Curtin DBE 20|30 Fashion & Interior Architecture Alumni Retrospective

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20|30 Fashion + Interior Architecture Alumni Retrospective

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We would like to pay our respect to the Aboriginal and Torres Strait Island members of our community by acknowledging the Wadjuk people of the Nyungar Nation, the traditional owners of the land on which we learn, create and come together.

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A message from

The Curators Celebrating 20 years of Fashion Design, and 30 years of Interior Architecture, this exhibition profiles the rich tapestry of graduate achievements by Alumni from the Fashion and Interior Architecture courses. Studies in Fashion at Curtin support student engagement in the examination of design issues associated with global economic, social, cultural, and environmental concerns. Sustainability and innovation are at the core of the course with student and recent graduate work featured in major international fashion events such as China Grad Fashion Week and the Art of Fashion Foundation Awards. Fashion graduates now occupy significant roles within the creative industries both locally and internationally. From its inception until today, the Interior Architecture (IA) course keeps developing a solid foundation in critical design thinking and theory relating to human occupation, exploring how human experience is central to interior architecture, particularly when the innovation economy is calling for change to the designs of environments where we learn, work and live. IA graduates are a part of the vibrant interdisciplinary professional community as skills gained through their study are transferable across diverse career sectors. Both disciplines have a common focus on the creation of spaces that we inhabit, addressing elements of our need for shelter, protection, and self-expression. Our graduates work reflects the interdisciplinary nature of design practice, the significance of collaboration and are a testament to the depth and quality of teaching that staff have contributed to both courses since their inception. Exhibitors work illustrates the diversity of practice with the exhibition a celebration of graduate achievement, demonstrating the relevance of design thinking and transference of knowledge to a broad range of industry. The exhibition features the work of 32 Alumni, their narrative and current practice. We thank them for their participation in this event and for sharing their journey with us. Dr Anne Farren Senior Lecturer, Deputy Head of School Dr Aleksa Bijelovic Senior Lecturer, Interior Architecture Course Coordinator

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CONTENTS

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Acknowlegement to Country

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A message from the curators

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Contents Page

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Zenifa Bowring

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Ana Calic

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Lan Chung

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Hayley Curnow

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Richelle Doney

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FIBER ECONOMY

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Claudi JVR

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Molly Ryan

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Stirling Fletcher

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Penelope Forlano

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Va n e s s a G a l v i n

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Renee Glastonbury

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J a n e t Ke a t i n g

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Jennifer Lane

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Jeromy Lim

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Leo Liu

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Ka t r i n a Lo n g o


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Isaac Lummis

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Jessie Mitchell

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Jill Morrall

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Jennifer Nebel

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Renee Parnell

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Ka ra P i n a k i s

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Jessica Priemus

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Antoinette Raphael

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Luka Rey

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Lara Staunton

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S o n i a To m i c

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Emily Wills

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Adele Winteridge

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B re n d a n Wo n g

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WRIGHT SYSTEMS

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Declan MacPhail

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Joshua Rees

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Acknowledgement

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Credits

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Rezen, Procure (Photography: Jack Lovel)

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Rezen, Forrest Place, (Photography: Jack Lovel)

Rezen, IGO Perth (Photography: Dion Robeson)

Z E N I FA B OW R I N G REZEN An award-winning boutique practice, Rezen is a place where ideas are nurtured, and high-quality built environments are designed. Our focus is on creating enriching environments that positively contribute to wellbeing. We believe that order and systems underpin beauty, and in creating calm and considered environments that generate, rather than reduce. With decades of experience across commercial and residential interiors and architecture, our team brings creative energy, personalised service, experience, and vision to all of our projects. We are passionate about designing for people and believe the journey is as important as the outcome. We love getting to know our clients, spending time in conversation and holding space for design to intuitively unfold. We aim for authentic expressions of the places that exist and the people who design, build, and inhabit them. Our philosophy, both in a design and operational sense, is that of integrity.

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ANA CALIC EWERT LE AF Ewert Leaf offers a unique take on a traditional architecture firm. We combine multi-faceted expertise, commercial ingenuity and an authentically entrepreneurial spirit to create the future environment. We’re committed to forging the new architectural model — one where success exists in the entire experience. Whether launching revolutionary digital products such as Landchecker or investing in early stage businesses through our innovation lab ‘ELi’, Ewert Leaf’s culture of collaboration and progress means our forward-thinking approach is applied to every project, from the first conversation through to delivery of the final result. Most talk an innovation game — we walk it.

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Ewert Leaf, There Cafe

Ewert Leaf, Robata

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luka by Geyer (Photography: Dion Robeson)

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LAN CHUNG PROCESS – Listen, learn, and then contribute to observe, listen and question… Then investigate and apply. Observe, listen and question, and then apply again… And all in the meanwhile collaborating with specialists from other disciplines; and taking the stakeholders on the journey by leading in an informed inclusive manner. Through this collective design process, opportunities will most certainly arise. As a design professional, it is important to approach every project with fresh eyes and ears; and not make assumptions based on past experiences. I find that the ability to look at things holistically through various lenses, enables me to, at most times, to solve more than the problem I have been asked to address. PRAGMATICS – Use ingenuity to prioritise and add value. Careful planning, research and collaboration are the keys to ensuring the delivery of projects meet the aspirational, strategic and functional requirements. The project’s success is then determined on how it adds value and joy to the end users through material aesthetics and environmental affordances. A valuable lesson I have learnt is that building strong trust relationships with the stakeholders is based on your ability to communicate your ideas; apply your design thinking through understanding; and genuine concern to achieve the best possible outcome for the project and the people you are designing for. PHILOSOPHY – Desire to improve oneself and the world around us. Design is a process of discovery and not about imposing your own style onto a project, person or place; be open and let it evolve. Advocate for design that improves the lives of others; to bring out the beauty and soul of people and place.

