Apparel Magazine | April 2019

$ 9.00

APRIL 2019 I VOL 52 I NO 04

J.GRUBENMANN

pg.24

2 I April 2019

fashionable reads

Kitty Flanagan's 488 Rules For Life

By Kitty Flanagan Combining wisdom and humour, this book gives excellent advice for making the world a more pleasant place to live in. Each small insight provides a warming experience and offers readers the assurance they need to undergo a rewarding and self-satisfying journey through life. While not everything in life is perfect, and most people you meet will be immensely irritating - Flanagan insists that by following these rules readers can avoid unpleasant interactions, and instead laugh at the ridiculousness that surrounds them. “Rules are great. I love rules. Rules are what differentiate us from the chimps.”

Living With Vincent Van Gogh

By Martin Bailey This famous artist is explored through a new lens, as Bailey examines the internal and external factors which influenced the life and work of Vincent Van Gogh. People, places and internal struggles are explored with depth, providing even the biggest Van Gogh fan with new snippets for understanding. Alongside thought-provoking new insights is a collection of the artists’ most stunning and memorable art pieces, which elaborate upon the books extensive understanding of the man. From archives imagery to modern photograph and featured artwork, this collection presents an extensive array of work from one of the world’s most beloved artists.

8 SECOND IMPACT editor ’ s note

By 2020, Generation Z is expected to account for 40 percent of all customers. Just let that sink in. Born after 1995, these teenagers are already making waves in your business. Like any new generation they have a flare for impulse purchasing, backed with a buying power of $44 billion which quickly expands to $600 billion if you include the influence they have on their parents. While Gen Z don’t check their emails, and are burning majority of their cash online, it’s not quite doomsday for marketing to them. Not surprisingly, each new generation that has come along has posed new challenges and evolving is key for any business to survive any generation. A recent study showed that Millennials have the attention span of 12 seconds, while Gen Z has the attention span of eight seconds. Despite this, Gen Z can process a lot more information in those eight measly seconds as a direct result of growing up in the technology age.

As a result, you only have a few seconds to capture their attention. This is where genuine, quality content matters. A large number of Gen Z are hopping off Instagram as influencers peak and are considered false prophets. My older brother described an Instagram feed as a river, only the people who stand at the riverside will see what goes past. Meaning an end to profile aesthetic and pointless nine enlarged grid photos that end up being spam in the feed. Unless they have turned on their notifications for your posts, you will be lost in a relentless flowing river of content.

My point is, have a point. Why are you posting this photo? What is the story behind it? I’ve talked about Social Selling before and it couldn’t be more true. Creating genuinely engaging content is crucial

to capture loyal customers. Instead of working with influencers, work with loyal customers. They are more likely to share with their friends what they actually wear rather than an influencer who only cares about one paid post.

I am proud to be running my father’s publication which he started 50 years ago. I’m proud to continuously support tertiary education providers and graduate designers. I am passionate about supporting local businesses and buying New Zealand Made wherever I can. That’s how Wellington-based NOT FOR YOU got on my radar. Since you’re reading this, you probably already know we have an ongoing media partnership with Vancouver Fashion Week, where each season, Apparel Magazine showcases three emerging New Zealand designers. “Apparel Magazine has supported us since we first met,” said NOT FOR YOU designer Jerome Taylor. “Because of Vancouver Fashion Week and Apparel Magazine, we were lucky enough to be offered the opportunity to have a solo show at Harbin Fashion Week in China.” The exciting emerging New Zealand made brand is making waves overseas and is proudly representing New Zealand on international stages. Bradley Smit, a designer Apparel presented at Vancouver Fashion Week in March, was also offered the opportunity to show at Feeric Fashion Week in Transylvania as a direct result of showing at Vancouver Fashion Week. We are so proud to be representing emerging New Zealand talent on a world stage. If this sounds like you, submit your lookbook via email for our October show.

I Miss You When I Blink

By Mary Laura Philpott Being a working parent is challenging, and this new exposé provides poignant and relatable revelations about what it really means to juggle the domestic, the profession and the creative lives you wish to lead.

Identity crisies are as much a part of life as periods of assurance, and this guide teaches readers that in those times of struggle throwing your hands in the air is not always the best option. Who am I, who am I not, and where do I belong? These are questions we all struggle with, and that is okay.

The Chronology Of Water

By Lidia Yuknavitch A beautiful tale of survival is told by award-winning author Lidia Yuknavitch, as readers are shown how to embrace life from every aspect. Emotions encompassing a diverse range of the spectrum can be found within these pages as Yuknavitch tackles feelings of desire, self-expression and the pursuit of beauty all through a love of swimming. It is a creative spirit which allows this swimmer to break free from the chains of abuse, loss and self-destruction in this inspiring new story.

CHAIRMAN

Peter Mitchell ISSN 1171-2287 PUBLISHER Tania Walters - tania@reviewmags.com Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand PO Box 37 140, Parnell, Auckland, New Zealand ADMIN/SUBSCRIPTIONS Kieran Mitchell - kieran@reviewmags.com +64 9 304 0142 NZ Apparel is published monthly under licence by Review Publishing Co Ltd. Please direct all EDITORIAL DIRECTOR Sarah Mitchell - sarah@reviewmags.com enquiries and correspondence to NZ Apparel. The opinions and material published in this edition EDITOR Caitlan Mitchell - caitlan@reviewmags.com 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 CONTENT MANAGERS Caroline Boe - caroline@reviewmags.com publisher. Copyright 2018 NZ Apparel Magazine.

GRAPHIC DESIGN TEAM

Raymund Sarmiento

Ciaran Carroll

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fast five

H&M WORK INSTAGRAM SHOP With the launch of Instagram’s new shopping feature, almost two dozen retailers are now offering Insta-checkout to their customers.

This includes brands such as Dior, Michael Kors, Zara and H&M. While the service is still in its beta phase, H&M has wasted no time in making the most of the offering. The group have 23 new social media personalities who are acting as ambassadors to promote their new collections through YouTube video and Instagram posts. The ambassadors will also be collaborating with the brand for a variety of events, exclusive products and fresh content creation.

This is the brand’s first influencer programme in the US, and the focus on digital content uncoincidentally coincides with

INVALUABLE EXPERIENCE The 2019 Expo Riva Schuh is the 92nd edition of the famed footwear event and will be taking place this June, making it the ultimate place to be for those involved in the ever-growing footwear industry. This event is a place where brands and buyers from across the world can meet to discuss new business ventures and the evolution of the industry, making it an unmissable event for those looking to stake their claim on the sector.

Representatives of some of the more influential footwear regions around the world will be making

the launch of the Instagram shopping platform, demonstrating the brand’s eagerness to see the service take off. The ambassadors represent a great variety of backgrounds, lifestyles and personalities, giving the brand a wider audience and ensuring a range of consumers are exposed to their products. “We saw a need to build more long-term relationships with a wide group of influencers who represent all H&M customers and embody brand values,” said an H&M representative. “This group of influencers will help [to get the word out regarding] special projects and initiatives through their own digital content creation.”

The launch of Instagram’s shopping feature gives the brand the opportunity to strengthen their engagement with their US division which despite rising in the last quarter is still not where the brand would like to be, according to the spokesperson.

appearances, with Italy, Europe, India and China all presenting a substantial showing. This diversity ensures that visitors can collate the most up to date information about the direction of their industry, place advanced orders and update their own production plans. In addition to forging connections, the event presents an innovative showing, educating buyers and brands alike on the international market trends and changes which could influence their region in the coming seasons.

The expo is a hugely valuable experience for those in the footwear industry and provides a diverse range of opportunities for those in attendance. This is the event's second showing for the year, with the first taking place in January, and is industry players last chance for 2019 to engage with such a diverse number of international names.

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MODEL MOLLYCODDLING? The health and wellbeing of industry models is being looked at with a magnifying glass, as concerns spanning decades have been raised about the mental and physical health of these professionals. The latest attempt to gain control over these problems comes from the British Fashion Council of the British Fashion Model Agents Association’s 2017 endeavour, The Be Well Collective. This is a non-profit group which will provide emotional support and education surrounding nutrition to industry models. Being formally endorsed by the British Fashion Council is a crucial step for the collective for the development of their movement.

The organisation employs a range of fitness trainers, stress experts and sleep therapists to educate models on the importance of self-care and to facilitate help for those struggling with industry pressures. Chief executive officer of the

4 I April 2019

British Fashion Council, Caroline Rush, released a statement explaining their decision to back the collective. “They understood the need to develop an independent committee that will challenge agencies, as well as industry norms, to ensure that models are treated with the same respect and care as all employees in the industry.”

Seminars are held by the organisation to ensure models, agents and employers are aware of the pressures facing these workers and understand how to put preventative measures in place to ensure a healthy work environment to all.

The group had their largest seminar turnout in February, with over 130 attendees.

During the event, the organisation’s founder, Sarah Ann Macklin - a previous model and nutritionist, shared her intention to establish the Be Well Collective as a charity to further assist their endeavours. Endorsement from the British Fashion Council is certainly a step in the right direction and will help to kick start their next projects.

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CUSTOMISABLE PYJAMAS

INVESTORS CHOICE Fashion funding is firmly focused on retail start-ups, particularly those offering unique customer experiences or those who are focused on the digital sector.

Glossier and Rent the Runway both received over USD $100 million in investments over the last two months as well as an implied valuation of over $1 billion in their first quarter. The amount of money per investments has increased dramatically, rising from $31 million per deal compared to $26 million the year previous. However, the overall number of investments in the fashion industry has dropped

compared to the previous year. Thus, while some businesses are receiving significant investments, others are going without.

