CATALOGUE 10/11

ÉCOLE PARSONS À PARIS

A DIVISION OF PARIS COLLEGE OF ART
ÉCOLE PARSONS À PARIS

École Parsons à Paris, known also as Parsons Paris, promotes

the artistic and intellectual maturation of promising students into
exceptional professional artists, designers and design managers
through a rigorous art, design and liberal arts education.
Parsons Paris emphasizes the ethical role of creative disciplines,
viewing art and design practice as meaningful and necessary
contributions to society. Contemporary methods of visual production
are taught on the foundation of traditional skills in the fine arts.

PARIS COLLEGE OF ART

Paris College of Art's mission is to provide the highest

international standard of art and design education, taught within
an American pedagogical paradigm, while being influenced,
informed and drawing from our French/European environment.

LETTER FROM THE ACADEMIC DIRECTOR
École Parsons à Paris is a dynamic forum for exchanging ideas,
methods and professional experience. Our students and faculty
combine curiosity, experimentation and enthusiasm in the pursuit
of learning.
At Parsons Paris, we believe that finding a design solution, creating
a work of art and facilitating the production of a creative team are
intellectual processes of undeniable value. Developing critical
awareness through hands-on research and discussion is essential
to professional maturation and individual growth. Artistic practice
demands a high level of personal commitment and discipline, and
we expect our students to participate actively in class so that we can
explore differing points of view and engage our creative resources.
Parsons Paris is rooted in a city of primary art and design production.
Experiencing the uniqueness of the Parisian metropolis provides
a rich source of visual and intellectual inspiration. Sharing this
experience with individuals from over 40 different countries gives
our students a unique perspective on the variety of expression
existing through-out the world.
The legacy of École Parsons à Paris and its successful graduates is
something to be proud of and to contribute to in the years to come.
Sincerely,
Tony Brown
Interim Academic Director
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Student Life 08

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Partnerships 12

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Academic Calendar 18
The Knowledge Network 19
Exchange Network Schools 20
Career Services 22
Exhibitions 24

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Administration + Faculty 144
Degree Programs 152
Non-Degree Programs 154
Admissions 158
Application Procedure 160
Application Materials 161
Additional Application Materials 162
Transcript Issues 165
Tuition + Scholarships 166

ÉCOLE PARSONS A PARIS
Parsons Paris was established in 1921
to provide the highest standard of
American education to undergradu-
ates in fine arts and design wishing
to pursue degree options in Europe.
With the resources of its location in
one of the world’s most resplendent
cities, Parsons Paris emphasizes an
interdisciplinary approach to aca-
demic programs. Parsons Paris draws
students from around the world. The
spontaneous cultural diversity this
engenders complements the pro-
gram and fosters a critical sensitivity
toward the globalization of visual
culture and its impact on respective
art and design fields. Parsons Paris’
multicultural environment nurtures
artistic practice as well as individual
growth. The intimate size of our
classes provides for a unique contact
between instructors and students.
Ecole Parsons à Paris
4 5
Parsons Paris
Students are encouraged to develop École Parsons à Paris is a division of
personal expression through creative the Paris College of Art, an American
problem-solving and process-orien- college with degree-granting au-
ted research. Parsons Paris’ metho- thority from the state of Delaware
dology gives students a competitive and accreditation from the National
advantage, both academically and Association of Schools of Art and De-
professionally, while emphasizing sign (NASAD). The school is also rec-
ethical interaction with society as a ognized by the Rectorat of Paris as a
whole. Through its international fa- private institute of higher education.
culty of working professionals, the
school maintains close ties with the
Parisian art and design culture. Spe-
cial events, exhibitions and confer-
ences bring students in intimate con-
tact with their distinctive European
setting. Parsons Paris fulfills its mis-
sion on behalf of students - whether
in Communication Design, Design
Management, Fashion Design, Fine
Arts, Illustration or Photography - by
offering a unique and challenging
learning opportunity.

ÉCOLE PARSONS À PARIS: A HISTORY
In 1921, Frank Alvah Parsons launched
the first American education pro-
gram abroad, The Paris Atelier, situ-
ated at the Place des Vosges with 22
students. By 1927, this full-time art
and design program had grown to 217
students with 17 nationalities repre-
sented, including Austrians, Swedes,
Swiss, Russians and Australians.
By establishing The Paris Ateliers as a
branch of the New York School of Fine
and Applied Art, Parsons encouraged
the exchange of ideas and trends be-
tween New York and Paris at a time
when communication between the
two continents was much more lim-
ited then today.
Ecole Parsons à Paris
All vintage photographs ©The Anna-Maria and Stephen Kel-
len Archives Center for Parsons The New School for Design.
This page: The Paris Ateliers (Parsons), 1920s.
right: Frank Alvah Parsons
6 7
The basis of the school...was the rec- og-
nition that art is a universal quality be-
longing to no particular time, loca- tion,
class, field or technique; that it is essen-
tial to the happiness and success of na-
tion or an individual, both spiritually and
materially…
The extraordinary change wrought in
public taste, the growing belief in a more
scholarly research for ideas, instead of
the adulation of “originality” without
ideas… led to the founding 1921 of the
Paris brand of the school at 9 place des
Vosges… 1
1
The Paris Ateliers catalog of 1926-27
2
The New School Libraries: Special Collections: Kellen
Archives: William Merritt Chase available at:
library.newschool.edu/speccoll/kellen/faparsons.php,
2005, viewed July 6, 2009.
Parsons Paris
Many designers of great renown A towering figure in the world of design
were educated at the Paris Ateliers in- education, Frank Alvah Parsons encour-
cluding Claire McCardell, the pioneer aged the rise of the design profession in
of ready-to-wear clothing in America America, trained many of the leading
and Gilbert Adrian, the creator of the commercial artists of his day, and cre-
costumes for The Wizard of Oz. The ated and disseminated influential theo-
Parsons table, minimal and, for its ries of design. Because of his importance,
time, revolutionary, was designed by the school he directed, then known as the
Jean-Michel Frank in collaboration New York School of Fine and Applied Art,
with students from The Paris Ateliers. was posthumously renamed for him.2
Sadly, due the outbreak of World War
II, the Paris Atelier closed its doors in
1939. The school first reopened as a
summer program in the late 1970s
and in 1981, Frank Alvah Parsons’
great vision of internationalizing
art education was revived by David
Levy, then Dean of Parsons School of
Design, when he established Parsons
Paris as a full-time program.

STUDENT LIFE
More than forty countries are repre-
sented in the École Parsons à Paris
student population, bringing to this
small community a cultural diver-
sity that is rare among art education
institutions. This, combined with a
location at the crossroads of Europe,
VISITING PARSONS PARIS
makes studying at Parsons Paris a
uniquely rich experience for young
Parsons Paris Open House
artists and designers. An elected stu-
Saturday, November 6, 2010
dent government brings issues be-
Saturday, February 5, 2011
fore the school administration, and
organizes social events that unite
Campus Tours and Info Sessions
this close-knit community. Student
By appointment only, Mondays at 11 am ,
life is a blend of structured classes,
Wednesdays and Fridays at 2 pm.
studio time and extracurricular
Please schedule an appointment in advance
events including guest speakers, gal-
by email at admissions@parsons-paris.com
lery openings, social gatherings and
or by calling +33 (0)1 45 77 39 66.
the discovery of the world beyond
the walls of the school. During the
Parsons Paris website:
term, excursions are organized to the
www.parsons-paris.com
nearby sites of Giverny or Versailles,
and beyond the borders of France to
cities such as Berlin, Geneva, London,
Florence or Venice.
Student Life
8 9
STUDENT LIFE OFFICE
The Student Life Office helps stu-
dents navigate the many aspects of
life as temporary residents of Paris
and lends a hand as they discover
their new environment. The orienta-
tion program provides a week–long
introduction to the French capital as
well as an opportunity to meet fel-
low classmates and the faculty and
staff who form the school commu-
nity. Student Life staff help students
obtain residence permits (cartes de
séjour) and advise on such practical
matters as banking, telephone and
transportation systems, insurance
and medical referrals. Student Life
provides organizational support for
the student government, on-campus
internship program, as well as social,
cultural and special events. Counsel-
ing on any personal concerns that
arise during the school term is avail-
able on a confidential basis.
Student Life
CAMPUS LIFE
While the larger campus is certainly
Paris, with its museums and histori-
cal sites, the facilities of Parsons Paris
are ideally suited for the creative en-
deavors proposed in the classroom.
Skylit studios used for drawing, paint-
ing and sculpture surround a central
courtyard. The photography studio,
printmaking room, fashion atelier,
and computer lab enable students to
explore the limits of their creativity.
An in–house gallery features exhibits
by both professional artists and École
Parsons à Paris students alike. Small
classes, along with individual atten-
tion from faculty, provide an opti-
mum environment for developing
the discipline and skills required for
the student’s artistic pursuit. While
classes are taught in English, we en-
courage students to study French so
that they can take full advantage of
their time in Paris.

HOUSING & MEALS
Students live in dormitories or apart-
ments throughout the city or may
choose to live with a French family.
Dormitory options include
During the fall semester students
may choose to live in La Maison
Mere Dormitory located in the 6th
Arrondissement, three stops away
from Parsons Paris. The rooms are
equipped with AC, WiFi and Ethernet,
electronic keys and digital phones.
The building has 24/7 security and re-
ceptionist, a Residence Director and
Residence Advisor on-site, a library,
lounge, computer lab and printers.
Meal plans are available. The rooms
are double occupancy so you would
share with another Parsons Paris stu-
dent. La Maison Mere is only available
for students 18 years of age and older.
Student Life
10
Apartments and Homestays
The experience of life in the French
community helps avoid isolating
students within a closed English–
speaking environment. As part of
an ongoing process, the Student Life
Office is involved in locating apart-
ments suitable for students as well
as developing and maintaining con-
tacts with various rental agencies
and Homestay providers. Students
receive assistance and documenta-
tion on effectively dealing with the
legal aspects of renting in France.
Meals
Most Parsons Paris students prepare
meals at home, eat in local restau-
rants or from take-away shops in the
neighborhood of school. Additionally,
through the CROUS, a public esta-
blishment of the French Minister of
Education, students have access to
four restaurants and twenty univer-
sity cafeterias at which they can have
a three-course meal at lunch or din-
ner for fewer than 3 Euros.
LIBRARIES
The American Library of Paris
Parsons Paris students have access
to the American Library of Paris that
houses a collection of more then
115,000 books, CD-ROM indexes, a
periodicals collection of 450 titles
(some of which date back to the 19th
century) and over 350 current peri-
odicals.
Bibliothèque Kandinsky, Centre de
Documentation et de Recherche du
Musée National d’Art Moderne - Cen-
tre de Création Industrielle
Originally reserved for museum cu-
rators, under specific conditions the
library exceptionally allows Parsons
Paris students access to the collec-
tion, with the academic supervision
of Parsons Paris’ instructors.
For more information on the Bibliothè-
que Kandinsky see page 12-13.
Student Life
Bibliothèque des Arts Décoratifs
Demonstrating the school’s ongo-
ing commitment to research in the
fields of art and design, Parsons Paris
supports the Bibliothèque des Arts
Décoratifs through an annual dona-
tion dedicated to acquisitions for
the collection. This new partnership
gives students and faculty at Parsons
Paris privileged access to the library’s
resources.
For more information on the Bibliothè-
que des Arts Décoratifs see page 14-15.
11

CENTRE NATIONAL D’ART ET DE
CULTURE GEORGES POMPIDOU
The Centre National d’Art et de Cul-
ture Georges Pompidou was the
initiative of President Georges Pom-
pidou (1911-1974), who wanted to cre-
ate an original cultural institution in
the heart of Paris completely focused
on modern and contemporary cre-
ation, where the visual arts would
rub shoulders with theater, music,
cinema, literature and the spoken
word. Housed in a building designed
by Renzo Piano and Richard Rogers,
whose architecture symbolizes the
spirit of the 20th century, the Centre
Pompidou first opened its doors to
the public in 1977. It is one of the most
visited attractions in France. Some
6 million people pass through the
Centre Pompidou’s doors each year.
In a unique location under one roof,
the Centre Pompidou houses one of
the most important museums in the
world, featuring the leading collec-
tion of modern and contemporary
Partnerships
12
art in Europe, a vast public reference
library with facilities for over 2,000
readers, general documentation on
20th century art, a cinema and per-
formance halls, a music research
institute, educational activity areas,
and bookshop. Unwavering in its in-
terdisciplinary vocation and its core
mission, to spread knowledge about
all creative works from the 20th cen-
tury and the new millennium, each
year the Centre Pompidou holds thir-
ty or so public exhibitions plus inter-
national events. Exhibitions include
cinema and documentary screen-
ings, conferences and symposiums,
concerts, dance and educational ac-
tivities - many of which go on to other
venues in France and abroad.
above & left: © Photos : Philippe Migeat, Centre Pompidou
opposite top & right: © Photos Georges Méguerditchian,
Bibliothèque Kandinsky
Partnerships
Bibliothèque Kandinsky, Centre de Internship Scholarship at the Centre
Documentation et de Recherche du National d’Art et de Culture Georges
Musée National d’Art Moderne - Cen- Pompidou
tre de Création Industrielle
Parsons Paris and the Bibliothèque
The collections of this specialized, in- Kandinsky have created a joint frame-
ternational, heritage-oriented library work that enables select students
affiliated with the Centre Pompidou whose work displays academic merit
are intended for research and exhibi- to benefit from the unique opportu-
tion purposes. They are exclusively nity to obtain an internship/scholar-
devoted to 20th and 21st century ship at the Bibliothèque Kandinsky
works of art, design, architecture, during the course of their studies.
photography, film, video and new Candidates must be proficient in the
media. The available resources also French language.
comprise related documents per-
taining to art criticism and theory,
aesthetics and museum studies. In
addition, the library has a significant
collection of contemporary artists’
books, to which Parsons Paris con-
tributes through an annual donation
dedicated to acquisition. Originally
reserved for museum curators, the li-
brary exceptionally allows associated
researchers and students enrolled at
Parsons Paris to access the collec-
tions, under the academic supervi-
sion of Parsons Paris’ instructors.
13

LES ARTS DECORATIFS
Les Arts Décoratifs is a private, not-
for-profit organization whose mis-
sion, since 1882, has been to promote
the applied arts and support the re-
lationship between industry, culture,
and design. Originally known as the
Union Centrale des Arts Décoratifs
(UCAD), Les Arts Décoratifs operates
the museums (Arts Décoratifs, Mode
et Textile, Publicité), and the Bib-
liothèque des Arts Décoratifs from
its location in the Rohan and Mar-
san wings of the Louvre complex. It
also comprises the Musée Nissim
de Camondo, located in the Hôtel
Camondo (63 rue de Monceau), and
the Ecole Camondo, a school of de-
sign and interior architecture (266
boulevard Raspail). Les Ateliers du
Carrousel offer training workshops in
arts and crafts for students of all ages
and abilities throughout the organi-
zation’s three sites. All of these insti-
tutions function collectively to uphold
the mission of Les Arts Décoratifs: “to
keep alive in France the culture of the
arts which seek to make useful things
beautiful” by preserving, enriching,
and documenting its collections;
transmitting knowledge and skills;
promoting contemporary design; and
developing links with industry.
top: © Photo: Olivier Thomas
above: © Photo: Luc Boegly
Partnerships
right: © Photo: Olivier Thomas
For more information on Les Arts Décoratifs, visit www.lesartsdecoratifs.fr
14
Partnerships
The Bibliothèque des Arts Décoratifs
is a research library dedicated to the
decorative and applied arts. Boasting
an impressive collection of 120,000
publications—including exhibition
and sale catalogues, books, periodi-
cals, 19th-century Japanese books
and scrolls, photographs, and other
printed records—the library is inte-
gral to the institution’s missions of
education, preservation, and docu-
mentation, and is an invaluable re-
source for researchers and designers.
Of particular interest is the Maciet
picture collection, a compilation of
engravings and original photographs
begun in 1885, which lines the walls
of the library in 5,000 albums classi-
fied by subject.
École Parsons à Paris supports the
Bibliothèque des Arts Décoratifs
through an annual donation dedicat-
ed to acquisitions for the collection,
demonstrating the school’s ongoing
commitment to research in the fields
of art and design. This new partner-
ship gives students and faculty at
Parsons Paris privileged access to the
library’s resources.
15

