Apparel Magazine | MARCH 2019

$ 9.00

MARCH 2019 I VOL 52 I NO 03

editor ’ s note

NEW ZEALAND'S GOT TALENT

This month’s cover is straight off the runway of another successful Vancouver Fashion Week; Apparel was proud to host three talented New Zealand emerging designers in a group show. Showcasing five looks each, the three designers ruled the catwalk and were a highlight of the week. See more on page 14-15. Vancouver Fashion Week is known as an incubator of innovative upcoming designers from across the globe, as well as a hub for top tier international media.

In this issue, we have curated five emerging designers for you to keep tabs on, and our favourite designers from iD Dunedin Fashion Week.

Congratulations to Rosette Hailes-Paku for winning the Apparel Magazine Most Commercial Prize at the iD Emerging Designer Awards this month.

Three couples are trying to get married at the same church. There is a young couple, a middle-aged couple, and an elderly couple. The three couples meet with the priest and discuss when they can get married.

“If you wish to get married in my church, you must all go one month without having sex,” said the priest.

A month later the three couples return to the church and talk to the priest. He then asks the elderly couple, “Have you completed the month without sex?”

“Yes we have, it was easy,” replied the elderly couple.

He asked the middle-aged couple: “How about you?”

“It was hard, but we didn’t have sex for the whole month,” they replied.

“And how about you two?” He asked the young couple.

“No, we couldn’t do it,” responded the boyfriend.

The priest asked what happened, to which the boyfriend replied: “Well, my girlfriend had a can of corn in her hand and she accidentally dropped it. She bent over to pick it up and that’s when it happened.”

“You’re not welcome in my church,” said the priest.

The boyfriend replied: “We’re not welcome in the supermarket either.”

fashionable reads

Three Birds Renovations

By Erin Cayless, Bonnie Hindmarsh and Lana Taylor This enthralling read follows the careers of Erin, Bonnie and Lana, who abandoned their corporate lives to become renovation gurus. The three birds started with little renovation experience but with hard work and dedication ended up turning their big ideas into a reality.

Now the trio has an incredible portfolio of transformations and is known for turning ugly neighbourhoods into dream locations. This book is jampacked with renovations tips and tricks for those looking to transform their own spaces, from ways to avoid a budget blow out to how to manage trade and timelines. With over 400 styling tips, this book has the power to turn anyone into a renovation expert.

London Made Us

By Robert Elms

In this new read, Robert Elms will take you back through the history of one of the world’s most well-known cities.

London has changed exponentially throughout the years, and Elm takes readers through towns which were once deemed murder miles but are now estate agents dreams as well as his own childhood home which has been uprooted to make way for the Westway flyover. This book is a memoir of a shape-shifting city, one that has borne witness to worldchanging events and is continuing to reinvent itself as time flies by.

Open Up

By Alex Holder Money is a subject of conversation that many try to avoid. From asking for a pay rise to talking about personal finances people, are taking a humble approach to this vital topic of discussion. This guide to opening up teaches readers how to have these critical discussions and explores the power of talking about money.

With practical advice on everything finance related, from mindful spending to challenging the status quo, this book provides readers with the tools they need to lead a financially stable life.

Christian Dior: Designer of Dreams

CHAIRMAN

Peter Mitchell GRAPHIC DESIGN TEAM Raymund Sarmiento PUBLISHER Tania Walters - tania@reviewmags.com Ciaran Carroll ADMIN/SUBSCRIPTIONS Kieran Mitchell - kieran@reviewmags.com ISSN 1171-2287 EDITORIAL DIRECTOR Sarah Mitchell - sarah@reviewmags.com Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand EDITOR Caitlan Mitchell - caitlan@reviewmags.com PO Box 37 140, Parnell, Auckland, New Zealand +64 9 304 0142 CONTENT MANAGERS Caroline Boe - caroline@reviewmags.com NZ Apparel is published monthly under licence by Review Publishing Co Ltd. Please direct all

EDITORIAL TEAM

2 I March 2019

Libby Weston - nzapparel@reviewmags.com

Cass Fellows

enquiries and correspondence to NZ Apparel. The opinions and material published in this edition of NZ Apparel are not necessarily those of the publishers unless specifically stated. All material appearing in NZ Apparel is copyright and may only be reproduced with the consent of the publisher. Copyright 2018 NZ Apparel Magazine.

This exquisite souvenir book celebrates the House of Dior.

From the brand’s foundation in 1947 to their present-day collections, Dior has been a highly revered member of the fashion industry. This presentation includes stunning illustrations, photography and insights into this brand, with input from some of the most influential figures in the house, including Yves Saint Laurent and Raf Simons. This book is the perfect gift for anyone who is passionate about the history of the fashion industry, or those eager to learn about the creation and development of one of the world’s most beloved fashion houses.

apparelmagazine.co.nz

I3

fast five

NEW E-COMMERCE METHODS With the online sector thriving in fashion retail, new offerings are popping up among high profile stores to promote their online services. Innovative new strategies to encourage customers to engage with their services over competitors is the new way e-commerce platforms are ensuring they stand out among the crowd.

One of the latest innovations comes from American retailer rue21. The company has introduced an omnichannel service for their customers to increase their convenience and reliability factors.

Customers can now buy online and pick up in store. Shoppers need only check for stock availability in any of the company’s 700 plus stores, buy the product and then pick it up in their selected store. This allows customers to hold onto the convenience of online shopping while eliminating

shipping charges, giving them the best of both worlds.

To create this service, rue21 teamed up with digital transformations company Mastek, who provided them with the software they needed to launch the system.

The programme includes real-time reporting and custom dashboards to ensure both the company’s employees and their customers are receiving accurate stocklist information. Mark Chrystal, the chief analytics officer at rue21, released a statement celebrating the company’s latest innovation. “Our customers are young, mobile and know what they want, whether that is fashion or flexibility. We developed this mobile-first offering with our customers in mind, and they have loved the ease of buying and trying clothes across channels.”

ID FASHION WEEK WRAP UP The 20th anniversary show for iD Dunedin Fashion Week was an immense success. Some of the country’s most well-established brands gathered to present their latest collections and celebrate the work of 25 emerging designers.

Among the fashion elite making presentations were WORLD, Mild-Red, Stolen Girlfriends Club and Liam.

The 25 emerging designers who showcased their work brought unique and unfiltered creativity to the event and were received well by audiences. This year’s prize winners included first place winner Rebbecca Carrington from the UK, second place designer Betty Liu from Melbourne and Sarah Hawes who also flew in from Australia and walked away with the third-place prize. All of the designers brought an impressive

4 I March 2019

skill set and unique points of view to the event, making the show an all-around unforgettable experience.

Rosette Hailes-Paku was awarded the Apparel Magazine Most Commercial Collection Award for her collection The Story of a Girl Who Just Wanted Pink Hair. The winners walked away with a selection of gift vouchers, cash prizes and editorial opportunities. The prize packages are a way for established industry players to kick-start these emerging designers’ careers and provide the encouragement they need to enter this highly acclaimed industry.

EXTREME FUR BAN The fashion industry’s attack against fur has continued to grow, and protesters have demonstrated that they are not afraid to ruffle some feathers.

The most recent move comes from the state of California, where a bill has been introduced in an attempt to settle the issue once and for all.

The bill would mean that the sale and production of all fur products would be banned throughout the state. The bill was constructed by Laura Friedman with support from actress Shannon Elizabeth. Should it pass, California would be the first state in the U.S to enact a total ban of the products. Friedman released a statement calling for support of her bill. “There are so many alternatives

to fur, alternatives that have been largely embraced by the industry, yet there are still thousands of animals every year that are viciously maimed and murdered for only their fur. This practice is not only entirely outdated and unnecessary, but it’s completely out of line with our state’s values.”

Under the bill, offenders would be fined $500 for continued production or sale of fur products, and upon repeat offence, the fine could be increased to up to $1000. However, fur for religious purposes would not fall under the ban. The assembly bill passed 10 to 4 in the Committee on Water, Parks and Wildlife and will be moved to the Judiciary Committee for an upcoming hearing.

fast five

PARENTAL LEAVE CHANGES

THRIFT STORE MEETS LUXURY Thrilling is the world’s first e-commerce thrift store. The platform was founded last November and has been committed to growing their industry presence since its debut, making leaps and bounds in their quest to bring together fashion and thriftiness.

The store’s latest project is a partnership with stylist Ali Mandelkorn. The project includes a specially curated collection which will be available to thrift shoppers everywhere. The range, titled ‘Good’ will include gently worn or new items ranging from high-end luxury to streetwear apparel. Proceeds from the endeavour will be donated to Goodwill

SoCal’s job training facilities for the homeless. In addition, the celebrity partnership is expected to bring attention to the e-commerce platform and help them in cementing their industry presence.

Clothing donors for the project include former Spice Girl, Mel B and actress Tatyana Ali. These celebrity endorsements will give the e-commerce platform a head start as they look to develop their branding. Founder and CEO of Thrilling, Shilla Kim-Parker, has expressed that she is committed to making second-hand shopping “more accessible, more modern and a habit for more people.”

As more attention is being given to workers’ rights, it comes as little surprise that companies big and small are making changes to their contracts to ensure their employees are feeling valued.

Athletic apparel brand Lululemon has made adjustments to its contracts, extending its parental leave policy.

The changes include three months of full pay to all benefit-eligible workers for maternity, adoption and paternity leave. This is available for employees after two years of tenure, and the offer will be extended to six months for those with five years of tenure and above.

The move is a way for the company to communicate its commitment to gender equality and better working conditions for their loyal employees.

Paul Tinker, the managing director of Lululemon Australia and New Zealand,

made a statement celebrating the brand’s latest announcement. “There is work to be done every day of the year, and Lululemon is committed to being on this journey,” he insisted. “We are working towards an environment where every one of our employees is empowered regardless of gender.”

