2015年5月27日星期三

Designs inspired by American artist win Limerick fashion award

Bridget Murphy, 23, from Kilmacthomas, Waterford, was announced the overall winner of the Limerick School of Art & Design graduate fashion show, which took place at the Campus’ LSAD Gallery on Clare Street.
Twenty-eight final year students from across the country showcased their collections which featured highly concept garments representing the future of creative design talent in Ireland.
Bridget won the coveted IFIL & AIB Graduate Business Development Award worth €5,000 including a three-month paid work experience with leading Irish fashion designer Danielle Romeril in London.
Winning designer Bridget Murphy, right, takes to the catwalk with model Thalia Heffernan. Picture: Alan Place/FusionShooters.
Her collection, called ‘Untitled Forms’, was inspired by American abstract expressionist painter Franz Kline focusing specifically on the painting Delaware Gap where she looked at the movement and connectivity of Kline’s brush strokes.
Bridget used tactile industrial materials such as tape and household paint, which Kline also used in his work.
She also used fraying textures and a deconstructed form, representing the emotional exposure of Kline as an expressionist painter.
Jonathan Redfern, 22, from Tipperary won The ECCO award for the most innovative use of fabric and received €2,000 to further his fashion career.
Jonathan’s collection, called ‘Hunter’, was inspired by the traditional garments worn by Mongolian eagle hunters who wore clothes for hunting on mountainous terrain.
With bulky shapes, heavy fabric and its touches of decorative trimming Jonathan’s collection uses contemporary and tradition within six specific looks. Jonathan used woven denim, hand dyed linen, hand woven wool, leather and overlay.
Michaela Kennedy, 25, from Wicklow won the LIT award for the most unique cut and technical creativity within her collection and was presented with a cheque for €2,500. The concept behind Michaela’s collection was to explore the suspense between life’s achievements and disappointments with inspiration taken from the sculptor Do-ho Suh. Michaela’s aim was to capture the illusion of suspension with the ascension and descent of the staircase to represent the journey of life using a combination of bonded woven fabrics, bonded synthetics and molded acetate.
The judging panel included internationally renowned Irish designer and LSAD graduate Danielle Romeril, who also showcased her latest collection on the night, chairperson of the Council of Irish Fashion Designers, the show’s producer Eddie Shanahan and AIB’s SME specialist Maeve Duff.
“LSAD has an incredible record for showcasing creativity and skill,” said Mr Shanahan, who is also chairperson at the Council of Irish Fashion Designers.
“Several of this year’s participants will undoubtedly set up their own labels, contributing to the growing strength of the industry in Ireland, while others will go on to make significant contributions to leading brands at international level.”
It has been a successful year for LSAD with work published in the ‘Emerging Fashion Designers’ book.
Many of the LSAD graduates including Emma Mc Kay and Rebecca Marsden were included in the coveted CREATE at Brown Thomas, while graduates Michael Stewart and Laura Kinsella were selected alongside eight emerging Irish designers to participate in In the Fold”during LondonFashion week as part of ID2015.
www.queenieaustralia.com/white-formal-dresses

2015年5月25日星期一

Are scarves the new 'power' accessory for women?

