure and travel. We love hiking, being in nature, and exploring new things. Every single stitch represents a hike we’ve been on with a very specific flower.
Victoria Richard
The Textile Museum Shines!
Geoffrey Beene, a native of Haynesville, LA, was a world-famous fashion designer who built a label rooted in motifs from his Southern upbringing. The Louisiana Textile and Costume Museum has one of the largest collections of Geoffrey Beene’s garments in the nation, thanks to a generous donation from one of the fashion designer’s devotees. In this segment, LPB’s Karen LeBlanc takes us on a tour of Geoffrey Beene’s garments that graced fashion magazine covers and international catwalks. We also go behind the scenes to look at the museum’s vast fashion archive, a resource for LSU students studying fashion design and textile history.
Louisiana: The State We're In
LSWI is Louisiana's only statewide news magazine. The program airs Fridays at 7 p.m. and Sundays at 4:30 p.m. on the six-station LPB network that includes stations in Alexandria, Baton Rouge, Lafayette, Lake Charles, Monroe, and Shreveport. This award-winning show combines in-depth coverage about the important issues in the state along with expert analysis.
Dr. Mamp and the Coming Home: Geoffrey Beene Exhibition have been featured several times over the last year.
Continuing to Wow!
Dr. Xia continues her reasearch into temperature sensitive smart yarn and it's valuble potential for new parents!
"Leveraging the capabilities of department’s knitting machines, Xia incorporated thermochromic yarns — a yarn that changes color in response to temperature — into an infant hat.
“With our product, you don't have to use a thermometer to measure frequently. The hat will just continuously monitor the forehead temperature. Then, just by looking at it, you will be able to tell if it’s detecting a fever or not,” Xia said.
This hat can provide immediate visual feedback about a baby’s body and environmental temperature changes.
“It will linearly change color between 38 through 40 degrees Celsius, or from 100 to 104 degrees Fahrenheit. When the color of the fabric is lighter, it means the temperature is higher,” Xia said."
"Infancy is one of the most vulnerable times for a baby, so researchers at LSU are stitching up a way to know your baby’s vital signs instantly.
In 2022, nearly half of all deaths in children under 5 years old happened within the first 28 days of life, according to the World Health Organization.
Making Impressions!
The grant exhibition "Hemp Impressions" organized by Dr. Casey Stannard, is making impressions across the country! This project has been featured on LSU's college of Agriculture page, Apparel Views, The Reveille, and Oregon State University! This exhibit was on display in the Human Ecology Lobby until November 3rd and will move to the Old State Capital building for November 7th- November 9th.
Old State Capital Presentation
TAM Grad Student Ladyra Lyte
One of our amazing graduate program students was recently featured by the LSU College of Agriculture's Research Spotlight. Below is a snippet from the article "Research Spotlight: LaDyra Lyte and "Redressing Fashion History: Pelisse" by Jonathan Thomas.
LaDyra Lyte, a graduate student pursuing a masters in Textiles, Apparel & Merchandising with a concentration in Apparel Design, puts the finishing touches on one of her creations.
– Photo by: Kevin P. Duffy
Background and Early Influences
LaDyra Lyte received her Bachelor of Applied Arts in Fashion Design from Central Michigan
University. During her undergraduate studies, she grappled with merging her experiences
as a Black woman with her creative expression. One notable project, honored with the
“Fashion and Social Justice” Award at the 2021 Detroit Month of Design and subsequently
accepted by the Costume Society of America, was titled “Killing Me Won’t Make You
King”. While not yet focusing on historic costume, the ensemble powerfully conveyed
her message by fashionably and stylistically honoring victims of racial injustice,
deepening her commitment to exploring Black culture and costume.
In her recent research at LSU, LaDyra embarked on a journey to reinterpret fashion history through an Afrocentric lens, starting with a 19th-century pelisse. This initiative aims to explore Eurocentric silhouettes and expand the narrative into the 19th-century Romantic period, ultimately forming the basis of her graduation thesis.