ÉCOLE LESAGE
In 1858 Charles F. Worth opened the
first Haute Couture salon and in the
creation of his notable garments, us-
ing lavish fabrics and trimmings, he
called upon the embroidery skills of
Albert Michonet. In 1924, Albert and
Marie-Louise Lesage, a former col-
league of Madeleine Vionnet, bought
Albert Michonet’s atelier. Thus began
a close collaboration between the
Maison Lesage and the great fash-
ion designers of the day including:
Paquin, Poiret, Redfern, Madeleine
Vionnet, and Elsa Schiaparelli.
In 1949, at the age of 20, Francois Les-
age took over the family business and
for fifty years, mastered the blending
of exemplary workmanship with the
innovative needs of an emerging ge-
neration of couturiers: Dior, Givenchy,
Yves Saint Laurent, Scherrer, Lacroix
and Gaultier.  learn this great craft and be a part of
In 2002, Francois Lesage joined the
Chanel galaxy, but has remained the
preferred supplier of embroideries to
all the fashion greats: for Karl Lager-
© Photos: Olivier Saillant
feld, he is an indispensable and irre-
placeable partner.
Partnerships
16
Partnerships
The Maison Lesage is endowed with
an inventory of over 60 tons of sup-
plies  among which are iridescent
crystal, jet from the 1870s, cabochons,
rhinestones, and glass beads from
the roaring twenties.
Guardian of the disappearing savoir-
faire of the craft of embroidery, Fran-
cois Lesage established a school to
pass on this great tradition. Since
its inception in 1992, the Ecole Les-
age, located on the ground floor of
the Maison Lesage on the rue de la
Grange Batelière, has unveiled its
embroidery secrets and specialized
knowledge to students from around
the world.
In 2009, Parsons Paris and the École
Lesage have partnered to provide
our students with an opportunity to
preserving this technical and artistic
heritage.
17

PROFESSIONAL AFFILIATIONS
AND MEMBERSHIPS
• CUMULUS: Association of International Schools of Art & Design
• ELIA: European League of Institutes of the Arts
• NAFSA: Association of International Educators
• CAA: College Art Association
• DMI: Design Management Institute
• EAIE: European Association for International Education
• NCAA: National Council of Art Administrators
• AACRAO: American Association of Collegiate Registrars
& Admissions Officers
• ICFAD: International Council of Fine Arts Deans
• ECIS: European Council of International Schools
• APUAF: Association des Programmes Universitaires en France
• Icograda Education Network
• Designers Accord
• European Academy of Design
• Ateliers de la Recherche en Design
• Designers Interactifs
Partnerships
18
ACADEMIC CALENDAR 2010-2011
FALL 2010
Orientation and Housing Check-In August 30
Orientation Begins
Academic Advising & Registration September 3-4
Classes Begin
Drop/Add Week
Open House
Mid-Term Evaluation Week
Last day to withdraw from a class
Armistice Day Holiday
Last Day of Classes
SPRING 2011
Orientation and Housing Check-In January 12
Orientation Begins
Academic Advising & Registration January 18-19
Classes Begin
Drop/Add Week
Open House
Mid-Term Evaluation Week
Spring break
Easter Monday Holiday
Last day to withdraw from a class
Study Week - no classes
Ascension Holiday
Last Day of Classes
End-of-Year Show
Graduation Ceremony
SUMMER 2011
Classes begin
Bastille Day Holiday
Last Day of Classes
* Classes will be rescheduled by the faculty
in coordination with the Department Heads
The Knowledge Network
THE KNOWLEDGE NETWORK
In 2008, Parsons Paris launched the
Knowledge Network, a research
centre dedicated to the dissemina-
tion and promotion of research in
the fields of art and design. Under
the direction of Dr. Brigitte Borja de
Mozota, the Knowledge Network
operates a Design Observatory to
August 31
evaluate the state of design research,
Dr. Brigitte Borja de Mozota began her
September 7
a project which recently included col-
laborating with the French Ministry career as a buyer in the department
September 8-14
of Industry on a study of continuing store chain “Au Printemps,” and as the
November 7
education opportunities for design- founder and manager of an import
October 19-23
ers. In 2009, The Knowledge Network company specializing in distributing
November 6
began publishing a new research designer products. In 1985, she received
November 11*
a PhD from Université Paris I Sorbonne
December 18 journal entitled Collection, encour-
following her research on design and
aging the exchange of expertise be-
tween researchers and profession- its role in marketing strategy. She has
since taught in numerous prestigious
als through both articles and visual
January 13 contributions. The first issue focuses academic institutions including Uni-
on the intersection of sociology with versité Paris Ouest, ESSEC, and Au-
January 20 art and design (Guest editor, profes- dencia (France), and Brunel University
January 21-27 sor Michel Maffesoli, guest designer School of Engineering and Design (UK).
February 13
Olivier Peyricot). Since 2000, she has been supervising
March 8-12
The Knowledge Network at Parsons research and PhD dissertations in de-
March 15-19 sign management, as well as writing
Paris is actively engaged in events
April 5* numerous articles and reviews for
and conferences, and recently co-
April 6
hosted the 6th edition of Les Ateliers academic research journals (includ-
April 26-30 ing Design Journal, Revue Française de
May 13*
de la Recherche en Design with Uni-
versité Paris I as part of Designer’s Gestion, Journal of Creative Industries,
May 17
Days 2009. Research tracks for the Design & Culture). First published in
May 21
2009-2010 year include a conference 1990, her book Design Management
May 22
on Foundation Education and an in- is a highly esteemed reference in the
vestigation on the subject of creative field, and has been translated into
May 18 cities coinciding with the World De- ten languages. As Chair of the Design
July 14* sign Capital award. Management Institute’s Research Ad-
July 24 visory Council and co-founder/board
member of the European Academy of
Design and the Ateliers de la Recher-
Biography che en Design, Dr. Borja de Mozota
brings her expertise to Parsons Paris
as Director of Research.
19
 Exchange Network Schools
EXCHANGE
Stockholm, SWEDEN
NETWORK Reykjavik, ICELAND
Konstfack
Iceland Academy of the Arts
SCHOOLS Helsinki, FINLAND
London, ENGLAND Aalto University School of Art & Design
Central Saint Martins College of Art and Design
Wimbledon, ENGLAND Copenhagen, DENMARK
Vancouver, CANADA
Wimbledon College of Art Danmarks Designskole
Emily Carr University of Art + Design
Rotterdam, NETHERLANDS
Toronto, CANADA Dublin, IRELAND Willem de Kooning Academy
Ontario College of Art and Design National College of Art & Design Antwerp, BELGIUM
The Royal Academy for Fine Arts
Rhode Island, USA
Rhode Island School of Design Zurich, SWITZERLAND
Barcelona, SPAIN Zurich University of the Arts
San Francisco, USA Baltimore, USA Elisava Escola Superior de Disseny
California College of the Arts Maryland Institute College of Art

Jerusalem, ISRAEL
The Bezalel Academy of Arts & Design

STUDY ABROAD OPTIONS

In addition to studying with peers

from all over the world, students en-
rolled in the full-time BFA and BBA
programs at Parsons Paris have the
possibility to study abroad during
their junior year at one of the schools São Paulo, BRAZIL
in our Exchange Network. In order Fundaçao Armando Alvares Penteado
to participate, students must be in (FAAP).
Sydney, AUSTRALIA good academic standing and apply
Buenos Aires, ARGENTINA
Sydney College of the Arts during the spring semester of their
Universidad de Belgrano
sophomore year. Students are not
Exchange Network Schools

Melbourne, AUSTRALIA permitted to spend their fourth and

Royal Melbourne Institute of Technology
final year on exchange. Due to the
Parsons Paris residency requirement,
students who have transferred to
Parsons Paris at the junior level may
not participate in this program.

20 21
 Career Services
CAREER SERVICES CORPORATE PARTNERSHIPS

Students begin preparing for their ca- Through industry partnerships Par-
reers the day they select a professio- sons Paris students gain real world
nal college of art and design. At Par- experience and develop professional
sons Paris, the process is promoted contacts. For the second consecu-
and enhanced by the Career Services tive year, BIOTHERM, a luxury brand
Office that provides regular works- of the L’Oréal Group and a pioneer
hops on resume writing, portfolio and leader in international skincare,
presentation, job search techniques is supporting creativity and young
and interviewing skills. talent through a partnership with
Parsons Paris. Biotherm offers stu- STUDENTS HAVE RECENTLY DONE INTERNSHIPS AT THESE COMPANIES NOTABLE ALUMNI
At Parsons Paris internships are an dents the opportunity to develop
integral part of our arts, design and their talents working on projects for
design management education and a major company and participating
through which junior and senior stu- students compete for scholarships in Andrew GN Giambatiste Valli Quicksand Tom Ford
dents further their creative capabili- juried events. Anne Valerie Hash Girault Totem Ralph Kemp Patrick Robinson
ties and are introduced to the profes- Aquent Givenchy Red Dragon Lazaro Hernandez
sional aspects of their chosen areas > Asethete Groupe Idoine Rick Owens Nicky Hoberman
of study. The Career Services office The first competition in 2008, “when Balmain Hachette Filipacchi Rochas Dimitar Lukonov
along with involved faculty in each it becomes Milk,” investigated the BETC Design Hans de Foer Shigeru Ban Ryan Mendoza
department develop relationships history, feeling and mythology of the Bismark Phillips Hermès Sonia Rykiel Hanna Ulvegarde Bak
in the industry and create internship Biotherm Milk ritual and coincided Communication Media Hao-Qui Sutton Lane Erin Fetherston
and job opportunities for students. with the product 's 35th anniversary Boucheron IMG World Swarovski Bennu Gerede
celebration. Winners and finalists ap- Carré Noire Jacques Fath Tod's Georgia Hardinge
Annual career events, at which gra- peared in a brochure included in the Carven
duating seniors meet industry profes- event's press package sent to 5000 John Ribbe Torrente
Celine Lehman Brothers Tissus Malhia Kent
sionals, provide an ideal environment agencies in 70 countries and transla-
Celio Lagerfeld Gallery Tom van Lingen
to establish important networking ted into 40 languages.
relationships. Cerruti 1881 Lancôme Ungaro
> Centre Pompidou Lanvin Van Cleef & Arpels
In the second competition in Spring Chloé L’Oréal Viktor & Rolf
2009, Biotherm called on the imagi- Christian Dior LVMH Vogue
nation of Parsons Paris students to Christian Lacroix Kenzo Voulelle
pay homage to the iconic packaging Christian Louboutin Kaeido Wilmotte et Associes
shape of its latest reversive aging in- Christie’s Magnum Photos Young & Rubicam
Photos: SKIN VIVO Launch, June 2009 novation SKIN VIVO. A jury comprised Colors
of international press selected the Martin Grant
Condé Nast Publications Martine Sitbon
winning projects at the official Skin
Delphine Murat Musée des Arts
Vivo launch event that took place in
June 2009 at Pershing Hall in Paris. Dice Kayek Décoratifs
Career Services

Dim Natalys
Dior Homme Nina Ricci
DM Media Ogilvy
Emanuel Ungaro Paco Rabanne
Elixir Pfeiffer Consulting
22 23

PARSONS PARIS GALLERY
The Parsons Paris Gallery, a vital
component of École Parsons à Paris,
offers a showcase for artists of all
genres. As part of the institution’s
cultural mission, the Parsons Paris
Gallery presents local and internatio-
nal painters, sculptors, illustrators,
photographers, and installation/
multimedia artists during the fall
season. In the spring, the Gallery
presents student work from its va-
rious departments: Communication
Design, Fashion Design, Fine Arts,
Foundation, Design Management,
Illustration and Photography.
Exhibitions
24
GALERIE ANATOME
Galerie Anatome, an associated gal-
lery of Parsons Paris, is the only galle-
ry, documentation center and books-
hop entirely dedicated to graphic
design in France. It exhibits works
by the best contemporary graphic
designers worldwide. The Anatome
Gallery is a French non-profit orga-
nization.
www.galerie-anatome.com
Exhibitions
ANNUAL END-OF-YEAR SHOW
The Parsons Paris End-of-Year Show is
a visual culmination of student work
from each department, including
Communication Design, Illustration,
Fashion Design, Fine Arts, Founda-
tion, Photography, and Design Ma-
nagement.
For graduating seniors, the End-of-
Year Show also acts as a catalyst, pro-
pelling them toward their professio-
nal lives as artists and designers.
25
 École Parsons à Paris
FASHION SHOW

Fashion Design students produce

a runway show and exhibit their
work individually for all invitees, in-
cluding members of the press and
fashion and design industries. The
senior fashion students’ work is then
published and distributed to all the
major fashion houses, critics, and
magazines.
École Parsons à Paris

26 27

Foundation is an intensive, first–year
program for BFA candidates. The
transdisciplinary curriculum empha-
sizes drawing, process and creative
problem–solving as fundamental to
all artistic fields; while selective pro-
jects, site–visits, guest lecturers and
critics help define the differences
between art and design specializa-
tions. Students have the flexibility
to choose a specific art concentra-
tion after a formal exploration of the
many options available in art and
design. Integrated courses in critical
studies provide the means to build
Foundation
28
Foundation
FOUNDATION
critical awareness, knowledge of art
history and communication skills.
Foundation offers a uniquely chal-
lenging educational environment in
which experience of the local culture
is an integral part of the learning pro-
cess. Students develop visual think-
ing, practical skills and the individual
discipline required for future study in
the visual arts.
29
 Edda Mac

Foundation
Icelandic
Icelandic, English, Italian, Danish, and French Foundation
is making its way on to the list, slowly

Inspiration comes from my background, nature, friends, jokes…. My process

> is getting supplies I think I need in order to make something I haven’t deci-
Where do you find inspiration and how does this affect your process?
ded exactly what it will be. Then making a lot of mistakes - I’d rather build

on mistakes than erase them.

> Icelandic people have a rather dark sense of humor, procrastinate and
How has your background affected your approach to your work?
believe that everything will work out in the end. I am a typical Icelander.

> I take a break, open the window and eat something, preferably foie gras.
How do you keep motivated when things get tough?
It also helps having a few projects going on at the same time so you can

alternate and get a fresh view on things.

Don't worry if you don't know exactly what you want to do - Foundation
> gives you plenty of opportunity to try out different things that will help you
What advice would you give to a student just starting out?
to decide. Don't procrastinate too much!

> I love the bakeries, museums, public gardens, private gardens, architecture,
What do you love most about Paris?
the metro system, outdoor markets etc.

>
Edda Mac / Foundation

I Just finished The Reluctant Fundamentalist and am now reading Immortality.

What books do you have on your bedside table?

> Strong colors, tape, anything soft, the smell of good food…
What turns you on creatively, spiritually or emotionally?

> Anything pointless or badly designed. Chaos and dirt.

What turns you off creatively, spiritually or emotionally?

30 31

ENTERING THE FOUNDATION PROGRAM
FALL ENTRY
The academic year routinely starts
at the beginning of September. Se-
condary school students or transfer
students who have not completed a
foundation year should apply for the
first-year Foundation program.
Foundation
32
Foundation
SPRING ENTRY
The Accelerated Foundation program
that commences in the spring semes-
ter is a full foundation program: the
first semester runs from January to
mid-May and the second semester
starts one week later and runs to
the end of July. The curriculum is the FOUNDATION YEAR SEMESTER 1 SEMESTER 2
same as fall entry Foundation but is
Drawing Fundamentals 1 + 2 3 3
more intense as it is completed in a
shorter period of time. Upon succes- 2D Integrated Studio 1 + 2 3 3
sful completion of the Accelerated
3D Design 1 + 2 3 3
Foundation program students com-
mence the sophomore year in the Laboratory 1 + 2 3 3
subsequent fall semester. This entry
Critical Reading and Writing 1 + 2 3 3
option is dependent on a minimum
enrollment; applicants will be infor- Survey of World Art and Design 1 + 2 3 3
med by December 1, as to the status
Total Credits 18 18
of the program.
Students may apply to transfer into
the second semester of the Foun-
dation sequence if they have taken
equivalent coursework elsewhere.
The Admissions Committee reserves
the right to decide which of the Foun-
dation sequences the student may
enter into based on the student’s
portfolio and transcripts.
33
 Foundation
03

01.
Ece Oney
Freshman

02.
Peirong Zhou
Freshman

03.
Lily Waters
Freshman

04. 05.
Ga Yeong Park
Freshman

01

02
Foundation

04

05
34 35
 Foundation
01

03

01. 02.
Elliot Chaplin
Freshman

03. 04.
Lily Walters
Freshman

02
Foundation

04

36 37
 Foundation
01.
Boramy Viguer
Freshman

02. 04.
Ga Yeong Park
Freshman

03.
Kristel Thalstrom
Freshman

02
03

01
Foundation

38 04 39
 Foundation
05

01

06

02

01. 04.
Lily Walters
Freshman

02.
03
Minjung Kang
Freshman

03.
Ece Oney
Freshman

05.
Nehal Senan
Freshman

06.
Yoshiko Shimada
Foundation

Freshman

07.
04 Ga Yeong Park
Freshman
07

40 41
 Foundation
01. 02.
Hui-Yu Wu
Freshman

02

01
Foundation

42 43

COMMUNICATION DESIGN
Communication designers give form
to information in advertising, pu-
blishing and editorial design, corpo-
rate and exhibition design, websites,
multimedia, environmental graphics,
signs and maps, film and video. In all
these fields, the need to clearly and
succinctly inform, entertain and per-
suade remains a critical concern.
Located in an internationally re-
nowned mecca for artists and de-
signers, Parsons Paris offers Com-
munication Design majors a unique
opportunity to broaden their cultural
and creative perspectives. Not only is
the metropolitan landscape an ideal
Communication Design
44
Communication Desgin
setting to experience graphic design
in action, but the city’s vibrant com-
munity of design professionals is a
rich resource for students as they
discover their own visual language.
The comprehensive curriculum at
Parsons Paris establishes a solid
foundation in visual form and design
principles, as well as addressing the
methodologies and issues behind
contemporary graphic design. Visits
to Parisian art and design institu-
tions like the Pompidou Center, the
Musée des Arts Décoratifs, and the
Palais de Tokyo provide a wealth of
opportunities to view the trajectory
of European communication design
from its historical roots through to its
latest trends.
45
 Patrick Issenmann

Communication Desgin
Swiss, Indonesian
French, English and Indonesian Communication Design

> As a child, I wanted to be racecar driver. I always knew I loved art and design
What did you want to be when you were a child and when did you
but I decided to follow a career in design in high school.
first realize you wanted to be a designer?

