December 5, 2012 § Leave a comment
July 26, 2012 § Leave a comment
So, it’s happening. The film is go!
We’re lacking the lights, and camera, but theres been plenty of action. So if you feel like chipping in to raise money for the project, check out or Pozible profile here. Theres a very fun video made by our director Alex Brunacci, starring Maddie Ryan (who also will be the star of the film).
June 6, 2012 § Leave a comment
I don’t call, I don’t write. But theres a most excellent explanation. Over the past few months I’ve been working on a new collection, and last week I was able to show the fruits of my labours to a selection of close friends, supporters and industry people.
Here are some shots of the exhibition/show, with a photoshoot to follow.
A massive shootout should go to the models, Frankie from Joey Scandizzo who did the hair, Erin for making up the faces, and to Joey Corcoran for photographing the night. Also to the good people at the Carlton Club, notably Hannah Belil who helped organise the night. And not forgetting Amber Arizono for realising my idea for a fringed sunglasses chain in a ridiculously short time frame, and Nicola St John for making the earrings.
Also thanks to my interns, Alex, Ella, Phil, Georgia, for cutting stuff out, and talking me off of ledges.
May 3, 2012 § Leave a comment
April 13, 2012 § Leave a comment
Vestoj (Esperanto for ‘clothing’) is one of the newest publications to grace the world of fashionable media. And unlike some of it’s fluffier counterparts (cough*Grazia*cough) it’s not only really beautiful to look at, but lo and behold, it’s actually interesting. Published annually, Vestoj focuses solely on sartorial matters, bringing together academia and industry in a bid to combine academic theory, critical thinking and a bit of good old fashioned glamour.
Instead of looking at the collections and discussing the coolest new bag Vestoj is a forum for academic discussion, where academia, curators, and the fashion industry can actively communicate with one another. Existing outside of seasonal trends and with no regard to news-based articles instead promoting critical thinking and independent thought to cultivate an environment of absolute creative freedom.
“We write about the cultural phenomenon that is fashion in a manner that opens up for dialogue between theory and practice in order to raise awareness for fashion as a cultural phenomena and field of research and cultivate an even greater understanding for the discipline.”
Even better, to remain independent and free of “The Man”, the magazine will feature no advertising! Instead of buying a magazine only to discover the first thirty or so pages are ads, this one is all business with none of the bullshit. Or maybe all pleasure no business is more appropriate.
And because all great works need a manifesto….
- All articles must relate to sartorial issues. We are interested in people’s relationship to their clothes, and fashion’s relationship to identity.
- We must bridge academia and industry. We will place academia and industry side by side, and give equal significance to both. We will place the academic in an industry context and vice versa in order to increase the understanding and collaboration between these two fields. We will work for the greater good of our discipline.
- Fashion must always be taken seriously. We must never be afraid to have pretensions. We are as interested in the minutiae of clothing as we are in the grand themes of fashion. We will see the trivial in the substantial and the substantial in the trivial, and ensure that all is given equal importance.
- The tone must be inviting. We must never be excluding in language or approach. We will use humour to draw readers in and themes that many can relate to.
- Text and image shall be given equal importance. We must always integrate word and picture and guarantee that there is an ongoing dialogue between the two.
- Everything shall be questioned—nothing is holy. We must challenge the status quo. We must always ask why.
- We must always remain independent in thought and action. We must actively encourage critical thought and never be satisfied until we have examined every theme intrepidly. We will keenly promote criticism and draw attention to the paradoxes within the fashion world.
- Advertising is forbidden.
- The reader’s intellect must be as gratified as their aesthetic sense. We will encourage creativity as well as an intelligent discourse. We will take nothing for granted.
- We will have an interdisciplinary approach. We will take care to examine each theme from various angles and make certain that we represent other lifestyles and ethos than our own. We will work from within the fashion world, but maintain an outsider’s perspective.
April 4, 2012 § Leave a comment
So…. I’ve been thinking a lot about sustainability (always dangerous) and how I’d like to run my own practice one day. I’m not the first, or the last person to point out that the fashion industry sucks. Yes there are some designers who do some amazing stuff, and some of them even manage to not trash the environment or exploit people at the same time. Prada’s practice of labelling every garment with where it was produced is a good example, it lets the consumer know where it was made, and more importantly where the craftspeople who have given them this beautiful new thing came from.
Of course it helps that the bigger houses have huge budgets and ateliers of craftspeople to help them produce their work, but for an emerging designer, especially one in Australia where our local production industry is so abysmal most of us will end up going to Indonesia or China, producing our products in a way that is both ethical and sustainable is practically impossible.