Capsule 1 by LAN

Iluka by Geyer (Photography: Dion Robeson)

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HAYLEY CURN OW

Photography: Gavin Green

Hayley is a Melbourne-based interior designer and writer, who brings a curious and empathic approach to her practice. After graduating from Curtin University, Hayley began dividing her time between academia, interior design, exhibition/installation design and writing – each offering opportunities to explore spatial practice in new and evolving ways. After working as a Research Assistant for Associate Professor Marina Lommerse, Hayley was appointed Associate Lecturer in Interior Architecture in 2013, where she coordinated units in design and heritage, while supervising Honours Research Studio students. At this time, Hayley was invited to write for Architecture Media publications ArchitectureAU, Houses and Artichoke, who she continues to write for today. In 2014, Hayley accepted a design role at Taylor Robinson, before honing her skills at Geyer, a strategy-led design studio with offices in Perth, Sydney, Melbourne, Brisbane and Singapore. Hayley’s ongoing mentorship and friendship with Marina Lommerse saw the duo collaborate on a series of mixed media art installations from 2016-2019 – a time of creative freedom and fun. Relocating to Melbourne, Hayley pursued a new role at Fiona Lynch, a boutique yet globally regarded design firm specialising in residential, retail and hospitality interiors. Concurrently, Hayley’s writing portfolio broadened, with new opportunities from Monocle, Design Anthology, Icon, Inside, Blueprint and The Local Project, allowing Hayley to sharpen her keen observation of design. Hayley’s current role as a senior designer at Bergman & Co is centred around hospitality design – an ever-changing landscaping demanding functional and experiential qualities be considered in equal measure. Hayley also works as a content producer and copywriter for NHO, a brand strategy and marketing agency distinguished by an innate value of design. Throughout her career path, Hayley has continued to find delight in the finer details of a project, with an ongoing interest in the way interior spaces can shape our everyday experience. Hayley is driven by the arcs of influence between written and visual communication, design thinking and modes of expression.

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Sorrento House by Fiona Lynch (Photography: Dave Kulesza)

Dame by Bergman & Co (Photography: Eve Wilson)

Ciccia Bella by Fiona Lynch (Photography: Tom Ferguson)

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ETCH by design, Creative Direction - Head Heart + Tales Distilling Co (Photography: Samara Clifford)

ETCH by design, MARC Clinic (Photography: Samara Clifford)

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TCH by design, Print Design - ’Wanderers’ Collection (Photography: Samara Clifford)

RICHELLE DONEY ETCH by design Richelle’s practice explores traditional print making techniques, and the manipulation of form, pattern and materiality via digital experimentation, capturing the ‘traces’ of the making process. A dedication to the creation of custom-made environments ETCH merges the world of interior design and styling... exploring the dialogue between material, technique and artefact – the ‘act’ of translating ideas into built forms. ETCH by design draws it philosophy from the endless possibilities of design, and an intrigue in all aspects of living – the interior, adornment and expression, and the new processes and materials advancing creative output.

Through process-driven design and experimentation with materials, the studio provides a variety of different design solutions for a multitude of scales. The studio’s approach to design balances innovation and experimentation, strongly influenced by materiality and location. Spaces are balanced with custom-design and sourcing of original fittings and furniture. Our philosophy is to not follow trends, rather tailor each brief to the individual needs and expectations of our clients - exploring the intersection between art, textiles, interior and the built environment, understanding the inherent properties of material and striking a balance between tradition and innovation.

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FIBRE ECONOMY

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Fibre Economy is a social enterprise working towards a world without textile waste. Co-founded in 2019 by Shannon Itzstein and Curtin Fashion Graduates Claudi Janse Van Rensburg and Molly Ryan, Fibre Economy is steered by a collective passion for guiding industry and consumers to reduce their textile footprint. We care about our planet and recognise the need for a shift towards circular systems across all industries, capturing the untapped value in discarded resources. As one of the first start-ups in Western Australia to address the issue of textile waste, we work with organisations that employ those at-risk to give unwanted workwear a second life. Our mission is to redistribute workwear through our circular network to decrease its impact on the environment and reduce barriers to employment by connecting workwear to people in need. Alongside this service, we facilitate workshops and exhibitions to help people better their relationship with their wardrobe.

Under the mentorship of Dr Anne Farren, Fibre Economy has a close working relationship with Curtin University’s School of Design and the Built Environment, working collaboratively on a range of projects over the past two years. At the start of 2021, Fibre Economy was selected to take part in Curtin University’s prestigious Accelerate program as well as the national green tech accelerate program, Climate KIC. For more information about the work we do, please visit our website: www.fibreeconomy.com

Recycled Material, Fiber Economy

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CL AUDI JV R At critical moments during the manufacturing of our society’s fabric, fashion has marched at the frontlines of social change through protest and disruption. In this tempestuous time in history, my work explores the possibilities of using garment as a medium for spreading a message. I’m passionate about being a voice for the environment, and clothing is the vehicle for my activism. We all know fashion has a massive problem with textile waste; the industry is now one of the largest polluters on the planet. Through my practice, a more sustainable future for fashion is imagined, a future where designers re-evaluate today’s conventional production processes and see the opportunity in ‘waste.’ My practice evolved and continues to grow by exploring what materials are already available around me.

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At Curtin, creative curiosity is encouraged. My studies catalysed the adoption of a philosophy of taking something old or broken and giving it a new, more beautiful life. I began experimenting with wool blankets during the development of my graduate collection, ROOTS, in 2016, and I haven’t stopped upcycling them since. Some of the blankets I work with can be over 50 years old and bear signs of their previous life. Rather than viewing this as damage, I see it as character. By repairing them, I pay homage to their history and ensure their continued use in the future. Creating clothing with a low environmental impact is my number one priority. When making decisions in the studio, the most sustainable decision is always preferred.


All images: Upcycled Wool Coats, CLAWDI (Photography: Georgia Minnie Hanson)

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MOL LY RYAN My hands have been busy for as long as I can remember. I have extracted colour from plants to dye cloth and hand felted wool since my early teens. I relish the ability to think through materials and tactile processes. Tertiary education has equipped me with the skills and knowledge to articulate the importance of material thinking, the relationship between practice and theory. I suspect I will always be a student; my hands, materials, processes, and the world around me, the teacher. Forever overwhelmed and curious about the possibility of ‘what if’,’ I continue to explore the significance of tactile knowledge, studio inquiry, incremental innovations, and the manipulation of cloth and fibres in my practice. I am eternally grateful to have the opportunity to dive to such deep depths of making and thinking. Lace has been central to my textile practice since 2019. Although I’m only at the start of my journey

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with lace, a material broadly understood as a ‘pattern of holes,’ the scope for interpretation and recreation is endless. My research currently pursues the intrigue I have for three poignant laces textiles from my ancestry. Here, I use textiles and textile processes as a form of dialogue to examine the lived experience of these ancestral laces, bringing lace into a contemporary space to allow it to speak in a language that heralds its significance now and in the future. Sustainability is inherent to my practice; I contextualise this by using post-consumer materials, analogue production methods, natural fibres and windfallen flora and organic kitchen waste to dye and print cloth. The inherent vulnerabilities of raw materials, the challenge of transforming waste into something meaningful, my fascination with lace, and the relational materiality1 of cloth have continued to sustain my practice for years.


