FAINT MAGAZINE
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ISSUE04 THE COLOURS & THE KIDS
IN THIS ISSUE ALEXANDRE DUBOIS CLAIRE WALLMAN DARROCH PUTNAM ENOKAE FLORENCE LEUNG LARA JADE LERIAM GONZALEZ LISA CARLETTA MEAGAN CIGNOLI MICHAL GREG NATALIA BOREKA TONY VELOZ HORDUR INGASON ALISTAIR TRUNG KARLA SPETIC BOWIE SAINT AUGUSTINE ACADEMY STOLEN GIRLFRIENDS CLUB SUBFUSCO JAIME LEE GAIL SORRONDA TULLY WALTER
Alexandre Dubois Faint Magazine Editor & Art Director editor@faintmag.com All General Enquiries: info@faintmag.com Submission Enquiries submission@faintmag.com Advertise In Faint advertising@faintmag.com
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ON THE COVER: MALAAN AJANG WEARS SUBFUSCO DIGITAL PRINT DRESS IN SILK AND BORN IN JUNE CRYSTAL NECKLACE. SHOT BY ALEXANDRE DUBOIS. MAKE UP BY VICTORIA KO
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FAINT EXCLUSIVE
ROSEMOUNT
AUSTRALIAN
FASHION WEEK SPRING / SUMMER 2011/12 INTERVIEWS with Alistair Trung | Karla Špetić | Bowie Wong Gail Sorronda | Stolen Girlfriends Club | Jaime Lee Alvin Manalo from Saint Augustine Academy Joshua Scacheri from Subfusco
Words and Interviews by Tully Walter Photography by Alexandre Dubois
EXCLUSIVE DESIGNER INTERVIEW
KARLA ŠPETIĆ
“ Colours that dont necessarily go together somehow work ”
KARLA SPETIC INTERVIEWED BY TULLY WALTER PHOTOGRAPHY BY ALEXANDRE DUBOIS
Can you tell us a bit about the inspiratio your latest collection? SS11/12 collection ‘porcelain’ is about interior design, interior vintage art glass, porcelain, fler furnitu featherston. I was moving house early this was looking at all these objects, which i a drawn to, and wanted to translate this in collection. I guess its a reflection of my ob and finding all these great, offbeat objec reflection of my style and things i like. Th using bold graphic prints that resemble u fabrications, tiles, eames furniture sha colours really inspired me to go further and ideas into garments.
Colour plays an integral role in your wo did you draw this latest colour palette fr colours came about from wanting to re dec home and create an environment in which live in. I am drawn to clean shapes and mi but i also love combining these with offbeat shapes, colours and silhouettes. Colours necessarily go together somehow work.
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arla Spetic’s, SS11/12 COLLECTION ENTITLED ‘PORCELAIN,’ was a fresh take on summer dressing. Delivered in a zesty palette of tangerine lime and lilac it was classic Spetic - encapsulating her clean, effortless style, yet injected with an exhilarating, graphic meets ornamental aesthetic. The looks were based on Spetics meticulous yet ultra effortless tailoring, in the form of sharp collars, perfectly cut pants and a fresh new take on the suit, teamed with unexpectedly beautiful detailing in the form of unique peekaboo cut outs, and daring splits. These ornate intricacies added depth to the structural shapes, whilst the motifs resonated throughout the bold prints of the collection. These original prints were a certain standout, embodying both a nod to historicism, alluding to elaborate, antique, decorative works, hazily reminiscent of stained glass or tranditional Fluer de lis compositions, however maintaining a geometric modernity in the form of pastel opacity and acid brights. The whimsical prints were splayed across mini shift dresses and straight skirt canvases achieving a striking graphic effect. Meanwhile the lime green suit was beyond a statement piece The collection channeled a definite 90’s vibe (which was a resonant trend throughout the week,) however Spetics show was particularly directional, favoring a later 90’s aesthetic in the form of Capri pants, halter neck lines and ultra sporty piping, even the classic tankini was revived in a wash of colour and print and the use of a deep mulberry brown was right on trend. The collection was a high summer masterpiece for Spetic - merging innovation and ornamentation with an entirely covetable wearability.
