We’re a one pathway Masters Programme, but
we have specialist students who are researching and designing in Furniture, Jewellery and
Design. And we ask people who are applying to write for us their vision of who and what
they want to be. One of the fantastic things about the course
is the fact that our students come from around the world, so once the course involves research
and practice we don’t see them as separate elements, they’re fully integrated into each
other. The research informs the practice, and the practice then leads the research.
As part of our application process we ask to you apply with a project proposal and an
electronic portfolio. We are a research Masters and you will be doing your project with us
for two years. Central Saint Martins is a globally renowned
design brand. London is a wonderful resource, its the creative epicenter of the world. I
work with light, I treat light as a raw material, I split it and I cut it, I reform it, I shape
it, and being in this course you’re really working with witnesses and you have a team
of people who are not only here to support you but also to challenge you.
I always wanted to work at different skills and I thought that the idea of being in a
course that ranges from furniture, to jewellery, from something big to small, was really appealing.
My project is about looking at ceramics in a different way, challenging the material.
So basically trying to test ceramics in movement. What I enjoy most about Central Saint Martins
is the diversity, people from different backgrounds. I really like the flexibility of the course,
it allowed me to explore my own ideas, my own interests so the project was developed
in the Philippines, working with artisans. The experience enabled me to understand my
approach and really establish a direction as a designer. You make it happen, you learn
to be resourceful. My project is about bringing mechanical design
knowledge to drawing design and exploring new possibilities for mass jewellery in this
way. I think what is challenging for my project is to find a way, a creative way to apply
mechanisms into jewellery pieces. We’re here in one of our workshops. As a course
that asks our students to research design and fully realise the products of their imagination,
it’s crucial to us that we have facilities like this. Students are making work here,
making work in collaboration with production here in the United Kingdom or in Europe and
sometimes working with mastercraft or artisan communities in their countries of origin.
We’ve got some really interesting furniture designers: Gunjan Gupta is based in Dehli,
where she seems to have capitalised firmly on her position as an Indian designer; Patty
Johnson has been working extensively in the Caribbean and South America, with a wide variety
of different communities looking at how she can create resilience for those types of traditional
knowledge. There’s people like Fernando Jorge, who was nominated for Accessory Designer of
the Year Award here in London by the British Fashion Council last Autumn. Kim Norton came
to us to work on much larger [?], and ended up working inside Ipstock brick factory in
Bristol, carving an enormous seat for Lady Margaret Hall which was installed in the gardens
there, whilst she was student. We’re looking for people who are curious,
excited, who understand that design is a world that is changing and expanding in ways that
are unpredictable. But what’s really important is that they bring the wide variety of knowledge
they gain on the course, and flexibility, and an inspiring, inquiring mind to the work
that they are doing.