Molly Ryan. 2021. (left to right) Embodied Lace-scape 1, Material Recreation 2, Intergenerational Patching, A Complex Biography. Installation featured in the AURA group exhibition, part of the Indian Ocean Craft Triennial, Kidogo Art House 5-10th October 2021. (Photography: Robert Frith)

Molly Ryan. 2021. A Complex Biography (detail): garment comprised of naturally dyed, machine embroidered lace fragments. (Photography: Emily Crawford)

Molly Ryan. 2021. Monotype printing linen with natural ink-soaked lace. (Photography: Kelsey Ashe Giambazi.)

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STIRLING F L ETCHE R My philosophy and approach to the industry of Interior Architecture is simply to work with good people on good things. While simplistic perhaps it is in direct contradiction to a practice that has become profoundly complex. Our role in the community exceeds the physical boundary of the Interior and it is the human scale and interaction of the physical and virtual that interests and motivates me. Being accountable by shifting individual ownership of design to a collective shared model through prototypical thought is key to this narrative. We are fortunate to create vessels that inform people’s experiences in life, work and play but with this comes great responsibility. Meeting and collaborating with great people in realising shared creations is equal parts intimidating and humbling. Ultimately for me its about being curious and embracing the wild ride with both heart and humour along the way.

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Ruah Elevation

Lobby Study

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Shield of Voices (Photography: Douglas Mark Black)

Peeling Back the Layers, Bob Hawke College

PENELOPE FORLANO Dr. Penelope Forlano’s practice, Forlano Design is driven by a desire to evoke custodianship to challenge contemporary consumption practices through art and design. Her PhD examined the relationships to emotionally enduring public and private artefacts through a design anthropology approach and reflection on identity, place and history. From furniture that evokes kinship memories, to public art that act as ‘community heirlooms’ reconnecting people to the past whilst looking forward to the future. She works with communities to elevate forgotten or suppressed voices, history, or environmental concerns. Her works aim to a evoke a personobject relationship of care, be it for the natural or man-made. Penelope’s childhood was spent learning crafts and in the ‘flow’ of needlecrafts passed down intergenerationally through the women in her family. Influenced by these repeat techniques of building up form and variety from simple shapes and

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techniques, her work explores the possibilities of mass repetition. This mass recurrence, reiteration and variation of the line, circle or triangle in her works evoke rhythm, movement and abundance. In 2021 she was awarded the Indo-Pacific accolade of ‘the Luminary’ by her peers for her contribution to the creative sector in the region. She has 25 years of practice as an award-winning artist, furniture designer, interior designer and academic. Her work has been exhibited widely including at 100% Design (London), CraftACT, the Art Gallery of WA, ECU, the Parliament of Western Australia and a solo show at the esteemed Salone Satellite - Milan International Furniture Fair in 2004. She received the prestigious Australian Design Award (2006), and in 2011 her ‘Terrain’ table was acquired for permanent collection by the Art Gallery of WA.


Lux Table by Forlano Design

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VANESSA GALVIN

My interest in the built environment is wideranging but primarily concerns the interior’s history and relevant theories. The tendency has led me to dedicate time to writing about the interior. My PhD dissertation entitled ‘The Soul-Crafted Interior: Governing the Domestic Inhabitant in Victorian Britain and America 1855-1885’ is the most significant project that I have undertaken to date. The research adopts a (neo) Foucauldian approach to the domestic interior’s history which allowed me to present an account of its secularization through a study of the soul. In particular, I describe the transforming processes of self-formation as they relate to the built

Portal, Vanessa Galvin, Natalija Brunovs

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environment over a thirty-year period during the nineteenth century. The study offers contemporary relevance by contributing to the modern understanding of ourselves as inhabitants of an interior. In light of the approach, I like to centralise the subject and expressions of human experience in all my explorations. The series of images that I have presented for this catalogue is entitled ‘Portal’ and is the first of what I hope will become a multivarious collaboration with photographer Natalija Brunovs. Portal explores the mirror as being at once a reflection of home and self, as well as an ‘other’ place — or heterotopia— as Foucault termed the phenomena.


All images: Portal, Vanessa Galvin, Natalija Brunovs

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Photography: Penny Lane

RENEE GLASTONBURY Renee Glastonbury grew up in Perth and was a member of the first graduating class of Fashion and Textile Design at Curtin University. Her design work reflects her love of a colourful palette and playful silhouettes with reminisces of nostalgia and kitsch. Renee’s career has spanned the retail, fashion, events and art industries, this non-linear experience has afforded her distinctive insights across different creative sectors. Having launched a jewellery label in 2005, Renee went on to stock her designs in over 50 boutiques in Australia, USA and Europe with her work regularly featuring in national and international publications. Opening one of the earliest creative retail spaces in Northbridge in 2007 under the name Lala Orange, the boutique offered a unique platform for her creative peers to sell and promote their fashion labels, art and music.

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Renee was a founding member of the William Street Collective, uncovering her knack for coordinating events, exhibitions and activations. Renee’s focused shifted from designing and retail to arts management when she joined the team at Perth Fashion Festival as a Project Manager curating engaging programs, events and producing runway shows including Student Runway, New Generation and the WA Fashion Awards. Most recently Renee is working in the public art sector as a Project Manager with an independent art consultancy, Artify utilising her wide range of skills in creative programming, marketing, project management and artist liaison.


Photography: Renee Glastonbury

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JANET KE ATI N G JK | ID JK | ID is a boutique interior design practice led by Janet Keating. The practice focuses on unique solutions to individual projects. Having worked locally and internationally on projects ranging from hospitality, retail, hotel and high end residential, to drive, develop and deliver great design outcomes JK | ID generates strong and experimental concepts. Each space is unique, thoughtfully crafted and carefully considered.