The retail start-ups which received the most substantial investments in the first quarter of 2019 include the online sneaker platforms Stadium Goods and Goat, designer rental company Rent the Runway and beauty and cosmetics brand Glossier. Each of these brands received over $100 million in investments from various groups including Foot Locker and Farfetch.

Menswear retailer Indochino is best known for their custom suits, providing comfort and style for fashion conscious men around the world. Their latest endeavour will ensure that these same men look and feel great all day long. The group have launched a made-tomeasure sleepwear range as a part of their expansion into more casual apparel.

Shoppers can customise a selection of features on their new pyjamas including lapels, buttons, pockets and cuffs, ensuring that their sleepwear is as formal and well presented as their everyday apparel.

Peter Housley, Indichino’s chief revenue officer, released a statement celebrating the brand’s expansion into made-to-measure sleepwear.

“Since we expanded beyond

suiting into custom casual wear, we’ve been inundated with great new product suggestions from excited customers.”

One of the key features of the new range is the heat-trapping ability of the garments, ensuring the ensembles are perfect for cold winter nights and provide the wearer with a better quality sleep. The patterns of the clothing were inspired by the brand’s jacket linings, incorporating designs such as their classic navy polka dots and floral burgundies.

“Our expansive range of bright and bold linings is an opportunity for customers to show some extra flair.”

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retail eye

TWENTY-SEVEN NAMES Twenty-seven names have become an iconic New Zealand brand, and the company is continuing to expand their presence around the nation with the opening of their new flagship store. The brand’s founders Anjali Burnett and Rachel Easting spoke with Apparel Magazine about the new outlets unique offering, and the type of future it poses for the company.

The flagship sits at 27 Ghuznee Street in Wellington, ironically sharing the brand’s name, but

Burnett and Easting chose this new location for their flagship not only because of the fun coincidence. They chose the location because it was so close to their workroom, and the area had proven to be a fabulous location for business. “We have been here for the last seven years,” revealed Burnett, “Ghuznee Street is the best, everyone is so kind, so when the option came to join our mates we jumped at the chance.” Having the store in their own neighbourhood gives the directors the unique ability to fully immerse themselves in its operations. “Being so close means that we can be hands-on and more reactive, which we are really relishing in.”

The store’s fit-out was designed by the director, their partners and their friend Rufus. The group working around the clock to pull together this fresh retail experience. “Our concept for the store was for it to be a love letter to the Wellington women who have supported us for the last five years,” shared Burnett.

Key aesthetic features of the store include concrete walls, glass brick finishes and a high stud, all very minimalistic. “The store is a showcase for our collections, which are colourful, so we wanted the space to be neutral, ensuring that the clothing is free to speak for itself,” explained Burnett. The fit out has a very gallery-like feel to it, which allows the brand’s collections to be presented in a calming and personal way. “There is a real distinction in the changing room area, which is separated with a glass block wall. This area creates a sense of privacy and space, which allows the customer to have their own personal experience.”

The directors have used the same hands-on approach in the construction of this store as they had with their previous establishments. Their main intention with the flagship is to ensure their customers feel relaxed and welcome. “We want people to feel at ease in the store - to be able to have a little fun in there, to see the clothes in a beautiful space.” By embracing the raw beauty of the location, Burnett and Easting have created a flagship store that highlights the beauty and intricacies of their collections. “Each garment has a story to tell, and we love to share it.”

student life

ROSETTE HAILES-PAKU OTAGO POLYTECHNIC WINNER OF APPAREL MAGAZINE MOST COMMERCIAL AWARD 2019

Rosette Hailes-Paku combined her unique inspirations from her childhood with the skills she had acquired from her time with Otago Polytechnic to create a collection which was both highly conceptual and commercially viable.

“When starting this project, I knew I wanted to create work about a really important experience in my life, and I wanted it to be an experience people could relate to,” related the emerging designer.

Hailes-Paku developed the concept for her graduate collection by looking back on some of her first experiences with fashion. The designer turned to her time in a Catholic high school and the feeling of conformity she felt during her time. “Being suppressed by so many rules and regulations made me feel as though I was rebelling without even trying. Throughout my time at school I felt this confusion between wanting to be free and be myself while being forced to believe things I didn’t believe, wear something I didn’t want to wear and blend in with everyone else,” she explained. Her design process began by taking aspects of the school uniforms she found so

6 I April 2019

restrictive and reimaging them with her own creative flair. The tartan pattern which ran through Haile-Paku’s collection was knitted into merino wool with the help of Otago Knitwear and created the base for many of the collection’s items. One of the emerging designers’ key items in the collection was a straight jacket inspired piece, which symbolised the restrictive qualities of her old school uniform. “To do this, I extended the sleeves on some of my garments and made them unnecessarily long as well as adding straps that can be tied around the body or arms.”

The emerging designer wanted to create a collection which conveyed her detailed concept but was also comfortable and commercially viable for potential clients. To do this, she combined free-flowing materials with techniques such as boning to appear restrictive, rather than actually being so for the wearer. This rebellious new range fits in well with HailesPaku’s current brand, Busy Going Crazy, which was launched in collaboration with communication designer Jessie Hamilton.

“Our brand embraces all things dysfunctional in the lives of adolescents while being heavily inspired by teen rebellion. We’re for the youth quakers, risk takers and un-shameful

party players,” asserted the emerging designer. With such personal stories inspiring her designs, Hailes-Paku communicated the difficulty she sometimes finds in looking at her work objectively and making the changes that will turn her collection from a vision into a reality.

“Getting really attached to my own work means that I’m pretty reluctant to compromise and find it difficult to take criticism,” she admitted. However, she also shared that she is willing to move past these restrictions in order to further her craft. “As I grow as a designer and get out into the real world, I think it is important to learn how to separate myself from my work while still maintaining the same passion and love I have for creating.”

Looking ahead, Hailes-Paku expressed to Apparel Magazine her eagerness to develop her brand, Busy Going Crazy. The brand started as a small project in the pairs spare time, creating print-based apparel to sell at the pop-up stores of iD Dunedin Fashion Week. The endeavour was immensely successful, with the items selling out. This, paired with her impressive showing during the runway gave the emerging designer confidence that pursuing this brand is the next step in her career. “We will be doing a collaborative project focused on our brand for our honours year at Otago Polytechnic and aim to show this range at New Zealand Fashion Week,” she said. “If we can pull that off, I think that will be a great opportunity for us to really get our brand out there.”

SS20

Apparel Magazine is showcasing emerging Kiwi designers at Vancouver Fashion Week’s SS20 season. This unique opportunity is thanks to our ongoing partnership with Vancouver Fashion Week which allows three upcoming designers to showcase their designs on an international stage to a range of international and local buyers, agents, distributors, industry influencers and media.

be seen .

Showcase your designs as part of our next group show in October.

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I7

The Instagram effect:

edited

how influencers drive successful fashion trends

Instagram influencer marketing is a $1.7 bn industry, with the tech giant ranking as the most important social media channel.

The platform is showing no signs of slowing down, with over 1 bn users as of March 2019 and over 500 million daily users on Instagram stories. And the app is forever expanding. It recently introduced a “checkout feature”, allowing users to buy items directly from the app, shaping the way we shop.

The growth of influencers over the years has seen payments for sponsored posts skyrocket. New features will allow accounts to “boost” sponsored posts, this gives brands a greater reach for branded content. And you can say goodbye to those annoying spam accounts liking your pics. Instagram is working to remove fake follows, likes and comments. This helps brands who work with influencers reach those with an authentic following.

So, can we measure the impact fashion bloggers and celebrities have on a trend from a post on the gram?

You bet. Brands can track the rise and fall of a trend in the market by using data. This gives them visibility on which insta looks to get behind and which to pull back on.

Find out how much the cow print trend increased after Kylie Jenner posted a photo in that swimsuit (spoiler alert: a lot!). But first, how have social influencers changed the way fashion trends form?

DISRUPTING THE CYCLE OF TRENDS Trends used to come about in two ways: they either trickled down from the runway or bubbled up from the street.

This method made it easy to pinpoint the lifecycle of a fashion trend. But, due to the rise of social media, it’s fair to say this now looks outdated.

Rather than a neat triangle of upwards or downwards movement, today trends work like a cycle. With each part of the wheel improving and challenging the last. A trend can start at any point, and will carry on through the wheel. The reactivity of key mass market retailers can provide rapid feedback on which trends have been successful and which haven’t. Viral social media trends can disrupt any part of this wheel as consumers take direction from influencers in real time.

8 I April 2019

THE STAYING POWER OF ANIMAL PRINT

Here’s some recent successful trends that have been bolstered by fashion influencers and celebrities on Instagram.

Animal print established itself as a staple pattern in the posts of fashion bloggers and celebrities alike. As a whole, animal print has seen a 371% increase in the US mass market since 2016 with leopard as the most dominant followed by snake print.

Leopard print products have increased by 345% since 2016 and snake print by 427%. The below graph reveals how both of these prints have grown over time.

THE RISE AND RISE OF NEON The return of this ‘90s trend was spearheaded by Kim Kardashian West back in August 2018. Kimmy stepped out in a custom Yeezy neon pink dress for sister Kylie’s 21st birthday. The whole affair was documented on Instagram, and almost instantly, Fashion Nova teased neon products inspired by the sisters birthday ensembles, including the neon pink dress.

Neon is hot in the KardashianJenner clan and other social influencers, creating more demand for this color palette. Spring 2019 runway shows saw neon hues favored among designers such as Off-White, Blumarine, Christian Sirano and more.