How about your prints? I saw these beautiful portuguese tiles which were so colourful and interesting. Upon close inspection i could see all the detail and shape and i was really drawn to their elaborate/ornate style. I worked on developing these into large graphic prints as well as small all over prints. How would you describe your aesthetic? Clean, structured, wearable. You have such an interesting background can you tell us a little bit about how growing up has informed you as a designer? I was born in Dubrovnik, Croatia. Growing up i didn’t have what you would call a stable/normal childhood. In 1991 i experienced civil war in former yugoslavia until we emigrated to australia in 1993. Moving to australia was a very significant part of my life and as a child i always felt somewhat of an outsider. I felt different from the rest of the kids and always wanted to fit in and look and dress like everyone else did. My mother was very particular and always dressed me in well
made clothes, matching outfits, most times well beyond my years. now i look back and i think they were chic but back then it made me feel self conscious. I always wished i was able to make my own clothes so that i could fit in with the rest. Can you talk to us about your design process? how does your resolved collection come about? My process always changes depending on my moods. Sometimes i work on the silhouettes and then the rest follows. Other times i want to work with certain colours and then i work on prints, silhouettes and the rest. Usually it all comes together in about 2 weeks before due date. It’s when everything seems to come together no matter how organized or how long i’ve worked on it. What has been the greatest influence on your career? Creative freedom. What do you like to do in your downtime? Catch up on tv shows i’ve missed. Beach. Sun. Friends. Usually non fashion oriented.
EXCLUSIVE DESIGNER INTERVIEW
SUBFUSCO JOSH SCACHERI INTERVIEWED BY TULLY WALTER PHOTOGRAPHY BY ALEXANDRE DUBOIS
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ailoring is obviously an integra to the Subfusco ethos; Scacher his aesthetic as incorporating clean, and simple design line early Calvin Klein,) and sophistication, even formality with an ed Garde contrast.” His combination of fine techniques with unique concepts create particularly exciting men’s wear options. says he wanted the collection to evolve summer, stressing the importance as a de innovate every season and evolve fun However, he lists classicism and “looking s the fulcrum of his menswear. Thus his en for this season was to bridge the chal maintaining a sharp look in the heat of the A summer, whilst maintaining a focus on jac tailored elements via incorporating an el breathability, using mesh throughout the c
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show that simply burst out of the first “Ready To Wear” line up of the week, was Brisbane based label Subfusco, delivering a fresh collection of truly electric and directional men’s and women’s wear. The show embodied the essence of an urban Australian summer - merging imaginative fabrications, sharp tailoring and a swath of eye popping digital prints. In the meantime, Joshua Scacheri, the creative force behind the exciting young label is a savvy kind of guy, what delineates both his ethos and the label, is his passion and integrity to each his aesthetic, innovation, craftsmanship, and quality. The spring/Summer 11 collection, aptly named “Elements” is inspired by the Earth’s four elements –air, water, earth and fire. The muted and at times ethereal, grey and white palette symbolised air and water, whilst the dazzlingly bright galactic prints represent earth and fire. That print certainly created quite a buzz, not only due to its glittery complexities (according to Scacheri, evolving out of 40 layers on Photoshop) but its application. Printed on both opaque silk and modal and a sheer mesh, the power print was taken to new levels - into multifaceted realms of positive and negative space, via heightened takes on layering. The effect was a visual treat, and paired back with the neutrals that punctuated the collection, entirely wearable. However worn in the form of the collections opening look: a fully printed suit, cut just so, or a silk bat wing maxi the look was unforgettable.
creating some unexpected yet innovative looks. In other terms of evolution, this was the first season Subfusco ventured into footwear, collaborating with Vein Shoes, creating some skyscraper, Armadilloesque, galactic print booties for the girls and natty, cobalt blue, metallic tipped brogues for the men; edgily fusing futurism with classicism. Scacheri says footwear is something he wants to collaborate more on in the future - having a “passion/fetish for shoes.” When we ask Scacheri what we can expect from the label this winter, his answers are mysterious. Describing his design process as very organic and always evolving, he explains he doesn’t conform to themes or rigidly focus on trends. Rather, from his initial pencil sketches his original ideas often develop in the journey of the process, regularly taking him somewhere diverse to the origins of the idea. What
he can hint however, is that he wants to continue creating new digital prints, stressing how important it is for Australian designers to do their own prints. It is clear that having an original aesthetic is important to the label, and with great pertinence, integral to having a solid design identity in the international framework of fashion. Scacheri’s vision for the label however, is to simply keep pushing forward, staying true to his design philosophy, and producing fresh exciting garments. And with commitment and vision like this we can expect to see Subfusco’s future shine bright beyond the elements.