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Outpost Coworking Space, Bali, Indonesia

Current restaurant, Bali, Indonesia

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Interior MARSitecture

JENNIFER LANE Since graduating with an Interior Architecture degree from Curtin University in 2017, I have undertaken a doctoral candidature in order to expand upon the research that I commenced as part of my honours thesis. This project – ‘Interior MARSitecture’ – aims to understand how extra-terrestrial habitats on Mars can be designed in a manner that contributes to the psychological wellbeing of the occupants. As part of the project, I was invited to participate in a two-week Mars Simulation located in the Utah desert. This invaluable opportunity to observe the crew and the built environment contributed to a deeper understanding of the experience of living in an isolated and confined interior. In addition, I have had the opportunity to present my research across various platforms: as part of an interview piece on Sky News, a conference at Florida State University and at the NASA Johnson Space Centre in Houston, which I was invited to tour. I have also participated in outreach programs, for the purpose of exploring potential opportunities

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offered by interior architecture more broadly than the spaces that we would typically be relegated to. I feel strongly about evidence-based design especially as it pertains to testing environments that we inhabit and furthering our knowledge of environmental psychology in order to support the design of built environments that influence our behaviours and mood in the best way possible. I believe in doing so through empathetic design, and by personally experiencing these environments for the purpose of better understanding them. Moreover, I support direct engagement with inhabitants of said environments, and that all design thereof should be empathetic and participatory. I intend to complete the doctorate within the next twelve months and thereafter conduct further, ongoing research and studies with respect to environmental psychology as well as consult on designs in the context of extreme and unusual environments.


Crew 215 - Mars Desert Research Station

Photographs: Insert Name Here

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JEROMY LIM After graduating from Curtin, Lim kickstarted his globetrotting career working for Italian luxury goods store Salvatore Ferragamo in Florence, and trendy fashion brand Boy London. Within three years of graduation Jeromy had secured a key leadership role in the fashion industry, working at cutting-edge fashion label KTZ. Recognition for his innovative approach to design and materials application with KTZ flagship stores in London and Paris led to him being headhunted for FILA Fusion to launch their new youth subbrand FILA Fusion. Innovative Marketing strategies initiated by Jeromy included collaborates with brands such as Korean fashion designer label D-ANTIDOTE, men’s contemporary label Keith Haring, partnerships with lollipop brand Chupa

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Chups and with highly popular Chinese hop-hop group Higher Brothers enhanced their youth market penetration throughout China. His extraordinary leadership is illustrated by the achievement of opening of 220 store across China, Hong Kong and Singapore. Jeromy is goal focused with a dedication to the pursuit of perfection in fashion achieved through an attention to detail and creative collaboration. Jeromy’s career achievements, his commitments to charity and assisting others and more recent appointment to Product Creative Vice President with the Semir Group reflect the extraordinary leadership qualities that led to him being awarded the 2021 Curtin Humanities Professional Achievement Award.


FILA Fusion, Visual Merchandising

SEMIR 2020, Runway Show

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LEO LIU I have a strong interest in the innovations and creative changes new technology bring to the design world as I believe technology will be the element which advances Interior Architecture towards human wellbeing. I undertook a research project on the topic of Virtual Reality and Interior Architecture, focusing on the expanding possibilities of the digital realm. I also find interest in using virtual environments to inform the real world, to break common understandings of architectural limitation and then bring elements and ideas from the unrestricted designs into reality.

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I am currently working on various projects utilising environmental practice tools to investigate light penetration which helps find the most optimal interior layout and is useful to inform many design decisions. There are also tools currently available to aid designers to test various design options quickly to find the most distinct and interesting response to the brief. As technology and softwares improves over time, so will the efficiency of designer, allowing us to instead use our time on valuable and intricate elements of design.


The Luna, Manifestation of Thirdspace

Transient Exhibition

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Crown Towers Perth Art Programme. FORM public realm project. 2016-2017. (Photography: Bewley Shaylor)

Earth Matters. FORM exhibition. 2018. The Goods Shed. Curated by Sharmila Wood. (Photography: Bewley Shaylor)

K AT R I N A L O N G O Katrina Longo is an arts consultant, curator, producer, and writer based in Boorloo (Perth, Western Australia). She holds a Bachelor of Arts in Interior Architecture with First Class Honours from Curtin University. She was awarded membership to the Vice Chancellor’s List in 2012 and 2013 and graduated in 2015. Katrina has worked in varied roles and fields including project management, arts commissioning, procurement, design, and research. Her diverse professional path and transdisciplinary focus informs her interest in spatiality, storytelling and memory, and collective processes of making. From 2016-2019, she worked at independent non-profit arts and culture organisation, FORM in WA. In her dual role as Project Manager and Assistant Curator within the Art Consultancy and Exhibition teams respectively,

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she produced site specific art projects in public realm and exhibition contexts. Katrina has undertaken international residencies including Goldsmiths Curating the Contemporary Summer School 2018 in Rome, Italy; BLOCKFREI’s Curator’s Agenda 2019 in Vienna, Austria; and an internship at ONOMATOPEE in Eindhoven, the Netherlands. Over the past two years she has lived in London developing her artistic practice, and in the spirit of artist Richard Wentworth ‘making do and getting by’ during a global pandemic. Currently, she is based in Boorloo and holds the position of Curator with Artify Consulting. In this role, she works collaboratively with clients, cultural consultants, and artists to develop and deliver place specific art strategies for public realm projects.


Off The Page. FORM public realm project. 2019. In partnership with Town of Claremont. (Photography: Taryn Hays) 41


ISAAC LUMMI S I am a Melbourne-based costume designer with a passion for period costume and the theatrical. I trained as a maker and textile artist, so I have an in-depth understanding of garment construction and textile manipulation techniques. My maker’s background has given me a real appreciation for the possibilities of costume, and it helps me to work closely with wardrobe artisans and technicians to turn ideas into reality. I am a very hands-on designer.

I like to be present in the workroom because so many great design decisions come about organically from the collaboration between designer and craftspeople; we bring out the best in each other. I believe that the magic is in the details and that projects of any size can be successfully managed with good organisation. “…so many great design decisions come about organically from the collaboration between designer and craftspeople; we bring out the best in each other. “

Photography: James Terry

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Thoroughly Modern Millie 2019 ( Photography: Jeff Busby)

Karen from Finance, RPDR Down Under Season 1, (Photography: Eric Brumfield)

Hello, Dolly! , 2017 (Photography: Jeff Busby)

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JESSIE MITCHELL H&M LOOOP RECYCLING SYSTEM Jessie Mitchell was a part of the pioneer team assembled in Stockholm to set up and run, the end to end mechanical recycling micro-factory - Looop. This included research and development to test and increase the recycled content of yarn produced, as well as design, development and production of bespoke garments knit with Shima Seike Wholegarment machine.

In just eight steps, Looop shreds your old garment and knits a new one from the old fibres. No water, no dye. The only thing added is some sustainably sourced material to strengthen the yarn. This has to be done since the mechanical shredding shortens the fibres of your old garment. And of course, we want your new garment to be loved and reloved for as long as possible.