With both the runway and influencer tick of approval, highlighter hues began to flood the market. We charted the increase of new neon products against popular KardashianJenner Instagram posts. New arrivals and likes on posts trend upwards, especially from January after Kendall Jenner posted a pic in a neon green milkmaid top racking up 7.7 million likes.

Since Kim’s post in August until now, new neon product has grown a whopping 743% compared to a year prior. On Instagram, #neon is currently associated with over 10 million posts. Check out the below mass market products which have seen recent commercial success in the US market.

While leopard dominates this market, the number of new snake products is catching up to the alpha print. This suggests snake print will continue to be an essential trend, almost as important as leopard print, in seasons to come.

After Kylie Jenner grammed a picture in a cow print swimsuit, the print increased 260% over the past three months compared to three months prior. Other skins favored by influencers that are trending up include zebra by 9% and tiger by 6%.

INFLUENCERS IN COMMUNICATIONS Brands and retailers are increasingly incorporating Instagram within their communications. This gives their product more exposure to new audiences to help generate sales and develop brand identity. It’s common practice for brands to promote a hashtag for customers to use when posting their outfit. This helps brands build a strong sense of community and creates their own league of influencers.

Zara recently launched a collaborative Instagram account, @livingzara. Each week, a new influencer takes over the account to create content featuring items available to shop directly from Instagram.

apparel meets

Joanna Vargas CELEBRITY SKIN CARE SPECIALIST

The world of celebrity skincare is complex, but Joanna Vargas has taken the challenges in her stride.

Vargas offers one of a kind treatments from her spa in New York, owns a namesake skincare brand and is preparing to expand into body care. A-list celebrities including Mandy Moore, Mindy Kaling and Elisabeth Moss have entrusted the stylist with their red-carpet appearances, and now Apparel Magazine has sat down with Vargas to discuss her impressive career.

“When I opened my own salon in 2006, I knew that I wanted to focus on teaching women we could strive to be the best version of ourselves by doing things in a non-invasive way,” revealed Vargas. This was very much a pull against the norm. But there had always been a substantial push in the industry towards aggressive treatments. Vargas made a name for herself by doing things differently. “The reason I use noninvasive treatments in my salon is that I truly believe it’s the right path to real beauty.”

Vargas expanded her offerings from her salon into skincare and now body care, all to provide her customers with a wellrounded experience. “I wanted my products to be luxurious in experience, and for clients to feel like they were getting a piece of my services from the salon, at home with every use,” she explained. The key to skin care is simple, declared Vargas.

Despite people becoming increasingly savvy with their routines and products, creating a line which is effective and non-invasive is how the skincare expert has made a name for herself. “I developed my skincare collection because I wanted good nutrition for the skin and products that multi-task when I use them.”

“It has always been my understanding as a facialist or

skincare professional, that you have to take care of your whole body, not just the skin on your face,” asserted Vargas.

People have been ignoring body care, but the specialist has been dedicated to opening her client’s eyes. “I think people tend to imagine it as less necessary or at least less vital. The one thing I always remind clients is that the skin is an organ and needs care all over.”

For customers to achieve their skin goals, Vargas insisted that there is no magic solution, but by using the right products and completing the same steps every day, anyone can feel beautiful. “My proudest moments are when I can see I have given someone a new lease on life. Women come to me who have had acne their whole lives and when I cure it, I know I have changed their confidence forever.”

Vargas shared with Apparel Magazine that she is most proud of being known as someone who encourages women to embrace the things that make them unique. “I don’t offer cookie-cutter beauty,” she quipped. For those looking to expand their careers in the same way Vargas has done, she offered some simple advice. “Listen to your gut. I have made some really bold moves, but if they feel right you have to go for it!”

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I9

industry according to

Celeste Tesoriero

"Sustainable fashion. Producing in a way that can be sustained. Counter balancing what you take and the impact you make. Not depleting or damaging resources. Treading lightly. Caring for and supporting the entire supply chain of people who make your product. A seemingly easy ask from the outside looking in, but for a large established brand hoping to shift to this, it has been most fittingly described by Positive Luxury founder Diana Verde Nieto as “…changing the engine of a 747 mid-flight.” So what’s the current climate of the industry, what can drive the change and where is it all headed?

The future of fashion looks different. As the future of our lives look different, in every way. Five years ago we didn’t have Deliveroo. In three years we will have fully automated self-driving cars. Offices are downsizing and becoming less relevant as we change the way we work. Entire companies are now built without any employees working in the same location. There is a multi-faceted movement towards owning less, and borrowing more. So it is precarious to consider the future of fashion isn’t also radically changing. To find solutions to the now fragile wholesale business model, the industry needs to really understand how people like to do life. Then, relate that to the psychology behind shopping patterns and begin to see how the shift in everything else correlates with fashion.

Although not a new concept, sustainable fashion is still a subjective term. It can be interpreted widely. Sometimes, sadly, holding no weight or meaning at all. The most distressing issue prevalent is greenwashing. Greenwashing is where companies claim to be operating sustainably in order to boost reputation and therefore drive sales. No policy exists in fashion to give any incentive for companies to do the work before declaring themselves ethical or sustainable. Therefore, the research responsibility sits with the customer. Which is ludicrous.

Comparatively, the food industry has very strict regulation around labelling, with brands required to meet extensive criteria before making health claims, or using terms like ‘organic’. The difference? The purchase decision is easier. And in an age where things are getting more efficient, and purchasing anything we want is most literally at our fingertips, genuine sustainable brands are getting lost in the chaos.

So sustainability is subjective, and we need to be diligent in what we believe when brands claim this title, but to simplify the mess we can choose to focus on one element of fashion production that is meaningful to us. We can’t simply rely on what we are told is ‘right’. The information and science is continuously being updated. For example, when it first hit the market, designers (including myself ) went nuts for bamboo fabric. It wasn’t until the research evidence came in a couple of years later that we learnt bamboo wasn’t a good solution or alternative at all (mainly due to large quantities of chemicals needed to make it wearable). Experts have varying opinions to seemingly eco options such as; natural dyes (due to water consumption), organic cotton (land usage), ‘vegan leather’ (most commercially made from plastic), and the list continues. The answer - we need to choose our battles and identify with what is most important to us. For example, avoiding plastic is a priority to me. I do not support the leather trade, but I would rather purchase vintage or second hand leather boots than buy virgin plastic ‘vegan leather’ products. Once you can create this set of beliefs for yourself, you can start to find brands and products that align with your values.

10 I April 2019

With the confusion of what truly is sustainable, my personal solution lies in vintage and hiring.

Supporting vintage puts emphasis on stopping the unnecessary creation of new products - when the world is drowning in unwanted goods. It is also a decision based on quality, as ‘they just don’t make it like they used to’ rings frighteningly true. The explosion of hiring companies is testament to a world in which we don’t necessarily see the value in having more stuff (Note: Marie Kondo). Wardrobes so crammed we can hardly see what we own, items we have forgotten about for years, pieces with tags still attached - the sight of them holding the guilt of the money spent and wasted. The common theme with these two options? Having less. Wasting less.

Producing less. Whilst still getting that endorphin kick of wearing something beautiful.

Hiring is a fascinating option. This once daggy ideal is becoming popular in regions such as Asia, where people generally have the means to be buying luxury, but do not have the space in their apartments to store it. They gain the flexibility to wear a different designer outfit every day of the week, and lose the hassle of storing or dry-cleaning it. In a world where people don’t want to be seen wearing the same thing twice, it’s a win-win. Luxury brands, which were until very recently against hiring (the same way in which brands were at first hesitant to shift to having an online store), are planning how they can work this into their business model for the future. The industry is seeing the hiring demand shift from occasion wear to the career individual, where the customer is hiring pieces for the five-day working week. The concept of this thrills me. Especially where a corporate wardrobe cannot be incorporated into everyday wear. The space this would save in the modern wardrobe is something worth celebrating. Filippa K’s head of sustainability spoke at Premiere Vision in Paris last September, and she painted a picture of what the near future will look like in fashion. The part that stuck with me described going on a weekend trip, and not taking a suitcase.

Simply ordering what clothes you would like whilst at the airport, and they are packed and ready for you when you arrive at your destination. You then drop them back to the airport after your journey. A lot like hiring a car. Convenience at its finest. This is a clear example of being honest with how people like to do life. To believe everyone will switch to having a minimalist wardrobe of five pieces is unrealistic, and frankly not very fun.

The beauty of the ongoing ethical and environmental disaster of fashion production is it has brought a previously cagey and secretive industry together. Previous competitors realising the best way forward is to pool resources, share learning and create initiatives and common goals for the future.

I saw this first hand as part of the British Fashion Council's Positive Fashion committee. Sitting with representatives from brands such as Vivienne

Westwood, powerhouses such as Kering, and high street (or department store) institutions such as M&S. all whom sit in a room as peers, and discuss ways in which they can do better.

The future of fashion is bright. It is smarter. It is more efficient. It is exciting. Customers care.

Brands see the importance in this. Policy needs to implemented. Poor quality pieces need to stop being produced, especially on mass. We do not need more crap. Research. Ask questions.

Create your own set of values.

Buy something you will wear at least thirty times. Hire pieces you only want to wear once. It doesn’t need to be complicated. You don’t need to be an expert. Buy less, choose well. We drive the change."

retail eye

Superette International Superette International has quickly become a staple for Newmarket shopping, with the new retail establishment bringing high-end brands and intimate experiences to Aucklanders. Superette director Rickie Dee sat down with Apparel Magazine to discuss the unique customer experience this new development presents.