The brand tied in their latest development with International Women’s Day and it accompanies a host of other investments by the label to encourage the success of their female employees as well as external female excellence. Other endeavours by the company include a partnership with the homeless women’s charity Share the Dignity and limited edition ‘Love Tee’. These new projects are all a part of Lululemon’s latest gender inclusive campaign #theother364.

accessory alert

FROM ST. XAVIER One of the latest accessory innovations comes from the Australian brand From St. Xavier, who teamed up with The Metropolitan Museum of Art to create a symbolic and inspired capsule collection. Apparel Magazine was able to sit down with Chris Perkins, a representative of the brand, to discuss their creative process and the motivations behind the collection.

The relationship between From St. Xavier and The Met came about through a previous partnership the brand had with the Museum of Contemporary Art in Sydney.

“We began a close working relationship with the museum for an exclusive capsule collection that aimed to reimagine art through a different medium. The collaboration was a resounding success, and it spurred a desire to continue working with like-minded organisations,” explained Perkins. The Met was able to challenge the brand to expand upon their creative processes, which was of great value to the label. “The Met has given us an opportunity to explore further the line where art meets fashion; the freedom that comes from understanding art through a different medium has given us ample inspiration for many seasons to come.”

For their latest collaboration with The Met, From St. Xavier was tasked with using fashion to interpret a

6 I March 2019

selection of culturally significant eras. “Each design represents a unique cultural perspective from different time periods. It has allowed for a unique way to illustrate the rich diversity of art across the ages,” added Perkins. The brand was given great creative freedom by the organisation, whereby they were able to lean into their inspirations and create a collection which was both visually and symbolically stimulating. The collection included a series of bags which were inspired by Chinese mythology, The Crown of the Andes and other moments throughout history. The label’s signature beading and embroidery techniques were heavily featured in the capsule, giving their historical

influences a modern twist. “By using the skill of our artisans and playing with different beaded elements to create texture, we were able to use the signature From St. Xavier aesthetic as a vehicle with which to translate the pieces of art in a new medium,” he said. The two organisations worked harmoniously to combine exhibition highlights with modern day fashion.

For brands looking for partnerships that will inspire their creative process and propel them into their future, Perkins was able to provide some humble advice. “Don’t be scared to put yourself out there!

If you don’t knock on any doors, you can’t expect someone to open one. Believe in your product and the intrinsic value it brings, and other people will too.”

meet the buyer

SISTERS ON LONDON This boutique sits in the heart of central Hamilton and is committed to bringing high quality and fashion-forward designs to the residents of the Waikato region. After over a decade of service to the fashion industry, owner-operator Julie Kennedy is preparing to sell the establishment, presenting a prime opportunity for someone looking to begin or expand their career in fashion retail.

Kennedy expressed that it is Sisters on London’s extensive variety which makes it such a successful boutique. It mixes entry-level brands, which provide transferable everyday items, with high-end luxury brand. “Having the prices vary between some designers allows us to cater to a wider market, and for many different occasions,” she explained. It is not just the price point which varies between the brands, but their overall aesthetic.

“Sisters on London has a solid representation of brands, making the boutique stand out and become a destination experience.” With Australian and New Zealand brands including Karen Walker, The Wolf Gang, Zypher and LA Tribe there is a great variety of aesthetics on offer with the boutique. A uniqueness and ability to stand out in the market is what links these brands together and is a key feature of the store. “A point of difference is what stands out for us, something we haven’t seen before within our current stock list of designers. We want to excite our customers with a new brand,” divulged Kennedy. This point of difference allows the boutique to diversify its market, making them accessible to a

variety of customers. “It is good to have a variety for your customers and not get too channelled into one look, what I may like might not be what someone with a totally different body shape or age may like, so I am always thinking of all customers.” The retail outlet has managed to ride the wave between offering a point of difference with each of their selected brands and ensuring that they keep their target market in mind. This can be a difficult act to balance. Kennedy ensures that she asks the right questions while curating this portfolio of designers, as brands should sit well alongside one another but without doubling up. “They need to tie in together to a point, as stocking vastly different

brands causes your target market to be too wide,” she emphasised.

Throughout Kennedy’s decade of experience with the boutique, she cited many changes within the industry, and she expressed her strong belief in its future. “I feel the industry has become a lot stronger, particularly with the rise of social media outlets and influencers. It has become such a fast-paced industry with online shopping and payment companies like Afterpay making items much more accessible.” This boutique oozes with potential for any new buyer and Kennedy is confident that new brands and ownership will see the store thrive after she is gone. “The establishment has so much potential to grow, and having new brands added to the designer list would be great for Hamilton. I would love to see someone with energy and fresh new ideas come in and take it that step further.”

apparelmagazine.co.nz

I7

trade talks

Crowdfunding: The future of finance

Crowdfunding is an excellent way of sourcing early income for a startup business. Young businesses can often struggle with initial cash flow leading to disruption in production or growth. Utilising traditional financial options can be a difficult and potentially expensive venture.

One of the upsides of crowdfunding is its transparency. On top of this, crowdfunding allows the business to gauge the market before opening/ starting operations. Before entering a market, a company can see if its product/business is appealing to the general public. Crowdfunding often helps an entrepreneur avoid a subpar idea before investing too much capital. Furthermore, established companies often use crowdfunding to present a new product.

Generally, crowdfunding provides a safety net for new companies and entrepreneurs to develop ideas parallel to initial advertising, marketing and production.

The forum allows a company to ask for a series of small donations or pledges from the general public. These donations go towards the production and development of the business, usually in return for a service or monetary compensation. On Kickstarter, perhaps the most popular crowdfunding site, donations are not finalised until the entire donation goal is met. This means that although someone may donate towards an idea, it doesn’t necessarily mean that it will proceed. The person that donates does not lose money, and the proprietor of the business learns from the experience.

Ting Xu, an assistant professor of Business Administration, recommends the ideal components of a successful entrepreneur. Xu suggested that entrepreneurs should minimise asymmetry.

“Entrepreneurs need to articulate their ideas well

8 I March 2019

so the crowd can understand the projects. Videos and pictures help, as does active communication— answering questions and providing updates.”

Crowdfunding is all about appealing to the consumer, having a strong internet presence throughout a campaign increases the likelihood of being able to chat and work with interested clients to ensure that the product develops smoothly, and that customer interest is sparked before the business is finalised. Finally, Xu suggested “setting a reasonable funding target. Investors do not want to back entrepreneurs that look too over-optimistic.”

While crowdfunding is generally a relatively safe way of acquiring income, it does not come without its pitfalls. Firstly, the crowdfunding industry is still relatively young. Rules and regulations are still being constructed, meaning that there are disputes from case to case. Additionally, crowdfunding is less traditional than other financial methods, meaning that there is often hesitancy when a business looks towards crowdfunding. Venture capital is similar to crowdfunding, but its investors generally exchange funds for shares in a company. Also, when comparing the two, venture capital is run by a firm who specialises in researching and analysing the predicted success of a business, meaning the reliability of their accuracy is more sound.

Crowdfunding is often a two-way street. Many people who source funds from crowdfunding sites are regular participants themselves. The community

aspect of it appeals to many, and often the feedback a potential investor can provide to an optimistic entrepreneur can help them with their business plan.

Crowdfunding presents many opportunities a startup business needs: money, validation, and followers. If all goes according to plan, and donations are of a sufficient level, a crowdfunded business gets a lump sum of money that they can put towards further production or development.

Should a business idea be met with no demand, or negative feedback, crowdfunding is a tool in which businesses can use to assess their situations. Why endure three years of production, for instance, when a company could spend three months assessing consumer feedback online, instead? Finally, crowdfunding provides something that other platforms often can’t offer: exposure that can be obtained before any activity. An entrepreneur can propose a new business online without any physical premise, or without any products completed. If their idea is strong enough, and their advertising is sufficient and likeable, crowdfunding can kickstart their business idea into existence. Gaining followers also means that when something is released, or when the business officially opens, there is already a group of people invested—both literally and figuratively.

With proper social representation and online presence, crowdfunding is an excellent way in which startups can acquire those hard-to-reach funds in a business’s life.

What is Factoring?

Small to medium enterprises often face challenges with cash flow, especially early on in the business. If there is no cash coming in, this can lead to stagnation or halted production.

There will come a time where business owners will need to look for outside help to have a constant cash flow. Young fashion companies, for instance, will often find that banks are resistant to lending them money due to the nature of the fashion industry.

However, there are banks and finance companies that offer a range of options to keep the cash flowing.

Financial factoring is one option using the money owed as security, turning unpaid invoices into cash.

Factoring can help a new company continue to produce products even though they may be waiting on payments coming in.

Factoring is relatively flexible and can be tailored to fit both parties. The amount of funding available is based on the total of the debts owed, not the business’s financial history. The clients benefit from having access to funds without having to wait for

slow payers, though there is a fee from the provider.

At this stage, banks seem less flexible than financial providers when it comes to this type of lending arrangements. However, there is a drive for cheaper options and more flexibility, especially when it comes to factoring. As banks like dealing in lowerrisk schemes, criteria for their factoring is usually unreachable for a start-up business.

There has been a negative stigma around financial factoring, seen as a lender of last resort.

However, business financing is paramount for companies where growth outweighs cashflow, and now factoring has gained more acceptability.

There are risks when factoring. Although it can be good to see some money coming in, it is still an additional fee for the business. Another area that can lead to trouble is when there are unclear terms and

conditions. Sometimes financial providers advertise with misleading figures or hidden fees. Again, this is potentially very damaging to a smaller business that is already on the lookout for a solution to a cash flow problem. There are definite things to be sure of before entering any agreement; the risks could be high.