The opportunity to work with circular design from fiber to garment has been an incredible experience and has led to me become a Business Expert in Material for H&M.

Made possible by the H&M Foundation, in collaboration with research partner HKRITA (The Hong Kong Research Institute of Textiles and Apparel) and Hong Kong-based yarn spinner Novetex Textiles. This is part of a bigger plan - our ambition is to become fully circular and climate positive and we are working with many exciting projects to reach this goal. We must innovate materials and processes while inspiring customers to keep their garments in use for as long as possible.

Within H&M’s Flagship store in Stockholm Sweden, Looop whirred into action and welcomed its first customers in 2020. From shirts to skirts and the occasional odd socks, old was remade into new, in the world’s first in-store recycling system.

All images: Recycling System Looop, H&M

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All images: Recycling System Looop, H&M

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JILL MO RRAL L 46

The united constructions label (2006-2013) was a collaboration between Jill Morrall (Crabb) and Helen Miraudo. The WA designer label focused on excellent construction and attention to detail of garments claiming interesting silhouettes often with a slight Japanese aesthetic. Made with luxury fabrics, united constructions avoided seasonal trends, instead the designers moulded their ideas from each other, and not without a good dose of wit.

united constructions in fine print and for SS0809 united constructions presented the Jam collection along with a cookbook replacing the official look book. The Funeral Party in AW2009 was inspired by the work of British artist Lowry, and Black and Tan for SS0910 presented an entirely black (and tan) collection for summer, a risky decision, however united constructions were not afraid to take risks and this collection proved to be the most successful collection.

Unconventionally for the fashion industry they drew on their sense of humour when developing seasonal concepts and presented collections such as Mute (AW2010) in which they muted the music halfway through the NZ runway show, The Dead Artist in AW2011 which used The Funeral March sheet music as a collection print, Super Trooper for AW2007 saw them create their own camo print using text that read

The NZ market became very important to the brand and they became the first WA designer label to be invited to showcase at ANZFW for AW2010. Since 2013, Jill has focused on her role as an academic at Curtin University. Her passion is Sustainable Fashion, in particular teaching the principles of zero waste designing, a design philosophy aimed at minimising waste in the fashion industry.


United Constructions (Photography: Penny Lane)

United Constructions Spring & Summer 11/12 Collection Shoot,

United Constructions (Photography: Penny Lane)

United Constructions, Look Book SS12-13

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JENNIFER NEBEL Storytelling is what binds individuals together, provides communities with a sense of purpose and what drives societal change. I started in fashion design and textiles because I was fascinated by the way clothing allows us to tell our story as an individual and express who we are without the use of words. Through visual cues our clothing uses a set of codes and customs that express our heritage, values and place in society. Clothing as an artefact speaks to a context, a place in time, and opens the window for us to view the societal ideologies of that time. I spent the first two years of my career working in product development, manufacturing clothing and products in China and India for a Western Australian based fashion agency. My passion for storytelling took me on a journey into Local Government, after receiving a scholarship for the Hyogo Banshu-Ori Sister City exchange program between the State of Western Australia and the Hyogo Prefecture in Japan. I started in Local Government in an entry-level community development and arts position where I developed a passion for

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the power of storytelling in creating vibrant communities and City centres. My understanding of design principles combined with the commercial and business acumen skills developed working in fashion, have allowed me to work at the intersection of urban design, community and cultural development, artistic programming and place-making. My passion for empowering communities to share their stories, allows me to lead a cultural team that invest $2.3million each year on arts and cultural programming in the northern corridor of Perth. Supporting artists to create work that celebrates local stories and place is what motivates me each day. Working across commissions for festivals, events or permanent public artworks. Stories are intrinsically linked to our natural and built environment, they provide communities with a sense of pride and belonging. The best cities in the world celebrate its peoples’ stories and heritage, allowing those stories to transcend time and pervade your experience walking its streets.


Mitchell Hancock: CLOUD By Caitlind and Wayne Garrett (Canada)

Spurting Man by Avantii (UK), Joondalup Festival (Photography: Luke Baker)

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WA botanical wrap, handprinted linocut stamps in metallic inks. 2020. Renee Parnell @Wrenscape

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Hand finished linocut print; Eucalyptus Tetraptera. 2021. Renee Parnell @Wrenscape

Hand finished linocut print; Diuris. 2021. Renee Parnell @Wrenscape

R E N E E PA R N E L L My creative practice post-graduation has been diverse and rewarding. This diversity was amplified by the pandemic. During our first lock down I decided all the ‘one day I’d like to…’ projects would become ‘today I will try…’ projects- the time was now. After working in commercial interiors with HASSELL on workplace and healthcare designs on some very large projects, and later in boutique retail design, I left traditional practice to contribute to the rewrite of Curtin’s IA curriculum and began my work within academic teaching and research. Curtin has afforded me the opportunity to teach remotely both with regional studios, and a community development fieldtrip to Mongolia. I am blessed to be a researcher on Reena Tiwari’s award-winning Mission’s Connect project working to reconstruct various Aboriginal Mission sites in the Virtual Reality, with incredible Stolen Generation Survivor, their families, and an amazing research team.

Alongside this my ‘lock down explorations’ spawned a creative business, Wrenscape which has taken me in new directions- namely printmaking, but also including landscape design, cake decorating and floral design... I have a range of bespoke handprinted products now stocked in galleries and gift stores across the state, which led to invitations to develop and teach various creative workshops with both children and adults, and to multiple public art commissions (currently on the go!) I am actively involved in community arts, co-facilitating the Vic Park Printmaking group and use my design and brief writing skills to facilitate collaborative group works for the collective to exhibit. I solo exhibit WA botanical inspired linocut prints, continue to teach into the IA and OUA programs, research with Missions Connect, run creative workshops, produce my Wrenscape products, and am a Mum, and foster Mum. I am addicted to learning and creating, it’s frenetic but fulfilling.

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Kara is designer known for story-driven art direction of visual identities and environments. While most Graphic Designers think in flat print terms, her background in Interior Architecture provides a rare qualification to visualize in both 2D and 3D. Her exceptional understanding of how graphics are experienced in space, and how identity can flex beyond traditional printed collateral, produces higher quality, singular designs that are experienced, not seen. Kara developed brand strategy, brand identities, brand books, exhibitions, packaging, collateral, uniforms, signage, menus, illustrations, social media strategy, photography guidelines and environmental graphics at renowned hospitality design firms Brand Bureau and Crème Design. At Crème, Kara was the sole graphic designer and strategist at the company and re-branded the identity of the firm itself, including logo, website design and all internal branded collateral.