One of the biggest appeals of this new retail outlet is the intense variety of international brands on offer.

While the current Superette stores are primarily full of designers from across Australasia, Superette International intends to diversify Kiwi’s exposure to overseas brands, making them as loved and sought after as those currently available across the country. “When Superette first started we brought a lot of designers to New Zealand for the first time, a lot of which have grown alongside us and become household names,” revealed Dee. “When creating Superette International, this has remained in front of our minds and has developed the new concept to be all about discovery.” These international brands vary from wellestablished names to emerging talents, all bringing the same focus on highly considered trends, elevated accessories and premium wardrobe essentials.

In terms of aesthetics the new store bears the brand's same signature as their other outlets. Raw architectural elements paired with luxurious accents including velvets, textural cast concrete and draped

curtains create a polished and chic environment for shoppers, reflecting the feel of the clothes that line their racks.

Melbourne based design company DesignOffice collaborated with the retailer to create this unique aesthetic. “They really push the boundaries of what a retail space can be, every detail is considered, and they’re just people that we genuinely love to work with,” Dee volunteered. With over 17 years in business, Dee expressed that the retail group have learnt a lot about what does and does not work in their spaces but were always open to new ideas, and the DesignOffice brought these in droves.

With such a variety of brands present in this new store as well as the modern take on aesthetics, it

was critical for the company that their retail services also reflect this unique approach to fashion. “The space itself is quite different from our current stores,” Dee expressed. While the store shares similar design features to its predecessors, it is the retail experience which is the most significant addition and is what Dee hopes will put their store on the map. “We’re really committed to harnessing innovation to elevate the shopping experience, and as a result, we’ve created a totally personalised service to make the lives of our customers easier.” Customers can book one-on-one appointments with one of the group’s six in-house stylists who can help them develop a head to toe look which fits their desired aesthetic. “As we continue to strive to redefine retail, we’ve also created an online version of this service that delivers a curated range to some of our customers based outside of Auckland,” shared Dee. This intimate service is what will allow this new retail development to stand out from the crowd and prove that wholesale in New Zealand is still a force to be reckoned with.

This new development is the beginning of a new chapter for the company. Dee expressed that there will be new projects on their horizon, and they shall continue to look towards the future. “We’re always aiming to be better than we were yesterday so for us our focus is on continuing to improve and develop both Superette and Superette International.”

apparelmagazine.co.nz

I 11

20 minutes with

Amber Whitecliffe Amber Whitecliffe farewells the New Zealand fashion industry for now as her eponymous retail outlet prepares for its final days. Whitecliffe sat down with Apparel Magazine to reflect upon her five years of operation in the heart of Parnell.

Whitecliffe first opened the doors of her Parnell flagship in 2014 and grew her offering from womenswear to the bridal market, becoming the goto location for bridesmaids and mother of the bride dresses. With such a diverse expansion over the short time of her store’s operation, she shared that one of the most fundamental lessons she has learned during her time in the industry is to simply roll with the punches. “You have to be prepared for the fact that no matter how much forecasting and planning you do, retail can be a fickle rollercoaster that you just can’t predict.” It is not only the internal shifts of her company which impacted her operations, Whitecliffe shared that to be successful in retail one must be truly aware of the erratic behaviours of the industry and be prepared for shifts in the market. “You have to

12 I April 2019

accept that there are external factors such as weather and current events that can have a huge impact upon sales and you often don’t know if that impact will be good or bad,” she explained.

“Fashion, technology and our society are changing daily, and you need to be able to respond quickly.”

While the retail industry certainly has its challenges, Whitecliffe admitted that it also came with a great deal of satisfaction, mainly through the direct engagement she was able to have with her customers. “I have enjoyed the boutique vibe and providing

clothing that I am able to offer the service of fitting it to women’s unique figures,” she divulged. Working directly with her seamstresses to create custom fits has been a highlight for the designer as she was able to create a one of a kind experiences for her customers while celebrating the immense creativity of herself and her team. “Knowing that customers are not going to bump into someone else with the same dress and that they will receive compliments all day while wearing my designs,” Whitecliffe shared was simply an amazing feeling. “You have to really have a passion for [retail] and be excited to get up every day and do it. That fire in your belly is what will keep you going no matter what challenges you face.”

With the impending closure of her eponymous label, Whitecliffe shared her appreciation for the support she has received from throughout the industry. “When I announced my closure, I was absolutely overwhelmed by the heartfelt messages I received. It bought me to tears knowing just how much my garments and service have affected my customers.” Whitecliffe was also able to share her personal insights regarding the future of the fashion industry in New Zealand. “Fashion is a girl’s best friend. It will definitely always be there. I do fear a lot of New Zealand made fashion will continue to drop off as it is incredibly hard to make it work here.

I highly commend those who continue to do so.”

editor ' s pick

Emerging designers you need to know ANASTASIA BRODRICK

AUT

Anastasia Brodrick created a five look graduate collection which combined her passion for sustainability with a unique cultural concept.

Brodrick’s collection was entitled Fukkatsu, the Japanese work of resurrection. Throughout the collection are techniques which stem from this movement including Boro and Sashiko stitching. “The traditional patchwork evolved out of necessity. When a kimono or futon started to run thin in an area, a small piece of scrap fabric would be sewn over the area with the Japanese running stitch,” explained the emerging designer. The garments were traditionally worn by commoners, fishermen and farmers but were reimagined by Brodrick with a high fashion edge.

Brodrick engaged with sustainable practices by utilising recycled materials and repurposing them into contemporary evening wear with these unique Japanese techniques.

“My goal was to create contemporary investment pieces that will be reminiscent of the original kimono,” she elaborated. For Brodrick, sustainability is not only about preserving the environment but retaining our cultural heritage. “We should be continuing to pass on traditional knowledge and

LIAINA MALAMA

MASSEY UNIVERSITY Liaina Malama has used her passion for creativity as a mode of self-expression since a very young age.

“Although I was a very shy kid, I was always able to express myself through my passion for designing,” Malama shared. This creative passion only began to centre around fashion in Malama’s final year of high school after she created a fairy-tale themed wearable art costume. “This costume was selected to be displayed in a special exhibition at the Dowse Museum, and to this day I still look forward to watching every major red-carpet event so that I can see all the exquisite looks.” Following this, Malama met one of her first and most significant mentors who thrust her toward a career in fashion. “I met Nan Walden, who was the person who encouraged me to go to University and to study fashion design,” she shared. “She not only opened my eyes to the world of design but showed me the pathway to get where I am now.”

Malama’s graduate collection, Unfiltered Man, was highly conceptual and demonstrated her understanding of both the industry and broader societal influences. “I wanted to create a collection

14 I April 2019

that banished the influence of toxic masculinity, stereotypes and gender norms towards men and their clothing choices,” revealed Malama. She was inspired by the lack of diversity and creative integrity she had witnessed in menswear today and chose to play on the stereotypes in a non-masculine and atypical way. “It is increasingly evident within the ready to wear retail sectors; menswear is heavily influenced by social aspects such as toxic masculinity, male gender norms, and stereotypes.

This burdens the male identity and encourages a culture of conformity,” she explained. “Society puts so much emphasis on how men should dress or act accordingly to their fixed gender, but this creates an unhealthy culture of conformity. My designs are used to detach the stigma surrounding the ideal male identity in society through clothing.”

Looking ahead, Malama is excited to showcase her work throughout New Zealand and the world, gaining momentum for her brand. “The biggest opportunity would be if I was able to showcase my work on an international platform such as at the New Zealand Fashion Week or an event of equivalent stature.”

For more information email inamalama.29@gmail.com.

techniques, so the future generations have the opportunity to experience and learn original methods developed hundreds of years ago,” said Brodrick. Altogether her collection was made from 60 percent recycled materials.

“I really wanted to have a 100 percent recycled collection, but as you go through the design process your concept evolves, and you just have to kind of roll with the punches and adapt.”

Brodrick’s method of design is also a homage to the past, as she finds herself steering away from modern technology in favour of a more hands-on approach to the creative process. “I prefer to drape on the mannequin for the majority of my designs, I usually find that it is faster and easier for me to design in 3D instead of drawing,” she revealed. The most important skills she has learnt are her technical sewing and pattern making techniques. “To me I think it’s all well and good if you have great design ideas, but if you cannot execute your idea into a physical garment, you are left at a standstill.” Brodrick explained that she is excited to translate her passion for fashion into a business which combines her love for sustainability with great style and functionality. “I think there is a real opportunity for me in the future to create contemporary fashionable and sustainable clothing for women of all sizes.”

For more information email Anastasia.brodrick@gmail.com.

APRIL FINI

MASSEY UNIVERSITY For emerging designer April Fini, the fashion industry has been a part of her family’s careers for generations.

With a long line of seamstresses behind her, Fini is now following in their footsteps as she pursues a career in design. “It might be a small industry out here in New Zealand, but there are always opportunities if you search for them and work hard to make them happen,” she insisted.

Fini studied fashion design and marketing with Massey University, combining the creative and the technical elements of the industry.

“I felt it was really important to be able to understand the business side of fashion in order to know the market you are designing for and how to best reach them,” she said. Fini approaches her future in the fashion industry with not only the same creative flair as her peers, but with an understanding that success in this sector will require dedication and a host of technical experiences. During her time at University, one of the most valuable things she learnt was the importance of being proactive and finding new opportunities. “I got to spend four

DANIELLE MEREDITH

SEWTEC

Danielle Meredith has always had a flair for the creative, and she expressed to Apparel Magazine her excitement to be beginning her career in the field of fashion. “My creative practice has always focused on visual arts such as painting and graphic design, so the transition into fashion felt very natural,” she shared.

