Cesar Padilla is a vintage clothing archivist, filmmaker, writer, and musician whose work revolves around the style, fashion, and sound of British and American underground music scenes of the 1960s, 70s, and 80s. Born in Los Angeles, he soon became a fixture of the city’s emergent queer, punk rock, and underground Latino music scenes in the 1970s and early 80s. After relocating to New York, he co-founded , which has been ranked in the top ten vintage clothing outlets worldwide by Vogue, the New York Times, Harper’s Bazaar, Elle, and others. He has been active as a fashion consultant and outfitter for film, television, music video, and stage productions, including American Gangster, Boardwalk Empire, Mad Men, The Idol, The Get Down, and American Hustle, and he has dressed leading musicians including Billie Eilish, Travis Barker, Rihanna, Frank Ocean, and Will Oldham.

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“We will develop a prototype textile that can be used to locally manufacture personal protective equipment, such as surgical masks and garments, to deal with shortfalls in global supply chains, all of which can be produced in the Maritimes,” explained Markle, an Associate Professor, Craft (Textiles) at ��ܽ����Ƶ. “This is a project with local roots and a global reach, in the time of COVID-19. Projects like this demonstrate how craft can have a significant Impact for medical, speculative and economical futures for Nova Scotia in the new normal.”

During normal circumstances, hospitals and clinics rely on international supply chains for supply of their PPE. However, the emergence of COVID-19 has overwhelmed the capacity of these supply chains, leaving medical professionals around the world insufficient access to PPE, such as surgical masks and N95 respirators.

The ability to identify PPE materials and manufacturing strategies that are less reliant on international supply chains is of critical importance for addressing shortfalls in medical supplies during the current COVID-19 pandemic and future pandemics or disruptions.

“This is research that will have an immediate and lasting impact on the well-being of our frontline healthcare workers,” said Dr. Ann-Barbara Graff, Vice-President (Academic and Research), ��ܽ����Ƶ University. “On behalf of faculty and staff at ��ܽ����Ƶ, I want to congratulate Gary and Dr. Frampton on securing this research funding. This is a great example of how we can all work together and leverage our collective strengths to make a difference during this trying time.”

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“It was wonderful to have ��ܽ����Ƶ’s voice included in this event. It provided an invaluable counterpoint to the other ideas on show,” said Paul Maher, Director of Teaching and Learning, ��ܽ����Ƶ University. “We would like to congratulate both students on their ability to execute very professional pitches and to also thank them for showcasing their ideas at the competition.”

Yan is in her final semester of studying in the jewellery program at ��ܽ����Ƶ. She presented on her tech enabled interactive jewellery design called CDE. Shapland presented a pitch based on her business, Madzmod – a fashion label which modifies pre-loved garments to create stylish and affordable items.

Each presenter in the competition had to make a three-minute pitch, followed by a two-minute Q&A with the audience. The pitch had to include financial metrics, such as a market share analysis, along with production, distribution and promotion costs. It also had to be entrepreneurial, while being compelling and inspirational in nature.

Yan and Shapland developed their pitches over the course of two months, creating products that serve as a customer experience solution for retailers.

The Spark Zone brings together students and community members to create, develop and ultimately launch business ideas and social innovations.�� Partners at ��ܽ����Ƶ University, Saint Mary’s University, Mount Saint Vincent University, Nova Scotia Community College, University of King’s College, and the Atlantic School of Theology provide opportunities for people to connect and then nurture those connections as ideas become reality.

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“By operating the machines, they gained valuable insight into how that system works,” said Jennifer Green, ��ܽ����Ƶ assistant professor in Textiles/Fashion. “We’re trying to connect the students with what’s happening in their fields of study across Nova Scotia. We’re grateful the Fibre Lab made time for us and gave the students such a personal experience.”

Green added that the tour was also about teaching the students about sustainability. She pointed out that a lot of the clothes regularly purchased by consumers in Nova Scotia have travelled thousands of kilometres before they hit the shelves in local stores. The carbon footprint of this process ��ܽ����Ƶ takes its toll, making buying locally-produced yarn, clothing and other materials an important step for students to consider.

“We should all ask ourselves, ‘Where do we get our clothes from? And what is the environmental impact of that?’ It’s something our students are already thinking about and touring a local business that puts sustainability and environmental awareness into practice was a great learning experience for them,” said Green.

The textile students also took part in a Q&A session with Patricia Bishop, co-owner of the Taproot Fibre Lab and an agricultural innovator. Bishop has a wealth of experience designing flax process ��ܽ����Ƶing machinery and last year organized a local community shared linen initiative – a project that promotes the production of locally made linen garments, accessories and household items.