Visit subfusco.blogspot.com styleography.blogspot.com
AN INTERVIEW WITH ALVIN MANALO FROM
SAINT AUGUSTINE ACADEMY WORDS & INTERVIEW QUESTIONS by TULLY WALTER PHOTOGRAPHS courtesy of MOTHER & FATHER PR
Saint Augustine Acadamy’s collection entitled Love and Haight can aptly be summed as old school cool. In the face of the flash, glamour and discoteque beats - signature of a week of summer fashion, Alvin Manalo’s enigmatic show posed an enticing alternative. From the rock and roll soundtrack, the cool kid models, to the daisy lined runway, the mood at cargo theatre felt giddily free, seemingly out of simpler era. This era was the late 60’s, and the tone was tantalizingly psychedelic. Meanwhile the collection was just as persuasive, Manalo devising an intelligent take on a body of excitingly wearable looks. Manalo’s mens wear was a true stand out. Incorporating elements of a hard edged, Easy Rider, masculinity in the form of deep chambray denims, biker cuts and leather inserts. The raw edge was teamed however with some super sharp design features, perfectly cut skinny pants and blazers, and even further contrasted with some early Robert Plant- esque pussy bows and fringing, reeking of luxury bohemia. The girls were well clad too from flower child meets opulent maxi dress and flirty, festival grazing minis, sensual drape and some killer tailored pieces. Teamed with messily weaved braids and killer cowboy boots, the looks were the uniform for effortless “It” girl.. When the compelling show closed we only wanted to jump on the back of that bandwagon and follow the merriment off into the night.
Tell us about the ethos behind your latest collection? The Spring/Summer collection we showed during RAFW this year is titled: Love and Haight, a subtle reference to Haight-Ashbury in San Francico which is widely regarded as the birthplace of the hippie movement. The spark for the collection came from reading a book by Thom Wolfe called ‘Electric Acid Koolaid Test’. The book details the transition of a group of beat poet students from Berkley who started experimenting with psychedelic drugs, and their exploits and adventures as they became the very first “hippies”. This group who called themselves ‘The Merry Pranksters’. famously rode a “Magic Bus” from San Francisco to New York to spread their message of love. Particular sections of the book are also referenced, including the Pranksters’ close association with The Hells Angels; a brief, but poignant cameo by The Rolling Stones; and an almost modern take on the Wild West, where the book’s protagonists are hunted by the FBI in Mexico. And for the models you did a street casting - why was thing important to you? In planning a runway show, there are certain integral elements that have to be just right. For me, to convey the narrative behind the collection, it’s almost like casting characters for a movie or a play. I had a vision of long-haired boys representing the hippies, and bearded boys to portray both the bikers and psychedelic bands like The 13th Floor Elevators and Hawkwind. The soundtrack was just as rocking as the clothes. Run us through some of the tracks? Track List: 1. The Fire In My Head - Voice of the Seven Woods 2. Lovefingers - Silver Apples 3. Death Song - Christopher 4. Slide Machine - The 13th Floor Elevators 5. Expectations - Savage Resurrection 6. In-A-Gadda-Da-Vida - Iron Butterfly
Music for me makes the show. It’s the one thing that can really set the mood, and is my favourite thing to plan for the event. I was lucky enough to work with my friend Ed Woodley, curator of Sydney gallery China Heights on the music. There are quiet moments and crescendos that can be created to coincide with the mood that the clothes, the styling and lighting are delivering at the same time. Whats on your playlist at the moment? I’ve been into a lot of Blues at the moment. There’s a blues bar that opened up a minute away from my shop in Surry Hills called “Charlie’s”, and they have a strictly blues music selection and I quite enjoy that. On high rotation on the iTunes at the moment are Screaming Jay Hawkins, Lead Belly, Etta James, B.B. King, Bo Diddley and John Lee Hooker. Subcultural reference points and a sharp historicism inform much of your work what are some of your fave eras, movements? I think there’s an overriding tone of mod in everything I do. I love the silhouette of the skinny suiting for guys. It’s what we’ve built the foundations of the label on. I remember watching ‘Quadrophenia’ as a teenager and wanting to be a mod. The music of the era from The Animals, The Zombies and The Kinks are some of the most fun to dance to. The brief period in the late 1970’s when the post-punk movement emerged is also a big inspiration to me. Some of the most prolific music came from then, including Gang of Four, Television, Joy Division, The Birthday Party and of course The Smiths. There’s something really alluring about the intelligence that these bands brought to the forefront. There are also many culturally relevant points in Australian history that I have yet to explore and discover. Things on our very doorstep that are just as interesting and profound as what was happening overseas are an on-going passion of mine. I love uncovering historical gems and hopefully revealing them aesthetically though the collections we release.
