With the new sartorial season almost upon us we thought it was fitting that our new feature issue focus on the future of Australian fashion. You cannot ignore the talent that is emerging from the cities of Australia - particularly once you see the work within these pages. It’s an exciting time for Australian fashion as a new crop of talent creates their own path. Each designer is aesthetically different but there are strong ties that bind each together: a skill and vision that defines the new face of Australian fashion.
elsom
One of the biggest trends emerging in fashion right now is sustainability, the idea of being aware of and taking responsibility for our actions. It’s one of the largest, and quietest revolutions and the growth of eco-friendly products to parallel this change has not been ignored by the fashion industry. Given fashion has become disposable through the never-ending cycle of fashion trends the idea of sustainability in fashion can sound like a contradiction. But the values of healthy living and the minimisation of resources have been integrated into the design ethos of one of Australia’s emerging designers, elsom.
elsom is a young brand building on a the initiative of consumer sustainability as organic fashion becomes the new black. Thinking about the environment in respect to fashion represents a change in thinking for consumers and elsom is a label at the forefront of this idea. elsom’s Spring/Summer range focuses on fashion first as style is as equally important to the label’s direction as the greenness of their fabrics.
The collection debuted in 2006. What is your fashion background? Have your tailoring techniques been self-taught?
I studied art textiles and design through FBI in Glebe Sydney and went on to Central St Martins in London. I think technical knowledge is paramount in tailoring, however experience is the key. Learning to understand how to use techniques to create results and customising them to your style. You can never stop learning and it’s important to use the tools you have effectively.
There is such an importance on sustainability in business. What drove you to create the brand around environmental responsibility and how do you sustain these ideas outside of the business?
Education was definitely a trigger, that and a personal interest in organics and sustainability. When I learned of the effects cotton farming has on our environment, the health of farmers and local communities and saw an opportunity to offer a product which wasn’t reliant on these harmful methods I pursued it.
Sustainability in everyday life should become a subconscious instinct. It is at the moment a more expensive way of life. So is generally not economically viable for families, however it is the future. We help out where we can at elsom by offsetting environmental our footprint when flying, using energy, saving lights and water from showers to water the plants. Recycling is a must. It’s about adapting to a way of thinking which is in the interest of everyone.
How has your experiences designing under Funkulo affected the designs of elsom?
Funkulo was the birth of my own creative expression. It was the beginning of my education into organics and farming. It was a platform for establishing many supplier relationships which have moulded what we do with elsom today. It is and has been an important step in the evolution of elsom.
Photography Ujin Lee
Styling Sam Elsom
Hair & Make Up Martin Bray
Models Daniel & Katya at Chic management
Little Tailleur
Georgette Tahche’s Little Tailleur Spring/Summer 09 is a beautifully streamlined collection that is modern and feminine with a strong European sensibility. The foundation for the collection was simple enough,an evolution of a singular thought that had been forming in Georgette’s consciousness over the last few seasons of Little Tailleur: how to use pleating in a simple, chic and stylish manner. Only now, for this collection, did Georgette feel that she was ready to bring such a technical aspect to the label.
As always, it is the way that an individual designer chooses to approach such a specialist part of garment-making. The softness of each pleat is contrasted with razor sharp edges that spring away from the seam with each fold. The pleats provide freedom of movement in her garments as well as a stylish aesthetic.
Each piece has a timeless appeal and the clean, simple lines belie a strong level of craftsmanship. The fabrics are delicate and the colours are borne from a rich, modest palette of shades that appear to have been stolen from nature. Well versed in couture techniques, Georgette Tahche range is incredibly elegant and reflects the best of Parisian chic.
How have your work experiences contributed to the design direction and philosophy of Little Tailleur?
My work experiences have allowed me to understand the many possibilities in developing a brand like Little Tailleur. It’s given me confidence in persevering with it and that ultimately there is a market and customer that appreciates Little Tailleur’s aesthetic albeit a niche one.
The appreciation that you can offer a product that is considered from concept, design, manufacture through to retail. The development of a collection is part of a journey where many craftspeople draw on their experience to create a garment that makes it the best it can be.
How does the beginning of each collection start? Is it from a single idea?
Every collection starts with a collage of inspirations collected over time….buttons from the 50’s/60’s, vintage textiles, a painting …it can be anything that speaks to me at the time.
It’s very much a combination of form and fabric. For me they go hand in hand, each one needs to compliment the other. I’m passionate about fabrics and inevitably will build a collection around one amazing textile I may have sourced from Europe. Colour is also an important component. I usually work with a neutral palette, and injection of colour brings the collection to life.
The Melbourne fashion community is a close-knit one; what is the effect on how you approach your collection?
Yes, Melbourne is a close knit community. I’ve personally found it very supportive. There are a lot of good people around that are happy to help. It’s all good karma!
What does Little Tailleur mean to you?
To me Little Tailleur means beautiful dresses in exquisite fabrics that are wearable day and night. A collection of timeless pieces! ‘Tailleur’ in French means ‘tailor’ or ‘suit’. The craftsmanship of tailoring is what I aim to employ in each Little Tailleur piece.