> I try to find inspiration anywhere in my day-to-day life. But most of my best
Where do you find inspiration?
inspiration comes when I’m not even thinking about it.

I work best when I’m working amongst other creative people, as we can help each
> other by throwing around ideas. I like collaborating with other students when
Where/when do you do your best work?
I make multiple page layouts such as magazine spreads. To keep motivated

when things get tough I get together with friends and work collectively.

> It would have to be my thesis project on the Paleo Festival as I was completely
Out of all the projects you have done at Parsons Paris, which is your favorite?
Patrick Issenmann / Communication Design

free to do whatever I wanted.

> I’m quite influenced by the Bauhaus movement.

What designers have influenced you, and how?

> I interned at Ogilvy in Paris. I learned a lot about the advertising industry
Have you done an internship/stage?
but mostly how employees in companies work together as a team.

Paris felt like home almost immediately. I feel more at home here than in any
> other city. In Paris, there’s always a rich culture to expose myself to at any time
What do you love about Paris?
whether it's art, design or music. I’m never bored in this city. I’ve become a more

confident and independent person here.

> Do what you enjoy the most. It makes work that much easier and enjoyable.
What advice would you give to a student just starting out?

46 47
 Communication Desgin
FOUNDATION YEAR FALL SPRING JUNIOR YEAR FALL SPRING

Drawing Fundamentals 1 + 2 3 3 Collab 1 + 2 4 4

2D Integrated Studio 1 + 2 3 3 Web Design 1 + 2 2 2
3D Design 1 + 2 3 3 Studio Electives 4 3
Laboratory 1 + 2 3 3 Global Design in the 21 century
st
3 -
Critical Reading and Writing 1 + 2 3 3 Critical Studies Electives - 3
Survey of World Art and Design 1 + 2 3 3 Art History Electives (CS) 3 3
Total Credits 18 18 Total Credits 16 15

SOPHOMORE YEAR FALL SPRING SENIOR YEAR FALL SPRING

Type: Core Studio 4 - Senior Thesis 1 + 2 3 3

Type: Core Lab 2 - Senior Studio 1 + 2 3 3
Form: Core Studio - 4 Internship or Studio Elective 1 -
Form: Core Lab - 2 Design Entrepreneurship or Business Practice - 3
Motion Graphics 3 - Studio Electives 6 3
Interactive Multimedia - 3 Critical Studies Electives 3 3
Studio Electives 3 3 Total Credits 16 15
Intro to Design Studies 3 -
The Culture of Design - 3
Critical Studies 3 3
Total Credits 18 18
Communication Design

48 49
 Communication Desgin
02

01. 03.
Alex Mahler
Junior

02.
Ella Kivinen
Sophomore
Communication Design

01

03

50 51
 04

Communication Desgin
01

01. 02. 03.

Patrick Issenmann
Senior

04. 05.
Alex Leonhardt
Certificate Student

02
Communication Design

52 03 53
05
 Communication Desgin
01

01.
Alex Mahler
Junior

02
Keren Fleischer
Visiting Student

03
Ella Kivinen
Communication Design

Sophomore 03

02

54 55
 Communication Desgin
01

04

02

05

01.
Alejandra Temprana
Sophomore

02.
Alex Leonhardt
Certificate Student

03.
Miry Yun
Junior

04.
Joo Young Kang
Visiting Student

05.
Ella Kivinen
Communication Design

Sophomore

06.
Varvara Tsepakova
Sophomore

06

56 03 57
 Communication Desgin
02

01.
Communication Design

Miry Yun
Junior
01
02.
Alex Leonhardt
Certificate Student

58 59

DESIGN MANAGEMENT
The Design Management Depart-
ment introduces students to a
unique combination of design and
management courses. Its goal is to
provide students with a thorough
understanding of the complexity
involved in the management of de-
sign, its practice and the social role
it plays in everyday life. Students are
introduced to design’s multifaceted
nature by exploring how they can
manage design and create new va-
lue for business and society at large.
They are introduced to the basics of
design thinking through a hands-
on approach that requires them to
engage in the production of design.
Design Management
60
Design Management
They consider how design impacts
business through seminars dedica-
ted to management in all its aspects.
Students learn to contextualise the
role design plays in society through
courses that introduce them to the
history and sociology of design. Upon
completion of the program, students
will have acquired a fundamental
knowledge of design and manage-
ment, allowing them to identify and
manage design that is functional, er-
gonomic, aesthetic and sustainable.
61
 Alex Jentes

Design Management
German, Philippean
Fluent: English, Tagalog, German, and French, Design Management
Working Knowledge: Spanish and Italian.
Learning: Mandarin

I was born and raised in Manila, in the Philippines. My father is German

> and my mother is Philippine. I was fortunate enough to be able to travel
Where are your from, and how has your background affected your
throughout Europe, Asia, and the US. Coming from Asia, I fall under a wide
approach to your work.
scope of influences, but I keep myself open when it comes to design, even if my

main influences are Asian and Oriental.

I am a 360° inspired person, I always keep my eyes and ears open. I find
> inspiration in music, in the environment and I love to read. I‘m reading
Where do you find inspiration?
two, no, three books at the moment: Barack Obama's The Audacity of Hope,

Obama is an excellent writer, well versed. I’m also reading Tipping Point by

Malcolm Gladwell, a must read for designers. The third is the Tibetan Book

of the Dead, revised by the Dalai Lama, it’s a great spiritual read.

Europe will be my short-term plan. It’s hard to plan that far, as I have to take
> my partner’s wishes into account. She is studying fashion, and I want to do
Where do you see yourself in 10 years?
Alex Jentes / Design Management

what’s best for both our careers. In the long run, I would like to spend a lot of

time in Asia (you know that the markets there are developing, and who knows

what it will be like in 10 to 15 years?). I would like to work in the Asian luxury

brand industry: from food to lifestyle products.

Always have an open heart and open mind, accept things the way they are,
> use your five senses. You have so much to learn from your peers, your friends,
What advice would you give to a student just starting out?
and your teachers, even if you sometimes disagree with them.

62 63
 Design Management
FRESHMAN YEAR FALL SPRING

Design 1 4 -
Design 2 - 4
The Culture of Design - 3
Introduction to Social Theory 3 -
Seminar: Intro to Design Management 3 -
Seminar: Design in Everyday Life - 3 JUNIOR YEAR FALL SPRING

Critical Reading and Writing 1+2 3 3 Marketing Strategies for Developing Brands 3 -
Survey of World Art and Design 1+2 3 3 Strategic Design Management and Direction - 3
Foreign Language 3 3 Design Research Methods 3 -
Total Credits 19 19 Design Development - 3
Internship - 1

SOPHOMORE YEAR FALL SPRING Seminar: Global & Sustainable Design 3 -

Economics 1+2 3 3 Department Electives 3 3

Finance and Accounting - 3 Critical Studies Electives 6 3

Marketing 3 - Total Credits 18 13

Managing Creative Organizations - 3

Design Project Management 3 - SENIOR YEAR FALL SPRING

Design 3 3 - International Business Law - 3

Design 4 - 2 International Business 3 -
Seminar: Design and Innovation 3 - Financial Management 3 -
Department Elective - 3 Business Ethics - 3
Critical Studies Elective 3 3 Senior Seminar and Thesis 1+2 3 3
Total Credits 18 17 Department Electives 6 3
Critical Studies Elective - 3
Total Credits 15 15
DESIGN MANAGEMENT ELECTIVES
Total credits for degree 134
Advertising & Communication Strategy Fashion Collection Management
Design Management

Concept Merchandising Fashion Retailing

Consumer Behavior Fashion Publishing
Design Entrepreneurship Marketplace for Art and Design
European Design Businesses Market Research Methods
Fashion Industries Selling Luxury: Advertising Communication
& Branding Strategies
64 65
 Students interested in pursuing a
career in Design Management enter
directly into the Design Management
Program as freshmen. Entering fresh-
men must possess strong communi-
BACHELOR OF BUSINESS cation and analytical skills. No port-
ADMINISTRATION folio is required for entrance to this
program.
Students will receive a Bachelor of
Business Administration Degree*, a
recognized undergraduate degree
within the business field, at comple-
tion of the four–year program in Paris.
*The Bachelor of Business Administration degree meets the NASAD standards for a Bachelor
of Arts - Design Management (Multi-disciplinary design).
Design Management
66
Design Management professors are
professionals chosen for their exper-
tise in their respective fields. While
Design Management
students learn about design and
management in the classroom, they
are also exposed to the professional
world through guest speakers, com-
pany visits and field trips. Students
may choose to specialize in Global
Design Management, Fashion Mana-
gement, Communication & Adverti-
sing, and Design Marketing, or opt for
a broader career approach.
01.
Keren Fleischer
Visting Student
02.
Jacob Lindell
Freshman
02
01
67
 Design Management
02

01.
Alexander Leonhardt
Visting Student

02.
Alexander Mahler
Junior

03.
01
Design Management

Valeria Duenas
Freshman

03

68 69
 Design Management
01

02

01.
Laura Trump
Freshman

02.
Denis Bankovskiy
Freshman

03.
Irina Tataurova
Freshman
Design Management

04.
Alexander Mahler
Junior
03

04

70 71
 Design Management
01

01.
Lillian Lu
Freshman

Each year students have the oppor-

tunity to visit the major trade shows
in the design industries, including
Design Management

Premier Vision the largest textile fair

in Europe.

a,b,c, © Premiere Vision

72 73
 Design Management
03

01. 02.
Sophomore Group
Project
03.
Alessandra Kertzer
Freshman

04.
04
Jacob Lindell
Freshman

05.
Valeria Duenas
Freshman
01 02
Design Management

05

74 75

FASHION DESIGN
The art and business of fashion give
form and function to clothing, a basic
human need, imbuing it with mea-
ning in the ever-evolving language
of style. The core of Parsons Paris’
curriculum is the designer critic pro-
gram that emulates the workings of
a professional design studio from
conceptual drawing and pattern-
making to the selection of colors,
fabrics and the construction of fi-
nished garments. Students acquire
an understanding of tools, materials,
construction techniques and textile
design methods, enabling them to
express their individual creative vi-
sions. Intensive concept and design
courses, weekly critiques, workshops
with industry professionals and the
study of Parisian prêt-à-porter help
students to develop originality and
acquire an understanding of their
Fashion Design
76
Fashion Design
craft. Beyond the school atelier, ex-
posure to textile trade fairs, designer
shows and museum exhibitions all
foster a keen understanding of the
European marketplace.
Visiting critics help familiarize stu-
dents with the design requirements
and specificities of various markets,
while company-driven projects ex-
pose students to the real world chal-
lenges they will face in the business
of style. Senior year culminates with
the designer critic project in the first
semester and the construction of a
capsule collection in the second se-
mester, all of which is presented in
an annual fashion show attended by
fashion professionals and the inter-
national press.
77
 Jimmy Lai

Fashion Design
Canadian
Cantonese, Mandarin, English and French Fashion Design

> When I was a child I wanted to be a doctor or lawyer until I reached 11 years old,
What did you want to be when you were a child?
then I decided to become a fashion designer.

I like to look back into history from different cultures. I look primarily at
> other cultural influences first and see how it changes the fashion at that
Where do you find inspiration and has your background affected
time. I was born in Hong Kong and raised in Canada. I have incorporated my
your approach to your work?
Asian background and modernity into my graduation collection. I believe

that mixing the two different cultures can strengthen and create new

invention not only in fashion but in all different fields as well.

> I work best when I am under stress. It forces me to create something interesting
When do you do your best work?
and of good quality.

Yes, I’m currently working for the company Delphine Murat. I have learned
> that I have to be very organized and need to know everything. Without
Have you done an internship/stage?
knowledge of design and the business side you can’t bring efficiency to the

company. You have to make yourself useful and indispensable when you

work with anyone.

Jimmy Lai / Fashion Design

> Yes, I’ve become more independent and mature.

Has Paris changed you?

> I force myself to adapt as quickly as possible and be good at it.

How do you keep motivated when things get tough?

> Take it easy to get the work done and be your best at all times.
What advice would you give to a student just starting out?

78 79
 Fashion Design
FOUNDATION YEAR FALL SPRING JUNIOR YEAR FALL SPRING

Drawing Fundamentals 1 + 2 3 3 Junior Design Studio 1+2 3 3

2D Integrated Studio 1 + 2 3 3 Collection Concept Development 1+2 2 2
3D Design 1 + 2 3 3 Fashion Drawing 3+4 2 2
Laboratory 1 + 2 3 3 Textile Identification 2 -
Critical Reading and Writing 1 + 2 3 3 Textile Elective - 2
Survey of World Art and Design 1 + 2 3 3 Digital Fashion Studio 1+2 2 2
Total Credits 18 18 Themes in Fashion History 3 -
Critical Studies Electives / Language 3 6

SOPHOMORE YEAR FALL SPRING Total Credits 17 17

3D Fashion Design 1+2 3 3

Fashion Drawing 1+2 4 4 SENIOR YEAR FALL SPRING

Pattern Drafting 1+2 3 3 Senior Design Studio 1+2 3 3

Fashion Research and Design Concepts 1+2 2 2 Fashion Industry 3 -
Intro to Design Studies 3 - Senior Design Concepts 1 + 2 3 3
Art History Elective 3 - Fashion Collection Management - 3
Themes in Fashion History - 3 Studio Electives or Internship 2 2
Critical Studies Elective - 3 Critical Studies Electives 3 3
Total Credits 18 18 Total Credits 14 14
Total credits for degree 134
FASHION DESIGN ELECTIVES

Creative Embroidery
Fashion Design

Wearable Objects
Machine Knitting 1 + 2
Introduction to Textile Design
Surface Treatment 1 + 2
Mixed Media Techniques
80 Sewing Techniques 81
Printmaking For Fashion
 Fashion Design
02

03

04

01.
Jimmy Lai
Senior

02.
01
Micheline Zhou
Junior
Fashion Design

03.
Katie Leaver
Junior

04.
Adelaïde Veysseire
Junior
82 83
 01

Fashion Design
01.
Hyun-Yoon Shim
Senior

02.
Jessica Hung
Junior

03.
Jimmy Lai
Senior
Fashion Design

84 02 03 85
 02

Fashion Design
03

01.
Airi Nambu
Senior

02.
Charlotte Bodum
Senior

03.
Sherry Chiu
Senior

04.
Fashion Design

Racha El Abbas
Junior

86 01 04 87
 Fashion Design
02

01

01.
Airi Nambu
Senior

02.
Jessica Hung
Junior
Fashion Design

03.
Eun-Jung Mo
Senior

02 03
88 89
 Fashion Design
01.
Yoon Shim
Senior

02.
Saskia Nieuwenhuyse
Senior

03.
Charlotte Bodum
Senior

02
Fashion Design

03

90 01 91

With Paris as its extraordinarily rich
cultural setting, the Fine Arts Depart-
ment promotes the acquisition and
development of artistic skills, the
expression of creative processes, and
an informed awareness of how art
practice intersects with current vi-
sual, cultural and societal concerns.
Fine Arts provides students with a
strong foundation in the artistic tra-
dition via both established and new
media, thus enriching their capacity
for communication and expression
as a whole.
The core of the program is tau-
ght through the disciplines of pain-
ting, drawing and sculpture, but stu-
dents may also select from classes
such as printmaking, photography,
installation and digital imaging.
Fine Arts
92
Fine Arts
FINE ARTS
Interdisciplinary practice provokes
students to pursue and develop indi-
vidual artistic modes of inquiry. Cour-
ses in Art History and Critical Studies,
critiques, debate and tutorials, and
the considerable resources available
in Paris, direct students to an infor-
med exploration within both histo-
rical and contemporary art practice.
Application of theory and criticism
shapes the students' ability to work
and think critically and analytically.
Museum and gallery visits are an in-
tegral aspect of the curriculum. The
Fine Arts faculty, comprising profes-
sional exhibiting artists, is comple-
mented by guest lectures from visi-
ting international artists and critics.
93
 Matthew Laiosa

Fine Arts
American
English Fine Arts

Inspiration comes from everywhere: nature, inane conversations with friends,

> books, comics…I especially love movies. Things are always tough, to stay
Where do you find inspiration and how do you keep motivated when
motivated you have to keep pushing forward. Most of the time you ruin a
things get tough?
dozen drawings, but every accident leads you in a new direction.