Although factoring presents itself as a relatively safe and organised way of providing cash flow, there are a few things to consider. If the cash isn’t necessary and production and retail can continue, then perhaps there is a better option. If the business needs funds in order to proceed with business, financial factoring may be a good way in which they can to inject funds fast. Just shop around and read the small print in each option.

apparelmagazine.co.nz

I9

editor ' s pick

KATE JONES Kate Jones’ first interaction with the fashion industry was by fluke, as she was faced with the choice between fashion and food tech in her year nine class. Her choice then is what began her career in fashion and has carried her here; to the presentation of her thought-provoking graduate collection. “Through my collection, I am portraying the two sides of the denim industry,” explained Jones.

Death by Denim is a commentary on the industry with the intent on leaving viewers wondering if they really need another pair of blue jeans. “As the fast fashion industry becomes cheaper and cheaper, production costs and quality suffer.

These low production costs mean that factory workers are not paid a fair living wage and are often working in hazardous conditions,” elaborated the designer.

Jones hopes to facilitate discussion in the industry by raising awareness of the sectors supply chain issues through her collection.

“I am targeting both consumers, and industry professionals as change needs to begin at home before change can occur at

MAX DUNCAN Passion is the key to emerging designer Max Duncan’s success.

He has translated his passion for creativity, design and innovative presentations of self into his work as a designer, and most recently into his collection ‘Curtains of a Candle’. “I tell stories. I dissect the details but explore the vision,” articulated Duncan. The story he told with this latest collection was extremely philosophical, tackling man’s relationship with life and death. The emerging designer described Romantic-Gothic as the visual language of his presentation, and he incorporated a variety of design techniques to achieve this aesthetic. “Deconstruction and tailoring allowed me to form a dark and sharp cut which was used in the bias dress, while satin silks and silk georgette

10 I March 2019

production.”

This collection is what kickstarted Jones’ sustainability and ethically conscious presence in the industry. “All three of my garments were made from hand out of 80 percent recycled materials to avoid adding to the consumption of denim and have been distressed and painted by hand using safer and less toxic methods,” related Jones.

Additional inspirations for her collection came from designers such as Victor and Rols and artists Nick Cav and El Anatsui.

“These designers inspired me to start developing a story or statement through fashion and textiles.”

Jones intends to translate her array of experiences into building herself a career in fashion both here in New Zealand and internationally. “University has given me a lot of industry connections. I also found that simply volunteering on any project the pops up means that more doors open for you it’s a great way to meet other industry professionals,” she revealed. “Currently I am not selling anything I have made, but I am open to new projects and commission pieces.” katemcjones58@icloud.com.

allowed it to move freely,” explained Duncan. “Boning in the male’s trousers allowed me to render a skeletal aesthetic, which can also be seen in the opposing looks spinal wings.”

To bring his collection to life, Duncan applied the skills and lessons he had learnt from his time at Massey University and as an intern. “Interning for Kowtow I learnt that big brainstorms aren’t underrated – they’re amazing, and they set the tone,” related the young designer. Design for Duncan is about both technical skills and vision. “Sewing is a necessary skill to learn if you want to develop your design skills further,” he expressed. “But I also want to marry fashion, music and performance in a way that everyone can experience and enjoy.” Duncan’s intentions as an up-and-coming designer are complex, and he is prepared to tackle the challenges ahead of him, both in the creative and technical spheres. “I will begin selling online in the near future, but for now I am beginning to soundly use social media as it is a useful tool for marketing and sales.” The emerging designer intends to continue to expand his business and home in on his skills, and fortunately for him, he never falls short of inspirations. “Anything can inspire me if I keep looking up and out.” maxrobertduncan@gmail.com.

DANNI BARNES-ANDERSON

JO SHIERLAW After three years of study at The New Zealand Fashion Tech, Jo Shierlaw is committed to translating her love of fashion into a successful career. “I have a huge passion for fashion, an eye for detail and a love for expressing bright and bold colours,” announced the emerging designer.

Following the release of her graduate collection, Shierlaw is preparing to launch her brand, which will combine the different ideas she is most passionate about including her culture, love of colour and unique innovation. “My goal for this year would be to get into our graduate. Further on I would love to incorporate my culture into a collection, with beautiful Chinese art styles and colours.”

Shierlaw’s graduate collection was inspired by abstract art, and she created unique textiles which showcased bright and bold forms throughout her designs. “My pride and joy of this collection was defiantly my pom-pom bomber jacket, where I handmade each of the individual pom-poms in different shapes and sizes and stitched them all around the jacket. It was so fluffy and looked like its own fabric,” she revealed. The young designer also found inspiration in her favourite designers including Yayoi Kusama, Matisse and Raf Summons. “I adore Erin Robertson who won season 15 of Project Runway as she was so crafty and fun with her textiles.”

The knowledge this emerging designer has attained throughout her early career at both the New Zealand Fashion Tech and her time as an intern for Yu Mei is what will carry her into the next tiers of this industry. “Always value your tutors, especially with all the notes and skills they give you.

They always come in handy later on when you’re working on your own.” joshierlaw@gmail.com.

This young fashion enthusiast has transformed from a typical fast-fashion consumer to an innovative designer committed to influencing the industry she loves. “When I began to really understand the fast fashion industry I found my passion and had a goal to change my habits and focus the rest of my degree on designing and creating clothing with a purpose and a story,” explained Danni Barnes-Anderson. “I aim to influence designers and consumers to make better decisions.”

For Barnes-Anderson, her journey to becoming an industry influencer began with her graduate collection. The emerging designer set herself a challenge to incorporate sustainability into her collection, without sacrificing on style. “All of the garments were made completely from deadstock fabrics, low waste patterns and some are even naturally dyed,” elaborated Barnes-Anderson.

While sustainability is seen as a challenge for many designers, this young creative saw it as an opportunity to combine two things she is passionate about; design and the environment.

JOHANI LOUW This emerging designer’s first experience with the fashion industry came at a very young age.

“When I saw my first issue of Australian Vogue I remember getting so excited about the editorials and the magic created in an image through clothing, and from that moment I religiously kept up with all the major fashion weeks,” revealed Johani Louw, a graduating designer.

Louw has combined this love of fashion with her own personal values to create a thoughtprovoking graduate collection. “One of the most valuable things I learnt during my time at university was the importance of following my gut instinct and focusing on ideas and issues that I am passionate about,” declared Louw. “Focusing on ideas or issues of which I am familiar with has allowed me to extend my creative capabilities in terms of how far I can push myself to convey a message.”

Louw’s collection, Salient, was built from 10 pieces and explored issues of equality.

“Salient works to expose patriarchal ideals of the feminine and subvert them, so as to make the feminine loud, unapologetic,” said the designer

“Seeing the collection come together knowing that each piece completely spoke to my values was the most amazing feeling.”

Barnes-Anderson has found inspiration in brands which incorporate meaning into their designs and are committed to making a difference in the industry, the people who she one day hopes to mirror.

Looking into the future, Barnes-Anderson is preparing to embark on an internship she was awarded by Hawes & Freer and following that she intends to start to make a name for herself and her brand, Danni Rose. “I would love to have my own store in the future, but for now I’m fresh out of University, so I really just want to gain as much experience as possible,” reported the emerging designer. She will carry this experience into the next stages of her career, where she “aims to help inspire and influence others to make a conscious effort in improving the fashion industry, whether that is buying, creating or even designing.” dannirose.barnes@gmail.com.

proudly. “The collection uses excessive colours, textures and shapes which build upon and expose different parts of the female body. This is to create conversation around what defines the feminine, and how this idea differs between the male gaze and the gaze and understanding of women.” Louw is inspired by the social and political issues she sees around her, as well as other designers who share her visual aesthetic. “The designers I am most influenced and inspired by would have to be Alessandro Michele and Molly Goddard, with both of them working fearlessly with colour, texture and print.”

As Louw looks to expand her label, she expressed to Apparel Magazine her commitment to sticking to her values throughout her career. “I don’t want to build something for the sake of making the most money in the world, but rather so as to enhance the experiences of being an expressive human being in our society.” johani3louw@hotmail.com.

apparelmagazine.co.nz

I 11

vancouver fashion week highlights

AJ OU R

A VIV AA LIS

Vancouver Fashion Week's Fall/Winter 2019 saw an abundance of talent from across the globe. As the fastest growing fashion week in the world, Vancouver Fashion Week actively seeks out international emerging designers to showcase their designs on a global stage with an array of international media coverage. The team at Vancouver Fashion Week strives to identify undiscovered talent and connect them with buyers and media.

KE AN FR

BE DL AM

MA BU 49

DA MO SU

S EX AL

T SR

ES YL ST GH SIN

IA EL EM

KA US EM OC EA N

LIS AA VIV A

TA YL OR

IA GIN VIR

YU

KA US EM

I BA YYA AZ CR

LI AN RY

LO AR

N TO AY CL AN EV

12 I March 2019

LO TIL AS XC

ISO TO PE S PR OF AN ITY

CO

A LL MI CA

S EX AL

MO RO

YU

A IN UL PA

E IC CT LE EK

S LL NA UN HR RA SA

LO AR

LL AG UN O

JE SS ICA

NO EL ZIN IA CH AN GS TU DIO AU TH EN TIQ UE

T EC RF PE

IA GIN VIR

T GE VO IA ILV YS TH CA

IK UZ TG PA

U NG I JI EM

D ST CE

R OU AJ

K ZU OF US HA

CA RM EN

RE TU FU

KE AN FR

N TO AY CL AN EV

YU PIN EN CH

I 13

apparelmagazine.co.nz

apparel presents

I had an amazing time! It was great to be in a professional show and to have trained models that didn’t need much direction they just went out there and killed it. Makes all the hours designing and sewing worth it. Having all the eyes on my garments then meeting media was the best feeling. I got a lot of really good feedback on my collection as well. It's awesome to have the experience of being in an international fashion show and will definitely count for something in a portfolio. Caitlan's and Tania's experience with runway shows was extremely helpful and I’m really grateful they were there to make things run smoothly and give advice.