EXCLUSIVE DESIGNER INTERVIEW
ALISTAIR TRUNG ALISTAIR TRUNGI INTERVIEWED BY TULLY WALTER PHOTOGRAPHY BY ALEXANDRE DUBOIS
“Everyone is a combination of their own past , present and future. It’s how volitional you are with it that matters.”
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eads were arched to see what followed the piercing operetta and billowing smoke clouds at sydney wunderkind, alistair trung’s show. the dream like mood was heightened, as a tribe of towering, androgynous creatures glided down the runway swathed in a collection rich in drape, layering and volume. as the heavy bass beat through the audience guests were transfixed on the futuristic warriors, enthralled and mesmerized by the silent sirens. the amour of this enigmatic tribe was full of fluidity, light and shade, teamed with softly complex, structural foundation. the mood conveyed an ambiguous earthy futurism. the multidimensional show consisted of sensually draped neutrals, monochromatic contrasts and rich browns and metallics. fabrications, were equally as extensive from rope work and leather fringing, knife pleats and dip dying. from the diaphanously floating drapery in a seemingly barbed wire digital print, to the arresting injection of popping coloured brights, throughout the 56 looks of the show, there was some utterly beautiful ensembles. the common element that linked the collection was the way in which garments were seductively draped across and twisted around the body, seemingly effortlessly yet with such power they appeared almost inextricably linked with the human form itself. such ease however, is testament only to a very calculated cut and meticulous construction, an inherent understanding - affinity even with the human form. the insightful trung displays a rarity in talent, delivered in an almost impossible body of work. Your website has some profoundly insightful musings. where did you gain such wisdom? The most important lesson is to watch , listen and wait! then go into yourself - the answers are all there! Whats the most important quote you live by? Stop complaining , stop feeling sorry for yourself, shut up and beautify the world! Tell us about your journey as a designer? My journey has always been going up / under / around secret passages and alleyways. Nothing is really planned , just my instinctive mapping. I am very comfortable being the outsider and the underdog. Can you describe the Alistair Trung aesthetic? I hope to cultivate an aesthetic that is based first and foremost on powerful feelings. Its the emotional content i am after. I am only interested in developing concepts that are abstract, openended, undefinable, and non static. My aesthetic mission is to expel plebeian ideas about the fashion cycle, age, size, gender, and all of this celebrity style rubbish! What inspires your work? What inspires my work? All the things i despise: mediocrity, lack of compassion and bad smells. All the things i wish i possess: a roman nose, black skin, branscusi scuptures , zen temples, albino animals , irvin penn photographs, tribal scarification and the ability to suspend in the air like nureyve. What was the inspiration behind the latest collection? I hope my clients would be able to find themselves in this collection. In many ways the collection is a gift to them - this was what really inspired me.