When International Monetary Fund Managing Director Christine Lagarde goes to the G8 summit in June, she may well be wearing a scarf – a fashion accessory that she’s become known for, and one that’s been drawing more and more attention. In fact, the BBC recentlyidentified scarves as a “new power symbol” for women.
True, just as some men choose amusing neckties to enliven monochrome suits, many women who work in an atmosphere that requires conservative business apparel will wear scarves to add a fillip of color and distinction.
But the trend is anything but “new.” In looking at the history of scarves in the 19th and 20th centuries, it’s clear that the allure and power of scarves has always existed – and persists. The scarf is the most simple form of adornment: a single piece of cloth. For this reason, it’s one of the most versatile clothing accessories, used for centuries across a variety of cultures, for a range of purposes.
Many Muslim women wear headscarves for modesty, while ladies of a certain age favor scarves with a triangular fold to protect expensive or elaborate coifs. A scarf can be a political statement, and can denote a wearer’s affiliation or beliefs. Early 20th-century crusaders for women’s rights used their clothing to promote their cause, wearing scarves in the movement’s colors: white, green and purple.
During World War II, scarves expressed nationalist sentiments. The British firm Jacqmar produced designs with propaganda-themed slogans. One featured the phrase “Shoulder to Shoulder” on a map of England emblazoned with British and American symbols. Another design mimicked a wall covered with posters urging citizens to “Lend to Defend” and “Save for Victory.”
But in Western culture, the scarf is most prominently known for its use as a fashion accessory, one that first gained widespread popularity in the 19th century. The fichu is a typical 18th- and 19th-century style that can be seen as the forerunner of modern scarves. A piece of fabric worn lightly draped on the upper chest and usually knotted in front, it provided modest covering but was also an opportunity to add an especially fine textile – sometimes lace edged or embroidered – to an ensemble.
Lightweight, finely woven silk and cashmere shawls from India were one of the first fashionable scarf styles. Empress Joséphine – the first wife of Napoleon – had an extensive collection (thanks to her husband’s travels), and the style persisted through much of the 19th century, spawning cheaper imitations fabricated in other parts of Europe, notably France and Paisley, Scotland. Like much of high fashion, scarves can signal one’s status, and limited edition scarves – often only made available to favored customers – can act as specific indicators for those in the know.
For example, fashion houses send scarves, often during the holidays, as thank-yous to loyal clients. Those produced by Parisian couturiers during the 1950s were especially chic, often designed with sketches of themaison; others displayed printed patterns in the whimsical, painterly style of the era. And from the 1950s into the 1970s, the famed Manhattan eating and drinking establishment 21 produced a series of annual scarves and sent them to favorite “regulars.”
The restaurant’s owners commissioned well-known designers, and each year’s scarf design referred to some aspect of the restaurant – its famous façade, the collection of jockey statues outside or the number 21.
Actress Lauren Bacall, an esteemed regular, donated her 21 scarves to the Museum at New York’s Fashion Institute of Technology, where other pieces from her wardrobe were recently exhibited.
As a discrete space, a scarf presents an opportunity for experimentation often not available in other realms of dress that are determined – and restricted – by the shape of the body.
In London in the 1940s, Lida and Zika Ascher initiated their “Artist Squares” project, enlisting an international roster of prominent artists to design large scarves, a group that included Henri Matisse, Jean Cocteau and Henry Moore.
The Artist Squares were sold in major department stores and also exhibited – framed, like paintings – at London’s Lefevre Gallery.
To celebrate her new couture salon in 1935, the designer Elsa Schiaparelli made a collage of her press clippings and had it printed as fabric for scarves and other accessories, turning black and white type into a striking motif.
A scarf by the American designer Vera offers another variation on lettering as ornament, presenting the titles of international newspapers, each in its distinctive typeface, on a vivid yellow background.
Certain labels are particularly associated with high style in scarves. Ferragamo, Fendi and Gucci – all originally esteemed leather goods houses – now produce desirable scarves.
But for prestige and polish, Hermès represents the pinnacle of scarf culture. Several aspects of its business have contributed to the company’s reputation. Founded in 1837 as a supplier of equestrian supplies, Hermès began offering scarves, called carrés, in 1937.
Their focus on exclusivity has encouraged an almost fetishistic loyalty among customers, many of whom could more properly be termed “collectors.” Limiting the number of designs they offer each season has maintained Hermès’ mystique. The company’s focus on craftsmanship helps justify their reputation and high prices; Hermès takes pride in the impressive number of colors in each design, the hand-printing process and the fineness of their silk, positioning their output as artisanal creations. While not at the level of Hermès, the American accessories company Echo, founded in 1923, also has a loyal following. The firm pinpointed the essence of the scarf with their memorable ad campaign “The Echo of an Interesting Woman,” introduced in the 1970s.
In contemporary fashion, scarves continue to serve the same functions as those earlier fine linen fichus and paisley shawls; they denote connoisseurship and sophistication.
It’s no surprise, then, that sociologist and image consultant Anna Akbari makes “Put on a scarf” the first entry on her current list of “5 Simple Ways To Hack Your Image,” recognizing their potential for instant uplift and an infusion of individuality.
QueenieAustralia formal dresses adelaide