Daniel Avakian
Daniel Avakian is one of Australia’s rising fashion stars but his is a career that could have easily taken a different, less creative, direction. As strange as it seems, Daniel Avakian was a tow-truck driver before realising his passion for cutting clothes. Graduating from Whitehouse Institute of Design, Daniel eventually found himself in London via Italy where he studied at the Accademia Italiana Arte Moda. This scene proved the most fitting environment for testing his creative cutting and innovative new shapes.
Creating modern lines mixed with tailoring and couture techniques, Daniel’s Spring/Summer 09 collection of structured pieces demanded attention with its dark and determined presence. Black and silver dominated the futuristic collection, and were contrasted against optical prints to bring a sense of revolution to the local fashion scene. The show was full of edgy looks, an obvious imprint from his time spent in East London working alongside Giles Deacon and Alice Temperley. Influenced by mood and materials in response to his immediate milieu, Daniel’s decision to take the leap by creating a label that focuses on experimental design has proved his best decision yet.
Your S/S collection was one of the most anticipated of the season. Did you feel any pressure in the lead-up to your show?
To be honest, I was too busy to feel the pressure. I had an awesome team around me and the show went like clockwork. Some ideas from the new season seemed to follow on from A/W, notably your use of graphic prints and choice in colour palette. Did it feel like a natural or conscious evolution of ideas, or were there a different set of influences on the collection?
The most important thing for me is to continue defining the DANIEL AVAKIAN women. And I do believe the collection was a natural progression of our “modern” aesthetic. Bold prints and colour mixed in with structure and tailoring are key elements to what the brand is about. When I was designing the collection, I kept asking myself….”what does a cool chick wear, that’s different but still interesting?” Who is she? Where is she going and how would she wear the label? Sure the jumbo belts and pendants were for the show, but everything else seemed quite covetable and polished I thought.
You’ve spent time in London, post-trucking career. How have these two very different worlds shaped your ideas? Do you think that the strong, masculine edge to the collection is a result of having worked in such a typically ‘blokish’ industry?
Post trucking career…haha!!! I will always be a tow-truck driver at heart. London is such a creative place in fashion terms and without a doubt working and living there has played a significant role in my development and approach to fashion design. I really don’t know where that masculine edge comes from. I do know I always want to make a women feel strong and confident.
How has the response been from both the media and buyers, nationally and internationally?
The response has been quiet grand. The crash helmets (Daniel collaborated with Italian design company MoMo) worked a treat in conveying the theme of the collection, and the light my uncle and I made that hung off the ceiling also got some great feedback. More importantly we are picking up new accounts here and abroad.
Your career took you to London; are you planning to return or are you happy to make the most of local media exposure?
Today I would say I am quiet happy here in Australia. But in the future, who knows?
Karla Spetic
Born in Croatia but calling Australia home, fashion new-comer Karla Spetic´ designs have been described as “bold creations that combine classical ideals and historic beauty”. Her designs are feminine yet have a strict, tailored sensibility. The label is visually striking in design and is a compliment to quality and modernity. What each silhouette belies is her attention to detail, courtesy of extensive technical training at East Sydney Fashion Design Studio.
Karla’s tailoring techniques that have seen in seasons past the creation of inspired, sculptural shapes were pared down in her Spring/Summer collection. Instead, she presented a neat collection of hard-edged looks in a distinct colour palette of whites, blacks, greys and cherry, with a characteristic print recognisable to even the most obtuse science minds.
How did the ideas for this collection begin? Is there a history of science hiding behind your fashion background?
I was looking through one of my books and came across an image which depicted microscopic molecular structures. I was absorbed by the image and wanted to know more. This is where it all started. I then transform my ideas onto paper and start sketching shapes for the print. I also collect colour swatches that I think would work together for that particular print. So I basically collect objects, colour swatches all my sketches on paper or fabric and I take it to my girlfriend who puts all my ideas into reality. From there we work together to achieve the final product.
Are you conscious of the meaning of colour used in your designs?
Colour is very important in all my collections and I don’t think I could design a collection without even a drop of colour. So I am very conscious of colour and it plays a big part in my collections especially in my prints. I try to connect all the pieces together so that eacha colour used in each piece or print could be styled together into an outfit.
Were your fabric illustrations your own design or did you collaborate with a local artist?
I worked with a graphic designer who is also an artist and I basically gave her all my ideas and sketches which she turned into reality. Then I had all those designs digitally printed directly onto fabric.
Your collection has quite a minimalist aesthetic with its clean lines and geometric shapes, and to me seems familiar with the design ideas of the Japanese designers. Are there any designers of particular interest that you try and take inspiration from?
I take inspiration from everything whether it be one of Gaudi’s architectural masterpieces to anatomy of plants. There are so many beautiful things that surround us from which I take inspiration from so I don’t necessarily find inspiration from other designers. However I do greatly admire designers such as Karl Lagerfeld for his evolving style and intellect to design for numerous labels as well as Hussein Chalayan for his architectural approach to design and Jil Sander for a clean and minimalist aesthetic. I love the works of such designers because they push the boundaries and aren’t afraid to try something that is new and totally unique.
