Cindy Fournier considers fashion as not only coming down to clothes and makeup. She vividly offers through her work to look and think behind and beyond dress as a surface and appearance, as the list below proves.
Her interest for the history of dress and fashion cannot be reduced to the way she dresses nor to the number of fashion magazines that she buys a month. She is deeply and sincerely persuaded that the world of fashion is deeper than that. For this reason she has chosen all along her university education to take all the opportunities that she could to develop her study of the dress from perspectives and points of view that she never thought could be a prima facie linked to the world of fashion.
Not far from considering it as part of the arts, she hardly could imagine dress, even for a second, studied through a scientific lens. She soon realised being wrong throughout the range of projects/works that carried out at the University of Neuchâtel, Switzerland. All of them are written in French, her mother tongue, and linked to dress through either theories or/and concepts. Some were thought from a communicational perspective, others from an anthropological/ethnological one.
09.2014/ as parts of the class “Histoire de la Photographie” thaught by C. Brandt
- Présentation du Photographe de Mode Tim Walker [oral presentation – 30′]
Tim Walker, Le Conteur d’Histoires à la Mode [written project – 22 pages]
06.2014/ as part of the class “Pop Culture et Genre” taught by M. Schulze
- Le Dandysme, une Sous-Culture Négociatrice du Genre : Du Style aux Masculinités, De Quelle(s) Performance(s) Parler ? [written project – 17 pages]
06.2014/ as parts of the class “Cours-séminaire en Communication Professionnelle” thaught by P.-A. Léchot –
Le Magazine & La Marque VOGUE : La Stratégie Marketing d’Anna Wintour [oral presentation – 3′]
Analyse de l’Image de la Marque et du Magazine VOGUE : la Stratégie Marketing de Référence dans la Presse Périodique Féminine [de mode] [analysis report – 10 pages]
06.2014/ as part of the class “Cours-séminaire : Communication audiovisuelle” thaught by P.-A. Léchot –
- Wisteria Hysteria, le Nouveau Parfum de Stephen Jones [analysis report of the advertising campaign film – 20 pages]
05.2014/ as part of the class “Anthropologie du Corps : Entre Représentations et Expériences” thaught by A. Mueller
- La Mode et son Image. Pourquoi la Figure d’un Grand Enfant Maigre comme Seul Corps “Libéré” ? [written project – 17 pages]
02.2014/ as parts of the class “Cours-TP : Argumenter, Ecrire et Convaincre à l’Université” thaught by T. Herman & A. Perusset
- Le Costume, Entre Identité Genrée et Reflet des Normes Sociales [scientific synthesis – 6 pages] Synthèse de quatre articles dans le numéro 36 “Costumes” de la revue Clio. Histoire, femmes et sociétés.
- L’Homme-Machine dans un Projet Esthétique : Le Mannequinat Enseigne-t-il aux Corps l’Art du Devenir-Machine ? [argued analysis – 6 pages]
Awarded a BA degree in Sciences of Information and Communication and Anthropology (September 2015), Cindy Fournier then completed the Vogue Fashion Foundation Diploma at the Condé Nast College of Fashion & Design in London (June 2016). As the course focused rather on fashion communications and business, she worked on:
- 10.2015/ ‘Yves Saint Laurent: Rebellious Renewal of Romanticism,’ ‘A Déjà-Vu of Music, Youth and Heroines,’ and ‘Les Ballets Russes to Fashion: Astonish Me!’ a 3 blog posts study of the culture and context of fashion, developing the impact of Yves Saint Laurent through collections and trends overview, as well as fashion and art commentary [27 pages analytic and interpretative research]
- 11. 2015/ ‘Anti-Agency’s Inspiring Roster of Slick Chicks, Blue-Eyed Boys and Quirky Kids are Ripping Up the Rule Book of Cookie Cutter Aesthetics,’ a fictional feature for LOVE magazine, co-written with Kirsty Lee [4 pages articles]
- 01.2016/ A hypothetical business plan addressed to SHOWstudio and Somerset House suggesting a curatorial collaboration [27 pages + 6′ pitch]
- 03.2016/ A fashion industry project about British Vogue 100th birthday, including a market research report about the interaction between Vogue & Millennials and ‘Sinners Wear Couture,‘ a fictional feature for British Vogue, reviewed by Sarah Harris, Fashion Features Director at British Vogue [21 pages of market research + 3 pages feature]
- 06. 2016/ A publishing proposal with 3 sample chapters as her graduation project connecting memory, knowledge and history in a book proposal considering how to re-enchant the perception of fashion, and how language can illustrate fashion’s romantic world of dreams [34 pages document]
Finally, she graduated with distinction on the MA degree in Fashion Communication: Fashion Critical Studies at the University of the Arts London – Central Saint Martins, where she more specifically explored fashion as an object, image, text and practice through disciplines such as art, history, literature, politics, geography and anthropology:
- 03.2017/ ‘Talia Loubaton MA Graduate Fashion Collection: Girl Eating Fries,’ a collaborative project with Bianca Batson and Brenda Weischer
- 04.2017/ Review of the ‘London College of Fashion Collections & Archive: Idiosyncratic Shapes of Fashion Design,’ as part of the Research & Methods Unit 1 [3 pages]
- 04.2017/ Review of the book Fashioning Gothic Bodies by Catherine Spooner, as part of the Research & Methods Unit 1 [3 pages]
- 04.2017/ ‘Robert Mapplethorpe: The Perfect Moment’ [8 pages essay]
- 06.2017/ ‘The Hourglass of Postmodern Fashion Hysteria: A Corporeal Discourse of the Seductive Power & Aesthetics’ as part of the Object, Image, Text Unit 2 [11 pages essay]
- 06.2017/ ‘Olivier Theyskens’ Aura of Cruelty: Which Corporeal Thinking for the Fin-de-Millenium Fashion Body?’ as part of the Object, Image, Text Unit 2 [10 pages essay]
- 12.2017/ MA Dissertation – Experimental and innovative approach to consider the relevance of contemporary fashion in the construction of human identity, offering a potentially unifying framework between the disciplines of fashion theories and philosophy to theorise around the representation of haute couture [96 pages]
If you are interested in getting acquainted with any of them, feel free to get in touch at email@example.com.