2015年5月21日星期四

NCCU grad wins Belk’s Southern Designer Showcase

Belk recently announced the winners of its annual Southern Designer Showcase competition, and a designer with Triangle roots was among the five collections chosen.
N.C. Central University grad Amanda Williamson, with her Ennyluap women’s clothing collection, was among the winners of the store’s design competition. Other winners were Blithe by Katherine Todd, Natt Taylor Collections by Natt Taylor, Reece Blaire by Katelyn Barringer and Emily Gonzalez, and three07 by April Moore and Courtney Tyre.
Williamson and the other winners will receive a cash prize and will have their collections sold in select Belk stores and on belk in spring 2016.
NC Central grad Amanda Williamson and her Ennyluap women’s clothing collection was among the winners of Belk’s Southern Designer Showcase competition.
Williamson launched her line in 2011. In 2013, she made her New York Fashion Week debut as a participant in a designer showcase at the Helen Mills Center. She says this win marks another big step in the future of her label and career as a fashion designer.
“This is an unimaginable achievement that is propelling Ennyluap in the direction it should go,” says Williamson. “I am happy to present our classic contemporary designs to Belk’s customers.”
Trunk shows
Certain Things in Cameron Village will have new shirts, dresses, jackets and more from Before & Again for a trunk show on Thursday from 10 a.m.-6 p.m. Refreshments will be served during the event, and shoppers will receive a free gift with Before & Again purchases.
Date Night at Bailey’s
Bailey’s Fine Jewelry hosts a Bourbon, Bow Ties and Burgers date night on Thursday from 6-8 p.m. at its Cameron Village location. Attendees can peruse the latest gems, along with bow ties from High Cotton, while enjoying cocktails from Crude Bitters and burgers from Bad Daddy’s. The event is free.
Day Without Shoes
Peachy Keen boutique in Cary celebrates One Day Without Shoes along with TOMS on Thursday. For every barefoot photo posted on Instagram with the hashtags #peachykeenODWS and #withoutshoes, TOMS will donate a new pair of shoes to a child in need. And on that day, shoppers can bring a pair of gently worn shoes to the store, and Peachy Keen will donate them to InterAct and give shoppers 10 percent off their purchase.
long red formal dress

2015年5月14日星期四

Maria Pujana's journey from medicine to jewelry designer has many facets: Fashion Flash