Trimapee
Trimapee is a Melbourne-based design duo. With an approach from different different design disciplines, the boys create a fresh outlook on Australian fashion. The label thrives on experience and living in Melbourne, a cultural hub for design, is the ideal platform for nurturing the direction of Trimapee. Each Trimápee garment a product of expression and as such stays away from commercial trends that are dictated to by other designers.
Black was the mainstay of Trimapee’s Spring/Summer range. Unrefined shapes were mixed with tailored jackets; hooded shirts and leather added texture and shape. Garments were layered and draped to reveal versatile shapes and while there was a distinction on the catwalk between the men and women, it’s a collection that is steeped in androgynous undertones.
The show and collection has a very dark, distinctive sensibility and there seems to be quite an androgynous aspect to the designs. How did the ideas behind S/S begin?
Trimapee’s SS08-09 collection “God’s Mistakes” delves into the deep and complex nature of beauty and the perception of beauty, whilst exploring the themes of metamorphism, perfection and imperfection. It is here that we toy with the idea of playing “God” by morphing the beautiful to the ugly and the ugly to the beautiful. We looked to nature for inspiration, as we explored the theme of fallen angels and the understated beauties that have been rejected by nature. Androgyny is always a key signature for Trimapee, so we explore this further for SS08-09. Masculine transforms to feminine and back again by the displacement of fabrics, structure and traditional silhouettes. “Gods Mistakes” like each collection still has Trimapee’s dark and slightly twisted aesthetic.
Is the design process a democratic one, in the sense that it’s a shared responsibility of technique and creativity?
There definitely needs to be a balance of technique versus creativity. We always begin with a concept each season, which we then translate into a tangible means- in our case a wearable collection. This is where the technique and creative meet and at times your creative may have to be compromised slightly due to technical restraints.
How did the collaboration come about with Ms. Fitz, who is quite renowned for having a distinctive street style?
We like the idea of challenging ourselves and the collection, and we didn’t want to get pigeon-holed as a particular “style”. Therefore we felt it was best to introduce some fresh up-coming talent who would see our collection through new eyes. We were aware that Ms. Fitz was renowned for her street style, however we wanted to combine our particular design aesthetic with her particular style to create a new styled look for Trimápee, which we felt was a success.
What are you focusing on for the season in terms brand awareness both here and abroad?
This season we are heavily focusing on our International brand awareness. We are participating in the Paris trade show Rendez-vous and are working closely with sales and PR teams overseas to make sure Trimápee is placed correctly in each market. Nationally we will continue to follow the same path and aim to stock Australia’s premium boutiques and eventually open more Trimápee concept stores “The Milk Shoppe Gang”.
The Graduates
Their first foray into the media spotlight was courtesy of Nicholas Huxley’s controversial comments but these young fashion graduates from Sydney Institute of Fashion Design Studio are well worth the publicity. Australian design has come of age with the debut collections of Christopher Esber, Dion Lee, Guy Hastie and Spencer Webber. It’s an exciting time in Australian design. The cultivation of these new designers is bridging the gap and each designer has created a collection worthy of international attention. Whilst each differ in their creative ideals they are united by their intelligent design, innate understanding of construction and tailoring, and slick professional look.
Christopher Esber
Christopher Esber’s collection was inspired by mathematical theories, the work of M.C Escher and, surprisingly, Adam and Eve. Fairly heavy thematics and perhaps with any other young designer the collection could have become a typical referential ‘avant-garde’ student design, but the result is a series of interlocking pieces, like jigsaw puzzles, that create a ‘controlled chaos’. Using a colour palette that varies from chromatics to neutrals and pastels, Esber creates simple, geometric shapes that utilise space within clothing and represent a change in thinking about the body and how women should be seen.
Dion Lee
Dion Lee’s designs are modern, minimalist and innovative. His tailored pieces are dominated by whites, greys, and blacks and punctuated with bursts of reds, and shades of coral. Fabrics are malleable and moulded to create layers of draping and cut-away details. Showing maturity beyond his adolescent years, Lee’s collection of trenches, mini skirts and signature brights show an undeniable technical skill and a fluid understanding of the delicate balance between fabric and shape.
Guy Hastie
Guy Hastie’s military-sports vibe was influenced by his HEP-5 fashion experience in exploring the future of clothing. Garment technology plays a large part in the direction of his collection as this is where Guy sees the future of fashion: in form, fabric manipulation and garment function. Put together, the ideas represent a rather dark range of body-con pieces with zips, panelling, gathers, layering and cut out details. Yet it will be a while before we begin to see any personal pieces in boutiques soon. Whilst Sydney Institute gave Guy, and each student, a strong technical foundation it seems for Guy there are real-life experiences in commercial fashion to be learnt before starting his own business.
Spencer Webber
Spencer Webber takes influence from the textural and tonal eclecticism of the Japanese designers. His collection is a conceptual statement about the necessities of clothing as fashion in contemporary society and challenges the on-going relationship between fashion and art. Revealing a technical ingenuity and love for deconstructed pieces, the collection is intentionally flawed to create exaggerated proportions. If there is one word to sum up the collection it would be cacophony - a chaotic mix of patches of fabric that work on the various ideas of randomness.
