STUDENT DESIGNERS
01_ _ RO BRADFORD
In my practice I find inspiration in vintage design, craftsmanship, and intentionality. Over the last year, I have worked diligently with pattern making and construction, getting a foothold on what it means to understand rules in order to break them.

In my work, I inject an essence of novelty, humor, and sincerity through exaggerated silhouettes and interactive elements. I am passionate about design that sparks excitement not only in me as the designer, but also in the wearer.
01_ _ RO BRADFORD
02_ _ CIARA BROPHY
My work focuses on creating unique, one-of-a-kind garments that empower individuals and elevate their confidence. I have a deep passion for all aspects of fashion design, from bridal to swimwear, and I am constantly exploring new ways to combine artistry and craftsmanship to make every piece I make feel truly special.
02_ _ CIARA BROPHY
03_ _ LUCY CONWAY
In my fashion design practice, I am inspired by the strong emotional pull of music and how it affects every individual differently. My work employs whimsical, unusual details and delves into themes surrounding attachment, classism, and nature.
03_ _ LUCY CONWAY
04_ _ LIZZY FOWLKES
In my practice I find inspiration in vintage design, craftsmanship, and intentionality. Over the last year, I have worked diligently with pattern making and construction, getting a foothold on what it means to understand rules in order to break them.

In my work, I inject an essence of novelty, humor, and sincerity through exaggerated silhouettes and interactive elements. I am passionate about design that sparks excitement not only in me as the designer, but also in the wearer.
04_ _ LIZZY FOWLKES
05_ _ JACKIE FRANKLIN
My practice is rooted in bringing deadstock and sustainably-sourced materials back to life. My interest in fashion has origins in resale and thrift shops, and in my practice today I source materials from these shops to create pieces that speak volumes, stylizing and modernizing old fabrics to tell modern tales. In addition to sustainable fabrication, my work places an emphasis on the feminine silhouette and nods to vintage classics.
05_ _ JACKIE FRANKLIN
06_ _ CHARLEE LAMBERT
In my creative practice, I value self expression, whimsy, and storytelling. Using bold colors, digital prints, and shapely silhouettes, my creative design work is dramatic and youthful. My work explores themes of genderlessness, historical dress, and costume-like elements. I incorporate my identity as a non-binary person into my point of view as a designer by creating garments meant to express emotions or tell stories, rather than reflect traditional gender norms.
06_ _ CHARLEE LAMBERT
07_ _ MAX MARINO
As a designer, I value high quality materials and well-fitting, well-made garments. My work explores themes of Americana as I merge historical with modern menswear. Through texture, creative fabrication, and unusual silhouettes, my work explores American history and the societal challenges that created the present, posing questions about our future.
07_ _ MAX MARINO
08_ _ LIVIA OVERTON
My work is driven by the shifting nature and nuances of emotion, and the metamorphosis of my personal narratives into something that both references and challenges my reality.

By integrating humanities and historical research, I create a multifaceted exploration of meaning for the wearer. My work expresses through silhouette, texture, and bound bodies. It is a wearable work of fiction that carries as much weight in the emotional as the physical.
08_ _ LIVIA OVERTON
09_ _ XANTHE SPARKMAN
As a designer, I value artisanal craftsmanship that disrupts societal conventions. My work delves deeply into themes of identity and body modification, using texture and exaggerated silhouettes.
09_ _ XANTHE SPARKMAN
10_ _ SENBI TURNER
As a designer, I value detailed techniques and eclectic aesthetics. My work explores themes of juxtaposition, nature, and culture through the use of embellishment and color. My most
recent work reflects themes of nostalgia, introspection, and perception, expressed through layering and resist dyeing. My process includes experimentation with various fabric manipulations, weavework, and the use of unconventional materials such as metal, allowing me to push the boundaries of traditional
garment construction.
10_ _ SENBI TURNER
11 _ JENNA VANDIVER
I am a designer from Alabama whose work weaves sustainability and storytelling into garments that echo memory and meaning.