Maria Pujana, 60s, Westlake
Fine jewelry designer, a clinical neurologist and neurophysiologist, retired professor from Case Western Reserve University School of Medicine
Your accent is wonderful. Where are you from?
I am from Spain and I grew up in Bogota, Columbia. I returned to Spain to study medicine. I came to the United States, first to San Francisco in 1982 then I moved to Cleveland in 1985.
Tell me about your journey from medicine to designer.
Fifteen years ago I decided to continue teaching at Case and to be involved in the areas that I love to work with including philanthropy. I've been part of wonderful organizations including The Cleveland Foundation, MetroHealth, The Cleveland Ballet, the Red Cross and others. Cleveland has been wonderful to me. It has been great for my personal maturity, as a person, a human, and a philanthropist.
How did you discover your talent for design?
Many physicians have a talent for the arts. I discovered the inclination and the talent that I inherited from my mother. She was a great haute couture designer and a businesswoman with her own company. She also created wonderful oil paintings. She designed big time fashions. I was always observing her and the beautiful things and miracles that she created with her hands. It looked like she was sculpting.
How did you choose a career in medicine?
When I was young, I also enjoyed science. My father understood that I liked the arts, but wanted me to do something with my scientific side. He was a student of Chinese culture and said that medicine is listed as a healing art among the arts in China. That caught my attention and I went to medical school.
When did you discover jewelry design?
I had gone to a bead show with my son who was collecting stones and I discovered the beautiful beads. I bought rubies and sapphires and thought I would create things for my mother, my sister and myself. I wasn't considering selling anything. I realized I have a lot of designs in me. It was a great period of personal discovery. It was such a surprise when people liked my creations. It was relaxing and I was very busy with it. Then my friends started asking me to make custom designs for them.
How do you go from creating jewelry at home to being in the showcases of Saks Fifth Avenue?
I prepared a small collection. I had a friend who was a part owner of Yeager's Jewelers in Westlake. We had a small show and sold all of the pieces. After that I developed a line, made cards and flyers, I talked with people and then introduced myself to three managers at Saks. They liked my work and came to my studio. One of them thought I was very convincing so I was accepted into 20 Saks stores on consignment. It was only two years after I began my line.
That's so exciting. Was your line a success?
I was in stores in Beachwood, Manhattan, Chicago, and several cities in California, Texas, Florida, all over. Each store had about 20 pieces. I have an eye for accessorizing people and the customers liked the pieces and what I did with them.
What happened next?
I was still working at The Cleveland Clinic. Through a patient, I met Oscar de la Renta. I learned he was a great philanthropist. He had a center for children in the Dominican Republic. We met, I donated a piece of jewelry for him to raffle off at his fundraiser. I presented it to him at a luncheon in Washington, D.C. He invited me to an event for Hispanic designers that same night. My mother always taught me that you have to be in the right place at the right time, but on top of that you must always be ready for anything. Have the right clothes in your wardrobe for any occasion. But in this case, the wife of the Ambassador of Spain invited me to stay with them. We were the same size. She loaned me evening wear and a boa and we became friends for life.
How did you end up showing in Fashion Week in Madrid?
I met Spanish designer Javier Larrainzar at the same event for Hispanic designers and for seven years I created pieces and accessorized his designs for the runway shows twice a year. Through that, I was featured in Spanish Vogue. And just last February, I accessorized the models for the Malan Breton Fall/Winter 2015 Women's Collection during New York Fashion Week at Lincoln Center. There's a YouTube video of the show.
Are you a silversmith? Do you build each piece?
No, I am the designer and I control the business. I have jewelers here who do the 14K gold work and jewelers in Spain do the 18K gold pieces. I have someone in Columbia who makes replicas modeled after pieces in the museum. I have stringers and carvers. My best carvers are in Germany. I have a team all over the world.
Do you still go the bead trade shows to look at stones?
I go to some of them. I go to Brazil, Spain, New York and Tucson. I am creating constantly and finding inspiration everywhere.
Where can people buy your amazing designs?
My website ismarisedesignstore.That is the best place. The prices range from $200 to $10,000. I left Saks two years ago. My jewelry is also at The Museum Store and at the gift shop at the Intercontinental Hotel. And in July and August, I will be in the gift shop at Severance Hall.
Your pieces are beautiful; you have an eye for finding the artisans who work with you.
Yes, for instance, the cameos carved out of agate are made in Germany and a man in China carves the beautiful stone flowers. Through the Internet, we send photographs and we work together across the world. I always network. I found the Chinese man at the big gem show in Tucson.
Where does your sense of style come from?
My mother was my biggest influence and I read all the fashion magazines when I was young. I developed my own style early. When I told my mother that I was leaving medicine and starting a jewelry company, she was not surprised. She said that when I was little I always wanted to go to two places with her. The beauty salon and the jewelry store. I was good at drawing my mother's ideas and instructions for the jeweler.
Do you still start your designs with drawings?
Yes, I love to draw. Sometimes, I draw with a person in mind. I design while thinking about how the piece will lay on the skin, the length and the colors that will work best. Sometimes a beautiful stone will give me the ideas. I love to redesign pieces, too. My pieces are custom, one-of-a-kind and haute couture.
What is your best advice?
I recommend to my clients that they don't have to follow the trends. They might not be for them. We all have to learn how to develop our own style that makes us look our best.
Describe your personal style.
I am eclectic. I am an end result of my experiences. A mature lady must look elegant first. The length of the skirt must be the Chanel look, at the knee. Sometimes, I wear something a little edgy, for a special event. I take good care of myself through everything I've learned through medicine. I exercise and I don't smoke or drink. Genes play an important part, but there are things you can do to prevent and to take care of yourself.
Which clothing designers do you like?
I like Ellen Tracy, Ann Taylor, Elie Tahari, Evan Picone, Oscar de la Renta and Javier Larrainzar. It doesn't matter who makes it if it is unique, high quality and elegant. I have pieces that I've had for many years. My mother taught me that fashion is not about buying something new every day, it's about keeping the things that you look good in and taking good care of them. I look for good fabric and classic, serious designs. I always wear a two-piece suit. I go to many meetings. I like to volunteer in the community and I always donate my creations to raise money.
I can't believe I'm asking but what are your favorite accessories?
I love pins, brooches. I love flowers and coins in jewelry. I also love scarves and bags. I love amethyst. It's my birthstone. Purple is a great color. Egyptians and Romans only allowed royalty to wear purple. It's also a healing stone.
Purple is my favorite color, too. How do you choose a look?
I am the opposite of many people. I often decide on a piece of jewelry first and then I pick the clothes. I choose the jewelry depending on the feeling I have that day. I get feelings from people, too. Minerals have energy that we can sometimes feel. I am a healer in more ways than one.
Why does it mean to have style?
Style is so personal. It's the way we dress, accessorize and present ourselves to others. We convey an instant message about ourselves to people who don't know us. That can be a problem, too. If a person is very well dressed, others might instantly think that they are stuck up. The reality can be very different. I don't make judgments or take anyone for granted. People in the simplest jogging suits have bought my most expensive pieces.
And lastly...
I feel that human beings have so many facets, like jewels. I am thankful to have been able to discover my facets and I've been able to do something with that.
semi formal dresses australia