14 I March 2019

The highlight of my Vancouver Fashion Week would be the Fashion Camps alongside seeing the high calibre of work from all the other talented designers and the diversity of skills and designs. It is a true community and getting to meet so many like-minded people was amazing. My favourite part from the show, which I didn't expect, was the overwhelming amount of support and praise I received on the other side of the curtain from both media, friends, family and complete strangers. Once the show was finished, my models and I walked out on to the runway and were showered with interviews and kind words. I spoke to Refinery 29, HOLR Magazine, Calm Magazine, Dazed Korea, Ashley Macey, Jennifer Love, Kristina Mcinnis, Jessie Price, and many more.

I absolutely enjoyed Vancouver Fashion Week it was an amazing experience. I next plan to set up an online store and to enter some fashion competitions when I get back. It was an amazing opportunity to be able to showcase at VFW. My label is still at the beginning stages so with showing at Vancouver fashion week I was able to get a lot of exposure and it was a great way to network with other designers and media. Also being able to come out with a couple of my looks right after the show was a great way to interact with the media and audience in which I received a lot of positive feedback from. I also found a lot of value in attending the fashion camps as I learnt a lot from them. Many thanks to the Apparel team for giving me this incredible opportunity,

apparelmagazine.co.nz

I 15

colour trending

LANVIN Resene Eye Candy

ANGEL CHEN Resene Adrenalin

AALTO Resene FOMO

MARINESERRE Resene Mozart DRIES VAN NOTEN Resene Daredevil

16 I March 2019

MUGLER Resene Away We Go MAZARINE Resene Whimsical LANVIN Resene Nourish JACQUEMUS Resene Party Zone

hat do orange, purple and green have in common? They are all secondary colours, and they are having a moment this season. Move over blue, yellow, red – secondary colours are here to stay.

Dries Van Noten opened their Fall 2019 RTW show in Paris with a sea of black garments. Light shades of purple were slowly introduced, followed by a soft yellow and mint. As the looks became more playful, bold orange accents in a shade close to Resene Daredevil elevated the collection.

Starting with a bang, Marine Serre’s Fall 2019 RTW show opened with full one pieces like this purple number in a hue like Resene Mozart. These one-pieces were a staple look throughout the show along with the repetition of the crescent pattern.

Aalto favoured shades of green in almost

every look at their Fall 2019 RTW show in Paris this month. The collection paired bold patterns with different textures to create a distant family resemblance of garments. A highlight of this was the green knitwear in a colour similar to Resene FOMO partnered with a pair of matching dyed snake skin boots.

Ready for rain or shine, Angel Chen’s loud collection of bright reds, oranges and yellows spoke for itself. This Fall 2019 show really had it all; pairing utility-styles with oversized streetwear and punchy graphic prints and stripes. Each garment competed for attention down the runway. This textural coat boasting secondary colours got our attention, the orange hue close to Resene Adrenalin was featured throughout the range.

Lanvin honed in on earthy oranges and browns alongside complementary colours for their latest Fall 2019 RTW collection. One of their standout looks was a green coat in a similar colour to Resene Nourish. This look included two pairs of pants worn on top of each other in contrasting textures

that were an effortless match to the coat. Later on in the collection, a male model strutted a bright purple pair of trousers, in a hue like Resene Eye Candy, topped with a see-through skivvy that featured the collection’s core print.

As always, Jacquemus flaunted an effortlessly cool collection that focused on oversizing, lines, textures and bold block colours. Staying true to the brand, each look exuded a retro revamp of the modern power suit. Pants optional. Orange and green hues ruled the collection with a highlight being this blazer in an orange close to Resene Party Zone.

A signature collar design was the key takeaway from Mazarine’s Fall 2019 RTW show in Paris.

Almost every garment showed off the new silhouette around the models necks in a variation of colours including a purple similar to Resene Whimsical.

Despite being a very print-heavy collection, Mugler’s Fall 2019 RTW show had the equivalent of a palette cleanser, serving foamed neoprene. This block coloured modern take on suiting boasted large rounded silhouettes like this jacket in a colour close to Resene Away We Go.

apparelmagazine.co.nz

I 17

industry according to

Giusy Bettoni, founder of the multi-platform textile and technology hub C.L.A.S.S sat down with Apparel Magazine to share her insights on the purpose and functionality of sustainability in the fashion industry.

Giusy Bettoni GIUSY C.L.A.S.S

18 I March 2019

Bettoni first launched the platform in 2007, after 28 years of experience in the industry. “It was when I launched C.L.A.S.S that I realised for the first time that technology was there to really integrate sustainability into the fashion industry,” shared the innovator. According to Bettoni, the industry’s problems with sustainability stem not from a lack of interest or concern, but an inability to translate them into products which are suitable for consumers.

“Consumers are looking for solutions to their everyday life, not just for a single moment.” For brands, it is important to include sustainability in their business practices instead of having it as a side interest. “When I say sustainable, it is not always in the way you might think,” explained Bettoni.

“I mean something that is beautiful, a novelty and responsible. While it is not easy, I think it is essential to include all three elements. We cannot think that a consumer is going to go back and forget about the advantages of looks and innovations just because a product is ethical.” For Bettoni, this assumption was one of the main failing points of brands’ early implementation of sustainability into their operations. It is not enough to simply be responsible you must have all three features to appeal to your consumer.

Market research in 2007, when C.L.A.S.S was first formed, indicated that consumers were willing to pay up to 15 percent more for a sustainable garment, but this statistic has not been represented among new research in 2018.

Bettoni believes that it is not consumers’ lack of interest holding them back from sustainable purchases, but a lack of communication. “You can say you are eco-friendly, sustainable or green as much as you like, but it is time for more than just words: you must measure what sustainability is to you,” insisted Bettoni. “One of the key things we push with C.L.A.S.S is brands’ ability to communicate sustainability, for customers to know their brand not just their products.” Customers are still prepared to pay more for sustainable apparel, but to spend the money they need to know why they are paying it, where it is coming from and how you created it. If you are doing something worthwhile, communicate it. “Retailers are now pushing their brands to tell them how the things are done because they want to tell the consumer more about the source. It is all about completing the circle of communication.”

C.L.A.S.S has recently expanded their services from education to sales with an e-commerce site bringing sustainable and innovative materials to consumers. Sales were never a part of C.L.A.S.S’s mission; however, the operations arose from great frustration with the industry. Students, emerging designers and up-and-coming brands were becoming invested in the conversations C.L.A.S.S was having regarding innovation and sustainability but found that they had no way to source these materials at a reasonable price point. “We were in a position of educating these newcomers, people who are most ready and embracing of change, but they couldn’t access the means,” Bettoni insisted. “If you want the next generation to change things, how can they do this if they cannot utilise the innovations.” Thus, their e-commerce platform was launched, providing materials and finishings for a maximum of 50 meters to small companies eager to become part of the sustainability conversation. “This e-commerce is a fantastic way to empower newcomers to work with and understand new materials. In the future they may become designers, buyers, managers or merchandisers, and they will know the value of these materials and take the experiences into the company they will be working with.”

Bettoni is confident that the fashion industry has a secure future with sustainable textiles, as there is such an extraordinary variety available to designers. When asked to share some of her favourite innovations, Bettoni likened the question to a mother being asked to pick her favourite child. “Every material is the best material when it fits the collection it is being used for,” she explained. “Everyone is always looking for the next big thing, but every material is great because it is a solution provider.” Bettoni foresees profound changes in the fashion industry in the coming years, influenced by the amazing solutions to sustainability being developed every day. “The apparel industry started in the 17th century, but we need to change the way we do garments. I think in the next ten years we will see a radical change, not just in how we use materials but how we use garments,” she related.

We are being led into a new era of innovation, sustainability and economy, and the fashion industry is continuing to prove its ability to adapt to the changing world. “I am really pleased and proud to be part of this industry, even it is the second most polluting one at the moment.”

BE THE

STORY. not just part of it .

Let us help your company achieve more than just being quoted in a story. The Apparel team produces engaging, informative and interactive digital & print content that leverages storytelling, and company narratives. We distinguish your brand in a highly competitive market while reaching the industry’s top decision-makers and market-influencing audience.

Call 09 301 0142 ext 706

radar

Who's Who in Costume Design The world of costume design combines designers' unique flair with the visions and intentions of a collection of film, television and theatre writers’ creative visions. Apparel Magazine sat down with some of the world’s best and brightest costume designers to discuss their careers and industry insights.

Lauren Millar

Unitec Costume Design and Management Lauren Millar studied Costume Design and Management with Unitec, and her studies thrust her into the start of a promising career. “As far back as I can remember I have loved clothes, although I’m not sure I’d call my kindergarten outfits high fashion. My favourite outfit as a fouryear-old was a yellow cardigan with matching yellow shorts,” shared Millar. The designer has come a long way since childish fashion faux pas, as she was one of 250 designers around the world selected to display a piece of her work for the Innovative Costume of the 21st Century: The Next Generation exhibition in Moscow. Her look was inspired by the 1952 film,

The Greatest Show on Earth and was her central project during her final year of studies. “I worked very hard on it right through the initial pattern drafting and toiling to hand stitching on each spike, carefully placing and hand stitching all the ribbon onto the bodice.

I recovered the boots and made the hat and necklace from scratch. I am incredibly proud of how it has turned out,” explained Millar. The designer expressed that she is most proud of how unique her work appeared, setting it apart from the other designs in the showcase.