What are your favourite mediums to work with? Im interested in other worldly dimensions. I am always searching for a paradoxical combination of ancient and futuristic, raw and refined. For me light and movement is everything. Can you describe to us your design process? I never, never, never start of with a theme. It all begins with a beautiful cloth that speaks to me. Every piece of clothing in the collection starts on my own body. I only work three dimensionally , draping material and moving with it to discover new forms , proportions and tension. I don’t trust drawings. All the toiles are then road tested by my team and clients of women and men of all ages, sizes and peculiarities..this is often done on the floor of our own boutiques. Your body of work was astounding in your recent collection, how is your work/life balance? I am married - to my work! To be a good designer is like taking a vow - i am a nun serving in the monastry of frocks. Im not interested in “ balance”. I am compelled by passion, stamina and never ending curiosity. Idon’t really care for people who are waiting for the next holiday to come around. What essential for me though is a walk among some greenery and rocks , and of course a home cooked vietnamese meal at my mum’s. Who do you dream of wearing your designs? I dream of myself wearing the clothing...in fact i live in them every single day. I am not a tee shirt and jeans designer. i need to feel secure that what i make is connected to real life! My other ideal person is the disillussioned woman who hates shopping. She always knows better than the sillly , designer obessessed fashionista. Do you enjoy any other creative outlets? I have a passion for books. i have been known to inadvertently purchase the same book twice just from the sheer excitment of seeing it in a diffentent book store. Classical music is my passion .. i have never cried over a dress, but i have sobbed many times over rachmaninoff and chopin. Who has been the greatest influence on your career? In the end , the most powerful force has to pour out from your own core. Everyone is a combination of their own past , present and future. It’s how volitional you are with it that matters.
EXCLUSIVE DESIGNER INTERVIEW
BOWIE WONG
“ that negative energy woke me up to what I reallywanted to do ”
BOWIE WONG INTERVIEWED BY TULLY WALTER PHOTOGRAPHY BY ALEXANDRE DUBOIS
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ur week closed on a truly triumphant note, in the form of Sydney Based, Bowie’s awe inspiring couture collection, titled Paper Cranes. The atmosphere of the show was very intimate, yet powerfully electric as the guests at the packed cargo theatre took their seats surrounding a shimmering teardrop of rock salt. From the lights dimmed, to the cascading dry ice, the room was heavy on mood and mystery - the production elements encapsulating everything a couture show ought to feel like. However this was just the beginnings, as an endless procession of breathtaking, oriental birds of paradise, swathed in an ornamental wonderland. I t was a show that genuinely rendered the audience speechless, overwhelmed by the depth and diversity of the collection, the visual splendour and craftsmanship, and the poignancy of the theme - it was a spectacle that has not been seen within the Australian fashion set in some time. We caught up with the man behind this movement just a day before leaving to Paris, to tell us his story – a tale as rich and complex as his work itself. Bowie was born in Hong Kong and was raised in Japan, revealing a creative talent from an early age. He had a strict upbringing and was sent to Canada to study, hoping to become fluent in English within a year. It was during his studies in Canada in which Bowie discovered William Shakespeare, intuitively taking his subject up as an elective. He describes the imagination, vision and fantasy of the playwright as nothing he had ever come across before in the Eastern culture he was familiar with, musing that he originally fell in love after reading “A midsummer night’s dream.” The lack of creative
boundaries found in theatre studies obviously resonated with Bowie as he completed a degree in both costume and set design, launching him on his creative path. The training led Bowie to work on major musical theatre productions (Phantom of the Opera, Cats,) and large scale musical shows. It was whilst touring with Les Miserables that Bowie landed in Sydney. “Discovering an immediate affinity with Australia,” finding “the space, personal peace and freedom in which to design and explore creative ideas”. His Identity in the Australian fashion market began in the form of a luxury ready to wear label, with his last show before RAFW in 2008. Bowie explains that during this time, The Global Financial Crisis really shook up the retail sector, leading him to reassess both his business and his plans. Bowie Stresses however that he is not a victim, reflecting that the single most important lesson he has learnt in life is to embrace failures, turning them into positives and directing them into moving forward: moving into a better place. He says “I fell in the past, but that negative energy woke me up to what I really wanted to do,” and that was to be creative. And not only did Bowie move forward, he did so triumphantly - laughing he was “Hiding” from that point until the launch of his couture show, working on a display of what he is really about. Paper Crane is a body of wonderment. His experience in costume and set design is evident in all details, from the sculptural hair to the drama in the delivery “I wanted to maximise the Cargo” Bowie laughs. His collection however, was what maximised the Cargo theatre, with an utterly exceptional body of work.