Meredith has always been interested in textiles and the intricate details of well-made clothes, and this interest has transferred into the work of her graduate collection. “My design process takes me a while as I’m constantly fine-tuning my ideas into a cohesive body of works. I start with simple silhouettes and rework the stylistic details for each design.”

Meredith’s graduate presentation was entitled Collection #76, and it was inspired by the matriarchs of her family as well as her family home in Herne Bay. “These houses are where my grandparents planted their roots and raised their families after migrating from the Samoa and Tonga in the late 1950s in search for bigger and better opportunities in the land of milk and honey – Aotearoa,” revealed the young designer. The bold

months in Milan studying at Universita Cattolica del Sacro Cuore, in the heart of a fashion capital learning about luxury fashion and the global fashion industry,” shared Fini.

This experience gave the emerging designer a renewed sense of passion for her field of study, as well as an up-close look at how fashion operates around the globe.

It was her time in Milan, as well as her Italian heritage, which inspired Fini’s graduate collection: Architecture of the Body. “With silhouettes inspired by Da Vinci’s Vitruvian Man, the designs integrate my embodiment in urban Milan using design lines and garment shapes derived from a topographic map of the Milan metro,” she explained. Fini was heavily influenced by the architecture around her and utilised a unique layering technique throughout her design process.

For Fini, sewing and the process of creation is a highly rewarding aspect of working in the industry, as she finds great reward in the completion of her work. “Sewing is a creative outlet for me, and I get lost in the process,” she said. “At the moment I work solo but enjoy the fact that I get to carry out all parts of the process from the beginning through to the end.”

For more information email aprilfiorellanz@gmail.com.

colours of her collection were a feature most heavily influenced by her heritage. Inspiration was drawn from her family’s retro wardrobes, chinaware and even their decorative cakes. While Meredith’s biggest influence was her family, stylistically she found inspiration from pop culture and the world outside of her home.

“I am influenced by my love for hip hop culture and well-made vintage fashion.

My taste in textiles is influenced by mother nature, bold colours, faux fur and animal print designs.”

Looking into the future, Meredith wants to create a unique brand which is able to connect with a diverse audience.

She has teamed up with her brother Tino to create Section 76, an urban streetwear brand dedicated to creating ethically-made clothing which feels good. “All of our clothes will be designed and manufactured in New Zealand, and we’re excited to be creating our own signature textile designs,” she concluded.

Meredith plans on applying what she has learnt through the creation of her graduate collection into her new brand, propelling them into the future.

CAITLIN GRIFFIN

WHITECLIFFE

Caitlin Griffin has always had a passion for fashion and attended Whitecliffe to study design at only 16. Throughout her time with the institute, she learnt not only the technical skills that will propel her into the next stages of her career but how to harness a strong work ethic and persevere through more trying times.

“Now that I have all these skills I just need to put them to use,” shared the emerging designer.

“There are always opportunities waiting. You just have to go searching for them.”

Griffin’s graduate collection for the fashion tech contained three unique outfits, five garments and was inspired by the unique beauty of nature. “I was inspired by how unusual nature can be, not symmetrical or perfect in any way, but it can still be so beautiful,” she explained. The emerging designer filled her collection with statement silhouettes, as per her signature, and used a variety of materials which reflected her concept.

“I made a coat out of organza because it is unusual but absolutely gorgeous, and drapes so well.” Griffin’s other inspirations include classic Dior designs with their striking silhouettes.

Following her time with Whitecliffe, Griffin expressed her eagerness to branch out and create a brand of her own. She also recognised the growth she must still undergo in order to make that transition, as finding her edge on the market will be one of her biggest challenges in the industry. “Finding that thing that I’m good at that no one else is doing,” she elaborated.

Griffin declared that while this will be a challenging time as she attempts to take her career to the next level, she is confident that her skills and determination will see her succeed.

For more information email cljig13@gmail.com.

Photographer:Milo Velasco

apparelmagazine.co.nz

I 15

colour trending

CHANEL Resene Tomorrow

CINOH Resene Endeavour

shade doomed to never date, blue is having a yet another moment.

As one of the most versatile hues second to black, varieties of blues are bound to cross your path at one point or another. Here are our top blue moments from Fall 2019.

Kicking off this trend is Chanel’s 2019 Fall readyto-wear collection as seen in Paris. The entire show

16 I March 2019

LOUIS VUITTON Resene Wet N Wild

looked like it was straight off the ski bunny trail at a luxury resort, especially this look featuring a bright blue top in a similar hue to Resene Tomorrow.

Introducing the models in iconic black and white hounds tooth and plaid, the colour palette slowly changed to a bright blue, pink and purple parade before ending on a string of white-hued garments.

Meanwhile at Tokyo Fashion Week, Cinoh showcased an array of blue hues close to Resene

MALAMUTE Resene Mystery

Endeavour on wool coats, suiting and a plaid print throughout the Fall ready-to-wear collection.

Louis Vuitton called the 80s with their Fall 2019 ready-to-wear show in Paris. Featuring lantern sleeves, slight drop shoulders and all things 80s, much like this co-ordinates look in a colour like Resene Wet N Wild.

The 30-look collection by Malamute was rife with textures. The Fall 2019 presentation at Tokyo

SID NEIGUM Resene Moana

Fashion Week was filled with mellow yellows, a contrasting dark red and hues of blues similar to Resene Mystery.

A beautifully clean chic collection by Sid Neigum boasted large bishop sleeves and dramatic cuts tastefully sprinkled with pleat detailing. However, the hero piece stuck out like a sore thumb, this trench in a metallic-esque fabric shined in a hue like Resene Moana.

LACOSTE Resene Wishing Well

Sticking to what it does best, Lacoste put a twist on this season’s classic cricket jumper with an abstract mashup of wool. Building on this cleancut collection, you can find monochromic suiting mixed with oversized jumpers and jackets. The colour palette featured a strong family of primary colours including a blue close to Resene Wishing Well.

This silhouette by Cyclas was a common theme

CYCLAS Resene Bluetooth

THE RERACS Resene White Island

throughout their Fall 2019 ready-to-wear collection seen in Paris Fashion Week. Muted colours were featured throughout including this blue tone in a shade close to Resene Bluetooth.

The Reracs showcased a 62-look collection focusing on three key colours, black, beige, and cold bluish white in a colour similar to Resene White Island. The longline coats are a healthy mix of traditionally tailored suits and utility parkas.

meet the buyer

Wade Hawkins FARMERS MENSWEAR

Apparel Magazine got the chance to sit down with Wade Hawkins, the head of menswear buying for Farmers department stores. Hawkins has had an eventful career in the fashion industry, which started on the shop floor of Barkers. Hawkins moved his way up in the industry as he rose to the head office of Barkers, and then to a buying position at Hallensteins in the year 2000. When the position of menswear buyer for Farmers came his way, it was a job Hawkins said he could not refuse.

At Farmers, Hawkins oversees the operations of the menswear department, which is split into five categories: underwear and socks, formal, classic, contemporary and modern. “I am responsible for challenging the buyers of each sector and helping them to make the right decisions,” explained Hawkins. “The great thing about this division is that everyone here is so knowledgeable, it’s like having five businesses under one roof.” Each of the five departments in Farmers menswear contribute to appealing to the department store’s extensive variety of consumers. “The Farmers consumer covers a broad spectrum,” said Hawkins. “We are fundamentally a family store, we are not high end, and our range has to cover the whole of New Zealand so we can’t just focus on one thing.” To meet the needs of this diverse consumer, Farmers has an extensive mix of house brands and third-party designers to maintain a good balance of appeal.

When it comes to choosing which brands make the cut for their department, Hawkins expressed the straightforward direction of their decision making.

“Quality, price point and style,” asserted Hawkins. “At the end of the day it’s got to be commercially viable, we would not be going down a road that isn’t going to sell.” Hawkins continued that with the scale of their organisation, Farmers’ buyers look for collections that are able to fit in with their diverse range of consumers, as well as the ability to meet logistical targets. “Scale comes into it a lot. It’s all very well and good that you can make 20 garments. But can you make 600 that are all within the same level of quality?” He told Apparel Magazine that Farmers, like any other business, have margins and price targets that they have to hit and a brand’s ability to help them reach those targets is one of the biggest draws for their company.

In terms of style, Hawkins discussed the way menswear has changed throughout his time at Farmers, and the new directions the department sees their aesthetic moving toward. “Menswear has certainly become more adventurous. Before everything had to be black or grey. However, this year our bolder

We are open to everything, but it needs to make sense and be done justice because everything takes up space, so you’ve got to earn your keep on the wall and on the shop floor

18 I April 2019

and brighter aesthetics were more popular, and made up eight of our ten bestselling shirts for the season,” Hawkins stated. To fit this new trend, Farmers is looking at third-party designers to pad out the spaces between the aesthetics of their house brands. “We are not looking for the same thing from every designer, we are looking to fill the gaps in order to look after each of our individual consumers,” he added. It is much harder for niche brands to find a place in stores like Farmers, with such a mass market appeal. Brands need to comply with the stores existing image, rather than expecting the store adjusting to theirs. “We are not a boutique, and we don’t have the size to do mini capsules,” Hawkins asserted. While this call to adjust to Farmers image may be seen as stifling to some designers, the menswear buyer communicated the immense potential the department store has to sustain a brand. “Getting into a department store means you are looking at a 400 or 500 order as a minimum, and for a small brand that is significant,” he said. “We can be a designer’s bread and butter.”