If we stick to the current business structure that is.
It was a book on the industrial revolution that started the wheels in my head turning. Before we discovered steam engines and the potential for mass production, objects were produced locally by artisans. The flaw in this ‘cottage industry’ was that your ability to expand was negated by the size of your local population.
But now the world is no longer defined by location. With the internet we have a global community, one where people can buy things from anywhere in the world with the push of a button. There is the argument that it’s not the same without seeing it in the flesh, and sometimes the sizing is wrong, but if people are willing to by someones homemade Twilight fan art (I’m looking at you etsy.com) then I don’t see how with a few tweaks we couldn’t return to a form of local industry with widespread distribution.
An ideal model would be something more akin to a gallery. The product is displayed, you can pick it up, try it on in your size, and if you want it you can order it. No changes to the design (this isn’t a dressmakers) but as the designer the production, quality, conditions it’s made under, could all be more closely controlled. Instead of churning out a new collection every season, there could be an evolving product range. Sure you aren’t going to make inane amounts of money working this way, but the current methodology is no longer sustainable, or acceptable.
Naysayers could argue that the impact of postage and shipping would negate the whole local production aspect, but surely the impact of sending a few garments across the world is negligible compared to producing and shipping thousands of poorly made t-shirts from China to wherever they’re going? Not to mention the environmental cost of the growing and production of the materials. Or the ethical cost of the conditions a lot of such products are made in.
Better yet, imagine having a studio in each city where the products are made. The materials could be locally sourced, and the garments produced there as well.
The only person who seems to have adopted this sort of business structure is Bruno Pieters (formerly of Hugo Boss) with his HonestBy label, something I’ve previously covered (you can se his website here). What he has done is admirable, and worth looking at, for he has truly struck upon the future of how product based industries need to run if we are going to survive.
Mostly I guess the biggest problem lies with the consumer, for the product wouldn’t be available without the demand to justify it. Maybe it’s time we stopped justifying that new t-shirt or dress because the old one is falling apart, or we just don’t feel the same way about it as a few months ago, and start investing in what we purchase.
April 2, 2012 § Leave a comment
Clothes by Lu Flux, i-Sustain Issue IX
Its often the case that when caught in the midst of an epic global disaster or issue, whether it be the continuing issue of poverty, or epidemics, or the current shitstorm that is the worlds economies, it becomes hard to see any way of solving the problem. As if we can’t possibly get far away enough to see the bigger picture. Of course it also doesn’t help that the people with most of the peer to make a difference are more interested on maintaining their grasp of said power than actually using it to achieve nothing truly good.
It’s only when we find a personal connection to the problem that our mindset changes. How many “average” Americans joined the occupy movement after they lost their homes and jobs because of the recklessness of a few?
i-D, a magazine that has always been a supporter of forward thinking and radical change has over the past 8 months been releasing a 12 part series on how sustainable practices within fashion can change the way we buy, wear, view, and create fashion. Its a fairly epic undertaking, but one that they have approached in a manner that is less a condemnation than it is a proclamation for change.
“Our aim is to offer an insight into the numerous ways to do things differently but in the end we want you to form your own set of values that will ensure a more fulfilling and long lasting relationship with what you wear. You can make an effort to buy organic or fair-trade clothing, you can recycle, swap, share, customise, go vintage, go local, go slow, buy less, wash less, mend more, make more, every small shift in behaviour is valuable and important, a practical and a symbolic contribution to living a more considerate and ultimately satisfying life.”
– i-Sustain Issue IX
In collaboration with The Centre for Sustainable Fashion, each month they publish an article looking at a new designer or maker who in one way or another has created a practice which is in one way or another sustainable. Whether it be recycling existing materials, returning to a more artisinal way of working, or sourcing eco-friendly materials, the featured designers are challenging preconceptions of what sustainable fashion is. By looking at different designers and perspectives the project hopes to spark a personal connection, and inspire the readers to challenge the way they see fashion.
Accessories by Michelle Lowe-Holder, i-Sustain Issue IV
“Moving towards a more sustainable society isn’t just about offering practicalsolutions handed down from on high; it’s also a personal challenge for us all as individuals. We need to understand and respect the interdependence between ourselves and the people, places and possessions that surround us. Fashion has an important role to play in this process because it is both a poetic and a practical medium, one that has an intrinsic role in everyday life but still has the capacity to inspire, surprise and evoke.”
– i-Sustain Issue IV