top of page

KIRSTEN ANDERSON

Fashion Designer & Artist

DESIGNS

One With Machine Look 1 Headwear by Crystle Crubaugh Photography by Yenyen Chou	One With Machine Look 1 Headwear by Crystle Crubaugh Photography by Yenyen Chou
One With Machine Look 1 Headwear by Crystle Crubaugh Photography by Yenyen Chou	One With Machine Look 2 close up Headwear by Crystle Crubaugh Photography by Yenyen Chou
One With Machine Look 2 Headwear by Crystle Crubaugh Photo courtesy of Robert Carl	One With Machine Look 2 Headwear by Crystle Crubaugh Photography by Yenyen Chou
One With Machine Look 3 Headwear by Crystle Crubaugh Photo courtesy of Robert Carl	One With Machine Look 3 close up Headwear by Crystle Crubaugh Photography by Yenyen Chou
One With Machine Look 4 Headwear by Crystle Crubaugh Photography by Yenyen Chou	One With Machine Look 4 Headwear by Crystle Crubaugh Photography by Yenyen Chou
One With Machine Look 5 Headwear by Crystle Crubaugh Photography by Yenyen Chou	One With Machine Look 5 Headwear by Crystle Crubaugh Photography by Yenyen Chou
One With Machine Look 2 Headwear by Crystle Crubaugh Photo courtesy of E.J. Landry	One With Machine Look 3 Headwear by Crystle Crubaugh Photo courtesy of E.J. Landry
One With Machine Look 4 Headwear by Crystle Crubaugh Photo courtesy of E.J. Landry	One With Machine Look 5 Headwear by Crystle Crubaugh Photo courtesy of E.J. Landry
Look 1 design	Look 2 design
Look 3 design	Look 4 design
Look 5 design	Look 1 front sweater, skirt
Look 1 side view	Look 1 back
Look 3 front	Look 4 in progress

One With Machine

Kirsten's most recent collection was inspired by science fiction and mecha Japanese animation. By researching the themes, techical aspects, and fantasy of the mechanics of cyborgs and giant robots, her five-look collection is about the connection that humanity has with technology. What makes something human, what makes something machine, and when and where do you draw the line between the two?

Materials: Polyester fabrics, sea-foam colored silk taffeta, edge-glow electric pink and yellow vinyl, reflective fabrics, sport and power mesh

2014.

Art of the Escape menswear designs.	Art of the Escape menswear designs.
Art of the Escape menswear designs.	Art of the Escape menswear designs.
Art of the Escape menswear designs.	Art of the Escape menswear designs.
Art of the Escape: look 9 menswear design. brown knit fleece, leather, brass fixtures. 2013.	Art of the Escape: look 10 menswear design denim, red twill wool, leather, brass fixtures. 2013.

Art of the Escape

This menswear collection was inspired by escape artistry, primarily by the acts of the greatest escape artist of all time, Harry Houdini. Delving deep into the act of escaping as well as the hardware used in the performances, Kirsten created a 12 look menswear collection. In her designs, she made use of many different straps, drawstrings, hardware, and interchangability to convey the idea of being wrapped and strapped, much like the accesories used in escape acts.

2013.

The Goldfish Princess Look #1
	Look #2
Over 90 pattern pieces were cut for the look #2 collar. The sleeves are bejeweled with iridescent rhinestones. The woven body part has 2 layers of fabric to create a goldfish sheen and are stuffed with poyfill. This gives the body the "meat" of the goldfish.	Look #2 under-kosode This is one of three under kosodes for the second look.
Look #3 Final look for this project.	Over 300 pattern pieces were cut for just the 3rd look tail!
Back of look #1, front of look #2	Back of look #2, front of look #3

The Goldfish Princess

Kirsten's Junior three-look collection, was based on a fairytale that she wrote inspired by Japanese folktales and The Little Mermaid. These garments are meant to evoke a magical and theatrical feel.

Various materials were used such as over 60 yards of sparkle tulle, iridescent rhinestones, satin fabrics and gold foil pleather.

2013.

(Written fairytale on page 11 of the slideshow)

Candy-Pop Kosodes

With this project, Kirsten was looked into the role of Japanese women in the Kamakura-era (1185-1333 AD). Kosode, an early form of Japanese kimono, was clothing commonly worn by travelling women and Samurai wives. Inspired by the lush layers, colorful fabics, and patterend wrappings worn by women in historic kosode, she created her own interpretation.

The bright colors, wrappings, and layers of traditional kosode reminded her of candy, which is what drove the colors, fabrics, and fabric techniques. She made use of dyeing nearly all the fabrics in this garment, as well as making her own stencils for screen-printing candy, and making giant pom poms for the sleeves.

2012.

Candy-Pop Shoes

To go with Kirsten's kosodes and collection, she made matching shoes for the look. The shoes include hand-dyed and screen printed legwarmers, as well as handmade and dyed pom poms.

Pink lambskin leather, wooden heel, glitter, cotton fabric, green nusilk.

2012.

My design

Close-up of patches I made for the arm flaps on the costume. Since this costume is entirely imaginative, I embroidered patches and buttons for a "suit control system" of sorts. To the right, you see a phone and speaker button. And to the left there is the Grandma's cookies button and the Pizza button. When you press them, you can get Grandma's cookies sent to you, and you can get Domino's Pizza delivered to you while you're on space missions.

On the other arm, I embroidered a time button (It's always past bedtime!) as well as a destination patch. The destination patch is velcro, and with it I also embroidered all of the planets in the solar system. You can switch them out as you please, as you fast travel to your next destination.

Moon patch embroidery with beads.

Embroidered Earth patch with beads.

When I Grow Up

Kirsten's first look featured in SAIC's fashion show in spring of 2012, was inspired by her childhood aspiration to be an astronaut, with an imaginary space adventure in mind. The top was equipped with an embroidered "suit control system" and a detachable backpack. Also included in the look is a tether that connects from the arm to the skirt so that when she walked, she appeared to be "floating in space".

Made of 5 different weights of white cotton, silver lame, embroidery floss, glass beads, and metal clasp fixtures.

2012.

bottom of page