2015年5月13日星期三

Tracing Korea's traditional shoemaking

No outfit is complete without shoes. But when it comes to the hanbok look in modern times, a vital part has been missing. Platform heels or loafers have replaced shoes traditionally matched with a hanbok.
A team of academics and an artisan shoemaker launched a rare project to rekindle the tradition.
The project, launched by the private cultural heritage foundation Yeol with sponsorship of GRI Korea ― importer of Nine West and Steve Madden ― revived 30 pairs of shoes worn by kings and nobility during the Joseon Dynasty (1392-1910).
It began with a year of research on traditional shoes by a team of academics of the National University of Cultural Heritage. Based on the research, artisan shoemaker An Hae-pyo, whose family has been devoted to making shoes for four generations, recreated the shoes.
Tracing Korea's traditional shoemaking
"Although shoes are an inseparable part of our clothing, there has been too little research on traditional Korean shoes," wrote Kim Young-myoung, chair of Yeol, in the exhibition catalogue.
According to professor Choi Gong-ho, who led the research team, the history of shoes has been largely overshadowed by that of clothes.
"Compared to hanbok, research on shoes has been minuscule," said Choi.
The shoes recreated by the shoemaker An and Choi's research are on view at Yeol gallery in the historic district of Bukchon in Seoul. The collection of shoes is diverse in their usage and designs.
Black mid-high boots, "mokhwa," were worn by kings and high-ranking officials. An interesting observation was made regarding Mokhwa by American astronomer Percival Lowell, the author of "Chosun, The Land of the Morning Calm."
His observation read: "During our advance it began to draw upon me why long boots form a part of the court dress, while low shoes are universally worn elsewhere. For in spite of the occasion, I could not be quite oblivious to the character of the ground. The truth was that wherever the paving ceased there was an abundance of mud; and with all due respect to one's bearing, it was at times advisable to pick one's way."
Low shoes, largely categorized as "hye" resembling flat shoes of modern days, were the everyday shoes worn by the high class. The low flat shoes with pointed tips were made in diverse materials such as leather, silk, wool and linen, depending on their usage.
Paintings from Joseon depict men and women of higher ranks wearing the low shoes with the pointed tips.
The low "hye" shoes became popular among lower ranks in the 1920s as they began to be made of rubber.
Leather and silk shoes were luxury items in Joseon society. They were included among wedding gifts sent by grooms to brides. In a royal wedding, fur shoes were often traded as wedding gifts along with expensive silk fabrics, clothes, pillows and blankets.
The exhibition displays a pair of oil-infused waterproof leather shoes that were durable enough to be worn on rainy days. Deer leather was used in the making of "nokbihye" white leather shoes and considered of the best quality.
The flower shoes, "ggotsin," presents the beauty and elegance of Korean traditional shoes.
www.queenieaustralia.com/pink-formal-dresses