Bowie describes the ethos of the collection coming from the springboard of the paper crane. Using ornate pleating, tulle and organza origami, he mimicked the properties of paper. He says traditional oriental techniques and customs are integral to his aesthetic, from his intricate beading, kimono fabrics and a colour palette consisting of black red and white his roots could be seen within each diverse look. However his collection was rendered truly modern, incorporating laser cut outs, voluminous silhouettes and feathers galore - from ostrich to hen. The Japanese homage transcended from the clothing, into an emotionally driven tribute via a note placed on each seat addressing the devastating Earthquake that shook Japan just months ago. Bowie later revealed that he had lost several dear friends due to the tragedy. However, Bowie’s perspective remains looking to the light at the end of the tunnel, and in the strength of the Japanese people, his belief is in turning the situation into something “harder, stronger and better.” It is quite clear that Bowie Himself can harness pain into something truly majestic, turning the Cargo Theatre and concluding RAFW, into a contributor on a world stage. Bowie Quotes his ethos behind his work is simply to prove himself, and prove what he can do, explaining that commercial success falls behind his thirst for creative exploration. “Money cannot buy belief” he explains. And with his closing tune none other than Edith Piaf’s ‘Non Regrette Rien’ to heighten the drama and emotion, this essentially debut collection of the visionary Bowie Aesthetic, certainly has captured our belief.
“Money cannot buy belief” - Bowie Wong
EXCLUSIVE DESIGNER INTERVIEW
JAIME LEE JAIME LEE INTERVIEWED BY TULLY WALTER
Tell us about your transition between th arts and fashion design? I grew up pain creating art so whilst a student I tried to rep work I was making into fabric.
Can you talk us through the inspiration ‘Pollination’? The theme of Pollination c into the design process. All the textiles and treatments were extremely textural and lo bees on flowers. When it came time to co with Abigail, creating a honeycomb print like the obvious thing to do given the limit latex.
Can you tell us about how the collabora LA based latex designer Abigail Greyda about and What did it involve? We c Abigail on a whim, thinking it would be a nice to have some shiny latex amongst all the pieces in the collection. To my surprise sh at the opportunity. I designed the pieces produced them. It was very different to how work. Latex is very limiting in that you can’t e
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he standout of the Next Generation shows was Perth Based phenomenon, Jaime Lee’s Spring/Summer 11 collection: Pollination.
The vivacious show was a kaleidoscope of textural and technical stimuli forming a visual wonderland. It was a lolly shop of looks, filled with party frocks, and statement pieces, yet the gleaming collection of good time get ups was delivered with some seriously wondrous textile effects. Lees affinity with the visual arts (the talent is best known for her explosive watercolour paintings) shone brightly. Her fabrications, from the seemingly holographic digital prints, hand embellished lace, swarvoski crystal and sequin beading, overflowing hand knits and finally PVC, formed a body of looks only comparable to a treasure chest. Styled with outlandish bug eye glassed and honey dipped resin shoes a truly joyous collection was presented by a very exciting new talent.
it or print on it. Any surface treatment is hand cut to make a print. Pollination is a visual and textural wonderland! What are your favourite textiles/ techniques to work with? I have developed a new love of knitting! I enjoyed working with wool for the first time with ‘Pollination’. I prefer to work with natural fibres, but at the same time am fascinated by plastics and non conventional fabrics. I LOVE beading! Love it, I even dream about sequins. I am drawn to anything light reflective and shiny. When combining beads and sequins into a printed fabric or lace the end result can be quite stunning. Can you talk us through your design process? I never start a collection with a theme. I starting beading or painting a textile and see what direction it takes me. Then usually there is a unity amongst the textiles and it evolves into a collection. What else inspires you? Homewears and interiors. I Love them! Probably more than fashion. I religiously
look at interior blogs and get excited. What can we look forward to seeing from you for Winter 12? I am having a small break for Winter, and will be furthering my skills with some freelance work, then will develop a new spring/summer collection for RAFW 2012. And beyond?Hopefully end up showing in Paris one day. What would your dream collaboration be? Jaime Lee vs Haus Of GaGa!!! What are some of the biggest struggles for emerging designers today, and what can be done to help them? Lack of funding! Give us more funding..? Can you tell us about the most important lesson you have learned? Don’t let anyone try to change your vision. I have learnt the hard way that people will try and mould it into what they would like it be. Don’t let them! Protect it like a baby.