Drawing inspiration from her identity as a Black woman, LaDyra infuses her designs with personal experiences that fuel her artistic vision. Influences from notable artists such as Jean-Michel Basquiat, Yinka Shonibare, Alexis Quinney, and the Gee’s Bend Quilters, alongside concepts like Black dandyism and voices from scholars like Bell Hooks, Monica L. Miller and Tanisha C. Ford, have shaped her approach to historic costume and fashion. Even popular culture references, like the series “Bridgerton”, contribute to her diverse array of inspirations.
Her close relationship with the LSU Textile & Costume Museum has further enriched her knowledge. By studying and conducting conservation work on historical garments, she has refined her concepts and evolved as a designer. This process of rethinking silhouette creation not only honors the past but also infuses it with contemporary relevance. Through her work, she aims to contribute to a richer, more inclusive narrative in fashion history.
Alumni Update
“ First, I must say, LSU's Fashion department is extraordinary. I knew I had a good education in my time there, but I did not realize how strong it was until I arrived here. I had professors asking me where I learned to do certain things or where I learned certain techniques. Even my classmates who went to fashion schools here were impressed with how much we were taught. ”
Randi Plaisance graduated in 2022 with her degree in Textiles, Apparel Design and Merchandising with a concentration in Apparel Design. After graduation, she moved to Paris to pursue a graduate school program at the International Fashion Academy. She has just completed her Master of Arts degree in Contemporary Fashion Design and plans to remain in Paris and start her career.
Randi tributes the TAM department with aiding in her success. "First, I must say, LSU's Fashion department is extraordinary. I knew I had a good education in my time there, but I did not realize how strong it was until I arrived here. I had professors asking me where I learned to do certain things or where I learned certain techniques. Even my classmates who went to fashion schools here were impressed with how much we were taught."
She also shares that "If there are any students there now that may be overwhelmed with the workload or wondering why they are doing certain things, you can reassure them that it is all for a good reason; they will be more than prepared to enter the world of fashion"
LSU/Southern Fashion Event
LSU TAM student Ashlee Wilkerson and Southern University's Amaya Johnson teamed up with Banana Republic and the Ellemnop.Art gallery to showcase their work in a two day local Fashion event.
READ THE WBRZ ARTICLE
Gradable Zero-Waste Patternmaking: A Potential Solution to Preconsumer Fabric Waste
Casey R. Stannard, Melanie Carrico, Sheri Dragoo, Ellen McKinney, Ashley Rougeaux-Burnes and Colleen Moretz
The global fashion industry is one of the most detrimental to the environment and accounts for 10% of global carbon emissions, according to a report by the European Parliament. Around 92 million tons of apparel end up in landfills each year — nearly 87% of the materials used to make apparel, according to the Global Fashion Agenda Pulse of the Fashion Industry report. Pollution from fashion comes at many stages of the apparel production process. It includes chemical runoff from dyeing textiles, carbon pollution from producing and transporting apparel and much more. Apparel design researchers are interested in effecting change by reducing the waste created by the fashion industry. One critical area that can be affected is the decrease and possible elimination of preproduction fabric waste.
When manufacturing apparel, each item has a pattern with multiple pieces laid on layers of fabric and cut out before sewing. In the cutting process, it is typical to have 10%-15% of the initial fabric thrown on the cutting room floor. While designers attempt to utilize most of the fabric, traditional patternmaking methods make it impossible to puzzle the pattern shapes together perfectly. Areas such as armholes and neckholes inherently create waste because of their shapes (Figure 1). Some companies utilize fabric waste from garments to make other products like insulation. Still, the remnants are thrown into the trash by and large. The disposal of fabric costs apparel firms money and creates a major environmental burden.
Some apparel designers have tried eliminating fabric waste by creating patterns with slightly modified shapes so that the pieces can be perfectly packed and no waste is produced (Figure 2). This technique is known as zero-waste design. The concept of zero-waste design is not new; many historical garments, such as Japanese kimonos or early shirts, were cut using simple shapes like rectangles so that all of the shapes could fit together on a fabric and utilize all the precious resources. However, as time passed, many designers turned away from these initial fabric-conserving practices.