KAR A PINAKIS

She has developed a wide range of identities and graphics for Hotel, Retail, Food and Beverage from permanent to pop-up. Her expertise includes identity and way-finding concepts across large scale developments and their outlets within. Such projects include Sawmill Market in New Mexico, The Dairy Block in Denver, and 8th Street Market in Arkansas.

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Kara originally hails from Australia, where she garnered several years of experience in Interior Architecture in Perth and in London before returning to Perth and working as a project Manager for FORM, a Not-For-Profit Arts Organization, before moving to New York. Her global curiosity has fueled her yearning for research & discovery and informed a taste level that is sophisticated, detailoriented, and contextually considerate. Her move to New York landed her at acclaimed Experience and Hospitality Design firms where she realized her passion for these niche industries.


Patchwork, naming and brand identity

Golden Hour, identity design

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Mutualities: Lives Interwoven. Lead artist: Penelope Forlano, with Jessica Priemus and Sohan Ariel Hayes. Photographer: Douglas Mark Black (Black 2019)

Golden Obstacle jewellery piece (Priemus 2019)

JESSICA PRIEMUS Jessica Priemus is a multidisciplinary designer and academic based in Perth, Western Australia. Her practice includes experimenting with exaggerated tactility, emphasising the spatial nature of fabric, and embedding traces of time, change and movement in materials. Her doctoral thesis Narrating Textile Construction generated a unique practice framework, considering usually flat materials and surfaces spatial, temporal and dynamic. The thesis questioned whether the hand-woven textile could be used as a site for aesthetically expressing the spatial, temporal and personal aspects of construction. By examining cloth-making processes across sites in Australia and Bangladesh, the weaving act was revealed as an explicit and implicit marker of space, time, and the person behind it. The project provides a framework for designers that privileges material as a conduit for connections between designer, maker and user. Through her award-winning fashion label Bhalo she gained international media attention for her ecologically

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and socially conscious approach to design. From 2011 to 2021, Jessica tutored and lectured predominantly within the Department of Architecture and Interior Architecture, and Fashion, in the School of Built Environment. During this period, she acted as Interior Architecture 3rd Year Coordinator, Acting Course Coordinator, Fundamentals (Technology) Stream Chair, BIM Committee Chair for IA, Honours Dissertation Supervisor, and Unit Coordinator of various subjects across all 4 years of the Interior Architecture program, as well as undertaking significant contributions to curriculum changes. From 2019 onwards, Jessica undertook multiple public art roles, exploring the extension of textile and interior concepts into large scale works. Her future practice intends to further explore how materials and objects may be designed to emphasise traces of the making process, with an aim to incorporate visual and tactile richness into contemporary design. She currently works as Associate Director at Artify, a public art consultancy.


Weave dress, from Bhalo’s Construct collection (Green 2014)

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ANTOINETTE RAP HAE L

RAW WAR (Photography: Ethan Blackburn)

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Since I could remember, I have had a strong connection with fashion; initially through styling and then furthermore through illustration & sewing. I developed the initial skills of fashion design at quite a young age: illustrating at 8 years of age and sewing at 12 years of age. My adoration for this genre grew during high school, which led me to begin my studies here at Curtin University. In 2015 I began studying a Bachelor of Design majoring in Fashion and minoring in Photography. My skills and passion grew rapidly through this degree and saw the birth of my clothing brand, RAW WAR. I utilised majority of my units in University to bring to life a business and brand that I’ve dreamt of since I was young. My experience at Curtin University highly benefited my journey in creating this dream business and brand. The exploration of styles, construction, genres, eras, and more, helped to grow my knowledge in the field, whilst defining my design aesthetic. Through particular units and electives, I arrived at my chosen name, aesthetic, and logo for the brand. Once this was registered, I started to place images from assessments on social media, which exposed the brand to the local community. My final graduate collection was extremely helpful in furthermore defining my aesthetic and style, whilst providing me with industry level imagery to launch to the public on social media. This became a domino effect and I began to expose the brand both locally, through Melbourne Fashion Week and The Voice Australia, and internationally, through British Vogue and London Fashion Week. One of the initial sparks for creating this brand was my adoration for sewing and construction. This interest has maintained throughout every collection I’ve created, and is imbedded in the brand’s DNA. At RAW WAR we value slow fashion and high quality production through our design, pattern making, sampling, and production, which all takes place locally here in Perth, Australia. Consistent drops of seasonal pieces are available via our online website, and now via the globally renowned store, Wolf & Badger. The in-built values and practices of RAW WAR have seen them collaborate with likeminded brands such as 1OFF Store in Perth, and even opening a custom made-to-order section to the brand, also.


THE POWER OF VIBEZ , RAW WAR, 2017 (Photography: DS Studios AUS)

Repeat by RAW WAR (AW21, 2021). (Photography: Peter Hayes)

Repeat by RAW WAR (AW21, 2021). (Photography: Brendan Cecich).

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The Spruzzo Maillot, Luka Rey (Photography: Olivia Senior)

Plavat, Luka Rey (Photography: Olivia Senior)

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Plavat, Luka Rey (Photography: Olivia Senior)

Sonne Top & Sportive Maillot , Luka Rey (Photography: Olivia Senior)


LUKA REY I am interested in making useful things that solve a design problem. I create practical swimwear that suits people across a variety of ages and body shapes. The focus is on balancing form and function. Something useful doesn’t need to be dull. My use of classic shapes and colours lends an element of nostalgia to my designs, using emotion as a form of connection. The intersection between the design process & making is apparent in my practice. The tactility of executing an idea through a craft is an important story behind my work. I believe understanding how things are made is vital to good design. Investing in local production is one of my core values and allows me to work in a more controlled

and considered manner, reconnecting people and products through the story of making. Sourcing of materials and components is always highly considered. It is important to operate responsibly as a designer and work towards positive change in an industry that is so often full of waste and excess. Swimwear design is often viewed as vapid and of little depth. The banality of problem solving a swimsuit is a reflection on the reality of life in Western Australia. I see beauty in the consideration of the mundane and the appreciation for garments we wear so often without thought.