2015年5月5日星期二

Fashion Startups Bypass Department Stores to Reach Consumers

Are traditional department stores becoming irrelevant? Some startup founders are saying it is getting ever easier for fashion brands to reach consumers directly, through business models like subscription, as well as mobile apps where consumers discover trends and items.
Consumers are getting accustomed to new ways of shopping, such as subscribing to getting items monthly, said Jennifer Hyman co-founder and chief executive of Rent the Runway. The New York startup rents designer dresses and has about 5 million customers, according to the CEO, speaking during a panel discussion at the TechCrunch Disrupt conference in New York on Monday.
“A huge part of our business is subscription,” Ms. Hyman said. Rent the Runway, which started in 2009, launched its subscription service last year. But numerous subscription businesses have been paving the way, including companies like Netflix for movies,Birchbox for beauty items, and ClassPass for workouts, Ms. Hyman said.
“A broad education is happening in the market, new ways of buying things and new ways of getting them delivered to you,” said panelist David Tisch, a prolific startup investor and co-founder of a startup behind the mobile app Spring, which allows hundreds of fashion brands to display and sell their wares within the app. All of these methods are making big multibrand retailers less necessary, the startup founders said.
The increased use of physical stores in combination with subscription and online models is also helping new brands reach consumers directly, obviating the need to share margins with malls and other multibrand stores.
Rent the Runway, for example, has several physical stores, which it opened after launching its e-commerce platform and after seeing successful deployment of physical stores by other brands like eyeglass startup Warby Parker. Ms. Hyman said that she expects to enable customers that have a Rent the Runway subscription to come into a store and “steal two things,” by which she means that they can exchange what they already received from the company for other items without paying more.
Another aspect that long made big department stores necessary, the exposure they offer to brands, is becoming less relevant in today’s technologically connected world, the panelists said.
“A huge portion of discovery of new products is now happening on Instagram and Pinterest for women,” Ms. Hyman said. “Pinterest and Instagram serve as virtual malls or virtual cataloging for every woman across the globe,” Ms. Hyman said.
Mr. Tisch’s mobile app Spring similarly helps consumers discover products from multiple brands, with the added bonus that brands manage the shopping experience, including the packaging and shipment of their items, which is impossible in a department store, Mr. Tisch said.
Julie Frederickson, co-founder and chief executive of startup Stowaway Cosmetics, said that the new business models are causing “the end of wholesale.” By being able to reach consumers directly, companies can avoid the inefficiencies built into wholesale fashion businesses. In Stowaway’s case that is the industry’s method of selling makeup, such as lipstick, in large sizes that consumers can never finish.
Asked by the panel moderator whether this means she would turn down an offer from a company like Sephora to distribute her cosmetics at a multitude of stores, Ms. Frederickson said she would refuse.
For brands that do manage to use new business models to reach consumers directly they are saving “half their margin,” Mr. Tisch said.
royal blue formal dresses