EXCLUSIVE DESIGNER INTERVIEW
GAIL SORRONDA
“ It’s what you feel not what you think. ”
GAIL SORRONDA INTERVIEWED BY TULLY WALTER RUNWAY PHOTOGRAPHY BY ALEXANDRE DUBOIS
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risbane based fashion darling Gail Sorronda cooled down the OPT, with her collection SS11 ‘Stem The Flow’ launching some icy treats seemingly from another time and another world. “Fluidity stopped,” was the concept behind the collection which seems fitting within a collection brimming with contrasts. The completely monochromatic collection contained looks of puritanical white, set in a series of multi faceted, delicately layered looks deliciously reminiscent of Mille-feuille slices and icy parfaits. The textural ingredients included accordion pleating, peek- a- boo cut outs, layered tulle, bubble hems and a voluminous Edwardian flounce. This crystallized sweetness was diffused however with a signature Victorian drama, darkness and a nod to tradition and technique. Bibs, covered buttons and immaculate bishop sleeves incorporated a sharp historicism into the garments, however teamed with billowy capes, circular volume and a resonant bulbous silhouette, the collections tone was set firmly to the future. The depth in the series of purely monochromatic looks was exceptional. A standout look was during the union of the palette into a sexily modern take on the tuxedo. Meanwhile, teamed with ultra cool styling from the tulle radial sun hats, models sans footwear, and magnificent neckpieces using antiquey tassels fused with a perspex futurism, the atmospheric collection was a show we wouldn’t forget.
How would you describe your latest collection? Fluidity intercepted by time. Where did you Draw your colour palette from? I love the symbolic gesture to the opposite and equal reaction black and white gives. Its just an underlying aesthetic in a colour palette I cant move away from. I also like this colour palette because it forces you to look at the silhouette. What are some of your favorite fabric/ textiles to work with? silk/cotton blends, taffeta, organza, georgette and wool. Talk us through some of the intricate detailing in your latest collection. My collections are generally quite graphic, so details are often an exaggerated detail. So this collection pleating details that flowed through butterfly sleeves, collars and culottes were a focus. The bulbous shape was also pivotal to the collection reinforcing the concept of fluidity intercepted by time.
Do you have a signature design? I have two! From my first collection ‘Angel at my table’ there was my ‘Lola dress’ sometimes called the ‘Bow Dress’ and from my ‘Bird of Prey’ collection there was my ‘Sweet Tooth dress’. Who do you have in mind when you are designing? Sometimes I light candles in my studio with my grandmother in mind to help me when I design. Is the idea of creative collaboration important to you? I love meeting like minded people as sometimes you think you are alone in your madness. To be able to work and learn from people is exciting and rewarding as you can open your eyes up to perspective you wouldn’t have otherwise had. Who has been the greatest influence on your career? My mum What is your definition of beauty? It’s what you feel not what you think.
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CLUSIVE DESIGNER INTERVIEW
The highly anticipated SS11/12 show from Stolen Girlfriends Club show, entitled “The big comedown,” was a triumph for the street wear wonder boys. The show itself was an unforgettable experience, and the clothing formed the bucket list for any cool kids summer wardrobe. The cargo theatre was packed like a mosh pit as the enigmatic show was lit up by projected images. Rolling clouds and large scale gerberas set an eerily light tone reminiscent of Sound Gardens “Black Whole sun Video “. Both the collection and the show were split into two parts, beginning with an effervescent throng of blonde models, channelling a summery, subtly tripper vibe. The looks consisted of light chambrays with graphic suede inserts, powdery blues and apricot pinks and a complex garden party by artist Karl Maughan, set in softly tailored, youthful, flirty cuts. It was a new addition to SGC’s design vocabularly, but the band of pretty things was still delivered in their signature street wear cool, Meanwhile, (Ironically for a street wear show) we saw our first true couture pieces of the week - in the form of phenomenal architectural bouquets. Whilst the mood took an ominous turn, the clothing only kept getting better. The lightness turned to dark, in all facets of the experience, as the background become haunting, the soundtrack skipped through an unnerving mashup and scraggly branches and black crows scrawled across the room. Dark lipped and waxy haired brunettes marched out clad in creepers. The looks were edgier and the colour palette shifted into darker blues, primarily into an unexpectedly beautiful combination of black and and deep teal. Prints became more frantic and jersey slashed, whilst,dark leathers and gothic-style paneling toughened up the collection, setting the tone for a sordid night. On the whole it was a stellar collection teamed with a sensually captivating delivery. Meanwhile, we wait with bated breath to see what’s next from this renegade force.