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L ARA STAUN TO N LAHAUS LAHAUS is a collaborative and creative modern architecture and interior design studio based in Cottesloe, Perth. Founded by Creative Director Lara Staunton, in 2013, LAHAUS specialises in residential and commercial architecture, interiors and styling services. As Creative Director, Lara has led the LAHAUS design team in the delivery of multiple awardwinning projects across the residential and commercial design sectors. A career highlight being when LAHAUS was recognized as one of the top four emerging design studios across Australia at the Australian Interior Design Awards in 2019. At LAHAUS, we aim to create spaces that inspire and are inspired by life, modern spaces for the

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people who live, work and play in them. “Life Spaces”. We want people to have more meaningful experiences within the spaces they exist. We utilise natural light, raw materials, neutraltones and timeless basics, working collaboratively with our clients to create spaces that are experiences. We love to push creative boundaries, while maintaining a balance between innovation and functionality. Each space is a meeting point of form and function, inspired by its location as well as natural elements from the surrounding environment.


LAHAUS, Templewell Wanderlust (Photography: Studio Periphery)

LAHAUS, Suburban Farm Hause (Photography: Jody D’Arcy)

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SONIA TO M I C “I have always been fascinated by beautiful things; architecture, furniture, books. Beautiful things are prepared with love. The act of creating something of beauty is a way of bringing good into the world. Infused with optimism, it says simply: Life is worthwhile.” Moore, A. (2016) ‘DO/DESIGN Why Beauty is Key to Everything’ I believe in design as a force for good and that good design solves problems, in the most simple, beautiful and joyful way. I am driven by the human experience of interior spaces - how we inhabit and feel within a space and how well designed environments can meaningfully support and improve the human experience in everyday life. While I find it important that an interior is designed as a coherent part of the architectural whole, I most enjoy the closeup dialogue that interiors have with a building’s inhabitants and the layers of detail which comprise an interior. In my work I try to refine the design narrative on all scales, from the overarching strategic concept to the smallest detail and to explore

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the psychological and performative influence of furniture, material language, detail, texture and tactility. I am an avid maker and value the act of making as not just a means to create a finished product but also as an influential part of the design process. I am passionate about the history of furniture design, place importance on provenance and the craft of manufacture and find that these threads permeate all my work, regardless of project type or size and have honed certain areas of expertise in my career. Alongside leading my own projects at Universal Design Studio, my role and expertise studio-wide is to oversee creative and technical design quality with regards to furniture, materials and bespoke design. I oversee the design and production of bespoke pieces, building collaborative relationships with manufacturers, artists and craftsmen and have created guiding practical, knowledge-based design resources used throughout the studio. I am obsessional about these detailed aspects of interiors, as I feel this is what ultimately gives a space a sense of heart.


Universal Design Studio, At Six Hotel, Stockholm

Universal Design Studio, London (Photography: Tina Hillier)

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Alle images: SURFACE 1°22, Styled by Claire Mueller (Photography: Sebastian Mrugalski)

E M I LY

W I L L S Moved by an appreciation of beauty and aesthetics, Emily designs print and pattern collections, products and spaces which are unique, meaningful and sustainable. Her unique creative vision embraces maximalist colour and ornamentation to create original artwork and limited-edition prins for fashion forward people and creative homes. With a background in Fashion and Printed Textile design, Emily has been invited to exhibit and teach in Asia, Europe, and Australia, encouraging new ways of designing and making fashion through the lens of object and surface design. Using the body as a site and space for reflection, Emily explores multi-disciplinary approaches that help to move fashion away from its existing ties with garment production and outdated business models.

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SURFACE 1°22, Styled by Claire Mueller (Photography: Sebastian Mrugalski)

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ADELE WINTERI DG E

Photography: Pete Dillon

F OOLSC AP STUDIO An award winning Australian interior architecture practice delivering experientially driven design. Working with local and international clients, they have applied their multi-disciplinary approach across sectors, including reimagining the hybrid workplace, creating people-centric student living, multiresidential, wellness and accommodation, through to destinational retail and hospitality concepts – all of which are driven by connecting people through interaction and communal experience. The studio’s work engages with the cultural contribution of spatial design while also addressing technical, commercial and site-specific constraints. Most of all, their work tells stories, reflecting a strong belief in the power of conceptual design and storytelling to build purpose and create value for people, for places, and for their clients. They achieve this through meticulous design and a commitment to the highest standards in execution at every scale. The collective contribution of Foolscap Studio’s expert team, led by founder Adèle Winteridge,

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draws upon decades of experience, and combined with collaborations with some of Australia’s leading industry practitioners, resulting in groundbreaking projects that set the studio apart – gaining international recognition. They continue to work with strategists, researchers and production innovators, including sustainable technologists, makers, suppliers and construction experts.The studio is adept at creating spatial design outcomes that address the needs of complex stakeholders, audiences and cultures, while always seeking ways to achieve ongoingdesign and sustainable innovation executed through highly detailed, adaptive and rigorous design delivery. Foolscap Studio believes in the ability for design to push boundaries, to challenge the status quo, and improve the way we live within and experience spaces. The studio continues to work with designled companies, individuals, institutions and organisations that share their aspiration to bring new and challenging ideas into existence.


Foolscap Studio, ANZ Centre (Photography: Willem-Dirk du Toit)

Foolscap Studio, Domaine Chandon (Photography: Tom Blachford)

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Grand Estate, Sydney

Cove House, Sydney (Photography: Maree Homer)

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BRENDAN WO N G Brendan Wong holds a Bachelor of Interior Design and Masters of Interior Architecture and has been awarded a Fellowship to the Design Institute of Australia. Recently his work was included in the “Atlas of Interior Design” amongst a global collection of the most celebrated residential interiors from the past eight decades, curated by acclaimed design author Dominic Bradbury. “When I embarked on studying Interior Architecture at Curtin in 1991 I was surprised about the breadth of course. We delved into art and architectural history, crossed into science and physics, learned about contract law, considered the psychology of design and then importantly, spent long hours on design projects exploring function versus aesthetic both individually and in teams. Subconsciously this shaped my approach to the practice of design. Now, the design output of my studio is inherently visual but behind that is a process of collaboration with clients that meanders from

engineering to ergonomic, from relationship counsellor to financial advisor, then from aesthete to editor. Context of place and person is important so although an element of signature style may have emerged, this is secondary to the importance of the unique solutions to each brief. In the academic world solid reasoning behind a design approach is expected and in professional practice the same sound research allows us to put our best ideas forward. My design studio focuses on creating residential environments to enhance the wellbeing of our clients, improve how they interact with their space, with the aim to bring enjoyment and delight. Our commissions often start with the macro issues of site selection and feasibility and end with the micro details of decorating and art curation. By blurring the boundaries of interior architecture, design and decoration my objective is to create immersive interiors that have longevity and authenticity.”