Due to the scale of their organisation Farmers has the ability to tier their stock, giving a broader range of opportunities to designers. “We do a bit of exclusive stock to certain stores. House labels basically go everywhere, but some of the third-party brands are distributed differently,” reported Hawkins. “The good thing about Farmers is that we have the capacity to tier in this way, not all of our designs have to go to every store.” With outlets from Kaitaia to Invercargill, Hawkins related the great potential that is held for stores such as Farmers in areas outside of central cities.

“There is a lot of power in the regions. Auckland or Christchurch, that is where big international players come to set up shop,” he explained. “The pie is only so big, and when these internationals come it only slices it up more. Whereas internationals aren’t going to open up in smaller regions.” The absence of international powerhouses in smaller regions give New Zealand stores like Farmers the monopoly in these areas, thus providing greater exposure for their brands.

For designers who are looking to become involved with Farmers, Hawkins’ advice was simple. “Get yourself known, get yourself out there and go from there. Every brand starts out somewhere,” he assured.

“We are open to everything, but it needs to make sense and be done justice because everything takes up space, so you’ve got to earn your keep on the wall and on the shop floor.” There is a great deal of potential for new brands to enter the Farmers team particularly as the store looks to embrace the new, more fashionconscious male buyer. “Guys are buying more and more, and realising that it is ok to look good. To provide for them, we need to present ranges that are new, giving them a reason to buy. Hence menswear is currently dropping a lot more products, a lot more often,” stated Hawkins. “We are pretty excited by what we are seeing at the moment, and we hope it continues.”

radar

Menswear NOT FOR YOU

Jerome Taylor launched Not For You in 2014 as a sell-out capsule collection. Since then, he has gone from strength to strength. A qualified machinist and pattern maker with a Diploma in Fashion Design and Technology from New Zealand Fashion Tech, Taylor has come a long way since his days as a roofer in Lower Hutt.

Taylor has been prominent on the New Zealand fashion scene over the last five years, and his work has certainly been eye-catching. His shows at New Zealand Fashion Week have garnered attention from Newshub, Seven Sharp, the Dominion Past, Vice and Fashion TV. He has also created garments for musicians Flume and Pusha T, toured the textile industry in India on a Prime Ministers scholarship, been named as an ambassador for NZ Fashion Tech and, on top of being part of the first Project Fashion Wellington in 2017, is now serving as a mentor for designers taking part in the 2018 iteration.

Taylor has always been interested in art, particularly graffiti.

“I wasn’t inspired by designers,” he explained. “I was inspired by art, then I came across fashion as a platform to share my art.”

It was during his time working as a roofer that he honed his art with the spray can. He went to offer his of his design to a store in Wellington, who wanted to buy them but weren’t willing to give Taylor due credit. “I decided that if it was good enough for them to use then others would be interested as well.”

The next step is to get Not For You on to hangers and shelves in the best retail shops across New Zealand and overseas. He hopes his showing at Vancouver will be another step in achieving this goal. The collection he’ll be showing at Vancouver has been inspired by the increasing rate of poverty in New Zealand. Titled ‘1 in 100’, the collection has three categories: ‘New Zealanders - Pay Check To Pay Check’, ‘New Zealanders - Sleeping In Cars’ and ‘New Zealanders – Homeless’.

“I was overwhelmed with the number of New Zealanders who are homeless – one in 100. Upon discovering this statistic, I came to realise that homelessness is so much more complex then what I once believed. I chose to do my collection on this as I wanted to learn more and share the knowledge with others through this platform I have been given.”

Taylor hopes that by bringing the plight of the homeless to the attention of more people, the country will be reminded and work together to solve the issue. “The more knowledge we have, the more power we have to change situations.”

Taylor’s collection will showcase the three categories in the form of layering and screen-printing information and images in a creative way that tells a story. “I chose the cuts as I wanted over-sized pieces and layering,” he explained. “The fabrics are sourced locally, so it is based not only what I am looking for but also on availability. The fabrics I chose were durable, long-lasting and classic colours as I wanted all the pieces to work together.”

Not For You is currently selling online and through social media channels. “We’re not looking at opening our own store at present, but we are exploring the option of stocking in stores in New Zealand and overseas,” he said. “I have had an amazing response so far from the public and those around me with the garments.”

Taylor wants Not For You to be the premier menswear brand in New Zealand. "I want the men of New Zealand to put on garments and immediately feel more confident to walk out of the house and feel like you can do anything; a big meeting, a pay rise – I want them to accomplish that. It's armour for men."

20 I April 2019

1800 Shoemakers

This men’s footwear company is run by father and son duo Grant and Richard Lloyd, who are committed to providing the best shoes to men looking to revitalise their style. “We are aiming to provide the very best in men’s footwear to the young and older executive type who has a sense of stylish dress - a man who is seeking quality and classic styling which reflects real craftsmanship,” expressed Lloyd.

The company has experienced substantial market growth as men have embraced the expenses of stylish living. “There is a growing awareness among men that clothes do indeed maketh the man. As well as a growing number of men willing to spend a greater proportion of their income to express their awareness and appreciation of style and quality,” explained Lloyd. With customers spending more on quality products, it has become a focus of the group to ensure that the products that they manufacture are worth their consumer’s while. “We have developed a design to fit New Zealand feet,” related Lloyd. “We have worked very closely with the factory to ensure that the styling and colour of our shoes were exactly right, and the materials used were indeed of a very high quality.”

The brand’s products are all made with genuine leader, from the uppers, to the soles, to the lining.

“With the right care, our shoes can last a lifetime.”

A recent development for the company is their implementation of a mobile fitting service, ensuring their e-customers can try out their one of a kind products before they purchase. “This service means that consumer can handle the merchandise and check fitting before paying. The customer also manages to meet person-to-person with someone from the company,” Lloyd elaborated. “These benefits are important when one is dealing with a quality product.”

Lloyd is looking to expand on 1800 Shoemakers’

range in the coming years, to offer a more diverse variety of styles for their customers. “This may include more casual looks but never at the expense of our commitment to supplying well-crafted and well-styled shoes, not subject to the whims of a fashion fad,” quipped the director. With consumers becoming more discretionary about their spending, Lloyd expressed his belief that brands will begin offering a more sophisticated style of service. “There will be a greater demand for products that reflect quality, endurance, and the sense of style held by the consumer.”

Gabrielle Sara Gan

Gabrielle Sara Gan is a recent graduate of the Whitehouse Institute of Design in Melbourne and is eager to begin making her mark in the menswear sector of the fashion industry. For this emerging designer, menswear offers not only an impressive challenge but a unique opportunity for her to provide a truly fresh perspective.

“The central distinction for this sector is that men’s fashion is contained by a more restrictive framework,” she explained.

“Typically, it is quite traditional, usually retaining its conventional silhouettes and styles. This renders it challenging to create new and innovative garments in contemporary fashion.”

Gan first dipped her toes into the world of menswear with her graduate collection, which was inspired by streetwear and youth culture. The collection showcased the evolution of the streetwear genre and commented on its intense contribution to men’s fashion.

“The once exclusive and insular industry has embraced a new wave of creativity and diversity, making it more relatable and accessible to a broader demographic,” related Gan. “I want to make consumers aware of their fashion choices and

encourage them to make decisions based on their own aesthetic instead of merely following fashion trends and cycles.” The emerging designer explained that her experience with menswear was witnessing a more utilitarian approach, with client’s focus being on attention to details, fabrics, scales and proportion to create new and innovative designs.

For this reason, her graduate collection paid close attention to these intimate details. Custom

prints, detailed finishes and high importance being placed on technical skills.

Gan currently works with both Sass & Bide and St. Ali, diversifying her experience and understanding of the fashion industry. “I still have a lot of things to learn about the fashion industry before I begin my own brand,” expressed the designer. “I would like my future brand to be more than just a fashion label. I want to break fast-fashion trends and cycles and encourage consumers to make informed decisions based on their own aesthetic rather than following the majority.”

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I 21

trade talks

Vertical World

For many brands, finding a method of distribution which works best for them is one of the most crucial steps to finding success. A vertical business model is one way for brands to cut out the middle man and directly interact with the consumers interested in their products. Like any plan of action, vertical distribution comes with a host of extra responsibilities as well as perks. Discover if a vertical business model fits in with your brand’s operations, whether you are a start-up looking to find your place in the market or an established business looking to diversify your reach.

The Panel

Kathryn Wilson

What are some of the challenges of being a vertical operator?

22 I April 2019

Would you recommend emerging brands to choose a vertical business model?

What do you think retail will look like in ten years?

apparelmagazine.co.nz

I 23

J.Grubenmann A lover of art and culture, Janine Grubenmann grew up in the East of Switzerland. Growing up, Grubenmann loved to draw people, this evolved to the dresses that were on the body.

She watches how people dress in the street, what they are doing with their clothes and how they are being perceived.

After training as a building designer, Grubenmann decided to study at the Swiss Textile College in Zurich. Her label J.Grubenmann launched in 2016 as a onewoman-band, she made three collections and took her designs in a suitcase to boutiques.

Now stocked in two retailers in Switzerland, Grubenmann is keen to gain a few international stockists. “Step by step, slow but steady.”

Using only sustainable fabrics, European companies hold absolute transparency in high regard. The local manufacturers are family owned and operated and therefore work on good terms. “Our designs stand for elegance and confident femininity,” Grubenmann said.

“The dresses are a valuable every day and special day companion, not cheap trash. I gave way to quality instead of sensitising mass.”