> My advice to a new student is to be open-minded, and receptive. The more

What advice would you give to a student just starting out?
you listen and the more you read, the more you know.

I do my best to collaborate since we are all artists. It does not matter if you
> are an illustrator, fashion designer, or painter, we are all creative people so we
Do you collaborate with students from other majors within Parsons Paris?
should all be communicating, brainstorming, and thieving ideas.

The thing I love about Paris and all of Europe is how medieval it feels.
> America is a relatively young land. The thing I will miss most is biking along
What do you love most about Paris?
the Seine passing all the monuments. Paris has made me more independent,

more aggressive, more adventurous, more social.

Matthew Laiosa / Fine Arts

Art is important because it allows one to look at the world from a different
> perspective. Images are more universal than words. I watched Pan’s Labyrinth
Why is art important?
for the first time in Spanish with French subtitles (neither language I speak

particularly), and the film made perfect coherent sense because of the power of
the images and the sequential narrative.

94 95
 Fine Arts
FOUNDATION YEAR FALL SPRING

Drawing Fundamentals 1 + 2 3 3
2D Integrated Studio 1 + 2 3 3
3D Design 1 + 2 3 3
Laboratory 1 + 2 3 3
Critical Reading and Writing 1 + 2 3 3
Survey of World Art and Design 1 + 2 3 3 JUNIOR YEAR FALL SPRING

Total Credits 18 18 Junior Painting 3 3

Junior Sculpture 3 3

SOPHOMORE YEAR FALL SPRING Junior Drawing 3 3

Junior Studio 3 3
Sophomore Painting 3 3
Art History Elective (CS) 3 -
Sophomore Sculpture 3 3
Critical Studies Electives 3 6
Sophomore Drawing 3 3
Total Credits 18 18
Studio Elective 2 2
Art Since 1900 3 3
Intro to Visual Culture 3 - SENIOR YEAR FALL SPRING

Critical Studies Elective - 3 Senior Thesis 3 3

Total Credits 17 17 Senior Studio 3 3

Senior Concentration 4 4
Studio Electives 2 -
STUDIO ELECTIVES
Critical Studies Electives 3 3
Surface Treatments Total Credits 15 13
Sound Design
Wearable Objects Total credits for degree 134
Ceramic Sculpture
Printmaking
Fine Arts

Silkscreen
Digital Imaging
Video
Animation
96 Photography 97
 Fine Arts
01

02

01.
Olivia Peebles
Visiting Student 04

02. 03. 04.

Fine Arts

Matt Liaosa
Senior

03

98 99
 Fine Arts
01.
Olivia Peebles
Visiting Student

02.
Blaise Danio
Visiting Student

02
Fine Arts

01

100 101
 Fine Arts
01
Fine Arts

01.
Kyoung Eun Cho
Senior

102 103
 Fine Arts
03

01 04

01.
Pavlina Gkigkilini
Sophomore

02.
Kyoung Eun Cho
Senior

03.
Sandra Seydoux
Certifcate Student

04. 05.
Kate Hiley
Junior
Fine Arts

02 05

104 105
 Fine Arts
03

01.
Charisse Piper
Senior

02.
Fine Arts

Jackson Marlett
Sophomore

01 02 03.
Sandra Seydoux
Certifcate Student
106 107

ILLUSTRATION
Illustration has developed in tandem
with the great movements of art
history, from manuscript illumina-
tion and poster art to comic strips
and graphic novels, and played a
dynamic role in visual communica-
tion and provocation, both in France
and beyond. The vibrant tapestry of
Parisian culture, both historical and
contemporary, has continually pro-
vided a rich source of inspiration for
illustrators, as have the many artists
such as Daumier, Toulouse-Lautrec,
Doré, Chéret, Topor and Sempé, who-
se illustrative works have been absor-
bed into the iconography of Paris.
Illustration
108
Illustration
Students in the Illustration depart-
ment learn to solve conceptual pro-
blems with the city as their living
textbook. The collections of the Mu-
sée des Arts Décoratifs, the Musée
de la Publicité, the Forum des Ima-
ges, and the Centre Pompidou are
invaluable as educational resources.
Drawing on the wealth of the Pari-
sian cinematic tradition, students
also take the drawn image into space
and time through projects in 2D and
3D animation. Working directly with
European professionals, Illustration
students at Parsons Paris learn the
tools to compete effectively in the
creative fields of design and commu-
nication.
109
 Lamprini Zachopoulou

Illustration
Greek
Greek, English and some French Illustration

Since I was a child, a big influence was children’s books’ illustrations. At that
> young age, the fascinating world depicted by the pictures would make up for
When did you first realize you wanted to be an artist?
my inability yet to decode the message hidden behind the words; so the detailed

pictures held all the messages and I in turn held the key to unlock them.

I always seek to first understand what message I wish to express, followed

> by a rigorous refinement in which I attempt to get that message across with
Where do you find inspiration and how does this affect your process?
the most elegant and simple image I can develop. It simply means that every

element within the illustration should help tell a very specific story. My main

source of inspiration comes from the world around me and Paris has inspired

me a lot, the flea markets, the circus, the buildings, the galleries, the museums.

I love the mass transportation system, it can take you anywhere and it makes
> me feel independent and flexible. I love spending time playing ping - pong in
What do you love most about Paris?
the park. I enjoy venturing into the oldest neighborhoods to discover small
Lamprini Zachopoulou / Illustration

shops that deal with old-fashioned materials and conventional typography.

I’m still discovering Paris; the only thing that brings some complexity to my

life here is the language. Paris has been inspiring to me. If I leave, I will miss

everything that builds this beautiful Parisian atmosphere like the cafes, the

brasseries, the metro, the flea markets, the galleries, the museums and the

croissants for breakfast.

Throughout a project things may go differently than the way the project
> was initially planed. Preparing myself for obstacles and difficulties that may
How do you keep motivated when things get tough?
occur helps me to keep my motivation at the highest level possible and able

to cope with stress when time schedules are at stake.

110 111
 Illustration
FOUNDATION YEAR FALL SPRING JUNIOR YEAR FALL SPRING

Drawing Fundamentals 1 + 2 3 3 Junior Concepts 1 + 2 3 3

2D Integrated Studio 1 + 2 3 3 European Graphic Narrative 1 + 2 3 3
3D Design 1 + 2 3 3 Digital Illustration 3 -
Laboratory 1 + 2 3 3 Beyond Editorial - 3
Critical Reading and Writing 1 + 2 3 3 Animation Studies 1 + 2 3 3
Survey of World Art and Design 1 + 2 3 3 Art History Electives (CS) 3 3
Total Credits 18 18 Critical Studies Elective 3 3
Total Credits 18 18

SOPHOMORE YEAR FALL SPRING

Sophomore Illustration Concepts 3 3 SENIOR YEAR FALL SPRING

Typography - 3 Senior Concepts & Thesis 3 3

Digital Imaging + Multimedia 3 - Senior Studio 3 3
Drawing 1 + 2 3 3 Professional Practices - 3
Painting 1 + 2 3 3 Digital Workshop 3 -
Intro to Visual Culture 3 - Studio Electives 2 -
Art History Elective (CS) - 3 Critical Studies Elective 3 3
Critical Studies Electives 3 3 Total Credits 14 12
Total Credits 18 18 Total credits for degree 134
Illustration

112 113
 Illustration
01 02
Illustration

01. 02. 03. 04

Lamprini Zachopoulou
04
Certificate Student
03

114 115
 Illustration
03

01. 02.
Alex Mahler
Junior

03.
01 Pavlina Gkigkilini
Junior

04.
Pauline Hersart
de la Villemarque
Junior
Illustration

02 04

116 117
 Illustration
01. 03.
Jonathan Rahimi
Sophomore

02.
Lamprini Zachopoulou
Certificate Student

02
Illustration

01

118 03 119
 Illustration
01

01.
Varvara Tsepkova
Sophomore

02.
Kayleigh Groves
Sophomore

03.
Lambrini Zachopoulou
Certificate
02
Illustration

03

120 121
 01. 05.
Lambrini Zachopoulou

Illustration
Certificate Student

02. 04.
Pavlina Gkigkilini
Junior

03.
Alex Mahler
Junior

01

02

04
Illustration

05

03

122 123

PHOTOGRAPHY
The photography curriculum bal-
ances analog and digital technolo-
gies with an emphasis on developing
a creative vision and gaining a solid
understanding of the image-making
process. The program considers not
only the technical aspects of image
creation and production, but also
examines how photographs are pre-
sented, discussed, used, documented
or archived: in short, how they func-
tion in today’s society. The department
addresses technical and conceptual
skills equally, as both are essential to
any photographic practice.
Students are encouraged to explore
a number of different interests by
attending courses in other depart-
Photography
124
Photography
ments such as Communication De-
sign, Fine Arts, or Fashion, in order to
think about photography’s broader
applications, implications and con-
texts.
Through seminars, lectures, lab and
studio courses as well as an intern-
ship, students gain first-hand ex-
perience from practicing photog-
raphers and learn about innovative
approaches to photography, while
defining their own way of working.
This program includes a direct-entry
option which allows students to spe-
cialize in Photography from the first
year, rather than following the Foun-
dation curriculum.
125
 Giada Fried

Photography
American, Italian
Italian, English, French, and Spanish Photography

> Everything from a doctor to an archeologist to a dancer to a gas station

What did you want to be when you were a child and when did you
attendant because I love the smell of gasoline, but together with wanting to do
first realize you wanted to be a photographer?
everything above, I always knew I wanted to do something creative.

> I find inspiration anywhere, in school, going home on the metro, grocery
Where do you find inspiration and does your background affect your
shopping… Being Italian, and a still life photographer, I love to photograph food.
approach to your work?
I’m interested in anything to do with color and texture. I also love to photograph

architecture, and Italy’s rich heritage influences my tastes and choices.

One personal project I just finished…I tried to catalog the diversity of Parisians.
> I stopped people in the street and asked them to pose, which was challenging…
Out of all the projects you have done at Parsons Paris, which is your favorite?
in a good way.

Irving Penn (for his still lifes), Sarah Moon (the mood she conveys in her
> pictures), Richard Avedon (directly influenced my portraits), August Sander
What photographers have influenced you, and how?
(also a direct influence for his portraits), Robert Frank (admire his use of the

camera and his framing), and Edward Weston (for his still lives)

> I did a 3-month internship at a photo agency that highly influenced my career
Giada Fried / Photography

Have you done an internship?

choice because it’s there that I learned that I wanted to be a photographer.

Enormously. I became an adult here, discovered who I am, and what my

> passions are. Here, I started choosing things for myself that were imposed
How has Paris changed you?
before. I left home a teenager and overnight I found myself living the life of
an adult with all its responsibilities.

> Obama, and maybe Philippe Starck, Kofi Annan, Renzo Piano, Frank Gehry…
Who would you most like to take a picture for?

126 127
 Photography
Freshman Year FALL SPRING JUNIOR YEAR FALL SPRING

Freshman Seminar 1 + 2 3 3 Junior Seminar 1 + 2 3 3

Black & White Photography 1 + 2 3 3 Photography In Paris - 3
Drawing for Photography and Cinema 1 + 2 2 2 Advanced Printing Techniques 1 + 2 2 2
Studio Elective - 2 Studio Electives 2 2
Digital Skills and Composition 1 + 2 3 3 Digital Imaging and Multimedia 3 -
Critical Reading and Writing 1 + 2 3 3 Internship or Photography Elective 2 -
Survey of World Art and Design 1 + 2 3 3 Topics in Photo History & Theory 3 3
Total Credits 17 19 Critical Studies Electives 3 3
Total Credits 18 16

SOPHOMORE YEAR FALL SPRING

Sophomore Seminar 1 + 2 3 3 SENIOR YEAR FALL SPRING

Color Photography 1 + 2 3 3 Senior Thesis Seminar 1 + 2 3 3

Lighting Seminar 1 + 2 2 2 Professional Business Practices - 3
Digital Photography Lab 1 + 2 3 3 Studio Electives 3 2
Studio Elective 2 2 Professional Identity 1 + 2 3 3
Intro to Visual Culture 3 - Critical Studies Electives 3 3
Topics in Visual Culture or Art History - 3 Total Credits 12 14
Critical Studies Electives 3 3
Total Credits 19 19
Photography

128 129
 Photography
02

01
03
Photography

01. 02. 03.

Giada Fried
Sophomore

130 131
 Photography
01
01
Photography

01.
Giada Fried
Sophomore

02.
Laura Frangelli
Visiting Student
132 133
 Photography
01

02 05

06

01. 04.
Kate Bullen
Visiting Student

02. 05.
Laura Frangelli
Visiting Student
Photography

03.
Rachel Cohen-Tanugi Ribas
Sophomore

06.
Palden Macgamwell
03 04 Sophomore
134 135
 Photography
01.
Laura Frangelli
Visiting Student

02.
Group Project
03.
Giada fried
Sophomore

01
Photography

02

136 03 137
 Photography
01
Photography

02
01. 03. 02. 03
138 139
Palden Macgamwell Rachel Cohen-Tanugi Ribas
Sophomore Sophomore

CRITICAL STUDIES
The interdisciplinary Critical Stu-
dies curriculum provides students
with critical-historical perspectives
on art, design and culture, and the
research, writing and presentation
skills essential to a well–rounded ap-
proach to art and design. These skills
and knowledge permit students to
situate contemporary visual culture
within its wider geographical and
historical contexts, to investigate
a range of issues that impact cultu-
ral production, and to discover and
probe resonances with their own
practice.
Critical Studies
140
Critical Studies
The curriculum has a strong art and
design history and theory compo-
nent, which is supplemented by ge-
neral critical studies courses in the
Humanities and Social Sciences. The
BFA and BBA degrees require stu-
dents to complete 42 Critical Studies
credits overall. Within the Critical
Studies requirements, a minimum
number of credits in art and design
history is required of all students (12
credits for the BBA track; 18 credits for
the BFA track).
141

In Freshman year, “Survey of World
Art & Design” serves as a key ini-
tiation to the historical examination
and critical analysis of art and design
across ages and cultures. Students
learn to look at, contextualize, and
interpret images and artifacts. “Criti-
cal Reading & Writing” emphasizes
creative thinking, the acquisition of
good writing skills, and its use as a
tool for personal expression. Follow-
ing this, in addition to a set of core
courses designed for the specific
majors and degrees, a wide range of
Critical Studies electives enable stu-
dents to broaden and sharpen their
own critical and theoretical points of
view. Parsons Paris takes special ad-
vantage of its campus and location
as an ideal environment for observ-
ing and exploring social and cultural
difference. Visits to studios, muse-
ums, galleries and various cultural
events expose students to historical
and contemporary art and design
achievements. Senior level semi-
nars address timely and provocative
issues that help students develop
ideas and make critical choices that
will enhance their own careers as art-
ists and designers.
Critical Studies
THE RESEARCH AND WRITING LAB
The Research and Writing Lab pro-
vides supplementary support for
students working on written projects
in the English language. Through in-
dividual appointments and periodic
workshops, students receive coach-
ing on all aspects of the writing pro-
cess, from content and structuring to
research and documentation.
LEARNING RESOURCES AND ACCESS
At Parsons Paris, we aim to provide
a quality learning environment for
all our students and are developing
a new access initiative to address
the needs of students with disabili-
ties. By making resources available
to students of different abilities and
through methods of assessment that
are flexible enough for us to adapt to
students’ individual needs, we strive
to aid those with learning difficulties
to achieve their full potential.

Critical Studies requirements for de-

gree programs vary. Students should
consult their advisor to ensure that
these requirements are fulfilled ap-
propriately. Under exceptional cir-
cumstances, and by approval of the
Critical Studies Chair, requirements
Critical Studies

may be taken out of sequence.

142 143
 Kristin McKirdy

Faculty
American
English, French Faculty

> I started teaching right after I finished my Maîtrise, starting in cultural

Have you been teaching for a long time?
centers, and in municipal and private schools in Paris. After a few years,

I decided to return to school to get an MFA in Art. I taught undergraduate

classes as a TA at UCLA and also at Santa Monica Community College. Once

I got my degree I moved to Iceland, where I taught at The National School of

Fine Arts, both in Ceramics and Ceramic history. I returned to Paris for a job

teaching at the ENSA de Limoges. The same year 1993, I was hired at Parsons

Paris in ceramics and 3D design in Foundation.

> I enjoy the exchange of ideas: it is fulfilling to share your experience with
What do you like about teaching?
those who are just starting out; it is also highly rewarding to be able to

make a difference in someone’s life. Teaching is a very satisfying human

interaction.