Following this incredible opportunity, Millar mentioned her eagerness to continue making waves in the industry. “I plan on

continuing to work hard and create as many costumes as I can, I love being part of a creative team. Even when it’s a small role I feel like I am contributing to something big.” Millar relies on both her creative spirit as well as the knowledge she has acquired during her time with Unitec to carry her into the next phase of her career.

“To be able to hone my craft in a safe, supportive and creative environment was an amazing experience and I would not change it for the world, I learnt so much, and I know I would not be where I am now if I hadn’t got it.”

Costuming is such an immense category of design, and Millar expressed the array of opportunities at designers’ fingertips. From film, theatre and festivals to art and dance, costuming is a broad world for any creative mind. “Not many things can become fashion, but anything can become a costume,” she concluded.

Ane Crabtree

The Handmaid's Tale, The Sopranos, Westworld Ane Crabtree was first introduced to the world of costume design when she began feeling dissatisfied with her existing work. “After being in fashion for a time, and being completely enamoured of it, I began to feel a bit bored. I began to become inspired by real folks on the street: butchers in the meat market, homeless people, a certain kind of taxi driver, the Fifth Avenue doyennes dressed to the nines.” This inspiration drove Crabtree to begin working in music videos, film and television. She has been a costume designer for some of the world’s most wellfollowed shows including Westworld, The Sopranos and most recently the HBO hit show The Handmaids Tale.

While designing costumes for a specific series or set of characters is a deviation from developing to your own aesthetic, Crabtree expressed that she is still able to infuse herself into these designs. “I think it is very difficult not to let the personal find its way into the work,” she confessed.

The now signature costumes found on the set of The Handmaids Tale, in particular, communicate the designer’s unique aesthetic perspective. “It just happens that The Handmaid’s Tale is very personal and visually simple and modern, as a tale. My own

20 I March 2019

style of clean, modern, and sculptural, with an industrial bent, seems to flow symbiotically, with the costumes. The story was too personal for me not to include my personal style.”

Working as a costume designer, Crabtree communicated the importance of considering your filming locations.

For The Handmaids Tale, there was an extreme variation in shooting conditions, and the designer’s costumes needed to be both appropriate for the plot of the film and the actors. “I had to be judicious when choosing fabrics. We had to go from 100 degrees Fahrenheit to minus 30 degrees, all in one season,” she revealed. “I was going to use only wool gabardine, as that idea seems to fit with an aesthetic of industrial wear, but that would have killed my actors.” In the end, she was able to find a compromise which appealed to the variety

PHOTOGRAPHER: NATHAN CYPRYS

of considerations she was facing, utilising a mixture of fabrics including wool, rayon blends, canvas and linen-cotton.

Being a part of this show was a highlight for Crabtree as she was able to connect with the series’ social commentaries. “It has influenced fashion, politics, and humour, and for that, I am most grateful,” related the designer. But she also shared that with any career highs come lows. “I wasn’t asked back to other seasons of a few TV shows.” However, the designer was insistent that while these moments may have appeared as setbacks, they turned out to be opportunities in disguise. “I think life happens the way in which it’s meant to. We often don’t understand this at the time. I think I overcame these moments by doing something greater, and within that, greater for my own purpose.”

Crabtree’s latest project is a on a feature starting Anne Hathaway and Ben Affleck entitled ‘The Last Thing He Wanted.’ The flick is an adaption of the Joan Didion novel of the same name, and the designer expressed her excitement in being a part of this project.

Erin Hirsh The Voice USA, Kanye West, Rhianna Erin Hirsh finds her edge as a costume designer comes from her background in performance, as she originally began designing with costumes for her dance troupe.

“I started my career in fashion as a stylist, but when I had the opportunity to create an outfit for stage, I found that process so very comfortable. Having had experience as a performer, it just felt like a right match,” shared Hirsh. “I think my experience as a performer has absolutely enhanced my ability to design for other performers. I have found this world of pop stars very at home, I knew what they needed as an artist to move comfortably.”

Understanding the specific needs of your client is one of the most crucial parts of design, Hirsh divulged.

“I can create something beautiful, but if it doesn’t fit what they are doing it is pointless.” While functionality has been a key area of focus for the designer, she has also had opportunities to let her creative spirit free. “I love the playing process, because you don’t always know how things are going to work, but there are features I am drawn to and you can experiment until you find an outcome you like. It is that playing that ignites the creative part in me.” This creative process has led Hirsh to some of her most influential designs which featured on the main stage of Madison Square Garden and in venues around the world. One of Hirsh’s favourite designs was an armoured blouse made entirely out

Zaldy

Ru Pauls Dragrace, Katy Perry, Nicki Minaj, Michael Jackson Zaldy has had his creations seen on some of the biggest stages around the world, earning him multiple Emmy Awards and a Costume Designers Guild Award. But his love for the industry came from humble beginnings, as his creativity emerged as a young child. “I used to take all of the sheets out of the linen closet and drape gowns on myself! It was such an innocent, freedom of expression because I didn’t know what I was doing. I didn’t know I was draping gowns, I was just having a creative fun time,” revealed Zaldy.

This creative flair led him to study fashion design at Parson and FIT, and he began to drive a fashion career which covered an extensive variety of industry positions. From modelling for the likes of JeanPaul Gaultier and Vivienne Westwood to becoming a styling assistant

of bullets for Rhianna’s iconic music video ‘Hard’. “I love taking something out of context and redesigning its purpose,” confessed Hirsh. This out of the box thinking also saw her design some of Kanye West’s most well-regarded looks. “The first one I did for [Kanye] which was very enlightening was actually one very few people saw. It was for a European tour, and the exploration in that project lead to further exploration of technology where we ended up creating his light up jacket and glasses for the Grammys.”

For Hirsh, the trick to effective costume design is understanding and utilising your medium.

For stage performance, this means using finishes such as rhinestones and sequins which can catch the light and enhance the audience’s visuals. While for other mediums, such as television, it is about understanding your client’s personal needs. “When The Voice came along I had no idea what to expect. They really took a chance on me because I had only experience with music and pop stars, I had never done television,” admitted the designer. Hirsh made a pivot into the world of television after having her son, as she found that the lifestyle she had in stage would no longer fit in with her new circumstances.

“I remember speaking with the executive producer

for Pam Sunday, to the launch of his namesake collection in 2001 and eventually a remarkable career as a costume designer.

For Zaldy, the world of costuming requires incredible dedication and compromise, as designers must be able to combine their own visions with that of their client’s.

“I love collaboration and costume design works together with all of the different departments’ talents to create the final images. In fashion you’re really only out to please yourself,” he explained.

Zaldy insisted that being able to understand and work with clients is an invaluable skill in the industry and has led the designer to some of his most esteemed roles. “I have a very special creative collaboration with RuPaul that began when we did the video for Supermodel together,” revealed the designer. “The archetypal ‘Ru Paul’ image we initially created is so alive and strongly defined that it allowed Ru and I to create almost telepathically rather than traditionally with only sketches and swatches. We both understand what the needs are for each performance and the trust so deep it allows us to know what to do instinctively.”

Understanding that each client has a different set of requirements is crucial to creating lasting relationships within the industry and pleasing each collaborator. Zaldy’s work with Cirque Du Soleil was a particular occasion where this skillset was applied.

“Each discipline and each artist has specific needs and boundaries that we consider while always

before she hired me and she asked, ‘Can you do normal?’ I was like ‘Yes I think I can’. I was just asking them to please take a chance on me,” insisted the designer. This career pivot ended up becoming a bright new chapter for Hirsh as the show swiftly rose to international fame. “It ended up becoming so big so quickly and I have just been riding this beautiful wave ever since.” For Hirsh, the primary difference between the two mediums of costuming, from a designer’s point of view, is the turnaround. “For a competitionbased show, you have to design and execute between 24 and 48 hours. You don’t get the luxury of getting really into your process of sourcing fabrics from all sorts of places, you kind of just have to go on instinct and immediate instinct.

That process is completely different.” But Hirsh has found that the intense labour focus has allowed her to trust her instincts more, and she has found herself thriving in the new environment.

Looking ahead, Hirsh still has a host of career aspirations she hopes to fulfil in the realm of costuming. “I love the idea of getting into a character because I could get in there and play, being half psychologist, half designer.” The world of costume design, according to Hirsh, is full of potential.

trying to push the design to the limit,” explained the designer. “Even if twenty feet of trailing ombre chiffon might look incredible flying forward on the rings it would all get caught up in the lines flying backwards. You learn not to compromise, but how to design within the parameters and how far you can push the parameters.”

Despite immense success throughout his career, Zaldy shared that there have also been low moments. His most significant low point was when his role as costume designer for Michael Jackson’s ‘This is It’ concert series was cut short due to the performer’s sudden passing. “We were all on such a high and to lose your client suddenly to death was maybe the deepest sorrow I have felt,” he confessed. However, it was the designer’s drive and commitment to his career that allowed him to move past these low moments. “It is all part of the experience and drives you to make choices to move forward.”

Looking ahead the designer has a reinvigorated sense of creativity which he hopes to express in brand new ways. “I look forward to designing the right film for me, perhaps a great historical costume drama or an epic sci-fi fantasy feature.

I am also dying to design an Olympic Opening or Closing Ceremony. I’ve come close but still waiting.” The costume industry holds such an intense variety of opportunities for creative players, and Zaldy has demonstrated the immense potential for elaborate careers the industry holds.

apparelmagazine.co.nz

I 21

How to include modest fashion in your assortment

edited

‘Modest clothing’ receives 8,000 Google searches each month in the US. And religion isn’t the only reason women are opting to cover up.

For some, it’s a personal preference; they find modesty empowering. With the #MeToo movement, women are dressing for themselves than for the male gaze.

While the majority of customers are based in the Middle East, demand is growing in the US and UK. We’ve studied how modest fashion trends have evolved, as well as what opportunities brands can tap into.