While zero-waste design seems like an excellent approach to reducing preconsumer fabric waste, problems still result from this design choice. Because the pattern is designed to fit 100% of the fabric, there is no room to grow or shrink it to create a range of sizes (this process is called pattern grading). As only one size can be produced, zero-waste garments are often made to be oversized to accommodate the maximum number of potential consumers.
These challenges are where the design research team set to work four years ago. The team's goals were to create zero-waste patterns that appealed to consumers, were fitted to the body and had the ability to be made in a full range of sizes. The team turned to the Carrico Zero-Waste Banded Grading (CZWBG) technique to accomplish the range of sizes. Melanie Carrico, an associate professor at the University of North Carolina at Greensboro, piloted this technique. In the CZWBG method, a zero-waste pattern is created with seam lines at key locations of the body. In each of these seam lines, a strip of fabric that varies in width is inserted. As the strips change in size, the pattern can grow or shrink; thus, a full range of sizes can be accomplished. The CZWBG method had been developed and tested with a few initial garments. Still, a wider range of apparel categories and garments using the technique was needed to help verify the approach. At this point, the design research team was formed. A group of six apparel design researchers with prior experience in other zero-waste techniques was assembled to work on testing and further developing the CZWBG technique. Each designer chose a different category of apparel to test, including menswear, children’s wear, plus size, athleisure, formal wear and outerwear.
Through multiple meetings and trial runs, over 20 peer-reviewed designs were accepted into juried exhibitions and a published article in the Sustainability, an international journal. The team verified and expanded the CZWBG technique. With the knowledge that zero-waste apparel can be graded into a full size range while still providing fitted and fashionable apparel across multiple categories, the research team started thinking about expanding the project's scope. Can the CZWBG method provide cost savings when manufactured? The team has recently secured funding for the next phase of this project and will investigate the CZWBG method using an apparel manufacturing factory to determine if this new, sustainable approach can be adopted by the larger apparel industry.
Design by Ashley Rougeaux-Burnes (2021)
Figure 1: A normal pattern for a basic dress with a collar and neck facing will waste
fabric. The dress is cut on folded fabric. Image by Casey Stannard
Figure 2. This zero-waste children's dress pattern by Ellen McKinney wastes no fabric.
Image by Colleen Moretz
Design by Melanie Carrico (2022)
Design by Casey Stannard (2023).
Design by Casey Stannard (2022).
Design by Melanie Carrico (2022).
Casey R. Stannard is an associate professor in the LSU College of Agriculture Department of Textiles, Apparel Design, and Merchandising. Melanie Carrico is an associate professor in the Department of Consumer, Apparel, and Retail Studies, University of North Carolina at Greensboro. Sheri Dragoo is a professor in the Department of Human Sciences & Design, Baylor University. Ellen McKinney is a professor in the Clothing, Textiles, and Apparel Design Department, University of Alabama. Ashley Rougeaux-Burnes is an associate professor in the Department of Design, Texas Tech University. Colleen Moretz is an associate professor in the Department of Fashion Design and Merchandising, West Virginia University.
This article appears in the summer 2024 issue of Louisiana Agriculture.
Avant-garde Alligators
The LSU AgCenter recently featured one of our students!
The article reads: "Susan Lindrew, a senior majoring in textiles, apparel and merchandising, has been working on a research project on experimental patternmaking to use the typically discarded portions of alligator hides in fashion.
LSU Department of Textiles, Apparel Design and Merchandising faculty member Casey Stannard is her advisor for the project. Their research explores experimental patternmaking techniques that could help reduce waste and give a purpose to the underutilized leather that would typically end up on the cutting room floor."
Susan Lindrew
– Photo by Annabelle Lang/LSU College of Agriculture
“ I think this research could have a significant impact on the fashion industry. It could potentially reduce waste and change the way we think about patternmaking and design. It's exciting to be a part of something that could make a difference. ”
Fever Fabric
Sibei Xia with a temperature sensitive baby hat.
Dr. Sibei Xia is making headlines with groundbreaking fabric technology. As a researcher and assistant professor at LSU, she is developing a specialized fabric that can detect small changes in temperature—something that could possibly save infant lives.