> I have been working for a year now as an artist in residence at the
Tell us about your career as a ceramicist.
Manufacture Nationale de Sevres, all the artists there work using 18th

century traditional techniques. The residency is a unique opportunity as well

as a challenge for me to work in collaboration with this famous institution.

Additionally, I recently received the Prix Bettencourt pour l’intelligence de

Kristin McKirdy / Faculty

la main that has only been given to one other ceramist. The Prix Bettencourt

was established to highlight the works of creative artists who perpetuate, in

France, the art trades and combine the traditional techniques with constant

research work and a deep sense of innovation.

> Parsons Paris is special because it is in Paris, it is small and allows a close
What would you say distinguishes Parsons Paris from the other
contact with the students. The international student body is unique and
schools you have taught in?
makes for an interesting mix of ideas and backgrounds in the classroom.

144 145
 ADMINISTRATION
& FACULTY
Serge Guarino, President École Parsons à Paris
Reginald de Guillebon, President Paris College of Art
ACADEMIC ADMINISTRATION
Tony Brown, Interim Academic Director
Dr. Brigitte Borja de Mozota, Director of Research
Frédérique Krupa, Communication Design Chair
Dr. Vivian Rehberg, Critical Studies Chair
Alice Peinado, Design Management Chair
Sibylle Klose, Fashion Design Chair
Peter Fillingham, Fine Arts Chair
Chloé Briggs, Foundation Chair
Peters Day, Illustration Chair
Andreas Brünglinghaus, Photography Chair
Bruce Stadlman, Fine Arts Honorary Chair
Véronique Devoldère, Atelier of Art Head
Patricio Sarmiento, Senior Fashion Coordinator
Katarina Rimarcikova, Fashion Coordinator
Raina Lampkins-Fielder, Critical Studies & Learning
Resources Coordinator
Martine Bruno, Academic Department Assistant
ADMISSIONS & STUDENT LIFE
Matthew Gallagher, Director of Admissions
Marie Breton, Admissions Counselor
Kate Hiley, Admissions Counselor
Ana Uzelac, Admissions Counselor
Carolina Spielmann, International Affairs Coordinator
Suzy Chica, Admissions and Careers Counselor
Emilie Barbette, Student Life Counselor
REGISTRAR’S OFFICE
Olympia MacKendree, Registrar
Aaron Reynolds, Registrar’s Assistant
BUSINESS OFFICE AND HUMAN RESOURCES
Céline Gourlay, Financial Manager
Anne-Sophie Madoire-Rouzaud, Human Resources Manager
Marie Garnero, Business Office
Administration & Faculty
146
A Anne Bugugnani / Design Management
Isabelle Alfonsi / Design Management
Founder and Co-Director, Galerie Marcelle Alix, Paris. Assistant
Curator, Palais de Tokyo; Professor, University of Paris I; Member
of AICA. BA, Science Po, Paris; MA in Art History, University College,
London; MBA in Cultural Management, Sciences Po, Paris.
Sharam Alijani / Design Management
Assistant Professor of Economics, Business Administration and
Communications, The American University of Paris. BA, BS, The
American University of Paris; DEA, University of Reims; DEA,
University of Marne-la-Vallée; DEA, École Nationale des Ponts
et Chaussées; Docteurés Sciences Economiques, University of
Marne-la-Vallée.
Yong Anderson / Fashion Design
Fashion Designer and Illustator. Clients: Li Edelkoort, Madame
de Paris, Sibilla Pavenstedt, Descampes, Jeu de Paume, Tokyo.
Diploma LISAA, Paris.
B phaël Zarka, Cardenas Bellanger, Paris; "A Split Single" with Claude
Holly Barton / Critical Studies
Art Historian specializing in depictions of War in France and
Britain, 1914-1918. Museum Guide: Paris Muse; Imperial War
Museum, London. Picture researcher, Phaidon Press, London. BA,
Goldsmiths College, University of London; MA, Brikbeck College,
University of London; PhD candidate, Reading University, UK.
Michelle Binczak / Illustration
Illustrator and Graphic Novel Artist. Editor: Bloom Magazine,
Trend Union, Studio Edeloart, Paris. Published in: Awaiting a Lover,
Viking Studio, NY; Silk Pieces, Bauch=Lizlerl, NY; The Japanese Way
of Beauty ,Birch Lane Press, NY.
Robert Bishop / Photography
Photographer and Editor. Exhibitions: Musée d’Art Moderne,
Paris; Arles Photography Festival and Honolulu Academy of Arts.
“Route 66 Revisited” photo series included in the book “Art and
Technique of 70 Modern Masters.” Founding editor of parisvoice.
com website and magazine. Paris photography PBS television
feature “Corpus Christi”. BA, Northern Illinois University; MTS,
Lutheran School of Theology.
Ivo Bonacorsi / Foundation
Visual Artist and Writer. Solo Exhibitions: Chisel Gallery Milan- Ge-
noa; Bordone Gallery Milan; Care/of Gallery, Milan; Galerie Arkos,
Clermont–Ferrand. Group Exhibitions: Quarter/The Gesture, Flo-
rence; Desideretur, Bergamo; A Noir Triennale, Milan; Art Fair Basel.
Featured: Flash Art, World Art, Gran Bazaar, Picabia. Publication: il
Manifesto, Arearevue, Vogue Italia. D.A.M.S., University of Bologna.
Chloe Briggs / Foundation Chair
Artist. Recent Projects/Events: ‘Instructions for a Drawing Class’,
Experimental educational project piloted in Manchester, Glas-
gow, Marseilles and Berlin, 2009 - ongoing; Visiting Artist, La
Seine, École Nationale Supérieure des Beaux-Arts, Paris, 2009; ‘Ex-
perimental Drawing Day’, ‘Speakeasy’ events, Wimbledon School
of Art, 2008; Postgraduate Certificate in Learning and Teaching in
Art and Design, University of the Arts; BA, Fine Art – Painting, Win-
chester School of Art; MA, Drawing, Wimbledon School of Art.
Andreas Brünglinghaus / Photography Chair / Communication
Design / Foundation / Design Managment.
Photographer, multi-disciplinary artist, art director & graphic
designer. Clients: MoMA, Brooklyn Academy of Music, Sotheby’s
NY, Addison, Wechsler Ross & Partners, Chamelion Group, MBNA,
Neuberger Berman, Deutsche Bank, FashionWeek NY, Olympus,
etc. AAS Parsons The New School for Design, NY, BFA City Univer-
sity, NY, MFA, ICP/BARD.
Martine Bruno / Design Management Assistant
SNE Weil-Besançon: Collection Director for Gian Alberto Capo-
rale; Vestra International: Pierre Cardin; ECCE : Arrow ; Bidermann
Industries: Yves Saint Laurent; MAS Production : Calvin Klein, An-
dré Balzac. DEUG in Languages, Ozenne, Toulouse.
Consultant in Design Management and Interior Design. Artisitic
and Project Director: Dragon Rouge Indentités & Architectures,
Paris. Creative Director: Siette Identités Architecturales, Barcelo-
na. Editor: Cyl-MODA, Barcelona. Consultant: Boncompte & Font
Arquitectes, Barcelona. BBA in Marketing, University of Hartford;
MA in Media Ecology, New York University; Interior Architecture
Degree, BAU Escola de Disseny, Barcelona.
C
Victoria Chi-Combettes / Foundation / Design Management /
Communication Design
Senior designer: J.P. Morgan, New York. Basel School of Design; MA,
Product Design in Visual Option, North Carolina State University.
Guillaume Constantin / Foundation
Artist. Exhibitions (selected) 2009/2008 "Copies Cachées" Parc
Saint léger centre d'art, Pougues-Les-eaux; "Répertoire pour une
Forme" la Vitrine, Paris; 'Let's Just Imitate the Real Until We Find a
Better One" Galerie Bonneau-Samames, Marseille; ".../..." with Ra-
Lévêque, Frac Haute-Normandie; "Playtime" Bétonsalon, Paris. Vi-
sual arts curator, Instants Chavirés, Montreuil Sous Bois, France.
D positions at: Central Saint Martins College of Art; University of
Assaf Dagan / Communication Design
Web Designer. Clients: Audi, Diesel Frangrances, Orangina, Van
Cleef & Arpels, Grant’s Whiskey, Wrangler. Senior Art Directior:
Fred & Farid Group, Tel-Aviv, Israel. Designer: Mobles114, Barcelona.
Graphic Design Diploma, Instituto Europeo di Design, Barcelona.
Peters Day / Illustration Department Head / Photography
Illustrator and Painter. Exhibitions: la Saline Royale; Arc et Senans;
Galerie Contemporain, Paris; Pavillion Books, London; Watson
Guptill, New York; Younkyo Publishers, Seoul; JM Laffont, Paris.
Clients: The New York Times; BFA, University of Pennsylvania Le
Monde, BFA, University of Pennsylvania.
Sony Devabhaktuni / Foundation
Architect. Practice: Dorrell Ghotmeh Tane Architects; Ateliers Jean
Nouvel; Studio Andrew Todd. Exhibitions: “Three Facade Study
Models” in /Mies In America/, Whitney Museum of American
Art. Publications: “The Gathering” and “Study Three Times” in /
Architects Draw/, Princeton University Press. Education: BA - En-
glish and Political Science, Stanford University; BArch - Architec-
ture, The Cooper Union for the Advancement of Science and Art;
Masters(ongoing) - Etudes Indiennes, Paris 3 Sorbonne Nouvelle.
Awards: American Institute of Architects Gold Medal Prize; United
States Department of State J. William Fulbright Scholar to France.
Véronique Dévoldère / Atelier of art Head / Fine Arts and Foun-
dation / Illustration
Artist. Exhibitions in Cologne: Galerie Benninger, Art Fair, Galerie
B2, ADH Hammelrath. Exhibitions in Paris: Gs Art, Galerie Olga
Soe, Cité Internationale des Arts, Fiac Edition. Studies: BA Fine Arts,
Connecticut College; Graduate degree (MFA) of the Ecole Natio-
nale Supérieure des Arts Décoratifs de Paris.
Claire Downey / Critical Studies
Communications consultant and journalist. National Endow-
ment of the Arts 1989. Director: This City Communication, clients:
YSL Beauté, Lancôme, Areva and Alstom Grid. Creator and Editor:
This City Paris. Articles Published: Travel + Leisure, Architectural
Record, ID, Blueprint, Metropolis. Author: Neo-Furniture, pu-
blished by Rizzoli 1992. B.Arch, Georgia Institute of Technology;
M.Arch, Georgia Institute of Technology.
Pierre Dreux / Design Management
Management and Innovation Specialist : Founder, Dynnovation.
Work history: Scientific Director, Altran Innovation Foundation;
Visiting Faculty, Harvard University; Corporate Director, Altran
USA Holdings; Business Director, Altran Technologies. PhD in Nu-
clear Physics, Ecole Centrale, Paris.
Marion Dufour-Lahore / Design Management
International Fashion and Beauty Journalist. Fashion & Beauty
Editor in Chief, Marie Claire International. Partnerships with
Administration & Faculty
luxury advertisers for Chanel, Dior Louis Vuitton, L'Oréal, Shishei-
do. Editor: MODS.
E
Natalie Ebenreuter / Communication Design
Interaction Design Researcher. Employers: Alcatel- Lucent Bell
Labs France, Gobelins l’école de l’image, Carnegie Mellon Uni-
versity, Swinburne University of Technology, Dtdigital and Mo-
mentum Animation Studios. Research: presented in Canada,
USA, Mexico, Europe and Australia. Recipient: Vice- Chancellor’s
Teaching Excellence Away, Carrick Citation Award. BDes, MMD
Honors, Swinburne University of Technology; PhD, Design, Swin-
burne University of Technology, Fulbright Scholar.
F
Peter Fillingham / Fine Arts Chair
Sculptor. Recent Exhibitions include: Elen de Bruin Projects,
Amsterdam; Galleria Cadaques Dos, Cadaques; Cell Project
Space, London; International Project Space, Bournville, England
and Kadist Art Foundation, Paris. Academic leadership/teaching
the Arts, London; University College for the Creative Arts, Kent;
Goldsmiths College, University of London; Wimbledon School of
Art; Leeds Metropolitan University; Bath Spa University. Guest
lecturer at Tate Britain and The Institute of Contemporary Art,
London. Evelyn Williams Research Fellow in contemporary
drawing at Norwich School of Art and Design. Ba (Hons) Sculp-
ture, Camberwell School of Arts and Crafts, London BA(HONS),
MA Sculpture, Royal College of Art, London.
G
Géraldine Goddat / Fashion Design
Textile Designer, Embroidery Designer. Owner of KUCHI KOMI;
designer for Anchor, DMC, Bergère de France; trend forecasting
for Promostyl, Nelly Rodi, Li Edelkoort; costume design in adver-
tising and film (MAAF, Chanel & Stravinsky); owner of SHARMILA
(fashion accessories). Graduated from ENSAD with a textile de-
gree and a certificate in Imaging.
Guy Grember / Communication Design
Freelance Art Director. Clients:  Fnac, Grolier Interactive Europe,
Image Force. DNAP Ecole Nationale d'Art de Cergy
H
Christian Hoeltzer / Fashion Design
Fashion and Costume Designer. Free lance costume designer for
Theatre National de Chaillot, Theatre du Chatelet, Opera Natio-
nal de Paris, Caraco. Free lance fashion designer for Djam, Mor-
gan, Peclers Paris. Senior designer for Kookai, Naf Naf. Launched
own label in 2006. Diploma Studio Berçot, Paris.
Taylor Holland / Communication Design / Design Management
/ Photography / Foundation
Art Director, Graphic Designer, Photographer, Journalist, Film
Composer, and Musician. Designer: Holland Design, Austin
Texas; Art Director, The Austin Chronicle, 1997-2007. Photogra-
pher: Exhibited in Paris, France and Montreuil, France (2008), and
Austin, Texas (2009). Film Composer: “The Winnebago Man”
(2009) and “The Creek Runs Red” (2006). Musician: JagJaguwar
recording artists Monroe Mustang. BA in Journalism and Mass
Communication, University of Oklahoma.
I
Zoe Inch / Illustration
Animator and Film Director. MA Le Fresnoy National Studio of
Contemporary Arts, Tourcoing, France. BA Film and Video (First
Class Honors), London College of Printing, UK
147
 J sion of the Rowman & Littlefield Publishing Group, Lanham, MD.
Benoit Jacques / Illustration
Artist, Illustrator, Graphic Designer. BAOBAB Award. Editorial
work: The Sunday Times, The Guardian, The New Yorker, The New
York Times, Vogue. Publishing: ELLES, Benoit Jaques Books. Exhi-
bitions: “Toys Comix”, Musée des Arts Décoratifs, Clients: Work:
Pentagram Design, R.O. Blechman Films, NYC. Royal Academy of
Fine Arts, Brussels Belgium; Ecole Nationale Supériure des Arts
Visuels de Cambre, Brussels Belgium.
Karina Jensen / Design Management
International Marketing and Cross-Cultural Management Spe-
cialist: Founder Global Minds Network; Visiting Professor, UC Be-
rkeley Extension, Art Institute of California. Work history: Macro-
media, ENPC School of International Management, NEC, SILMA,
SYMANTEC. BS/BA Business Administration/Public Relations, UC
San José; MBA, ENPC School of International Business, Paris; PhD
in progress, ESCP-EAP European School of Management., Paris.
Claire Jochum / Fashion Design
Textile Designer. Work history: Christian Lacroix, Sic Amor, Miss
China, University of St. Quentin en Yvelines. Studied at Ecole de
Beaux Arts de Strasbourg, Atelier d’Art Arc en Ciel, Chambre des
Metiers.
K M
Emmanuel Kerner / Illustration
Illustrator. Editorial work: Libération, Les Echos, The New Yorker,
The New Your Times, Wall Street Journal. Published by: Albin Mi-
chel, Le Seuil, Actes Sud Hachette.
Mona Kim / Communication Design
Multidisiplinary Designer. Clients: Uniqlo, Première Vision, Sam-
sung Electronics, Coty, Mandarina Duck, Trussardi, Kenneth Cole
Products, Canadian Museum of Human Rights, Japanese- Ameri-
can Museum. Awards: D&AD Silver nomination, Jury for D&AD’s
Digital Media category, Laus Trohphy, I.D. Annual Awards, Applied
Arts Award Annual, Good Design Award, Chicago Athenaeum,
Honor Awards, Society for Environmental Graphic Design. Press:
Exhibition Design, Linksbooks; Souls and Machines, ArtFutura
2008, Building with Water, Birkhauser; I.D. Annual Design Review,
Domus, Diseno Interior, Creative Review, The New York Times. BFA
with Honors, Carnegie-Mellon University.
Sibylle Klose / Fashion Chair
Designer. Fashion designer inter alia for Thierry Mugler, Kenzo,
Chloé, Givenchy, Lacroix, Montana. Textile and interior designer
inter alia for Descampes, Dorma France. International teaching.
MA Fashion, Central Saint Martins College of Art and Design,
London.
Nena Kraguly / Critical Studies
Art historian specializing in 20th and 21st century art. Regular
contributor to Beorama, Vreme and Project. Curatorial activities
at the Centre Georges Pompidou, Paris. Affiliated with the Vassar-
Wesleyan University in Paris. DEA, Sorbonne, Paris.
Frédérique Krupa / Chair of Communication Design, Design Ma-
nagement, Critical Studies
Interaction Designer. Partner at game and software design com-
pany, Simple Is Beautiful. Former Web and Documentation Mana-
ger: Virtools/Dassault Systemes. Formerly taught at: Parsons New
School, RISD and University of the Arts. Former Assistant Editor
Administration & Faculty
of I.D. Magazine. BFA Product Design and MA Design Criticism,
Parsons New School for Design.
L Robert Normand / Fashion Design
Shirley Lambert / Critical Studies
Instructor of English as a Foreign Language, Critical Reading and
Writing, Editor and Library Consultant. Former Vice President, As-
sociate Publisher and Editorial Director of Scarecrow Press, a divi-
148
Member TESOL France, consultant for Terra Foundation Library,
Paris Research Center (American Art). BA (Honors and Phi Beta
Kappa) Wellesley College, Wellesley MA; MLS (Lib and Info Sci, with
honors) Simmons College, Boston; MBA Univ. of Colorado, Denver.
Romaric Le Tiec / Design Management
Founder: Romaric Le Tiec Studio. Clients: Arik Levy Studio, Sebas-
tien Wierinck Studio, Dan Yeffet Studio. MFA in Product Design,
ENSAD; Atelier de Sevres; Licence in Visual Arts, Université de
Paris 8.
Agnès Levitt / Critical Studies
Consultant. General Director L'Ecole de Design des Pays de la Loire.
Projects manager at IRCC, Australia. PhD, EHESS Paris.
David Lewis / Critical Studies
Critic, theorist, and historian specializing in modern and contem-
porary art and aesthetics. BA Brown University; PhD expected in
2010 from   C.U.N.Y. Graduate Center.
Ane Lynge-Jorlén / Critical Studies
Fashion Historian, Theorist, and Writer. Associate Lecturer, Lon-
don College of Fashion. Editor: Vestoj. BA, University of Copen-
hagen; MA, London College of Fashion; PhD, London College of
Fashion.
William MacKendree / Fine Arts
Artist. Exhibitions: Galerie Foex, Geneva; Center for Contempo-
rary Art, St. Fons; Galerie Patricia Asbaek, Copenhagen; Gallery
Thoman, Innsbruck; Gallery Vidal-St. Phalle, Paris. Featured in Le
Monde, Art Press, Opus International. Collections: Museum of
Modern Art, Centre Georges Pompidou, Paris; Statts Museum.
BFA, MFA, Georgia State University.
Rafael Mahdavi / Fine Arts
Artist. Numerous solo shows in America, Europe, Asia and Near
East. Recent/upcoming exhibitions include: Joan Guaita Gallery,
Palma de Mallorca; Huihao Gallery, Quangzhou, Canton; XVA Gal-
lery, Dubai. BFA, Cranbrook Academy of Art.
www.rafaelmahdavi.com
Steve McClymont / Fine Arts
Painter. Solo exhibitions: F.C. Craig, Paris; Cité Internationale des
Arts, Paris; Villa Radet, Paris; Salon du TRAIT, Paris. MFA, National
Art School, Sydney.
Andrew McKim / Photography
Photographer. Exhibits: Maison Europeene de la Photographie,
Paris. Magazines: Arena Homme +, Harpers Bazaar, Vogue. Ad-
vertising: Gucci, Armani, Comme des Garçons. BAA Ryerson Uni-
versity, Toronto.
Kristin McKirdy / Foundation / Fine Arts
Ceramist. Exhibitions: Galerie Pierre, Paris; Movements Mo-
dernes, Paris; Funky Zen, Mairie du 6e, Paris; Espace GrandJean,
Vallauris; Elementarisme, Biennale de Chateauroux, France;
Faenza Biennale, Italy. MFA, UCLA; MA, Art and Archeology, Paris
IV-Sorbonne.
N ticut College; DEA in Social Anthropology and PhD in the History
Joe Neill / Fine Arts / Foundation
Sculptor. Exhibitions include: Galerie Lelia, Murdoch, Paris; OK
Harris Gallery, NYC; Alain Oudin Gallery, Paris. Featured in Art in
America, The New York Times, The Village Voice. MFA, Bowling
Green University.
Fashion Designer. Launched own signature fashion label in 2000.
Work history: Dorothée Bis, Christophe Lemaire, Hervé Leger,
Ocimar Versolato, Lanvin, Lacoste, Emilio Pucci. Diploma Studio
Berçot, Paris.
P Susann Schweizer / Fashion Design
Bogdan Pavlovic / Fine Arts
Painter. Awards: Prix Des Artistes Du Monde Crous 1997. Solo Ex-
hibition: Fondation Atelier De Sevres Paris. Projects: Illustrations
for the film Super 8 Stories. MFA, Ecole Nationale Supérieure des
Beaux Arts; Post-Grad degree, School of Fine Arts, Belgrade.
Alice Peinado / Design Management Chair
Anthropologist. Areas of study: education management, perso-
nal development and team dynamics, multicultural theory and
practice, globalization. Work history: ISM, ESC Reims, ENPC MBA,
UNESCO, UNICEF. BA, Barnard College, Columbia University; MA,
M.Phil, ABD, Columbia University.
Cécile Petit / Critical Studies
Professor of French as a foreign language: NYU in France. BA, Sor-
bonne Nouvelle; Masters, Sorbonne Nouvelle.
Sébastien Picard / Design Management
Managing Director: Edgecombe Group, Hong Kong. Operations
and Business Development director: Xin Shi Shang Zi Xun, Hong
Kong. Air Commando Officer, French Air Force. PhD in Strategic
Management in progress, ESCP- Europe; Master II in Research,
IIM-CNAM, Paris; MBA IIM-CNAM, Paris; Air Commando Diploma,
French Air Force School, Dijon.
Christophe Pradère / Design Management
Managing Director, Absolut Reality. Work history: Johnson &
Johnson; Beghin Say, Korea and France; Pentagor, France; EURO
RSCG Design, France. BBA, ISG Ecole de Commerce, Paris; Univer-
sity of California, Berkeley; Sophia University, Tokyo; MA, Domus
Academy, Milan, Italy.
R
Dr. Vivian Rehberg / Critical Studies Chair
Art historian/critic, specializing in modern and contemporary art.
Founding editor of Journal of Visual Culture, regular contributor
to frieze and Modern Painters. Former curator at ARC/Musée d’art
moderne de la Ville de Paris. BA, SUNY Cortland; MA, SUNY Stony
Brook; PhD, Northwestern University.
Katarina Rimarcikova / Fashion Design Coordinator
Fashion Designer. Launched own signature label in 2006, parti-
cipated in Unique Form Charity Project, Switzerland, freelance
designer for Sharon Wauchob. Worked for Gucci, Alexander
McQueen, London. BA (HON) Fashion, Central Saint Martins Col-
lege of Art and Design, London.
Francisco Rocca / Fine Arts
Artist, Printmaker. Exhibitions: National Library of Colombia, Bo-
gotá; Cáceres Museum; Salon d’Automne, Paris. Graduated from
School of Fine Arts, National University of Colombia; Printmaking
studio: S.W. Hayter, Paris.
Evan Roth / Communication Design
New Media Artist. Exhibits: Centre Pompidou, Cartier Foundation,
Le Laboratoire. B.A. Architecture, University of Maryland, College
Park; MFA, Parsons The New School for Design.
S ber of the editorial board of History of Photography. BA, Connec-
Patricio Sarmiento / Fashion Design Senior Coordinator
Fashion Designer. Worked for Louis Vuitton Malletier, DKNY
Jeans, Calvin Klein Jeans, Celine, freelance designer for Linde,
Maurizio Galante, art director for Devine Intervention Paris. BFA
Parsons School of Design, New York, MA Fashion (Création) IFM,
Paris.
Wade Saunders / Fine Arts
Sculptor. Solo exhibitions: Art Resources Transfer, Inc., New York.
Musée National de la Céramique Adrien Debouché, Limoges.
Diane Brown Gallery, New York. MFA, UC San Diego.
Fashion Designer. Work History: Fabio Piras, London; Zaha Ha-
did, London; Cacharel, Paris; Princesse tam.tam, Paris. Gradua-
Administration & Faculty
ted from College of Art and Design, CH-Basel and holds a MA in
Fashion (womenswear) from Central St. Martins, London.
Loic Secheresse / Illustration
Writer, Editor, Artist. Clients: Société Générale, SNCF, Strategies,
Le Nouvel Obs Publicité: BBDO,Société Générale, Volkswagen,
Toys 'R' Us. Published by Gallimard. D.N.S.E.P, Institut d'Arts Vi-
suel, Orleans; D.N.A.P, Institut d'Arts Visuel, Orleans.
Dr. Anne-Marie Smith-Di Biasio/ Critical Studies
University teacher specializing in Modernist literature and psy-
choanalysis, author of two books (Pluto press, éditions Indigo),
numerous articles and translations in this field. Vice president of
The Virginia Woolf Society of France, contributing author to for-
thcoming Dictionnaire amoureux de la psychanalyse (Larousse
2010). BA Hons University College London, PhD Queen Mary Col-
lege, London University.
Bruce Stadlman / Fine Arts Honorary Chair
Artist. Exhibitions: Galerie J. de Rumigny, Paris; Salon de Mai;
Foundation Mona Bismark; L’Espace du Regard; Salon Grands et
Jeunes, Paris. BS, Northwest Missouri State University; BFA, Kan-
sas City Art Institute; MA, San Francisco State University.
Karel Steiner / Photography
Photographer. Exhibitions : Espace Robespierre, Ivry-sur-Seine,
2007, La Maison des Sciences de l’homme, Paris 2007, Galerie
Vysehrad, Prague; 2007 Prachenske muzeum, Pisek, CZ, 2007,Eu-
rope House, Pilsen, CZ, 2007,Embassy of the Czech Republic in
Luxembourg, 2007,Clients: Unilever, Pilsner Urquel, Daewoo
and Mazda, La Croix, International Fertilizer Association, JPG,
Skoda, Maxi, Plein Ciel.AAS, Fashion Institute of Technology; BA,
Hamilton College.
Bridget Strevens / Foundation
Illustrator, Author and Designer. Member of the Board of the In-
ternational Society of Children’s Book Writers and Illustrators.
Books published with Harper Collins US, Simon & Schuster US,
Bayard éditions France, Little Hare Books, UK/Australia. Other
clients include Bayard Presse, Milan Presse, Averbode. MA,
(Hons.) King’s College, University of Cambridge. www.brid-
getstrevens.com.
T
Shaghig Terzakian / Fashion Design
Pattern Drafter. Work history: Naf Naf, Véronique Leroy Paris.
University of Alep; graduated from ESMOD; studied at l’Ecole de
la Chambre Syndicale de la Couture Parisienne; studied at Central
Saint Martins College of Art and Design, London.
Dr. Kim Timby / Photography
Photography Historian. Independent consultant. Specialties:
3D and color photography, amateur practice and popular ima-
gery. Teacher at École du Louvre and École des Hautes Études en
Sciences Sociales, Paris. Former curator at the Musée Carnavalet
and the Musée Nicéphore Niépce (Director of Collections). Mem-
of Photography, EHESS, Paris.
Roger Thorn / Design Management
Retired Investment Banker. Former Chairman of Thorn Lefèvre In-
vestments. Former M&A Director of Banque de la Société Finan-
cière Européenne. Lecturer in Corporate Finance and Corporate
Development at IPAG, ISEG and ISM. M.A. French and German,
Exeter College, Oxford University. Executive Program, London
Business School.
149
 Mark Tungate / Design Management
Freelance writer, British journalist and author. Specialist subjects:
media, marketing, travel, French culture and lifestyle. Experienced