2015年5月3日星期日

Senior year mostly lost time for honor students at Normandy

Cameron Hensley is an honors student atNormandy High School with plans for college. But this year his school quit offering honors courses. His physics teacher hasn't planned a lesson since January. His AP English class is taught by an instructor not certified to teach it.
The first-period English class is held in a science lab because the room across the hall smells like mildew and lacks adequate air conditioning. Stools sit upside down on the lab tables.
On a recent day, Hensley looked at an assigned worksheet. He wrote "positive" or "negative" beside 15 statements, depending on their connotation. "This is pretty easy," he mumbled.
When Missouri education officials took over the troubled Normandy School District last summer, they vowed to help its 3,600 students become more college- and career-ready. About a quarter of the enrollment had already left for better schools under the controversial Missouri school transfer law, extracting millions of dollars from Normandy in the form of tuition payments to more affluent districts.
Even so, state education officials promised a new dawn in the district, with new leaders, better faculty and an unprecedented degree of attention from their department in Jefferson City.
But Hensley's experience suggests things have gotten worse for many students who remain in Normandy schools.
Hensley, 18, began his senior year to find his favorite teachers gone. Electives such as business classes and personal finance were no longer offered.
He has written no papers or essays since fall, he said, aside from scholarship applications. He started reading a novel that the class never finished. Partly because of a lack of electives, he ended up taking fashion design first semester. He has no books to take home. He's rarely assigned homework.
His one challenging class is precalculus.
"Last school year I was learning, progressing," Hensley said. "This school year, I can honestly say I haven't learned much of anything."
Demetris Drummer, the AP English instructor, re-entered the classroom to see whether students had questions about the worksheet. Then he left again.
"Snatching all the old teachers, putting in the new — it didn't turn out so good," Ariauna Carver, also a senior, said after Drummer was out of earshot.
Drummer is one of the new hires brought in by the state. Before Normandy, he taught for one year at Roosevelt High School, a low-performing school in St. Louis. Drummer is not certified to teach AP English, which is supposed to be a college-level course. Students initially were taking the class on computers. After a few weeks, Hensley and his classmates marched down to Principal Derrick Mitchell's office and demanded that an instructor teach them.
Drummer said he likely won't be returning in the fall. He expressed frustration with his students, who have "gone off on me a couple of times." He also said he understands where they're coming from.
"They've missed out on a quality education," he said. "And it's not their fault."
"This is unacceptable for the children served by our district," wrote Interim Superintendent Charles Pearson, wrote in a letter posted on the district's website Saturday. "Regardless of how long it has taken for this situation to develop, regardless of the good intentions of some, it is inexcusable that any child should have to endure such a learning environment."
In 2014, Normandy High was the worst-performing high school in Missouri, earning just 8.6 percent of the points available on the state's annual performance report. Its enrollment is almost entirely black. The students come from a patchwork of 24 tiny municipalities in north St. Louis County with sagging income levels and employment rates.
By the time Normandy students reach their senior year, the chasm between their achievement levels and those at wealthier, more diverse schools is vast. Last year, nearly 40 percent of the class of 2014 failed to graduate. While some seniors are reading at a 12th-grade level, teachers say others have reading skills similar to a typical third-grader.
Hensley's mother, Gloria White, said she believes the state set up Normandy schools for further failure. Her sentiment is shared by parents throughout the district who have spoken at public forums.
But the district's problems did not begin last year. In 2010, the state closed Wellston's failing schools and assigned those children to Normandy schools, which had been slipping for two decades. Normandy lost accreditation three years later. This history sits at the core of parents' anger.
Early this school year, parents, teachers and students spoke out about escalating problems, such as classroom disruptions, inconsistent discipline and ineffective teachers.
In October, Hensley stood at a microphone in the cafeteria of Lucas Crossing Elementary School, where Normandy's newly appointed board gathered to hear from parents and students.
"This year, it's like everything that was said about my school has come true," Hensley said. "Nobody — kids, me — we really don't have purpose coming to school. . I love my school, but I've been discouraged in my school."
Hensley now says he feels like those words fell on deaf ears.
"Everything I've said hasn't made a difference."
Nearly a year ago, members of the Missouri Board of Education convened in Jefferson City to remake the school system. They renamed the district the Normandy Schools Collaborative. They replaced the elected school board with a five-member state-appointed panel, which now has full oversight of the school system. They directed all teachers and principals to reapply for their jobs.
State education officials helped determine which teachers would stay. Ultimately, 48 percent of the staff was replaced.
The Missouri school board president said at the time that Normandy students deserved nothing less than the highest standards.
"As long as it's tough," Peter Herschend said. "It's got to be tough."
Teachers have described environments that have left them exhausted and demoralized. New teachers have struggled with managing their classrooms, which are larger in size and lack the support of teachers aides.
Some said they often spend their planning periods subbing for teachers who quit or didn't come to school. They work a longer school day and stay after school twice a week for 90 minutes of state-mandated training.