BRAVE NEW WORLD – TREND SHIFTS IN THE UAE

#METOO AND MODESTY Modest dressing has been gaining momentum for some time. In 2017 new modest products arriving in the US included long sleeved dresses, high necklines, midi dresses, and maxi skirts.

We’ve charted steady demand for these items throughout the year followed by a spike in October.

This coincides with the #MeToo movement going viral, showing how fashion reflects global trends.

Modest fashion is a serious game and it’s not slowing, there’s been a 15 percent increase since 2017.

in the UK. Growth in the UK was driven by brands such as Zara, Vero Moda, and River Island.

In the luxury market, hemlines start to come down.

The midi is the key shape, making up 53 percent of the total skirt assortment. Designers buying into this style include Gucci, Marni, Tibi, and Jil Sander.

New designers are pushing boundaries by introducing color and patterns to traditional garments, a bold move in contrast to standard black.

So who’s wearing modestly? Western women in the US make up 36 percent of customers shopping on The Modist, a ecommerce platform for luxury modest fashion. The retailer showcases pieces from luxury brands alongside up-and-coming middle eastern designers.

Our color analysis software shows how color has evolved in this market. Let’s start with analyzing new abayas (long traditional robes) arriving at Namshi and Noon (two of the largest UAE retailers) over the past three months compared to a year ago. While black still dominates, playful colors like red and pink are increasing. Over the past three months, black made up 59 percent of the new abayas arriving at these retailers. When compared to the same period a year ago (201718), black was 74 percent.

The abayas color wheels reveal an obvious swing into brighter colors and less grey. This confirms bolder tones are becoming more acceptable within this market. There is a similar trend in prints, which are rapidly gaining popularity.

There’s more growth in another area, too. Jewelry has seen a 37 percent uptick over the past three months compared to the three months prior. This is a powerful category, especially for younger consumers who wear accessories as a statement. Jewelry is an easy way for brands to gain footing in the UAE market. Rings have seen a 347 percent increase followed by bracelets 136 percent, necklaces 5 percent and earrings 4 percent.

22 I March 2019

HOW IS RETAIL INTERPRETING MODESTY? The luxury market is pioneering the modest fashion movement. Dolce & Gabbana launched a range of hijabs and abayas back in 2016. Since Alessandro Michele joined the helm at Gucci, more feminine and elegant pieces started to trickle through. This evolution is obvious in Gucci’s recent marketing, a stark contrast to their campaigns from the early noughties (‘G’ pubic hair anyone?).

Meanwhile, Kenzo and Burberry’s Spring 2019 campaigns featured long silhouettes, chaste necklines, and headscarves.

Over the past year, modest styles have shifted in both the luxury and mass market. In the US luxury market, there was a 50 percent increase YoY of long sleeve blouses with a high neckline. Compared to the mass market, this style experienced a 13 percent decline in the US but a 15 percent increase

While the maxi skirt makes up the smallest percentage in both markets, this silhouette has grown 55 percent in the mass market YoY and 67 percent in luxury.

Modest active and swimwear still stand out as an untapped opportunity for Western retailers. It’s been over a year since Nike launched their Pro Hijab with next to no competition from other pure-play active brands. Slazenger and Marks & Spencer have dabbled in a small range of burkinis.

FALL 2019 INFLUENCES Analyzing the latest runway shows, modest elements were prevalent in all cities.

Jil Sander, Etro and Dior showcased covered dresses and layering emerged as one of the strongest trends of the season.

High necklines were among the key shapes for tops alongside blouses featuring long sleeves and a feminine bow tie. For commercial silhouettes, knife and box pleats give a workwear feel to midi and maxi skirts.

Outside the shows, we saw headscarves on Milan fashion week attendees, giving the accessory the street style seal of approval.

Seeing these looks on the catwalk confirms the continued presence of modest dressing. While this market has seen growth, there’s still an open space for specialist categories. Muslim spending on fashion is predicted to reach £286 billion by 2021 so the time tap into this market is now.

trade talks

How to get the most for your business when it comes time to sell Looking at selling up? Unfortunately, a number of businesses won’t be attractive enough to sell, resulting in some just closing the doors.

Less people, with less capital, who have little appetite for risk having to operate in tighter markets could make your business harder to sell for what you want. Your business has to stand out as a good bet – profitable, interesting and have future.

There are a number of actions you can take to get your business exit strategy right: How it looks – make sure it looks sharp, desirable and well poised for the future.

Profitability – ensure it shows good and healthy accounts.

Cashflow – build your sales and minimise unnecessary expenses.

Systems and processes – ensure they are working well and fully documented for ease of transfer.

Unnecessary assets and dated or surplus stock – get rid of it.

Documentation – ensure all agencies, leases, licences, patents and contracts are current and in place.

POISED WITH A FUTURE Homeowners will often give their houses a makeover to help them sell and get their best price. Business owners need to do likewise to maximise the value of their opportunity. Making your business look attractive, and showing that it has a future will help maximise your price and catch the attention of more potential buyers.

If necessary reposition your business to show it has a future. Also clean it up, attend to maintenance and replace, fix and paint so it becomes the sort of business someone would want to buy.

THE CASHFLOW Ensure your business accounts reflect a well-run and hopefully profitable business.

The value of a business is invariably determined by its current and future profits. Buyers and lenders will look at the performance of the business over the last three years to guide them in assessing future trends and profits. Always be on the lookout for ways to increase sales and reduce your costs.

SYSTEMS AND PROCESSES Owners are often the main source for client contacts and daily operations – with other activities being assumed by staff. Unfortunately, this only attaches the goodwill to the owner, and is a concern to potential buyers. By working through the key areas of your business, hone and document your systems and processes. These along with reducing the businesses dependence on you will assist in reducing the risk, and in transferring the goodwill with the business.

STREAMLINE Any assets, be it plant or vehicles, which are not essential to running the business should be removed from the balance sheet. Removing these assets prior to the sale will ensure that the price being asked for the business includes only the assets essential to running it. This helps keep the asking price lower.

Review all stock on hand and clear out any dated or surplus stock. Again, this will help keep the asking price down.

Compile a comprehensive list of all assets and their values. This will help quantify what the business comes with.

Richard Obrien DIRECTOR NZBIZBUYSELL

leases formalised appropriately, then it is much easier to quantify and attach a value to these non-tangible assets.

Buyers want facts. Be prepared to answer everything and anything about your business. This includes balance sheets, sales, staffing, and your assets and liabilities to mention a few. If there are any issues then it pays to sort these out before listing your business for sale.

SELLING Put an exit strategy in place so you have time to prepare your business for your best outcome. Check out the free seller resources and download a “Business Seller Checklist” to help you work through the process so you have a more saleable and valuable business.

Business buyers are looking for the value. Prepare your business for sale and be realistic about your price expectation.

For more information email Richard O’Brien at Richard@nzbizbuysell.co.nz or call 021 846 219.

QUANTIFY If your systems, processes and customer lists are well documented, your contracts are in place and any

apparelmagazine.co.nz

I 23

AMY LOUISE REDFORD

REBECCA CARRINGTON

SARAH HAWES

DAYUN LEE

EILY SHADDOCK

CICLO

ANNA PETRY

LOVINIA ILOLAHIA

ROSETTE HAILES-PAKU

H&J Smith iD International Emerging Designer First Place Award 2019 Rebecca Carrington, Manchester Metropolitan University, UK

Therapy + Psychology Free to Be Me Award Cassandra Casas Rojas, Kent State University, USA

John and Marelda Gallaher Family iD International Emerging Designer Second Place Award Betty Liu, RMIT, Australia

Barbara Brinsley QSM Carpe Diem Award Carolina Nicolucci, Micaela Pena, Catalina Peralta Martinez, Ciclo.

University of Buenos Aires, Argentina

Gallery De Novo iD International Emerging Designer Third Place Award Sarah Hawes, UTS, Australia The Fabric Store Award for Excellence in Design Award Anna Petry, RMIT, Australia

24 I March 2019

London College of Fashion, South Korea Dayun Lee, Cavalier Bremworth Wool Award Beca Sustainability Award Bethany Cordwell, QUT, Australia

ROSETTE HAILES-PAKU

LOVINIA ILOLAHIA

Holden Acadia Arrive in Style Award Eily Shaddock, QUT, Australia Viva Editorial Award Lavinia Ilolahia, AUT, Auckland Blunt Design Award George Clarke, Bath Spa University, UK. Apparel Magazine Most Commercial Collection Award Rosette Hailes-Paku, Otago Polytechnic, New Zealand

GEORGE CLARKE

CICLO

EILY SHADDOCK

CASSANDRA CASAS ROJAS

SARAH HAWES

CASSANDRA CASAS ROJAS

REBECCA CARRINGTON

GEORGE CLARKE

DAYUN LEE

ROSETTE HAILES-PAKU

RUBY

TSEGA GEBREMEDIHIN

RUBY

AMY LOUISE REDFORD

XIAOPING HUANG

apparelmagazine.co.nz

I 25

student life

KIMBERLEY FRANKLIN Massey University Emerging designer Kimberly Franklin has travelled to iD Fashion Week from Massey University to present her graduate collection which is described as ‘fashion made for humans’. “As a young woman, I was taught to chop and change my body for the viewer’s definitions of femininity but never was I taught to take hold of my physical capabilities and power of embodiment. ‘I am Human’ takes hold of these tensions of power and objectified feminine features and creates a cohesive vision of becoming into womanhood today,” she said.

Franklin’s inspirations vary from social issues, to her own childhood, and like-minded designers.

“Learning to sew introduced me to physical creation with a functional and artistic

EILY SHADDOCK QUT DIGIDENTITY is the name of Eily Shaddock’s graduate collection, which explores the link between the rise of psychological and behavioural issues among young people and the rise of social media platforms. “My collection aims to hold up a mirror to the current times and reflect a representation of our flawed society,” explained the emerging designer.