Administration & Faculty

reporter, editor and copywriter; publications include “Media Mo-
noliths,” “Fashion Brands,” “Fifty: The Amazing World of Renzo GUEST LECTURERS + DESIGNER CRITICS
Rosso and Diesel,” and “The Epica Book.” Copywriting clients have
included Coca-Cola, MTV, Diesel and Initiative Media. Westmins-
ter Press Editorial Training College, Hastings, UK. Yacine Aït Kaci and Naziha Mestaoui, new media designers Jutta Kraus, Bernhard Willhelm
and founders of Electronic Shadow Avinash Kumar, designer Quicksand, New Delhi
V/W/Y/Z
Anthony Anderson, filmmaker Lecoanet-Hemant, house of haute couture
Paul Vickers / Communication Design
Thomas Arthur, sculptor Philippe Lardy, illustrator
Creative Director and Consultant. Clients: Vision 360 France, Des-
grippes Gobe Tokyo Hong Kong, Dragon Rouge Paris, Interbrand Ingrid Baron, lead designer, Ideo, London Yuris Lesnik, artist
New York, Design Solution Paris, Pentagram London. Author: On Jack Benstock, publisher (Editions Seuil) Jérôme L’Huillier, fashion designer
the Emotional Brand Experience, Published by Rockport. Work
Pascal Beucler, vice-president Griet Maes, mime artist
featured: The Package Design Book, Taschen. BA, London College
of Communication. (Publicis Consultants Worldwide)
Michel Malard, fashion consultant
Veronique Vienne / Illustration
Sarah-Jane Blackman, strategic planner, BBDO Proximity
Ariane Martinet, analyst, strategy department, Chanel, Paris
Graphic Designer, Art Director, Art and Cultural critic, Writer. Art Erik Boulatov, artist
Director & Editor: House & Garden, Communication Arts, Eye,
Christophe Martinez, stylist, (Tank magazine)
Wiliam Brui, painter
Graphis, Aperture, Print. Author: John Rombola, Eclectic Excen- NEW FACULTY FOR 2010-2011 Damien Masson and Naim Ait Sidhoum, architects, Wikibivouac
tric, Chronicle Books, 2009; Citizen Designer, Allworth Press; The Dave Busch, SVP Medical Devices, Selecton
Full bios can be found at www.parsons-paris.com Randa Massot, designers’ consultant
Education of an Art Director, Allworth Press; Fresh Dialogue Three Dominique Cardon, sociologist, Orange Labs
& Fresh Dialogue Four, Princeton Architectural Press; Something Melanie McDonald, knitwear designer (Margiela, Lanvin)
Ed Alcock, Photography David Carson, art director / graphic designer
to Be Desired, Graphis Editorial work: The Art of Doing Nothing, Nicolas Giraud, Photography David McKee, illustrator
Clarkson Potter. Faculty Member: School of Visual Arts, New York. Marie-Christine Callet, financial analyst, ATTAC Member
Isabelle Massu, Photography Ryan Mendoza, artist
BAC, Ecole Nationale Superieur de l’Architecture. Kei Chae, designer (Manifere de Luxe)
Alexandre Oudin, Photography Etienne Mineur, art director and founder of Incandescence
Charlotte von Poehl / Design Management Guillaume Pallat, Photography Michelle & Olivier Chatenet, fashion designers (E2)
Artist. Selected Exhibitions: ”Break of Dawn”, Swedish Cultural Nicolas Misdariis, sound researcher, IRCAM
Jean Colonna, fashion designer
Center, Paris. Flagey, Brussels. Bergman week, Farö. “The Note- Delphine Murat, fashion designer
piece”, The Henry Moore Institute, Leeds. “7000 Newton” Malmö Stéphane Correard, curator, writer, and director (Particules)
Irakli Nasidze, fashion designer haute couture On Aura Tout Vu
Konstmuseum, Malmö. “De la representation à l’action”, Le Pla- Christopher Croft, painter
teau, Frac Ile-de-France, Paris. Orlan, artist
Matteo Delise, SVP marketing, Pininfarina Ferrari
BA, Fine Art, Luther College. MA, Fine Art, Goldsmiths College. Catherine Örmen, fashion historian and curator
Annabelle Dos Santos, PR, Cacharel
Deborah Wickham / Communication Design Patrick Pinon, textile designer
Freelance Graphic Designer. Clients include: The Museum of Mark Eames, artist
Olivier Peyricot, director (IDSland)
Archaeology & Anthropology/University of Cambridge, Maison Samantha Edwards, photographer
de l'Europe des Yvelines, Mairie de Chatou, Paris Voice magazine Marie-France Pochna, author
Hartmut Eslinger, ceo and founder, Frog Design
(layout & production), Association Mouvement Art Contempo- John Ribbe, fashion designer
rain de Chamalières. BA (Honors) London College of Communica- Helen Evans, new media designer and founder of HeHe
tion, The University of the Arts London. Seamus Farel, artist, curator Julia Rodowicz, senior designer, knitwear, Balenciaga
Tanja Wiedner / Fashion Design Klaus Fluge, publisher (Andersen Pres) Carine Roitfeld, editor-in-chief, French Vogue
Fashion Designer, Pattern Drafter. Work history: John Galliano, Françoise Galo, documentary filmmaker Paolo Roversi, photographer
Zadig&Voltaire, Christian Lacroix, Valentino. Graduated from Jérôme Sans, former director, Palais de Tokyo; director,
ESMOD Paris and AICP. Beatrice Gisclard, founder, Les Inventeurs
Ullens Center for Contemporary Art de Beijing; Cultural
Catherine Winsnes / Foundation Ingrid Guttormsen, Maison Martin Margiela curator, Le Meridien group
Graphic Designer and Artist. Clients: Ecole des Hautes Etudes en Junichi Hakamaki, fashion designer Marjane Satrapi, writer, illustrator, film maker (Persepolis)
Sciences Sociales, Office National du Tourisme de Norvège en Didier Hamey, artist
France, Crédit Mutuel. Recent installations and films: Ecole des Deidi von Schaewen, photographer and film director
Hautes Etudes en Sciences Sociales, Paris; Hôpital Psychiatrique Marcus Hansen, painter Loic Secheresse, illustrator
Maison Blanche, Neuilly-sur-Marne; Parsons The New School for Henrik Harjula, environment directorate, OECD
Design. Exhibitions in France and Norway. Graduated from the
Mijn Schatte, illustrator
Jeb Hayward, artist
Ecole Supérieure d’Arts Graphiques. Richard Siegal and Hillary Goidell, choreographer and new
Tara Henthorn, fashion designer media designer, founders of The Bakery
Carole Xenard / Illustration
Illustrator. Employers: Bayard Presse, Hatier, Hacheete. ENSAD- Antoine Heu-Boidin, head of visual merchandising Clementine Sladden, consultant,Stratégique de
Illustration, Paris. Leo Hobaica, conceptual artist Communication l'image des marques
Sylviane Yzet / Fashion Design Nicky Hoberman, painter Steven Slowik, fashion designer
Administration & Faculty