Grubenmann focuses on traditional tailoring

24 I April 2019

in her studio, so she can respond to different requirements. She loves to experiment with new materials, for example, in 2017 there was an exhibition where she created a long dress made from road construction textiles. Creating more functional collections, Grubenmann said she finds the design process the most beautiful part.

Producing some pieces herself, Grubenmann also has support from a manufacturer in Switzerland and Europe. Her designs convey timeless elegance coupled with sustainable components and always tell a story. “One carries the design rather proudly and the appreciation rises, because still is, less is more.”

For her collection at Vancouver Fashion Week in March, at first, Grubenmann didn’t know what to do with the design. “In the end, I fell in love with it. It has many hidden folds, is brute, but very sensitive if you discover the opening on the back. The second piece is a skirt and top with a silk screen print, the structure is powerful and made of folds and cuboids.” Showing at Vancouver was a great success for Grubenmann who said it was a great audience and an honour to be a part of.

Jessica Chang Studio Twenty-three-year-old designer Jessica Chang grew up in Hong Kong, but moved to New York to study at Parsons where she graduated with a BFA in fashion design. Her passion for fashion first blossomed when her mother who would take her on shopping sprees from a young age. “I was very aware of clothing as a part of my life since as long as I can remember,” Chang explained. “It was how we liked to spend time together. I developed a sense of preference, liking or not liking things such as styles, colour, silhouettes, fabric and so on. That was very integral to my early life.”

The first garment Chang ever made was a paper dress for a competition where the theme was to take a book and give it new life. “I used an old sewing machine that was around the house to do it,” she said. “No one taught me how to sew, I read the manual.”

Less than a year old, Jessica Chang Studio pieces are made-to-order, but Chang wants to expand to a small quantity production level. Today, the young designer has

increased productivity and outsources jobs. Chang still designs, drapes, pattern makes and sews the samples herself. “I am talking to a few small online retail sites that want some custom orders with my brand,” she added. “I am also working on my online store.” Chang would love to have her own vertical store, so she can create a narrative for her customers to experience first-hand. Social media has had a huge impact on her brand. “That’s where stylists, models, collaborators find me.”

Her biggest inspiration for her designs is mother nature. The creative process often starts with paint and a canvas to see what colours she chooses and what curves and forms she paints. “Or draping [fabric] mindlessly and seeing what happens.

Recording that and picking what I liked from that experience and going further with that.” Inspiration can strike at any moment; everyday life inspires Chang too such as discovering an exotic plant or an interesting sidewalk.

Showcasing her designs at Vancouver Fashion Week in March, a highlight was showing her new pieces that are more accessible and ready-to-wear.

“I’m very excited because they’re available to be made if someone requests it. Whereas my older pieces are hand-dyed and very couture in terms of construction,” Chang said. “They are more of a standalone, one of a kind piece, which I would also say is another highlight of my show. The line up almost goes from ready-to-wear to couture which is very exciting to see.”

Ryan Li Born in Toronto, Ryan Li was raised in a balanced mix of Hong Kong and Vancouver. After Li graduated from Simon Fraser University with a degree in Finance, he pursued his passion at a design school while working at a few couture and tailoring ateliers. Li pointed out that his first experience with fashion was trying on a Ralph Lauren polo shirt and described it as unique and special memory. “Ever since that time, I have been obsessed with fashion.” Learning everything from scratch at design school, he built on these skills with his experience at various couture and tailoring boutiques over the years. The young designer loves to be hands-on throughout the making process.

“I see the draping and fitting sessions as some of

the creative moments in my work because I alter shape, cut and proportion during those processes,” he explained. “I create every piece with help from my design team.” Li has four core team members and while he is the sole designer, he admitted that his team often provide valuable ideas and options.

His eponymous label holds social responsibility, craftsmanship, and the necessity to push fashion forward in high regard. In business for a year, their aim is to be a global brand; Li explained that he wanted to become influential, inspiring and to help change people’s lives. Not currently stocked with any retailers, Li’s online store is launching soon. “A physical store is on my checklist which I hope to check off soon.”

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I 25

Emelia’s Swimwear Twenty-six-year-old designer Emelie Hausler is a small town girl who grew up on a hundred acre farm.

Her love of paddle boarding and the beach drew her to move to a small beach town called Wasaga Beach in Ontario. Hausler first got into fashion after not being able to find a swimsuit that would last throughout the years. It had to be stylish and durable, so she decided to make it herself. Growing up, her mother was good at sewing and would sew her dance outfits. “She taught me to have an eye for detail.”

Each piece by Emelia’s Swimwear is of high quality, sustainable, functional, and values comfort and style. “I value being ethically made, that’s why I chose to be made in Canada with recycled fabrics.” The made-toorder pieces are created by Hausler’s

seamstress, Flor, and are designed by Hausler. “As my business grows, I hope to expand my team.”

The label launched three years ago in Vancouver while Hausler was laying on a small private beach.

“I kept tugging and pulling at the new bikini I had bought a couple weeks prior,” she said. “I was

frustrated with the amount of money I spent on it for it to already be stretching out and discolouring.”

Hausler said she looked out to the Pacific Ocean and thought ‘I am going to create my own swimwear line’.

The label’s name originated from one of Hausler’s friends calling her Emelia. “I’ve always thought it was a beautiful name.”

A highlight in her collection seen at Vancouver Fashion Week was the combination of blues and reds.

Moving forward, Hausler’s next goal is to attend Miami Swim Week and to open her own flagship store in Cabo San Lucas.

Hausler is currently looking for retailers to stock her brand, as they are currently made-to-order through her website. For more information visit www.emeliasswimwear.com.

Camila X Castillo Marilyn Monroe, Frida Kahlo, and Ruth Ginsburg are just a few of the many icons that inspire Camila Ximena Castillo Neumayer. With no formal training in fashion, Neumayer showcased her collection of very explicit pieces at Vancouver Fashion Week. “They have a lot of artistic hand work put into them, folded, cut, works of art but sexy,” the designer explained. “I focused on woman’s rights and, of course, impossible for me to ignore the humanitarian crisis in Venezuela, which was addressed in the visuals specially made for the show.”

Born and raised in Manhattan, New York, Neumayer is the eldest daughter of an art gallerist and artist. Brought up surrounded by art, artists and literature, she was shown that being a woman was an advantage as she could do anything as well as a man. “I was a very avid student and quite a high achiever as a student, but also, a rebel at heart.” She quickly left design school so she could pursue her interest in fashion. Her first dabble in fashion was her high school prom where she made her own dress. “I proudly

26 I April 2019

entered my prom feeling and acting the part of the sex bomb and much to my and all my girlfriends surprise, my male classmates responded,” she said. “That was the day I learned the power of dressing the part, the power of fashion and above all, the power of sex.”

Her lack of experience in fashion didn’t stop her, nor did her father’s eye rolling. Her garment making process is quite unique. “I make everything myself,” Neumayer started. “Once I have resolved a shape, usually sexually-daring inspired, as I strongly believe that if you dress very daringly but with a piece that has been working with such care and expertise and time, that it is a work of art.” Neumayer added that it also validates the material as well.

While the brand started in 2012, she is yet to find a retailer that is a good fit. “I have an online shop where you can get pieces, but they are mostly sample size,” she said. “I would like to change that too as I believe the sexual power of a woman’s body and spirit is not determined by her size.” Neumayer wants to expand her brand by reproducing pieces that can be available to a wider clientele.

Jessture Zhengjia Hu grew up in Shenzhen, China before she moved to the US to study when she was 17. Hu attended Pennsylvania State University studying Management as her major and Marketing as her minor. She transferred after her sophomore year to the University of Michigan where she finished her Bachelor’s degree in Economics. Her fashion journey began soon after when she pursued her love of fashion at Parsons in 2013. Hu has always been fond of the passion and power hidden inside the beauty of art.

“I dreamed of having a career closely related to art. Since clothing is one of human’s basic needs, I think fashion design is closely related to our daily life,” Hu explained. “As a fashion designer, I enjoy the process of creating things that make our life better and happier, mentally or physically or both.”

Her label Jessture launched in November 2015 and at the time, Hu was hesitant, she didn’t want to start a company if she wasn’t 100 percent ready. “Then I realised, I would never be 100 percent ready because if I didn’t take the first step, I would never know

what’s coming next.” Working as a designer at the time for another fashion house, Hu didn’t start working on her brand until late 2016 and her first finished collection was Spring/Summer 2017. Hu works with pattern and sample makers to create her collections.

The brand’s name is a combination of her English name Jessica and the word ‘gesture’. “Gestures can deliver and communicate a person’s thoughts, emotions, feelings and many other messages,” she added. “And that is what I expect my brand to be. I hope it can be a media for the wearers to express their true selves, their personalities and styles.”

Her current focus is on building the brand’s image and increasing its exposure and recognition. “I am looking forward to some new collaborations and business opportunities.”

Last month, Hu showcased her designs at Vancouver Fashion Week.

“Our emphasis was on the outwear for this season,” she said. “We are trying to maintain a minimalist mild tune, while adding some interesting and stylish elements and details on the designs.”

The House Of AmZ Following an impressive series of successful showcases American fashion brand, The House of AmZ, is undergoing a makeover. Designer Alexandra Zofcin shared that the label will be re-embracing the aesthetics and the core philosophy’s that helped launch them. This revelation came following the brand’s latest showing at Vancouver Fashion Week last year. “I felt like I was losing sight of the core values of the brand,” expressed Zofcin. “It was becoming too esoteric and kind of cold, really losing the warmth and eco-conscious background the brand was built on.” The designer is using this epiphany to propel her brand into the future she envisions. The launch of the label’s upcoming “Self_” series will showcase their new direction, which can be summarised as the importance of self-love as well as the concept of connecting with the items one buys on a much deeper level. “The emotional connections you can have with the garments will be fostered through smaller pop-up events and capsule collections that relate to these core values.” This emotional intensity will be a core feature of Zofcin’s brand moving forward.