Rooted in heritage and shaped by a deep reverence for the natural world, my designs explore dreamlike nostalgia
through thoughtful silhouettes and tactile fabrications. With each piece, I conjure a quiet dialogue between past and present—melding research, craftsmanship, and emotional resonance to create fashion that lingers like a half-remembered dream.
11_ _ JENNA VANDIVER
ASSOCIATED CREATIVES
12_ _ GRETCHEN LEE
Gretchen Lee is a fashion photography student at Columbia College Chicago. Though she's always been mesmerized by the world of fashion, she's only recently realized that it’s when she is working alongside those fellow student designers and stylists that she creates her most valued, personal work.
12_ _ GRETCHEN LEE
13_ _ ANYA TAPLEY
Anya Tapley is a senior ASL-English Interpretation Major and Fashion Studies Minor at Columbia College Chicago. For over two years, she has cherished her role at the Fashion Study Collection, appreciating the meticulous and valuable nature of handling and cataloging delicate,  historic garments.
13_ _ANYA TAPLEY
CURATORS
The Process Archive was curated by Dr. Colbey Emmerson Reid and Dr. Lauren Downing Peters.  

‍Dr. Reid is Professor of Fashion Studies and the Director of the School of Fashion at Columbia College Chicago. She specializes in the theory of style and its impact on consumption, cognition, technological adoption, domesticity, and more. She has published Design, Mediation and the Posthuman (2014); was a contributor to Emerging Genres in New Media Environments (2016); and has won awards in recognition of her articles on "statistical aesthetics" (2009) and "Mina Loy's Design Flaws" (2011). Her most recent book, Designing the Domestic Posthuman (Bloomsbury 2024, with Dennis M. Weiss), studied what Pauline Brown has called "the other A.I: aesthetic intelligence," by excavating the technicity of overlooked domestic artifacts thereby defined an alternative pathway for technological futures and the posthuman.

‍Dr. Peters is Associate Professor of Fashion Studies and Director of the Fashion Study Collection at Columbia College Chicago. Her inter­disciplinary research explores the entanglements of dress, the body, and identity, with a particular emphasis on plus-size fashion and standardized siz­ing; twentieth-century American fashion; and fash­ion sustainability. Her book projects include Fashion Before Plus-Size: Bodies, Bias, and the Birth of an Industry (Bloomsbury 2023), Fashion in American Life (Bloomsbury 2024), and(Re)Dressing American Fashion: Wear as Witness (Yale University Press 2025). Her handbook, Teaching Fashion Sustainably, is in development with Bloomsbury.
FACULTY & STAFF FACILITATORS
Julie Fehler-Render assisted the students with the construction of The Process Archive toiles and final garments. Fehler-Render is a designer, urban farmer, and educator who as taught BFA students at Columbia College Chicago for over twenty years. She is also the founder of Dame Couture.

Kumiko Murakami assisted with the ideation and fabrication of various fixtures and interpretive elements in the physical exhibition. Murakami is a valued member of the fabrication facility team at Columbia College Chicago. Before joining Columbia, she studied at the graduate school at the School at the Art Institute of Chicago and was a designer at Christian Aujard Homme in Tokyo.

Taylor Hokanson consulted on the backend development of The Process Archive website and assisted with the installation of the exhibition at the University Biennial. Hokanson is Associate Professor of Art at Columbia College Chicago. Over the course of his twenty-year career, Hokanson's work has been exhibited widely at international venues such as Are Electronica, SIGGRAPH, and ISEA.
WITH THANKS
The curators would like to thank the Driehaus Design Initiative for providing funding for the development and display of the students' work. They would also like to extend thanks to the organizers of the University Biennial for their generous invitation to participate in the inaugural exhibition, and for their support in the development of The Process Archive installation.
ABOUT THE SCHOOL OF FASHION
At Columbia College Chicago's School of Fashion, students benefit from more than a valuable 4-year education to launch their start in fashion; they get a career-long, supportive community of mentors connected throughout the industry. We take a fashion for everyone approach, meeting students where they are and showcasing all identities and bodies with our diversity-conscious curriculum and ongoing quest for more sustainable practices.