“It was really interesting to hear from her about what it’s like to start, own and grow this type of business. Hearing her describe the journey of opening and running her own business was very inspiring,” said Jessie McLaughlin, one of the ��ܽ����Ƶ students who toured the Taproot Fibre Lab.

“Her business places an emphasis on sustainability and buying local. Community and collaboration are important to her. In order for a business like this to work, that’s the approach you have to take,” added Pamela Juarez, a fourth-year textile student who took part in the tour.

To learn more about ��ܽ����Ƶ’s textiles program, visit /study-at-nscad/divisions-and-areas/craft/textiles-and-fashion/.

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“The Holiday Pop-Up is something we look forward to every year. ��ܽ����Ƶ students enjoy the opportunity to showcase their art, craft and design skills, while also meeting members of the community who come out to support local artists,” said Linda Hutchison, AVP University Relations, ��ܽ����Ƶ University. “It’s also a chance for all of us to buy local this holiday season. And not just local, but handmade and student-made. These are truly unique, one-of-a-kind gift ideas.”

The ��ܽ����Ƶ Holiday Pop-Up takes place at the Art Bar +Projects (1873 Granville Street, Halifax, NS). It starts on Friday, December 6, going from 5 p.m. to 9 p.m. It continues on Saturday, December 7, running from 10 a.m. to 4 p.m.

For more information on ��ܽ����Ƶ University events, visit nscad.ca.

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RSVP to mcolosimo@nscad.ca

Master Class: Hand-Sewing with Mark Mitchell
Thursday, August 15, 1pm – 4pm

Go back to the basics with visiting artist Mark Mitchell. A master in hand-sewing, Mitchell will guide participants of all skill levels through an array of techniques that can be applied to almost any project. Supplies will be provided.

Master Class: Embroidery Workshop with Mark Mitchell
Friday, August 16, 1pm – 4pm

Visiting Artist Mark Mitchell will provide an afternoon workshop on a range of embroidery stitches. Get inspired by the many ways to embellish garments with modern hand stitched details. All skill levels are welcome and supplies will be provided.

Based in Tucson Arizona, Mark Mitchell’s contributions span art, music, and theater. His magnum opus, Mark Mitchell: Burial, a performance and installation, was showcased in a solo exhibition at the Frye Art Museum, 2013, to critical and popular acclaim. In November 2016, Burial was presented in a solo exhibition in Beirut, Lebanon. Mitchell was shortlisted for the Neddy Artist Award at Cornish, 2015, for the Artist Trust Arts Innovator Award, 2016 and 2017 and was the recipient of the Kayla Skinner Award, Betty Bowen Committee, Seattle Art Museum, 2016. His work is in public and private collections, including that of the Frye Art Museum.

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White Work�� — Mark Mitchell
visiting artist, with support from Arts Nova Scotia�� — Gallery 1
Artist Talk: Wednesday, August 14, 12 Noon

Mark Mitchell uses fine dressmaking and millinery techniques to make highly realized sculptures that tell stories, mourn, and memorialize often using the tropes of funeral traditions. He exhibited his last large body of work in 2013 in a solo exhibition at the Frye Art Museum. Burial dealt with issues of mortality and mourning through burial garments. White Work takes on mourning in a different form, with activist intention.

Based in Tucson Arizona, Mark Mitchell’s contributions span art, music, and theater. His magnum opus, Mark Mitchell: Burial, a performance and installation, was showcased in a solo exhibition at the Frye Art Museum, 2013, to critical and popular acclaim. In November 2016, Burial was presented in a solo exhibition in Beirut, Lebanon. Mitchell was shortlisted for the Neddy Artist Award at Cornish, 2015, for the Artist Trust Arts Innovator Award, 2016 and 2017 and was the recipient of the Kayla Skinner Award, Betty Bowen Committee, Seattle Art Museum, 2016. His work is in public and private collections, including that of the Frye Art Museum.August 13 – 17, 2019
Opening reception: Monday, August 12, 5:30 – 7PM
Anna Leonowens Gallery, 1891 Granville Street

here nor there
Kayza DeGraff Ford, Excel Garay, Natasha Grenke & Zoë Newell
undergraduate exhibitors — Gallery 2

Four painters will explore modes of non-traditional portraiture in here nor there. Painting is a medium that calls into question reality versus reinterpretation, as the act of constructing an image becomes inescapably personal. Is a painting more or less authentic due to its inherent subjectivity? A variety of contemporary portrait methods will be on display, creating a diverse conversation involving the renegotiation of images.Splurge
Alexandra Gasparis
undergraduate exhibitor— Gallery 3

With a fondness for material that has outlived its intended use, Gasparis collects textures, colors, and form. Material is manipulated and juxtaposed to create playful, vibrant pieces that serve as adornment, small-scale furniture, and sculpture.

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