MARC MOORE INTERVIEWED BYTULLY WALTER PHOTOGRAPHY BY ALEXANDRE DUBOIS
Congratulations on ‘THE BIG COMEDOWN’ - what a production! Out of the box presentations are something you guys have done before - with your supermarket showing of ‘UNTITLED’ and in our eyes one of the best fashion moments of 2010. Tell us about how and why you organised that. We basically just wanted to present our collection in an environment that was completely out of context. We always thought that the supermarket aisles served as great natural catwalks. Also, the suprise element of a ‘pop-up’ catwalk show was appealing, as we were quite obsessed with the flash mob stunts on youtube. What was the immediate reaction to the stunt? Funnily enough i think that is the best reaction we have had ever from a catwalk show. People found it refreshing. Some of the public that just happened to be shopping at the time were a bit rattled - especially the older ones. I guess when you have loud music that starts up in the middle of a supermarket and a troop of models that storm their way up and down the aisles could be daunting. It was the reaction from the public we were searching for. We also noticed that someone recently had their own version of our supermarket show in sydney a few weeks ago - almost exactly the same as ours! they say that imitation is the highest form of flattery so i guess it wasn’t a bad thing. It’s not something that gets said so often within today’s fashion set, but you guys genuinely have such a fresh aesthetic, tell us about the SGC ethos? We just like to entertain. That is our main goal with creating & presenting fashion. There are too many brands out there these days that are serious and conformed. We figure life is for living, so why not have some fun doing what we are doing. What inspires the team? We get inspired by a lot of the bloggers at the moment. The girl or guy that dresses super cool that you double-take when walking past. Our lovers also dress super cool and inspire us daily - there is a lot of them in the collections. Each and every time. Describe your design process. How do you guys work together? Although we each have quite different roles we manage to compliment each other realy well. We always focus on our separate departments but function as a team when it comes to making the bigger decisions. Do you each have individual roles? My role is design director so i take care of everything that is design focused. Luke harwood is like a brand manager so he is taking care of everything from brand identity, the online presence, international sales, marketing and also helps me out across the design stuff. Dan gosling is the business director so he handles alot of the administration, logistics & distribution. he also crosses over into the design with us too. And how important is the collaborative process in your designs? Super important. The brand is an extension of al our personal tastes. the combination keeps the brand and it’s product unique. This was your first show at RAFW, is it something you plan on keeping up? Actually it was our second year showing ! We showed off-site last year (on-schedule). The Australian market is our main market now so we want to focus on it more and more. It’s quite a challenge to show offshore so we are learning lots each time we do it. Hopefully / eventually we will want to show in London or New york - once we have the client base to support it. Pro rater, New Zeland seems an insanely productive fashion hub. Tell us about how your cultural identity informs your work? W e always like to keep on track with the international trends as it’s important for us to be aware of what
is happening overseas. But being somewhat detached and at the bottom of the world is quite good too! Because then you don’t tend to follow so much, you just do your own thing whilst referencing what trends you like but then put your own unique twist on it to make it your own. What’s on the cards for you guys now leading up to winter 2012? We are all working tirelessly on our winter 2012 collection to show at New Zeland Fashion Week at the end of august. This collection will be shown all over australia too, and then we will be simultaneously releasing a summer collection for the Northern hemisphere. It never seems to slow down!
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