"Complete waste of time," one high school teacher said, asking not to be identified. "I could have spent that time planning something for them (students) to do."
The lack of learning in many classrooms has fueled behavior problems.
Normandy Middle School suspended nearly a third of its students one day in the fall. The high school did the same. District numbers show discipline incidents have dropped significantly since then.
However, when asked whether classrooms have been any less disruptive, about six high school juniors shook their heads as they ate lunch last week in the cafeteria.
"We haven't really learned anything," Deboney Cherry said.
Across the table Tyron Jones added, "That's why we entertain ourselves."
Hensley considered transferring but chose to stay. He'd been in Normandy schools since kindergarten. He played tuba in the band. He thought many in the region had a misperception about Normandy High, and he wanted to prove them wrong.
Instead, he said, he was proved wrong.
Graduation is five weeks away. Hensley is deciding between Southern University in Baton Rouge, La., and Jackson State in Mississippi. He wants a career in computer science.
Like many in the class of 2015, he would be the first in his family to earn a college degree. His mother works as a seamstress in Brentwood. Hensley has a part-time job as a cashier at the Family Dollar on Natural Bridge Road — a job that he'd prefer not to have beyond his teenage years.
Hensley sat down in front of a computer in the counselor's office. His jazz band instructor hadn't shown up for second-period class. Hensley typed his password and pulled up his grades.
"A's," Hensley said. And one B. Yet Hensley scored a 20 out of 36 on his ACT. Automatic admittance to the University of Missouri system requires a 24.
"If I wasn't raised the way my mother raised me, I don't think I'd be going to college," Hensley said. "A lot of seniors have part-time jobs, and they want to stay there because they don't think they'd make it in college. I put that on this school."
Mostly, he puts it on his teachers. Teachers often put it on Normandy parents. The level of distrust between school and the community is high.
When the buzzer sounded to mark the start of third period, Hensley took a seat in the second row. Other students trickled in several minutes later, including Carver, who shares most of Hensley's classes.
"Third period is nothing to expect," she said after she sat down. "She doesn't take attendance. No work at all. No intent to do any work."
The instructor, Ivy Word, sat in the front corner looking at her computer screen. She's a substitute teacher who's been in charge of the class since the start of the school year.
Some students sat at the back of the room, ear buds in their ears. Some slept. Carver and four other girls talked about prom. Carver took out a comb and began braiding a classmate's hair. Another girl began gluing fake eyelashes.
In classes where teachers have given up, students have, too. They spend the hour texting friends, snapping photos and sending them by social media.
Interim Superintendent Charles Pearson listened to a general description of the scenes in some Normandy High classrooms. He took his glasses off, looking grim.
"I would offer no excuse for that," he said. "I have not seen all flawless. I have not seen all horrible. I have to be candid — what you have described I have not seen. What you have described is plain unacceptable. It's immoral. It's unethical."
In a telephone interview, Missouri Education Commissioner Margie Vandeven called the atmosphere "absolutely not acceptable. I'm sad about what you described."
She pointed out that her department has not been in Normandy schools since giving full oversight to the appointed board in January.
Across the Normandy Schools Collaborative, teachers in some classrooms are succeeding. Pearson calls them "pockets of success."
"There are some strong teachers, and there are some teachers getting stronger," he said.
For example, Angela Lao has every kindergartner in her class at Lucas Crossing Elementary reading simple sentences, based on a recent visit to the school. This is in spite of the fact that almost none of them began the school year knowing the alphabet or having attended preschool.
At the high school, Winifred Deavens left retirement to teach math. Last week, at the start of fourth period, she ordered two students who weren't supposed to be in her room to leave. She worked with Hensley and about six of his classmates on logarithms, a mathematics function usually introduced in eighth- or ninth-grade algebra. The college-bound group practiced the work. Those not interested in learning sat listening to music.
There's only one set of books in precalculus. Students cannot take them home.
Despite state intervention, there was no additional money to pump into Normandy schools, aside from $450,000 that the Legislature approved to support literacy. The district remains financially fragile.
In many ways, the fate of Normandy lies with the Legislature. Lawmakers are considering a bill to modify the school transfer law. But that bill would not place limits on the amount of tuition that area districts may charge for transfer students.
"It's hard for anybody to say it's a stable situation," Vandeven said, later adding: "More money is going out the door (per student) than is coming in."
Meanwhile, the number of students who have applied to leave Normandy schools for more successful ones in the next school year has climbed 50 percent to 639 — a number that Vandeven doubts Normandy can afford at current tuition rates.
Regardless, district officials are planning to operate schools next year. Honors classes and AP courses are to be restored at the high school. Teachers will be trained in June to teach them, Pearson said.
Vandeven said Normandy needs more resources to address the needs of its best and most-challenged students.
"We've learned many lessons throughout this year," Vandeven said. "I'm sure there are things we'd do differently."
Drummer, Hensley's AP English teacher, said he didn't want to defend how the year has gone for these students.
"I understand why they're frustrated," he said. "I don't feel like they have had the quality education they should have to succeed. I don't know if I should attribute that to the state or just the genuine feeling that the teachers don't care about the students."
QueenieAustralia backless formal dresses