The prototype, a hat made of the thermosensitive yarn, changes from purple to beige when the yarn reaches 36 degrees Celsius, or 96.8 degrees Fahrenheit. With further advancements, Xia hopes to increase the range to 37.5 to 38.5 degrees Celsius.
TAMs Own Les Voyaguer
One of our current TAM students, JM Maleszewski, was recently selected to be a member of the 2023-2024 Les Voyaguers for the LSU College of Agriculture. She shared her experience and inspiration for the application process with us!
I love fashion, but I love it even more when I know I make something that is sustainable and has meaning behind it.
JM Maleszewski
"When I was undergoing the Les Voyager process in the college of Agriculture, they asked we design a costume that highlights values of the college we liked most. I wasn’t sure what to do, but then I remembered my orientation meeting with Ms. Sapp as a TAM major. During the presentation she gave us on what to expect, I realized we were in a room surrounded by boxes filled with neck ties. We asked her why there were so many, and her response was “someone donated them. So we’re going to find a home for them here somewhere.”
It stuck with me since then how driven the College of Agriculture was with sustainability and I knew that I wanted to create something that reflected that, along with its passion for uniqueness and perseverance to see tasks through. So, it felt natural to make a dress out of thrifted neck ties to show my appreciation to their values and program. I love fashion, but I love it even more when I know I make something that is sustainable and has meaning behind it."
Stacy Caballero
One of our TAM Alumni, Stacy Caballero, is a costume designer with Marvel Studios and worked on the new Black Panther Wakanda Forever film. She shares her story of finding success in Hollywood and her focus to mentor future costume designers at LSU.
“ In my last year of undergrad, I took a costume design class as an elective and it opened up a whole new world of design to me. ”
Kaleb Duncan
“ Once I chose [fashion design] there was no turning back … It’s a medium I can use to express myself, feelings, stories. Fashion is a language, and clothes are the way you communicate. ”
Apparel Design senior Kaleb Duncan is known by Kei Ai in the fashion community. His alias, which comes from the phonetic spelling of his first and middle initials, “serves as a fragmentation” of himself as a designer.
LSU students may know him as the cheerful and joking cashier in the On-The Geaux store in the Student Union, where he works full time.
Duncan took a break from school to focus on his craft, and uses his job at the Student Union to support his fashion endeavors. He plans to go back to school in the Fall of 2023. “I had a lot going on and I wanted to focus on me being a designer, so I pulled back from LSU to recenter myself,” Duncan said.
Duncan’s interest in fashion started in 2016, during his junior year of high school. While in an advanced IB art class, he started experimenting with clothing and learned how to work a sewing machine. He continued to self-teach himself through trial and error.
“Once I chose [fashion design] there was no turning back … It’s a medium I can use to express myself, feelings, stories,” Duncan said. “Fashion is a language, and clothes are the way you communicate.”
When he first came to LSU, Duncan planned to study electrical engineering. He switched to fashion because he felt more comfortable with it, and saw aspects of engineering in fashion design.
“Fashion is just engineering with fabric. [Designer Issey Miyake] went to school for architecture, and he uses his architecture and shows it in his work, and I feel that we are similar in that aspect,” Duncan said. “It’s blending two supposedly opposite fields into one beautiful product.”
Alumna in Paris Fashion Week
Formerly an LSU TAM Apparel Design student, Madi Meserole had the amazing privilege to have her designs shown by Flying Solo during Paris Fashion Week! The show took place at La Galerie Bourbon, a salon located a block away from the Arc De Triomphe, on September 30th, 2021. Her inspired designs caught the eye of both the Marie Claire Italia and Elle Italia publications and were featured in their respective magazines.
The collection, named Optical Emotions, is a story of human feeling, celebrating the brain and how it processes the very emotions each of us feel and go through on a daily basis. Made of an avant-garde mix of velvets & vinyls, Optical Emotions is comprised of 8 total looks - each inspired and named after a unique emotion. The entire collection took just under a year to produce and was all made by hand.
Madi now owns her own womenswear label, MEZ Atelier, and continues her work in Austin, Texas and is creating garments for clients that range from ready-to-wear to custom couture ball gowns.
LSU in NOLA
Suzanne Perron St. Paul was featured in the January 2020 episode of LSU in NOLA.