Freelance fashion designer. Work history: Chloé, Carlin Inter- Miles Hyman, illustrator
national, Réné Dherhy, DIM, LeJaby, Le Chat. Current clients:
Galeries Lafayette, Monoprix, ETAM, Orcanta. Graduated from Marc Jacobs, fashion designer
ESMOD, Paris. Benoît Jacques, author, illustrator, publisher
Karina Jensen, founder, Global Minds Network
Patrick Jones, artist
Joseph Kosuth, artist
Valerie Steele, fashion historian and author
Candice Stevens, advisor, OECD Sustainable Development
Tom van Lingen, fashion designer
Conrad Ventur & Adrien Pellentier, Useless Magazine
Stephen Vasilokos, painter
Sergei Vassiliev, fashion designer Seredin & Vassilev

150 151
 DEGREE

Degree Programs
PROGRAMS
ACADEMIC PROGRESS

Parsons Paris offers degree programs
based on the American system of
education, in which students who
successfully complete four years of
study receive a Bachelor’s Degree.
In the fields of art and design, stu-
dents receive a Bachelor of Fine Arts
Degree (BFA) preparing them to en-
ter their profession. Students can
choose Communication Design, Il-
lustration, Fashion Design, Fine Arts
or Photography. BFA candidates start
in the Foundation Year; Photography
students have the option of “direct
entry” into their major starting from
freshman year. Students interested
in pursuing a career in business for
the design industries enter the De-
sign Management program as fres-
hmen; upon successful completion
of the four-year program these stu-
dents receive a Bachelor of Business
Administration degree (BBA)*, the
recognized undergraduate degree in
business in the USA.
*The Bachelor of Business Administration de-
gree meets the NASAD standards for a Bachelor
of Arts - Design Management (Multi-discipli-
nary design).
Degree Programs
In the American education system
the first year of the Bachelor’s degree
is called the Freshman Year, the se-
cond is Sophomore Year, the third is
Junior Year and the fourth is Senior
Year. Academic Progress towards a
degree is measured by 3 criteria:
Qualitative progress
Undergraduate students must main-
tain a minimum weighted average of
all courses taken, called a Grade Point
Average (GPA), of 2.0 to be considered
in good standing and to qualify for fi-
nancial assistance.
Quantitative progress
Students are expected to carry a full
course load and to enroll in the cor-
rect number of Core courses and Cri-
tical Studies courses each semester.
Level review/curricular progress
Satisfactory academic progress also
requires that courses be completed
in the appropriate sequence and that
an adequate level of achievement be
maintained in Core courses. Students
who fail to meet this standard by per-
forming poorly in or failing required
courses, but who are otherwise in
good academic standing, will be pla-
ced on Departmental Probation and
required to repeat specific classes, a
semester, or academic year.
THE AMERICAN CREDIT SYSTEM
Students earn “academic credit” for
creation of artwork; departmental
credits for courses that contain ma-
terial relevant to a student’s major;
critical studies / art history credit for
classes emphasizing the develop-
ment of critical, analytical, and wri-
ting skills. Critical Studies comprise
Art and Design History, Social Scien-
ces, Cultural Studies, and English. In
order to obtain the Bachelor of Fine
Arts degree (BFA) a student must
complete 134 credits, including 92
departmental and 42 Critical Studies
credits. The Bachelor of Business Ad-
ministration (BBA) requires 134 cre-
dits, including 79 departmental, 13
studio, and 42 Critical Studies credits.
All degree students must take a mini-
mum of 12 Art History credits within
their Critical Studies requirements.
TRANSFER STUDENT ISSUES
Transfer applicants are evaluated
on two criteria: their skills and abili-
ties must be equivalent to those of
Parsons Paris students at the same
level and they must have sufficient
credit for college courses completed
elsewhere that are similar in content,
purpose and standards to those offe-
red at Parsons Paris. See Transfer Cre-
dit Policy for more details.
To be accepted for departmental
transfer into the sophomore level of
the BFA program students must have
completed the equivalent of Parsons
Paris’ first-year Foundation Program
dits). To be accepted for departmen-
tal transfer as a junior a student must
have completed the equivalent cre-
dits to a Parsons Paris student at that
level (approximately 48 studio credits
plus 18 Critical Studies credits.)
To be accepted to the BBA program
for departmental transfer as a so-
phomore a student will need to have
completed at least 36 credits within
the required course distribution; ju-
nior transfers will need to have com-
pleted 67 credits. Due to the unique
nature of the Design Management
program, transfer students will likely
take courses in the freshman and so-
phomore levels during their first year
at Parsons Paris in order to complete
the degree requirements.
RESIDENCY REQUIREMENT
Student must complete at least four
semesters of their undergraduate de-
gree at Parsons Paris. Students may
transfer a maximum of 67 credits.

courses they successfully complete. (approximately 24 studio art credits

Credit load is calculated based on
the number of in-class hours and the
amount of homework required. Cre-
dits are differentiated into: studio
credits for classes that require the
152
plus 12 Critical Studies credits) or the
freshman year of Photography – for
Photography transfers (approxima-
tely 24 photography and art studio
credits plus 12 Critical Studies cre-
153
 NON-DEGREE

Non-Degree Programs
PROGRAMS
Study Abroad at Parsons Paris CERTIFICATE PROGRAM CERTIFICATE PROGRAM OPTIONS

Beyond our undergraduate The intensive curriculum of the Par- MANAGEMENT OF DESIGN FALL SPRING THE ART OF TEXTILES FALL SPRING
programs, Parsons Paris offers sons Paris Certificate Program offers Marketing 3 - Surface Treatments on Fabrics I & II 2 2
a non-degree option for those who
full-time Certificate and Visiting Managing Creative Organizations - 3 Machine Knitting I & II 2 2
wish to launch a career transition, re- Design Project Management 3 - Lesage French Embroidery I & II 3 3
Student programs that are fine a professional level design port- Strategic Design Management and Direction - 3 Textile ID 2 0
perfect for those seeking in-depth folio, or prepare for entering an MFA Design Research Methods 3 - Printmaking for Fashion 0 2
study in art or design disciplines, program. The Certificate Programs Marketing Strategies for Developing Brands 3 - Wearable Objects 0 2
management of design or art history are ideally suited for the mature stu- Electives - 6 Studio / Management Elective / Internship 2 2
dent who already has an undergra- The Culture of Design 3 - Critical Studies in Fashion / Design / Art 3 3
through a study abroad experience.
duate degree and wishes to complete Art History Elective - 3 Total credits 14 16
Students in these programs also his/her education with a professional Total Credits 15 15
enjoy many cultural outings and art and design concentration. These
field trips in Paris and beyond, as well programs emphasize skill develop-
PHOTOGRAPHIC ARTS FALL SPRING GENERAL FASHION STUDIES FALL SPRING
as gain exposure to a variety ment and provide a solid foundation
Black and White Photography 1+2 3 3 Garment Construction 1 + 2 3 3
in the process, technology, and lan-
of cultures through our international Drawing for Photo and Cinema 1+2 2 2 3D Fashion Studio 1 + 2 3 3
guage of art and design. Students
faculty and student body. Working Digital Skills and Composition 1+2 3 3 Textile ID 2 -
must complete a minimum of 30 cre-
side-by-side with Parsons Paris Digital Photography Lab 1 3 - Basics of Fashion Drawing 1 + 2 2 2
dit hours in a single discipline for the
Studio Electives 2 4 Textile /Studio / Digital Electives 2 2
degree students, Certificate and one-year Certificate Programs listed
Topics In Photo History and Theory - 3 Style Bureau Workshop - 2
Visiting Students have access to all below. Studying full-time (minimum
Art History Elective 3 - Critical Studies (in Fashion and Design) 3 3
of 12 credits per semester), Certificate
studio facilities. Total Credits 16 15 Total Credits 15 15
Students choose from the curricular
suggestions on page 155 that provide
a framework upon which Certificate STUDIO ARTS FALL SPRING VISUAL COMMUNICATIONS FALL SPRING
Programs are developed. The student, Painting 3 3 Type: Core Studio & Form: Core Studio   4         4
along with his/her advisor, will create Drawing 3 3 Type: Core Lab & Form: Core Lab           2         2
a final curriculum that responds to Sculpture 3 3 Digital Imaging and Multimedia              3 -
the student’s interests, abilities, and Ceramics - 2 Interactive Multimedia                                      - 3
the course schedule. Printmaking 2 - Packaging                                             3 -
Silkscreen - 2 Information Design                                3 -
Introduction to Photography 2 - Branding and Identity                                         - 3
Art History Elective 3 3 Culture of Design - 3
Total Credits 16 16 Total Credits                                        15         15