“DIGIDENTITY highlights incongruent user behaviour both on and offline. It explores the idea of the ‘true’ and ‘false’ self through juxtaposing silhouettes and contrasting textures, paired with highly distorted, custom digital prints and texturallydriven layered fabric manipulations.”

As seen at iD Dunedin Fashion Week, the collection included holographic fabrics, custom pop signage and natural wool covered laser cut mirror acrylics.

Shaddock is highly influenced by designers like Alexander McQueen and Iris Van Herpen.

26 I March 2019

purpose. Fashion and dress influence so much about how we live; the process is intoxicating,” she explained. In terms of style, Franklin was heavily inspired by British designers who push the boundaries of fashion such as Vivienne Westwood and Alexander McQueen. “I don’t see myself as a commercial designer or working within a commercial market. I would prefer to work in research and innovation.”

When it comes to translating her skills and passions into a career Franklin has expressed both her excitement and gratefulness for the opportunities that have come her way. “iD is certainly the biggest opportunity I have had, so hopefully getting this exposure will reinvigorate my hunger to create and design.” Franklin presented four looks for iD Dunedin Fashion Week, and her highlight of the collection was the inventive colour scheme, as it summarised her creative and boundarychallenging aesthetic.

“Individually each colour is so different that placing them together with the social connotations of the colours takes the viewer aback.”

“I am inspired by the way they can come up with a concept and make such powerful images and bodies of work that evoke raw emotion and showcase high artisanal skill,” she said. In terms of the specific themes of this collection, Shaddock drew inspiration from the world around her, and her generation’s interaction with technology. “I’m really inspired, conceptually, by this social media epidemic we are experiencing and everything it entails. I’m also heavily inspired by pop and satirical art that aims to reflect and comment on current times- a concept that I try to reflect throughout my design work.”

Looking into the future, Shaddock is committed to making her label, BRANDED, stand out among the fast-fashion which is taking over the industry.

“We are experiencing a ‘throwaway culture’ where outfits are worn once then thrown away or pieces are purchased because they are worn by influencers, not because the wearer has a connection to the garment,” she maintained. “I would want to bring a changed mindset and alternative way of thinking about clothing and personal style to the industry that I think often gets lost in our consumer-driven world.”

ANNA PETRY RMIT Anna Petry studied alongside her twin sister, and the two are preparing to launch a brand which combines each of their creative visions.

“Throughout our childhood, we would make things from anything we could get our hands on and make up stories and clothes for our dolls,” shared Petry.

Petry has always known that fashion was going to be a part of her future; there was simply no other path in mind. The designer presented a unique five look collection for iD Dunedin Fashion Week. “I wanted to create a sense of nostalgia with my collection,” revealed Petry. “The collection centres around a narrative of a child cutting up pieces from her mother’s closet, along with couches and the curtains from the lounge room.” The designer merged untraditional fabrics with complex techniques to create a one of a kind presentation. “My favourite piece from the collection is a tailored houndstooth curtain jacket. It was the most enjoyable thing to make because it felt like the first time the collection really came together. Merging the curtain elements with the tailored jacket was a memorable moment.”

Petry’s collection was influenced by other designers and the pop culture she interacts with, including books and movies. “A really good narrative inspires me to think about things differently,” she explained. “There are also lots of amazing artists and designers that I am inspired by such as Erwin Wurm, Bless and Cosmic Wonder.” Her own childhood played a large part in guiding her collection as well. “I was that kid who just wanted to rip apart anything she could get her hands on.

Within the collection, I utilised fabrics such as velvet, wool suiting and plastic to mesh all of these ideas together.” Petry expressed her intention to carry these inspirations with her as she heads overseas to begin her career.

“I want to travel and do an internship in London. I am excited just to gather as much experience as I can.”

PHOEBE LEE Otago University This free-spirited designer is committed to following a career of self-expression. “Growing up, I loved to be creative with art, decoration and dressing up. It felt right to express myself through these things and to challenge what can be done with creativity and inspiration,” related Lee. Her brand, Dream Love Thrive Create, combines the emerging designer’s unique style, attitude and approach to creativity. It is the mode she uses to express herself.

Showcasing at iD Dunedin Fashion Week Lee’s graduate collection included five looks, each with their own unique quirks which encapsulate the emerging designer’s unique creative energy. “My favourite garment in the collection is a printed bomber style jacket,” she said. “I had the fabric digitally printed, full of many different illustrations that accumulated through my student workbooks and personal sketchbook. Each illustration was bursting

OLIVIA GOONATILLAKE RMIT When asked about her first experiences with fashion, Olivia Goonatillake reminisced about her childhood. “I have been making things since I was a little girl. I remember sewing clothes for my teddies and making dress-ups using my mum’s old rickety sewing machine, which sparked a life long obsession with creating,” she related.

Now, as a graduate from RMIT University with an Honours degree in Fashion Design, Goonatillake has applied her natural creativity with wise words from her mentors into the graduate collection shown at iD Dunedin Fashion Week. “The most valuable thing I learnt was to let your imagination run wild and worry about paring it back later. To push the boundaries of what you consider fashion, how can you blur the lines between fashion and art?"

The emerging designer presented five looks for the runway of iD Dunedin Fashion Week, which utilised a unique array of

with its own idea, making the jacket thrive with an array of visuals.” The collection combined different creative techniques including painting, pattern, patchwork and layering to create a complex and highly conceptual presentation which demonstrated Lee’s appreciation for each outlet. “My collection is based on my passionate need to create and is basically a big exploration of self-expression. My brand celebrates uniqueness and is made to inspire wearers and onlookers to dream, love, thrive and create.”

To bring her creative vision to life, Lee pulled from a range of inspirations. “I am inspired by a lot of things. My own feelings and experiences play a big part in how I design, as I want to create quirky items that play against conformity and make you feel good.”

Lee also drew inspiration from like-minded designers such as Jeremy Scotts, who made her realise that style and expression are more than just beauty.

“Manish Aroad’s designs also inspired my dreams of idealisation, romanticism and fantasy worlds.”

techniques and unusual materials. “I was especially inspired by special effect techniques such as silicone, body casting and resin, and I tried to figure out a way to translate these effects onto the body,” shared Goonatillake. “Throughout the collection, I used resin and fabric to mould rigid garments and body casting to create resin body doubles. The overall effect was jarring, and I loved that uncomfortable reaction.” Goonatillake expressed her love for creating garments, and the creative process of making art out of nothing. “Being able to experiment with a tangible, physical product encouraged me to be more creative with what I was making. Making things is a lot more enticing to me than sitting down and drawing out ideas.”

The emerging designer recognised the skill it took to design an outfit but communicated the important place she felt sewing and practical skills have in the industry. “If we were to lose the art of sewing, we would be losing a huge amount of knowledge that has been perfected over decades. These skills are invaluable.”

SEAN KETTLE AUT When it comes to designing clothes emerging designer Sean Kettle believes in presenting unique collections that have a specific point of view. “Make as much of a statement as you can, as you have nothing to lose,” said the designer. Kettle applied this viewpoint into the creation of the graduate collection he presented at iD Dunedin Fashion Week. “My collection explored the relationship between sculptural purity and raw sombre depth through dressmaking,” he shared. To bring this idea to life, Kettle implemented a variety of unique techniques. “I cut bonded leather into dramatic forms which are informed by the minimalistic volumes of Cristóbal Balenciaga and painted bright pop colours,” explained Kettle. Other inspirations include Alexander McQueen, who he said greatly informed his stylistic choices. “McQueen was the first designer who made me want to tell stories through cutting and challenge how you view fashion.” Other techniques which featured in the collection included hand dyed gradients, raw hems and spray painting. “The highlight of the collection for me was a dress which consists of blue leather and spray-painted organza, the juxtaposition of the materials and the animalistic way it is cut resultsed in an interesting look.”

Kettle recently graduated from the Auckland University of Technology and expressed his desire to one day open his own store. “I would like to have a store one day, as I think the physical act of shopping will always surpass online shopping,” he divulged. Kettle is eager for his brand to stand out against the background of fast-fashion. “The lacklustre state of contemporary fashion provides great opportunity to make a statement.” The designer expressed that his inspiration can come from so many different avenues, anything that is theatrical and has a sense of wonder has the potential to inform his process.

apparelmagazine.co.nz

I 27

fashionable films

GRETA This psychological thriller will have audiences on the edge of their seats as director Neil Jordan presents the story of an obsessive stalker who will stop at nothing to get what she wants, or who she wants.

The film’s costume crew included Jodi Bowers, Nicola Flynn and Amy Kerslake, who combined their expertise to create a truly unique costume experience.

The costuming for Greta, the elderly psychopath who begins to stalk, torment and ultimately capture young Frances McCullen, is at first rather sweet. The old French woman wears a collection of coats, gloves and hats which make her appear stylish but in a rather classic, and at times, dated way. Her manner of dress is distinctive but not peculiar, allowing audiences to pick her out from a crowd wihout those within the world finding her odd.

As the film becomes more unsettling, and Greta becomes a figure to be feared, her costuming becomes

even more powerful. Her silhouettes can be easily made out, and as she stalks young Frances we get only a glimpse of her hat, the bottoms of her coats or her shoes but we are certain it is her. By giving this character such a recognisable style of dress, the costume department was able to enhance the movie, adding to the thrills and chills.

Her dated appearance fits in well with her methods of madness. Greta is not particularly gruesome; rather she turns to capturing Frances as she manipulates and traps the young woman into acting as her own obedient and subservient child. She is much like a controlling and overly strict mother, except with the crazy volume turned up. Her costuming helps to bridge the gap between the normal and the strange, and her apparel becomes synonymous with her character, she would not be the same wearing anything else.