In keeping with this theme of self-care, Zofcin expressed her excitement to reconnect with her brand’s eco-conscious heartbeat, which will become a focus for the label in the coming years. “With all of the environmental issues going on, it is important that we learn the art of buying consciously,” she presented.

The designer has pledged that the brand will eliminate the use of synthetic fibres for 100 percent all-natural fibres and by 2021 the brand aims to have all of their materials dyed sustainably as well.

The brand’s latest collection, the second in the

“Self_” series recently debuted at Vancouver Fashion Week, and reflected the label’s transformation, encompassing both their commitment to environmental sustainability and an embrace of emotions. “Each look represents its own unique compiling of the various ways one might wake up feeling from day-to-day,” asserted Zofcin. In addition, every piece in the collection, bar one which will soon be replaced, was created using 100 percent natural fibre fabrics. This theme will be continued in the brand’s future endeavours, with the intention to continue creating one of a kind or few of a kind collection productions. Minimums for the group will be kept extremely low or be made to order, which reflects both of the new core values.

To help audiences re-connect with their values, The House of AmZ will be participating in a selection of pop-up shops and collaborations which will help them to share their message. “The Yellow Mustard Seed will open in Pacific Grove, California featuring a small capsule of AmZ clothing designed exclusively for this location,” shared Zofcin. The presentation will include the finale dress from the fashion house’s most recent Vancouver Fashion Week showing which included artwork from Alexa Snyder, the owners of the new gallery/boutique.

Zofcin expressed her excitement for the new direction of her brand, as well as consumers' ability to reengage with the values she holds dear. “When people purchase AmZ, they are creating a memorable experience by purchasing a piece that fosters an emotional connection made for them.”

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These ‘90s fashion comebacks are making big bucks

edited

Millennials are hitting their thirties but according to WWD, they are still shopping like it’s 1999. And there are plenty of options to do so, with the influence of nostalgic trends everywhere in fashion.

We’ve seen camo print make a comeback. Throwbacks to tie-dye. Non-stop normcore. And as for accessories, there are nods to the ‘90s in the form of jelly shoes and clip-on earrings.

While Gen-Z shoppers may be jumping on that butterfly clip bandwagon, Millennials are the ones with an emotional attachment to these items as it’s what they’ve grown up with. And better believe, this is the product they are buying into for the Spice Girls reunion tour.

So, how can you best maximize your accessories assortment to capture this market who aren’t ready to grow up? Read on as we give you the 411…

NEWNESS MEETS NOSTALGIA Toy Story 4 is about to hit cinemas, Janet Jackson is performing at Glastonbury and bucket hats are back. With sky-high rents, social anxieties and student debt it’s no wonder Millennials want to buy back their youth. The charts below tracks the demand for accessories inspired by our childhoods.

Fanny packs, which are now a street style staple, have seen major growth YoY in the mass market. There has been a 265% increase in the UK and 115% in the US. When fanny packs first resurfaced in the mass market, slouchy and sporty silhouettes were the norm.

Now, we are seeing more refined belt bag styles as premium retailers back this trend.

Another blast from the past, scrunchies experienced

28 I April 2019

an 81% increase in the UK and a 99% increase in the US. And the classics keep trending upwards with beaded bags growing 36% in the UK and 48% in the US, clip-on earrings (UK 50%, US 36%) and bucket hats (UK 504%, US 163%).

There is no denying the influence of hair clips, seen on celebrities and the runway.

Looking at the total growth of the category, there has been a 7% increase in the UK and a 2% increase in the US YoY. While this might look small, if we dive into the data we can see how trends within hair clips have shifted. Pearl hair sliders experienced a 41% uptick in the UK YoY similar with the US. Shell hair clips are up 200% in the UK, and 112% in the US.

GETTING THE PRICE RIGHT Buying into these accessories is an easy way to tap into the nostalgia trend. Hair clips and scrunchies are the cheapest items coming in with the lowest entry price. These start at £1 in the UK (at Accessorize and Boohoo) and $1.90 in the US (at Forever 21).

In contrast, elevated products such as Reformation’s leather scrunchies are retailing at a higher cost, bringing the exit price point up to $29.50 in the US. Premium prices have also been tracked for beaded bags as well as clip-on earrings at Anthropologie (US). Keep this in mind when planning the prices for your accessories mix – are you in line with the market?

BACK TO THE FUTURE Looking ahead to next season Fall 2019 runway has continued the nostalgia trend and expect retail to follow suit with the demand still there.

Bucket hats are up for another season and given a formal update at Dior.

Hair accessories remain a key area to invest as they continued their reign on the catwalk.

Headbands popped up at Prada and Shrimps as well as slogan hair slides at Ashley Williams.

Bags are getting smaller (like Polly Pocket size) with micro styles trending at Tod’s and Jacquemus.

Belt bags continued to be a strong look at Fendi and Chanel. Both designers adopted a ladylike revival with structured silhouettes and textured details. To capture Millenial spending, designers are reliving their glory days by reviving their signature ‘IT’ bags such as Fendi’s Baguette and Dior’s Saddle bag.

fashionable films

The Best Of Enemies

This new film from director Robin Bissell told the historical story of racial integration for schools during the 1970s. Viewers followed civil rights activist Ann Atwater who was pitted against C.P Ellis, a member of the Ku Klux Klan as she prepared to take her fight to the masses.

Being a historical film, costume designer J.R Hawbaker along with the head of the hair department Andrea C. Brotherton were tasked with creating a referential but unique appearance for their characters.

Taraji P. Henson, who played Atwater, underwent the most significant change. The leading lady was transformed into a much older character. The actress’s hair was styled up in a classic fashion, and she wore baggy, muted and worn looking clothes. This was a vast difference from her previous roles as a modern and fashion-forward woman of the 21st Century.

The character’s appearance was fitting with the era and portrayed her as a serious figure. Rather than being dressed to highlight her beauty and youth, Henson was styled simply, and instead of communicating through her appearance she allowed her actions and her cutting words about the social battles she was fighting, speak for themselves. The design team did an excellent job of transforming the actor, making her almost unrecognisable and thus allowing audiences to sink their teeth into the drama and the characters.

In addition, the makeup team, led by Douglas Noe, created a sweaty and dirty appearance for all of the characters. The warmth of the location, in combination with the incredibly stressful environment, made the makeup an effective addition when it came to authenticity. The gritty and confronting subject matters of the film were combined with hyper-realistic designs, like these makeup additions, which made the feature that much more captivating for audiences.

The Haunting Of Sharon Tate Director Daniel Farrands presented a dramatic re-enactment of Hollywood actress Sharon Tate’s infamous murder in this latest cinematic release.

Audiences watch as visions of her impending death plagued Tate while she awaits the return of her husband, Roman Polanski. The flick brought to life one of the most shocking and disturbing events in the history of Hollywood.

Hilary Duff, who played Tate, bore a strong resemblance to the actress and was a fitting choice for the role. Costume designer Susan Doepner-Senac emphasised the similarities and created an eerily similar depiction of the late actress, which made the events that unfold on screen that much more unnerving.

Tate’s highly feminine appearance painted her as the helpless victim. At different times she was seen in a pink nightgown, and a red polka dotted dress, with her

long blonde hair left out and resting on her shoulders.

By styling the character in such a hyper-feminine and unpractical way, given the circumstances she found herself in, Tate was painted as innocent and highly vulnerable. Additionally, Tate was pregnant and thus that much more at risk of suffering at the hands of the cult that is stalking her. The prosthetics used to the actress’s pregnancy belly were incredibly realistic, which only added to the gruesomeness of the acts against her.

Doepner-Senec also incorporated fashion tropes from the late sixties and early seventies, which were in keeping with the era of the film. This included hippie headbands, crop tops and high waisted pants. The use of these features helped to set the scene of the movie, as despite being a horror film it is also a historical flick that was inspired by the real-life murder of one of Hollywood’s brightest stars.

SHAZAM! DC takes a new approach to superhero movies in this action-packed new flick. Shazam! is a shift away from the classic dark and broody superhero films DC has released in the past and instead tells a hilarious and heart-warming story about a young boy who turns into a superhero. With the help of a little bit of magic, 14-year-old Billy Baston gains the ability to transform into a much older and super-powered hero, by merely saying the word Shazam!

For this film, costume designer Leah Butler created a superhero costume that was both referential of the original comic book hero, and super modern.

The suit was red and gold, and the hero had his hair slicked back and quaffed in an almost plastic fashion.

These features gave the ensemble a classic and even cheesy hero-feel to it, which was in keeping with the film’s overall jovial tone. The suit looked highly impressive, but it took a great deal of preparation

and construction to bring Butler’s vision to life. The super-suit was entirely 3D printed to fit onto Zachary Levi’s body, giving him the expertly sculpted appearance we saw on screen. This was done a total of 10 different times so that the team could have a number of suits to work with for different actions sequences. The boots were one of the most intricate elements of the costume, as they were handmade, giving hardcore fans very little chance of ever acquiring a replica. One of the aspects which changed the most from the comic book depiction to the big screen was the hero’s cape. The final version of the accessory was designed with practicality in mind and was fabricated from a woolly material and cut to the best length to ensure the wind-flow appeared realistic.

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I 29

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