ILLUSTRATION ARTS FALL SPRING

Illustration Concepts 3 3
Typography - 3
Drawing 1+2 3 3
Non-Degree Programs

Digital Skills and Comp 1+2 3 3

Animation Studies 1+2 3 3
Art History Elective 3 -
Total Credits 15 15

154 155

VISITING STUDENT PROGRAM
Parsons Paris offers an extraordinary
Study Abroad program for college so-
phomores and juniors, or those with
undergraduate degrees who wish to
spend a semester or year experien-
cing the art, design, and culture of
Paris. Studying full-time (minimum
of 12 credits per semester), Visiting
Students choose classes from the Par-
sons Paris departmental offerings as
well as classes specifically developed
for the Visiting Student community.
Depending on what types of classes
a student wishes to take at Parsons
Paris, he/she selects to enter the
Studio, Photography, Management
of Design or Critical Studies Concen-
tration.
Non-Degree Programs
156
Studio Concentration
Students investigate the medium or
media of their choice and an indivi-
dual’s program could include classes
from any and all majors, upon final
approval of the Department Heads
involved.
Photography Concentration
This concentration is for those who
wish to explore primarily the medium
of photography during their time at
Parsons Paris.
Management of Design
Concentration
Investigating the intersections
between management and design,
Management of Design students
take courses primarily in the depart-
ment of Design Management.
Critical Studies Concentration
Those interested in pursuing Critical
Studies and Art History coursework
apply for Critical Studies Concentra-
tion.
Non-Degree Programs
Bates College
Brown University
California College of Arts & Crafts
City College
Clark University
Colby-Sawyer College
College of Visual Arts
Colorado State University
STUDENTS WHO PART-TIME PROGRAMS
PARTICIPATE IN THIS Columbia University
PROGRAM COME Cornell University • Non-Credit Classes
FROM NUMEROUS Throughout the year non-credit classes
Georgetown University
COLLEGES are offered for students of all ages, from
Hamilton College high school to mature learners. Visit
Maryland Institute College of Art www.parsons-paris.com to request a
brochure and register for classes.
Minneapolis College of Art & Design
Oxford University • Special Part-Time
Qualified students may enroll in indivi-
Rhode Island School of Design
dual, credited courses on a space-availa-
Reed College
ble basis. Those interested in this option
Sage College of Albany can select courses for the semester for
which they would like to study from
Sarah Lawrence College
our course brochure on our website.
School of the Art Institute of Chicago These are available approximately two
months before the beginning of each
School of Visual Arts
semester.
Stanford University
SUMMER PROGRAMS
The University of the Arts
University of Monterrey
During the Summer months Parsons Pa-
University of California Los Angeles ris offers intensive courses in the fields
of art, design, photography, fashion,
University of Massachusetts
management and French. To learn more
University of Michigan visit www.parsons-paris.com or email
University of The Arts London summer@parsons-paris.com.
Vassar College
Virginia Commonwealth University
Yale University
157
 ADMISSIONS
ADMISSIONS CRITERIA
Parsons Paris has no set admissions formula. Each
applicant is reviewed individually with regard to his
or her own experience, achievement and potential
for artistic growth. A large part of the Admissions
Committee’s decision is based upon evaluation of
the Paris Portfolio, Design Analysis Essay, and Per-
sonal Statement (see pages 161-164). Parsons Paris
seeks serious, responsible, and highly motivated
applicants. A prospective student’s potential for
artistic achievement is one of the most important
criteria in evaluating candidates for admission.
ADMISSIONS DECISIONS
The Admissions Committee will make no decision
on an application until all materials have been re-
ceived by the Admissions Office; decisions are ren-
dered and mailed to applicants within three weeks
of receipt of all materials. All materials submitted
to the Admissions Office, including home assign-
ment, portfolio, transcripts, letters of recommen-
dation, etc, become the property of Parsons Paris.
ACCEPTED APPLICANTS
When notified of acceptance, applicants receive
information about housing, tuition and fees, and
other matters. The Admissions Committee’s de-
cision to admit an applicant is contingent upon
successful completion of any ongoing studies, and
on the Admissions Committee’s receipt of the final
transcripts of those studies.
DEFERRING ADMISSION
Some students choose to defer their date of entry
in order to travel or work. To defer entry, a letter
requesting a new entry date and describing the
applicant’s plans must be sent to the Admissions
Office. A non-refundable tuition deposit may be
Admissions
requested.
158
SPECIAL CONDITION ADMISSIONS
In some cases, the Admissions Committee may re-
quire one of the following conditions:
• English for International Students (EIS) Required
Students whose English proficiency test scores fall
between 60 and 91 on the TOEFL Ibt or 5.5 and 6
on the IELTS will be considered for entry with En-
glish for International Students (EIS) required. All
students who are admitted with EIS required as
an Admissions Condition, as well as those who are
placed into EIS courses as a result of mandatory tes-
ting administered during Orientation at Parsons
Paris. Enrollment will be limited exclusively to the
Studio/departmental portion of the curriculum,
plus EIS courses.
The student must successfully complete the EIS
class in order to continue at Parsons Paris. Any
student who does not complete the course with a
passing grade in their first semester will receive an
academic warning. Any student who has not suc-
cessfully completed the course by the end of their
second semester will be dismissed. Critical Studies
requirements normally completed in the first year
must be completed in subsequent semesters or du-
ring the summer and in some cases may lengthen
the time it takes to graduate.
• Probation
Students may be admitted on academic probation
as a result of substandard academic performance.
Students who are accepted on probation who do
not maintain a minimum GPA of 2.0 during the
first semester of study at Parsons Paris will be dis-
missed.
ADVANCED STANDING CREDIT
Students who have earned a French or Internatio-
nal Baccalaureate, a German Abitur, or who have
passed A-Levels, US Advanced Placement Exams,
or equivalent university qualifying examinations,
will be considered to receive appropriate transfer
credits for those academic credentials. Applicants
must submit official documentation in the original
language and certified translations into English in
order to receive credit.
TRANSFER CREDIT POLICY
All students are required to submit official trans-
cripts to the Admissions Office for evaluation when
applying to the school. Once admitted, students
may have their first semester of attendance at
Parsons Paris to submit outstanding official trans-
cripts to the Registrar for evaluation for possible
transfer credit. No transcripts submitted after the
end of a student’s first semester of attendance will
be considered for transfer credit. All transcripts
submitted must be original or certified copies in
order to be accepted. In addition, transcripts from
schools that were not indicated on the application
for admission will not be reviewed.
A grade of “C” or better must be earned to receive
transfer credit. Granting of transfer credit is contin-
gent upon an applicant’s capacity to maintain the
same satisfactory performance level by which the
student was admitted. During the first semester of
attendance, students should direct their questions
about transfer credit to the Registrar.
Applicants who would like to transfer academic
credits earned at non-English Language institu-
tions are also required to have their transcripts
evaluated by World Education Services (WES). A
course-by-course evaluation report must be prepa-
red for each transcript. Please start the evaluation
process as early as possible, including the submis-
sion of all required documents to WES in order to
Admissions
ensure the timely completion of the evaluation
report. To contact WES go to www.wes.org; ins-
truct WES to send the report to the Parsons Paris
Admissions Office.
• Studio Credit
Transfer credit for studio courses will be granted
only for courses whose content is similar to that
of Parsons Paris and after presentation of official
transcripts and portfolio material demonstrating
proficiency in the subject areas for which credit
is sought. Credit will only be granted in 12 credit
(equivalent semester) blocks.
• Critical Studies Credit
Parsons Paris awards a maximum of 42 Critical Stu-
dies (including art history) credits for courses com-
pleted elsewhere, and which correspond to Critical
Studies requirements.
• Notification of Credit
The transfer credit evaluation is completed and
transfers credit granted only after an applicant has
been accepted and has submitted all final trans-
cripts from other schools to Parsons Paris. Accepted
applicants receive notification of transfer credit
prior to Registration.
NO credit will be granted for “life experience.”
159
 APPLYING
COMPLETE APPLICATION
• ONLINE
Complete the online application form at https://
myschool.parsons-paris.com/ICS/, which is located
in the “Apply” section of the site. You may save your
work and return later to complete the application
form. The site will lead you through the process of
applying: you will be required to provide personal
and educational information, and upload your
essay(s). Within two business days after submit-
ting your application you will receive a login and
password for myschool.parsons-paris.com that
will allow you to keep track of the status of your
application. Follow instructions on the site to pay
the application fee.
• ON PAPER
Should you be unable to access the online appli-
cation you may download a paper form from our
web­site and the credit card authorization form to
pay the application form.
• SUBMIT ARTWORK
Choose one of the following methods:
- Go to parsonsparis.slideroom.com, create a login
and password and upload your work in the "add
media section".
- Provide the Admissions Office with a web address
where you have made your work available.
- Submit work on CD-ROM; image files should be in
.jpg or .pdf format and have a resolution of 72 ppi
and a largest dimension around 1220px. Do not put
adhesive labels on the cd-Rom.
• SUBMIT TRANSCRIPTS AND TEST SCORES
Once you have submitted your application via our
online portal, you must send your test scores and
transcripts separately to the Admissions Office,
Parsons Paris, 14 rue Letellier, 75015 Paris France.
Application Procedure
160
• SCHEDULE AN INTERVIEW
Applicants to the Degree and Certificate Programs
must schedule a telephone or in-person interview.
You must have submitted all your other required
application materials before we conduct the in­
terview. Email admissions@parsons-paris.com to
schedule an interview.
DEADLINES
Fall 2011
All application materials must be submitted by:
• Priority Deadline: March 1st, 2011
If you are applying for a scholarship or wish
to have priority consideration.
• Applications received after March 1st, 2011 will
be reviewed as received on a space available
basis.
Spring 2012
All application materials must be submitted by:
• Priority Deadline: November 1st, 2011
If you are applying for a scholarship or wish
to have priority consideration.
• Applications received after November 1st, 2011
will be reviewed as received on a space
available basis.
APPLICATION MATERIALS
Application Materials
ALL APPLICANTS
• SUBMIT THE PERSONAL STATEMENT • SCHEDULE A PERSONAL INTERVIEW
Write a 500-word statement that describes the In addition to the materials listed at left and the
works of an artist(s), design business(es), design additional application materials by program, all
manager(s), or designer(s) that inspire you and Degree and Certificate Program applicants must
why you would like the opportunity to pursue an have a personal interview either in-person or by
education in art and design. telephone and Visiting Student applicants are
strongly encouraged to do so. Applicants must
• SUBMIT TRANSCRIPTS OF PREVIOUS STUDY contact the Admissions Office at +33 (0)1 45 77 39
All applicants must provide secondary school 66 or admissions@parsons-paris.com, to schedule
and/or college transcripts to the Admissions Of- an interview well in advance of the desired ap-
fice. Those who have already earned a bachelor’s pointment date. All application materials must be
degree prior to applying for admission to Parsons submitted in advance of the interview. During your
Paris are not required to submit secondary school interview your portfolio and home assignment will
transcripts. All other applicants must submit sec- be reviewed. You will be expected to discuss your
ondary school transcripts. work.
• SUBMIT TEST SCORES: SAT, ACT, TOEFL, IELTS • SUBMIT APPLICATION MATERIALS BY PROGRAM
All applicants for whom English is not their native On the following pages are the additional materi-
language must submit results of either the TOEFL als you must submit by program to which you are
exam (the Test of English as a Foreign Language) or applying.
IELTS (International English Language Testing Sys-
tem). The minimum scores required are: 92 on the
TOEFL Ibt test or 6.5 band score on the IELTS. Those
whose scores fall between 60 and 91 on the TOEFL
Ibt or 5.5 and 6 on the IELTS will be considered for
entry with English for International Students re-
quired (see Special Condition Admissions section
on page 158 for more information). To get informa-
tion for the earliest possible test date for the TOEFL
exam go to www.ets.org. Our institution code is
8217. To find testing centers and register for the
IELTS go to www.ielts.org. Request that your score
be sent directly to Parsons Paris. Applicants for the
BFA and BBA, currently enrolled in an American
high school must submit SAT or ACT exam results;
use our CEEB code: 4627.
161
 ADDITIONAL APPLICATION MATERIALS:
DEGREE PROGRAMS
FIRST YEAR ENTRY OPTIONS
BFA Freshman Foundation Applicants
Complete regardless of intended major
THE PARIS PORTFOLIO Demonstrate: Drawing skills
- perspective drawing, still lives, and life drawing
from the figure; Conceptual skills; Individuality -
work made outside of projects assigned at school;
Experimentation - the ability to explore ideas and
different processes and materials; Sensitivity re-
garding color. Additionally, include the following
works:
1. A self-portrait drawn in pencil from a mirror in-
cluding foreground and background.
2. A drawing of one of the smaller spaces in your
home (bathroom, closet, attic) using a black and
white medium.
3. A color collage depicting the same scene as in
number 2 using cut or torn paper.
Note: portfolios should not contain work specific to
an intended major; work copied from a two-dimen-
sional source, such as a photograph; or work crea-
ted solely from the imagination. Be discriminating;
submit a well-edited portfolio of your finest work.
Additional Application Materials
162
BFA Freshman Direct-entry
Photography Applicants
THE PARIS PORTFOLIO Demonstrate: Conceptual
skills; Technical skills - exposure, lighting, printing,
etc.; Individuality - work created outside of projects
assigned at school; Experimentation - the ability to
explore multiple and different processes and ma-
terials; Sensitivity regarding color; Knowledge and
use of composition, perspective, focus, and depth
of field. Additionally, include the following works:
1. Three photographs concerning a theme of your
choice.
2. A photograph representing an interpretive self-
portrait.
3. A self-portrait drawn in pencil from a mirror in-
cluding foreground and background.
BBA Freshman Direct-entry
Design Management Applicants
THE DESIGN ANALYSIS ESSAY Write a one-page
(500 word) essay analyzing a well-designed eve-
ryday object or product, building, publication, ad-
vertisement or software. Explain why you think
this item is well designed. You may consider such
issues as the purpose and effectiveness, sustai-
nability and environmental impact, as well as the
social implications of the object. Please include a
visual reference of the object you have analyzed in
the Add Media section or on a CD-Rom.
TRANSFER ENTRY OPTIONS
BFA Sophomore & Junior Transfer Applicants
All Majors except Photography
THE PARIS PORTFOLIO Your portfolio must display
corresponding skills to students having comple-
ted equivalent studies at Parsons Paris. (Please
refer to the Parsons Paris course descriptions on
our website for more information.) Demonstrate:
Drawing skills - perspective drawing, still lives, and
life drawing from the figure; Conceptual skills; In-
dividuality; Experimentation - the ability to explore
ideas and different processes and materials; Sensi-
tivity regarding color.
Additionally, include 5 pieces of work specific to
your intended major. Be discriminating; submit a
well-edited portfolio of your finest work.
Photography Majors
THE PARIS PORTFOLIO Demonstrate: Conceptual
skills; Technical skills - exposure, lighting, printing,
etc.; Individuality - work created outside of school;
Experimentation - the ability to explore multiple
and different processes and materials; Sensitivity
regarding color; Knowledge and use of composi-
tion, perspective, focus, and depth of field. Additio-
nally, include:
1. Three photographs concerning a theme of your
choice.
2. A photograph representing an interpretive self-
portrait.
3. A self-portrait drawn in pencil from a mirror in-
cluding foreground and background.
Additional Application Materials
BBA Design Management
Sophomore and Junior Year Applicants
THE DESIGN ANAYSIS ESSAY Write a one-page (500
word) essay analyzing a well-designed everyday
object or product, building, publication, advertise-
ment or software. Explain why you think this item
is well designed. You may consider such issues as
the purpose and effectiveness, sustainability and
environmental impact, as well as the social impli-
cations of the object. Please include a visual refe-
rence of the object you have analyzed in the Add
Media section or on a CD-Rom.
THE PARIS PORTFOLIO Should you wish to receive
studio credit for college level art course taken el-
sewhere you must submit a portfolio displaying
the equivalent skills achieved by students having
completed the coursework at Parsons Paris for
which you wish to receive credit. (Please refer to the
Parsons Paris course descriptions on our website
for more information.)
163
 ADDITIONAL APPLICATION MATERIALS:
NON DEGREE PROGRAMS
VISITING STUDENT PROGRAM APPLICANTS
Submit a Course Request/Pre-Approval Form, ava-
liable on our website, completed by the student
and home institution adviser. Select courses from
Parsons Paris course offerings and rank them as
either essential or desired: Essential - if you must
take this course to fulfill your home institution re-
quirements; Desired - if you would like to take the
course but it could be substituted.
Studio Concentration
THE PARIS PORTFOLIO: Submit 10-20 examples of
your work that shows your readiness to undertake
the studies for which you are applying. Include a
minimum of 5 drawings from the figure. Your work
should demonstrate drawing skills, conceptual
skills, individuality, experimentation, and sensiti-
vity regarding color.
Photography Concentration
THE PARIS PORTFOLIO: Demonstrate: Conceptual
skills; Technical skills - exposure, lighting, printing,
etc.; Individuality - work created outside of school;
Experimentation - the ability to explore multiple
and different processes and materials; Sensitivity
regarding color; Knowledge and use of composi-
tion, perspective, focus, and depth of field.
Management of Design
THE DESIGN ANAYSIS ESSAY: Write a one-page (500
word) essay analyzing a well-designed everyday
object or product, building, publication, advertise-
ment or software. Explain why you think this item
is well designed. You may consider such issues as
Additional Application Materials
the purpose and effectiveness, sustainability and
environmental impact, as well as the social impli-
cations of the object. Please include a visual refe-
rence of the analyzed in the Add Media section.
Critical Studies Concentration
No additional materials.
164
CERTIFICATE PROGRAM APPLICANTS
Studio Arts, Visual Communications, General
Fashion Studies, Textile Arts, Illustration Arts
THE PARIS PORTFOLIO: Submit 10-20 examples of
your work that shows your readiness to undertake
the studies for which you are applying. Include a
minimum of 5 drawings from the figure. Your work
should demonstrate drawing skills, conceptual
skills, individuality, experimentation, and sensiti-
vity regarding color.
Photographic Arts
THE PARIS PORTFOLIO: Demonstrate: Conceptual
skills; Technical skills - exposure, lighting, printing,
etc.; Individuality - work created outside of projects
assigned at school; Experimentation - the ability to
explore multiple and different processes and ma-
terials; Sensitivity regarding color; Knowledge and
use of composition, perspective, focus, and depth
of field.
Management of Design
THE DESIGN ANAYSIS ESSAY: Write a one-page (500
word) essay analyzing a well-designed everyday
object or product, building, publication, advertise-
ment or software. Explain why you think this item
is well designed. You may consider such issues as
the purpose and effectiveness, sustainability and
environmental impact, as well as the social impli-
cations of the object. Please include a visual refe-
rence of the object you have analyzed in the Add
Media section.
TRANSCRIPT ISSUES
NON-ENGLISH LANGUAGE TRANSCRIPTS
All applicants who have been educated in non-En-
glish language programs are required to submit an
original transcript from each institution attended
along with a certified English language translation.
Applicants who would like to transfer academic
credits earned at non-English Language institu-
tions are also required to have their transcripts
evaluated by World Education Services (WES). A
course-by-course evaluation report must be prepa-
red for each transcript. Please start the evaluation
process as early as possible, including the submis-
sion of all required documents to WES in order to
ensure the timely completion of the evaluation re-
port. To contact WES go to www.wes.org; be sure
to instruct WES to send the report to:
Admissions Office
Parsons Paris
14, rue Letellier
75015 Paris
France
Transcript Issues
ALL TRANSCRIPT DOCUMENTS MUST BE
• Written in English or be provided with an official
translation in English.
• Printed on secure transcript paper or the lette-
rhead of the school (not a copy).
• Stamped with the school seal or other official
marking.
• Notarized or signed by the school official (regis-
trar, dean, etc.).
Information that must be provided on all official
transcripts:
• Name and address of school.
• Student name (must appear on every page of the
transcript).
• Dates of attendance.
• Degree awarded, if any.
• Names of individual courses completed.
• Number of contact hours per week (for the entire
term) by course.
• Length of the term.
• Grade or evaluation received for each course.
• Grading scale (i.e.: A = Excellent...F = Failure) or
description of grading system.
TRANSFER STUDENTS
Please provide course descriptions for every course
for which you wish to receive transfer credit.
165
 TUITION + SCHOLARSHIP PARSONS PARIS SCHOLARSHIP, LOANS
+ ON-CAMPUS INTERNSHIP PROGRAM

Estimated Academic Year Expenses in Euros The Parsons Paris Scholarship Committee grants
financial assistance awards on the basis of three
2010-2011 criteria: financial need, merit, and commitment
to the Parsons Paris program. A limited number of
Tuition 24,000 €
partial scholarships and loans, which defray a por-
Health Insurance 200 € tion of tuition, are available to Parsons Paris degree
Housing during Orientation (optional) 300 € and Certificate students.* Visiting Students are
Housing 7,200 € not eligible for Parsons Paris financial assistance.
Personal / Meals 4,000 € Parsons Paris loans are made for the period of
education at Parsons Paris and will not be due for
Books and supplies 1,375 €
payment until the student has completed the Par-
Local transportation 360 € sons Paris degree as long as the student maintains
TOTAL 37,435 € full-time enrollment. There will no interest levied
on this loan. In addition, all degree students may be
chosen to participate in the on-campus internship
program. Interns are assigned positions within the
school for which they receive an honorarium. Scho-
larships are awarded for one year. To retain their
scholarships, students must remain in good aca-
demic standing (a semester GPA of at least 2.5 with
a full-time load of at least 12 credits, including all
degree requirements). They must also reapply and
show continued need. Awards may be reduced or
*Please note Parsons Paris students are not
eligible to receive US/FAFSA financial aid.
discontinued if a student’s financial circumstances
or academic performance are deemed to no longer
warrant tuition assistance.
Recent scholarship sponsors include Biotherm and
Bibliothèque Kandinsky and the Annenberg Foun- © 2010 / AFAD / École Parsons à Paris / Paris College of Art. The information published here represents the plans of the Association Franco-Américaine
dation. de Design / École Parsons à Paris / Paris College of Art at the time of publication. The Association Franco-Américaine de Design / École Parsons à Paris
/ Paris College of Art reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees,
policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and administrators.
To Apply:
Payment of tuition or attendance at any classes shall constitute a student's acceptance of the administration's rights as set forth above.
Applicants should download the Financial Assis-
Tuition + Scholarships

tance Application from our website and submit it

with their application for admission.
Applicants who would like to be considered for fi-
nancial assistance should apply for admission by
the Priority Deadline:
• March 1, for fall entry
• October 1, for spring entry
166 167
 18
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170 Letellier Campus Voltaire Campus 171

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 Designed by Be
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Printed by STIPA Imprimerie

Photography by: Olivier Combres,

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172
 Private institution of higher education
Etablissement d’enseignement supérieur privé

École Parsons à Paris – a division of Paris College of Art

14 rue Letellier • 75015 Paris, France • Tel: +33 (0)1 45 77 39 66 • Fax: +33 (0)1 45 77 10 44
www.parsons-paris.com • admissions@parsons-paris.com