VOX LUX Vox Lux describes itself as a 21st-century portrait, whereby society is critiqued and examined through the life of Celeste Montgomery. Montgomery survives a school shooting and ends up using this tragic platform to project herself into a life of popsuperstardom.

Natalie Portman plays Montgomery some decades after the school shooting that changes her life, where she is seen struggling with addiction, her platform as a pop icon and her now tumultuous relationships with her family. Costume designer Keri Langerman presented a glam rock inspired set of costumes for the performer, giving her a look that was irreverent but also utterly unique.

Montgomery’s costumes were in no way plain, from her mainstage outfits to her press conference looks the pop star is decked out in over the top garments, hair and accessories. Neon leather, lace and glittering textures all played substantial roles in the singer’s costumes. The outfits were head turning and made

CAPTAIN MARVEL Marvel has premiered a brand-new superhero who is ready to take the world into her own hands.

Brie Larson played Carol Danvers AKA Captain Marvel, a feminist icon in the comic book world and now in the cinematic one. In the original comic series, Captain Marvel was highly sexualised, but the hero was given a revamp in 2012 when author Kelly Sue DeConnick gave her a new and much more functional look. This overhaul was the main inspiration for the costumes in the upcoming cinematic release, designed by Andy Park.

Park combined the classic material with modern day features, such as armoured elements and a spacey theme. In an interview Park elaborated upon his reasonings for his adjustments to the original costume. “It was finding that balance of that formfitting bodysuit that is invoked in the comic books

28 I March 2019

and bringing a military realism and a utilitarian suit into her Captain Marvel look.”

Captain Marvel’s super suit is closely linked to that of Captain America, one of Marvel’s most well-loved action stars. The two costumes have a similar colour pallette, utilising reds and blues, and both sport a star like emblem on their chests.

Captain America’s emblem is representative of the American people, and overall acts as a symbol of righteousness. Captain Marvel’s symbol has a similar effect. She is a member of the Starforce, an organisation which brings hope to intergalactic planets. “In the similar vein of Captain America, the suit is a symbol that gives the Kree people hope and inspires them. They’re not just trying to be stealthy and hidden. The suits have gold and a star.

They have elements of bling,” added Park.

Montgomery look like a star. However, beyond this her costumes made a massive statement. While Montgomery looked the part, completely over the top and highly stylized, her actual self was falling apart.

She was hooked on drugs and unable to properly communicate or sustain relationships with her family.

Her dramatic costuming emphasised how alienated the singer felt, she could not relate or talk to the people around her, making her feel alone.

The costumes were all sourced from vegan-friendly materials, as insisted upon by Portman, which proved a challenge for the costume designer. In an interview, Langman confessed that it was a real struggle to develop their vision under the tight restrictions. “You would hope you could just walk to a store and buy snakeskin, skin-tight, vegan-leather leggings, but, unsurprisingly, they just don’t exist,” quipped the designer. But despite the limitations, she was able to develop a series of looks that were truly iconic and sustainably sourced.

Veganuary: Strategies for Success

edited

The Economist predicted 2019 to be the ‘Year of the Vegan’, and it has certainly started with a bang. Veganuary (which has been a thing since 2014), has been encouraging people to stick to a plantbased diet for January, this year saw a record of 250,000 pledges!

While this movement primarily affects the food industry, it’s becoming important for fashion retailers to also cater to this market.

VEGAN TRAILBLAZERS The US, UK, and Germany are the major markets investing in vegan products. By the end of January, we saw a significant 75 percent increase in products described as ‘vegan’ in the UK YoY. In the US, this grew by 11 percent, yet as you can see in the graph below, they have a significantly larger assortment than the other markets. According to Mintel research, Germany is the global leader in vegan food and drink products and development. This market experienced an impressive 131 percent increase in their vegan product YoY. Other vegan-friendly regions to keep on your radar include France and Denmark.

Paris is poised to become the sustainable capital of fashion by 2024. The “Paris Good Fashion” initiative is an open community for industry professionals to champion eco-conscious practices. We have already noted a 12 percent increase in France’s vegan products YoY. With Paris focused on innovations for sustainable materials and sourcing, we can expect to see their investment in vegan products thrive over the next five years.

Denmark is home to the Copenhagen Fashion Summit, the world’s leading business event on sustainability in fashion. In their 2019 CEO Agenda, they encouraged fashion retailers to push for industry standards for animal welfare and continue to research alternative solutions to fabrics. In the Danish market, we tracked a whopping 320 percent increase in products described as ‘vegan’.

BEAUTY DOMINATES BUT FOOTWEAR IS GROWING Under the ongoing consumer demand for crueltyfree products in the beauty industry, beauty vegan products arriving between December 2018 and January 2019, surmount all other categories. Of vegan products new-to-market,

Vegan alternatives allow you to buy into animal print trends while keeping your costs down. All the while you are getting eco-friendly brownie points! the beauty sector makes up 82 percent in the UK, 40 percent in the US and 62 percent in Germany.

We are seeing a considerable shift in vegan-friendly shoes in the US market. A year ago, footwear only made up 16 percent of new arrivals. However, at the end of January 2019, this has leapt up to 32 percent.

Retailers like Lulu’s, Free People and Steve Madden have been busy updating their footwear assortments with pleather and faux suedes. Meanwhile, J.Crew contributed to Veganuary by dropping sustainable flip flips in a rainbow of colors.

UK footwear and accessories have seen slight growth from a combined 15 percent in 2018 to 16 percent in 2019 of the total assortment. This shows an apparent gap in the market for retailers to test the water with alternative fabrications.

For Spring, Marks & Spencer launched an animalfree footwear collection. The collection consisted of over 200 styles catering for men, women, and children. Despite being honored with PETA’s first ever “Vegan-Friendly High-Street Retailer” award, Marks & Spencer were quiet about their animal-free footwear line.

While Office (UK) and Free People (US) both promoted vegan shoes, Veganuary promotions remained minimal and primarily related to food. This leaves open an opportunity for retailers to push communications – time to snatch the attention of those 250,000 vegan pledges!

WHAT’S LUXURY’S ROLE IN ALL THIS? After years of campaigning, we’re seeing a rise in luxury brands deleting fur and exotic skins from their collections.

Designers such as Gucci, Chanel, Burberry, Versace and, most recently, Victoria Beckham have vowed to keep their catwalks fur-free. This cohort sets an example for the rest of the industry to follow and operate on developing materials with a low environmental impact.

We are already seeing a 41 percent decline of women’s fur arrivals for January YoY in the UK luxury market.

Stella McCartney, Nanushka and Dr Martens already operate in this space.

While great strides have been made towards eliminating fur, there is still a long way to go. PETA has now turned their attention on banning the use of wool, even campaigning the Dorset Village of Wool to change their name to “Vegan Wool”.

Despite the consistent growth, there’s still a need for retailers to find vegan alternatives in garments – particularly with wools. Need more convincing?

Vegan alternatives allow you to buy into animal print trends while keeping your costs down.

All the while you are getting ecofriendly brownie points.

apparelmagazine.co.nz

I 29

classifieds

Custom Woven and Printed Labels, Hang Tags, Fabric Care Labels, Size Pips, Tagging Guns, Barbs, Security Loops jenni@tagtimeanz.com 027 824 8463 www.tagtimeanz.com

StyleCAD # 1 Top Selling

PDS/Pattern Grading & Marker Planning System.

StyleCAD is helping hundreds of companies in Australia, New Zealand & Fiji. Plus thousands world-wide.

To find out how a StyleCAD System will help your company Email: graeme@elizabethmachines.com.au

More Than Just Bias Binding Contact PHILIP TANNER philip@generalproducts.co.nz

09 3735762

www.generalproducts.co.nz

30 I March 2019

NEW

RABBIT and FOX

Costume and Apparel Architect, Pattern Design + CAD Pattern design + Grading + Marker service + Content and care labels + rabbitandfox.co.nz hello@rabbitandfox.co.nz +64 21 1616 364

​New Zealand’s number one supplier​​of industrial sewing, embroidery, steam​​& curtain automated machinery.​

Complete Sampling Service Patternmaking (computerised & manual) Computerised Digitising & Grading (Card or paper patterns) Computerised Marker Making (Compatible with Pad, Gerber Accumark and Lectra) Sample cutting with Fabric Estimates Sample Making Production Runs Production Cutting

​L​EADING BRANDS​:​ Juki, Tajima, ​B​rother, Pegasus, Jiffy, Eisenkolb, Typical, Stirovap, Siruba

Email: sales@walkersotech.co.nz or sales@sewingtime.co.nz

0800 446953 • 09 525 0011​​• 03 366 1112 • New show room at 23 Fairfax Ave, Penrose, Auckland • 8 Stanley St, Sydenham, Christchurch

Call the team at Ph: (09) 369 9249 or email helenh@hsr.co.nz 21D PORANA RD, WAIRAU VALLEY

www.walkersotech.co.nz or www.sewingtime.co.nz

KEEN CUTTING CO

Co

(Compa Samp

Automated or manual cutting available.

We can organize pattern making, computer grading and marking.

Get in touch and see if we can help.

Ph 09 276 8338 or email keencutting@xtra.co.nz 5/91 Huia Road, Otahuhu, Auckland 1062

BOOK NOW

CONTACT CAITLAN 09 304 0142 EXT 706 OR

caitlan@reviewmags.com

Ph: (0

Top quality products require the best quality.

You’re lucky.

We’ve got the best threads, needles and accessories for you.

terryapparel.co.nz apparel@terrys.co.nz tel: +64 9 966 1832 24m Allright Place, Mount Wellington Private Bag 14-935, Panmure, Auckland 1741

Joining your product apparelmagazine.co.nz

I 31

www.propress.co.nz