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WRIGHT SYSTEMS

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WRIGHT is a collective of designers, filmmakers, writers, and musicians, who work within therealms of sustainable fashion and film. Coming from different design disciplines, they met in aclass at Curtin University while designing lifestyle products for Mars. Working out of a studio in Perth, Western Australia, WRIGHT aims to dramatise fashion as a site of reflection,transformation, and possibility. Experimenting with ideas, stories, forms, and textures, the groupworks collaboratively to create fashion narratives that combine the real and surreal, the prosaicand the poetic. In 2020 they explored the contrast between corporate and punk design motifs with a self-fundedrunway. 24 looks demonstrated how the punk ethos can both co-exist and clash against amonolithic corporate structure. This exemplified their focus on character creation, with each lookpresenting a distinct personality. Also built firmly on a foundation of upcycle design practices,this runway exemplifies their core tenets of sustainability and clothing as a vehicle forself-expression.

Merging the realms of film and fashion, WRIGHT created their first feature film “Watch the WorldGo By”, a showcase of twelve interconnected scenes in the style of a coming of age andself-actualisation. It revolved around a protagonist whose outfit evolved and expanded as hehad encountered a number of profound characters. It was premiered along with a runway oftwenty-four individual looks at the Luna Leederville in mid-2021. WRIGHT’s latest endeavor is the “Zero Waste Program”, focused on the development ofpatterns that have a zero waste output, made out of recycled textiles and finishings. They heldan exhibition in Boorloo (Perth) marking the release of 50 zero waste shirts, including both along and short sleeve pattern. These flagship products are to be consistent, integral parts of WRIGHT’s sustainable identity in an effort to make zero waste garment design more accessibleto the general public.

‘Watch the world go by’ Film Poster 2021, WRIGHT Systems

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D E CL AN MACP HAI L Declan MacPhail is a multi-disciplinary artist based in Boorloo (Perth, WA), whose work focuses on the implementation of sustainable practices in the realm of fashion. They utilise recycled fabrics, alternative materials and zero-waste cutting principles in pursuit of developing intricate and communicative shape and form. They often incorporate the imperfection and abrasion of their materials into the design process, showcasing the transformation from potential waste to functional garment, whilst maintaining an appreciation for the life it previously served. Declan often creates narrative to their work which is then communicated not only through the garments, but often their presentation. Creating a fully immersive experience through film photography, videography, graphic design and physical display

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is often important to their creative process as they attempt to stretch the scope of their creative ideas through different mediums. Their pursuit of perfect contextual tonality is embedded in their ambitious styling and curation as a series, rather than stand as alone works. The narratives explored by Declan tend to pertain to the relationship between their non-binarism and the concept of “androgyny” standards within fashion. Their design work acts as accessible yet provoking commentary on the state of the industry and the desire they have to change consumer relationships with size, gender and production waste through experimentation with alternate materials, diverse sizing and manipulation of forms.


‘Watch The World Go By’ Movie 2021, WRIGHT Systems

‘Watch The World Go By’ Movie 2021, WRIGHT Systems

Incorporated Runway 2018, WRIGHT Systems

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ZEROWASTE SHIRTS 2022, WRIGHT Systems

ZEROWASTE SHIRTS 2022 Backstage, WRIGHT Systems

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JOSHUA REE S Joshua is a Fashion and Sound Designer practicing as a member of WRIGHT. His approach to design builds upon the found object movement, utilising the history embedded in second-hand textiles, garments and objects to explore: fashion as character design, ‘4D clothes’ and zero waste pattern cutting. When designing looks for a runway or costumes for a film Josh will begin by creating a character to serve as a north star for his design. He asks questions such as: “What would this character wear?” “How would they style it?” “What music would they listen to? - how would the subculture of this music inform their outfit choices?” “How would they have altered/damaged/mended their attire over time in accordance with their identity?” By following this line of questioning he is able to build costumes that feel lived-in and function outside of trends. This method is distinct from conventional design methods such as draping, sketching etc. Josh has a give-and-take relationship with the ‘found objects’ that he designs with. Just as the character design informs the outfit, so do the second-hand textiles and garments that he sources.

The leather jacket he found would be perfect if it were altered to be sleeveless and have detachable tassels - in accordance with the character’s ‘personality.’ As such his design process is dynamic, informed both by his surroundings and an internal guide. By working in the medium of film Josh was able to explore this idea of garments-across-time or ‘4D clothes’. Historically clothes have been presented in a single, finite form on a runway, that’s the extent of the storytelling. But this brief window of time does not represent how we engage with clothes in our lives. Garments live and grow with us. They stretch, wash, rip, mend, stain and alter in accordance with our personality. Josh alters costume between shoots to present this growth across time alongside the growth of the character. Joshua hopes that his work will reshape the relationship between consumers and their garments, celebrating the changes that both parties experience and encouraging acceptance for the ‘character’ embedded in clothes that have already lived a life.

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20|30 Fashion & Interior Architecture Alumni Retrospective Exhibition Publisher Curtin University School of Design and the Built Environment

Project Authors Dr Lynn Churchill Dr Aleksa Bijelovic Dr Anne Farren Emily Wills

Curators Dr Aleksa Bijelovic Dr Anne Farren

Exhibition Design Dr Aleksa Bijelovic Dr Anne Farren

Exhibition Coordinator Richelle Doney

Book Design Anja Jacobsen This work is subject to copyrights. All rights are reserved, whether the whole or part of the materials is concerned, and specifically but not exclusively the rights of translation, reprinting, reuse of illustrations, broadcasting, reproduction in other ways, and storage in data banks or any other media. For use of any copyright owner must be obtained. Te x t c o p y r i g h t r e m a i n s w i t h t h e i n d i v i d u a l a u t h o r s . P e r m i s s i o n f o r image use is provided by the individual contributors.

Published in Perth, Western Australia ISBN 978-0-6455305-0-6 2022 Curtin University School of Design and the Built Environment 76


ACKNOWLEDGEMENT The project was made possible thanks to cooperation of exhibitors, who were all enthusiastic from the start. We would further acknowledge the contribution of past and current academic staff who have contributed significantly to the development and delivery of Fashion & Interior Architecture courses since their inception.

Thank you for your help and support Debbi Burnett, Kyle Critchett, Amy Hickman, Camilo Idarraga Javela, Gary Morton, Cameron Whiting, Joshua Webb, Ian Williams, Joanna Quake

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